THE DIAPASON JULY 2018

Summerall Chapel at The Citadel Charleston, South Carolina Cover feature on pages 22–23 www.concertartists.com 860-560-7800 [email protected] PO Box 6507, , MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ

ANTHONY & BEARD ADAM BRAKEL THE CHENAULTS JAMES DAVID CHRISTIE PETER RICHARD CONTE LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY CHRISTOPHER HOULIHAN

DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAMÍREZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER ™ 50th Anniversary Season ™ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 7, In this issue, we are pleased to present a wide range of short Whole No. 1304 features for your reading pleasure and edifi cation. Yves Rech- JULY 2018 steiner, artistic director of ’s Festival Toulouse les Orgues, Established in 1909 provides us with a historical overview of transcribing music for Stephen Schnurr ISSN 0012-2378 the organ. André Lash gives us a fascinating glimpse into the 847/954-7989; [email protected] culture of the in China. You will be amazed to learn of www.TheDiapason.com An International Monthly Devoted to the Organ, the organ’s growing presence in that part of the world! And Brian the , Carillon, and Church Music Gurley reports on the recent gathering of the Conference of church building and the Schuelke organ at Trinity Evangelical Roman Catholic Cathedral Musicians in and Indiana. Lutheran Church, Missouri Synod, Milwaukee, Wisconsin. Be CONTENTS In “Harpsichord Notes,” Larry Palmer’s good friend and sure to read entries featuring young organists: the East Caro- FEATURES colleague Beverly Jerold paints a picture of “actual” eighteenth- lina University Young Artists Competition as well as the work Transcribing for organ: A historical overview century performance practice. In “In the wind . . .,” John Bishop of the Young Organist Cooperative. by Yves Rechsteiner 16 discusses the unique details of the consoles of several American Our cover feature is about a true work in progress, Cornell Baroque in Beijing: Alive and Well organbuilders, past and present. So many of us have sat at Skin- Zimmer Organ Builders Opus 135. This project, when com- by André Lash 19 ner, Austin, and Möller consoles, and even if the builder’s name- pleted, will transform the organ of Summerall Chapel at The Conference of Roman Catholic Cathedral plate is no longer present, we instantly identify the look and feel Citadel, Charleston, South Carolina, into a new instrument Musicians Conference XXXV: of these iconic consoles! Gavin Black, author of “On Teaching,” incorporating much of the existing fabric of the organ that has Kalamazoo, Michigan, and South Bend, Indiana, January 2018 is taking a short hiatus, but will return soon. been a part of this historic building for generations. by Brian F. Gurley 20 Further along in our issue, we continue our summer carillon Our work at The Diapason does not slacken in the sum- calendar, begun last month, for those who enjoy music outdoors. mer months! Each issue provides much to absorb. Share this NEWS & DEPARTMENTS And, once again, we provide a very extensive listing of organ and issue with a friend to introduce them to our journal. Consider Editor’s Notebook 3 choral recitals, especially in our international section, for our giving that person a gift subscription. Student subscriptions are Letters to the Editor 3 Here & There 3 many readers who travel far and wide in these summer months. an incredible bargain! If you would like for us to send a friend Appointments 6 Our Here & There section contains a plethora of news a free sample copy, send me contact information, and we will Carillon News 9 articles. We are all saddened to report the loss of the historic gladly pass along a recent issue. Q Harpsichord Notes by Larry Palmer 10 In the wind . . . by John Bishop 12 Letters to the Editor REVIEWS Book Reviews 14 Buffalo Catholic Cathedral enclose the two solo stops at the request when the work was done. This organist New Organ Music 14 New Recordings 15 I enjoyed the Andover history article of the incumbent organist. actually wanted to have a new eclectic New Handbell Music 15 in the June 2018 issue, but want to clarify The organ was failing mechanically organ designed and built, but was sty- issues about the 1876 Hook organ in the when Schlicker was hired. Herman mied by the historical importance of NEW ORGANS 24 Buffalo Catholic Cathedral. Schlicker was not interested in historic the Hook organ. The current design SUMMER CARILLON CALENDAR 24 The article implies the Tellers-Kent restoration, but a prominent organ histo- is the result of extended diplomacy organ company carried out major altera- rian persuaded him to not transform this and negotiations between builder and CALENDAR 24 tions in 1925. This is inaccurate. They instrument into a Schlicker organ. So, organist. There are observers, myself RECITAL PROGRAMS 29 did a cheap electrifi cation with pulldown work was done on it, but it was far more among them, that have regretted that CLASSIFIED ADVERTISING 30 and stop actions and built an expression radical than anything done by Tellers. the rebuild was not done more con- box to enclose the Choir organ. They Some examples: wind pressures were servatively. No blame goes to Andover; did add separate treble chests to extend lowered, stops were reregulated to alter they did beautiful work, and did their THE DIAPASON non- stops to 61 notes and added the ensemble, a schwimmer reservoir best to try and save as much of the old JULY 2018 two celeste ranks. The Swell Violina was was installed on the Swell chest. (Inci- organ while pleasing the client. How- lowered to a TC stop, and the Choir one dentally, it never worked properly, and ever, where is this organist now? Gone was on was a separate unit chest. The prevented the Swell tremolo from work- not only from the position, but working majority of the original pipes and all of ing.) The Solo Tuba was mounted on the in a non-musical fi eld. Maybe there’s a the wind pressures were unaltered. In top of the in style. lesson here? 1939, Tellers’s Buffalo representative The Andover rebuild refl ects the Sincerely, extended the front of the swell box to wishes of the organist who was there David Snyder

Summerall Chapel at The Citadel Charleston, South Carolina Cover feature on pages 22–23 Here & There

COVER Events The Legion of Honor Museum, Cornel Zimmer Organ Builders, Denver, , California, continues North Carolina; Summerall Chapel at The organ recitals, Saturdays at 4:00 p.m., Citadel, Charleston, South Carolina 22 free with museum entry: July 7, The British School, Jonathan Dimmock; 7/14, Storming of the Bastille, Jonathan Editorial Director STEPHEN SCHNURR Dimmock; 7/21, David Hegarty; 7/28, and Publisher [email protected] John Walko. 847/954-7989 August 4, Angela Kraft Cross; 8/11, President RICK SCHWER David Hegarty; 8/18, John Walko; 8/25, [email protected] St. Mary’s Cathedral, Ruffatti organ Rodin and the Impressionists, Jona- 847/391-1048 than Dimmock. The Cathedral of St. Mary of the The museum features 1924 Skinner Editor-at-Large ANDREW SCHAEFFER [email protected] Assumption, San Francisco, Cali- Organ Company Opus 455, of four manu- fornia, continues recitals and choral Methuen Memorial Music Hall als, 56 voices, 63 ranks. For information: Sales Director JEROME BUTERA programs, Sundays at 4:00 p.m.: July https://legionofhonor.famsf.org. [email protected] 608/634-6253 1, Karen Beaumont; 7/8, Christoph Methuen Memorial Music Hall, Circulation/ Tietze; 7/15, Kevin Kim, violin and Methuen, Massachusetts, continues Association of Lutheran Church Subscriptions KIM SMAGA organ; 7/22, Paul Fejko; 7/29, Anni- organ events: July 4, Samantha Koch; Musicians (ALCM) announces [email protected] 847/481-6234 versaries 1668-1718-1768-1818-1918, 7/11, Amanda Mole; 7/18, Carson “Hearts, Hands, Voices,” local work- Roland Voit. Cooman; 7/25, Clara Gerdes. shops for church musicians: July 14, Designer KIMBERLY PELLIKAN August 5, Christopher Henley; 8/12, August 1, Margaret Harper; 8/8, John Des Moines, Iowa; 7/19–20, Richland [email protected] 847/391-1024 Pierre Zevort; 8/19, Chase Olson; 8/26, Robinson; 8/15, Alexander Pattavina; Hills, Texas; 7/21, Sioux Falls, South Norman Paskowsky. 8/22, Dong-Ill Shin; 8/29, Colin Lynch; Dakota; 7/27–28, Minneapolis, Min- Contributing Editors LARRY PALMER St. Mary’s Cathedral houses a 1971 October 26, Hector Olivera; November nesota; 7/28, Knoxville, Tennessee; Harpsichord Fratelli Ruffatti organ of four manuals, 30, Christmas open house; December 1 August 1, Park Ridge, Illinois; 8/25, BRIAN SWAGER 89 ranks. For information: & 2, A Merry Music Hall Christmas pro- Vero Beach, Florida. Carillon www.stmarycathedralsf.org. grams. For information: www.mmmh.org. ³ page 4

JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles GAVIN BLACK 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. On Teaching Subscriptions: 1 yr. $42; 2 yr. $75; 3 yr. $100 (United States and U.S. Possessions). Copyright ©2018. Printed in the U.S.A. Canada and Mexico: 1 yr. $42 + $10 shipping; 2 yr. $75 + $15 shipping; 3 yr. $100 + $18 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $42 + $30 shipping; 2 yr. $75 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Reviewers Brian Swager 3 yr. $100 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading Sarah Mahler Kraaz only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Jay Zoller Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the Carolyn Shuster Fournier 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, Leon Nelson This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 3 Here & There

³ page 3 Kotzschmar Organ: July 31 and August September 8, Honolulu, Hawaii; 9/15, 23, tours of the organ (12 noon, free), Fairfi eld, Connecticut, and Mission, followed by open console time (2:00 Kansas; 9/22, Charlotte, North Caro- p.m. to 5:00 p.m., for a fee); August 11, lina, Schaumburg, Illinois, and Willmar, Kotzschmar Organ Day, featuring free Minnesota; 9/29, New York, New York, recitals by Maine organists with guided Baltimore, Maryland, Perrysburg, Ohio, tours. Summer recitals: August 7, Chel- Lindsborg, Kansas, Seward, Nebraska. sea Chen; 8/14, Nathan Avakian; 8/21, October 5–6, South Bend, Indiana; Walt Strony; 8/28, James Kennerley and 10/6, Irvine, California; 10/13, Waukesha, Kotzschmar Festival Brass. The organ, Wisconsin, Denver, Colorado, Missoula, built by Austin Organ Company of Hart- Montana, and Portland, Oregon; 10/20, ford, Connecticut, now consists of fi ve Columbia, South Carolina, San Francisco, manuals, 104 ranks, with 7,101 pipes. California, and Torrance, California; For information: www.foko.org. November 3, Hickory, North Carolina; 11/10, Philadelphia, Pennsylvania. The Canadian International ALCM also offers a summer intensive Organ Competition’s 2018 Festival gathering, July 23–26, on the campus will take place October 7–21, in Mon- of Valparaiso University, Valparaiso, tréal. The gala concert on October 19 Indiana. The four days is focused on skill at the Basilica Notre-Dame will feature building, group and individual opportu- Alcée Chriss, Thomas Gaynor, and Trinity Evangelical Lutheran Church, Milwaukee, Wisconsin, Schuelke organ (photo nities, with some shared sessions with Joshua Stafford, all of whom have credit: William T. Van Pelt) Lutheran Summer Music. For informa- been recognized by The Diapason’s 20 tion: www.alcm.org. Under 30 program. Recitals celebrating Historic Trinity Evangelical Lutheran Church of Milwaukee, Wisconsin, was women organists will feature Jennifer destroyed by fi re on May 15. The church, a prominent part of the Milwaukee skyline, Augsburg Fortress offers two-day McPherson (United States), Eunsung was founded in 1847 and is the second oldest Missouri Synod congregation in the state. summer music clinics, featuring work- Kim (South Korea), Edith Beaulieu The congregation’s third church, designed by Fredrick Velguth in the Victorian Gothic shops by Wayne Wold on hymns and songs (Canada), and Alexandra Fol (Bul- style, was built between 1878 and 1880 at a cost of $43,500, including $3,500 for the in life and by Zebulon Highben on garia). The work of a female composer organ. The building was listed on the National Register of Historic Places in 1979. Lutheran and Reformed choral tradi- chosen by each performer will form an William Schuelke of Milwaukee installed his Opus 10 in the rear gallery, completed tions. Additional offerings are available on essential part of her program. For infor- for the church’s dedication. The façade of the organ was hand carved by Erhard Briel- topics such as children’s music and hand- mation: www.ciocm.org. meier, the same person who carved the wood of the church’s altar. Somewhat altered bells. Locations and dates: July 20–21, over the years, the instrument was noted to be the one of the most important extant Columbia, South Carolina; 7/23–24, organs by this builder, consisting of two manuals, 38 ranks. Early reports after the fi re Twin Cities, Minnesota; 7/27–28, Seattle, indicate portions of the organ may have survived. John Behnke is organist and choir Washington; 7/30–31, Chicago, Illinois; director. For information: www.trinitymilwaukee.org. August 2–3, Philadelphia, Pennsylvania; 8/6–7, Columbus, Ohio. For information: www.augsburgfortress.org/music-events.

Westminster Cathedral, , UK, continues its 2018 Grand Organ Festival, with recitals on Wednesdays at 7:30 p.m.: July 25, Isabelle Demers; August 29, Martin Baker; September 19, Stephen Farr; October 24, Catherine Ennis. For information: www.westminstercathedralchoir.com.

First Presbyterian Church, Kilgore, Texas

The 2018 East Texas Pipe Organ Festival is scheduled for November Competitors, faculty, and judges of East Carolina University competition, left to 11–15, and for the confer- right: Mark Pichowicz, Andrew Scanlon, Jacob Montgomery, David Jernigan, Tyler Schodt, Pei-Yi Ho, Jason Schodt, Chase Douthit, Matthew Cates, Justin Bruegge- ence is now open. Recitalists and speak- mann, Matthew Dion, Katherine Johnson ers include Ken Cowan, Scott Dettra and the choir of the Church of the Incarnation, Dallas, Katelyn Emerson, East Carolina University’s 12th annual Young Artists Competition in Organ Christopher Marks, Jonathan Ryan, Jane Performance was held in Greenville, North Carolina, on March 17. First prize was Parker-Smith, and Johann Vexo. The awarded to Matthew Cates, second prize to Justin Brueggemann, and third prize conference features Aeolian-Skinner to Chase Douthit. A prize for interpretation of the music of Bach was awarded to pipe organs designed and tonally fi n- Matthew Cates, and a prize for hymn playing was awarded to Justin Brueggemann. Merrill Auditorium, Portland, Maine, ished by Roy Perry in the East Texas Judges were Mark Pichowicz and David Jernigan. For information: www.ecu.edu. Kotzschmar Organ region, plus other instruments by Kern and Noack. For information: Merrill Auditorium, Portland, www.easttexaspipeorganfestival.com. Maine, announces events featuring the ³ page 6

Back row: Thomas Latham, Noah Jacobs, Connor Reed, Marshall Joos, Sophie Blair, Gillian Croteau, Jacqueline Morin; front row: Alana Reale, Jennifer Medina, Emily Currie, and Allie DeGraffenried

Students of the Young Organist Collaborative (YOC), centered in Portsmouth, New Hampshire, performed a year-end recital at Christ Episcopal Church in Exeter, New Hampshire, on May 12. Works by Bach, Mendelssohn, Vierne, Rheinberger, AUSTINORGANS.COM Chadwick, Boëllmann, and Nevin were performed. The YOC provides fi nancial support t8PPEMBOE4U)BSUGPSE$5 to students in seventh through twelfth grades for lessons with local organists, opportuni- ties for master-classes, and fi eld trips to area pipe organs and organbuilders. Students participating in the program come from Maine, New Hampshire, and Massachusetts.

4 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM Colin Andrews R. Monty Bennett Elisa Bickers Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Charlotte, North Carolina Prairie Village, Kansas Ann Arbor, Michigan Austin, Texas Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Justin Hartz Sarah Hawbecker Organist Organ/Carillon Professor of Organ Organist/Recording Artist Pipe/Reed Organist Organist/Presenter Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Philadelphia, PA Atlanta, GA

James D. Hicks Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Organist Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Lecturer Califon, NJ Brooklyn, New York San Francisco, CA Clarksville, Indiana Wilkes-Barre, Pennsylvania Dallas/Fort Worth, TX

Wynford S. Lyddane Colin Lynch Philip Manwell Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Pianist/Instructor Organist/Conductor Organist Organist/Faculty Organist/Presenter Organist/Pianist Washington, D.C. Boston, Massachusetts University of Nevada, Reno Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Jason A. Wright Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Conductor/Clinician Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK Hilton Head, South Carolina

Beth Zucchino Clarion Duo Rodland Duo Christine Westhoff Organist/Harpsichordist/Pianist Keith Benjamin, trumpet Viola and Organ & Timothy Allen Sebastopol, California University of Missouri-Kansas City The Juilliard School/ Soprano and Organ Melody Steed, Elementary Music St. Olaf College Little Rock, Arkansas Specialist, Waterloo, Iowa www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 31st- year of operation Here & There

³ page 4 H. Largent, First Presbyterian Church’s minister of music, honoring his retire- Appointments People ment. For information: Clive Driskill-Smith is appointed organist of www.bachandsons.com. All Saints’ Episcopal Church, Fort Worth, Texas, succeeding Rick Grimes, who retires as organist of the church for the past 24 years. Driskill-Smith was awarded the Sheila Mossman Memorial Prize by the Associated Board of the Royal Schools of Music before winning a Music Scholarship to Eton Col- lege in 1990. From 1992 to 1994, he played bassoon in the National Youth Orchestra of Great Britain and in the National Youth Chamber Orchestra. Clive Driskill-Smith After a year as organ scholar at Winchester (photo credit: Clive Barda) Cathedral and assistant organist at Winchester Col- lege, he went to Christ Church, Oxford University, as organ scholar. While at Christ Church, he was awarded the ARCM (Associ- ate of the Royal College of Music) diploma in piano performance and the FRCO (Fellow of the Royal College of Organists) diploma with the Limpus, Shinn, and Durrant Prizes and the Worshipful Company of Musicians’ Silver Medal. He graduated in 1999 with fi rst class honors in music and with the MPhil degree in 2001. A pupil of David Sanger and Hans Fagius, he was Barbara Garges awarded a travelling scholarship by the Royal College of Organists in 1999 and the W. T. Best Scholarship by the Worshipful Company of Musicians in Tabernacle United Methodist 2002; both of these funded further study in Europe with Marie-Claire Alain, Church, Binghamton, New York, held a Harold Stover Guy Bovet, Andrea Marcon, Luigi Tagliavini, and Harald Vogel. special service May 20 to celebrate 35 Winner of the Royal College of Organists’ Performer of the Year Com- years of music ministry by organist and Harold Stover was heard as composer petition in 2000 and the Calgary International Organ Competition in 2002, choir director Barbara Garges. It was and organist in The Starry Night on April Driskill-Smith regularly performs throughout Europe, North America, noted in the church’s weekly bulletin 15 at the Cathedral of St. John the Divine, Asia, and Australia. In the UK he has played at the BBC Proms, the Royal that she had provided music for 1,820 New York City, and in The Song of Shad- Festival Hall London, Symphony Hall, Birmingham, and Bridgewater Hall, services during her tenure there. In ows on May 19 at First Parish Church, Manchester. He has had numerous tours in the United States. He frequently place of a sermon, several church mem- Portland, Maine, as part of Portland Con- performs with percussionist Joseph Gramley, the duo known as Organized bers and friends of the organist gave servatory’s annual Back Cove Contempo- Rhythm. Clive Driskill-Smith and Organized Rhythm are represented by testimonials and anecdotal stories about rary Music Festival. Both pieces are taken Phillip Truckenbrod Concert Artists. For information: www.organist.org.uk their experiences with Garges over the from his Nocturnes, Book I, published by and www.concertartists.com. years. An anthem by Reverend Ken- MorningStar Music Publishers (edition neth Morrison, Music Is a Gift, for 12-128) and recorded by the composer Richard Gray is appointed director of music choir and brass, was commissioned and on Skinner Organ Company Opus 699 at and organist for St. John the Evangelist Episcopal performed for this occasion. During the St. Luke’s Episcopal Cathedral, Portland, Church, St. Paul, Minnesota, effective September service, Garges was presented with a on An American Album (Albany Records 1. He completed a year as the 2017–2018 inaugural commemorative plaque. Afterward, a TROY 765). organ scholar for St. George’s Episcopal Church, reception was held in her honor. Garges Nashville, Tennessee, where he worked alongside continues her work as organist and choir Woosug Kang, director of music ministries, and director for the congregation. Competitions Gerry Senechal, associate director of music min- istries, within the Anglican tradition. Gray holds Richard Gray degrees in organ performance from Southern Methodist University, Dallas, Texas, where he stud- ied with Stefan Engels, and Oberlin Conservatory of Music, Oberlin, Ohio, studying with James David Christie.

Nara Lee is appointed organ scholar for 2018– 2019 for St. George’s Episcopal Church, Nashville, Tennessee. Lee is from South Korea and recently completed the Master of Music degree in organ performance and sacred music at Indiana Univer- sity Jacobs School of Music, Bloomington, Indiana, where he studied organ with Janette Fishell. He Longwood Gardens Aeolian organ earned a Bachelor of Arts degree in church music Gregory H. Largent, Jeannine Jordan, console (photo credit: Duane Erdmann) at the Seoul Theological University, Seoul, South and David Jordan Nara Lee Korea. Nara has been awarded prizes in several Longwood Gardens, Kennett competitions, including third prize at the Asia Jeannine Jordan, organist, and Square, Pennsylvania, is accepting Organ Competition (2017) and second prize at the Strader Organ Competi- David Jordan, media artist, performed applications for its 2019 International tion (2015). He was also a fi nalist at the Sursa American Organ Competi- their organ and multimedia program, Organ Competition. Preliminary and tion (2016). Nara is an active composer and his sacred choral works have Bach and Sons, as the 237th concert fi nal rounds of the competition will take been published in South Korea. As a church musician, Nara has worked for on the Concerts at First Presbyterian place June 18–22, 2019, at Longwood churches since he was 13. Saginaw (Michigan) series on May 11. Gardens’ historic 1930 Aeolian organ of Bach and Sons was chosen by Gregory ³ page 8 Christa Rakich is appointed artist-in-residence at St. John’s Episcopal Church, West Hartford, Con- necticut, where she will assist director of music and organist Scott Lamlein with service playing and pres- MANDER ORGANS ent concerts and events featuring the church’s 1995 Austin Organs, Inc., organ of three manuals, 64 ranks. Rakich recently retired from a position as music direc- New Mechanical Action Organs tor at St. Mark the Evangelist Church, West Hartford. Christa Rakich She has served on the faculties of Westminster Choir College, Brandeis University, New Conser- vatory, and the University of Connecticut, and as assistant university organist at Harvard University. Previous artist residencies have included the University of Pennsylvania and First Lutheran Church, Boston, Massachusetts. As a Fulbright Scholar, Christa studied for two years with Anton Heiller at the Hochschule für Musik, Vienna, Austria. She earned bachelor’s degrees in organ and German from Oberlin College. After receipt of her master’s degree from New England Conservatory, she joined the faculty there, serving ³ St. Peter’s Square - London E 2 7AF - England ultimately as department co-chair. With keyboardist Susan Ferré, Rakich is Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 a founding performer of the Big Bach Festival in Berlin, New Hamp- Continuo Organs [e] [email protected] shire. The festival presents cantatas, chamber music, and keyboard music of www.mander-organs.com Bach in rural New Hampshire each summer. As vice president of the Boston Clavichord Society, Rakich also pursues an active interest in the clavichord. For information: www.christarakich.com and www.sjparish.net. Q Imaginative Reconstructions

6 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM We invite you to join us as we celebrate our 50th anniversary in 2018. Your shared passion and support for the organ has helped to make the Johannus sound renowned throughout the world. During this special year, join us in the celebrations as we take the opportunity to say thank you. Follow us and learn more about our anniversary program!

www.johannus.com Here & There

³ page 6 by the museum’s board, with up to $1.5 146 ranks. The Pierre S. Du Pont First million of that amount to be covered by Prize is $40,000, the largest cash prize the University of South Dakota. The of any organ competition. The Firmin addition will include 4,600 square feet of Swinnen Second Prize is $15,000; the new exhibit space, a gallery dedicated to Clarence Snyder Third Prize is $5,000. temporary exhibits, a new performance Judges are: Peter Richard Conte, Marnie hall, a dedicated classroom, a new con- Giesbrecht, Maggie Hamilton, Thomas servation lab, a new photography lab, Heywood, Rossen Milanov, Alan Mor- and new staff and administration offi ces. rison, and Todd Wilson. Deadline for For information: nmmusd.org. application is November 30. For further information: www.longwoodgardens.org/ international-organ-competition. Publishers

Conferences Randall Dyer, Lou Anna Dyer, and Justin Maxey at First Presbyterian Church, Dal- ton, Georgia

Randall Dyer & Associates, Inc., has fi nished a new organ for First Presby- terian Church, Dalton, Georgia. The dedicatory concert was presented by Justin Maxey, organist of Roswell Presbyterian Church, Roswell, Georgia, on May 6. Trent Whisenant is director of music for the church. For information: www.rdyerorgans.com.

Hill Auditorium, University of Michigan, Ann Arbor, Michigan (photo credit: Colin Knapp)

The University of Michigan Organ Department announces its 58th annual organ conference, Trailblazers: Women’s Impact on Organ, Harpsichord, Carillon, Fascination Organ Improvisation and Sacred Music, September 30–October 2, in Ann Arbor, Michigan. The conference Bärenreiter-Verlag announces a will focus on women’s contributions as per- new publication: Fascination Organ formers, composers, educators, and build- Improvisation: a Study and Practice ers of the organ, harpsichord, and carillon. Book (BA 11241, €46.95), by Franz Performers and presenters include: Anne Josef Stoiber. The book examines Laver, Tiffany Ng, Kola Owolabi, James improvisation at the organ with a multi- Kibbie, and Barbara Owen. Registration faceted text and workbook containing opens July 15. For information: http:// methodical and pedagogical refl ections Organists of the Church of the Holy Trinity at Rieger organ anniversary celebra- smtd.umich.edu/departments/organ/. on cultivating a feeling for sound and tion, left to right: Anthony Newman, Daniel Beckwith, Stephen Hamilton, Cleveland training responsiveness. It also features a Kersch range of practical exercises for improvis- Museums ing in various styles. Stoiber is a profes- On May 18, the Church of the Holy Trinity (Episcopal) on New York’s Upper sor of organ and organist at Regensburg East Side presented a festival organ concert commemorating the 30th anniversary of Cathedral, Germany. For information: the installation of its Rieger pipe organ. Four organists who have served the church www.baerenreiter.com. played the program to a large and enthusiastic audience. The current organist of the church is Cleveland Kersh. Musikverlag Doblinger announces new publications: Epiphaniai, by Michael Radulescu, in a version for organ and piano or full orchestra (50-0555, $2.70); E. C. Schirmer Music Company percussion (02 930, €29.95); Hymnus, The Lord at First Did Adam Make, by announces new music publications: Architectural rendering, National Music by Wolfram Wagner, for organ (02 510, Philip Barnes, for SATB with divisi, Vidimus stellam, by Kevin Siegfried, Museum expansion, Vermillion, South €16.95); Seven Organ Pieces in the Form soprano and tenor solos, a cappella (50- for SATB with divisi and brass quintet Dakota (credit: Schwartz/Silver Architects, Bos- of Chorale Preludes, by Johann Simon 0455, $2.50); Silent Night, by Michael or organ (organ/choral score, 8634, ton, Massachusetts) Kreuzpointner, for organ (02 512, €16.95); John Trotta, for SATB a cappella with $4.50); O Come, Desire of Nations, The National Music Museum at the Missa nova, op. 118, by Heinz Kratochwil, optional descant (50-1981, $1.95); and by Gerald Near, for SATB, oboe, and University of South Dakota, Vermillion, for choir, organ, and percussion (choral The Holly and the Ivy, by Matthew harp (full/choral score, 8521, $2.35); A South Dakota, has received approval score, 44 139, €24.95). For information: Culloton, for SATB with divisi, a cap- Babe Is Born, All of a Maid, by William by the South Dakota legislature to add www.doblinger.at. pella (50-1925, $2.50). For information: Averitt, for SATB a cappella (1.3481, 16,000 square feet across two fl oors and www.morningstarmusic.com. $2.35); In the Bleak Midwinter, by underground level to its existing 1910 MorningStar Music Publishers Gustav Holst, arr. James McCullough, Carnegie library building. Funding for announces new choral music for Advent Oxford University Press announces SATB with baritone solo, a cappella the estimated $9.5 million building and Christmas: People, Look East, by recent publications to mark the anniver- (1.3464, $2.60). For information: www. project has already been raised privately William Beckstrand, for SATB, solo, and saries of the deaths of Charles Hubert ecspublishing.com. Hastings Parry (1848–1918) and Ralph Vaughan Williams (1872–1958). Songs of Edition Walhall announces new Farewell, by Parry, edited by Robert Quin- publications: 6 Concerti for orchestra, Saving organs throughout ney, for SATB to SATB double choir unac- arranged for two by Gwen- companied (978-0-19-351846-9, £7.95); naelle Alibert and Clément Geoffroy. America....affordably! I was glad when they said unto me (1911 The collection is available in three version), by Parry, edited by John Rutter, volumes: Band I (RV 517, 96, 134, for SATB double choir and organ or orches- VD2173-1), Band 2 (RV 99/100, 107, tra or brass ensemble (978-0-19-351965-7, 766, VD2173-2), and Band 3 (RV 67, 62, £3.00); and Dona nobis pacem, by Vaughan VD2173-3), €20.50 each. Williams, for soprano and baritone soloists, Sonate e Pezzi per Organo (EW1033, SATB, and orchestra or strings and piano, €22.50), is a fi rst edition of works by in a new reduced orchestration (978-0-19- Aldrovandini, Anonimo, Bassani, and 352257-2, £13.50). For information: Monari for organ, edited by Jolando www.oup.com/sheetmusic. Scarpa. The collection contains works Visser Pipe Organ Co. 1-800-621-2624 Quality Craftsmanship, Creativity & Integrity foleybaker.com New Organs–Restorations–Additions–Relocation All Actions & Tonal Styles • 713-503-6487 • [email protected]

8 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM Here & There of the mid-17th century by composers Barnes’s Seven Sketches, op. 34, as well of Bologna, Ferrara, and Mantua. For as works by Whitlock, Bairstow, William Concert management information: www.edition-walhall.de. Henry Harris, Howells, and Jongen. Karen McFarlane Artists, Inc., Discs are $15.98 each, postpaid world- announces the addition of Amanda Mole wide. For information: to its roster of concert organists. Mole Recordings www.ravencd.com. is the winner of numerous international competitions, including fi rst prize at the Eighth International Musashino-Tokyo Organ Competition (2017), fi rst place and audience prize at the Miami International Organ Competition (2016), fi rst place at the Arthur Poister Organ Competition (2014), and John Rodland Memorial Organ Competition (2014). She was also a recipient of the Peter B. Knock Award (2014). Since 2017, she has served as a juror for live and preliminary rounds of several organ competitions, and is a member of The Diapason’s 20 Under 30 The recording team celebrates at the Amanda Mole Class of 2016. Royal Sonesta Hotel, Baltimore, Mary- Mole has performed at venues across The Complete Organ Sonatas of Josef land, following the fi nal recording ses- the United States, Europe, and Japan, and has been a featured performer at Rheinberger sion. Left to right: Andover Organ’s Kev- in Mathieu, Frederick Hohmann, Katelyn conventions of the American Guild of Organists and the Organ Historical Soci- Emerson, and Andover’s Don Glover ety. She has a solo recording to be released in 2019 on the Naxos label. Also Priory Records announces a new currently in production is a recording of music for trombone and organ with release, The Complete Organ Sonatas of Andover Organ Company, Law- Rochester Philharmonic Orchestra trombonist Lisa Albrecht and the Hohen- Josef Rheinberger (PRCD1165). Roger rence, Massachusetts, contracted with fels trombone quartet. Her performances have been broadcast on the national Sayer is featured performing on the Frederick Hohmann of Pro Organo radio program Pipedreams. Harrison & Harrison organ of the Tem- and Katelyn Emerson, organist, to pro- Originally from Holden, Massachusetts, Mole is completing a Doctor of ple Church, London, UK. The collection duce a recording of Andover’s Opus 114 Musical Arts degree at the Eastman School of Music, Rochester, New York. of 20 sonatas is compiled on six compact at Christ Lutheran Church, Baltimore, She earned her Master of Music degree in organ performance and sacred music discs. For information: Maryland. Recording sessions took place from Yale University, New Haven, Connecticut. Prior to Yale she obtained a www.prestoclassical.co.uk/classical. May 14–15. Inspirations, downloadable Bachelor of Music degree with honors at Eastman. Earlier studies were with in all forms, is scheduled to be released Larry Schipull and Patricia Snyder. by Pro Organo in late summer/early fall Mole is available for recitals, concertos, and classes. Booking inquiries should of 2018. For information: be directed to John McElliott at Karen McFarlane Artists, Inc. For informa- www.proorgano.com. tion: www.concertorganists.com. Q

Organbuilders prepared-for Solo division in their 2008 will mark its 90th anniversary September instrument. A vintage harp, a new set 16. The clinic’s founders, Drs. William J. of chimes, and a custom-made Pája- and Charles H. Mayo, donated the caril- ritos (Nightingale) were installed in an lon as a memorial to veterans who served existing chamber behind a new set of the United States, exemplifi ed in the expression shades. The church continues carillon’s only inscription, found on the to work toward completing the division : “Dedicated to the American with ten ranks of pipework. Soldier.” Percival Price played the dedi- Christ Lutheran Church, Val- catory recital. paraiso, Indiana celebrated the dedi- Following a restoration project for Orpheus in the Underworld: Dances, cation of their pipe organ on June 3 the instrument this summer, a recital Spirits, Toccatas, Sonatas, and a Tran- when John Bernthal performed the will be presented August 12, 2:00 p.m., scription for Organ La Casa de Cristo Lutheran Church, dedicatory recital. Berghaus removed by Laura Ellis (University of Florida). Scottsdale, Arizona, harp and chimes the organ, built in 1986 by W. Zimmer Ellis will be joined by Mayo carillon- announces two new record- & Sons, from Holy Trinity Lutheran neur Austin Ferguson for the fi nal ings: Orpheus in the Underworld: Church, St. Louis, Missouri (which selection, Ronald Barnes’s Carillon Dances, Spirits, Toccatas, Sonatas, and was demolished), reconfi gured and Concerto for Two to Play. The con- a Transcription for Organ (OAR-148), enlarged the instrument, and installed certo was commissioned by Rochester features Ahreum Han performing on it in the rear of Christ Church’s sanctu- native Lois Whitlock, is dedicated to the 1990/1998 Casavant Opus 3455 of ary in 2018 in time for Easter. Several former Mayo carillonneur Dean Rob- 61 ranks in First Presbyterian Church, members of Holy Trinity were on hand inson, and was premiered at the 1981 Davenport, Iowa. Han plays her own to witness the start of a new life for their Congress of the Guild of Carillonneurs transcription of an Offenbach suite as organ. For more information: in North America in Rochester. The well as works by Bach, Vierne, Widor, www.berghausorgan.com. recital will be preceded by a rededi- Jongen, Jean Berveiller, Guy Bouvet, cation ceremony. An exhibit on the and Johannes Matthias Michel. carillon’s history will be available in the Carillon news Mayo Historical Suite in the Plummer The Rochester Carillon at the Building. For futher information: Mayo Clinic, Rochester, Minnesota, [email protected]. Q

Christ Lutheran Church, Valparaiso, Indiana

Berghaus Pipe Organ Build- ers, Bellwood, Illinois, has recently completed several projects. At Trin- ity Lutheran Church, State Cen- ter, Iowa, Berghaus has rebuilt and enlarged the church’s 1948 Geo. & Son organ. Completed in December Romantic Resonance 2017, the instrument now consists of 23 ranks, new slider chests, and a Romantic Resonance (OAR-149), refurbished console. The organ will be features Adam Pajan (a member of dedicated on October 14 in morning The Diapason’s 20 Under 30 Class of worship and celebrated in an afternoon 2016) performing on the four-manual, recital by Berghaus tonal director 76-rank Kegg Pipe Organ Builders organ Jonathan Oblander. in the Basilica of St. John the Baptist, At La Casa de Cristo Lutheran Canton, Ohio. The disc includes the fi rst Church, Scottsdale, Arizona, Berghaus complete recording of Edward Shippen recently began installation of the

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 9 Harpsichord Notes

A glimpse into actual by modern assumptions. Some of these eighteenth-century are called into question by the Berlin performance practices court Kapellmeister Johann Friedrich Early in April I received a copy of Bev- Reichardt’s report of two Handel con- erly Jerold’s fascinating article on perfor- certs he heard in London in 1785.1 mance standards in Handel’s London. The fi rst was Samson at the Drury The American musicologist, a longtime Lane Theater, whose entrance was in a friend and consultant, brought to mind dirty alley and down some steps, as in a the cogent remark from Gustav Leon- beer hall. In the foremost loge, almost on hardt: “we would almost certainly be sur- the stage of this small, plain theater, were prised by a truly Baroque performance!” King George III and the Queen. Some In mid-May, having just returned from disorderly young chaps settled them- a 2,000-mile roundtrip automobile jour- selves very close to the king’s loge, making ney to perform in the Aliénor Retrospec- an unruly disturbance during the perfor- tive that was the fi nal event for Historical mance—mostly mockery of the singers— Keyboard Society of North America’s such as Reichardt had never heard at the 2018 meeting at the University of Michi- worst German theater. One of them took gan in Ann Arbor, I arrived home on May loud delight in the stiff enunciation of 14—one day before the mid-month dead- the singers, who made a point of thrust- line for submitting a July column. A late- ing out each syllable extremely fi rmly and night email to Ms. Jerold resulted in her distinctly. Particularly in the recitatives, giving permission to reprint this article, Mr. Reinhold attacked the diffi cult words originally published in Handel News, with such pedantic preparation, execut- #71 (January 2018), the newsletter of the ing each single consonant so elaborately Friends of the London Handel Festival. that one would often have had time to Should Jerold’s article lead to a desire look up the word in a dictionary. for more Handelian essays, an annual “But what I wouldn’t have subscription to the newsletter is avail- given for a better musical per- able for £20 (£15 for retired folk). Pay- formance,” declares Reichardt. ment should be made payable to Friends “The singing was often downright poor. of the London Handel Festival and sent In comparison, the instrumental music to the society’s treasurer: Leslie Porter, was much better, at least the string instru- 25 Park View Road, Southall, Middlesex ments. The blown instruments were UBI 3HJ, United Kingdom. Our thanks often intolerably out of tune.” As fi rst to newsletter editor Tony Watts and to violinist, Mr. Richards led the orchestra the author for allowing this reprint of her just passably. Because of the many par- thought-provoking essay. ticipants, the choruses made more effect than they usually do in Germany, but Beverly Jerold Reichardt’s Review of Handel were nevertheless disappointing: “Often Concerts in London the choral singing was fi lled with scream- that the composer often took the blame the subscribers. Seating on the fl oor by Beverly Jerold ing from the most wretched voices. Miss for a wretched performance: began in the middle of the hall, leaving George and Miss Philips, the principal a substantial space between the fi rst row If we could travel back to the age of female soloists, were very mediocre At the Oratorio yesterday evening Miss and the orchestra, leading the frequent- Bach and Handel to hear how music was indeed, frequently singing heartily out of Parke . . . performed a concerto on the traveler Reichardt to comment about Piano Forte. . . . her execution was such performed, we would often be disap- tune, while Messrs. Quest, Norris, and that a veteran in the profession might not conventional orchestral volume level: pointed. Technology is unnecessary for Reinhold were deplorable, and often be ashamed to imitate. This . . . was a suf- I very much like having the instruments music composition, but it can greatly bellowed like lions.” Reichardt’s observa- fi cient compensation for three tedious Acts at a distance, for when they are close, par- enhance performance. For example, tions are confi rmed by ’s of Handel’s worst Composition. ticularly the string instruments whose ev- early sources reveal that many musicians letter of 1771 to Montagu North in ery separate, strong stroke is always a pow- are not born with the ability to sing or which he complains that English “sing- Standards varied dramatically between erful shock, it makes an extremely adverse, play pleasingly in tune. In contrast, the ing must be so barbarous as to ruin the this program for the general public, even and often painful, long-lasting impression music we hear every day provides auto- best Compositions of our own or of any though it included royalty, and one exclu- on my nerves.3 matic ear training and many other ben- Country on the Globe” until they have sively for the upper class. On March 12, efi ts. Since we cannot imagine a world music schools and better salaries.2 Reichardt heard the Concert of Ancient Mad. Mara and Samuel Harrison were that had never experienced our concepts After the fi rst part of Samson, a little Music, limited to music more than the principal soloists; Wilhelm Cramer, of refi ned tone quality, consistently good girl played a modish concerto on the twenty-fi ve years old, and sponsored by a the concertmaster; and Mr. Bath, the intonation, and rhythmic accuracy, our fortepiano. Reichardt’s footnote quoting society of 300 subscribers from the court organist. The orchestra was large and the reading of early sources may be colored The Morning Post for March 12 suggests and highest nobility. Since even the most chorus adequately strong. In the chorus respected musician could not be admitted, from Handel’s Saul, “How excellent thy the famed German soprano Gertrud Elis- Name, O Lord!,” Reichardt found more abeth Mara had to use all her infl uence to good voices than in the program the day enable Reichardt to hear some of Handel’s before, particularly since several Royal music that was completely to his liking. Chapel choirboys, some with very beauti- This concert’s hall, an oblong of more ful voices, participated. But for the most

II — 19 ranks II — 19 pleasing form and appropriate height part, the lower voices were the same, and than the Drury Lane Theater, was again just as harsh and screaming. just large enough to accommodate an Reichardt was pleased that Handel’s orchestra of very considerable size and second Concerto Grosso, which is so

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10 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM By Larry Palmer different from their present instrumental that the venerable old style gives him and metronome, period instruments that sehr angenehme Wirkung: denn ihre Nähe, music, was performed well and strongly in which alone he can enjoy such music.5 play up to modern standards, and high- besonders die der Saiteninstrumente, deren jeder einzelner starker Strich immer with its own character. In his youth, this level conservatory/general education, eine gewaltsame Erschütterung ist, macht work’s simple, harmonically compact Then Reichardt describes the con- there would be no musicians with today’s auf meine Nerven einen höchst widrigen music had made a strong impression. trasting style of composition heard in advanced technique. From Reichardt’s oft schmerzhaften und lange fortdauern- den Eindruck.” Today, he therefore expected nothing Mara’s performance of Johann Adolf text and his defi nition of Handel’s style 4. Reichardt, MW, 138f. more than what it really is, so he readily Hasse’s “Padre perdona oh pene!:” as “heroic,” it is apparent that tempi and 5. Reichardt, MW, 171: “Solche Melo- found it pleasurable. But it will be a disap- embellishment were restrained, and that dieen und ganze Zusammensetzungen, wie pointment to those who think that the title Hasse’s style presumes an inventive full-bodied tone was desirable. Q Händels Arien sind, vertragen durchaus ke- singer, and whole sections, intentionally ine Änderungen.” “Concerto” promises a display of the prin- 6. See Beverly Jerold, “How Composers sketched out only in outline, are expected Notes cipal player’s skill with diffi cult passages. to be embellished by the singer. At that Viewed Performers’ Additions,” Early Music The principal parts do not have as many 1. [Johann Friedrich Reichardt], “Briefe 36/1 (Feb. 2008): 95-109. time in Italy, the new, more opulent sing- aus London,” Studien für Tonkünstler und 7. John Hawkins, A general history of diffi cult passages to execute as each part ing style arose hand in hand with the luxu- Musikfreunde, ed. F. A. Kunzen and J. F. the science and practice of music, (London, in the easiest new Haydn symphony: “We riant dramatic style in composition. Hasse Reichardt (Berlin, 1792/93), Musikalisches 1853; rpt. New York [1963]), 870. can regard them as a document showing availed himself of this all the more since his Wochenblatt (MW) portion, 130ff., 137ff., 8. Charles Burney, A General History of wife, Signora Faustina Bordoni, was one of 147f., 171f. According to Walter Salmen, Music, from the Earliest Ages to the Present the character of instrumental music at Johann Friedrich Reichardt (Freiburg and the principal female singers in the new lav- Period (1789), ed. Frank Mercer (New York: that time. From this we can judge the Zürich: Atlantis, 1963), 57ff., Reichardt at- Harcourt, Brace, [1935]), 2:819-20. great progress instrumental music has ish style. Just as the old bachelor Handel tended these London concerts in 1785. made in the last thirty years.” Yet this type worked only for his art and himself, so did 2. The Letters of Dr. Charles Burney, ed. Comments and questions are wel- Hasse work for his wife and similar singers. Alvaro Ribeiro (Oxford: Clarendon, 1991), of instrumental music presents its own 1:96. come. Address them to lpalmer@smu. very great diffi culty for execution: Nevertheless, Hasse did not approve 3. Reichardt, MW, 137: “Diese Entfer- edu or 10125 Cromwell Drive, Dallas, of extravagant additions, as seen in his nung der Instrumente that für mich eine Texas 75229. something that . . . should be the founda- letter to Giammaria Ortes6 (a sample of tion of everything else. Good intonation Faustina’s own embellishment is mod- and larger tone. Music affects the listener only when it is completely in tune and est). While most major composers fol- strong. When performed with correct into- lowed Handel’s practice of leaving little, nation and large tone from all the instru- if anything, to the singer’s discretion, ments, this concerto’s melodic clarity and secondary, mostly Italian composers rich harmony has to make a far stronger catered to Italian singers’ desire for a effect on the listener than the greatest skeletal melodic line to decorate. technical diffi culties. . . . Whoever knows To close the concert, Mara sang a rec- the enormous diffi culty of achieving this itative and aria from Handel’s Ode for St. will not be surprised that I found both of Cecilia’s Day, followed by a full chorus these qualities today only with Mr. Cramer, who played the principal part. Yet no single from the same. According to Reichardt’s measure offered him the opportunity to text, this concert’s success was owed to the show his superior skills that are so admired soloists Mara and Harrison, a much better in Germany.4 physical space, and Cramer’s orchestral leadership. Cramer was clearly excep- Since Reichardt’s 1776 manual for profes- tional—with no metronome training avail- sional ripienists (Ueber die Pfl ichten . . .) able, many leaders were affl icted with the prescribes exercises that are mastered same rhythmic instability as their players. today by young children, string tech- § nique, even at that time, was extremely low by our standards. How did Handel view singers’ addi- Hearing Mad. Mara (for the fi rst time tions? Consider John Hawkins: “In his since she left Berlin) in a scene from comparison of the merits of a composer Giulio Cesare, Reichardt found that and those of a singer, he estimated the grandeur and fullness of tone had been latter at a very low rate.”7 Handel would added to her qualities of strength, clarity, not have tolerated the harmonic errors intonation, and fl exibility. “How she sang that characterized most singers’ own the great, noble scene from Handel! It embellishment. But where did they add was evident that Handel’s heroic style had the embellishment that Burney mentions infl uenced the spirit and even the voice in his General History of Music? The of this exemplary artist.” And in Handel’s answer lies in his account of Handel’s “Affani del pensier un sol momento” from “Rival ti sono” from Faramondo, written Ottone, he was profoundly moved, for she for the castrato Caffarelli: “In the course conveyed the text as from the soul. After of the song, he is left ad libitum several intermission, Mr. Harrison sang “Parmi times, a compliment which Handel never che giunta in porto” from Radamisto: paid to an ordinary singer.” Here, and in other Burney citations, Handel did not With a tenor voice that is not strong but permit routine alteration, but restricted it nevertheless very pleasing, he sang this to places left bare for this purpose, such as Cantabile completely in accord with the old style in which it is composed: that is, very brief Adagios or the close of a section. without any additions of his own, thereby Perhaps this kept peace with Italian singers giving the audience and me great pleasure. while protecting his work. Compare any of Mr. Harrison performed even the very his conventional arias with a truly skeletal simple fi gures . . . exactly as they appear Larghetto he wrote for Caffarelli in Fara- in Handel’s work, and sought to give the mondo. According to Burney, “Si tornerò” piece its due only through fi ne tone qual- is “a fi ne out-line for a great singer.”8 ity and precise, clear execution. And that is Here, the singer is expected to add notes, very praiseworthy. Melodies and fi nished compositions like Handel’s arias tolerate but nearly all of Handel’s other arias are no alterations anywhere. His melodies have fully embellished, except for occasional such a fi nely chosen meaningful, expressive measures. Our belief that a da capo should succession of notes that almost anything put have additional embellishment derives between them is certainly unsuitable or at solely from Pier Francesco Tosi, a castrato least weakening for the word being sung. who wrote when skeletal composition was The construction of his basses and harmon- fashionable in Italy. There is no reason to ic accompaniment is such that no singer can apply his advice to arias that the composer easily change three notes without creating a harmonic error. All of Handel’s melodies embellished adequately. . . . can produce the desired effect on the In sum, Reichardt’s account reveals present listener only when we want their ef- standards and aesthetic values different fect to be the one heard. All new trimmings from our own. If we had never known remove from the listener the impression such things as recording technology, the BACH AT NOON Grace Church in New York

www.gracechurchnyc.org

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 11 In the wind...

When it’s time, it’s time. room with bad news. It would cost $2,500 Old friends from New Haven came to to fi x the AC, and the check engine light New York for an overnight visit on Fri- was on, which meant another $850 for a day, April 13. We heard the Boston Sym- pressure sensor in the fuel tank. phony Orchestra play at Carnegie Hall Traveling back and forth between that night, and spent Saturday morning New York and Maine, and thousands of at the Metropolitan Museum of Art. miles visiting churches, organ shops, and They were taking the train home in the job sites, I surpass the mileage limits of afternoon and had luggage with them, any auto lease, and a lot of that driving so we took my car to the museum, and happens with heavy loads in the car, I found a lucky parking space on East sometimes towing trailers. I use cars very 79th Street. After lunch, we returned to hard. I have long fi gured that it is best for the car to learn that I had misread the me to buy a car a year or two old with low signs and had been treated to a bright mileage, letting someone else use up the orange envelope tucked under my wind- high retail value of a brand new car, then shield wiper. Oh well. It was in the mid- drive it until it will not go any further. Keyboard contacts (photo credit: John Combination action toggles (photo credit: seventies that day, so I turned on the air Since about 1980, I have driven six cars Bishop) John Bishop) conditioning. Nothing. We drove down over 225,000 miles, two of those over Lexington Avenue to Grand Central 275,000. About halfway through that van with “Parts Shuttle” written on the you move the stop keys to create set- Terminal with the windows open. list, I experimented with a Dodge Grand sides. I do not know how many differ- tings. When you press a piston, a double New York is a great place to live, but as Caravan—a mistake because although ent models of cars Chevrolet makes and contact system activates a pick-magnet we have the luxury of a house in Maine, with seats out I could carry loaded eight- could hardly guess how many parts there that pulls up a little pivoted lever at the there are a few things we try to do only foot pipe trays, it was not a truck, and the are in each one, but I imagine that each end of the trace and fi res a huge solenoid in Maine to avoid the city surcharge. transmission left at around 189,000. That dealership needs access to hundreds of that moves a bar that engages the lever Among others, our dentist, veterinar- is a lifetime total of over 1,500,000 miles, thousands of different parts. Some things and pulls the trace. The toggles on the ian, and dog groomers are in Maine. or an average of 43,000 miles a year. are closer to universal. Maybe they only trace move the stop tabs according to (Besides the exorbitant cost, you should The Suburban had just 225,000 miles need to stock six different oil fi lters, and the setting. (. . . that wiggled and jiggled see some of the fru-fru rainbow jobs that on it, but I could not see spending over the 5.3 liter V8 engine in my Suburban and tickled inside her . . .) The action come out of Greenwich Village Doggie $3,300 on repairs, so I went shopping. is used in pickup trucks and vans as well of that solenoid provides the signature Spas!) Groceries and staples like paper Now I am in a 2017 Suburban, silver as SUVs, so hundreds of engine parts “ka-thump” sound of a piston fi ring in an products and cleaning supplies are far this time, so people will not think I am overlap ten or twelve models. But it’s still Austin console. cheaper in Maine, with many items at the limo they ordered and climb into the a lot of parts. The general construction of these half the city price. And car repairs. Sit- back seat. Gotta love New York. There are plenty of differences Austin consoles is also unique. There is ting in the waiting room of a Manhattan between a Chevrolet, a Ford, and a a simple steel frame that supports the garage, you just know that creepy stuff Parts is parts. Toyota, but if you saw a piston from an table on which the keyboards sit. The is going on behind the scenes. I waited As I went in and out of car dealerships engine by each maker, you would have side case panels, which include the track until I got back to Maine to have the air over the last couple weeks, I was think- to be an expert to tell them apart. Wind- for the rolltop, screw to those frames, the conditioning checked. ing about the business of car repair and shield wipers are pretty close to universal, back-panel screws to cleats on the side I drive a 2008 Chevy Suburban, that replaceable parts. Henry Ford really had with their overall length being the big- frames, and the top sits on top of it all. big black job used by the Secret Service, something there, fi guring that any item gest difference. In fact, as the designers Voila! The traces, toggles, pick magnets, FBI, and Tony Soprano. It has three that you might sell a lot of could be made of vehicles seek the perfect aerodynamic and springs of the combination action are rows of seats, so there are two air condi- of carefully designed and manufactured shape, cars built by many different com- all interchangeable. It is a very simple tioners. Can you tell where this is going? parts, identical in every separate unit. panies look more and more alike. system. I wish that Casavant console in The service manager came to the waiting Every dealership I visited had a little Recently, a colleague posted a photo Rocky River had removable side panels. of a broken organ part, asking if anyone But there is something funny about knew how to replace it. I recognized it Austin consoles. A Massachusetts organ immediately. It was a Bakelite lever used technician, William Laws, thought that in the console combination actions of design was just about perfect, and he Unprecedented Natural Casavant organs in the 1950s and 1960s, waited until the original Austin pat- about six inches long, with an axle hole ents expired, and immediately started in the middle, and forks at each end producing “Austin Clones.” I learned Pipe Organ Sound that “click” into place. They transfer the this innocently enough thirty years ago, motion of the drawknobs between levels calling the Austin factory to order a new ,QWURGXFLQJGLJLWDOO\VDPSOHGSHGDOVSHGDO of the combination action, moving the solenoid. In spite of the Laws nameplate, traces that carry the toggles that allow I assumed it was an Austin console. It was H[WHQVLRQVDQGWXQHGSHUFXVVLRQVIURP,27, the stops to be set on pistons. (I know an Gordon Auchincloss who took my call, old lady who swallowed a fl y . . .) When and asked, “Is it an Austin or a Laws?” one breaks, the stop cannot be set on or Ernest Skinner was famous for his off any piston, and the stop action won’t beautiful consoles. He worked inces- turn on. santly developing the geometry of his I recognized it because in about consoles, striving for complete comfort 1980, my mentor Jan Leek and I faced for the musician. He used elegant mate- just such a repair in an organ in Rocky rials, and machined controls were all River, Ohio. It was an organ technician’s specifi cally intended to have a signature nightmare. The console was tightly sur- feel to them. The half-inch travel of a rounded by carpenter-built choir risers stop knob, the quarter-inch motion of that had to be substantially dismantled a piston button, and the superb action to reach the access panels, and once of the keyboards were all part of the we were inside, it took a couple days to experience of playing a Skinner organ. A wrestle the broken part out. The axle Skinner combination action produces a was common to about fi fteen of the unique “Phhht” at the press of a button, levers, and it was less than an inch from nothing like the Austin ka-thump. Har- the framework of the console side. We ris Precision Products in California has happened to have some Bakelite in the developed two sizes of electro-magnetic workshop, and even knew where it was, drawknob motors that duplicate the feel so we were able to make a half dozen of the Skinner drawknob, but gone is the replacements. That repair must have pneumatic Phhht of the piston action. taken sixty or seventy hours. Even when a hundred knobs are moving Early in the twentieth century, the at once, there is a minimal bump at the Austin Organ Company developed a dis- touch of a piston. tinctive style of “modern” . The funny thing about Harris draw- They are easily recognizable with two knobs is that they are so well made, so rows of stop keys above the top keyboard, easy to install, so reliable, and so quiet unique piston buttons on stems like lol- that many organbuilding companies use lipops, curved maple expression pedals, them. That is great for the organists and shallow-dip keyboards whose keys because the knobs work perfectly, but are about twelve inches long and pivoted gone is the individuality of different Integrated Organ Technologies in the center. The combination action is companies. Any experienced organist ƹƸƸƵƷƳƵƷƹƵ_LQWHJUDWHGRUJDQWHFKFRP in a tray at the top of the console, with a could tell the difference between a Skin- horizontal trace for each piston that car- ner and an Austin console blindfolded, ries toggles that click up or down when but Harris drawknobs are everywhere.

12 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM By John Bishop

What’s the difference? eaten alive by the big unwieldy antiphonal Any good organ is a teacher, guiding a beast. But the difference in the sound musician’s expression, inviting each musi- of the instrument as different masters cian to explore sounds and effects. Most played it was remarkable. Understanding organists participate in the choice of a how different organists could draw differ- new organ only rarely, if ever. And some ent things from a single instrument was organists only ever play on one instru- one of the more important experiences of ment, whatever organ is owned by the my organ education. church where they work. I get to play on Likewise, I have heard single organists many different organs in the course of any playing on many different instruments. working month. It is one of the fun things That allows a glimpse into the musical about my work. I love experiencing and personality and philosophy of the musi- comparing different organs, gleaning what cian. Some seem to do the same thing each organbuilder had in mind, mining with each instrument they play, while oth- the instrument for the richest sounds, the ers bend their style and approach toward Pouch springs (photo credit: John Bishop) brightest colors, the most mystical effects. the instrument of the day. I often refer to my tenure as curator of I do not drive anywhere near as many Suburban. It was comfortable, quiet, and It’s the pipes. the organs at Trinity Church in Boston, different cars as I do organs. I drive sturdy, all important for someone who has The musical heart of any pipe organ is the venerable pair of Skinner/Aeolian- Wendy’s car once in a while, and I drive driven one-and-a-half-million miles. It is its pipes. That may seem a simple thing Skinners matched with the magical rental cars when traveling on business, great for carrying tools and organ com- to say, but while it is easy to focus on LaFarge interior of the H. H. Richardson but almost all the driving I do is in that ponents, and for the boating side of my knobs and keyboards, music rack lights, building. An important feature of the Chevy Suburban. Unlike the organ, I life, our eight-foot rowing dingy fi ts inside and blower switches, an organ is there music program of that church continues am not looking for means of expression with the doors closed. Like a Skinner con- to produce musical tone, and it does to be weekly organ recitals, and as cura- when driving a car whether it is mine or sole, the geometry of the driving position that by blowing air through pipes. We tor, I suppose I heard eighty or a hundred not. When I mentioned to my colleague fi ts me beautifully. (I know, I know, that’s all know that an organ voice comprises different people play that organ. For each Amory that I was shopping for a car, he a little romantic.) If all goes well, I will a set of pipes, one for each note on the player, the organ was different. Some- said, “Buy a Ford.” He drives a snazzy be driving the new one for 250,000 miles keyboard. Each pipe is unique with times, the organ was victor and the expe- and beefy Ford pickup truck that’s perfect over eight or ten years. Come to think of different length and diameter. It is pos- rience was not so great. People could get for his work. But I really liked my black it, it may be the last work car I buy. Q sible to make identical sets of pipes. In fact, though I was never in the Möller factory while it was in operation, I am pretty sure they had identical “stock” ranks. I have worked on enough Möller Artistes to conclude that. But when you make a rank of pipes, you cut sixty-one rectangles to make the cylindrical resonators, sixty-one W HY CHOOSE pie-shaped pieces to make the coni- cal feet, and sixty-one discs to make the languids. Each successive piece is a different size, the dimensions AN APOBA FIRM? calculated using elegant mathematics. Three ratios make up the math of an : the ratio between diameter and length (scale), the ratio between W E PROMISE: mouth width and circumference, and the ratio between mouth width and ◆ KNOWLEDGE ROOTED IN EXPERIENCE mouth height (cut-up). Even at its most mechanized, pipe making is a personal thing. I know of no robotic substitute ◆ TRADITION BLENDED WITH INNOVATION for the pipe maker’s soldering iron. The quality of the pipe and ultimately its ◆ ECLECTICISM ENSURING MUSICAL RELEVANCE tone are the result of the mathematics and the skill of the pipe maker. The ◆ QUALITY THROUGH CRAFTSMANSHIP saying, if it looks good it will work properly, is nowhere truer than in the making of organ pipes. If the languid is ◆ COMMITMENT TO BUILD HISTORY loose inside the pipe, the speech will be poor. Because of all that, two ranks of ◆ AUTHENTIC SOUND FROM REAL PIPES! pipes built to identical dimensions can never sound exactly alike. There are many other factors that determine the sound of an organ pipe besides those three ratios. The com- NORTH AMERICA’S PREMIER PIPE , REBUILDING AND SERVICE FIRMS position of the metal is critical. Most BUILDER MEMBERS metal pipes are made of a mixture of A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. tin and lead. The most common spotted Andover Organ Company Holtkamp Organ Company Schoenstein & Co. metal pipes are in roughly the range of Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders 40%/60% to 60%/40% tin and lead. Go Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs Bond Organ Builders, Inc. Muller Pipe Organ Company to 70%/30% or 30%/70% and you will Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS have a different sound. The thickness C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. of the metal is important to the quality Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems of speech. A pipe made of thick metal Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources will speak more reliably and more pro- Garland Pipe Organs, Inc. Quimby Pipe Organs, Inc. Peterson Electro-Musical Products foundly than one made of foil. While the pistons from a Chevy or Ford look very much alike, the pipes from an Austin or a Holtkamp organ look nothing alike. And the pipes in organs by “handcraft firms” like Fritts, Call today for APOBA’s Please watch and share Richards-Fowkes, Fisk, or Noack look Pipe Organ Resource Guide our short video at: very different. I admit that I say that and Member Prospectus www.apoba.com/video with over forty years of experience tuning organs by every builder you can think of, my eyes are as experienced as my ears. But the individual ethic, habits, tools, and philosophy of each pipe maker are different enough that Apoba.com 1-800-473-5270 no two craftspeople can make identi- cal pipes.

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 13 Reviews

in the world. Since carillon towers are and some of the newest in Neerpelt. its alternating free and strict sections. The rarely accessible to the general public, Architectural variety abounds as well, as powerful maestoso opening of this piece most people who hear carillons never the churches and towers stem from dif- might call to mind Bach’s Fantasy and actually see them. The intention of this ferent periods and styles. The pages of Fugue in G Minor, but that is only one book is to unveil the hidden facets of the book are of good, sturdy quality. aspect of Laurin’s compositional prowess. the instrument, to offer a glimpse at the The cities featured in the portraits A more intimate and introspective pre- inner workings of this phenomenon, and range from the more prominent and sentation occurs in the Chorale Prelude to shed light on a quintessentially Flem- popular tourist destinations such as on MIT FRIED UND FREUD, in which the ish cultural tradition. Bruges, Antwerp, Ghent, Mechelen, phrases of the chorale are fragmented, The book is a collection of portraits of and Louvain, to smaller towns and placed in different voices, and heard fi fteen carillons in Flanders, three from those off the beaten path. Oudenaarde on different manuals/registrations. The each of its fi ve provinces: West Flanders, is known historically for its tapestry effect perhaps refl ects the state of mind East Flanders, Antwerp, Limburg, and production and is signifi cant to carillon- of one who is mostly, but not completely, Flemish Brabant. The portraits include neurs as perhaps the fi rst place where a ready for death, but at the last phrase, text and photographs that describe the keyboard was attached to bells in 1510. “Christ Jesus makes the way for me,” a unique character of each instrument Deinze is famous among carillonneurs deeply satisfying, Langlaiseque cadence while collectively giving an overview of for its carillon composed of bells hav- resolves the muted anxiety of the piece. the diverse components of this quirky ing a major-third overtone rather than Badinerie on LOBE DEN HERREN, on the world. Portrait texts and photo captions the typical minor third. Tongeren is the other hand, is a playful gigue in 3/8 that Singing Towers: Flemish Carillons in are in both Dutch and English. Addition- oldest town in Belgium, and its basilica keeps circling back to G major after Pictures ally, two chapters with 25 pages of text in that houses the carillon dates from the forays into remote key areas. Both of Dutch are devoted to the story of Flem- thirteenth century. The imposing Cloth these pieces could be useful, interesting Book Reviews ish carillon culture, past and present. Hall in Ieper (Ypres) is home not only to service music. Singing Towers: Flemish Carillons in There is a two-page summary in English. a “peace carillon” but also to the In Flan- Asian Legend is perhaps the most Pictures [Zingende Torens: Vlaamse Two tables fi nish the book with detailed ders Fields Museum that is dedicated to unusual piece in the collection; it was beiaarden in beeld], by Andreas information on all of the 68 carillons in the story of the First World War. What composed to create “. . . a particular Dill and Luc Rombouts. Antwerp, Flanders including size (number of bells an interesting and beautiful book! atmosphere . . . involving a pentatonic Belgium: Davidsfonds, 2017. Hard- and approximate weight), bellfounders, —Brian Swager original melody reminding the commis- cover, pp. 208, ISBN 978 90 5908 dates of fabrication, names of the towers, San Francisco, California sioner of her Asian origins and native 876 4, €29.99. Available from: www. titularis, regular performance times and Hong Kong.” Marked Tranquillo e davidsfonds.be, www.amazon.co.uk, summer series timeframes, tower acces- espressivo, the gently fl owing lines, char- and www.amazon.de. sibility, and frequency and repertoire of New Organ Music acterized by parallel fourths and fi fths, An elaborate photo essay, Singing the automatic playing systems. Douze Courtes Pièces pour orgue, would make this quiet, refl ective piece Towers reveals the dynamic world of The photos are excellent. They are op. 64, vol. 3, by Rachel Lau- an ideal entrée on a recital program. carillons in Flanders from a perspective sharp, clear, artistic, graced with excep- rin. Wayne Leupold Editions, With this volume of delightfully fresh known largely only to the rare breed of tional lighting, and taken from impres- WL600289, $49. Available from: and well-crafted pieces, Rachel Laurin people who actually play them. Photog- sive angles. The subject matter varies www.wayneleupold.com. has contributed to recital and service rapher Andreas Dill has skillfully and greatly, from interesting details of the Contents: Chromatic Fantasietta, repertoire for intermediate-level organ- beautifully captured this multifaceted innards of the installations to sweeping, Procession in Variations, Fugue on a ists and above. Recommended. world. Carillonneur and campanologist panoramic views, both inside and outside Bird’s Song, Scherzetto, Toccatarina, —Sarah Mahler Kraaz Luc Rombouts has put the photographs the towers. Given the majestic height of Asian Legend, Badinerie on LOBE DEN Ripon, Wisconsin into context by painting a broad frame- most carillon towers, we discover several HERREN, Chorale Prelude on MIT FRIED work for the photos with his words as rooms with a view. The tower interiors UND FREUD, Romance (Wedding Melody), well as informative captions. The result- look unusually clean with some excep- Impromptu, March of the Volunteers, Symphony No. 1 for Organ Solo on ing collaboration is a delightful addition tions. As one caption reads: “Pigeons and Chromatic Trio. a Chorale by Béla Bartók, Volume to the library of carillonneurs. Flemings bells are not best friends,” but Dill magi- Canadian organist, composer, and 2, by Bálint Karosi. Contemporary themselves, tourists, and anyone with an cally makes the pigeons’ contributions teacher Rachel Laurin has assembled , Wayne Leupold interest in Flanders and the Low Coun- to the bronze patina look reminiscent in this volume twelve diverse works, Editions, WL600288, $45.00, avail- tries will fi nd it an enriching volume as of Monet. Carillon towers rarely have all commissioned “from performers, able from www.wayneleupold.com. well because it brings a keen awareness elevators, so most carillonneurs must friends, colleagues, or simply music lov- Karosi is a concert organist and to an ever-present element of Flemish climb many—often hundreds—of stairs ers” (Introduction). She describes the composer who “blends tonal and atonal culture that is by and large, literally and to reach their perch, 470 in the case of process of composing for a commission elements, folk music, and improvisation” fi guratively, over everyone’s head. Antwerp. We get a few peeks at these as “always very inspiring and stimulat- in his compositions. He has worked as Flanders, a relatively small region in “Stairways to Heaven,” some of which ing” and provides the details, or “short a teaching fellow at Yale University and the northern, Dutch-speaking part of are quite long and treacherous, remind- story,” of each commission as a context has been on the faculty of Boston Uni- Belgium, is the birthplace of the carillon ing us that not everyone makes it to for performers. Beyond this common versity and University of Massachusetts and, along with the Netherlands, is home heaven. We also see a few of the oldest thread, the pieces, all in different keys, Boston. In 2015, Karosi was appointed to the highest concentration of carillons carillon bells in the world in Zoutleeuw are arranged in the order of the tonal cantor at Saint Peter’s Lutheran Church scale from C to B. in Midtown Manhattan. As one would expect from the cir- This is a large-scale work covering cumstances of their creation, the pieces fi fty-eight pages of densely packed, are widely different in style, tempo, and highly dissonant, very diffi cult music. technique. Some could serve in both wor- Most of the music I receive for review ship services and concert settings; others I am able to play through well enough would seem to fi t better on a recital pro- to get a sense of what it will sound like. gram. All are three to four pages long. In this case, I was swamped from the Registrations are suggested, but Laurin beginning by the large chromatic chords, encourages performers to adapt her verging on clusters, the rapid chromatic ideas on tonal colors to suit individual style, tricky rhythms, and, at times, the tastes and circumstances. The following frequent repetitions. After additional are some general observations about the study of the score, I was able to pick out collection: chromaticism is a vital part of the chorale melody. The chorale is often Laurin’s musical language; while each broken up and was diffi cult to discern as piece has a tonal center at the beginning I attempted to play the score. and end and frequently in the middle, The Symphony has the following chromatic shifts and sequences blur the movements: I. Prelude, Chorale, and tonal design, much as a fi gural painting Variations; II. Chorale and Berceuse; III. can be blurred with broad brushstrokes Finale. The movements are intended to or blended colors. Her musical ances- be played together and could comprise tors include Vierne and Bach. She has a complete recital. As I normally play performed all six of Vierne’s organ sym- only small- or medium-sized nineteenth- phonies, and the infl uence of the grand century tracker organs, I would fi nd it French symphonic style appears in Toc- diffi cult to access an organ on which to catarina and March of the Volunteers. play this work. However, I can imagine Laurin’s technique is solid and fi rmly that in a large, spacious room, it is an rooted in eighteenth-century counter- exciting piece. “superb musicianship, masterly technique and savvy programming … Archer’s point—short rhythmic motives of eighth I have had the pleasure of receiving sweeping assurance and stamina enable you to hear the music behind the virtuosity.” and sixteenth notes and sequences unite a copy of another of this composer’s — GRAMOPHONE (JAN 2018) — the Chromatic Fantasietta—although works, Azaan, which was commissioned formally the piece is an obvious nod to the by concert organist Katelyn Emerson MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com German Baroque stylus phantasticus with and is based on an Islamic call to prayer.

14 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM Reviews

Récit Although it is also very diffi cult, it gave V alternated with those sung in plainchant: Publishing House, #97-7766, Level me additional insight to the Symphony. 8′ Trompette the initial Plein Jeu is followed by more 2+ (M), $4.25. Perhaps a description by the com- intimate registrations that express the Based on Philipp Nicolai’s chorale poser would most adequately complete As Régis Allard, the actual titular of Quia respexit and Et Misericordia; the Wie Schön Leuchtet, this festive this review: this organ, explains in his excellent bass registers of the reed stops proclaim piece begins with the stated melody in program notes, although this organ has the Deposuit, sweet stops illustrate the the bass with a cascading treble-bell The fi rst movement starts with a pre- lude, using fragments of the chorale in no independent Pedal stops, the Grand Suscepit, and the majestic Grand Jeux peal. With a refl ective middle section, a minimalistic, richly harmonic texture. Orgue division is permanently coupled resound the fi nal doxology. Cléram- this gradually moves to large, full chords This leads into the exposition of the cho- to the early French pedalboard with bault’s two suites may also be played as along with bell shakes, making an excit- rale on the full organ followed by a set two octaves (C–c1). Since the Positif alternated verses of the Magnifi cat. ing, joyful ending. of variations. In the variations I treat the chorale as a cantus fi rmus in a variety of Plein Jeu mixture is larger than the one However, due to the numerous secu- styles and transformations. The slow move- on the Grand Orgue, organists may use lar connotations of these pieces, this Chime Time, reproducible music ment is in ABA form, A being a chordal the Positif grand plenum to accompany recording forgoes the alternatim with for 2 or 3 octaves of handchimes or re-harmonization of the chorale in thick, the plainchant themes, played with the plainchant. After all, eighteenth- handbells, by Sandra Eithun, Linda Messiaen-like chords, the B section is a chorale prelude using the CF in canon in the Great reeds on the pedalboard. century organists were also harpsi- R. Lamb, Kevin McChesney, and a slow-paced richly contrapuntal texture. The two keyboards may be manually chordists who performed in secular Anna Laura Page. Choristers Guild, The last movement is a virtuosic toccata in coupled together. Like most chapel settings, even on secular organs. Dan- CGB1064, $44.95, Levels 1-, 1, and the French style infused with Bartokian 5/8 organs in the eighteenth century, its drieu’s Offertoire in G Minor is made 1+ (E – E+). and 7/8 rhythms. The chorale is heard in the pedal at the climactic point towards the pitch is low, A at 395 Hz, and its tuning up of the fi rst two movements of a trio This reproducible compilation of end of the piece. is meantone. sonata that he had composed some mostly original compositions by these This historic organ was well main- thirty years previously; and several of four composers will be a great resource Because of the diffi culty of this sym- tained until 1870, when John Abbey his offertories are transcriptions of for developing handchime and handbell phony, the excessive repetitions of large built a choir organ for the church. his sonatas for violin (1705–1710). In ringers in schools, community groups, dissonant chords, which in my church The beautiful Clicquot then remained Nicolas Clérambault’s suites, the ini- and churches. The pieces range in diffi - turned into a lot of noise, and the rather silent, yet intact, until the 1960s. Dur- tial verse is simply a prelude without culty from level 1- to 1+, with the easiest limited audience that it might attract, ing the French Classical organ revival, a plainchant theme. When Alexandre titles using only half and whole notes. I have diffi culty imagining how I could Jean-Albert Villard, the president of Guilmant reedited these two suites ever make a success of it. However, the François-Henri Clicquot Associa- in 1901, he performed them in their Essential Classics for 3–5 Octaves, given the right organist, the right organ, tion and titular of the 1790 Clicquot at entirety, as they were likely performed Volume 1, by various arrangers and and a large resonant room, it could the Poitiers Cathedral, advised that the in the eighteenth century. composers. Agape (a division of Hope work very well. Give it a whirl if you are organ be reconstituted as Louis Alexan- Régis Allard was privileged, like Publishing Company), Code No. 2831, of a brave mind. I do recommend the dre Clicquot had conceived it, without myself, to take masterclasses on the $49.95, Level 2 (M-), reproducible. work. Readers can listen to the work any modifi cation, maintaining its wedge French classical repertory taught by Jean Here is a collection of Hope’s best- on youtube: https://www.youtube.com/ bellows, its early French pedalboard Saint Arroman and Michel Chapuis, selling arrangements of recent years, all watch?v=5Bwwu0BimhY. and its pipework, copying identically in Pierrefonds and in Paris. The organ Level 2 for 3–5 octaves of bells. A wide —Jay Zoller any damaged pipes. Excepting the mix- students accompanied singers to acquire range of styles is represented that can be Newcastle, Maine tures, 70% of the original pipework has the subtle fl uidity necessary to interpret used throughout the church year. Titles remained completely intact. In 1969, this repertory with “noble and elegant include “Joshua Fit the Battle of Jeri- the organ builders Robert and Jean- simplicity,” to cite Vincent Genvrin, the cho,” “Silent Night,” “We Three Kings,” New Recordings Loup Boisseau faithfully restored this artistic director this CD, whose texts “In the Garden,” “Dry Bones,” “Cantad Magnifi cat 1739, Régis Allard. instrument. An inventory of its entire on the music are found in the program Al Señor,” and more. Louis Alexandre Clicquot organ pipework, carried out during an overhaul notes. In fact, Régis Allard wisely used in Houdan (Yvelines), France, in 2015, revealed that certain pipes origi- Jean Saint Arroman’s facsimile editions, Children of the Heavenly Father, works by Nicolas Clérambault nated from a seventeenth-century organ, published by Fuzeau Editions, and thus arranged for 3–5 octaves of hand- and Jean François Dandrieu, CD likely from Paris. wholly acknowledges his gratitude to him. bells, with optional 3 octaves of Hortus 143, 2017, total running This organ was well tuned for this This magnifi cent recording on this beau- handchimes, by Cathy Moklebust. time 60′ 3′′, €15. Available from CD. Its beautiful tonal qualities were tiful historic French classical organ will Concordia Publishing House, #97- www.editionshortus.com. captured so well by the recording remain an important reference of early 7772, $4.25, Level 2+ (M). This CD beautifully illustrates one of engineer, Pierre Roques. Régis Allard’s eighteenth-century French organ music. Written in a gentle, fl owing style, this the fi nest jewels of the French Classical fl uid, elegant, and poetic interpretations —Carolyn Shuster Fournier arrangement of the beautiful old Swed- organ: the historic 1739 Louis Alexandre highly valorize the authentic sound of Paris, France ish tune features an original melody as Clicquot organ in the sixteenth-century this precious historic organ: its gentle the basis for an introduction, interlude, St. Jacques Church in Houdan, located , its refi ned foundation and muta- and ending. The use of handchimes about 80 miles just west of Paris. The tion stops, its perfectly well-balanced New Handbell Music along with malleted handbells enhances Clicquot family was one of the great tonal divisions, its bright quick-speaking Alleluia! Let Praises Ring, arranged the beauty of this gem. dynasties of French organbuilders: Louis 8′ Trompette and 4′ Clairon, its velvety for 3–5 octaves of handbells, by —Leon Nelson Alexandre Clicquot (1680–1760) was the vocal 8′ Cromorne, its two colorful Brian J. Heinlein. Concordia Vernon Hills, Illinois son of Robert Clicquot (1645–1718), who Cornets and its two well-regulated built the organ for the royal chapel in . Its precise mechanical key Versailles in 1710; he was also the father action allowed Régis Allard to vary his of François-Henri Clicquot (1732–1790), fi ne sense of touch. The duos dance who crowned his career with the historic with joy and seem to fl oat over a beam A Precious Gift organ at the Poitiers Cathedral. of light. The slow expressive movements Louis-Alexandre Clicquot’s organ in sing with serene beauty. During a quiet from the Past Houdan, with its 21 stops based on an intimate fugue on an 8′ Bourdon and in 8′, reveals the exquisite organ sonorities another duo on the sparking 4′ Flute, heard during fi rst half of the eighteenth the mechanical action softly accom- for the Present century in France. Its three manuals panies the music. While playing rapid have 48 notes (C–c3, without the fi rst movements that use the reeds, his vivid and the Future C#) on the Grand Orgue and the Positif tempi and rhythmic verve exult with and 25 notes (c–c3, without the fi rst c#) dynamic nobility. Supremely beautiful and blendable on the Récit. The stoplist: For this CD, Régis Allard chose to inter- tonal color – a Gift from the Venetian pret works by Jean François Dandrieu School of organbuilding, a monumental part of our Grand Orgue (1682–1738) and Nicolas Clérambault 8′ Montre JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH 8′ Bourdon (1676–1749): Dandrieu’s Magnifi cat in G 4′ Prestant minor, the Pieces in G, D, and G minor SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN 2 2⁄3′ Nazard (Fugue, Trio, Cromorne en Taille, and 2′ Doublette Offertoire), then Clérambault’s two organ Intriguing? Let us build your dream. 2′ Quarte de Nazard 3 suites (1710), respectively on the First 1⁄5′ Tierce V Cornet and the Second Tones, ending with Dan- IV Plein Jeu drieu’s Pieces in D, La, and Ré (Fugue 8′ Trompette on the Hymn Ave maris Stella, Basse de 4′ Clairon ′ Cromorne, and Duo sur la Trompette), 8Voix humaine and his Magnifi cat in D minor. Positif Dandrieu’s First Book of Organ Pieces 8′ Bourdon was published a year after his death, in 4′ Flute 1739, the same year that Louis Alexandre Builders of Fine Pipe Organs to the World 2 ′ 2⁄3 Nazard Clicquot fi nished his organ in Houdan. 2′ Doublette 3 It included Magnifi cats, Offertories, and www.ruffatti.com 1⁄5′ Tierce V Plein Jeu several separate pieces. Each Magnifi - Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 8′ Cromorne cat has six fairly brief verses that were

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 15 Transcriptions

œ 1 b 3 ‰j œ œ œ œ œ j Transcribing for organ: & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ A historical overview 2 b 3 Œ‰j œ œ œ œ œ J & 4 œ œ œ œ œ œ œ œ œ œ Example 1, Vivaldi, RV 565 By Yves Rechsteiner 3 œ j œ œ  ince the Renaissance, keyboard rep- cantatas. But the most fascinating exam- & b 4 ‰jœ œ J ‰ ‰ œ œ J Sertoire has included pieces originally ples are the keyboard versions of part of Orgue œ written for other instruments. Beginning his Three Sonatas and Three Partitas for in the nineteenth century, the transcrip- Violin, BWV 1001–1006, because of the œ tion became a genre of its own. Arrange- richness of the new parts added in the b 3 Œ‰j œ ‰‰ j œ ments for organ have been popular transcription. Examples 1–3 show vari- & 4 œ œ J œ œ J since the nineteenth century, and they ous techniques. Reducing an orchestral œ belonged to the virtuoso’s repertoire. texture for an organ implies other tech- œ œ œ œ œ œ œ œ œ œ œ œ œ From to Cameron niques than expanding a violin texture ? 3 J Carpenter, arrangements range from on the keyboard. Transferring a trio for b 4 spectacular showpieces to well-known voice, oboe, and continuo on the organ Example 2, new bass line added by Bach tunes, treated so as to make use of the requires nearly no effort, since each part most up-to-date instruments. can simply be played by one hand or foot. Adapting pieces originally for other Let us examine Bach’s way of playing œ instruments to the organ (or another Vivaldi on a baroque German organ. One ? 4 œ œ œ œ œ œ œ œ œ instrument) was not limited to the nine- approach Bach used was “interpreting” b4œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ teenth century. Bach played his sonatas the original writing with little changes. œ and partitas for violin on the clavi- Example 1 shows Vivaldi beginning his Example 3, Vivaldi’s continuo part chord. Earlier, Jean-Henri D’Anglebert concerto (RV 565) with a duo of two solo made beautiful harpsichord pieces out violins. In Example 2, Bach takes the of Jean Baptiste Lully’s best-known repeated bottom D notes and makes a tunes. In the other direction, Jean- continuous new “cello” part with it. He ? 4 œ œ œ œ œ œ œ Philippe Rameau converted some of does not really change the notes, but b4œ œ œ œ œ œ œ œ œ #œ œ œ œ his harpsichord pieces into dances, reorganizes them slightly. œ œ œ airs, and choruses in his operas; these Another technique involved chang- Example 4, Bach’s version same pieces were played later by his ing notes, adding ornaments or embel- pupil Claude Balbastre on the concert lishments. Example 3 shows a short organ for Le Concert Spirituel in Paris. passage from a Vivaldi continuo part, œ œ œ œ 1 œ œ œ œ œ Haydn’s music was already arranged for with Bach’s version shown in Example b 3 œ œ œ œ œ organ in his lifetime, and from Liszt 4. Examples 5 and 6 show again how & 4 œ œ œ œ J onwards, organ transcription became a Bach ornaments Vivaldi’s line and how strong tradition. he does not hesitate to add new material, œ œ œ 2 œ œ œ œ œ My interest in this transformative art if the musical logic suggests it. Analyzing b 3 œ œ œ j form—whether called transcription, Bach’s version, we fi nd that he: & 4 œ œ œ œ œ œ œ arrangement, or adaptation—has led me • frequently plays a motive one or to focus on J. S. Bach’s sonatas and parti- two octaves higher or lower than written Example 5, Vivaldi tas for violin, Jean-Philippe Rameau and • changes notes in order to fi t into a the French Classic organists, Franz Liszt, compass limit add new parts, voices, or accompani- been created in Paris by Anne Danican and Hector Berlioz’s Symphonie Fan- • does not respect all of Vivaldi’s tutti/ ments. The original violin opening of the Philidor in 1725, housed the fi rst French tastique. This essay will describes some solo indications. Sonata in C Major for violin, BWV 1005 concert organ. Audiences appreciated features of these period transcriptions, The same liberties can be found in (Example 11), becomes under Bach’s the organ in its secular role, moreover, especially the surprising liberties that Bach’s keyboard version of his sonatas for hand the passage shown in Example to the point that some listeners, though were sometimes taken with the original violin. Bach’s transcriptions can reveal a 12. Clearly “Bach the transcriber” makes used to the virtuosic feats of other instru- musical text, and will give a few examples “hidden polyphony.” This can be seen in no attempt to respect the characteristics ments, were literally “lifted out of their of my own attempts at transcription. Examples 7 and 8. An original violin of an original piece. On the contrary, in seats” by what they heard. part is shown in Example 7; its keyboard each transcription one is astonished by Thanks to detailed programs, we Johann Sebastian Bach version is shown in Example 8. the creative hand of “Bach the composer” know precisely what Balbastre played Bach’s arrangements for organ or Changing of notes and adding orna- and “Bach the organist.” for his public. Apart from his own organ harpsichord are well known. In his youth mentation can be seen in comparing Johann Friedrich Agricola gives this concertos, his favorite pieces were by he arranged several of Vivaldi’s concerti Examples 9 and 10. In the latter, Bach wonderful testimony: “Bach would often Rameau—the overtures to Pygmalion grossi for organ, and others for harpsi- does not only embellish a cadence, a com- play them (the violin sonatas) on the and Les Sauvages. A couple of other chord. Much later he edited what are mon practice in the Italian Corellian style, clavichord, adding as many harmonies as overtures are mentioned among other known as the Schübler Chorales, which but he also adds entirely new fi guration he found necessary. Thus he recognized pieces by Rameau, Jean-Joseph de are in fact movements from his church in place of plain notes. Bach would also the need for a harmony of sound which he Mondonville, and Pancrace Royer. Since could not fully attain in that composition.”1 no music is preserved, one can only Confident pedal work guess how Balbastre treated Rameau’s Rameau, Daquin, and Balbastre melodies. In order to get some ideas, comes with practice and Jean-Philippe Rameau (1683–1764) one must understand how the classi- began his career as an organist in central cal French organist used to play. The the right shoes France. He was employed in several great names from that time include cities, including Avignon, , Lyon, Louis-Claude Daquin (1694–1772) and on the Clermont, and Paris. Balbastre, both mainly known today for He published harpsichord pieces with their Noëls, tunes that were traditionally pedals some success and later gained respect played around Christmas by organists. for his complex and rich theoretical writ- Publications of Noëls appear regularly x Men’s & Women’s ings. His impressive Traité de l’harmonie through the entire eighteenth century. [Treatise on Harmony] was published Interestingly, Daquin’s Noëls for organ with suede soles and heels in Paris in 1722. But it was only at the look very similar to Rameau’s variations on x Whole & Half age of fi fty that he begun his career as an “Les Niais de Sologne,” an air found later opera composer! in the opera Dardanus. Both composers Sizes in 3 Widths Rameau left no music for organ, but develop variations, called “double,” every x Quick & Easy his pupil Claude Balbastre (1724–1799) time in a shorter note value. Examples Returns was already playing airs from the com- 13 through 15 by Daquin show the poser’s operas in 1757 on the organ in theme, the fi rst double, and the second OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET the Tuileries Palace, used for the Con- double. Daquin also utilizes the various 44 Montague City Rd Email: [email protected] cert Spirituel, one of the fi rst public con- divisions and registrations of the organ Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes cert series. This institution, which had to achieve dynamic effects, including

16 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j b 3 œ œ œ#œ œ œ œ # j & 4 œ & 43 œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ 3 œ œ œ œ œ œ œ œ œ œ œ M M M & b 4 ‰ ‰‰J J ‰ j ‰ j ‰ j ‰j‰j‰j ? # 3 œ œ œ bœ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ ? b 43 œ œ œ œ œ œ Example 6, Bach Example 12, Bach’s keyboard transcription j 3 &4 œ œ œ œ œ œ #œ œ œ œ œ œ œ m œ œ 2 œ œ œ œ œ œ œ Example 7, Sonata II in A Minor, BWV 1003, Andante & 2 #œ  3 œ œœœ œ œ &4 œœœ œ œ œ œ #œ œ œ œ œ œ œ J ? 2 œ œ #œ œ œ Example 8, Bach’s keyboard transcription 2 œ Example 13, Daquin, Noël pour orgue, Paris, 1757 # 3 bœ m & 4 œ. œnœ œ. 2 œ œ œ œ œ œ œ œ œ œ œ & 2 #œ œ. œ œ. œ œ. œ Example 9, Sonata III in C Major, BWV 1005, Adagio, transposed a fourth lower œ œ œ œ œ œ œ œ ? 2 #œ œ œ œ œ œ œ œ œ 2 33 333œ œ # m 3 3 œ. bœ r Example 14, Premier double & 4 œ nœ. œ œ œ œ œ#œ. œ œ œ ? # 3  nœ #œ œ #œ œ œ œ nœ œ œ œ œ œ œ œ œ m 4 œ #œ œ #œ œ œ œ 2 œ #œ œ œ œ œ œ. œ œ. œ œ. œ & 2 Example 10, Bach’s keyboard transcription œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 2 #œ œ œ œ œ œ œ œ œ œ # 3 2 & 4 œ Example 15, Second double œ . œ . œ . œ œ œ. œ œ. œ œ. œœ œœ œœ œ transcriber of the Symphony Fantastique Like Bach, Liszt takes numerous liber- Example 11, Sonata III in C Major, BWV 1005, Adagio, transposed a fourth lower on the piano, but he left an organ version ties, which would not be prescribed today: of his own Orpheus, showing directly • no attempt to respect the orchestra- interesting use of the French Grand Jeu, melody successively as a solo aria, then how he would proceed. Example 22 tion through similar colors on the organ Petit Jeu, Cornet, and Echo. Compare in duo form, before becoming a quar- shows a passage from the orchestral • playing the melody an octave lower them with the similar technique used by tet and a chorus! Again, “Rameau the version of Orpheus, while Example 23 as soon as the limits of the keyboard are Rameau in Examples 16 through 18. transcriber” cannot be detached from shows Liszt’s organ transcription. reached, without making further effort Regarding the lively dances like gigues, “Rameau the composer.” gavottes, or the pastoral musettes, one remembers Charles Burney’s testimony Hector Berlioz and Franz Liszt Scattered leaves ... from our Sketchbook about Balbastre’s playing all these dances It seems rather provocative to play during Mass at Notre-Dame.2 Luckily Berlioz’s Symphonie Fantastique on the Dom Bedos de Celle helps us in giving organ. This music was very innovative in its detailed registrations for these typical refi ned and rich orchestration, but Berlioz pieces, recording again a regular playing is known to have had no interest for the of dance movement on the organ.3 organ. The impossibility to swell the sound Balbastre’s own descriptive pieces of was considered by Berlioz to be barbaric, battle, with clusters, rapid scales, and and he considered the mixtures to be a quickly repeated chords, anticipates the series of parallel fi fths and octaves. . . .4 fashion of orage one or two generations It must be remembered that most of later. It is therefore not too diffi cult to the French organs at the time of Berlioz’s play a similar effect with some of the composition of the Symphonie Fantas- orchestral orages (storms) already pres- tique (1830) had no swell boxes, and that ent in Rameau’s operas. Examples 19 the (de)crescendo possibilities were very through 21 show the author’s version for limited. Departing from that evidence, it organ of the “Air for the African slaves” seemed necessary to imagine Berlioz on from Rameau’s Les Indes Galantes, real- a later instrument equipped at least with ized in the same spirit: simple two-voice a swell box and some appel d’anches. writing at the beginning, then a double, (See Examples 24–26.) and fi nally a new harmonization. Let us examine some period tran- Finally, if one looks into Rameau’s scriptions for organ, in order to again own way of transcribing his harpsi- have some models. In France, Edouard chord pieces into orchestral move- Baptiste played a lot of arranged pieces ments, one is struck by the importance (especially Beethoven) on the monu- of melody. The Air is the only musical mental organ at Saint-Eustache in Paris, element that remains unchanged. but despite precise and inventive regis- Schoenstein & Co. Rameau seems to like composing new trations, his organ transcriptions remain basses, changing arbitrarily the har- surprisingly similar to piano reductions. Established in San Francisco š 1877 monies, and adding new counterparts Obviously Liszt, a close friend to Berlioz, www.schoenstein.com ❧ (707) 747-5858 when he needs it—using a simple is a better model. Not only was he the fi rst

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 17 Transcriptions

# #   # œ œ & # # 4 # 2 harpe & 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ m ? #  œ œ œ œ  œ #œ œ œ  œ œ m ## # 4 œ œ œ œ #œ œ œ œ œ œ œ œ Œ 6 6 6 œ œ œ œ œ m 6 6 6 œ œ œ œ œ œ œ   ? # 2 œ œ œ vn #### 4 # 2 œ œ J & 4 3 3 Example 16, Rameau, “Les Niais de Sologne,” Pièces de clavecin, Paris 1724 vn # ## # 4 ‰ ŒÓ & 4 Œ‰œ œ œ œ 3 œ #œ 3 3 3 # # œ œ B ## # 4 Œ œ Œ #œ Œ œ Ó # 2 œ œ œ j 4 œ œ œ & 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 33 33 œ vcl ? # # œ œ œ # # 4 ‰ œ œ ‰ #œ œ ‰ œ œ ‰Œ œ œ œ œ œ œ œ œ œ œ œ œ 3 ? # 2 œ œ œ œ J Ctb # #  # 2 œ ? # # 4 œ ŒÓ Example 17, First double Example 22, Liszt, Orpheus (1854), orchestral version

## 2 œ œ # ## 4 & 2 œ œ œ œ œ œ œ œ & # 4 Œ œ œj. œ œ . œ œ #œ œ œ 3 3 œ œ œ œ œ #œ œ œ œ œ œ œ œ œ ? # # 4 œ œ œ#œ œ œ œ œ  ? # 2 œ œ œ œ œ # # ‰ œ œ ‰ œ œ ‰ œ œ J Ó ‰ œ 3 ‰#œ 3 œ œ œ œ œ œ 4 œ 3 #œ 3 3 3 # 2 œ œ œ œ œ 3 œ œ œ œ R Example 18, Second double # ? ## # 4 w œ ŒÓ w œ Cornet 4 Example 23, Liszt’s version for organ j ' b 2 œ œ mœ & b 2 œ œ œ œ œ œ œ œ œ œ#œ œ#œ œ œ œ œ œ œ œ œ#œ œ œ m œ m œ œ œ œ œ œ ?  œ #mœ œ œ œ œ œ œ œ bb 2 Œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b 6 œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ Cromorne œ œ b b 8 œ œ œ œ œ J Example 19, Rameau, Les Indes galantes Example 24, Berlioz, Symphonie fantastique, Songe d’une Nuit de Sabbat, bassoon

Cornet 3 3 3 3 3 3 3 3 j j b j œ Ÿ œ j Ÿ j Ÿ j j b 2 œ œœœ œœœœœœœœ œœœ œ œœœ œ œ œ œ œœœ œ n œ œ œ œ œ bœ n œ œ œ œ # œ # œ & 2 œ œ 3 3 œ#œœ œ #œ œ#œœ œ œ #œ œ bœ œ œ œ 3 œ 3 b œ œ œ 3 3 6 J J J J J 3 b J J œ œ œ œ & b 8  œ œ ? b 2 Œ #œ œ ‰ œœ œœœœœœ œ œœ œœœœœœ œ b 2 œœ 3 œœ 3 Cromorne œ 3 œ 3 œ œ 3 j j j j Example 20, Double, in triplets b 6 œ œ œ œ œ œ œ œ & b b 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J J m j œ b 2 œ œ œ œ œ œ œ œ & b 2 œ œ œ œ œ #œ œ œ œ œ œ œ#œ œ#œ œ œ œ œ œ œ œ œ#œ œ ? b 6 ‰ ‰ œ ‰ ‰ ‰ ‰ œ Grand Jeu œ œ œœ œ œœ œ b b 8 œ œ œ œ œ Œ Œ Positif œ œ œ œ œ J m œ œ Example 25, bassoon part in pedal line ? 2  œ #œ œ œ œ bb 2 Œ œ # œ œ œ œ œ œ œ œ œ œ j Example 21, new harmonization œ œ œ œ œ œ œ 2 œ œ œ. œ œ œ œ œ œ œ of registration to keep it entirely at its to their musical importance. A subtle & 2 œ œ œ. J œ œ œ proper place hierarchy existed between the main Ï • modifying entire accompanying melody, important counterparts, the bass, j patterns. Some complex arpeggios on and some accompanying material. These 2 œ œ œ œ & 2 œ œ œ. œ œ œ œ œ œœ œ the violin and the harp are replaced by secondary parts, like broken chords and œ œ œ. œ œ œ one slower arpeggio taken in the left fl orid fast notes, were likely to be radically œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ hand. This new compositional element transformed in order to sound better on ? 2 œ œ œ œ œ œ #œ œ can even be used longer than in the the keyboard instrument. It was also a œ œ orchestral version, in a measure where way to make a passage more comfortable Example 26, Symphonie fantastique, transcription the orchestra pauses under the soloist to play and avoid any useless diffi culty • abandoning secondary musical due to its origin on a foreign instrument. the transcription was despised because Yves Rechsteiner studied organ and elements In this process, the transcription is no it would only be some virtuoso’s amuse- harpsichord in Geneva and specialized • adding new measures in order to get longer a reduced version of an original ment and not suited to the character of in fortepiano and basso continuo at the a better crescendo piece, but it becomes literally a new the organ. Schola Cantorum of Basel. A prizewin- • composing entirely new passages organ or harpsichord work, using the The above examples show that, on ner in several international competitions, when the orchestral version seems to be same idioms, techniques, and musical the contrary, a good transcription fi ts including Geneva, Prague, and Bruges, too diffi cult to reduce. possibilities as the best pieces written the nature of the instrument by using he was appointed basso continuo teacher explicitly for the organ. Bach’s versions the right means, playing techniques, and head of the early music department Conclusion of Vivaldi’s concerti grossi show that, and registrations according to the style at the Conservatoire Supérieur of Lyon In all historical examples, we see a on one hand, Bach loses some of the of music. Q in 1995. He has recorded various projects rather creative approach in the transcrip- sound qualities of the concerto grosso involving a transcription process: Bach tion process. During the Baroque period, for strings, without mentioning the stiff Notes on pedal harpsichord in 2002, Rameau few details had to be abandoned from sound of the organ compared to the vio- 1. Johann Friedrich Agricola, Allgemeine in 2010 (awarded “Diapason d’or”) and the orchestral score; but sometimes, to lins. But on the other hand, Bach intro- deutsche Bibliothek, Berlin, 1755. Berlioz’s Symphonie Fantastique on the enliven this keyboard version, various duces suffi ciently new elements that 2. Charles Burney, Music, Men and Man- Puget organ of la Dalbade in Toulouse ornaments, embellishments, or new parts enrich his keyboard version and make a ners in France and Italy, Paris, 1770, quoted in 2013. Rechsteiner has founded a duo needed to be added. Obviously these proper organ piece of it. in Preface to Claude-Bénigne Balbastre, with percussionist H. C. Caget and Pièces de Clavecin d’Orgue et de Forte Piano, additions were made in the style and This approach seems to be still alive at developed further arrangement of Frank ed. A. Curtis, Huegel, 1973, p. viii. according to the character of the piece. Liszt’s time, but the increasing develop- 3. Dom Bedos de Celle, L’art du facteur Zappa’s music to rock progressive music In any case, when the complexity of ment of transcription in the nineteenth d’orgue, Paris, 1766, pp. 523–536. including an organ version of Tubular the orchestral writing did not allow exact century also created a rejection of it. 4. Hector Berlioz, Traité d’instrumentation Bells by Mike Oldfi eld. He is the artis- transposing on the keyboard, one chose The defense of the proper organ rep- et d’orchestration, Paris, 1844, see chapters tic director of the Festival Toulouse les carefully the parts to be kept, according ertoire became until recently the rule; “Organ” and “Harmonium.” Orgues, France.

18 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM The pipe organ in China

Baroque in Beijing Alive and Well

By André Lash Fanxiu Shen at the Klais organ of the National Center for the Performing Arts, Beijing, China

he presence of two American tenets of Baroque interpretation. Little organ concerts was almost completely myself in the National Center for the Torganists as recitalists and lectur- by little she also began to make known sold out! Besides Professor Shen, these Performing Arts, this year is the very ers at the Beijing Baroque Music Fes- the riches of the organ repertoire, par- concerts featured three foreign artists: fi rst time that the organ has been used tival in November 2017 can be seen as ticularly the Germanic literature of the Dariusz Bakowski-Kois from Poland, for any of our music festivals here in signifi cant, not only in extending to the seventeenth and eighteenth centuries. and Douglas Cleveland and André Lash Beijing, marking a signifi cant turning organ the ongoing musical interchange Through the conservatory, she has been of the United States. In addition to point for the organ not only in Beijing between China and the United States able to offer for the fi rst time in China concerts in the major venue, Douglas but for all of China. Some organs also but also in demonstrating the ascendant a group of courses in Baroque chamber Cleveland also performed at the con- exist in Shanghai, but the National Cen- importance of the organ in the People’s music topics: Performance of Organ, servatory’s middle school branch, which ter for the Performing Arts is a magnet Republic of China. The history of the Performance of Harpsichord, and Harp- boasts its own three-manual mechanical for Chinese musical activity, and the organ in China is a checkered one: the sichord with Orchestra. action instrument by Kenneth Jones of use of the organ in that venue heralds pan pipe and the sheng (mouth organ), For many years Beijing has had an Ireland. A highlight of the festival was the entry of organ into the mainstream predecessors to the modern organ, extensive series of music festivals and the performance at the conservatory of of music within China. In addition, are known to have existed during the competitions involving Western musical all six of the Brandenburg concerti of because the organ is still new to most Yin dynasty (1401–1121 B.C.), and traditions, both all-inclusive and for spe- J. S. Bach by a combined student-fac- Chinese people they are very curious modern organs were fi rst introduced in cifi c instruments. The unprecedented ulty orchestra with Fanxiu Shen leading about it: they are fascinated by all of China during the 1600s.1 During years presentation in Beijing of Baroque from the harpsichord. the unusual and varied sounds and the of relative isolation in the twentieth masterclasses by the eminent British § organ’s power, and the appreciation for century Chinese organ culture waned conductor Christopher Hogwood in this can be seen from their attendance almost completely. 2010 as part of that year’s Beijing Music The following information is a sum- at our concerts during the festival. From the 1980s onward, however, Festival signaled a major breakthrough mary of materials combined from an organs (mainly from European builders) for Baroque music in the city. interview with Professor Shen during What are your hopes and dreams began to reappear in the major cities Because of the interest generated at breaks in the festival and answers from for the future of the Beijing Inter- of Beijing and Shanghai, and today a that time and the increasing demand for a questionnaire submitted after the close national Baroque Music Festival? revival of interest in organs for concert her courses at the conservatory, the Bei- of the festival. That it will grow! Now that the organ halls can be noticed. The emergence jing International Baroque Music Festi- has become a part of the festival I hope of some exceptionally fi ne instruments, val was established in 2011, with Profes- How did your interest in Baroque that we will be able to include more art- growing audience curiosity about them, sor Shen as founder and artistic director. music begin? ists from Europe and the United States and increased knowledge about Baroque This festival, held every two years, has During my youth and early piano and that we will attract even more music exist especially in China’s capital brought together an increasing number studies little was known in China con- attendees from within China. I also city Beijing. In Beijing, a leading spokes- of persons from both the conservatory cerning Baroque performance practice. hope that we will continue to maintain person for the organ and a proponent and the wider Beijing musical com- During my time in Europe I was able our connection with the NCPA; the of stylistic Baroque music performance munity. A triumph for the “King of to hear and experience excellent per- strong ticket sales in our fi rst coopera- is Professor Fanxiu Shen of the Central Instruments” came with the fourth such formances of Baroque works different tive venture are quite encouraging. Conservatory of Music. festival, held November 16–26, 2017, from anything I had heard before. It § Born in Beijing, Professor Shen in which the organ was featured for the was only natural that upon my return earned a Bachelor of Arts degree from fi rst time. In this festival appeared not to China I would bring this expertise Based on Professor Shen’s observa- Capital Normal University there, study- only performances of Baroque music with me. tions and her enormous enthusiasm and ing piano with Meiying Huang, Pingguo for both organ and harpsichord but energy, the great success of the Fourth Zhao, Aifang Li, and Guangren Zhou. also organ-oriented chamber music of What about the presence of the Beijing International Baroque Music Immediately following her undergradu- all style periods—featuring composers organ in China? Festival bodes well for the future of the ate studies she entered the Universität such as Mozart, Telemann, and Handel, When I was young there were no organ in China. It will be interesting for für Musik und darstellende Kunst in as well as Rheinberger, Mollicone, and organs in China—at least no working all of us in the West to follow the growth Vienna, Austria, where she studied harp- Michael Baker—and lectures on vari- organs. My fi rst experience with the of organ performance, organ pedagogy, sichord with Gordon Murray and organ ous topics pertinent to Baroque organ organ was during my studies in Aus- and organ composition in this country with Rudolf Scholz, eventually earning a literature, such as the relationship of tria. Although I was already becoming during the years to come. Q Master of Arts degree. string and keyboard articulation in the well trained as a harpsichordist, I was During her harpsichord studies she Baroque period (presented to string fascinated by the variety of sound and Notes had become impressed with the power students by the visiting organists), the the sheer power of the organ. As with 1. Clacklinevalleyolives.com.au, accessed and variety of sounds available on the history of American organ music, and Baroque music in general, I wanted to March 26, 2018. organ, leading her to spend increased Iberian Baroque organ music. For the introduce Chinese people to this fasci- André Lash earned the Doctor of time with that instrument. Following fi rst time at one of the Baroque festi- nating instrument. Musical Arts degree from the Eastman the completion of the master’s degree vals, the major organ concerts were School of Music and earlier degrees she spent several years touring Austria held not at the conservatory but at Concerning the Beijing Interna- from Southwestern Baptist Theological and central Europe as the cembalist for the Concert Hall in Beijing’s dazzling tional Baroque Music Festival, how Seminary and Pittsburg (Kansas) State various Baroque ensembles and became National Center for the Performing did you become involved and how University. He is currently lecturer in fi rmly committed to the promotion of Arts, which features a Johannes Klais have you seen it grow? organ at the University of North Caro- Baroque music. In more recent years instrument of four manuals, 113 ranks, The presence of the harpsichord and lina at Greensboro. He is a Fellow of the she has played organ and harpsichord with twin consoles—one with mechani- the courses that I started teaching at American Guild of Organists. concerts in Russia, Japan, South Korea, cal action embedded in the case high Central Conservatory of Music acted as Germany, and Poland. above the stage and a duplicate console a catalyst for greater interest in Baroque Upon her return to Beijing in the with electric action stored beneath the music, and my training in Europe gave early 1990s and her appointment to the stage and completely moveable when me the tools to equip interested musi- faculty of the Central Conservatory of raised by mechanized lift. cians with some needed interpretive JL Weiler , Inc. Music, Shen began to oversee the acqui- Ticket sales and audience sizes were skills. But this year [2017] has been sition of harpsichords and to introduce stunning—the concert hall seats just exceptionally exciting because although Museum-Quality Restoration of Historic Pipe Organs jlweiler.com Chinese students to some of the basic over 2,000 persons, and each of the I had given almost one hundred recitals

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 19 Conference report

Conference of Roman Catholic Cathedral Musicians Conference XXXV

Kalamazoo, Michigan, and South Bend, Indiana, January 2018

By Brian F. Gurley Conference participants in Kalamazoo, Michigan (photo credit: Michael Dulac)

he Conference of Roman Catholic Theotokos, Rejoice by Roman Hurko; and Jude, Phoenix, Arizona; Andrew Diocesan Liturgical Commissions, and the TCathedral Musicians (CRCCM) Transeamus usque Bethlehem by Josef Motyka, director of archdiocesan and Patron of the Arts in Vatican Museums. met in Kalamazoo, Michigan, January Ignatz Schnabel; Gesu Bambino by cathedral liturgical music, Archdiocese Following the keynote address, confer- 8–11 for its thirty-fi fth annual gather- Pietro Yon; and Magnifi cat by Giuseppe of Indianapolis, Indiana; Charles Nolen, ence participants turned to the fi rst of two ing. Thomas Fielding, director of liturgy Pitoni. Francis Zajac welcomed all con- director of music and liturgy, Cathedral of CRCCM business meetings. Christoph and music at Saint Augustine Cathedral, ference participants and gave a thorough Saint Andrew in Grand Rapids, Michigan; Tietze, chair of the steering committee, designed and directed the gathering with history of the cathedral, including its Richard Siegel, assistant organist, Cathe- led the business meeting and described help from Francis Zajac, director of lit- various renovation projects. dral of Saint Raymond Nonnatus, Joliet, the nomination and election processes for urgy and music emeritus at the cathedral; Saint Augustine Cathedral was Illinois; and Richard Skirpan, Cathedral new members of the steering committee. the support staff of the cathedral; and the dedicated in 1951. It was designed in of Saint Patrick, Harrisburg, Pennsylvania. Scott Eakins, treasurer, presented the CRCCM steering committee: Michael the Gothic Revival style by Ralph Adams fi nancial status of the organization. Brian Batcho, director of music, Cathedral of Cram of Boston and originally served Tuesday, January 9 Gurley, membership chair, discussed the Saint John the Evangelist, Milwaukee, as a parish church in the Diocese of On Tuesday morning, conference par- ongoing efforts to involve new cathedral Wisconsin; Teri Larson, director of music Lansing. In 1970, Pope Paul VI created ticipants gathered for Morning Prayer musicians in CRCCM, and Marc Cerisier and arts, Basilica of Saint Mary, Minne- the Diocese of Kalamazoo from portions at the cathedral. Prelude music was proposed technological options for much apolis, Minnesota; Ezequiel Menendez, of the Dioceses of Lansing and Grand performed by David Jonies, associate needed modernization and automation of director of music and organist, Cathedral Rapids, at which time Saint Augustine director of music, Holy Name Cathedral, membership initiations and renewals. of Saint Joseph, Hartford, Connecticut; Church was consecrated the diocesan Chicago, Illinois. Jonies played Sonata After lunch, conference participants Joseph Balistreri, coordinator of music cathedral of Kalamazoo. The cathedral is No. 2 in D Minor, opus 60, movements then gathered at the Waldo Library ministries, Archdiocese of Detroit, and home to a three-manual, forty-two-rank 2 and 3, by Max Reger. Thomas Field- Rare Book Room of Western Michigan director of music, Cathedral of the Most Nichols and Simpson organ of 2002. ing played all service music for Morning University in Kalamazoo. Elizabeth Blessed Sacrament, Detroit, Michigan; Following dinner in the cathedral Prayer, as well as Procession by William C. Teviotdale, assistant director of the Crista Miller, director of music and organ- hall, all of the participants introduced Mathias for postlude. WMU Medieval Institute, delivered a ist, Co-Cathedral of the Sacred Heart, themselves. New members and fi rst-time Following Morning Prayer, Reverend lecture, “The Illustration of the Music Houston, Texas; and Christoph Tietze, conference participants for 2018 included: Bradley A. Zamora, director of liturgy of Christian Worship in the Middle director of music and organist, Cathedral Adam Brakel, director of music, Saint and instructor in the Department of Ages and Renaissance.” Teviotdale pre- of Saint Mary of the Assumption, San James Cathedral, Orlando, Florida; Bruce Liturgy and Music, Mundelein Seminary, sented a fascinating array of illuminated Francisco, California; with Gerald Muller, Croteau, director of liturgy, Saint James Mundelein, Illinois, delivered a keynote chant manuscripts and offered possible Leo Nestor, and James Savage, advising. Cathedral, Orlando; Felipe Delsart, direc- address on the spirituality of the cathe- theological, liturgical, and musical inter- tor of the polyphonic choir and adjunct dral musician. Fr. Zamora exhorted con- pretations of the illuminations as paired Monday, January 8 organist, Metropolitan Cathedral, Buenos ference participants to maintain active with their antiphons and feasts. She also Conference participants gathered at Aires, Argentina; Terri Dunn, conductor prayer lives, since cathedral musicians called attention to a trend in manuscript Saint Augustine Cathedral for Vespers. at Saint Michael’s Choir School, Toronto, are to be disciples. He also reminded illuminations, in which they became less Reverend Thomas McNally, Vice Ontario, Canada; James Grzadzinski, his audience of the distinction between detailed and less obviously religious in Rector of the Cathedral, celebrated director of music and organist, Cathe- “working for Mass” and “attending Mass” nature. This trend probably resulted Vespers, and liturgical music was pro- dral of Saint Raymond Nonnatus, Joliet, and described his own spiritual enrich- from an increase in the number of illu- vided by Thomas Fielding and the Illinois; Mark Loria, principal organist, ment whenever he attends Mass “as a minations carried out by lay tradesmen Cathedral Choir. Choral music included Cathedral Basilica of Saints Peter and parishioner” in the assembly. and women rather than religious monks Unto Us is Born a Son, arranged by Paul, Philadelphia, Pennsylvania; Bruce Prior to his appointment at Mendelein and nuns. Following the lecture, con- David Willcocks; Christmas Lullaby by Ludwick, director of music and organist, Seminary, Fr. Zamora served as associ- ference participants were able to view John Rutter; Tollite hostias by Camille Cathedral of Saint Paul, Birmingham, ate pastor and director of liturgy at Holy selected illuminated manuscripts in the Saint-Saëns; Awake and Arise and Hail Alabama; Matthew Meloche, director of Name Cathedral in Chicago. Formerly a Medieval Institute Library. the New Morn by Fielding; O Virgin sacred music, Cathedral of Saints Simon parish music director, he maintains active Elizabeth Teviotdale received her membership in the National Associations Ph.D. in art history from the University of Pastoral Musicians, the Federation of of North Carolina at Chapel Hill, and her main research interests are early medi- eval Christian liturgical manuscripts and A. E. Schlueter Pipe Organ Co. their illumination, as well as the history of collecting. Conference participants returned to the Radisson Hotel for a composers read- ing session. The reading session is a forum in which conference participants have the opportunity to sing through new compo- Church of Saint Jude the Apostle sitions from their colleagues. Wauwatosa, Wisconsin Conference participants then moved Three manuals – forty ranks to Saint Augustine Cathedral in the evening for a choral concert performed A RTISTRY – R ELIABILITY – A DAPTABILITY by the choir, Audivi. Works included  New Instruments  Tonal Additions Advent Responsory by Richard Marlow;  Rebuilding  Maintenance Steh Auf by Christoph Demantius; The  New Consoles  Tuning Holly and the Ivy, arranged by Reginald Jacques; Lo, how a Rose e’er blooming, How can we help you? arranged by Michael Praetorius; Ave Maria by Robert Parsons; Tota pulchra es 800-836-2726 à 12 by Heironymous Praetorius; Gloria www.pipe-organ.com and Sanctus from Mass for Double Choir

20 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM as Dialogue sur les grands jeux by Louis discussed types of software available for Clérambault for postlude. desktop publishing and music notation, After Morning Prayer, conference and he demonstrated ways to prepare participants returned to the hotel for an scores for display on tablet screens, as well update from the United States Conference as MIDI functionality for capturing organ of Catholic Bishops (USCCB) given by registrations, recording, and playback. Reverend Andrew V. Menke, execu- Following the presentation, confer- tive director of the USCCB Secretariat ence participants enjoyed free time to for Divine Worship. Fr. Menke described explore Kalamazoo and later gathered the work of the Secretariat, which includes at Saint Augustine Cathedral for Mass. primarily the preparation of liturgical books Most Reverend Paul J. Bradley, and the review of publications containing Bishop of Kalamazoo, was the celebrant excerpts from liturgical books. He also and homilist. Choral music was provided elaborated on current projects, namely an by the Cathedral Choir, and repertoire updated Rite of Exorcism, excerpts of the included Kyrie from Missa L’hora passa Roman Missal (also referred to as the Book by Lodovico da Viadana; Soul of Christ of the Chair, as it contains collects and Mass by Lance A. Massey (director of music at texts not prayed from the altar), the nearly Saint Augustine Cathedral from 1984 to The choir of Saint Augustine Catholic Cathedral, Kalamazoo, Michigan (photo credit: completed edition of a Spanish-language 1988); and Cantate Domino by Giuseppe Michael Dulac) Roman Missal for the United States, a new Pitoni. Thomas Fielding played all the ser- translation of the Rite of Dedication of a vice music, as well as Prelude and Fugue by Frank Martin; Once in Royal David’s professor of musicology and ethnomusi- Church and an Altar, a new translation of in E-fl at Major, BWV 552, by Bach, for City, arranged by Arthur Henry Mann; cology at the University of Notre Dame. the Rite of Blessing and Consecration of the prelude; and Sonata Eroïca, opus 94, Sanctus from Missa Et ecce terræ motus He earned his Ph.D. in music history the Oils and Chrism, a Formulary for Saint by Joseph Jongen, for the postlude. by Antoine Brumel; Away in a manger, from Princeton University and received Kateri Tekakwitha, a Spanish-language After Mass, conference participants arranged by David Willcocks; A Spotless a “Genius Award” Fellowship from the Book of Blessings, a new translation of the enjoyed an elegant closing banquet at Rose by Herbert Howells; In the Bleak John D. and Catherine T. MacArthur Rite of Baptism of Children (with an option which time appreciation was extended Midwinter by Gustav Holst; Magnifi cat Foundation (1987–1992). for celebration during Mass), the new to Thomas Fielding, Francis Zajac, the by Arvo Pärt; Good Christian friends, O’Neill Hall is the new home of the translation of the Liturgy of the Hours, a Cathedral’s administrative staff, sponsors, rejoice, arranged by Charles Winifred University of Notre Dame’s Department review of hymnody from the International and the CRCCM steering committee for Douglas; Hymne à la Vierge by Pierre of Music, the Sacred Music Program, Committee for English in the Liturgy organizing such a successful and enjoy- Villette; and Silent Night, arranged by the Music Library, and new recital and (ICEL), a new translation of the Order of able gathering. Malcolm Sargent. Audivi is a profes- rehearsal spaces. It is part of Notre Christian Initiation of Adults (OCIA), and a The 2019 meeting of the CRCCM sional vocal ensemble founded in 2013 Dame’s Campus Crossroads Project. new translation of the Rites of Ordination. will take place in Seattle, Washington, and based in Detroit. The ensemble Following the lecture, conference The morning sessions continued with in conjunction with the Cathedral Min- specializes in lesser-known Renaissance participants enjoyed free time to explore the second business meeting, during which istries Conference. It will be hosted by choral music, but also performs choral Notre Dame’s campus, as well as open nominations to the steering committee Saint James Cathedral. Q music from all eras (www.audivi.net). For bench time on two of the university’s were submitted for the upcoming election. this performance, Audivi was under the three Paul Fritts organs (Opus 24 of After lunch, Marc Cerisier delivered Brian F. Gurley is director of music direction of guest conductor Kimberly 2004, a two-manual, thirty-four-stop a presentation, “Technology for the Mod- and organist at the Cathedral of the Dunn Adams, assistant professor of instrument in the DeBartolo Performing ern Cathedral Musician.” He highlighted Immaculate Conception in Albany, New music and director of choral activities at Arts Center, and Opus 37 of 2016, a four- the value of consistent music engraving York. He currently serves as membership Western Michigan University in Kalama- manual, seventy-stop instrument in the and attractive service leafl ets as visual chair of the Conference of Roman Catho- zoo. The concert was presented as part of Basilica of the Sacred Heart). aids to liturgical prayer. Cerisier then lic Cathedral Musicians. the Sacred Music at the Cathedral con- Following dinner, participants cert series of Saint Augustine Cathedral. returned to the Basilica of the Sacred Heart for an organ concert given by Wednesday, January 10 Craig J. Cramer. Repertoire included On Wednesday morning, conference Toccata in D minor, BuxWV 155, by participants traveled to South Bend, Dieterich Buxtehude; Partita sopre Indiana, for a day trip to the Univer- diverse: Sei gegrüßet Jesu gütig, BWV sity of Notre Dame. Once on campus, 768, by Johann Sebastian Bach; Batalha Paul Thornock conducted an open de 6. Tom by Anonymous (seventeenth choral rehearsal in the Gail L. Walton century); three Noëls by Jean-François Rehearsal Room of the Coleman-Morse Dandrieu; and Le Mystère de Noël by Building. The rehearsal repertoire August Fauchard. included Sicut cervus and Sitivit anima Craig Cramer is professor of organ mea by Giovanni Pierluigi da Palestrina; at the University of Notre Dame. He Come, let’s rejoice by John Amner; and received the Doctor of Musical Arts Abendlied by Josef Rheinberger. degree and the Performer’s Certifi cate Following the open rehearsal and from the ’s East- lunch on campus, conference partici- man School of Music. The concert was pants gathered in the newly constructed given in memory of Gail L. Walton, direc- O’Neill Hall for a lecture given by Peter tor of music and organist emeritus of the Jeffery, who discussed chant and psalm- Basilica of the Sacred Heart and initiator ody in the reformed [post-Conciliar of the Basilica organ project. Roman Rite] liturgy. Jeffery spoke about the relationship between Gregorian Thursday, January 11 psalm tones and various vernacular adap- Conference participants gathered tations (e.g., Anglican chant, Gelineau for Morning Prayer at the cathedral. and Guimont psalm tones, and Meinrad Prelude music was performed by Chris psalm tones). He proposed the increased Stroh, principal organist at the Basilica usage of psalmody in Christian sacra- of Saint Mary in Minneapolis, Minne- mental preparation. For example, psalm sota. Stroh played the Prelude and Fugue refrains—set to music and relevant to in C Major, BWV 547, by Bach. Thomas any of the Sacraments—could be taught Fielding played all service music, as well to children and adults. Upon completion of their formation, the candidates and assembly together could sing the psalm refrains as acclamations within the cel- ebration of the particular sacrament. Peter Jeffery holds the Michael P. Grace Chair in Medieval Studies and is

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 21 Cover feature

Cornel Zimmer Organ Builders, Denver, North Carolina Opus 135 Summerall Chapel at The Cita- del, Charleston, South Carolina Established in 1842, The Citadel stands as one of the foremost military academies in the United States. Situated in the historic city of Charleston, South Carolina, the stately campus exudes magnifi cent buildings, all with imposing façades, matching one another in simple, symmetric architectural features. Among the reserve of edifi ces that house the school, however, is erected the Summerall Chapel—a mighty fortress designed in Gothic style, cruciform in shape, and showered in large, colorful stained glass windows. As the foundation of all religious activity for the school, Summerall Chapel continues to see endless classes of cadets pass through her grand threshold. So important is the Chapel to those that graduate from The Citadel, that many make the pilgrimage back to Charleston to spend what is, for many, the most momentous days of their lives—their weddings. In addition to the joyous occasion of a couple’s wedding, the Chapel offers many special events and services throughout the year, from organ concerts in the L’Organo series of the Piccolo Spoleto Festival to candle- Summerall Chapel at The Citadel and the organ’s custom console featuring woodworking elements found in the chancel light Christmas services and Sunday morning services, and sees innumerable off-lease, making it the offi cial instrument However, seeing as many as four wed- tour groups on a daily basis. of the Chapel until its downward decline dings per day and even more per week at In its earliest days, the Chapel housed and eminent failure in the early 2000s. times, the Chapel could not afford to be a 34-rank Reuter pipe organ that saw In 2004 an organ committee was without an organ while fundraising efforts many additions and modifi cations during formed, headed by Walter Wilkins of for the entire project were ongoing. its functional tenure, with the organ total- Atlanta, Georgia. An organist himself, With that in mind, we addressed the ing 64 ranks when it was last altered in Wilkins’s interest in the organ project need for a functional organ while not 1965. This project added a large number was strengthened, having one son and having suffi cient funding to complete of ranks of pipes, as well as a new four- one grandson as Citadel graduates. Addi- the entire rebuild of the instrument all at manual console. The organ, despite these tionally serving on the organ committee once, an aspect that set our proposal apart many efforts to enlarge and improve the was General Mark Bebensee, another from others. We set our sights on two instrument over the course of fi fty years, graduate (also class of 1963), who also goals: fi rst, a functioning instrument had unfortunately fell silent as a result of the serves as a faculty member of The Cita- to be installed as soon as fi nancially pos- ravages of a hurricane tearing through the del. With the immeasurable help of the sible, and the fully rebuilt and enlarged Chapel roof, exposing the organ chambers director of music and chapel organist, pipe organ needed to reclaim its voice. to the elements, fl ooding them with the Mrs. Nancy Lefter, the devoted com- To do this, we had to craft a proposal devastating volume of rain accompanying mittee interviewed multiple organ fi rms such that a temporary instrument could the storm. In the following years, due to before ultimately deciding on Cornel be installed with funds that would not be Severely water-damaged resonators the immense demands of the Chapel as a Zimmer Organ Builders. wasted, but rather incorporated into the prior to removal for cleaning and repair venue for services and associated events, While many factors affected their deci- future phasing-in of work to the organ. the need for an organ was great. sion, the committee of dedicated people Thus, it was decided phase one of the and have a functioning organ in the way With practically nonexistent funds for heading the organ restoration project organ project would be a completely of digital samples to see them to the next an organ—either a new one or a signifi cant particularly found our proposal to be new, custom four-manual console, whose phase of the project. rebuild of the Reuter that was so badly unique and most effective in returning stoplist would be that of the fi nished Unfortunately, Mr. Wilkins passed destroyed—Chapel offi cials and musi- the magnifi cence of the pipe organ to pipe organ, duplicated—however, for away in 2006 before any fundraising cians turned to several electronic organ the Chapel. Understanding that funding now—in an instrument solely compris- efforts could occur. At that time, Mr. companies in desperate efforts to lease an for organ projects, be they new organs, ing samplings from the Walker Technical George “Mackay” Salley, also a graduate instrument until funds could be raised for rebuilds, or even extensive maintenance, Company, a fi rm with which we are proud of The Citadel, class of 1963, rose to the the replacement of the pipe organ. After can be minimal or completely absent, to partner. Now, the Chapel would have challenge, taking charge of fundraising, enough time elapsed, it was decided to Summerall Chapel at The Citadel faced the console that would play their glorious while seeing the committee’s work and purchase the chosen rental instrument this very situation, much like many others. pipe organ, with all of its future stops, Wilkins’s legacy continued.

Cornel Zimmer Organ Builders

GREAT (Unenclosed) SWELL (Expressive) CHOIR (Expressive) SOLO (Expressive) Manual II Manual III Manual I Manual IV 16′ Sub Principal (digital) 16′ Lieblich Gedeckt 16′ Dulciana (digital) 8′ Grand Open Diapason 8′ First Open Diapason 8′ Diapason 8′ Principal 8′ Harmonic Flute 8′ Second Open Diapason 8′ Geigen Principal 8′ Concert Flute 8′ Viola Pomposa 8′ Principal Flute 8′ Voce Umana 8′ Dulciana 8′ Viola Celeste 8′ Bourdon (digital) 8′ Salicional 8′ Unda Maris (TC) 4′ Orchestral Flute 8′ Viole de Gambe 8′ Voix Celeste (TC) 8′ Gedeckt Grand Cornet IV 8′ Gemshorn 8′ Rohrfl ute 4′ Octave 8′ French Horn 4′ First Octave 4′ Octave 4′ Koppelfl ute 8′ Orchestral Oboe 4′ Second Octave 4′ Flute Triangulaire 2′ Super Octave 16′ 2 1 4′ Hohlfl ute 2⁄3′ Nazard 1⁄3′ Quinte 8′ Trompette Militaire 2 1 2⁄3′ Twelfth 2′ Flautino 1⁄3′ Scharf IV (digital) 16′ Tuba Major (Choir) 3 2′ Fifteenth 1⁄5′ Tierce 16′ Fagotto (digital) 8′ Tuba Major (Choir) 1 1⁄3′ Fourniture IV 2′ Plein Jeu IV 8′ Cornopean (digital) 4′ Tuba Clarion (Choir) 1′ Cymbale III (digital) 16′ Basson 8′ English Horn Chimes 16′ Double Trumpet (digital) 8′ Trompette 8′ Clarinet Flue 8′ Tromba 8′ Oboe 8′ Tuba Major (digital) Reed Tremulant 8′ Flugel Horn (digital) 8′ non-coupling Solo to Solo 16 4′ Clarion 4′ Clarion Harp Solo Unison Off 8′ Trompette Militaire (Solo) Tremulant Tremulant Solo to Solo 4 non-coupling Swell to Swell 16 Choir to Choir 16 8′ Tuba Major (Choir) Swell Unison Off Choir Unison Off non-coupling Swell to Swell 4 Choir to Choir 4 Chimes (Solo) Tremulant

22 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM The team removes the exterior framing of the Choir division enclosure

Large Swell reservoir being lifted through Large, bottom-octave pipes from the the tonal opening of the chamber Pedal division, removed and ready for transport From 2004 until 2014, funds were raised to complete the fi rst phase, and as it is currently installed, the Chapel features a functioning organ while fun- draising campaigns continue for upcom- ing phases. In 2016, a second phase was completed by generous gifts from a few individuals, making possible the installa- tion of the Trumpet Militaire on the west wall of the Chapel—a solo stop on high wind pressure, tonally structured to sing over full organ, featuring casework that The Harp resonator rail on its way to being packed for transport incorporates details found not only in the chancel but also on the buildings just every hope that these divisions will be honor to the God and institution it outside the doors over which it hangs. The team receiving one of the large reinstalled and playing in time for the serves, again fi lling the Chapel walls We are pleased to announce that Harp actions as it is passed down from Chapel’s highly attended candlelight with sounds of majesty and glory. the next phase of the organ project is the chamber access Christmas services in December of this Our excitement surrounding this proj- commencing—this summer marks the year. Once the pipes are installed, the ect never dulls—it only increases with initiation of rebuilding for the Great, the organ, building new only those digital voices will be decommissioned each passing day, knowing we are ever Choir, and Pedal divisions of the pipe things that were too damaged by the and the again-speaking pipes will be closer to hearing the completed instru- organ. In late May of this year, our team effects of the storm. Mixture and top- voiced and regulated for the grand ment once again make its jubilant noise began removal of these divisions; water- octave pipes that were pulled from their acoustic of Summerall Chapel. in a space in which it has not sounded damaged chests, plaster-laden pipes, toe holes, littered about the chambers, Upon total completion of the organ in more than thirty years. We continue and crushed wind lines were hoisted and thrown by handfuls into the Choir project, Cornel Zimmer Organ Build- to be honored by the Chapel and The from the North chamber. Swell enclo- box to make way for speakers installed ers Opus 135 will be one of the largest Citadel’s decision to partner with us in sures, shutters, and their frames were with the rental organ in 1985 have been pipe organs in South Carolina and will this most esteemed effort to re-gift this removed and retained for improved recovered and reunited with their cor- boast a reputation exhibited by the magnifi cent organ its voice. reconfi guration, with overall efforts responding ranks to undergo thorough other great military schools and their —Jacob W. Hill made to keep original components of cleaning, repair, and voicing. It is with chapels, with notoriety that brings Cornel Zimmer Organ Builders

Summerall Chapel at The Citadel, Charleston, South Carolina

2 ANTIPHONAL (Unenclosed) 2⁄3′ Mixture IV Swell to Great 4 Solo to Pedal 8 Floating 32′ Contre Bombarde (digital) Choir to Great 16 8′ Principal 16′ Bombarde Choir to Great 8 Swell to Great 8 8′ Bourdon 16′ Double Trumpet (Great) Choir to Great 4 Choir to Great 8 8′ Erzahler Celeste II 16′ Basson (Swell) Solo to Great 16 Solo to Great 8 4′ Octave 16′ Fagotto (Choir) Solo to Great 8 4′ Open Flute 8′ Bombarde (ext) Solo to Great 4 Swell to Choir 8 2′ Fifteenth 16′ Trompette Militaire (Solo) Antiphonal to Great 8 8′ Trompette Militaire (Solo) PEDAL (Unenclosed) 8′ Cornopean (Choir) Swell to Choir 16 32′ Contrabass 4′ Clarion (digital) Swell to Choir 8 Tutti - programmable for each Memory Bank 32′ Contra Bourdon (ext) 4′ Flugel Horn (Great) Swell to Choir 4 Crescendo II 16′ Principal Solo to Choir 16 Solo Tuba Sub 16′ Sub Principal (Great) COUPLERS Solo to Choir 8 16′ Dulciana (Choir) Great to Pedal 8 Solo to Choir 4 Contrabass 32′ 16′ Violone Great to Pedal 4 Antiphonal to Choir 8 Contra Bourdon 32′ 16′ Bourdon Swell to Pedal 8 Contre Bombarde 32′ 16′ Spitzfl ute (digital) Swell to Pedal 4 Great to Solo 8 16′ Lieblich Gedeckt (Swell) Choir to Pedal 8 Currently: 8′ Octave (ext) Choir to Pedal 4 Great/Choir exchange 86 digital ranks 8′ Gemshorn (digital) Solo to Pedal 8 All Swells to Swell 1 pipe rank 8′ Bourdon (ext) Solo to Pedal 4 8′ Still Gedeckt Antiphonal to Pedal 8 REVERSIBLES Builder’s website: www.zimmerorgans.com/ 4′ Choral Bass Great to Pedal 8 Summerall Chapel website: www.citadel. 4′ Cantus Flute (Solo) Swell to Great 16 Swell to Pedal 8 edu/root/chapel-history 4′ Gedeckt (ext) Swell to Great 8 Choir to Pedal 8

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 23 Ottawa, Ontario 24 JULY New Organs Peace Tower Carillon Ken Cowan, masterclass; Longwood July & August, weekdays at 11 am Gardens, Kennett Square, PA 9 am Andrea McCrady, Carillonneur Lee T. Lovallo Pipe Organs July 1, Andrea McCrady 25 JULY Antelope, California July 10, Devon Hansen Clara Gerdes; Methuen Memorial Music July 17, Luc Rombouts Hall, Methuen, MA 8 pm Paul Dessau residence July 24, Hylke Banning Carmichael, California July 31, Steven Karp Carol Williams; Auditorium, Ocean August 14, Laura Ellis Grove, NJ 7:30 pm Constructed in 2016 and 2017, this Br. Benjamin Basile; Christ Church, new organ was conceived for playing Rochester, Michigan Michigan City, IN 12:15 pm Renaissance and early Baroque litera- Oakland University, Elliott Tower Nicholas Schmelter, with piano; St. ture, especially the music of Spain. It has Fridays at 6 pm John the Evangelist Catholic Cathedral, four ranks, a 45-note compass, and a July 13, Roy Kroezen Milwaukee, WI 12 noon July 20, Joey Brink Matthew Walsh; Zion Lutheran, Apple- short octave in the bass. July 27, Philippe Beullens ′ ton, WI 12:15 pm The 8 wood (Bordone) is August 3, Andy Zhang Wolfgang Reisinger; Sinsinawa Mound, available throughout the full compass. Sinsinawa, WI 7 pm ′ St. Paul, Minnesota The 4 spotted metal principal (Octava), House of Hope Presbyterian Church with some pipes forming the façade, Sundays at 4 pm 28 JULY starts at tenor C. The 2′ spotted metal July 4, Dave Johnson ++ William Porter; Anabel Taylor Chapel, principal (Quincena) starts at tenor C July 8, Sue Bergren Cornell University, Ithaca, NY 2:35 pm & and is divided at middle C/C-sharp, as July 15, Hunter Chase 3:35 pm July 22, Kim Schafer ++ Jonathan Ryan; Sage Chapel, Cor- 1 ′ is the 1 ⁄3 spotted metal quint (Decino- July 29, Laura Ellis nell University, Ithaca, NY 5 pm vena). The drawknobs are located on the August 5, Dave Johnson side of organ’s case, directly connected to Keydesk, Lovallo organ 29 JULY Spokane, Washington ++ Joris Verdin, with chamber instru- the sliders. Cathedral of St John the Evangelist The instrument is pitched at 415 Hz July 4, 9 pm, Wesley Arai ments; Kilbourn Hall, University of Roches- and tuned to quarter-comma meantone. ter, Rochester, NY 1:20 pm Valley Forge, Pennsylvania ++ Daryl Robinson; Church of the As- The naturals are covered in purpleheart, Washington Memorial Chapel cension, Rochester, NY 3:05 pm & 4:05 pm and the sharps are made of holly. The Wednesdays at 7:30 pm ++ David Higgs; Christ Episcopal, Roch- inaugural concert was played by Lee July 4, Doug Gefvert ester, NY 8:10 pm Lovallo at Bethel Lutheran Church, July 11, Geert D’hollander Karen Beaumont; Milwaukee Catholic July 18, Philippe Beullens Home, Milwaukee, WI 2 pm Sacramento, featuring a program of late July 25, Joanna Stroz Renaissance music with recorder, vocal, August 1, Hylke Banning 30 JULY and percussion accompaniment. August 8, Doug Gefvert with Irish Thun- der Pipes & Drums ++ Katelyn Emerson; Twelve Corners August 15, Cast in Bronze Presbyterian, Rochester, NY 9:40 am & Builder’s website: http://lovallo.org/ August 22, Thomas Gurin 10:55 am August 29, Robin Austin ++ Amanda Mole; Lutheran Church of Manual ′ the Incarnate Word, Rochester, NY 9:40 8Bordone (stopped wood) Victoria, British Columbia am & 10:55 am 4′ Octava (TC) Netherlands Centennial Carillon ++ Wilma Jensen; Asbury First United 2′ Quincena (TC, divided C/C#) Sundays at 3 pm 1 ′ Methodist, Rochester, NY 3:10 pm 1⁄3 Decinovena (TC, divided C/C#) Lovallo organ, Dessau residence, Car- July 8, 15, 22, 29, August 12, 19, 26, Laing ++ Robert Poovey; Episcopal Church of michael, California St. Luke & St. Simon Cyrene, Rochester, NY 4:35 pm ++ Ken Cowan & Bradley Hunter 2018 Summer Carillon Concert Calendar Calendar Welch; St. Paul’s Episcopal, Rochester, NY 8:10 pm By Brian Swager Glencoe, Illinois Chicago Botanic Garden, Mondays at 7 pm This calendar runs from the 15th of the month 31 JULY The deadline July 2, Carol Anne Taylor of issue through the following month. ++ Peter DuBois; First Presbyterian, Ames, Iowa is the fi rst of the preceding month (Jan. 1 for Iowa State University, Tuesdays at 7 pm July 9, Eddy Mariën Caledonia, NY 9:40 am & 11:15 am July 16, Joanna Stroz Feb. issue). All events are assumed to be organ ++ Malcolm Matthews; Leicester Evan- July 24, Ray McLellan recitals unless otherwise indicated and are grouped August 28, Ellen Dickinson July 23, Laura Ellis gelical Presbyterian, Leicester, NY 9:50 am July 30, Margaret Pan within each date north-south and east-west. •=AGO & 11:05 am Bloomfi eld Hills, Michigan August 6, Bob van der Linde chapter event, • •=RCCO centre event, +=new organ ++ Ivan Bosnar; St. Agnes Catholic Kirk in the Hills Presbyterian Church August 13, Steven Karp dedication, ++= OHS event. Church, Avon, NY 2:40 pm & 3:50 pm August 20, Wylie Crawford Sundays at 10 am & noon Information cannot be accepted unless it ++ Bruce Stevens; Avon United Method- July 8, Roy Kroezen August 27, Joey Brink specifi es artist name, date, location, and hour in ist, Avon, NY 2:40 pm & 3:50 pm July 15, Joey Brink September 3, Jim Fackenthal writing. Multiple listings should be in chronological ++ Annie Laver; Downtown United Pres- July 22, Philippe Beullens order; please do not send duplicate listings. byterian, Rochester, NY 8:10 pm July 29, Andy Zhang Kennett Square, Pennsylvania THE DIAPASON regrets that it cannot assume August 12, open tower Longwood Gardens, Sundays at 2 pm responsibility for the accuracy of calendar entries. August 19, carillon students July 8, Robin Austin 1 AUGUST August 26, open tower July 15, Geert D’hollander Margaret Harper; Methuen Memorial September 2, Dennis Curry August 5, Doug Gefvert Music Hall, Methuen, MA 8 pm August 19, Thomas Gurin UNITED STATES ++ Colin Lynch; St. Joseph’s Catholic Chicago, Illinois September 9, Lisa Lonie & Janet Tebbel East of the Mississippi Church, Penfi eld, NY 10:10 am University of Chicago, Rockefeller Chapel September 23, Margaret Pan ++ Michael Unger; First Presbyterian, Sundays at 5 pm Pittsford, NY 2:20 pm & 3:55 pm July 1, Carol Anne Taylor 15 JULY Middlebury, Vermont Douglas Starr; St. Paul Catholic Cathe- ++ Christopher Marks; Christ Church, July 8, Eddy Mariën Mead Memorial Chapel, Middlebury Col- dral, Pittsburgh, PA 4 pm Rochester, NY 2:30 pm & 3:45 pm July 15, Joanna Stroz lege, Fridays at 6 pm Martin Baker, conductor; Duke Univer- ++ Alan Morrison; Third Presbyterian, July 22, Laura Ellis July 6, Sergei Gratchev Rochester, NY 7:55 pm July 29, Margaret Pan sity Chapel, Durham, NC 11 am worship July 13, Hans Uwe Hielscher Jeremy Kiolbassa; Christ Church, Mich- August 5, Bob van der Linde July 20, George Matthew, Jr. service; 4 pm Evensong August 12, Steven Karp Karen Beaumont; St. Hedwig Catholic igan City, IN 12:15 pm July 27, Tiffany Ng Matthew Buller; Zion Lutheran, Apple- August 19, Joey Brink August 3, Elena Sadina Church, Milwaukee, WI 2 pm Thierry Escaich; Loyola University, Chi- ton, WI 6:30 pm Culver, Indiana August 10, Amy Heebner August 17, George Matthew, Jr. (3 pm) cago, IL 3 pm David Troiano; Sinsinawa Mound, Sin- Culver Academies, Saturdays at 4 pm sinawa, WI 7 pm July 7, Joey Brink Minneapolis, Minnesota 17 JULY July 14, 21, September 1, October 6, David Hurd; Riverside Church, New 2 AUGUST John Gouwens Central Lutheran Church Sundays at 11:30 am York, NY 7 pm ++ Colin MacKnight; First Presbyterian, Lyons, NY 10 am & 11:05 am Danbury, Connecticut July 8, Sue Bergren ++ Nicole Simental; St. John’s Lutheran, St. James’s Episcopal Church July 15, Hunter Chase 18 JULY Wednesdays at 12:30 pm July 22, Kim Schafer Carson Cooman; Methuen Memorial Lyons, NY 10 am & 11:05 am July 4, Charles Semowich July 29, Laura Ellis Music Hall, Methuen, MA 8 pm ++ Jonathan Moyer; Grace Episcopal, July 11, Gerald Martindale Gregory Zelek; Auditorium, Ocean Lyons, NY 1:45 pm & 3 pm July 18, Hans Uwe Hielscher Naperville, Illinois Grove, NJ 7:30 pm ++ Frederick Hohman; First Lutheran, July 25, Amy Heebner Naperville Millennium Carillon Brian Wentzel; Trinity Lutheran, Cleve- Lyons, NY 1:45 pm & 3 pm August 1, Joanne Archibald Tuesdays at 7 pm land, OH 12:15 pm ++ Nathan Laube; Sacred Heart Catholic August 8, Tatiana Lukyanova July 10, Eddy Mariën Choral concert; Christ Church, Grosse Cathedral, Rochester, NY 7:45 pm August 15, George Matthew, Jr. July 17, Joanna Stroz Pointe Farms, MI 7 pm Karen Beaumont, with cello; First Pres- July 24, Laura Ellis Matt Gerhard; Christ Church, Michigan byterian, Racine, WI 12 noon Denver, Colorado July 31, Margaret Pan City, IN 12:15 pm University of Denver, Williams Carillon August 7, Bob van der Linde Ryan Mueller; Mount Olive Lutheran, 3 AUGUST Sundays at 7 pm August 14, Steven Karp Appleton, WI 12:15 pm ++ Peter Krasinski; Blessed Sacrament July 8, Carol Jickling Lens August 21, Sue Bergren & Tim Sleep July 22, Jeremy Chesman Catholic Church, Rochester, NY 9:25 am August 5, Hunter Chase Northfi eld, Vermont 22 JULY & 10:40 am August 19, Margaret Pan Adams Tower, Norwich University Mark Pacoe; St. Paul Catholic Cathedral, ++ Caroline Robinson; St. Mary’s Catho- Saturdays at 1 pm Pittsburgh, PA 4 pm lic Church, Rochester, NY 1:40 pm Gainesville, Florida July 7, George Matthew, Jr. ++ Edoardo Bellotti & Jonathan Ortloff; University of Florida, Century Tower July 14, Hans Uwe Hielscher 23 JULY Memorial Art Gallery, University of Roch- Sundays at 3 pm July 21, Sergei Gratchev Renée Anne Louprette; St. Philip the ester, Rochester, NY 2:55 pm July 22, carillon students July 28, Tiffany Ng Apostle Catholic Church, Saddle Brook, ++ Richard Hills; Rochester Auditorium August 26, Laura Ellis August 4, Nikita Gratchev NJ 8 pm Theatre, Rochester, NY 7:40 pm

24 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 4 AUGUST Vashni Seitzer; Faith Lutheran, Apple- Park Ridge Presbyterian Church James Jordan & David Chalmers; ton, WI 12:15 pm Park Ridge, IL GRACE CHURCH Church of the Transfi guration, Orleans, MA Marie Rubis Bauer; Sinsinawa Mound, Pickle Piano / Johannus Midwest NEW YORK 3:30 pm Sinsinawa, WI 7 pm Bloomingdale, IL ++ David Baskeyfi eld; St. Mary’s Catho- lic Church, Auburn, NY 10:30 am 23 AUGUST ++ Christian Lane; United Church, Mitchell Miller; First Presbyterian, Neen- Canandaigua, NY 2:55 pm ah, WI 12:15 pm ++ Thatcher Lyman; West Bloomfi eld Con- Christopher Babcock Michael J. Batcho gregational, West Bloomfi eld, NY 4:45 pm 24 AUGUST Gloria Dei Cantores, Pärt, Passio; Director of Music 5 AUGUST St. Andrew’s by the Sea, Church of the Transfi guration, Orleans, MA CATHEDRAL OF ST. JOHN James Jordan & David Chalmers; 7:30 pm Hyannis Port Church of the Transfi guration, Orleans, MA MILWAUKEE 3:30 pm 25 AUGUST Joe Balistreri; St. Paul Catholic Cathe- Gloria Dei Cantores, Pärt, Passio; dral, Pittsburgh, PA 4 pm Church of the Transfi guration, Orleans, MA 7:30 pm Dean W. Billmeyer 7 AUGUST Chelsea Chen; Merrill Auditorium, Port- 28 AUGUST University of Minnesota land ME 7:30 pm James Kennerley; Merrill Auditorium, Portland, ME 7:30 pm Minneapolis 55455 • [email protected] 8 AUGUST Amanda Mole; Portageville Chapel, Por- William Ness, Will Sherwood, & Leon- tageville, NY 7 pm ardo Ciampa, with brass; Mechanics Hall, Worcester, MA 12 noon 29 AUGUST John Robinson; Methuen Memorial Mu- Colin Lynch; Methuen Memorial Music GAVIN BLACK Byron L. Blackmore sic Hall, Methuen, MA 8 pm Hall, Methuen, MA 8 pm Kent Jager; Christ Church, Michigan Carol Garrett; Christ Church, Michigan Princeton Early Keyboard Center Crown of Life Lutheran Church City, IN 12:15 pm City, IN 12:15 pm 732/599-0392 Jared Stellmacher Sun City West, Arizona ; First English Luther- Ralph & Marilyn Freeman; St. Paul Lu- an, Appleton, WI 12:15 pm www.pekc.org theran, Neenah, WI 12:15 pm 623/214-4903 Joan DeVee Dixon & Alice Fiedlerova; David Jonies; Sinsinawa Mound, Sin- Sinsinawa Mound, Sinsinawa, WI 7 pm sinawa, WI 7 pm 9 AUGUST THOMAS BROWN David Bohn; St. Joseph Catholic UNITED STATES Carson Cooman Church, Appleton, WI 12:15 pm West of the Mississippi UNIVERSITY PRESBYTERIAN CHURCH Composer and Concert Organist 12 AUGUST 15 JULY CHAPEL HILL, NORTH CAROLINA Harvard University Peter Krasinski, silent fi lm, Peter & the Kevin Kim, with violin; Cathedral of St. ThomasBrownMusic.com www.carsoncooman.com Wolf; Mechanics Hall, Worcester, MA 3 pm Mary of the Assumption, San Francisco, CA 4 pm 14 AUGUST Nathan Avakian; Merrill Auditorium, 16 JULY Portland, ME 7:30 pm Your professional card Adam Brakel; Spreckels Organ Pavilion, DELBERT DISSELHORST Balboa Park, San Diego, CA 7:30 pm 15 AUGUST could appear here! Professor Emeritus Christopher Houlihan, lecture-recital, 18 JULY Contact: [email protected] music of Bach; First Congregational, Cam- Catherine Rodland; St. Olaf College, University of Iowa–Iowa City or 608/634-6253 den, ME 10 am Northfi eld, MN 12:15 pm Wesley Hall; Mechanics Hall, Worcester, MA 12 noon 20 JULY Alexander Pattavina; Methuen Memo- Justin Brueggeman; Christ Episcopal, STEVEN EGLER rial Music Hall, Methuen, MA 8 pm Tacoma, WA 12:10 pm JOHN FENSTERMAKER Adam Pajan; Auditorium, Ocean Grove, Central Michigan University NJ 7:30 pm 21 JULY School of Music TRINITY-BY-THE-COVE Michael Hey, with violin; Grace Cov- David Hegarty; Legion of Honor Muse- Mt. Pleasant, MI 48859 enant Presbyterian, Richmond, VA 7 pm um, San Francisco, CA 4 pm Lee Meyer; Christ Church, Michigan [email protected] NAPLES, FLORIDA City, IN 12:15 pm 22 JULY Mario Buchanan, with English horn; First Paul Fejko; Cathedral of St. Mary of the Norberto United Methodist, Appleton, WI 12:15 pm Assumption, San Francisco, CA 4 pm Karen Beaumont; St. Hedwig Catholic Church, Milwaukee, WI 2 pm 23 JULY Susan Goodson Guinaldo Marijim Thoene; Sinsinawa Mound, Sin- Bradley Hunter Welch; Spreckels Organ His Music sinawa, WI 7 pm Pavilion, San Diego, CA 7:30 pm Emanuel United Church of Christ Manchester, Michigan See—Listen—Buy 16 AUGUST 25 JULY www.GuinaldoPublications.com Christopher Houlihan, lecture-recital, Noah Klein; All Saints Episcopal, North- music of Bach; First Congregational, Cam- fi eld, MN 12:15 pm den, ME 10 am A Professional Card in 28 JULY 17 AUGUST John Walko; Legion of Honor Museum, STEPHEN HAMILTON Christopher Houlihan, lecture-recital, The Diapason San Francisco, CA 4 pm music of Bach; First Congregational, Cam- For rates and digital specifi cations, recitalist–clinician–educator den, ME 10 am 29 JULY contact Jerome Butera www.stephenjonhamilton.com 18 AUGUST Roland Voit; Cathedral of St. Mary of the 847/391-1045; [email protected] Christopher Houlihan, lecture-recital, Assumption, San Francisco, CA 4 pm music of Bach; First Congregational, Cam- 30 JULY den, ME 10 am Chelsea Chen, with cello; Spreckels Or- 19 AUGUST gan Pavilion, Balboa Park, San Diego, CA David Herman Christopher Houlihan, lecture-recital, 7:30 pm music of Bach; First Congregational, Cam- Trustees Distinguished Professor Emeritus of Music and University Organist den, ME 11 am 1 AUGUST The University of Delaware Q [email protected] Benjamin Cornelius Bates; St. Paul Stephen May; First Congregational United Catholic Cathedral, Pittsburgh, PA 4 pm Church of Christ, Northfi eld, MN 12:15 pm Nicholas Schmelter; Trinity Episcopal, Bay City, MI 4 pm 4 AUGUST Svyati Duo, organ and cello; Loyola Uni- Angela Kraft Cross; Legion of Honor versity, Chicago, IL 3 pm Museum, San Francisco, CA 4 pm

21 AUGUST 5 AUGUST Walt Strony; Merrill Auditorium, Port- Brandon Spence; St. Matthew’s by-the- Lorraine Brugh, Ph.D. land, ME 7:30 pm Bridge Episcopal, Iowa Falls, IA 4 pm Professor of Music Christopher Henley ; Cathedral of St. University Organist 22 AUGUST Mary of the Assumption, San Francisco, Dong-Ill Shen; Methuen Memorial Mu- CA 4 pm Valparaiso, Ind. sic Hall, Methuen, MA 8 pm Peter Gonciarz; St. Paul Catholic Cathe- 6 AUGUST valpo.edu dral, Pittsburgh, PA 4 pm Ken Cowan, with Lisa Shihoten, violin; 219.464.5084 Derek Nickels; Christ Church, Michigan Spreckels Organ Pavilion, Balboa Park, [email protected] City, IN 12:15 pm San Diego, CA 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 8 AUGUST David Jonies; St. Martin Church, New York, NY Syracuse, NY 13203-2816 Joanne Rodland; St. John’s Lutheran, Deggendorf, Germany 7:30 pm www.andrewhenderson.net Northfi eld, MN 12:15 pm Malte Blass; Basilika, Tongeren, Bel- (315) 471-8451 gium 4 pm 11 AUGUST Olga Zhukova; Le Musée Suisse de David Hegarty; Legion of Honor Muse- l’Orgue, Roche, Switzerland 5:15 pm um, San Francisco, CA 4 pm Michael Rhodes; Victoria Hall, Hanley, Stoke-on-Trent, UK 12 noon Richard Barrick Hoskins Brian Jones 12 AUGUST Director of Music & Organist Pierre Zevort; Cathedral of St. Mary of 22 JULY Director of Music Emeritus the Assumption, San Francisco, CA 4 pm St. Chrysostom's Church Daniel Gottfried; Jesuitenkirche, Vien- Chicago TRINITY CHURCH na, Austria 6:20 pm 13 AUGUST Marijim Thoene; Holy Trinity Cathedral, [email protected] BOSTON Paul & Riley Xu; Spreckels Organ Pavil- Drohiczyn, Poland 7 pm ion, Balboa Park, San Diego, CA 7:30 pm Sebastian Freitag; Dom, Altenberg, 15 AUGUST Germany 11:45 am JAMES KIBBIE Janean Hall & Larry Archbold; Car- Kåre Nordstoga; Jakobikirche, Herford, KIM R. KASLING leton College, Northfi eld, MN 12:15 pm Germany 6 pm D.M.A. The University of Michigan Philip Crozier; Stadtkirche St. Marien, Husum, Germany 8 pm St. John’s University Ann Arbor, MI 48109-2085 17 AUGUST 734-764-1591 FAX: 734-763-5097 Christopher Holman; Christ Episcopal, Inge Beck; Evangelische Stadtkirche, Collegeville, MN 56321 Tacoma, WA 12:10 pm Karlsruhe, Germany 8:30 pm email: [email protected] Gereon Krahforst; St. Paul’s Cathedral, 18 AUGUST London, UK 4:45 pm John Walko; Legion of Honor Museum, David K. Lamb, D.Mus. San Francisco, CA 4 pm 24 JULY Karen Schneider Kirner Philip Crozier; St. Laurentius Kirche, Director of Music 19 AUGUST Langenhorn, Germany 8 pm Director, Notre Dame Handbell Choir Chase Olson; Cathedral of St. Mary of Luc Ponet, with Ensemble Utopia; St. Trinity United Methodist Church the Assumption, San Francisco, CA 4 pm Assistant Director, Notre Dame Folk Choir New Albany, Indiana Michael & St. Gudula Cathedral, Brussels, University of Notre Dame Belgium 8 pm 812/944-2229 20 AUGUST William Hormass; St. Lawrence Jewry, Steven Ball; Spreckels Organ Pavilion, London, UK 1 pm Balboa Park, San Diego, CA 7:30 pm 25 JULY 25 AUGUST Christian Iwan; St. Mikaelis Kirche, Jonathan Dimmock; Legion of Honor Hamburg, Germany 7 pm A.S.C.A.P. Museum, San Francisco, CA 4 pm FELLOW, AMERICAN GUILD OF ORGANISTS Kent Tritle; Erlöserkirche, München- 26 AUGUST Schwabing, Germany 7 pm 345 SADDLE LAKE DRIVE Antonio Di Dedda; Erlöserkirche, Pots- ROSWELL-ATLANTA, GEORGIA 30076 Norman Paskowsky; Cathedral of St. (770) 594-0949 Mary of the Assumption, San Francisco, dam, Germany 7:30 pm CA 4 pm Min Woo; Evangelische Kirche, Wald- kirch, Germany 8 pm 27 AUGUST Frédéric Blanc; Frauenkirche, Dresden, Raúl Prieto Ramírez, with piano; Germany 8 pm Spreckels Organ Pavilion, Balboa Park, Paul Rosomon; Chingford Parish San Diego, CA 7:30 pm Church, Chingford, London, UK 1:10 pm Joe Matthews; St. Michael & All Angels, Professor Emeritus – University of Michigan – Ann Arbor INTERNATIONAL West Croydon, London, UK 1:10 pm Professor of Organ for 67 years Isabelle Demers; Westminster Cathe- MarilynThe University’s longest-serving faculty memberMason dral, London, UK 7:30 pm 15 JULY Johannes Zeinler; Jesuitenkirche, Vi- 26 JULY A two-inch Professional Card in The Diapason enna, Austria 6:20 pm Torsten Wille; Marienkirche, Reutlingen, Ruth Forsbach; Dom, Altenberg, Ger- Germany 11 am many 11:45 am Christopher Wrench; Dom St. Petri, For information on rates and specifi cations, contact Jerome Butera: Iain Quinn; St. Paul’s Cathedral, London, Bremen, Germany 7 pm UK 4:45 pm Rolf Müller; Dom, Altenberg, Germany [email protected] 608/634-6253 Sebastian Thomson; Westminster Ab- 8 pm bey, London, UK 5:45 pm Jean-Paul Imbert, with violin and mez- 16 JULY zo-soprano; Notre-Dame des Neiges, Alpe Kurt Ison; Ruhr-Universität, Bochum, d’Huez, France 8:45 pm Germany 1:15 pm Francesco Cera; S. Maria, Extremadu- LARRY PALMER Kay Johannsen; Peterskirche, Basel, ra, Spain 8 pm PHILIP CROZIER Switzerland 7:30 pm Lionel Rogg; St. Margaret Lothbury, London, UK 1:10 pm Harpsichord – Organ CONCERT ORGANIST 17 JULY ACCOMPANIST Ute Gremmel-Geuchen; St. Michael & 27 JULY Professor of Music, Emeritus St. Gudula Cathedral, Brussels, Belgium Raúl Prieto Ramírez; Münster, Kon- 3355 Queen Mary Road, Apt 424 8 pm stanz, Germany 8 pm Montreal, H3V 1A5, P. Quebec Jacques Kauffmann; Notre-Dame des Wilfried Kaets; Münster, Herford, Ger- SMU, Dallas, Texas Neiges, Alpe d’Huez, France 8:45 pm many 9 pm Canada Ben Lewis Smith; Grosvenor Chapel, Recitals — Lectures — Consultancies London, UK 1:10 pm 28 JULY (514) 739-8696 Ansgar Schlei, with soprano and or- [email protected] 18 JULY chestra; Willibrordi-Dom, Wesel, Germany [email protected] + 214.350-3628 Christoph Schoener; St. Mikaelis 6 pm Kirche, Hamburg, Germany 7 pm Douglas Lawrence; St. Laurentius, Er- Karl Ludwig Kreutz; Friedenskirche, witte, Germany 7:30 pm Potsdam, Germany 7:30 pm Johan Van den Broek; Augustinerkirche, Thomas Ospital; Kreuzkirche, Dresden, Würzburg, Germany 7:30 pm Germany 8 pm Martin Neu; Ss. Peter & Paul, Reutlin- Angelo Castaldo; St. Michael & All An- gen, Germany 8 pm A gift subscription to gels, West Croydon, London, UK 1:10 pm Ingo Bredenbach; Stiftskirche, Tübin- gen, Germany 8 pm 19 JULY Dan Hemelaer; Basilika, Tongeren, Bel- Hans Leitner; Dom St. Petri, Bremen, gium 4 pm The Diapason Germany 7 pm Philip Crozier; Brigidakerk, Geldrop, Heribert Metzger; Dom, Altenberg, Ger- Netherlands 4:15 pm The perfect gift for many 8 pm Francesco Cera; S. Cecilia, Espinosa de Richard Hills; St. John the Evangelist + organist colleagues + choir directors Villagonzalo, Spain 9 pm Upper Norwood, London, UK 7:30 pm + students + organ builders András Gábor Virágh; Bloomsbury 20 JULY Central Baptist, London, UK 4 pm + teachers + clergy Marijim Thoene; St. Mary’s Basilica, Gdansk, Poland 7 pm 29 JULY Each month your gift will keep on giving by providing the Philip Crozier; St. Laurentius Kirche, Wolfgang Capek; Jesuitenkirche, Vien- important news of the organ and church music fi eld. Know that Tönning, Germany 7 pm na, Austria 6:20 pm your gift will be just right. Paul Goussot, with Choralschola St. Al- Erika Budday; Weltkulturerbe Kloster, oisius; Abtei, Marienstatt, Germany 8 pm Maulbronn, Germany 11 am For information, contact Kim Smaga, 847/481-6234; Franz Hauk; Münster, Herford, Germany Hans Andre Stamm, with fl ute; Dom, Al- [email protected]. Or visit www.thediapason.com and click 9 pm tenberg, Germany 11:45 am “subscribe.” Christopher Hauser; Klosterkirche, 21 JULY Fürstenfeldbruck, Germany 12:10 pm $42 one year USA; $35 one year digital; $20 one year student Denny Wilke; Dom, Merseburg, Ger- Paolo Springhetti; Kilian-Kirche, Bed- many 5 pm heim, Germany 5 pm

26 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Heinrich Wimmer; Münster, Herford, 5 AUGUST Southminster Presbyterian Church Germany 6 pm Nikita Gasser; Jesuitenkirche, Vienna, SHORT HILLS David Jonies; St. Nikola Church, Pas- Austria 6:20 pm Arlington Heights, IL 60005 sau, Germany 7:30 pm Ingo Bredenbach; Weltkulturerbe Bogdan Narloch; Evangelische Stadt- Kloster, Maulbronn, Germany 11 am Rolf Müller, with trumpet; Dom, Alten- kirche, Karlsruhe, Germany 8:30 pm ANDREW SCHAEFFER, M.MUS Gerard Brooks; Methodist Central Hall, berg, Germany 11:45 am DEREK E. NICKELS, DMA Westminster, London, UK 3 pm Pascal Caldara; Klosterkirche, Fürsten- First United Methodist Church Vidas Pinkevicius & Ausra Motuzaite- feldbruck, Germany 12:10 pm Church of the Holy Comforter Gerhard Weinberger; Münster, Ober- Edmond, Oklahoma Pinkeviciene; St. Paul’s Cathedral, London, Kenilworth, IL 60043 UK 4:45 pm marchtal, Germany 5 pm Philip Crozier; St. Heinrich Kirche, Kiel, [email protected] Simon Morley; , Lon- (847) 251-6120 • [email protected] Germany 5 pm Recitals — Hymn Festivals don, UK 5:45 pm Maurice Clerc; St. Paulus Kirche, Her- ford, Germany 6 pm 31 JULY Samuel Kummer; Evangelische Stadt- A one-inch Professional Card Stéphane Mottoul; St. Michael & St. kirche, Karlsruhe, Germany 8:30 pm Stephen G. Schaeffer Gudula Cathedral, Brussels, Belgium 8 pm Jan Polivka & Martin Schmalz; St. Jus- in The Diapason Philip Crozier; Bavokerk, Haarlem, Recitals – Consultations tinius, Frankfurt, Germany 11 pm For information on rates and specifi cations, Netherlands 8:15 pm Frantisek Beer; Farnborough Abbey, Director of Music Emeritus Willem Hörmann; Grosvenor Chapel, Farnborough, UK 3 pm Cathedral Church of the Advent contact Jerome Butera: London, UK 1:10 pm Mateusz Rzewuski; St. Paul’s Cathedral, London, UK 4:45 pm Birmingham, Alabama [email protected] 608/634-6253 1 AUGUST Sebastian Heindl; Westminster Abbey, Albrecht Schmid, with Ludwigsburger London, UK 5:45 pm Blechbläserensemble; Stiftskirche, Tübin- gen, Germany 12:15 pm 7 AUGUST Jeffrey Schleff, Ed.D. Andreas Sieling; St. Mikaelis Kirche, Oliver Frank, harpsichord, Bach, Gold- Organist – Teacher – Consultant STEPHEN SCHNURR Hamburg, Germany 7 pm berg Variations; Erlöserkirche, München- Saint Paul Catholic Church Martin Sturm; Französische Kirche, Schwabing, Germany 9 pm Sulphur Public Schools, Sulphur, OK Potsdam, Germany 7:30 pm Albrecht Koch, Bach, Die Kunst der United Disciples Christian Church, Richardson, TX Valparaiso, Indiana Philipp Scriven; Kathedrale, Dresden, Fuge; St. Michael & St. Gudula Cathedral, [email protected] Germany 8 pm Brussels, Belgium 8 pm John Rippin; Chingford Parish Church, Simon Harden; St. George’s, Hanover Square, London, UK 1:10 pm Chingford, London, UK 1:10 pm ROBERT L. 2 AUGUST 8 AUGUST Hartmut Finkbeiner; Stiftskirche, Tübin- Gunter Kennel; Dom St. Petri, Bremen, Mark Steinbach gen, Germany 12:15 pm SIMPSON Germany 7 pm Stefan Kagl; St. Mikaelis Kirche, Ham- Christ Church Cathedral Brown University Sietze de Vries; Dom, Altenberg, Ger- burg, Germany 7 pm 1117 Texas Avenue many 8 pm Dirk Elsemann; Erlöserkirche, Potsdam, Houston, Texas 77002 Germany 7:30 pm 3 AUGUST Thomas Trotter; Kreuzkirche, Dresden,

Colin Lynch; Münster, Konstanz, Ger- Germany 8 pm ] many 8 pm Jonathan Martin; Chingford Parish Anna Picchiarini; Church of Serra Pis- Church, Chingford, London, UK 1:10 pm Joe Utterback toiese, Pistoia, Italy 6 pm Jonathan Vaughan; St. John the Evan- David Wagner ]] ] gelist Upper Norwood, London, UK 7:30 pm www.jazzmuze.com DMA 4 AUGUST www.davidwagnerorganist.com Philip Crozier; St. Marien Kirche, Flens- 9 AUGUST 203 386 9992 burg, Germany 11 am Stephan Leuthold; Dom St. Petri, Bre- Nicoló Sari; St. Martin, Leutkirch, Ger- men, Germany 7 pm many 11:15 am Kensuke Ohira; Dom, Limburg, Ger- 10 AUGUST many 4 pm Sietze de Vries; Münster, Konstanz, Thomas Ennenbach; Dom, Merseburg, Germany 8 pm Kevin Walters KARL WATSON Germany 5 pm M.A., F.A.G.O. Andreas Dorfner; St. Wolfgang, Reutlin- 11 AUGUST SAINT LUKE’S Istvan Ella; Dom, Merseburg, Germany gen, Germany 8 pm 5 pm Rye, New York Daniel Roth METUCHEN ; Stiftskirche, Tübingen, Ger- Kay Johannsen; Marienkirche, Reutlin- many 8 pm gen, Germany 8 pm Armando Salarza; Basilika, Tongeren, Holger Gehring; Stiftskirche, Tübingen, Belgium 4 pm Germany 8 pm Adrien Pièce; Le Musée Suisse de Arnaud van de Cauter; Basilika, Ton- Alan G Woolley PhD RONALD WYATT l’Orgue, Roche, Switzerland 5:15 pm geren, Belgium 4 pm Musical Instrument Research Richard Lea & Matthew Searles; Buck- Léon Berben; Basilika, Tongeren, Bel- Edinburgh Trinity Church fast Abbey, Devon, UK 7:30 pm gium 8 pm [email protected] Galveston

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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 27 Calendar

Damien Savoy; Le Musée Suisse de Stanislav Šurin; Jesuitenkirche St. Mi- 21 AUGUST Vincent Warnier; Église Saint-Guillau- l’Orgue, Roche, Switzerland 5:15 pm chael, München, Germany 4 pm Barbara Wagner & Bernd Wintermann; me, Strasbourg, France 8:30 pm Ulrich Reinhardt, with soprano; St. Jo- Erlöserkirche, München-Schwabing, Ger- 12 AUGUST sef, Kollnau, Germany 8 pm many 9 pm 26 AUGUST Christoph Hauser; Jesuitenkirche, Vi- Terence Atkins; Chingford Parish Roman Summereder; St. Michael & St. Ulrich Walther; Jesuitenkirche, Vienna, enna, Austria 6:20 pm Church, Chingford, London, UK 1:10 pm Gudula Cathedral, Brussels, Belgium 8 pm Austria 6:20 pm Franz Sooyoung Choi; Weltkulturerbe Michael Overbury; St. George’s, Ha- Wolfgang Seifen; Klosterkirche, Kloster, Maulbronn, Germany 11 am 16 AUGUST nover Square, London, UK 1:10 pm Fürstenfeldbruck, Germany 12:10 pm Michal Markuszewski; Dom, Altenberg, Christian Skobowsky, with cello; Dom Hartmut Haupt; Kilian-Kirche, Bedheim, Germany 11:45 am St. Petri, Bremen, Germany 7 pm 22 AUGUST Germany 5 pm Giulio Mercati; St. Johannes Baptist Gerhard Löffler; Klosterkirche, Fürsten- Willibald Guggenmos; Dom, Altenberg, Siegfried Gmeiner; Stiftskirche, Tübin- Kirche, Herford, Germany 6 pm feldbruck, Germany 12:10 pm Germany 8 pm gen, Germany 12:15 pm Jan von Busch; Kilian-Kirche, Bedheim, Giampaolo di Rosa; St. Mikaelis Kirche, Heinz-Peter Kortmann, with trumpet; Michel Robert, organ & piano; Notre- Maria-Waldrast, Krefeld-Forstwald, Ger- Germany 5 pm Dame des Neiges, Alpe d’Huez, France Hamburg, Germany 7 pm Jean-Pierre Griveau; Münster, Herford, Steffen Walther; Erlöserkirche, Pots- many 6 pm 8:45 pm Ansgar Schlei, with Vokalsolisten Fulda; Germany 6 pm dam, Germany 7:30 pm Wayne Marshall; Kathedrale, Dresden, Willibrordi-Dom, Wesel, Germany 6 pm Wolfgang Seifen; Pfarrkirche St. 17 AUGUST Peter Wagner Germany 8 pm ; Liebfrauenkirche, Hamm, Cyriakus, Krefeld-Hüls, Germany 6 pm Franz Josef Stoiber; Dom, Frankfurt, Germany 6:30 pm Constance Taillard, with violin; Église Christian-Markus Raiser; Evangelische Germany 8 pm Richard Townend; Abbatiale d’Ebers- Stadtkirche, Karlsruhe, Germany 8:30 pm Jean-Baptiste Robin; Münster, Kon- Saint-Paul, Strasbourg, France 12:10 pm munster, Ebersmunster, France 5 pm Lorenzo Ghielmi, organ and harpsi- stanz, Germany 8 pm Benjamin Alard; Église Sainte-Aurélie Thierry Escaich; Église Saint-Paul, chord; Basilika, Tongeren, Belgium 3 pm Strasbourg, France 6:30 pm Strasbourg, France 8:30 pm Colin Andrews; St. Paul’s Cathedral, 18 AUGUST Martin Moudrý; Saint-Pierre-le-Vieux, Matthew Jorysz; Westminster Abbey, London, UK 4:45 pm Rudolf Peter, works of Bach; Au- Strasbourg, France 8:30 pm London, UK 5:45 pm Hyunju Hwang; Westminster Abbey, gustinerkirche, Landau/Pfalz, Germany 6 Rory Thorndyke; Chingford Parish London, UK 5:45 pm pm Church, Chingford, London, UK 1:10 pm 27 AUGUST Philip Crozier; Notre-Dame Basilica, Gunter Kennel Matthias Grünert; St. Thomae, Soest, ; Stiftskirche, Tübingen, 23 AUGUST Montréal, QC, Canada 7 pm Germany 8 pm Germany 7:30 pm Iris Rieg; Dom St. Petri, Bremen, Ger- Robert Marsh; Christ Church, Skipton, Luc Ponet; Basilika, Tongeren, Belgium many 7 pm 13 AUGUST 4 pm UK 11 am David Franke; Peterskirche, Basel, Swit- Andreas Meisner; Dom, Altenberg, Ger- Nathalie Effenberger; Le Musée Suisse zerland 7:30 pm many 8 pm 28 AUGUST de l’Orgue, Roche, Switzerland 5:15 pm James David Christie; Landkommende Jean-Luc Ho, with soprano; Église Deprez, with Ensemble Oxalys; Thomas Ospital; Victoria Hall, Hanley, Alden Biesen, Bilzen, Belgium 8 pm Sainte-Madeleine, Strasbourg, France St. Michael & St. Gudula Cathedral, Brus- Stoke-on-Trent, UK 12 noon 12:30 pm sels, Belgium 8 pm 14 AUGUST Véronique Le Guen & Anne Vataux; Michael Grill; Erlöserkirche, München- 19 AUGUST Église Saint-Thomas, Strasbourg, France 29 AUGUST Schwabing, Germany 9 pm Nathan Laube; Jesuitenkirche, Vienna, 8:30 pm Horst Allgaier; Stiftskirche, Tübingen, Albrecht Koch, Bach, Die Kunst der Austria 6:20 pm Germany 12:15 pm Fuge; St. Michael & St. Gudula Cathedral, Fabian Wöhrle; Weltkulturerbe Kloster, 24 AUGUST Andreas Liebig; St. Mikaelis Kirche, Brussels, Belgium 8 pm Maulbronn, Germany 11 am Kensuke Ohira; Münster, Konstanz, Hamburg, Germany 7 pm Alex Flood; Grosvenor Chapel, London, Rolf Müller, with euphonium; Dom, Al- Germany 8 pm Rudolf Lutz; Friedenskirche, Potsdam, UK 1:10 pm tenberg, Germany 11:45 am Junko Ito; Église Saint-Pierre-Le-Vieux Germany 7:30 pm Angela Metzger; Klosterkirche, Fürsten- catholique, Strasbourg, France 12:30 pm Hayo Boerema; Kreuzkirche, Dresden, 15 AUGUST feldbruck, Germany 12:10 pm Lorenzo Ghielmi; Église du Bouclier, Germany 8 pm Harald Vogel; St. Pankratius Kirche, Marie Sophie Goltz; Stiftskirche, Tübin- Frank Hoffman, with trumpet; St. Justin- Strasbourg, France 6:30 pm ius, Frankfurt, Germany 5 pm Monica Melcova; Église Saint-Paul, Hamburg-Neuenfelde, Germany 8 pm gen, Germany 12:15 pm Michael Emerson; Chingford Parish Andreas Brassat, with mezzo-soprano; Arvid Gast, with soprano & trumpet; Strasbourg, France 8:30 pm Friedenskirche, Potsdam, Germany 5 pm Church, Chingford, London, UK 1:10 pm Klosterkirche, Fürstenfeldbruck, Germany Martin Baker; , Enrico Zanovello; Neuapostolische 25 AUGUST 5 pm London, UK 7:30 pm Markéta Schley-Reindlová, with sopra- Kirche, Herford, Germany 6 pm Michael Schönheit; Dom, Merseburg, no; Stadtpfarrkirche St. Martin, Bamberg, Roland Uhl; Pfarrkirche St. Gertrudis, Germany 5 pm Johannes Quack; St. Wolfgang, Reutlin- 30 AUGUST Germany 5:30 pm Krefeld-Bockum, Germany 6 pm Martin Strohhäcker; Dom St. Petri, Bre- gen, Germany 8 pm Samuel Kummer; St. Mikaelis Kirche, Linda Sítková; Evangelische Stadt- men, Germany 7 pm Hamburg, Germany 7 pm kirche, Karlsruhe, Germany 8:30 pm Jens Wollenschläge, with Landesju- Michael Utz, with orchestra; Abteikirche, Anna Vavilkina, silent fi lm; Frieden- Herman Jordaan; Methodist Central gendchor NRW; Stiftskirche, Tübingen, Brauweiler/Köln, Germany 7:30 pm skirche, Potsdam, Germany 7:30 pm Hall, Westminster, London, UK 3 pm Germany 8 pm Gerhard Löffler; Ss. Peter & Paul Kirche, Keiko Inoue; Frauenkirche, Dresden, Mélanie Barney; St. Paul’s Cathedral, Ivo Smets; Basilika, Tongeren, Belgium Cappel, Germany 8 pm Germany 8 pm London, UK 4:45 pm 4 pm Ines Maidre; Dom, Altenberg, Germany Antonio Garcia, with panfl ute; Le Mu- 8 pm sée Suisse de l’Orgue, Roche, Switzerland 5:15 pm 31 AUGUST Serge Schoonbroodt, with dance; Salle Jörg-Andreas Bötticher, with violin; de l’Aubette, Strasbourg, France 4 pm Cosmas & Damian Kirche, Bockhorn, Ger- Pascal Vigneron, Bach, Goldberg Varia- many 7 pm tions; Chapelle Saint-Etienne, Strasbourg, Giampaolo di Rosa; Münster, Konstanz, France 6 pm Germany 8 pm

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28 Q THE DIAPASON Q JULY 2018 WWW.THEDIAPASON.COM Recital Programs

GAIL ARCHER, Cathedral of St. Philip, to (Sonata XI, op. 148), Rheinberger; Nocturne STEPHAN GRIFFIN, Cathedral of the per Annum, Pärt; Radetzky March, Strauss, Atlanta, GA, January 21: Prelude and Fugue in (A Midsummer Night’s Dream), Mendelssohn; Assumption, Louisville, KY, February 2: The transcr. Lane; Fanfare (La Péri), Dukas, d, op. 98, Glasunow; Prelude in g, Prelude in Procession of the Nobles (Mlada), Rimsky-Kor- Little Shepherd (transcr. Roques), Golliwog’s transcr. Gower. A-fl at, Cui; Toccata, Slonimsky; Night on Bald sakov; Finlandia, Sibelius; Nessun Dorma (Tu- Cakewalk (transcr. Heywood) (Children’s Cor- Mountain, Mussorgsky, transcr. Szathmary. randot), Puccini; Scherzo (Sonata VIII), Guil- ner), Debussy; Valse Mignonne, Karg-Elert; TIMOTHY SPELBRING, Presbyterian St. Procopius Abbey, Lisle, IL, February mant; O mio babbino caro (Gianni Schicchi), Prelude and Fugue in e, BWV 548, Bach; Vater Homes, Evanston, IL, January 22: Sonata 24: Meditations sur le Mystere de la Sainte Puccini; Vilja Lied (The Merry Widow), Lehar; unser im Himmelreich, Böhm; Imperial March, III in A, op. 65, no. 3, Mendelssohn; varia- Trinité, Messaien. Variations on a Theme of Arcangelo Corelli, Elgar, transcr. Martin; Sometimes I feel like a tions 1–5 (Canonic Variations on Vom Him- Kreisler; Regina Coeli (Cavalleria Rusticana), motherless child, When I lay my burden down mel hoch, da komm ich her, BWV 769), Bach; KAREN BLACK, Cathedral of St. Philip, Mascagni; Pines of the Appian Way (Pines of (Lay my burden down), Farrington; Improvi- Toccata Sesta, Canzona Quarta, Frescobaldi; Atlanta, GA, January 28: Fantasy and Fugue Rome), Respighi. sation on St. Clement, Hancock. Three Compositions on Amazing Grace, Ore; in F, J. E. Bach; Outer Hebrides: A Fantasia Final (Symphonie VI in g, op. 42), Widor. on Three Celtic Melodies, Halley; Prelude ISABELLE DEMERS, Meyerson Sym- MICHAEL HEY, St. Thomas Church Fifth on the Carillon d’Alet, Phillips; Fantasy and phony Center, Dallas, TX, February 11: Avenue, New York, NY, December 10: Concer- JEREMY DAVID TARRANT, First and Fugue in g, BWV 542, Bach. Prelude and Fugue in D, BWV 532, Bach; to in F, Walther; Magnifi cat primi toni, Pachel- Calvary Presbyterian Church, St. Louis, Symphony No. 5 in d (Reformation), op. 107, bel; Sonata in G, BWV 530, Bach; Sonata I in f, , January 21: Prelude and Fugue in G, ADAM BRAKEL, St. John’s Episcopal Ca- Mendelssohn, transcr. Demers; Symphonie V op. 65, no. 1, Mendelssohn. BWV 541, Bach; Scherzo, Litaize; Cantabile, thedral, Jacksonville, FL, January 21: Corona- in a, op. 47, Vierne. Franck; Sketch in c, op. 58, no. 1, Sketch in tion March (Le Prophète), Meyerbeer; Fanta- St. John’s Cathedral, Denver, CO, Febru- DANIEL HYDE, St. Thomas Church D-fl at, op. 58, no. 4, Fugue on B-A-C-H, op. sy and Fugue on Ad Nos ad salutarem undam, ary 16: Allegro Vivace (Symphonie V, op. 42), Fifth Avenue, New York, NY, December 3: 60, no. 3, Sketch in f, op. 58, no. 3, Schumann; Liszt; Adagio (Sonata in e), Nanney; Prelude Widor; Sonata in c, BWV 526, Bach; Harry Fuga sopra il Magnifi cat, BWV 733; Sonata II, Moderato, Choral, Andante—Allegretto, Fi- and Fugue in C, BWV 547, Bach; Variations Potter Symphonic Suite, Williams, transcr. Hindemith; Voluntary XXIX for Double Or- nal (Symphonie VII, op. 42, no. 3), Widor. sur un Noël, Dupré; Toccata in D, Lanquetuit. Demers; Final (Symphonie V in a, op. 47), gan, Blow; Prelude and Fugue in g, WoO 10, Vierne; Cortège Académique, MacMillan; Brahms; Suite on the Magnifi cat, Dandrieu; GWENDOLYN TOTH, Trinity-by-the- JAMES BROWN, with Mark Ponzo, trum- Rhapsody in D-fl at, op. 17, no. 1, Howells; Toccata alla Rumba, Planyavsky. Cove Episcopal Church, Naples, FL, Janu- pet, Our Saviour’s Lutheran Church, Arling- Symphony No. 5 in d (Reformation), op. 107, ary 18: Kochersperger Spanioler (Amer- ton Heights, IL, January 14: Toccata in D, Mendelssohn, transcr. Demers. ROSALIND MOHNSEN, Trinity bach Orgeltablaturen), Kotter; Maria zart Martini; Concerto in b, Vivaldi, transcr. Wal- Church, Melrose, MA, Dec. 13: Nun komm in re (Kleber Orgeltabulatur), anonymous; ther; Concerto in D, Tartini; Concerto in g, JOHN FENSTERMAKER, organ & celes- der Heiden Heiland, BWV 661, Bach; Veni, Tandernack in la (Kleber Orgeltabulatur), Handel; Valet will ich dir geben, BWV 736, ta, & JAMES GBUREK, harpsichord, piano, Veni Emmanuel, Near; Sortie on Veni, divin Hofhaimer; Susanna ung jour (Clavierbuch Bach; Concerto in C, Albinoni. & accordion, Trinity-by-the-Cove Episcopal Messie (Pièces posthumes), Franck; In dulci der Susanna van Soldt), di Lasso; Ciaccona Church, Naples, FL, December 19: A Mighty jubilo, BWV 729, attr. to Bach; Introduction (Selva di varie compositioni d’intavolatura), JOSHUA BULLOCK, St. Francis-in-the- Fortress Is Our God, Praetorius; Greensleeves, and Variations on an old Polish Carol, Guil- Storace; Mascarata in g, Scheidemann; Hexa- Fields Episcopal Church, Harrods Creek, arr. Purvis; Noël nouvelet, Quelle est cette mant; Puer Natus Est, Titcomb; God Rest Ye chord Fantasy, Sweelinck. KY, February 4: Trumpet Tune in G, Owens; Odeur agréable?, Touro-Louro-Touro, Dors, Merry, Gentlemen, Roberts. Veni Creator Spiritus, Scheidt; The Peace ma Columbe, Pat-a-pan (French Carol Min- DAVID TROIANO, Cathedral Church of May Be Exchanged (Rubrics), Locklair; Cho- iatures), arr. Hopson; Pianosong, Halley; JOHN SHERER, Fourth Presbyterian St. Paul, London, ON, Canada, November 21: ral in a, Franck. Miniature Overture, March, Dance of the Church, Chicago, IL, December 22: March Promenade, Young; Andante con moto, Best; Sugar-plum Fairy, Russian Dance, Arabian on a Theme by Handel, Guilmant; Wachet auf, Air, Wesley; Trio, Smart; Elegy, Parry; Alle- ELIZABETH & RAYMOND CHE- Dance, Dance of the Reed-fl utes, Waltz of ruft uns die Stimme, Nun komm der Heiden gro, Wesley; Allegro moderato, Best; Andante NAULT, First Presbyterian Church, Gaines- the Flowers (Nutcracker Suite), Tchaikovsky, Heiland, Bach; O Come, O Come, Emmanuel, grazioso, Smart; Requiem, op. 182, Stanford; ville, FL, January 28: Choral (Sonate à Deux), transcr. Fenstermaker; The Merry Christmas Lau; A Child Is Born, Titcomb; Noël, d’Aquin; Promenade, Young. Litaize; Saint Anthony in Meditation (The Polka, Burke. Vom Himmel hoch, da komm ich her, Pach- Central United Church, Sarnia, ON, Can- Triumph of the Saint), Paulus; Allegro for Or- elbel; What Child Is This?, Wright; Silent ada, December 14: Nun komm, der Heiden gan Duet, Moore; The Emerald Isle, Ragtime, THOMAS GOUWENS, Loyola Univer- Night, Barber; Bring a Torch, Jeanette Isa- Heiland, BWV 599, Lob sei dem allmächtigen Callahan; Shenandoah, White; A Fancy for sity, Chicago, IL, January 21: Improvisation bella, Chapman. Gott, BWV 602, Bach; Lo, How a Rose, arr. Two to Play, Hancock; Variations on Veni on the Te Deum, Tournemire; Plein chant du Fourth Presbyterian Church, Chicago, Smith; Gott, durch deine Gutte, BWV 600, Creator Spiritus, Briggs. premier Kyrie, Tierce en taille, Dialogue sur IL, January 26: Introduction and Open- Vom Himmel kam der Engel schar, BWV 607, les grands jeux (Mass for the Convents), Cou- ing (Also Sprach Zarathustra), Strauss, Bach; What is this Fragrance?, arr. Lovelace; PETER RICHARD CONTE, with AN- perin; Cortège et Litanie, op. 19, no. 2, Du- transcr. Pfl üger; Prelude and Fugue in C, It Came Upon the Midnight Clear, arr. DREW ENNIS, fl ugelhorn and organ, Walt pré; Méditation, Durufl é; Deux Danses à Agni BWV 531, Ach wie fl üchtig, ach wie nichtig, Schmutz; Holy Night, arr. Varner; Carol of the Disney Concert Hall, Los Angeles, CA, Febru- Yavishta, Alain; Stèle pour un enfant défunt Das alte Jahr vergangen ist, Bach; Fanfare Bells, arr. Smith; Jezus Malusienki, arr. Szeja; ary 18: Overture (Yeoman of the Guard), Sul- (Triptyque, op. 58), Vierne; Impromptu, Car- for the New Year, Hampton; Forlana, Finzi, God Rest Ye Merry, Gentlemen, arr. Bish; livan; Quando m’en vo (La Bohème), Puccini; illon de Westminster (24 Pièces de fantaisie, transcr. Gower; Fanfare for the Common First Noël, arr. Varner; In dir ist Freude, BWV Funeral March of a Marionette, Gounod; Agita- op. 54), Vierne. Man, Copland, transcr. Stetsenko; Annum 615, Bach.

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sound INSPIRATION Check your listing in DIAPASON Student Rate Acoustical Design & Testing • Organ Consultation & $20 one year Inspection • Organ Maintenance & Tuning • Sound & Video The Diapason 847/954-7989 System Design, Evaluation & Training WOW! www.riedelassociates.com • (414) 771-8966 [email protected] email: [email protected] Resource 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Directory Don’t just tell people what you _ If changes are needed in your have for sale. Show them! listing, contact Jerome Butera Own a piece of history! 608/634-6253 The cover of the 100th Anniversary [email protected] Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

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POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Morel and Associates, Organ Builders of Den- New from Fruhauf Music Publications: Johann Consoliere Classic Series for Organ: Complete Organ Music of René Louis Becker, Vol. 3, a ver, Colorado, is seeking an experienced pipe Sebastian Bach’s Fanatasia and Fugue (frag- Set of Six Books. An outstanding collection com- new Raven CD. Damin Spritzer plays the 1938 organ technician to join our company to assume ment) in C-minor, S. 562, is featured in two paired piled from World Library Publication’s extensive Kimball 4-manual, its original 96 ranks restored, the position of Service Manager. Please mail or complimentary online publications. Presented organ library. A must for any church organist. at St. John’s Cathedral, Denver, now with a email résumé to: Rick Morel, 4221 Steele St., in letter-sized PDF booklets that include notes, 003067, $54.00, 800/566-6150, Wlpmusic.com. 17-rank antiphonal added. Becker (1882–1956) Denver, CO 80216; email: [email protected]. music scores and appendices, the fantasia’s was an Alsatian-American composer, teacher, notation has been clarifi ed in a performance edi- and organist who worked 52 years in St. Louis, tion, and the fugue fragment includes a specula- Ed Nowak, Chicago-area composer, arranger, Illinois, and Michigan. Spritzer’s previous two vol- Wanted: Organists visiting Maui. Lahaina’s Holy tive realization. Visit www.frumuspub.net and and church musician, announces his new web- umes of Becker’s works, still available on Raven, Innocents Episcopal Church invites visiting organ- scroll down to the Bulletin Board to access both site, featuring Nowak’s original choral works, received stellar reviews. The new CD is the fi rst ists to play its Beckerath Positiv organ at Sunday fi les for download. hymn concertatos, chamber and orchestral to be recorded on the completed organ and services. Built in 1972 by Rudolf von Beckerath and works, organ hymn accompaniments, organ contains 10 works, all not previously recorded. then-apprentice Hans-Ulrich Erbslöh for Honolulu’s and piano pieces, electronic music, and psalm Raven OAR-999 $15.98 postpaid. Raven, Box Lutheran Church, the 408-pipe Shrankpositiv has Organa Europae calendars featuring famous settings. The website offers scores and recorded 25111, Richmond, VA 23261; 804/355-6386, a 54-note “split” manual, 30-note pedal, 11 stops, pipe organs of Europe; years 1969 to 1977. examples that are easy to sample and can be RavenCD.com. 8 ranks, and 6 registers. Holy Innocents acquired $10.00 each. 219/662-0677, [email protected]. purchased in downloaded (PDF and MP3) or the instrument in 1977 and moved it to Maui where printed form. Visit ednowakmusic.com. it has been played by parish musicians such as Yun Kim plays the 57-rank Dobson organ at Carol Monaghan and visiting artists including Organs of Oberlin chronicles the rich history of First Presbyterian Church, Battle Creek, Michigan, Angus Sinclair of Canada and Dalibor Miklavcic of organs at Oberlin College, the Conservatory of Pipe Organs of the Keweenaw by Anita on a new CD from Raven. The organ incorporates Slovenia. The instrument is extremely responsive Music, and the town of Oberlin, Ohio. The hard- Campbell and Jan Dalquist, contains his- remaining ranks of the much rebuilt 1928 E. M. and fi lls the worship space beautifully. The parish bound, 160-page book with many illustrations tories, stoplists, and photos of some of Skinner op. 720, other old and new stops, and community is “exemplary in its hospitality to all visi- is the most comprehensive study of traceable the historic organs of the Keweenaw Pen- new mechanism. Yun Kim is organist of Christ tors,” and that especially includes visiting organists. organs from 1854 to 2013. The book measures insula, the northernmost tip of Michigan’s Episcopal Church, Dayton, Ohio, and a winner of For information: 808/661-4202; holyimaui.org. ″ ″ 8½ x 11 and features a dust jacket with color- Upper Peninsula. Organs include an 1899 regional and national AGO competitions. Unusual ful illustrations not found in the book. Organs by Barckhoff and an 1882 Felgemaker. The works include Summerland by William Grant the Skinner Organ Company, Aeolian-Skinner, booklet ($8.00 per copy, which includes post- Still (arr. Nies-Berger); Prokofi ev: Toccata, op. 11 PUBLICATIONS / RECORDINGS C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, age) is available from the Isle Royale and (trans. Jean Guillou); four movements of English and many others are featured. Text by Stephen Keweenaw Parks Association, 49445 US Hwy composer Iain Farrington’s Fiesta!; Australian Schnurr, foreword by James David Christie; Certified appraisals—Collections of organ Robert Ampt’s Concert Etude on an Australian photographs by William T. Van Pelt, Trevor 41, Hancock, Michigan 49930. For information: books, recordings, and music, for divorce, Folk Tune Pub with No Beer; and familiar works Dodd, Halbert Gober, as well as rare vintage 800/678-6925. estate, gift, and tax purposes. Stephen L. by Bach (Toccata in C, BWV 566a), Vierne (Les examples. $50, plus $5 shipping. Visit www. Pinel, Appraiser. 629 Edison Drive, East Wind- Cloches de Hinckley and Clair de Lune) and organsofoberlin.com. sor, NJ 08520-5205; phone: 609/448-8427; The Tracker—The Brahms (Herzlich tut mich erfreuen). Raven OAR- email: [email protected]. quarterly journal includes news and articles 142 $15.98 postpaid. Raven, Box 25111, Rich- The new Nordic Journey series of CD record- about the organ and its history, organ builders, mond, VA 23261; 804/355-6386, RavenCD.com. Chinoiserie, a musical character piece from ings reveals premiere recordings of symphonic exemplary organs, and regional surveys of 1921 patterned after the popular intricate Chinese organ music—much of it still unpublished—from instruments. Both American and European organ decorative design, is again available. Firmin Nordic composers, played by American organist topics are discussed, and most issues run 32 PIPE ORGANS FOR SALE Swinnen is best known for his long tenure at James Hicks on a variety of recently restored pages with many illustrations and photographs. Longwood Gardens, but he was a theatre organist Swedish organs. It’s a little bit like Widor, Reger, Membership in the OHS includes a subscrip- Historic 1859 ROBJOHN, II+Ped, 11 ranks. before accepting that position. Hear Peter Conte and Karg-Elert, but with a Nordic twist. Check it tion to The Tracker. Visit the OHS Web site for Drop dead gorgeous rosewood case, 14′-2″ tall. play this little gem at michaelsmusicservice.com; out at www.proorgano.com and search for the subscription and membership information: www. Lovely for chapel, large residence, or museum. 704/567-1066. term “Nordic Journey.” organsociety.org. www.bigeloworgans.com. Click on News.

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PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SERVICES / SUPPLIES

34-rank Casavant pipe organ for sale. Orgues 2005 Wahl pipe organ, Ann Arbor, Michigan. Deagan tubular tower chime, pre-1936, 15 Releathering all types of pipe organ actions Létourneau is offering a 33-stop Casavant Frères Exquisite cherry casework and craftsmanship. note, E3 chromatic to G4, except omitting F#4. and mechanisms. Highest quality materi- pipe organ (Opus 2518 from 1959) for sale. This Six-stop, two-manual tracker. Concave parallel Old action bases and actions available; no frame, als and workmanship. Reasonable rates. electro-pneumatic instrument is currently in pedalboard. Requires 9′ ceiling. $80,000 or best nor additional equipment. Asking $19,000. Prefer Columbia Organ Leathers 800/423-7003. storage at the Létourneau shops and is avail- offer; would be $145,000 new. Contact ferrellc@ pick-up, located Southwest Ohio. Can ship at www.columbiaorgan.com/col. able for purchase in “as is” condition for USD gmail.com. Pictures and specs at www.wahlorgan- additional charge; rebuilding services avail- $60,000 with its original three-manual console. builders.com/organs/practice/Six-stopPO.shtml able. Contact [email protected], or call Do you have a pipe organ that you would Likewise, Létourneau would be pleased to pro- 937/378-2355. like to interface with an electronic or digital vide a proposal to rebuild this instrument, taking Rieger 23-rank mechanical pipe organ for sale. organ? We can interface any digital organ or into account any desired changes to the stoplist any organ console with any pipe organ. For more as well as installation costs, voicing, casework Two 61-note manuals and 32-note AGO concave, Excellent used pipes, like new Austin actions radiating pedals. 1,221 pipes, manual and pedal information e-mail [email protected] (not as required, and rebuilding the three-manual half price, all sizes of re-leathered bellows and couplers, and tremulant; includes 3 separate Comcast) or call 215/353-0286. console with a new solid-state switching system. solid-state equipment. Milnar Organ Company, mixture stops and 2 reed stops. Gently voiced for The organ requires approximately 570 sq. ft. 615/274-6400, [email protected]. ′ ′ a chapel or home use. Compact design: width: Please visit our website for information on avail- with 20 ceiling for 16 ranks. For more details, 1 ANNOUNCEMENTS 5′-8 ⁄8″, depth 7′-3¼″, height 7′-3½″ with sepa- visit www.letourneauorgans.com, email info@ able inventory: www.milnarorgan.com. rate electric blower 2′ x 2′-1″ x 2′-5″. Mechanical letourneauorgans.com or call Andrew Forrest at key and stop action, slider windchest. Reduced to 450/774-2698. Looking to go green? THE DIAPASON’S new digi- $45,000.00. For more details call 360/945-0425 Consoles, pipes, and numerous miscellaneous tal edition is the perfect solution! Receive your parts. Let us know what you are looking for. or see OHS Organ Data Base, Rieger Orgelbau, magazine promptly and reliably by email. Digital Practice organ by Mark Lively (built 1988 for Gaspar Schulek Residence. E-mail [email protected] (not comcast), subscriptions are cheaper as well, $35/year. Stu- Anne & Todd Wilson). Mechanical action, 2 phone 215/353-0286 or 215/788-3423. dent subscriptions are only $20/year. Visit www. manuals, 5 stops, 4 ranks. 61/32 compass, AGO Circa 1860 Pfeffer eight-rank organ, available thediapason.com/subscribe. standard pedalboard. Case dimensions: 63″ rebuilt and custom fi nished. Also 1884 choir wide X 34″ deep X 95″ high. Pedalboard and SERVICES / SUPPLIES ″ organ by Louis Debierre. Both are pictured on the THE DIAPASON’S 20 Under 30 program returns bench extend 29 from front of case. $20,000. Redman website: www.redmanpipeorgans.com. Purchaser responsible for removal and reloca- Aeolian/Robert Morton-style maroon with the Class of 2019! It’s not too early to think of young leaders in the world of the organ, harp- tion (instrument is in Cleveland, Ohio). Contact leather is now available from Columbia Organ sichord, carillon, and church music for your nomi- Todd Wilson: [email protected]. Leathers! Highest quality. 800/423-7003, JC Taylor 2001 tracker pipe organ. Two manu- nation. Nominations will open in late December. 216/774-0421. www.columbiaorgan.com. als, fi fteen ranks, solo stop in pedal. Picture Be sure to watch future issues and our website and disposition at stjamesgreenbay.org. Mint (www.thediapason.com) for further details! condition. Price negotiable. More information at Aeolian Duo-Art Pipe Organ, Opus 1560. 920/435-1430. Complete Pipe Organ Services from the Organ 3 manuals: Great, Swell, Choir, and Pedal— Clearing House: 450 vintage pipe organs avail- Postal regulations require that mail to THE able, renovation, tuning, consultation. Other enclosed. 48 ranks, Harp and Chimes, all stops DIAPASON include a suite number to assure 73 pipes. Restored Dave Junchen 1990, moved Casavant Freres Opus 3818, 2004. 3-manual services include transportation, cleaning and delivery. Please send all correspondence to: Pasadena, CA to San Antonio, TX. Pipe crate drawknob, 52 ranks, E/P action in excellent play- renovation of carvings, reredos, liturgical furnish- THE DIAPASON, 3030 W. Salt Creek Lane, Suite storage in air-conditioned house. 214/991-1009, able condition. Scottsdale, AZ. Steve Beddia, ings. Call John Bishop at 617/688-9290. john@ 201, Arlington Heights, IL 60005. [email protected]. 609/432-7876, [email protected]. organclearinghouse.com.

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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2018 Q 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Katelyn Emerson 2016 AGO National Competition Winner Available 2016-2019

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