THE DIAPASON
FEBRUARY, 2010
First United Methodist Church Rocky Mount, North Carolina Cover feature on pages 30–31
Feb 2010 COVER.indd 1 1/13/10 8:15:37 AM Feb 2010 pp. 2-18.indd 2 1/13/10 8:17:07 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred First Year: No. 2, Whole No. 1203 FEBRUARY, 2010 100th anniversary issue Seminary. When Arthur Carkeek taught Established in 1909 ISSN 0012-2378 Thank you for the whimsical classi- at DePauw, I presented them to the li- An International Monthly Devoted to the Organ, fi eds—they are a hoot! I look forward brary there, where I fervently hope they the Harpsichord, Carillon, and Church Music to each issue. There is always news and still exist. Somewhere in a mid-60s issue informed discussion which expands my is a photo of me and Art Carkeek and the world, and I appreciate both the pedago- librarian at the time of the presentation. gy and the occasional humor to be found; Incidentally, I identifi ed all the people CONTENTS Editor & Publisher JEROME BUTERA [email protected] in fact, everyone should subscribe to the on the cover correctly except for Rolan- 847/391-1045 magazine if for no other reason than that de Falcinelli. Kudos again. FEATURES it is a “good read.” Charles Huddleston Heaton Bedient update: The University of Iowa Associate Editor JOYCE ROBINSON Much of my new organ music is pur- Pittsburgh, Pennsylvania by Jon Taylor 19 [email protected] chased on the basis of reviews in “New 847/391-1044 University of Michigan Historic Tour LVI Organ Music,” and the information is I am so thankful that I made contact Spain (Catalonia) and France, July 7–22 generally accurate and understandable with you in November, and “got back on by Timothy Huth 20 Contributing Editors LARRY PALMER Harpsichord enough that I can fi lter out what is suit- track” by restoring myself as a subscriber The Chopin Bicentennial: able for me, and I seldom regret the of The Diapason. Thank you for the Celebrating at the Harpsichord? JAMES MCCRAY choices made. John Bishop’s column is magnifi cent 100th anniversary issue. I by Larry Palmer 23 Choral Music one of the fi rst I turn to, but really, noth- have read and re-read it many times and ing escapes my perusal—the entire jour- it is a thrill to have it in my hands. Tales of 1001 Pipes. For Mendelssohn’s BRIAN SWAGER organ lessons: The Wagner Organ Carillon nal is put together well. Best wishes as In the anniversary issue replica there at St. Mary’s Church, Berlin you start your next 100 years! is a “Directory of Organ Builders,” which by Michael Gailit 24 JOHN BISHOP Gary Hauser includes Henry Pilcher’s Sons of Louis- In the wind . . . NEWS & DEPARTMENTS Union, Iowa ville, Kentucky. My father is from Louis- ville, and in July 1941 he took my mother Editor’s Notebook 3 GAVIN BLACK Congratulations on the centenary! and me and my younger brother up there Letters to the Editor 3 On Teaching Thanks for including the facsimile of the to visit his family. I was 13 and already Here & There 3, 4, 5, 6, 8, 10, 12 fi rst issue, a great idea and fascinating playing the organ (a 4-manual Pilcher), Reviewers John L. Speller Appointments 5 Charles Huddleston Heaton reading. All best for many more years, so while in Louisville I took a tour of the Nunc Dimittis 8 Jay Zoller Harold Stover Pilcher factory—it was a thing which I Looking Back 12 John Collins Portland, Maine shall always cherish. Pilcher had two rep- In the wind . . . by John Bishop 12 John M. Bullard resentatives: brothers (Ed and William Leon Nelson On Teaching by Gavin Black 14 Congratulations on a splendid 100th Haury) who covered Texas with Pilcher anniversary issue! I really enjoyed it and organs aplenty. The one I played was in REVIEWS THE DIAPASON (ISSN 0012-2378) is published monthly read every word. I loved the tributes. St. Mary’s Cathedral in Galveston. (There by Scranton Gillette Communications, Inc., 3030 W. Salt Nobody mentioned that it’s the longest, were fi ve others for us to play in AGO per- Music for Voices and Organ 16 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. New Recordings 17 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 continuously running organ journal pub- formances.) Pietro Yon played the dedica- New Organ Music 18 MSG RLY. E-mail:
In this issue by Bill Halsey on the 2009 Toulouse Or- Here & There Among the offerings in this issue of gan Festival, a report by Domecq Smith The Diapason, Jon Taylor from the Be- on the 16th National Choral Festival dient Organ Company provides an up- hosted by the American Boychoir, “Dear Harvard University continues its ries: February 10, music of Steffani date on the organ restorations at the Uni- Diary 1954–1956” by Charles Hud- music series: February 2, Harry Huff and Bach; 2/24, Christophe Mantoux; versity of Iowa following the disastrous dleston Heaton, and an extensive report (12:15 pm masterclass, 7:30 recital); March 24, Mozart, Requiem; April 24, fl oods of 2008. Timothy Huth reports on by Frank Rippl on the 2009 convention March 2, Christa Rakich (12:15 pm mas- Nancianne Parrella, with instruments; the University of Michigan’s 56th (!) His- in Cleveland of the Organ Historical So- terclass, 7:30 recital); 3/28, Bach, St. May 5, music of Monteverdi, Stravinsky, toric Organ Tour, led by Marilyn Mason ciety. Stay tuned. John Passion; April 6, Nancy Granert and Pärt. For information: and Gale Kramer, this time to Spain and (12:15 pm masterclass, 7:30 recital); May
FEBRUARY, 2010 3
Feb 2010 pp. 2-18.indd 3 1/13/10 8:17:53 AM Fest; March 7, Agape Ringers; April 18, series continues: April 11, CONCORA Koroljov (piano), Jory Vinikour (harpsi- bridge, and others. Events will utilize Haydn, The Creation. For information: in Recital—Songs of the Americas, art chord), Mikhail Kollontay (piano), Luz several organs, in particular a Renais-
Daniel Schwandt, John Schwandt, Andrew Peters
The Lutheran School of Theology the Ruth and Paul Manz Scholarship Jean Guillou with USC students and professors at Chicago hosted a Paul Manz Cel- Competition. On November 7, John ebration Weekend November 6–8, 2009. Schwandt presented an improvisation Jean Guillou was featured in a three- fi rst row (l to r): Paul Meier, Weicheng In light of Manz’s death the week before, masterclass at LSTC and concluded the day festival in California. On November Zhao; second row: Joyce Lee, Linda the events went forward as planned, but weekend with a Memorial Hymn Festi- 15, Guillou gave a concert at Walt Dis- West Brown, Aki Sasagawa, Qi Zhang, as a memorial to Manz’s life and ministry. val on November 8 at St. Luke Church ney Concert Hall in Los Angeles. Over Haesung Park; third row: Szymon Grab, On November 6, former Manz Scholar- in Chicago (1962 Schlicker). The LSTC the next two days, he worked with organ Hyunju Hwang, Chris Vezzuto, Ladd ship winners Daniel Schwandt, Andrew Cantorei directed by seminary Cantor students from the Thornton School of Thomas, Jean Guillou, Cherry Rhodes, Peters, and John Schwandt played a re- Daniel Schwandt joined John Schwandt Music, University of Southern California. Hsiao-Ching Chao, Hyejeong Bang, Ar- cital on the Ruth and Paul Manz Organ in presenting music of Manz throughout Shown in the photo are the participat- thur Omura; fourth row: James Calhoun, at LSTC (2004 Bigelow), celebrating the hymn festival. ing USC students with their professors; Marija Loncar Strohm.
4 THE DIAPASON
Feb 2010 pp. 2-18.indd 4 1/13/10 8:18:15 AM family’s nationally recognized bluegrass Appointments band, The Muellers, as a guitarist, man- dolinist, and vocalist. Their eponymous fourth album, The Muellers, was re- Thomas Mueller has been appointed leased in May 2009 and was supported music director and organist at the First by months of national touring. Congregational Church, United Church At the First Congregational Church, of Christ, Camden, Maine. A Maine na- Mueller will work with senior minis- tive, Mueller holds a master’s degree in ter Kevin Pleas and with the church’s organ and sacred music from the Univer- music committee. He is supported by sity of Notre Dame and a degree in jazz Susan Weber, who directs the church’s composition and piano from the Univer- handbell choirs. Mueller will also orga- sity of Maine. At the University of Notre nize the Friends of Music program, a Dame, he was an adjunct instructor as donation-supported concert series that well as a graduate assistant and organist brings professional choral, string, brass at the Basilica of the Sacred Heart. and other musical ensembles to perform Mueller’s choral works have been per- at the church. For information:
Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Organist/Lecturer/ Organist/Conductor/Lecturer Organist/Lecturer/ Cauchefer-Choplin Organist/Harpsichordist/ Recording Artist Organ Faculty and Chair Recording Artist Interpreter/Improviser/ Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Lecturer/Recording Artist Music Director and Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Titular Organist First Congregational Church East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Jean-Baptiste de la Salle Toledo, Ohio School of Music Director, International Organ Festival St. Maria della Speranza Deputy Titular Organist Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy St. Sulpice, Paris, France
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Catherine Ennis Interpreter/Improviser/ Organist/Lecturer Organist/Pianist/ Organist Organist/Lecturer/Recording Artist Recording Artist College Organist Recording Artist Associate Professor of Director of Music Titular Organist Assistant Professor of Organ Professor and Chair Organ and Carillon St. Lawrence Jewry, London UK St. Benigne’s Cathedral and Music Theory Frostburg State University University of Florida Trinity Laban Organ Professor Faculty Converse College Frostburg, Maryland Gainesville, Florida Irish Piper & Organ Duo National Conservatory Spartanburg, South Carolina The Reduced Handel Company Dijon, France London, England
Henry Fairs Faythe Freese Johan Hermans Michael Kaminski Angela Kraft Cross Organist Organist/Lecturer/ Organist/Lecturer/Recording Artist Organist Organist/Pianist/Composer/ 2007 International Recording Artist Conservatory of Music Director of Music Ministries Recording Artist Competition Winner Associate Professor of Organ Cathedral Organist Saint Francis Xavier Church Organist Odense, Denmark School of Music Artistic Director Brooklyn College Faculty The Congregational Church Head of Organ Studies University of Alabama International Organ Festival St. Francis College Faculty San Mateo, California Birmingham Conservatoire Tuscaloosa, Alabama Civic Organist Brooklyn, New York England Hasselt, Belgium
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
FEBRUARY, 2010 5
Feb 2010 pp. 2-18.indd 5 1/13/10 8:18:37 AM is college organist at Vassar College, a Diemer also wrote a piece for Catch- the G. Donald Harrison Aeolian-Skinner Here & There member of the organ and music history poole entitled Variations on Waltzing organ at the Mormon Tabernacle, the faculty at Manhattan School of Music, Matilda. Catchpoole also commissioned program includes works by Bach, Elgar, and director of the music program at Diemer to write a piece for Lyn Fuller, Karg-Elert, Schreiner, Durufl é, Elliott, Barnard College, Columbia University. carillionist at the National Carillon, situ- Wood, and Sousa. Elliott is joined by She serves as director of the Young Art- ated on Aspen Island in central Canber- the women of the Mormon Tabernacle ist and Artist Organ Recitals at historic ra, Australia, for the 40th anniversary of Choir for the Karg-Elert Fuge, Kanzone Central Synagogue. For information: that carillon in April 2010. und Epilog. For information:
Lynn Trapp, Paul Jacobs, Gail White, Marianne Webb, and Alan Vaux Robert Bates Craig Cramer Aaron David Miller Paul Jacobs performed the annual dinner included a presentation by Lynn recital of the Marianne Webb and Da- Trapp, principal artistic director of the vid N. Bateman Distinguished Organ series. Pictured left to right are Lynn Recital Series in Shryock Auditorium at Trapp, Paul Jacobs, Gail White (artis- 425.745.1316 penny@organists.net www.organists.net Southern Illinois University at Carbon- tic director), Marianne Webb, and Alan dale, September 18, 2009. A pre-concert Vaux (Dean, College of Liberal Arts).
6 THE DIAPASON
Feb 2010 pp. 2-18.indd 6 1/13/10 8:19:03 AM Feb 2010 pp. 2-18.indd 7 1/13/10 8:19:27 AM at St. Louis-en-l’Île, Paris, the pro- sold sheet music. She was a past dean of gram includes works by Bruhns, Kerll, the Buena Vista AGO chapter. Pachelbel, Froberger, Böhm, Reincken, Buxtehude, and Bach. For information: Richard A. Starkjohann, died Oc-
Christopher Wrench Jeremy David Tarrant Sonatas; the booklet includes the organ Jeremy David Tarrant celebrat- stoplist and complete registrations. For ed fi fteen years on the music staff of information: Detroit’s Cathedral Church of St. Paul
8 THE DIAPASON
Feb 2010 pp. 2-18.indd 8 1/13/10 8:19:44 AM Quick! Which one would you rather have?
or
Compared to the convolution technology of Acoustic Portrait™, all other reverb is kid stuff. Only Acoustic Portrait reproduces the real acoustics of renowned performance halls, theatres and churches with stunning realism. In fact, Acoustic Portrait is as different from the generic reverb of other instruments as the two “telephones” above are from one another.
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150 Locust Street, P. O. Box 36, Macungie, PA 18062-0036 Phone: 610-966-2202 • Fax: 610-965-3098 E-mail: [email protected] www.allenorgan.com the Royal Carillon School in Mechelen, Opus 3040 organ at Union Congrega- Belgium, where she received her diplo- tional Church, Groton, Massachusetts, ma “with great distinction.” and other projects. In 1971 Sally moved to Andover, Mas- Among current projects: releather- sachusetts, initially as house counselor at ing reservoirs for the Ferris organ at Abbot Academy, but two years later she Round Lake Auditorium; restoration of was hired as a music librarian at Phillips 1831 William Goodrich organ at Second Academy, Andover, a position she held Congregational Meeting House Society until her retirement 30 years later. Dur- (Unitarian) in Nantucket; rebuilding ing her tenure she is credited with having the Hook & Hastings Opus 1231 at St. transformed a meager sound recording Anne’s Episcopal Church, Lowell, Mas- collection into one of the most extensive sachusetts; and rebuilding and installing collections of its kind in any compara- the E. & G. G. Hook Opus 472 organ for ble school. Thanks to her encyclopedic Christ Church, Episcopal, Charlottes- knowledge of musical literature, she be- ville, Virginia. For information: Organ for Cornell University came a valuable resource to students and
Breitkopf & Härtel has published a fi rst edition of a previously unknown work by Mendelssohn for eight-part chorus (choral score ChB 5319). Felix Mendelssohn Bartholdy composed Hei- lig, MWV B 47, for the Royal Cathedral Choir of Berlin in 1844, for which he also wrote the well-known settings of Psalms 2, 43 and 100. Heilig, which was conceived for the Feast of the Corona- tion and Order of Prussia, displays char- acteristics also found in the well-known Ruffatti organ, Parish Church, Älmhult, Sweden fi nal movement Heilig of the Deutsche Liturgie, MWV B 57, composed three Fratelli Ruffatti has completed a new years later. For reasons unknown, Heilig three-manual, twin-console organ for the from 1844 was not performed, however, Parish Church of Älmhult, Sweden. The and was discovered by Ralf Wehner dur- dedication was played by parish organ- ing the preparations of the Mendelssohn ist Per Gunnar Petersson, and included complete edition. The fi rst edition with the world premiere of Petersson’s Danc- an afterword on the reception and origin ing Pipes, written for the occasion. The is a pre-publication of the complete edi- concert featured the Älmhults Oratorio tion. The text is digitally available. For Chorus and Mary Chard Petersson, and information:
10 THE DIAPASON
Feb 2010 pp. 2-18.indd 10 1/13/10 8:20:12 AM
Andrew Moore played the re-dedica- People: Harold Chaney, Catharine tion of the organ at Pingry School Haus- Looking Back Crozier, Gustav Leonhardt, Harold er Auditorium in New Jersey. The event Mueller, John A. Poellein, Karl Richter, marked the culmination of a two-year Phillip Steinhaus organ refurbishment project that includ- 10 years ago in the February 2000 Organs by Aeolian-Skinner, Austin, ed replacing the console. A new Allen/ issue of THE DIAPASON Casavant, Delaware, Möller, Pels, Reu- M. P. Möller/Quantum™ Q345B Cover, Martin Pasi and Associates, St. ter, Schantz, Wicks three-manual console with Allen Vista™ Augustine Catholic Church, Spokane, now controls all pipe and digital stops. Washington 75 years ago, February 1935 The console is fi nished in a semigloss Kristin Gronning Farmer received the Clarence Eddy reminisces at age 84 cherry-walnut with a matching fi nish Organ Historical Society’s 1999 Distin- William Churchill Hammond cel- dolly equipped with Allen’s EAC™ (Ex- guished Service Award ebrates 50th anniversary as organist and panded Audio Capabilities) and MIDI Paul Jacobs to perform the complete choir director, Second Congregational ports. The organ is considered the crown organ works of Bach in 14 recitals Church, Holyoke, Massachusetts jewel of Pingry’s music program as well as Martin Jean to perform the complete Ralph Kinder gave his 36th year of a valuable piece of school history. Origi- organ works of Bach over the next two organ recitals at the Church of the Holy nally given to the school in 1956 by the seasons Trinity, Philadelphia family of Archibald Smith (Pingry Class Robert Noehren authored a new book, Third annual Bach festival at Baldwin- of 1876), the organ was moved from An Organist’s Reader Wallace College, Berea, Ohio the Hillside Campus to the Martinsville Richard and Betty Peek retired as di- “Handicaps of Organ and How ‘Dull- Campus in 1983. Over 1,000 students at- rectors of music for Covenant Presbyte- ness’ May Be Overcome,” by Palmer tend the Pingry Short Hills and Martins- rian Church, Charlotte, North Carolina Christian ville, New Jersey, campuses. For infor- Andrew Moore at Allen console, Pingry Keith Williams appointed director of People: Allan Bacon, Winslow Cheney, mation:
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12 THE DIAPASON
Feb 2010 pp. 2-18.indd 12 1/13/10 8:20:46 AM construction techniques—what the mas- vine, go. Just go. You can get there easily street, next to a sandwich shop that sells dents for thwarting their efforts to keep sive stonework looks like under the fi n- on the subway from Pennsylvania Station great coffee in cardboard cups. the city clean by leaving their cars in vio- ished limestone veneer. The place is 601 or Grand Central Station. You can fi nd Not this time. We’re working on 74th lation of the sweeping schedule. Seems feet long inside. The ceiling is nearly 125 plenty of great meals within a few blocks. Street in Manhattan, just east of Park that they don’t need to issue citations— feet above the fl oor. Single rooms just There are terrifi c hotels nearby, especial- Avenue. It’s a great neighborhood, but the stickers are so diffi cult to remove aren’t that big. There’s something like ly in my experience along Broadway be- it’s very busy. Park Avenue is lined with that they are punishment enough. One 15,250,000 cubic feet of air contained tween 75th and 80th Streets—just a few high-end housing—high-rise condomin- car had three weeks’ worth of stickers. I inside. Don’t even think about the fuel subway stops from the cathedral. ium buildings with uniformed doormen, guess the owner just gave up. bill. The idea that a building that large In summer 2008, Quimby Pipe Or- expensively dressed women with little There’s a nursery school in the church could be dedicated to worship is solid gans of Warrensburg, Missouri com- expensively dressed designer dogs, and building. At 8:30 every morning a pla- testament to the power of faith—not pleted their restoration of the cathedral’s snazzy green awnings. I think the near- toon of kids arrives in the building es- just American Episcopalianism, but any mighty Skinner/Aeolian-Skinner organ. est business on Park Avenue is the Mase- corted by parents and au pairs. A lot of faith anywhere. You can read about that project in de- rati dealer. I’ve never been inside. They them come by car. It’s awe-inspiring. It’s breath-taking. tail in the November 2009 issue of The don’t have anything there that I need. Last week we brought a large truck It’s humbling. And thinking back on the American Organist. The Organ Clear- Lexington Avenue is one block to the into the neighborhood to deliver a load history of cathedral building, so highly ing House was engaged to assist in the east. It’s a much more interesting street, of organ parts. We got it here before 6:30 developed in twelfth-century France, installation of the organ, and it was our with hundreds of shops, cafés, restau- in the morning because we knew there’d it’s easy to understand how people privilege to spend that summer hoisting rants, groceries—and thousands of peo- be a scene. It’s diffi cult enough to park were motivated to create such elevating and assembling thousands of organ parts ple on the sidewalks. You can buy cof- a car on a Manhattan cross-street. Just structures. In rural areas, the cathedral in the chambers, nearly a hundred feet fee, but it’s four or fi ve dollars a cup. The try to parallel-park a 45-foot-long truck. building is visible for miles. Approach- above the fl oor of the cathedral. Some- hardware store is a half-hour round-trip It was street-sweeping day, and the gar- ing Chartres in France, for example, one time soon I’ll write about that experi- walk (forget about driving—you’ll never bage trucks came at the same time as the sees the famous cathedral on the horizon ence in more detail. For now, take my fi nd a parking space). There are delivery street-sweepers. The nursery-school de- from a great distance. The National Ca- advice—just go. people on foot and on bicycles carrying livery was in full swing. There’s a private thedral in Washington, DC dominates everything from fl owers to groceries to school across the street—a few hundred the top of a hill, so it can be seen from A clean sweep meals. 74th Street is supposedly one lane middle-schoolers added to the mix. And Route I-95 some ten miles to the east of So we’re installing an organ. Sunday wide with parking on both sides. the sidewalks were jammed with people the city. In upper Manhattan, there’s re- is over and we’re into the work week. The north side of the street is cleaned hurrying to work. Professional dog-walk- ally no place that I’ve found on ground Sometimes we work in parish church every Monday and Thursday—the south ers with their dozen-at-a-time charges level where you can see the Cathedral of buildings in quiet little towns. There’s a side on Tuesday and Friday. “Alternate sniffed their ways along, criss-cross- St. John the Divine from any great dis- big parking lot where we can leave our Side Parking” is the regulation regarding ing their leashes like a maypole dance. tance. If you approach by subway, you cars. There’s plenty of space around the street cleaning. The big street-sweeping Building contractors were leaning on get off the 1-2-3 train at 110th Street, building for maneuvering trucks. And machines are escorted by a fl eet of pub- brooms, fi nishing their morning coffee. walk north to 112th, turn right, and there the sidewalks are quiet, so it’s easy to lic works cars. They come into the street We were carrying 16-foot-long wooden you see the west-end façade of the ca- walk around while carrying heavy loads. and fan out, sticking to windshields ag- organ pipes (500 pounds each) out of thedral at the end of the block. Heading There’s a hardware store just up the gressively tacky stickers that scold resi- our truck, across the sidewalk, and into up Amsterdam Avenue from Midtown, you don’t see the cathedral until you’re right on it. It blends in with the hun- dreds of façades that line the east side of the street. When you pass 110th Street, BLOCK M RECORDS the cathedral campus opens up to the announces right—a dramatic and verdant two-block oasis in that busy urbanscape. You can’t hold a candle to it. Worship in the cathedral was a won- derful experience for us. Although the nave can seat thousands, there were FREE INTERNET enough people in attendance for the place to feel populated. There was a raft DOWNLOADS of clergy in beautiful vestments, clouds of incense wafting to the heavens, and of a brigade of acolytes. I chuckled at the sight of a pint-sized acolyte bearing a candle on a pole that must have weighed The Complete as much as he did—and in order to show up in such a vast place, altar candles Organ Works of need to be fi fty-pounders. Perhaps the grandest thing about the Johann Sebastian Bach place is the sound. We usually measure reverberation in half-seconds. At St. John the Divine it’s measured in days. Recorded by Internationally Walk in on a Monday morning, and yes- terday’s postlude is still in the air. Close Acclaimed Artist your eyes and spin around, and you can no longer tell where a sound originates. The organ chambers were 150 feet JAMES KIBBIE from where we were sitting. The organ’s on seven historic German organs sound is powerful and rich. Gentle indi- vidual colors are easily distinguishable. 1675 Huß/Schnitger organ, Ss. Cosmae et Damiani, Stade Of course, we expect always to be able to tell when a Clarinet is playing, or when 1717 Trost organ, St. Walpurgis, Großengottern it’s replaced by an Oboe, but I am some- 1721 Silbermann organ, Georgenkirche, Rötha how surprised that subtle tones carry so distinctly in such a vast space. Some 1722 Silbermann organ, Marienkirche, Rötha of the most impressive subtle tones in 1724–30 Trost organ, Stadtkirche, Waltershausen a monumental organ are the quiet 32- 1736 Bielfeldt organ, St. Wilhadi, Stade foot stops. An 800-pound Bourdon pipe consumes a hurricane of air through a 1755 Silbermann/Hildebrandt organ, Kathedrale, Dresden four- or fi ve-inch toe-hole to produce a rumbling whisper. It has to be the most extravagant consumption of materials 270 works available at no cost in MP3 and forces in the entire world of music. and high audio-quality formats But when you sit a hundred feet away in a vast interior space, it’s impossible to www.blockmrecords.org/bach put a price on that quality of sound. The grand choruses of principals and reeds create huge washes of sound. The organ is powerful enough to startle you from across the room. There’s a good variety of bold solo reeds that bring clarity to hymn tunes. And perhaps the “James Kibbie plays with consummatensummat clarity, brilliance and most famous organ stop in the world is grandeur. His techtechnicallyni perfect performance 600 feet away high on the west wall un- revealss the compositionalc structure and der the great rose window—the State Trumpet. It’s blown with 50 inches of an intuitive emotionalmoti penetration of the music.” wind pressure—that’s more than twice —Ars Organi, Germany what we otherwise consider to be high pressure. And do those pipes ever sound. One would never ask, “was that the State Trumpet?” The only answer would be, “If you’ve gotta ask, that wasn’t it.” If you’ve never been able to experi- ence the Cathedral of St. John the Di-
FEBRUARY, 2010 13
Feb 2010 pp. 2-18.indd 13 1/13/10 8:21:07 AM the church. It was quite a spectacle. It’s It can seem overwhelming as you get There are bankers within blocks of me be, or they have gotten something else amazing how little patience people can all that material out of a truck and into a here in Manhattan whose offi ces cost wrong in the realm of the historical or the have for people doing their work. building, then up into place. And after more than the organ we’re working on. musicological, when in fact they sound § all that, it has to work. There are weeks Because pipe organs are “engines” of bad because the execution is awkward of work fi nessing connections and adjust- worship and because churches are the or the preparation before the ornament Once we get everything inside, the ments, tuning, adjusting the speech and institutions that depend most on them, itself is wrong. It may be important to fun really starts. This organ is going into regulation of thousands of organ pipes. there will always be a struggle between know whether a given trill should start on two locations in the building. The Swell, The electrician is coming today to wire the cost of producing them and the own- the main note or the upper note, or how Great, and large Pedal stops are going in the blowers. That makes one more truck er’s ability to fund them. There have not long or how fast it should be, or whether a high organ loft on the rear wall of the in the neighborhood, one more vehicle been many organs built without some a certain appoggiatura should be long or building. The Positif, Solo, and the rest liable for citations, one more guy we’re kind of fi nancial constraint. If we could short. However, any of the above should of the Pedal are going in a chamber in depending on who’s liable to be held up have raised another $30,000 we could be able to sound good—natural, fl uid, the chancel. The Solo will be above the in traffi c. have had that Bourdon 32′. graceful—whether or not it is the correct Positif, speaking through grilles in the It takes tens of thousands of hours and I’m often asked how I got involved in interpretation of the composer’s intent. It arched chancel ceiling. We’re starting hundreds of thousands of dollars to build organbuilding. Fact is, I can’t imagine is important to sort these different aspects with the gallery organ. Today we hoisted and install a pipe organ. It would be nice anything I’d rather be doing. Q of playing ornaments out from one anoth- the larger of the two Swell windchests to be able to count and control how many er in order to be able to work effectively into place. It’s about fi fteen feet to the times each part of the organ gets lifted—a on learning to play ornaments well. fl oor of the gallery and another eight or busy organ company lifts many thousands nine up to the frame where the chest of pounds of material every day. On Teaching So, let us consider several issues. sits. We have towers of scaffolding set up § First of all, what is an ornament? On on the fl oor of the nave, with a bridge by Gavin Black one level an ornament is a note pattern between that supports an electric chain- When it’s all done we sit down to play. indicated by a sign, rather than by notes hoist. We can use the hoist to get the We forget the splinters, the cuts and as such. If, for example, the three notes heavy parts up into the gallery, but we bruises, the sleepless nights sitting up c–b–c are indicated by ordinary notes, have to manhandle them from the gal- thinking through problems. We forget they amount to an ordinary bit of mu- lery fl oor to their resting places in the the sidewalk congestion, the hassle of sic, a phrase or perhaps part of one. If organ’s framework. The 16-foot Double plowing through dense city traffi c in an those same notes are indicated—as they Open Wood pipes (those 500-pounders) oversized truck. We forget the endless could be—by a mordent sign on the are lying on the gallery fl oor under the days of hoisting, fastening, balancing, note c, then that entity is an ornament. organ. The organ’s fl oor frame is sup- and fi tting thousands of oddly shaped Likewise, the three notes c–d–e could ported above those pipes. The tall legs and unwieldy pieces. And we forget the be indicated by three ordinary notes or that support the windchests are on top hundreds of hours of powerful concen- by the note e with the sign for a slide, or of the fl oor frame. And the 12-foot-high tration as we adjust keyboard springs the notes d–c–d–c–d–c by six notes or by Swell box sits on top of all that. and contacts and strive to eliminate the a trill sign over the note c. This is basic The organ is a heavy industrial ma- music-spoiling effects of poor mechani- and well known. So, what is the differ- chine. It comprises many tons of wood cal operation. ence between notes indicated by an or- along with hundreds of other materials. We hear the magic of air-driven mu- nament sign and the same notes written There are leather valves and bellows, sical sound reverberating through the out? Sometimes there might be little or steel springs, and every imaginable type building. We feel the incomparable vi- no difference. In fact, there are plenty of fastener. There are sophisticated valves brations of immense bass pipes rumbling of pieces in the repertoire with parallel for regulating wind pressure, compen- along the bass lines of the music. We ex- passages in which the same notes are one sating between the fl ow of air from the perience the energy of the congregation’s time written out and another time marked blower and the demand for air from the singing, complemented and enhanced by by ornament signs, with no reason to be- player and, by extension, the pipes. There the majesty of the organ’s tone. lieve that they should be different one are bearings that allow Swell shutters to Imagine a church up the street receiv- Some thoughts on ornaments I time from the other. (This may make it operate noiselessly. There are powerful ing delivery of an electronic organ. It The playing of ornaments is one of appear that our distinction between or- pneumatic motors that operate those comes out of a truck, gets moved inside, those areas that many—maybe most— naments and other notes is at least some- shutters. There is a complex network of plugged in, speakers hooked up, and you students fi nd intimidating. This is only times arbitrary. This is true, and actually wind conductors that carry the pressur- sit down and play. partly because it can be genuinely diffi - can be helpful in teaching students to ized “organ” air from blower to reser- It would be much easier to fi nd fund- cult. It certainly can be diffi cult, although, play ornaments well and to be comfort- voirs and from reservoirs to windchests ing for pipe organs if they were the es- like most physical tasks, it can be made able playing them. A signifi cant part of and various other appliances. sential engines of international fi nance. much less so through the right kind of the fear of ornaments comes specifi cally technical preparation and through an ad- from identifying them as ornaments, as equate amount of well-targeted practice. something other than just some notes The intimidation factor with ornamenta- to play.) However, when there is a dif- tion comes, I believe, mostly from a fear ference, it is likely to be that notes indi- of getting it wrong. There seems to be so cated by ornament signs are meant to be Eloquence and Artistry much data about how this kind of trill was quick and light or to deviate subtly from played in Italy in 1620 or how that kind any rhythm that could be spelled out of appoggiatura was played in Austria in by notes in our rather simple system of in Organ Building the early nineteenth century that it can rhythmic notation, or both of these. seem impossible to keep up with it all. In fact, from the point of view of ex- One well-known book on ornamentation ecution or performance, ornaments are is nearly 600 pages long, and that is just simply “quick, light notes” or perhaps one book of very many. Also, impeccably the greatest exemplar of that kind of credentialed experts on the subject can passage. This means that playing orna- disagree. It is easy, looking at a piece of ments well can be achieved by applying music, to know what the “regular” notes the same kind of light, fl uid touch that is are, though of course it may not be easy in fact best for playing any note patterns to play them. But it is not necessarily on the organ. It also means that work- easy, or even possible, to know for sure ing on playing ornaments effectively what the notes of ornaments are or what can be one of the best ways of improv- the exact rhythmic shape of a given orna- ing lightness of touch and freedom ment should be. It is also a common ex- from tension in all playing. perience for even very talented and “ad- There is an exercise that I use with vanced” students to feel that they have students that I refer to as a trill exercise. learned to play certain ornaments, but It is extraordinarily effective at helping a that those ornaments just don’t sound player to develop the right kind of touch very good. This is always frustrating, and for playing trills. However, it is equally extraordinarily so when it happens more useful for teaching a light touch for any or less all the time. kind of fast playing, including both non- I believe that part of this frustration trill ornaments and any other kind of comes from, or is made worse by, a con- rapid passage. (It is in fact the only ac- fusion among some of these issues. That tual exercise that I normally suggest to is, students often assume that their orna- students, given that in general I believe ments sound bad because they don’t know that it is best to practice pieces or note what the notes of those ornaments should patterns drawn from pieces.)
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14 THE DIAPASON
Feb 2010 pp. 2-18.indd 14 1/13/10 8:21:27 AM A trill exercise “can’t” play trills with those fi ngers. In consideration in choosing fi ngering for The best way to work out this fi ngering This exercise is not written in music fact, almost everyone can after having an ornament should always be the effect is to decide fi rst on the best fi ngering notation, and, although it involves play- applied this exercise to the task. of that fi ngering on hand position and, in for the trill, based on the player/stu- ing notes at the keyboard, it is really a (I should mention that the original idea particular, the ability of the player to keep dent’s preferences and on the logistics kind of relaxation/breathing/meditation behind this exercise was suggested to me the fi ngers from migrating too deeply of the particular notes, then select a fi n- exercise. It can be carried out at the by my friend the late David Margeson in into the keyboard. So, for example, if one ger to play the preceding (same) note organ or at the harpsichord. It can also the early 1980s when he was a graduate note of an ornament is a raised key and from among the fi ngers not designated work on the piano, as long as the player student in organ at Yale. I have refi ned the other a natural, then it is wonderful to play the fi rst note of the trill. This remembers not to care about producing the idea and adapted it somewhat to the to end up playing the raised note with 3 choice should be made based on the a robust or loud sound. It goes like this: specifi cs of organ and harpsichord.) and the natural with 2 or 4 as appropri- shape of the passage leading into the 1) Sit at the keyboard, and identify the ate. Reversing this leads to some kind of trill. If it is impossible to make that pas- place on the keyboard where each hand Fingerings awkward hand position, and thus makes sage work without using the same fi nger can meet the keys with the arm, wrist, A real necessity in playing ornaments it harder to maintain a light, comfort- for the fi nal note before the trill and for hand, and fi ngers more or less in a well is planning good fi ngerings. This has able touch. The logistics of this vary at the note that starts the trill itself, then straight line. This is usually at the notes several elements to it. First, of course, different points along the compass of the the trill fi ngering should be changed if written near the top of the treble clef for is choosing fi ngers for the notes of the keyboard and also from one player to an- at all possible. I have very rarely indeed the right hand and at the notes near the ornament itself. In spite of the claim I other depending on the relative lengths been unable to devise a good solution bottom of the bass clef for the left hand, made just above, it is a good idea to use of the different fi ngers. The important in this very common situation—perhaps though it varies a bit from one person to the “best” fi ngers whenever possible. thing is to remember to pay attention to never. The point for the teacher to make another. It is fi ne to let the elbows fl oat For most people, these are the middle the hand position that results from a fi n- to the student is that it is both fairly easy away from the sides. If you are sitting three fi ngers, or indeed specifi cally 2 gering choice with an ornament. to work this out and abundantly worth at an instrument with more than one and 3. It is a good idea to use whatever If the note immediately before an doing so. Awkward starts to trills are keyboard, choose the keyboard that it is fi ngers the player is most comfortable ornament is the same note that actually usually the result of simply not having most natural and comfortable to reach. with—why compound diffi culty by not begins the ornament, it is very impor- thought out the fi ngering both of the 2) Pick two adjacent (natural) notes doing so?—but it is also important not to tant indeed to play the two successive trill itself and (especially) of the notes and two fi ngers. Initially it is a good be so tied to those fi ngers that passages iterations of that note with different fi n- leading into the trill. idea to use adjacent and “good” fi ngers, before and after an ornament end up gers. This is an approach that I always It is also very common for the note perhaps 2–3 or 3–4. Later it is fi ne to do suffering from convoluted and unneces- prefer with repeated notes (see The before an appoggiatura to be the same the exercise with any pair of fi ngers with sarily diffi cult fi ngerings. For example, a Diapason, January 2009), but for pre- as the note of the appoggiatura itself. In which you might ever want to play a trill. player who can only play trills or rapid paring ornaments it is especially crucial. this situation, using different fi ngers for The two notes should feel as similar to mordents with 2–3 will frequently get This is because, again, a light touch and the two iterations of that note will not each other as possible. On many organs into trouble of this sort. A player who is a relaxed hand are absolutely essential only make the whole pattern of notes this is not an issue, though it is on some. also comfortable using 3–4 will get into to playing ornaments in a way that feels sound more natural and give greater It certainly is an issue on many harpsi- much less trouble. Fingerings such as and sounds good. It is very common for control over timing and articulation, but chords. Choose a quiet registration: a 4–5, 1–2, 1–3 are also useful, though the a trill that should begin with the upper it will specifi cally create the right accent Gedeckt or Dulciana, perhaps, or, on a actual need for them arises less often. A note to be preceded by that same note. relationship amongst the three notes: the harpsichord, one 8-foot stop by itself. 3) Play one of the notes lightly and comfortably with the fi nger assigned to it, and hold the note. While holding this note, let your hand relax as much—as thoroughly—as you possibly can. This can be aided by moving the arm around a bit in the air—still holding the note—or by fl exing the wrist a little bit, up and down, DIRECTOR OF SACRED MUSIC or by taking calm deep breaths. When you feel that your hand is fully relaxed: 4) Play the other note and then the fi rst note again, as quickly and as lightly The Pontifi cal College Josephinum (www.pcj.edu) in Columbus, Ohio is a Roman Catholic as you can. As you do this, you should Seminary. The college seeks a Director of Sacred Music. The academic appointment will be have as little as possible of a feeling that your hand is bearing down into the keys. to the graduate faculty of the School of Theology. As a member of the teaching faculty the Instead, it should feel as if the hand is al- successful candidate will teach courses in the School of Theology and in the undergraduate most fl oating up and away—just failing to do so enough to allow the fi ngers to play College. At present these courses include: Liturgical Music (1.5 hours), Gregorian Chant, the notes that they are trying to play. Semiology and singing ( 1 hour), Liturgical Chant I and II, Voice/Liturgical Singing (1 hour), 5) After you have played these two rapid notes, you will notice that your Music Theory 1 (3 hours), and Music History and Appreciation (3 hours). These courses are hand has lost at least a little bit of its offered every year and are divided between the fall and spring semesters. In addition, the relaxation, that it has picked up a bit of successful candidate will both teach choir and offer Directed Independent Study opportu- tension or at least a bit more muscle tone than it had just before playing those two nities requested on occasion by seminarians. On average the Director of Sacred Music will notes. So, the next step is, while con- have fi ve (5) hours of teaching per semester. Graduate teaching experience is therefore pref- tinuing to hold the note that you are holding, again wait for your hand to erable, but not necessary. The successful candidate should have a terminal academic degree become fully relaxed. You should then in music, though candidates with a Masters degree will be considered also. The level of the repeat the process described above, that is, the rapid playing of two notes. It can appointment will be determined by the highest degree obtained and the number of years of be repeated several times—four or fi ve, teaching experience. maybe up to a dozen. It should never happen according to a beat or a sched- ule. Each time, while holding the note The Director is responsible for providing or arranging for music for all seminary masses, chosen as the fi rst note, you must wait the daily celebration of the Liturgy of the Hours, and all special liturgies during the academic until your hand is perfectly relaxed be- fore executing the rapid two-note ges- year, including ordinations and graduation exercises. This responsibility is executed in coop- ture for the next time. eration with the Director of Sacred Liturgy to ensure that the Sacred Music serves its proper 6) After doing this several times in a row, do the same thing but start with end consistent with priestly formation. The position requires the ability to form seminarians the other note and the other fi nger. in the art of Sacred Music for their future service to the Church as parish priests. Further- This exercise should be done with each hand, with various combinations more, the applicant should also possess an appreciation for the great liturgical tradition of of fi ngers. It is not a good idea to segue the Church. The applicant must also demonstrate fi delity and loyalty to the Magisterium of directly from doing this exercise to prac- ticing or playing a trill or any other note the Church. pattern. Rather, it should simply be done by itself, perhaps for ten minutes or so at The ability to develop and direct instrumental ensembles and teach private lessons is also some point—or at two different points— during each practice session. Then, when desirable. Preferred is experience with both teaching and direction in a parish or seminary, actually practicing or trying to play a giv- as the position will be subject to the appointment of the Apostolic Nuncio to the United en trill (or other rapid ornament or other rapid passage), the idea is to remember States. and recapture the feeling in the hand, wrist, arm, shoulders, and body that you experienced during this exercise. This is a full time position during the academic school year with salary paid commensu- I have never known this exercise to fail rate with experience. The start date is July 1, 2010. Please respond with a resume, letter of to help a student, or any player, beginner or advanced, who spent some time with interest including salary history to the Pontifi cal College Josephinum, 7625 N. High Street, it. It can be used not just to develop a Columbus, OH 43235, ATTN: Academic Dean. All replies kept in strict confi dence. The better feeling for the touch of trills, but Pontifi cal College Josephinum is an EEO Employer. also to train recalcitrant fi ngers to play trills and to play rapidly with control. In particular, it is very fruitful to do this ex- ercise with 4–5, after having fi rst done it with more “normal” trill fi ngers. Almost everyone I know believes that he or she
FEBRUARY, 2010 15
Feb 2010 pp. 2-18.indd 15 1/13/10 8:21:47 AM And He lives forever with His saints to so the music is learned well and thus That music is on the back cover for re- reign! easily retained for a year; bringing back production in the bulletin, and is sung as —Robert Lowry those special anthems one year later is the antiphon, then after every verse. A Easter morning is certainly special, easy. But, of course, Einstein wrote that full score (G-6920INST) will be needed, but an absence of brass instruments “insanity is doing the same thing over since the brass music is not included on somehow reduces it from special to or- and over and expecting a different result the choral score. The music is simple, dinary. Even with budget cutbacks, the each time.” with the choral parts on two scores. The note before the appoggiatura, the appog- investment in a brass quartet or even a Easter is the pinnacle of the Christian last verse incorporates the text “cantate giatura itself, and the note following it single trumpet for Easter is money well year. For choir directors, it often is the Domino” into the music. A very happy (the “main” note). Trying this example spent. There are congregation members last Sunday without empty seats in the setting of a familiar Easter tune. with each of the indicated fi ngerings who have not been seen since Christ- choir loft. Spring weather intrudes on (both for the right hand) can make this mas Eve, and many visiting worshippers the midweek rehearsal and weekend ser- Jesus Lives!, David Lantz III. SATB, difference seem clear. may not have been in church since last vices, and often the days of doing chal- organ, with optional brass quartet One of my frequent chamber music Easter. They expect bravura, and having lenging music sadly fade into doing tired, and percussion, Beckenhorst Press, colleagues recently made the following brass for anthem and hymn accompani- old anthems requiring less skill and less BP 1845, $1.85 (M). comment to me about a (non-keyboard) ments clearly adds to the excitement of effort as choir populations dwindle. So, The setting incorporates All Hail the musician with whom we both play a lot: the morning. A brass ensemble raises the dear readers, prepare for Easter with Power of Jesus’ Name; however, it is not a “I’ve fi gured out why so-and-so’s orna- emotion level from good to glorious. enthusiasm and do exciting music that blatant statement in which the congrega- ments always sound so good. He plays There are many useful Easter settings brings the choir closer to that goal of glo- tion joins the choir. The work opens with them quietly.” The above discussion for chorus and brass—fi nding appropri- rious. Adding brass will help achieve that alleluias, some with divisi. This choral about fi ngering and the suggested ex- ate music is not a problem. Directors goal. This month’s reviews feature choir score does not indicate brass/percussion ercise are essentially aimed at helping need to fi nd a balance in the service in with brass. areas, and a full score (BP 1845A) will students to develop an organ and harp- which familiar hymns are used to encour- be needed. The choral music is on two sichord equivalent of playing ornaments age singing, yet the congregation hears Risen Today, Joel Raney. SATB, brass staves and is syllabic, usually with simi- quietly. Next month I will deal with the something truly fresh in a festive, loud, quartet and organ, with optional lar rhythms for all parts. Majestic music sometimes vexing questions about what triumphant anthem. In most churches children’s choir, Hope Publishing that has frequent isolated statements of the notes and rhythms of ornaments the music sung on Easter is rarely re- Co., C 5621, $2.10 (M). “Jesus lives.” should be—on the beat or before, start- peated later in the liturgical period of This is a barn-burner that begins with ing on main or auxiliary notes, and so Easter, which lasts for several weeks. driving, rapid-fi re, pulsating chords in I Know That My Redeemer Lives on. I will also address how to use that Christmas is surrounded by Advent and 6/4 behind choral “alleluias.” The work (Jesus Shall Reign), arr. Cynthia Do- information to help students feel freer Epiphany, which tends to lengthen the eventually develops into a statement brinski. SATB, organ with optional in their playing of ornaments rather than season; however, Easter is preceded by based on Lyra Davidica, and later 3–6 octaves of handbells and B-fl at more constrained, and how to help them Passion Sunday and/or Good Friday, St. George’s Windsor, so this music trumpet, Hope Publishing Co., C approach the subject creatively. Q and those moods are signifi cantly differ- blends familiar themes with dramatic “al- 5520, $1.95 (M-). ent. The emotional impact of grief that leluias.” It is a sure winner that is highly The trumpet part is transposed on the Gavin Black is the Director of the Prince- has been building during Lent and Holy recommend as the anthem for this year’s back cover and also indicated in concert ton Early Keyboard Center in Princeton, New Week is quickly dispersed on Easter Easter service! pitch in the choral score. Duke Street, Jersey. He can be reached at
16 THE DIAPASON
Feb 2010 pp. 2-18.indd 16 1/13/10 8:22:12 AM is unfortunate that Vierne’s equally fi ne “Mighty Lak’ a Rose.” Several of the The fi fteen selections run the gamut New Recordings symphonies have largely been ignored. recordings were made on the 74-rank from Verdi’s Grand March from ‘Aida’ The third symphony is a particularly Aeolian organ in the Schwab mansion. to Schumann’s Träumerei. Among the fi ne one, perhaps the fi nest of the lot, (Charles Schwab retained Gibson in works are Chopin’s Etude in A Minor, L’ Orgue Magnifi que: Works by John and so it is good to have such an excel- 1919 for $10,000 per year!) Others were the Allegretto from Franck’s Symphony Burge, Jeanne Landry, Martin Stacey lent performance of it here, and also to recorded in Gibson’s duplex apartment in D Minor, Dvorák’s Humoresque, and & Louis Vierne. Maxine Thévenot have it performed on such a magnifi cent on 86th Street using his own 3-manual, “My Heart at Thy Sweet Voice” from plays the 1933 E. M. Skinner organ instrument. This symphony in particular 26-rank Aeolian. He also owned the Saint-Saëns’ Sampson and Delilah. The in Girard College Chapel, Philadel- makes the compact disc well worth its building! Diffi culties in recording pipe most recent composer represented is phia. Raven CD OAR-909, purchase price. organs using the early horns were im- Igor Stravinsky with his “Ronde des
to the Czech organist Petr Eben. It is DOBSON CASAVANT FRERES dedicated to Dr. Thévenot, and she gave the fi rst performance in 2008 on the or- gan in Royce Hall at UCLA. This is the premiere recording of the work. It is an intense and majestic piece—not exactly the normal conception of a dance, wheth- er of the dead or otherwise—and though very appealing in a number of ways, not exactly displaying a great deal of infl u- BOODY TAYLOR ence of Petr Eben, to my ears at least. The second piece on the compact disc is my favorite of the three origi- nal compositions that are given their fi rst performance here: Hesychia by Jeanne Landry, a former student of Nadia Boulanger. The title comes from the Greek for stillness, and refers to
a form of meditative prayer practiced DYER R. by the Hesychasts, a monastic group within the Eastern Orthodox Church who pursued a solitary existence in the desert. It is a haunting aria-like compo- sition played on the harmonic fl ute and accompanied on the strings. There is a certain timeless quality about it and GARLAND FISK the Skinner organ provides the perfect medium for its performance. The third track, the fi rst recorded per- formance of Dance by John Burge, is not unlike the fi rst in being impassioned and FRITTS dignifi ed, though I did not fi nd it par- ticularly dance-like either. It has some slightly more virtuosic elements than the Totentanz, and there are several passages on the Tuba, which, so far as the Skinner The Future of Church Music at Girard College is concerned, is some- thing that is always welcome. The rest of the compact disc is de- is in These Fingers
voted to a number of compositions by GOULDING & WOOD Louis Vierne. The fi rst of these, one of Vierne’s Pièces de fantaisie, is the color Share a 10 year-old’s sense of wonder as she first touches an organ’s keys! Delight in piece Sur le Rhin, which displays the richness of the Skinner diapasons to very a 12 year-old’s steady concentration, as he learns the pedals. Watch a 14 year old good effect. It is evocative of the slow- mature before your eyes during his first recital! running yet majestic waters of the Rhine. The pathos of the following piece, Stèle pour un enfant défunt (“Tombstone of a Young people are forever changed when they play the pipe organ! Join APOBA in sup- dead child”), from Vierne’s Triptyque of porting AGO outreach programs to the next generation of organists! 1936, is evident; the strings and harmon- ic fl utes are again used very effectively. This was the piece that Vierne had just QUIMBY REDMAN SCHANTZ SCHOENSTEIN & fi nished playing when he died in 1937. HENDRICKSON The third of the shorter Vierne compo- To receive information about pipe organs sitions on this compact disc, Méditation, and recognized pipe organ builders was actually originally one of three im- provisations recorded on a gramophone AP write or call toll free 1-800-473-5270 record in 1928 and subsequently tran- or on the web @ www.apoba.com scribed by Maurice Durufl é. PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America The remaining fi ve tracks of the com- BO pact disc are devoted to Vierne’s Sym- A P.O. Box 155 • Chicago Ridge, Illinois 60415 phonie No. 3 in F-sharp Minor, op. 28.
While the Final from the Symphonie No. OTT PARSONS 1 has always been a favorite composition, and the symphonies of Widor have en- NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP joyed considerable popularity of late, it
FEBRUARY, 2010 17
Feb 2010 pp. 2-18.indd 17 1/13/10 8:22:31 AM with mechanical aids would make per- One charming touch in the Air and is a quite valuable collection of poems. New Organ Music formance easier. This diffi cult piece is Variation in D (no. 15) is the transfer- It is aesthetically pleasing, with beauti- clearly intended for a recital program, ence of the melody to the bass in the ful covers and woodcuts/engravings and and a large organ and a resonant room variation. Also of note are the passages in tasteful colophons on almost every page. Hans Gál, Toccata for Organ, Opus would make it most effective. octaves that conclude several pieces. Of The type font is specially designed to be 29. Alfred Lengnick & Co., Ltd., 23 Hans Gál does not have a large organ particular interest is no. 21, the overture legible and pleasing in spacious layout. pages; for information:
ANNUAL AND ONE-TIME COPYRIGHT New Handbell Music PERMISSIONS WITH THE Hymns for Joy and Praise, Vol. III, CLICK OF A MOUSE for 3 octaves of handbells or hand- chimes, compiled and arranged by Lloyd Larson. Agape (Hope Pub- lishing Company), Code No. 2516, $8.95, Level 1–2 (E–M-). This collection of eight handbell set- tings is particularly appropriate for Lent, Holy Week, Easter and Eastertide, as well as other times of the year. These pieces are easily accessible for groups needing material that can be learned quickly. Practical and rewarding for any choir, it is convenient to have such a vari- ety of titles arranged under one cover. • EASY—online permission and reporting Morning Thoughts, by Karl Kay, for • ECONOMICAL—based on average weekend attendance 3–4 octaves of handbells. GIA Publi- • THOROUGH—your favorite songs cations, G-5772, $3.95, Level 1 (E). Beginning with a simple, original mel- • CONVENIENT—includes a growing list of publishers ody, this meditation swells to a climax twice, each time returning to the unclut- tered theme material. Mostly in quarter and half notes, this lovely piece is very LOG ON TODAY! WWW.ONELICENSE.NET effective and accessible. —Leon Nelson
18 THE DIAPASON
Feb 2010 pp. 2-18.indd 18 1/13/10 8:22:51 AM Bedient update The University of Iowa Jon Taylor
Voxman Music Building (photo by Dan Moore)
three practice organs reside in large, bert Disselhorst, my predecessor; Car- high-ceilinged rooms in the University roll Hanson, curator of the organs at the Capitol Centre, and the two studio or- university; Kristin Thelander, director of gans fl ank either side of the Riverside the School of Music; and Mark Weiger, Recital Hall (thankfully not next to the interim director of the School of Music river!), a former Catholic church that at the time of the fl ood. Special thanks was purchased by the University of Iowa are in order to the heads of the organ to serve as a dedicated organ and recital companies who rushed to help us in our hall for the School of Music. In the end, time of need: Gene Bedient, John Boody, it took fewer than 18 months to com- and Jacquelin Rochette. With their help, pletely refurbish the organs, design the the organ department has now resumed Eric Smith and Ed Stibal install façade pipes in the Schlicker organ new facilities, and install the organs in its normal operations, and students are their new homes. able to learn, practice and perform on he Bedient crew returned to the construction was unavoidable. Although “As the new chair of the organ depart- the university organs.” Q TUniversity of Iowa in Iowa City, other water-damaged items such as the ment, I had not even moved to Iowa City Iowa, this fall to install four organs that bench and pedalboard had to be re- when the fl ood occurred. There were Jon Taylor spent the last decade as a wood- were damaged by fl ooding last year. (See placed, the organ’s red oak keydesk was many people who contributed consider- worker and advertising director for Bedient the article, “Floods Damage Organs in refurbished and the original key action able time and effort in my absence: Del- Pipe Organ Company in Lincoln, Nebraska. Eastern Iowa,” by David C. Kelzen- retained. Also submerged was a portion berg, The Diapason, October 2008.) of the organ’s stop action and the blow- Our recent efforts are the fi nal phase of er, necessitating upgrades to both of a massive organ restoration project for those systems. The organ now features a the school. In June 2008, the Iowa River new Ventus blower and Peterson Diode The OHS Catalog poured into the Voxman Music Build- Matrix switching system. ing, soaking fi ve pipe organs in 18 inch- Gregory Hand, assistant professor of SHEET MUSIC ¡ BOOKS ¡ RECORDINGS es of water: 1986 Taylor & Boody (17 organ, recalled the “Summer of Flood.” stops), 1971 Schlicker (22 stops), 1961 “After an especially snowy winter and a Holtkamp (5 stops), 1963 Casavant (5 very wet spring, conditions were ripe in stops), and a 1975 Brombaugh (3 stops). eastern Iowa for fl ooding. In early June Three Sound Reasons why Three of the organs were refurbished in 2008, the river rose precipitously, and by the Bedient shop, while the Taylor & Friday, June 13, it was clear that signifi - YOU Boody and the Casavant were repaired cant portions of the University of Iowa should buy from by their builders. campus were in immediate danger. An Because the Iowa River remains a all-out effort by university students, fac- The OHS Online Catalog: fl ood threat to the school’s music build- ulty, staff, and many community mem- ing, four of the organs were reinstalled bers attempted to clear buildings of by Bedient in new locations. The Brom- valuables. Every effort was made to re- 1. Choose from a Huge Selection. baugh and Holtkamp organs now reside move musical instruments from Voxman Over 5,000 pipe-organ related books, CDs, DVDs in the University Capitol Centre. The Hall, the home of the School of Music. Schlicker and Taylor & Boody were in- However, it was not possible to remove and Sheet Music titles. No one offers more. stalled in St. Thomas More Catholic the three practice organs and two studio Church, a building that the university organs that resided on the main fl oor of 2. Save with Low Prices Every Day. currently shares with the congregation. Voxman. Organ students sandbagged the When the church moves to its new facili- organ hallway and sealed off the door- Plus, special OHS members-only discounts on ty this winter, the building will be known ways as a last ditch protective measure. as Riverside Recital Hall. “By Saturday morning the situation many items. Join now at www.organsociety.org. Despite languishing in the same was dire, and the university shut off its amount of river glop, the instruments electrical power facility. No one was al- 3. Support Pipe Organ Preservation. suffered different levels of damage. The lowed to enter any buildings, and the Every purchase supports the on-going programs Brombaugh’s lower oak case now in- university community waited for seven cludes a combination of refi nished and days for the fl ood waters to recede. and services of the Organ Historical Society. replaced parts, meticulously matched “When re-entry to Voxman was per- by woodworker Ed Stibal. The bench mitted, the worst fears of the organ com- Order Online: is new, as are most of the ash/walnut munity were realized: the fi ve organs on Gedeckt pipes. Miraculously, with the ground fl oor of Voxman were sitting Stibal’s help, the original pedalboard in 18 inches of water. Amazingly, the www.ohscatalog.org survived the ordeal. Taylor & Boody organ still played, as the Repairs on the Schlicker included re- bellows can be hand-pumped. fi nishing the lower case, renovating or “The university had the good fortune Organ Historical Society replacing the entire pedal action, and that the Bedient Organ Company had updating other miscellaneous stop action space in their shop for three of the or- We are the Pipe Organ People and wind regulation components. gans. Taylor & Boody arrived immedi- The Holtkamp organ, a renowned ately to take their studio organ back to “Martini” model, needed substantial the shop for restoration, and Casavant Organ Historical Society work. Initially, we tried to save the oak- Frères Ltée undertook the repair of their veneered, plywood box that enclosed practice organ. P. O. Box 26811 s Richmond, VA 23261 the blower and other mechanicals, but “With the efforts of these three build- Open Monday-Friday 9:30am - 5:00pm ET with a clearly delineated water line ers, all fi ve instruments are now com- Telephone (804)353-9226 about 18 inches from the fl oor and dis- pletely restored and re-installed in tem- E-mail: [email protected] integrating casework throughout, new porary School of Music facilities. The
FEBRUARY, 2010 19
Feb 2010 pp. 19-23.indd 19 1/13/10 8:24:21 AM University of Michigan Historic Tour LVI Spain (Catalonia) and France, July 7–22 Timothy Huth
ed by Marilyn Mason and Gale L Kramer, the University of Michigan Historic Tour LVI began on the Medi- terranean in sunny Barcelona, then tra- versed southern France to Bordeaux on the Atlantic coast via Toulouse and Carcassonne. From there we followed Conques, Poîtiers, Angers, Orléans, Chartres, the Chapelle Royale at Ver- sailles, and fi nally Paris itself. Historic churches and cathedrals with organs in the Catalan, French classic, and French symphonic traditions graced our way, and frequently our host organists would improvise, lecture, and assist tour mem- bers at the console. Several visits to mu- seums and historical sites as well as sam- pling the local cuisines along the way complemented much music making. Barcelona Barcelona, the capital of Catalonia, is a vibrant cosmopolitan port city with ancient roots, with fi ne museums and architecture spanning centuries. Cata- lan organ building fl owered here in the 16th century, taking a different path Tour 56 group at the restored medieval city wall of Carcassonne, France (photo credit: Evelyn Lim and Paul Merritt, Barcelona from that in Castile and central Spain, Bela Feher) Cathedral concert (photo credit: Bela Feher) where organ building reached its peak in the 17th century. Linked by trade and silica, built by Catalonian merchants and Academia a l’Orgue Barroc geography to continental Europe, Cata- traders in the 13th century, has a history Later that week, tour members per- lonian builders were infl uenced by the of important organs, beginning with Ber- formed at the ‘Academia a l’Orgue Bar- Flemish, North Germans, and French. nat Pons in 1393, and later instruments of roc’ at La Poble de Cérvoles, where our The organs usually have several reeds, 1464 and 1691. Lost in the Spanish Civil hosts were Maria Nacy, the Academia although in Catalonia reeds never be- War were the 1797 ‘large organ’ by Jean- founder, with three of her enthusiastic came as numerous or prominent as in Pierre and Dominique Cavaillé (Aris- young students. The Academia’s organ the rest of Spain. Trompetas and Baixons tide’s father and grandfather built several hangs on the mid-front right wall of the (Clarins) are powerful and bright, and large organs in Barcelona) and the ‘small parish church. It is a stunning restoration the organs are rich in mutations, cornets, organ’ (1495, 1672, for accompanying by Wilfried Praet of a 2-manual/8′ Pedal and mixtures (Pie, Simbalet). Often there chant). The current organ, the ‘small or- 1752 Anton Cases organ, with a 3-stop are colorful solo reeds on secondary divi- gan’, is a 17th-century instrument by an Cadireta Interior added by Joseph Cas- sions. Catalan cases are fl at, narrow, and unknown builder from the convent in es/Soler in 1784. Another very fi ne Praet usually tucked into a small space. Even Vic. There are two manuals, a large 14- reconstruction was at St. Jaume, Ullde- on smaller instruments there is usually stop Orgue Major (II), and a 6-stop Cadi- molins. This 2-manual instrument with a horizontal Trompeta or two, which af- reta (I). Using casework and pipes found full choruses, bright reeds, and lovely fords economy of wind and space. Fre- in an antique shop and rescuing bellows Cara featured painted case doors of the quently there is a smaller Cadireta or and keyboards from an old farmhouse Annunciation by an anonymous female Chair Organ suspended behind the or- near Vic, Gerhard Grenzing rebuilt this artist. An El Greco painting behind the ganist (sometimes behind and under the instrument following the tradition of the altar and Catalan icons completed the organ bench), with a small chorus, mu- period and by studying the few remain- space. The organ, brought to the church tations, and reed (Regalia, Cromorne, ing period instruments. Particularly no- via an enthusiastic priest and funded by sometimes Trompetas). table is the powerful warmth of the Cara, parish and town, is a source of region- As in baroque France, the music de- the blossom of the fl utes, and impressive al pride. Back in Barcelona, Gerhard termined the registration—for example: ensemble, able to fi ll the large Gothic Grenzing welcomed us to his workshop, Nazardo combinations using Nazardos space. The parish plans for a new ‘large where we saw several works in progress. Joanne Vollendorf Clark, Barcelona Ca- and Quincenas; Lleno; Flautado; Cam- organ’ to replace the lost Cavaillé. Grenzing’s repertoire of over 170 organs thedral concert (photo credit: Bela Feher) pana (bell: unisons and Cymbalet). includes signifi cant European restora- Rossignol, tympani, and bird stops are Recitals—Barcelona Cathedral tions and new instruments (e.g., Brussels stained glass illumines the 1522 organ common. Often Iberian organ registra- At the Barcelona Cathedral (com- Cathedral IV/60). case. The instrument combines a 1679 tions were incorporated into builders’ pleted in 1298), eleven of our tour organ by Jean de Joyeuse (III/24), with contracts. Stops were divided for maxi- prepared for a late afternoon concert Cathedral de Santa Maria, Castello renovations and an 8-stop Récit added by mum fl exibility of solo/accompaniment of Spanish music on the 1538 Pere Fla- d’ Empúries Jean-Pierre Cavaillé in 1775 (III/32). Fo- registration. The Principal (Cara 8′) mech organ (IV/58), with its casework On our last day in Catalonia we saw mentelli integrated the two instruments would usually be of wood. Unique to by Antoni Carbonel towering over the the great Gothic Cathedral de Santa in 1985 (IV/40). Here is an example of Catalonian and Majorcan organ build- San Ivo door near the apse. One of four Maria, Castello d’Empúries, originally the late French classic style, with cornets ing, manuals divide between b2–c3 (in major organs by Flamech, it has been with an 11th-century instrument by Pere on every manual, Grand Cornet, and Castilian organs, c3–c#3). signifi cantly modifi ed over the years. Granyera. The 51-stop, 4-manual gallery powerful bombardes. Unique to the Car- The ‘Batalla’ organ (IV) of Trompeta instrument (Scherer circa 1600/Grenz- cassonne organ are two Positif divisions Santa Maria del Mar Magna 16′, Trompeta Real and Clarins ing 2004) combines Spanish and classical (Positif Intérieur and Positif de dos), in On the fi rst day, we walked through Clars 8′, Baixons and Clarins Alts 4′, and French characteristics with an expanded addition to the Récit and 28-note Pé- Barcelona’s medieval city to Santa Maria Violetes 2′ (all horizontal reeds) reso- 16′ Pedal and stops of Spanish and con- dale. The upraised faces of tourists and del Mar (St. Mary of the Sea), where we nated through this vast space scented tinental nomenclature (e.g., Alemanya pilgrims toward the loft attested to this met Neal Cowley, parish organist and a with candles and incense and alive with IV on the Orgue Major, Oboe, but also captivating instrument as Marilyn Mason historian of Spanish organs. This vast ba- thousands of pilgrims and visitors. Trompeta Batalla and Magna). This is gave an impromptu lesson on de Grigny. one of the great organs of this region of A visit to L’église Sainte Marie de Visit Us Online: Spain and France. Cintegabelle brought us to Moucherel’s Organmaster Shoes www.organmastershoes.com Following a visit to Salvador Dalî’s splendid 1741 instrument, restored in Fast Service · Ship Worldwide seaside home and his fantastical mu- 1989 by Boisseau & Cattiaux, with its The Right Shoe On The Pedals! seum at Figueras, the rolling hills and sparkling Plein Jeu, voluptuous Grands meadows of France welcomed us to Jeux, and stunning wide and shallow case Women’s Mary Jane x Whole & Half Sizes the Abbey of Sainte-Marie, Fontfroide. topped by golden angel musicians. Size 4-11, $50* x 3 Widths (N, M, W) Following Cistercian tradition, this vast x Genuine Leather Romanesque abbey church never had Toulouse, Languedoc, Dordogne an organ; the Offi ces and Mass were all In Toulouse, organist Jean-Claude chanted a cappella. Guidarini led us to Saint-Pierre des Chartreux, where high over the former Basilica of SS. Nazarius and Cel- Dominican choir area in the large apse Black Navy Men’s Classic Oxford sus, Carcassonne presides the 1683 Delauney (IV/51) in- White Bone Our Suede Leather Soles Many great (now former) monas- strument, restored by Joseph Cavaillé- Gold Silver help you feel what pedal Size 6.5-13, $58* teries and churches are along ancient JB Micot in 1783, and Grenzing 1983. your foot is touching! Size 14-16, $95* *plus postage pilgrim and trade routes. In the walled Several hours later we walked to Saint- city of Carcassonne, the Basilica of SS. Sernin and the towering Cavaillé-Coll Call To Order FREE catalog: (413) 773-0066, 9-5pm, Mon-Fri Nazarius and Celsus has a Romanesque organ of 1889, with pipework from 44 Montague City Rd., Greenfield, MA 01301 USA nave around which, in 1269, a Gothic Daublaine-Callinet (1845). Following cathedral was built. Fourteenth-century Guidarini’s brilliant improvisation, our
20 THE DIAPASON
Feb 2010 pp. 19-23.indd 20 1/13/10 8:54:59 AM Aristide Cavaillé-Coll organ (1885), Eglise Saint-Godard, Rouen, France (photo credit: Bela Feher)
and 28-note Pedale, with its original tem- perament including four perfect thirds. Organist Jean-Baptiste Robin pointed Moucherel organ (1741), Eglise Sainte Dom Bedos organ (1756), Abbatiale out that while of classical disposition, the Marie de Cintegabelle, France, restored Sainte-Croix, Bordeaux, France, re- organ carries the power and presence by Boisseau and Cattiaux in 1989 (photo stored in 1997 by Pascal Quoirin (photo of later organs and is capable of a more credit: Bela Feher) credit: Bela Feher) diverse repertoire. Later in the week at Jean-Baptiste Robin at the Clicquot or- St. Godard in Rouen, titular organist gan (1710), Chapelle Royale, Versailles Nicholas Pien conversely spoke of their (photo credit: Bela Feher) 1885 Cavaillé-Coll (III/38) and its abil- ity to perform Vierne as well as French Baroque pieces. Widor, who dedicated the St. Godard organ, called it ‘Raphael’ to distinguish it from the Cavaillé-Coll in St. Ouen, which he called ‘Michel- angelo’. With its piquant Swell Gambe and powerful intense reeds, it has an im- mediate presence in this smaller Gothic structure with wooden fl oor and ceiling. A Cavaillé-Coll choir organ (II/16) grac- es the apse. Loire Valley In the Loire Valley, we toured Fonte- vrault Abbey, a former monastic commu- nity of men and women under an abbess Moucherel organ (1735), Cathédrale de (later a prison where the author Jean Sainte-Cécile, Albi, France (photo credit: François-Henri Clicquot organ (1791), Genet spent time), and the burial place Bela Feher) Cathédrale Saint-Pierre, Poitiers, France, of Eleanor of Aquitaine. That afternoon, restored 1988–1994 by Boisseaux and following the Loire River, we came to the group enjoyed hours of playing in the Cattiaux (photo credit: Bela Feher) Cathédrale Saint-Maurice in Anjou prov- empty basilica. ince. The carved neo-Gothic staircase to At Albi in Languedoc, Mary Prat-Mo- including the battered façade. With a the gallery matched the spired towers of linier met us high in the loft at the red full complement of couplers, reeds on the 1879 Cavaillé-Coll, containing ear- brick fortress of the Cathédrale Sainte- all manuals, manual bombardes, and the lier pipework, including a 1742 Positif. Cécile, built at the end of the Albigensi- ability to create terraced dynamics, the Restoration after World War II included an crusade (13th century). Built in 1735 organ is capable of a more diverse reper- electrifi cation and additional stops. by Christophe Moucherel as a 43-stop toire and is clearly along the road toward organ, Lépine added a Bombarde man- the new symphonic style. Chapelle Royale at Versailles Paul Merritt at the Clicquot organ (1710), ual in 1747, and Formentelli restored it Our gateway to Paris was the gilt and Chapelle Royale, Versailles (photo credit: in the mid 1970s, incorporating many re- Poitiers marble Chapelle Royale at Versailles, Bela Feher) maining pipes. Each division has a Cor- Following the Loire valley, we ar- with its IV/37 instrument in the musi- net séparé, and the Voix humaine is new, rived at the Cathédrale Saint-Pierre cians’ gallery over the high altar. Fran- Cattiaux scrupulously restored the 1710 after that of Cintegabelle. Next door we in Poitiers. A lack of money prevented çois Couperin premiered the Etienne organ, keeping the 1736 (Louis-Alexan- enjoyed the Toulouse-Lautrec museum Aristide Cavaillé-Coll’s planned rebuild Enocq/Robert Clicquot organ in 1711, dre Clicquot) and 1762 (Francois-Henri in the former bishop’s palace. of François-Henri Clicquot and son and Gonzalez rebuilt it in 1936 (Widor Clicquot) additions. Its console has fea- At Sarlat-la-Canéda in the Dordogne Claude-François’ masterpiece, a 16′ wanted to keep the earlier 1873 Cavail- tures of the Poitiers organ, and it is also a valley, near a lively public market in this ‘Grand Orgue’ of four manuals, 44 stops, lé-Coll rebuild). Recently, Boisseau et 16′ instrument. medieval city, Henry Jullien, a former pupil of Susan Landale, improvised and shared console time on a unique 37-stop Jean-François Lépine organ of 1750, restored by Cattiaux in 2005, in the Ca- thedral of Saint-Sacerdos. From a family of builders, Lépine (who built for Saint- Roch in Paris) was a pupil of Dom Be- dos, who inspected this instrument. The organ is 80% original, with drawings and clues in the gallery fl oorboard greatly aiding in the reconstruction of the ac- tion, chest layout, and winding system. Bordeaux The next day at Sainte-Croix Abbey in Bordeaux, we heard Daniel Tappe (a graduate of Oberlin, now at the Musik Hochschule at Hanover) in a recital of Clérambault, Froberger, Bach, and Kerll on Dom Bedos de Celles’ masterpiece. The 18th-century verdigris case with golden fi ligree and 16′ Montre glistened as the room fi lled with the sound of bril- liant, powerful trompettes and cornets, full fl utes, and the gravitas of the 32′ Bourdon and Grand Plein-jeu XIII of the Grand Orgue. One of the hallmarks of every great organ that we saw were the foundation stops, which, given the materials and acoustics of the churches, provided a richness and warmth sup- porting the tonal edifi ce. In the restora- tion, Pascal Quoirin of Carpentras fol- lowed Bedos’ 1766–78 L’Art du Facteur d’Orgues and used early inventories of the instrument as well as extant pipes,
FEBRUARY, 2010 21
Feb 2010 pp. 19-23.indd 21 1/13/10 8:24:54 AM Tour 56 group at Versailles (photo credit: Bela Feher) Paris, La Madeleine Sainte-Marguerite and We arrived in Paris to play the 1847 Notre-Dame de Chartres Cavaillé-Coll organ at the church of La Sunday evening found us again in re- Madeleine (IV/46). Here is Cavaillé- cital, this time featuring music of Widor, Coll’s fi rst Voix Céleste and fi rst reverse Tournemire, Dupré, and improvisations Marilyn Mason, leader of the 56th University of Michigan Historic Organ Tour (photo console (now electrifi ed). Planned-for at the church of Sainte-Marguerite, built credit: Bela Feher) 8′ and 4′ Trompettes-en-Chamade have in 1624, and where the young Dauphin been added. Organiste-Titulaire Fran- Louis XVII is buried. The organ is an 1878 bombardes of great gravitas are well bal- eral hours at the console. In 1930 when çois-Henri Houbart improvised à la installation by Stoltz Frères of Alsace. anced and perfectly blended in the room. Maurice Durufl é was appointed here, Dupré, starting from the wide breadth A side trip to Notre-Dame de Chartres This was a favorite organ of the Durufl és the ailing 1873 Cavaillé-Coll (a rebuild of the Flûte Harmonique and colorful found us in the gallery with headphones and much of Paris; Marie-Madeleine of a 17th-century organ with original solo stops through waves of mixtures on to be able to properly hear the instru- Durufl é attended Mass here in her later case) was renovated in consultation with and reeds to full organ and powerful ment (IV/68, Relevage Jean-Marc Cic- years. Titular organist Frédéric Blanc told Tournemire and Dupré. Work resumed choruses anchored by the Bombarde. It chero 1996). Without them we were sur- us that the original instrument intended after World War II (Marilyn Mason re- was a thrill to play the Tournemire Te rounded by sounds of the Pédalier. for the church was loaned to the French called her lessons on the front choir or- Deum in this grand space on this vener- government, whereupon Cavaillé-Coll gan shortly after the war). Now electri- able instrument. L’Église Saint-Antoine des Quinze enlarged it and installed it in the Troca- fi ed and enlarged, the main organ has Vingts déro, which opened in 1878. At Sainte- been transformed and still possesses Saint-Gervais At l’Église Saint-Antoine des Quinze Clothilde, assistant organist Olivier Penin many pipes from all of its incarnations. Our last few days in Paris saw vis- Vingts we found a unique 1894, 48-stop improvised on the 1859 Cavaillé-Coll, Its brightness and color complement the its to still more instruments. The fi- Cavaillé-Coll originally built for the Bar- renovated by Dargassies in 2004. It was wonderful late fl amboyant Gothic sunlit nal Sunday of the tour found some of on de l’Espée, who wished to play Wag- a thrill to also play the instrument of Lan- nave of the church and indeed the music our group in the loft with Jean-Paul ner in his personal hotel on the Champs- glais, Pierné, Franck and Tournemire. of Maurice Durufl é. Leguay at Notre-Dame Cathedral, Élysées. A purely symphonic instrument, The last church we visited was Église some at Saint-Eustache, and others it was moved to the church and enlarged La Trinité Saint-Roch and its III/54 Cavaillé-Coll at Mass at Saint-Sulpice with the sub- in 1907. The La Trinité organ was built by (1840, 1862), restored by Renaud in lime improvisations and service play- Cavaillé-Coll in 1869 and reconstruct- 1992, including the mechanical action ing of Daniel Roth. That afternoon at Notre-Dame d’Auteuil and ed after the Paris Commune in 1871. with Barker levers on the Grand Orgue. Saint-Gervais where eight generations Sainte-Clothilde Merklin rebuilt it in 1901, and in 1934 At Saint-Roch, Cavaillé-Coll used pipe- of Couperins worked, Elise Frist, an The Grand-Orgue of Notre-Dame Pleyel-Cavaillé added combination ac- work from previous organs dating to assistant organist, ably demonstrated d’Auteuil (Cavaillé-Coll 1884, Gloton- tion, batteries of reeds and mutations, 1751. That evening, the group celebrat- the organ (V/41, 1628 Thierry, 1768 Debierre 1937–38) is a shining example and mixtures. It was again rebuilt in 1965 ed our fi nal dinner near Sacré-Coeur Ba- FH Clicquot, 1843 LP Dallery, 1974 of Cavaillé-Coll’s mature work. Dedicated by Beuchet-Debierre, with further alter- silica on Montmartre. Gonzalez, 2003 Muhlrisen). Indeed, by Widor in 1884, its sound evoked that ations and additions in 1984 and 1992. Historic Organ Tour LVI showed us the Couperins’ music fitted the or- of Saint-Sulpice. It is one of the most glo- Messiaen referred to the remaining older many treasures of the organ world from gan well, with its balanced ensembles rious instruments this organist has ever pipework as the most admirable sounds Catalonia and France. These instru- and clarity of voicing evoking that of experienced. The 1938 renovation, under on the instrument and considered the ments and the music written for them Lépine, Delauney or Clicquot. Much the auspices of a committee with Tour- instrument a masterpiece. become vibrantly alive when yet again original pipework remains, and the nemire, Vierne, Durufl é, and Dupré, pre- the organist places hands on those his- console has the oldest keyboards served the entire organ (III/52), enlarged Saint-Étienne-du-Mont and toric keys. From the camaraderie of our in Paris. The original pedalboard is and enclosed the Positif, and added pedal Saint-Roch tour group to the magnifi cent organs of mounted on the rear case, which is and manual mixtures. Josef Franck, the Our fi nal afternoon found us at Saint- the Catalonian Renaissance and French also embellished with etchings and brother of César, was organist here, and in Étienne-du-Mont, with organist titulaire classical and symphonic traditions, to the photos of the many organists who have 1884 Widor and Dellier played the dedi- Vincent Warnier improvising in the style food and wine enjoyed on terraces in the played and worked there. cation. Its full fl utes, generous fonds, and of Durufl é, after which we spent sev- warm evenings, our venture was a fun and enlightening two weeks. Q
Timothy Huth holds a master’s degree and doctor of musical arts in organ perfor- mance from the University of Michigan. He is currently organist at First Presbyterian Church in Dearborn, Michigan, and a na- tionally certifi ed massage therapist and cra- nial sacral therapist.
Tour members Betsy Cavnar Jeffrey Chase Christine Chun Joanne Vollendorf Clark John Clark Ronald DeBlaey Richard Ditewig Bela Feher Janice Feher Esther Goh Steven Hoffman Timothy Huth Jerry Jelsema Gale Kramer Evelyn Lim Rose Lim Marilyn Mason Enid Merritt Paul Merritt Mary Morse Winnifred Pierce Jean Savage John Savage Almar Otjes (tour guide)
22 THE DIAPASON
Feb 2010 pp. 19-23.indd 22 1/13/10 8:25:31 AM The Chopin Bicentennial: Celebrating at the Harpsichord? Larry Palmer
ccording to his birth certifi cate, Example 1 A Fryderyk Franciszek Chopin was born on February 22, 1810, a date con- fi rmed by the composer’s father in a sworn statement to the parish priest Jan Duch- nowski in April of that same year.1 Thus, this present anno domini 2010 presents us with an opportunity to celebrate another bicentenary; but of what practical use is this to harpsichordists or organists? Cho- pin was delightfully, but single-mindedly, a creator of music for the piano. Even his relatively small number of ensemble works (18 songs, four chamber pieces plus the late cello sonata, and two oft-per- formed concertos, plus an additional four compositions with orchestral accompani- ment) employ the piano either as solo or Chopin in 1841, part of a larger draw- collaborative instrument. ing by George Sand (destroyed during Example 2 Nonetheless, some of us might wish World War II) to join the wider classical music estab- lishment in commemorating the life of and I continue to think it likely, in such this poetic Pole, even though we had no an economically challenged territory as music to perform. Thus it is with special Poland was, that the older, pre-piano delight that I share news of a Chopin keyboard instruments may have re- composition in two voices (without spe- mained in use during the fi rst part of the cifi c indication of instrumental medium), nineteenth century. Fryderyk’s fi rst key- a work almost completely unknown, but board teacher, Adalberg Zwyny, was an Bach will never grow old. . . . When I rendition of the C Major Mazurka Opus a worthwhile piece playable on the man- elderly transplanted native of Czechoslo- am playing somebody, I often think that 56/2 in her RCA Victor disc Landowska uals of the harpsichord (or organ): the vakia. A friend of the family, he passed I would make this note or that different. Plays for Paderewski, perhaps my assim- composer’s unique Fugue in A Minor, a on to his young pupil his own two abid- But that never happens when I am playing ilation of the Fugue in A Minor may be 2 Bach. In his work everything is so ideally single-page manuscript dated 1841. ing passions: a love for the music of Mo- made that one cannot imagine it otherwise; permitted, and, dare one hope, both be Listed in Maurice J. E. Brown’s Cho- zart and J. S. Bach. In my mind’s eye, I the smallest alteration would spoil every- emulated and forgiven? Or possibly one pin: An Index of His Works in Chrono- see the sixty-year-old Zwyny seated at a thing. Here, as in geometrical fi gures, the might consider this one further offering logical Order and included in volume harpsichord, just as Mendelssohn’s men- slightest change is impossible. among many offbeat tributes to Poland’s 18 of the Paderewski edition of the solo tor Karl Friedrich Zelter was similarly Genius has a big nose and a splendid favorite musical son in his bicentenary piano works, this contrapuntal essay re- placed in Eduard Devrient’s description sense of smell which enable him to catch year. After all, why should the piano have mains an unheard rarity. The only recent of the events leading up to the fi rst 19th- the direction of the wind of the future. all the good tunes? Q printing (outside the Collected Works) century performance of Bach’s Saint Don’t think that I am imagining that I am seems to be an overlooked 1998 publica- Matthew Passion. But of course, this is a genius, possessing as I do an enormous Notes nose; you understand that I mean quite a 1. The entire document is quoted in an tion edited from the original manuscript only conjecture. 8 different kind of nose. earlier citation by James Huneker, referenced by Michel Leclerc, and offered by HIT However, Chopin’s tonal ideals are in Ruth Jordan, Nocturne: A Life of Chopin Diffusion, 36, rue de la porte de Trivaux, more substantially documented, particu- Biographies of Chopin refer to his (New York: Taplinger Publishing Company, 92140 Clamart (France). Comparison larly in the memoirs of Alfred J. Hipkins, 1825 performances on two experimen- 1978), p. 27. with a tiny facsimile of the holograph who, as an employee of the Broadwood tal instruments (the aeolomelodicon—a 2. I am, once again, indebted to friend and (pictured on the front cover)3 confi rms piano fi rm, tuned their keyboard instru- hybrid between piano and organ, and a Dallas savant of musical curiosities John Car- an accurate transcription of the short ments used in Chopin’s London concerts slightly later improved version, the aeolo- roll Collins for drawing my attention to this work. Fingerings, dynamics, slurs, and during the two trips the composer made pantaleon), and point out that he served composition and for providing me with full suggested tempo are editorial additions. to England during the last years of his as a church organist regularly during his bibliographic references. 9 3. Also available in a larger format in Fré- These brief comments about the piece life. Hipkins reminisced: developmental years. déric Chopin, Manuscrits autògrafs musicals appear on the back cover: Further evidence of mature engage- (Valldemossa, Mallorca, 2003). • Composed in 1841—without opus He was frequently at Broadwoods: of ment with the organ is documented by 4. The New Grove lists 1898 as the fi rst number. middle height, with a pleasant face, a mass written accounts from the composer’s publication date, Leipzig as the venue. • The fi rst edition, and the only previ- of fair curly hair like an angel, and agree- lover, the novelist George Sand, and 5. Quotation from Wilhelm Lenz, Die ous one, appeared in Warsaw in 1862. able manners. But he was something of a in contemporary newspaper reports of grossen Pianoforte-Virtuosen unserer Zeit dandy, very particular about the cut and aus persönlicher Bekanntschaft (Berlin, 1872; • This fugue had been attributed to colour of his clothes. Chopin’s playing the organ of Notre- the composer Cherubini for some time. Dame-du-Mont in Marseilles for the English translation 1899). He was painstaking in the choice of the 6. Edith J. Hipkins, How Chopin Played. • Arthur Hedley [author of a 1947 Cho- pianos he was to play upon anywhere, as well-attended funeral of his close friend, From Contemporary Impressions collected pin biography and principal contributor he was in his dress, his hair, his gloves, his the tenor Adolphe Nourrit in 1839. At from the Diaries and Note-books of the late to the Chopin entry in Groves VI] writes: French; you cannot imagine a more per- the Elevation, Chopin played the sim- A. J. Hipkins, F.S.A. (London: J. M. Dent and “The fugue . . . is decidedly the work of fect technique than he possessed! But he ple strophic song by Franz Schubert, Sons Ltd., 1937), pp. 6–7. the Polish composer. An examination of abhorred banging a piano; his forte was Die Gestirne, a personal favorite of the 7. Not all scholars accept these letters as the manuscript leaves no doubt.” relative, not absolute; it was based upon his singer. That Chopin’s performance was authentic. Ruth Jordan, author of one of the exquisite pianos and pianissimos—always a best Chopin biographies (cited in Note 1), With a duration of approximately four waving line, crescendo and diminuendo. . . not a virtuoso extravaganza is borne out minutes, the Fugue in A Minor is built by George Sand’s comment: “The con- discusses this matter in the Foreword to her . . . He especially liked Broadwood’s book (page 12), and sides with those who on an attractive tonal subject [Example Boudoir cottage pianos . . . two-stringed, gregation, which had come en masse think they are genuine. 1] and is surely more than a mere exer- but very sweet instruments, and he found exercising its curiosity to the extent of 8. Stephen P. Mizwa, editor, Frederic Cho- cise. It may be played on a single manual, pleasure in playing on them. He played paying fi fty centimes per seat . . . was pin 1810–1849 (New York: The Macmillan but I have found it effective to utilize the Bach’s ‘48’ all his life long. “I don’t prac- disappointed, because they had expected Company, published under the auspices of the tice my own compositions,” he said to Von second keyboard of the harpsichord for 5 Chopin to make a row that would bring Kosciuszko Foundation, 1949), pp. 50, 52. the right hand in the stretto passage [Ex- Lentz. “When I am about to give a con- the roof down, and at least break two or 9. Jordan, op. cit., page 45: Invented by Ja- cert, I close my doors for a time and play 10 cob Frederick Hoffman, a botanist (!). “There ample 2, measure 53], a move that clari- Bach.”6 three organ-pipes.” And she was right fi es the part crossing of alto and tenor, there beside him in the organ gallery! were not many musicians who had had a chance to try their hand at the new instru- and which has the added advantage of Regarding keyboard instruments, Ultimately, I cannot prove that Chopin ment and young Frederick, who had recently softening the following two-and-one-half then, it seems that Chopin preferred ever played the harpsichord, but if Liszt learnt to play the organ, was one of the fi rst to measure soprano trill. At the fi rst note quiet, gentler sounds. Thus, he chose to could transcribe the Fourth and Ninth of master the technique.” of measure 64, I return the top voice to play smaller, upright-style pianos rather the Opus 28 Preludes for organ, or Wan- 10. Quoted in Camille Bourniquel, Chopin the primary keyboard, rejoining the left than larger, grand instruments. He was, da Landowska include a harpsichord (New York: Grove Press, 1960), p. 93. hand. In some performances, depending as well, a devotée of music from the largely on the instrument and my whim previous century, including then little- of the moment, I move one, or both, known sonatas of Domenico Scarlatti, hands to the second keyboard for most of as he wrote in letters to his Polish friend the last two measures, and I am equally Delfi na Potocka:7 ERTIFIED PPRAISALS free, according to my mood at the time, C A about the possible addition of a third to My colleagues, the piano teachers, are the fi nal chord (either a C-natural, or dissatisfi ed that I am teaching Scarlatti to Collections of organ books, recordings, and music even a C-sharp, thus accomplishing a my pupils. But I am surprised that they are so blind. In his music there are exercises for gift, tax, and estate purposes “backward to the baroque” cadence by in plenty for the fi ngers and a good deal of including a Picardy third). lofty spiritual food. He sometimes reaches So the work is by Chopin, unique to even Mozart. If I were not afraid of incur- his catalog, and ultimately worth playing; ring disfavor of many fools, I would play Stephen L. Pinel, Appraiser but “why assign it to the harpsichord?” Scarlatti in my concerts. I maintain that For many years, I have hoped to dis- there will come a time when Scarlatti will [email protected] / (609) 448-8427 cover some specifi c reference to Cho- often be played in concerts, and people will pin’s playing of a harpsichord or spinet, appreciate and enjoy him.
FEBRUARY, 2010 23
Feb 2010 pp. 19-23.indd 23 1/13/10 8:25:55 AM Tales of 1001 Pipes. For Mendelssohn’s organ lessons: The Wagner Organ at St. Mary’s Church, Berlin Michael Gailit
′ Prologue 4Octava Example 1 3′ Quinta For some, musicology can offer cap- 2′ Super-Octava tivating moments. What has happened 3 1⁄5′ Tertia at a certain place during a certain time? 8′ Cornet V (c1–c3) Changes in organs remind us sometimes 2′ Mixtur IV 1 of CSI. Who really knew what was go- 1⁄3′ Cimbeln III ing on? The pastor might be not the best 8′ Trompete guess, and the lead has intelligent ways 4′ Clarin to tell everybody how to look at things— Oberwerk (II; CD–c3; 13 stops) 2556 pipes in an organ it’s not worth it, 16′ Quintaden with 1001 pipes you get even more! 8′ Principal 8′ Gedackt Wagner and St. Mary 8′ Quintaden Let us imagine a visit to St. Mary’s 4′ Octava Church in Berlin at the beginning of the 4′ Spitzfl öte 19th century. Our reason is the celebra- 2′ Super-Octava 1′ Flaschfl öt tion last year of the 200th anniversary 1 1⁄3′ Mixtur III of Felix Mendelssohn Bartholdy (1809– 1′ Cimbeln II 1847). During the period 1820–21, the ′ 8Krummhorn Example 2 ingenious multi-talent received organ 8′ Vox humana lessons at St. Mary’s and composed his 8′ Echo V (c1–c3) fi rst organ pieces. Mendelssohn’s organ teacher August Wilhelm Bach (1796– Brustwerk (III; CD–c3; 9 stops) 8′ Gedackt 1869)—not related to the Thuringian ′ family of musicians—had at his post in 4Principal 4′ Rohrfl öte St. Mary’s an organ by Joachim Wagner 3′ Nasat at his disposal. The instrument, Wagner’s 2′ Octava 3 fi rst masterpiece from 1719–23, estab- 1⁄5′ Tertia 1 lished his fame as the “Berlin Silber- 1⁄2′ Quinta mann.” As Uwe Pape has pointed out,1 1′ Siffl öt there are resemblances in the original 1′ Mixtur III stoplist of St. Mary’s Wagner organ to the Table 1 fi rst masterpiece of the famous Saxon or- Pedal (CD–c1; 10 stops) 32′ Untersatz gan builder Gottfried Silbermann at the 16′ PrincipalBaß Freiberg cathedral from 1714: 16′ OctavBaß 16′ SubBaß St. Mary’s Church, Berlin 8′ OctavBaß 4′ OctavBaß 2 Hauptmanual 2⁄3′ Pedalmixtur VI (I; CD–c3; 12 stops) 16′ PosaunenBaß 16′ Bordun 8′ TrompetenBaß 8′ Principal 4′ ClarinBaß 8′ Rohrfl öt 8′ Viole di Gamba Accessories 4′ Octav 2 tremulants 4′ Spitzfl öt 2 ventil stops (HW/BW, OW) 3′ Quinta 2 manual couplers (OW/HW, BW/HW) 2′ Octav 1 pedal coupler (HW/P) [8′] Cornet V (c1–c3) 1 1⁄2′ Scharf V 1′ Cimbel [III] Simply Vogler 8′ Trompet When A. W. Bach was appointed to St. Mary’s, the organ was no longer in Oberwerk (II; CD–c3; 11 stops) its original state. The history also of this 16′ Quintadena organ was infl uenced by a man whose 8′ Principal ′ name has survived today mainly in trea- 8Gedackt tises on organ building. The priest Georg 4′ Octav ′ Joseph Vogler (1749–1814), often ad- 4Fugara 2 3′ Nassat dressed as “Abbé Vogler,” shouted at his 2′ Octav contemporaries: 2′ Tertie 1′ Sieffl öt Wake up, you parrots, you philistines of 1 Liliput, from your lethargic slumber! 1⁄2′ Mixtur IV ′ Listen (to the music)! Look (at scores)! 8Vox humana Feel (the effects)! And think!3 Hinterwerk (III; CD–c3; 9 stops) 8′ Gedackt Vogler sought to make the organ a 8′ Quintadena more vivid instrument, both by perfor- 4′ Octav mance style and through certain con- 4′ Rohrfl öt struction components. The sound was 2′ Octav to be based on lower registers, which he 2′ Waldfl öt achieved through the acoustic phenom- 1 ′ 1⁄2 Quinta enon of combination tones. The Italian 1′ Cimbel ′ violinist Giuseppe Tartini, when devel- [8 ] Echo V [c1–c3] oping the double-stop technique, had Pedal (CD–d1; 8 stops) found that if a consonant interval were 16′ Principal-Baß played as purely as possible, a third, low- 16′ Violon er tone could be heard as a result of the 8′ Gembßhorn addition of the vibrations. Describing 6′ Quinta the effect in his Trattato di musica secon- 4′ Octav ′ do la vera scienza dell’armonia of 1754, 2Mixtur VI Tartini was regarded as the discoverer of 16′ Posaune 8′ Trompet the combination tones, which were later even named Tartini tones. The German Accessories organist Andreas Sorge (1703–1778), 2 tremulants however, had already described the ef- Zimbelstern fect in his treatise Vorgemach der musik- 4 ventil stops (one for each division) alischen Komposition of 1745. He had spond to variable wind pressure without a speaking machine. The Cheng is also 2 manual couplers noticed that when a fi fth is played on a change of pitch, and through swell boxes regarded as the common ancestor of the 1 pedal coupler fl ute stop, the note of the lower octave that enclosed not only one division, but other free reed instruments, such as the can be heard. the entire organ. The fi rst musical in- accordion or the harmonium.4 Freiberg Cathedral Vogler used this phenomenon to build strument with free reeds seems to be the No matter where, in the Swedish a low-pitch stop from two ranks of small- Cheng, a Chinese pumpkin instrument capital Stockholm or the Austrian capital Hauptwerk (I; CD–c3; 13 stops) er pipes in the octave and the fi fth. His equipped with a mouthpiece and bam- Vienna, Vogler convinced authorities to 16′ Bourdon Simplifi kationssystem comprised also the boo tubes containing thin metal plates. improve the organs in their churches. In 8′ Principal removal of mutation stops and mixtures. This technical idea developed eventually the Prussian capital, Berlin, he arranged 8′ Rohrfl öte ′ He achieved dynamic fl exibility through into an organ pipe rank shortly before the conversion of the Wagner organ at St. 8Viola da Gamba the use of free reeds, which could re- 1800, with the exotic attempt to build Mary’s in 1800–01, carried out by local
24 THE DIAPASON
Feb 2010 pp. 24-29 .indd 24 1/13/10 8:32:05 AM Table 2
Table 3
Table 4
Table 5
organ builder Johann Friedrich Falcken- There is only one God and Mahomed is gan at St. Hedwig’s. We can even read in another pitch, Vogler needed to take hagen (1752–1823). The 40 stops were his prophet, which is sung during funerals that he received money from the king out pipes from two ranks, one rank pro- reduced to 26, and reports tell that from alternately with 2 choirs in the front and in to build the organ at St. Hedwig’s, that viding the majority of pipes for the upper 2556 pipes only 1001 remained in the the back of the corpse, performed with an he completed it at his own expense, or octaves, and another rank at least for the 5 Adagio 8 organ. On November 28, 1801, at 5 pm, 5. The boat ride on the Rhine, inter- even donated the whole instrument. lowest octave. The conversions can be Vogler presented the converted organ to rupted by a thunder storm Time for CSI. described as follows. Sometimes there an obviously enthusiastic, but not com- 6. The Chorale: O Haupt voll Blut und is more than one solution—in this case, pletely converted, crowd in an inaugura- Wunden, with a Basso continuo, in contra- Questions and questioning only one is given. tion recital with a memorable program: puntal and canonic manner First: Are the numbers 2556 and NB. The terrace song, the Mahomeda- 1001 correct? Did the original Wagner Conversion 1 1st Part nian song, and the boat ride have been spe- ′ 6 organ have 2556 pipes, and did only To achieve a 32 sound, Vogler created cially requested by music lovers. 2 1. Prelude and fugue with full organ, us- 1001 really remain in the instrument? a new Groß-Nasat 10 ⁄3′ on the Haupt- ing 3 octave stops, 3 fi fths, 2 thirds and 4 Provided that in the Hinterwerk the werk. He took the bottom octave from the reeds, with a total of only 498 pipes 1 ′ 2. Terrace song of the Africans stamping In an extended review, the Leipziger Cimbel consisted of three ranks and the Pedal Quinte 5 ⁄3 and had it stopped to limestone, to surface their terraces, always Allgemeine Zeitung preserved the terrace Echo Cornet had the same compass as transpose the pitch an octave lower. The one choir resting and singing, the other one song theme for posterity (Example 1). As the Hauptwerk Cornet, the total num- Hauptwerk Gamba 8′ supplied the rest stamping seriously as possible, the author makes ber of 2556 Wagner pipes appears cor- of the rank. Since the lowest octave was 3. Double concerto of a fl ute and a bas- fun of the limestone stamping choirs, rect (Table 1). taken from the same range, the missing son, with clear distinction of four manuals: wondering if they are familiar with the The more diffi cult task is to fi nd out C# did not cause a problem (Table 2). I. [manual] for the fl ute European canon form (Example 2). what happened in the course of the con- II. [manual] for the bassoon The pastor of the church later com- version. (An “after” stoplist is shown in Conversion 2 III. [manual] for the full orchestra IV. [manual] for the gentle instrumental plained that Vogler had taken out the Table 13.) After all these pipe reloca- For a new discant stop, it was suffi - accompaniment best pipes, selling them to St. Hedwig’s tions, would we get a total of 1001 re- cient to take the corresponding section Allegro. Andante. Rondo. Church and the Catholics, and replac- maining pipes? At fi rst, the report tells from one old stop. In this manner, part ing them with pipes of lesser quality.7 us which ranks stayed, which were re- of the Spitzfl öte 4′ became a new Terz- 1 2nd Part Other sources claim that Vogler used moved, and which were partly or wholly fl öte 3 ⁄5′ to support the 16′ sound at the 4. The Mahomedanian [sic] Creed: the now superfl uous pipes in a new or- relocated. For a whole new rank or stop Hauptwerk (Table 3).
FEBRUARY, 2010 25
Feb 2010 pp. 24-29 .indd 25 1/13/10 8:33:10 AM Table 6
Table 7
Table 8
Conversion 3 Conversion 5 The actual conversion depended on the Conversion completed To ascertain the number of both According to David and his sources, scaling of the rank (Table 8). An overview of all conversions shows remaining and removed pipes, one the new Vox humana 16′ started at tenor the complete deforestation (Table 11). must keep in mind that the key for C- C. It is more plausible that it had the com- Conversion 8 Diagonal arrows indicate direct reloca- sharp did not exist. If a section of a pass c1–c3. First, in order to meet 1001 To convert the Pedal Trompete 8′ into tion, straight and edged lines stand for rank were relocated to the bottom oc- as the total number of used pipes, all fi ve a Dulcian 32′ for the Hinterwerk, Vogler relocations where pipes were taken from tave, then the pipe that would take the discant stops could have comprised only probably did not build a new pipe for the more than one stop. 535 pipes evaded re- place of the bottom C-sharp must be two octaves or 25 keys each. Second, to missing C-sharp. He could have shifted location (white bars), 466 pipes changed included in the number of removed change the Vox humana 8′ to a 16-foot all pipes above C and tuned them a half into another division (grey bars); there- pipes. When creating the Klein-Nasat stop, Vogler would have had the problem tone lower. This is supported by the fore a total number of 1001 pipes re- 1 5 ⁄3′ for the support of the 16′ sound of of a gap in the tenor octave caused by the given number of pipes, otherwise there mained. Ranks and those parts that were the Hauptwerk, the bottom G-sharp missing C-sharp (Table 6). would be a difference of one pipe in the not used anymore appear as free space. from the Gedackt 8′ of the Oberwerk total numbers before and after the con- was superfluous. Vogler took the rest Conversion 6 version (Table 9). Stories and Tellers of the rank from the Hinterwerk Ok- The conversion of the Hauptwerk The overview (Table 12) shows the tav 2′ (Table 4). Quintade 8′ to the Pedal Quintatön 4′ Conversion 9 stops that were partially used or com- caused one superfl uous pipe because of While David names precisely from pletely unused. The question of their Conversion 4 the missing C-sharp key (Table 7). his sources the stops that were used in whereabouts will probably never be Except for the bottom octave, the the other conversions, the creation of settled. The Catholic priest Vogler do- 2 2 Oberwerk Nasat 2 ⁄3′ provided the pipes Conversion 7 the Oberwerk Quinte 2 ⁄3′ is described nated, according to David, the pipes to 1 for the new Hinterwerk Terz 3 ⁄5′. The There are a limited number of possib- only as “taken from the Hinterwerk.” the Catholic Church St. Hedwig. The bottom octave came from the Rohrfl öte lities of how Vogler could have changed This is logical because not one single Catholics were a minority, and their of the Hauptwerk; the pipe for the note the Echo cornet of the Hinterwerk into stop remained in the Hinterwerk to put church was in need of spiritual and fi - f° became superfl uous due to the non- the two pedal stops Nachthorn 2′ and together a complete discant stop. Fitting nancial support. Consecrated in 1773, existing key for the bottom C-sharp Blockfl öte 1′. This given solution takes to the Octave 4′, Vogler could have used the edifi ce was completed only in 1887. (Table 5). the pipes only from the octave ranks. the rest of the Octave 2′ (Table 10). Today having the status of a cathedral,
26 THE DIAPASON
Feb 2010 pp. 24-29 .indd 26 1/13/10 8:33:39 AM Table 9
Table 10
St. Hedwig was the only Catholic church Table 11 in Berlin until 1844. Sieling has pointed out that a preach- er named Rütschel complained that Vogler had cheated St. Mary’s out of the beautiful organ, taking out the best pipes, selling them to St. Hedwig, and replacing them with pipes of lesser qual- ity.9 The priest was Dr. Georg Carl Ben- jamin Ritschl (1783–1858), who held the position of a preacher at St. Mary’s at that time.10 Ritschl poured his heart out to Julius Beer, the nephew of the famous opera composer Giacomo Mey- erbeer. Beer in turn told the story to his uncle in a letter as a warning against Vo- gler. Ritschl had noticed the difference in sound, but not known what had actu- ally happened. As shown above, Vogler either removed pipes or kept pipes in the instrument. In 1888, Karl Emil von Schafhäutl, an engineer by profession and organ expert by avocation, tells again something dif- ferent.11 Vogler reportedly used the su- perfl uous pipes to erect a new organ in St. Hedwig, completing the instrument at his own expense. Schafhäutl, a de- clared supporter of Vogler and his ideas, obviously exaggerated in his account in order to combat the rumor that Vogler, according to Schafhäutl being the envy of many, had been accused of stealing the removed pipes. Another source also mentions that the organ at St. Hedwig’s had been enlarged and rebuilt at the expense of the re- nowned Abbé Vogler.12 On the contrary, A. W. Bach, organist at St. Mary’s, opined that Vogler had, through his machina- tions, built several organs, among them the instrument of St. Hedwig, at the ex- pense of no less than the Prussian king himself.13 Pape mentions that St. Hed- wig, formerly equipped with an organ of only 10 stops, got a new instrument in 1801.14 In this year, the Allgemeine musi- kalische Zeitung reports that the Prus- sian king had commissioned Vogler to built a new organ in Neu-Ruppin (prob- ably providing the mentioned 20,000 Prussian Taler for this purpose), while Vogler had been successful in establish- ing a budget for a new organ at St. Hed- wig’s through the support of the Berlin people, acquiring 1600 pipes from the organ at St. Mary’s.15 Restoration Usually a reliable source in his reports about organs, Schafhäutl tends to devi- ate from the facts as far as Vogler and his signifi cance is concerned. The instru- ment at St. Mary’s did not remain as an example of Vogler’s ideas without major changes until 1888, as Schafhäutl wants us to believe. The insuffi cient condition of the instrument was constantly an is-
FEBRUARY, 2010 27
Feb 2010 pp. 24-29 .indd 27 1/13/10 8:34:02 AM Table 12 Table 13
Stops not used partially completely HAUPTWERK Viola di Gamba 8′ Quinta 3′ Rohrfl öt 8′ Cornet V Spitzfl öt 4′ Scharf V Cimbel III OBERWERK Gedackt 8′ Octav 4′ Nassat 3′ Octav 2′ Terz 13⁄5′ Sieffl öt 1′ Vox humana 8′ Mixtur IV HINTERWERK Quintadena 8′ Cimbel III Octav 4′ Octav 2′ Echo 8′ PEDAL Quinta 6′ Violon 16′ Trompete 8′ Octav 4′ Mixtur VI 2′
sue and an example of Vogler’s ques- tionable activities. Already before 1830, a rebuild was carried through by the Berlin organ building company Buch- holz. While David gives April 18, 1829 as the date of the contract and quotes Carl August Buchholz (1796–1884) as contract partner,16 Sieling has pointed out that the Prussian organ expert A. W. Bach mentioned Johann Simon Buch- holz as party to the contract who, how- ever, died in February 24, 1825.17 Thus, the rebuild could have been taken place even earlier. Pape has been successful in discovering hints to three receipts in fi les of the Berlin municipal offi ce. Ac- cording to notifi cations on overdue fees, the organ builder Johann Simon Buch- holz received three major payments in 1814 and 1815. Pape assumes that the organ had already been restored almost back to its original state when, in 1829, Carl August Buchholz carried out some work, not only cleaning and repair, but also changing some stops.18 Following is a comparison of the stop- lists of the Wagner organ, the Vogler or- gan, and the state of the instrument after the work of the Buchholz company.19 As- terisks mark those restored stops that are said to have been given to St. Hedwig. The spelling of the stops is according to Seidel, who quotes A. W. Bach himself as his source (Table 13). There were a few changes by Buchholz compared to the original Wagner organ. The rebuild must have been larger in the Unterwerk and Pedal due to space requirements of the lower stops. Hauptmanual All stops remained or were installed according to the original stoplist Oberwerk Mixtur IV — split in bass and discant, omitting the Terz Vox humana 8′ — Fagott-Hautbois, split in bass and discant Unterwerk Waldfl öte 2′ — Gemshorn 8′ 1 Quinte 1 ⁄3′ — Salizional 8′
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28 THE DIAPASON
Feb 2010 pp. 24-29 .indd 28 1/13/10 8:34:25 AM Cimbel 1′ — Liebliche Flöte 4′ Example 3 Seidel, Die Orgel und ihr Bau, Breslau 1843, 2 Echo 5r. — Nassard 2 ⁄3′ reprint of 3rd edition (Buren: Frits Knuf, 1987), p. 259. Hermann Mund, Zum Umbau Pedal der Orgel in der Marienkirche zu Berlin, in Mixtur VI — Subbaß 16′ Zeitschrift für Instrumentenbau (Vol. 28, ′ 2 ′ 1907/08), pp. 869–872. Edward John Hop- Quinta 6 — Groß-Nassard 10 ⁄3 kins and Edward Francis Rimbault, The Or- Baßfl öte 8’ (from Vogler’s gan: Its history and construction, 3rd edition Hauptmanual?) (London: Robert Cocks & Co., 1877, reprint: Trompete 8′ — Posaune 32′ William Leslie Sumner, editor; Buren: Frits Knuf, 1987), pp. 377–378. James Alexander What actually happened in the course Hamilton, Catechism of the organ with an of the conversion and restoration will mer working with variable wind pressure, Lexikon, 12th edition (Mainz: Schott’s Söhne, historical introduction and a description of 1939/59–61), Personenteil L–Z, p. 866. nearly two hundred and fi fty organs, 4th edi- probably never be discovered due to the latter meaning a stop crescendo de- 4. Friedrich Wilke, Ueber die Erfi ndung tion, Joseph Warren, editor (London: Robert the sparse and divergent evidence in vice. Other articles followed in 1821 and der Rohrwerke mit durchschlagenden Zun- Cocks, 1865), p. 284. An additional Flagiolet the sources. At any rate, the pipes and 1823, for example Ueber die Crescendo- gen. In Allgemeine musikalische Zeitung, Vol. 1′ appears on the Hinterwerk in several sourc- ranks at St. Mary’s that became superfl u- und Diminuendo-Züge in Orgeln by the 25 (Leipzig: Breitkopf & Härtel, 1823), col. es after the conversion. This is only the upper ous fall into two groups. As listed above, music director and organ expert Fried- 149–155. Johann Samuel Ersch u.a. (editor), range of the Fugara 4′. Probably the stop was there were the remains of the ranks from rich Wilke. Readers were informed about Allgemeine Encyclopädie der Wissenschaften split, using for the pipes above middle c the which Vogler created new stops, and the invention of the dynamically fl exible und Künste, Part 10 (Leipzig: Johann Fried- free draw knob of the removed Echo Cornet. then there were 12 completely unused free reeds, which remain stable in pitch rich Gleditsch, 1823), pp. 345–346. 20. Uwe Pape, Historische Orgeln in Bran- 21 5. Werner David, Die Orgel von St. Marien denburg und Berlin (Berlin: Pape Verlag, stops. Even a thirteenth stop could be despite changing wind pressure. zu Berlin und andere berühmte Berliner 2003), pp. 18–19. added: If conversion 7 had been carried In all of Mendelssohn’s organ works Orgeln. Herausgegeben anläßlich der Wiede- 21. Leipziger Allgemeine musikalische through as assumed, a discant Sesquial- the designation crescendo appears only reinweihung der Marienkirche im Jahre 1949 Zeitung, Vol. 26, Friedrich Rochlitz, editor tera II would have remained from the once22—at the beginning of his fi rst (Mainz: Rheingold-Verlag, 1949). (Leipzig: Breitkopf & Härtel, 1823), col. 113. Echo cornet on the Hinterwerk. Except completed organ work, the Prelude in 6. Ibid. 22. The only other two crescendi require for the Pedal Mixture, the stoplist of the D Minor. Was the opening inspired by 7. Giacomo Meyerbeer, Briefwechsel und the use of stops: pp – p – mp in the third restored organ shows again all these stops Vogler’s swell in the organ of St. Mary’s? Tagebücher, Sabine Henze-Döring and Heinz movement of the fi rst sonata, and più forte in taken out by Vogler. It could be correct First bars played on the Hinterwerk, Becker, editors, Vol. 1 (Berlin: Walter de the crescendo fugue of the fi rst movement of Gruyter & Co, 1960), p. 87. First mentioned the third sonata. Mendelssohn notated these that those ranks were moved back to St. opening the swell during the crescendo, in Andreas Sieling, August Wilhelm Bach crescendi only in the fi nal versions, not in the Mary. Why, however, should they have manual change at the mezzoforte (apart (1796–1869): Kirchenmusik und Seminarleh- preceding versions. come back when they had been sold or from other possibilities with a regis- rer-Ausbildung in Preußen im zweiten Drit- donated in order to serve in a new organ trant)? Rich foundational sound, which tel des 19. Jahrhunderts (Köln: Studio Verlag Michael Gailit received his musical and at St. Hedwig? would have pleased Vogler, was achieved Schewe, 1995), p. 49. academic training at the University of Music The identical names of the restored by doubling the chords (Example 3). 8. Sieling. Augustin Knoblich, Lebensge- in Vienna, Austria, studying piano with Hilde stops do not necessarily mean that origi- schichte der Heiligen Hedwig, Herzogin Langer-Rühl and Alexander Jenner, and organ nal Wagner pipes took their accustomed Coda und Landespatronin von Schlesien (Breslau: with Herbert Tachezi. At age 20 he received Schletter’sche Buchhandlung, 1860), p. 264. his performance degree in organ, and took place. After further rebuilds in 1892/93 Whoever gets hold of Vogler should Karl Emil von Schafhäutl, Abt Georg Joseph fi rst prize in the competition “Jugend mu- and during the 20th century, it had to cross-examine him asking a few awkward Vogler (Augsburg 1888; reprint, Hildesheim: siziert.” He subsequently earned degrees in be realized during the organ restora- questions. Did the Catholic priest launch Georg Olms, 1979), p. 192. Allgemeine musi- piano and organ pedagogy. tion in 2001 that there was not one stop the simplifi cation of the Wagner organ at kalische Zeitung, Vol. 3 (Leipzig: Breitkopf & From 1993–2008 Michael Gailit was organ- that consisted only of Wagner pipes. The St. Mary’s Lutheran in order to harvest Härtel, 1801), p. 336. ist at St. Augustine‘s Church, which has the company Daniel Kern Manufactures pipes for a new Catholic organ? If the 9. Meyerbeer, p. 87. Sieling, p. 49. largest music program in Vienna, including d’Orgues fi nally built a new instrument pipes were sold, who received the money? 10. Otto Fischer, Evangelisches Pfarrerbuch recitals and orchestra concerts throughout the into the renovated organ case with the Why did the Catholics pay money for the für die Mark Brandenburg seit der Reforma- year. In 1995, Gailit was asked to take over an incorporation of all Wagner pipes ac- pipes when others considered Vogler as tion (Berlin: Mittler, 1941). organ performance class at the Vienna Con- 20 11. Karl Emil von Schafhäutl, Abt Georg servatory of Music. There he initiated a series cording to their scaling. On the one their donor? And why was he considered Joseph Vogler (Augsburg 1888; reprint, of seminars and workshops on performance hand, pipes might have come back from as a donor when the pipes belonged to St. Hildesheim: Georg Olms, 1979), p. 192. practices in organ music of all periods. Gailit St. Hedwig’s. Today we fi nd in some of Mary’s? Maybe we can negotiate getting 12. Knoblich, p. 264. has been a member of the piano faculty of the the completely removed or dismantled at least names from him. Did the Luther- 13. In Sieling, op. cit., after August Wilhelm University of Music in Vienna since 1980. He stops historical Wagner pipes: ans know in advance that 60% of their Bach, Kurze Geschichte der Orgel u. Besch- has given courses, masterclasses and lectures organ pipes would go to the Catholics? reibung ihrer Struktur hauptsächlich nach in Europe and North America, and has per- Hauptwerk: Rohrfl öte 8′, Cornet V, Quite some questions, but musically not den Grundsätzen eines Wagner, Marx, Buch- formed in Austria, Germany, Switzerland, Scharf V, Cimbel III relevant. So we leave possible answers to holz (autograph, British Library Add. MS. 35 France, United Kingdom, Slovenia, Slova- ′ 159), folio 42r. kia, Italy, Spain, the Netherlands, Denmark, Oberwerk: Octav 2 others and return to the inspiring music 14. Uwe Pape, Orgeln in Berlin (Berlin: Sweden, Poland, Finland, Estonia, Canada, Hinterwerk: Quintadena 8′, Octav 4′, scores of Mendelssohn. Q Pape Verlag, 2003). A specifi c source is not Russia, and Mexico. Since 1984, he regularly Echo V quoted. Maybe this information is based has toured the United States giving recitals Pedal: Octav 4′, Mixtur VI Notes solely on the story of the wandering Wagner and masterclasses. In a series of six recitals 1. Uwe Pape, 500 Jahre Orgeln in Berliner pipes. in Vienna, Gailit played the six Mendelssohn On the other hand, pipes might have Evangelischen Kirchen, Berthold Schwarz, 15. Allgemeine musikalische Zeitung, Vol. 3 Sonatas, the six Bach Trio Sonatas, and the six never come back from St. Hedwig’s. editor (Berlin: Pape-Verlag, 1991), p. 86. (Leipzig: Breitkopf & Härtel, 1801), p. 336. Vierne Symphonies within three weeks. 2. The French word Abbé, besides mean- 16. David, p. 12. Gailit has released seven solo CDs, among The total number of Wagner pipes today ing the abbot of a monastery, was a common 17. Sieling, p. 48. them piano and organ music of W. A. Mozart is 823, that is, 178 pipes less than the address in German-speaking areas for regular 18. Uwe Pape, Die misslungene Umschaf- (the fi rst interpretation of the organ pieces af- 1001-pipe organ after Vogler’s simplifi - priests who did not belong to an order. fung der Wagner-Orgel der St. Marien-Kirche ter the original open scores) and selections of cation. Maybe the truth is somewhere 3. “Wacht auf, ihr Nachbeter, ihr in Berlin, in Umbrüche im Orgelbau, Vol. 2, rarely played French romantic organ music. in the middle. Among the removed Spießbürger von Liliput, aus eurem lethar- Georg Joseph Vogler (Berlin: Pape Verlag, In addition to several articles in music maga- pipes there was certainly a surplus of gischen Schlummer! Hört (Musiken)! Seht 2007), S. 51–66. zines, he has published the fi rst comprehen- high-pitch ranks, and probably not all (Partituren)! Fühlt (Wirkungen)! Und denkt!” 19. Stoplist of the organ after the restoration sive book on the Liszt pupil Reubke (Julius of them were used at St. Hedwig’s. The Vogler, in Hugo Riemann (editor), Musik- by the Buchholz company, after Johann Julius Reubke—Life And Works) in 1995. Hauptwerk Scharf seems to be a candi- date for this possibility. All its 240 pipes were given away; today it contains 149 Custom builder of pipe, combination (~62%) old pipes. and all-digital organs Mendelssohn Felix Mendelssohn-Bartholdy (1809– 1847) composed all of his early works between 1820 and 1823, during the ten- ure of his organ teacher A. W. Bach at the Vogler organ of St. Mary’s. In Bach’s organ works we fi nd dynamic markings for both a swell and a stop crescendo Wicks as special effects. A stop crescendo is described for the fi rst time 1798 in the organ method of Justin Heinrich Knecht Organ Company (1752–1817). Swell devices for dynamic fl exibility were new in Germany and an issue in music and instrument pe- riodicals. In February 1799 of the fi rst volume of the Allgemeine musikalische Zeitung, an article explains Vogler’s Sim- 1100 5th St. plifi kationssystem and the various exist- ing swell systems. Besides those working with shutters in the front and on the roof Highland IL 62249 of the swell box, the wind swell and the progression swell are explained, the for- 877-654-2191 THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET the first Opus 3047 Sunday of each month at wrti.org www.wicks.com Basilica of St. Mary Minneapolis, MN
FEBRUARY, 2010 29
Feb 2010 pp. 24-29 .indd 29 1/13/10 8:34:43 AM Cover feature
Goulding & Wood, Inc., proportions of the room, then, create a Indianapolis, Indiana generous acoustical environment. The Opus 28 (1996) and Opus 49 (2009) large cubic volume accommodates the First United Methodist Church, abundant sound of the organ, while the Rocky Mount, North Carolina placement of the instrument high on the wall distributes sound evenly, resulting From the organbuilder in a musical presence that is embracing One of the greatest pleasures we have but never oppressive. as organbuilders is seeing the develop- Mechanically, the organ is arranged ment of our relationships with the con- in two levels, with the bass chest above gregations whose churches house our the treble chest. Access for tuning and instruments. We have found that our or- maintenance is easy throughout the lay- gans serve as catalysts for ongoing shared out despite the small size of the case. All experiences with musicians, clergy, and mechanical systems and winding, includ- lay people across a wide spectrum of ing the blower, are located inside the geographic, demographic, and denomi- case, yet the organization is logical and national ranges. We are grateful for our effi cient. The division of the windchest ever-growing circle of friends, many of into bass and treble facilitates imagina- whom feel like family. Nowhere is this tive use of the organ within the chapel. truer than with the people of First Unit- By drawing different combinations for ed Methodist Church in Rocky Mount, right and left hands, two-manual reper- North Carolina. We have continued to toire can be rendered convincingly. Cor- maintain close ties with the congregation net voluntaries and trios with obbligato even as the staff musicians have changed pedal are especially effective. through the years. As such, it was with Tonally, the organ is typical of our great excitement that we received word organs in favoring fairly high cut-ups, that the church was interested in fulfi ll- substantial scaling, and thick-walled Goulding & Wood Opus 28 (1996) ing the preparations left on our Opus pipework, all of which encourages fun- 28 instrument from 1996. As the con- damental development. The Open Dia- versation continued, the church further pason is modestly scaled at 149 mm, inquired about the realization of an An- taking into account the intimate context tiphonal division as well. of the chapel. By contrast, the Stopped Discussion over this Antiphonal organ Diapason is a full 85 mm by 114 mm, had been brief at the time of the chancel adding thickness and weight to ensem- instrument installation. Console prepa- bles. Similarly, the 4′ Recorder is scaled rations to control the division were in- at 81 mm with a 20th halving ratio and cluded, but no timeline was established constructed of linen lead with a gentle for moving forward. Part of this prelimi- 2:3 ratio taper. The Dulciana is a slen- nary design was to situate the instrument der 88 mm at 8′ C and bearded for the on the rear wall of the main sanctuary, fi rst two octaves. Mouth widths are nar- allowing it to also speak into the adjacent row, allowing for high cut-ups; all stops chapel. The two rooms are perpendicular below 2′ pitch have 2/9 mouths, with the in orientation, with the back wall of the exception of the 4′ Recorder, whose fi rst sanctuary serving as the side wall of the two octaves have 1/5 mouths. Only the chapel. Although no defi nite decisions treble of the 2′ and the Fourniture have were made in 1996, the assumption was 1/4-width mouths, restraining the upper that the small Kilgen extension organ end from growing glassy or obtrusive. that served the chapel would provide a The current project also completed repository for the pipework of this very the chancel organ, rounding out the reed modest division. choruses in particular. The Great divi- As we considered the project more sion received a new 16′ Fagotto, lend- fully, it became apparent that the re- ing gravitas and weight to the ensem- Set up in erecting room sources of the Kilgen organ were insuf- ble. The Swell’s battery of reeds is now fi cient for either chapel or sanctuary capped with a powerful 4′ Clairon, and use. Rather than using any sort of unit the 16′ Basson is extended to 32′ pitch chest design, we proposed building an for the Pedal division. Other additions instrument employing a slider windchest to the Pedal are a blending 8′ Trompete with all new pipework. To maximize the and solo 4′ Schalmei. Crowning the or- fl exibility of the organ for chapel use, gan in the chancel is a commanding 8′ we split the slider chest grid at middle Bombarde with generous fundamental C and furnished separate stop controls development and rich power. This reed for bass and treble slides. The chapel also provides an effective contrast with console then accesses the instrument the brilliant 8′ Fanfare Trumpet located through divided stops, much in the way within a section of the Antiphonal case of a seventeenth-century English or- partitioned from the main division. As gan. This concept similarly infl uenced such, it does not speak into the chapel, the specifi cation, although the organ nor is it accessible by the chapel console. is not an attempt to copy any historical As an Antiphonal solo color, however, it style. At the same time, the choice of a is a thrilling presence in the room, able wooden Stopped Diapason, an elegantly to stand up against full organ from the thin Dulciana with matching celeste, and front. The only fl ue preparation was the treble Cornet derives from English prec- 8′ Harmonic Flute on the Great, and the edents. In scaling and voicing, however, addition of this color opens up its own the pipework adheres to the acoustical wealth of repertoire. environment of both chapel and sanctu- As with all of our recent work, the Console construction ary, balancing with the tonal style of the metal pipework for both the new instru- chancel instrument so as to contribute ment and the preparations was built by to a satisfying musical ensemble when A. R. Schopp’s Sons, Inc. of Alliance, paired together. Ohio. Bob Schopp, David Schopp, Joe In order to negotiate the dual uses of Russo, and their entire staff are a terrifi c the organ, and to maximize the division’s resource and helpful partners in achiev- expressive capabilities, the organ speaks ing the musical goals we seek. This job through shade frames behind each fa- also required some sophisticated altera- çade. Upon turning on the chapel con- tions to the chancel console solid-state sole, the shade frame facing into the systems, modifying controls built before main sanctuary closes and remains fi xed, the organ in back was even designed. focusing all the sound into the chapel. We are grateful to Duncan Crundwell, Conversely, turning on the chancel con- Mark Gilliam, and Alan Bragg of Solid sole closes the chapel shades and allows State Organ Systems for providing these the sanctuary side shade to be assigned to changes and the new control systems, all either the Swell or Choir shoe. All stops of which worked from the start without reside within the expression enclosure, a single glitch. Norman Y. Chambliss III including the 16′ Stopped Diapason. of Chambliss and Rabil Contractors, Inc. Within the chapel, the organ has a wide ably and cheerfully coordinated the room dynamic range, from the faint whisper modifi cations, including preparation of of the Dulciana with the box closed to the rear wall to accommodate the steel a satisfying full organ that fi lls the room support structure. Dr. Marcia Heirman, with warmth. Although the chapel has a director of music for First United Meth- modestly sized fl oor plan, it has the same odist Church, has been a great friend ceiling height as the main sanctuary. The to our shop throughout her tenure, and Left stop jamb
30 THE DIAPASON
Feb 2010 pp. 30-32.indd 30 1/13/10 8:35:53 AM ′ this project was especially fulfi lling to the words of senior pastor Bob Bergland, 16 Fagotto 8′ Trumpet embark upon with her. We look forward music is “means of grace that people may 8′ Bombarde to watching as she continues to develop come into the presence of God and have 8′ Fanfare Trumpet (hooded, in the music ministries of the church and that experience of God’s nearness.” Antiphonal case) incorporates the organ into the worship —Jason Overall Tremulant life of the congregation. We also wish to Great to Great 16 recognize the important work, sincere Goulding & Wood, Inc. Unison Off friendship, and unfl agging support of the Robert Duffy—case design and con- Great to Great 4 late Harry Pearsall. Harry was instru- struction/supervision, installation Chimes mental in the 1996 organ project, and Mark Goulding—project team leader, SWELL (Manual III, enclosed) we enjoyed keeping in touch with him installation 8′ Geigen through the intervening years. He was Robert Heighway—console design and 8′ Geigen Celeste (tenor c) the fi rst one to notify us of the prospect construction, case construction, struc- 8′ Stopped Diapason of this project in the spring of 2007, and ture, installation 4′ Principal he anticipated the completion of the or- Phil Lehman—business manager, offi ce 4′ Clear Flute gan with great eagerness. Unfortunately, support 2′ Octave 1 ′ Harry passed away in August shortly be- Tyler MacDonald—slider chest con- 1⁄3 Quint 2′ Plein Jeu III–IV fore the installation of the Antiphonal struction, installation 1′ Cymbale II organ. We shall miss Harry’s kind smile Jason Overall—project development, 16′ Basson-Hautbois and gentle presence on our future trips onsite regulation 8′ Trompette to Rocky Mount, and we are grateful to Tim Piotrzkowski—winding, chest con- 8′ Hautbois (extension) have this instrument as a testament to struction, installation 4′ Clairon his perseverance and commitment to Kurt Ryll—engineering and design 8′ Fanfare Trumpet (Antiphonal) liturgical music in the church. May his David Sims—voicing, console and Tremulant dedication and stewardship serve as a re- system wiring, onsite tuning and Swell to Swell 16 Unison Off Brandon Woods voicing a reed pipe minder to all who hear the organ that, in regulation Swell to Swell 4 Michael Vores—structure, winding, case construction, installation CHOIR (Manual I, enclosed) Brandon Woods—tonal design and 16′ Rohr Gedeckt (extension) voicing 8′ Rohrfl öte 8′ Salicional 8′ Salicional Celeste (tenor c) From the director of music ′ A long anticipated completion of the 8 Flauto Dolce 8′ Flute Celeste (tenor c) original 1996 Goulding & Wood (Opus 4′ Principal 28) organ was realized in November 2009 4′ Spielfl öte 2 as the company installed 1,048 additional 2⁄3′ Nazard pipes at First United Methodist in Rocky 2′ Spitzfl öte 3 Mount. The installation included the ad- 1⁄5′ Tierce 1 dition of an Antiphonal division for the 1⁄3′ Larigot 1′ Siffl öte main organ, a new console in the chapel, ′ the completion of the reed choruses in 8 Oboe 8′ Bombarde (Great) the chancel, a new fanfare trumpet in 8′ Fanfare Trumpet (Antiphonal) the antiphonal division for use in the Tremulant sanctuary only, and a harmonic fl ute solo Choir to Choir 16 stop on the Great. Completed, the organ Unison Off now fi lls the sanctuary with 69 ranks of Choir to Choir 4 beautiful and warm timbres. PEDAL The most obvious addition to the or- ′ gan is the stunning Antiphonal division 32 Resultant (from Rohr Gedeckt) 16′ Principal with a beautiful double façade, whose 16′ Subbass presence at the rear of the sanctuary 16′ Violone (Great) Tyler MacDonald building windchest fi ts so well architecturally it seems as if 16′ Rohr Gedeckt (Choir) it has always been there. The chancel 8′ Octave side of the double façade allows this di- 8′ Pommer vision to be played independently from 8′ Violone (Great) 8′ Rohr Gedeckt (Choir) a new one-manual, split console in the ′ chapel to serve as a new chapel organ. 4 Choralbass 4′ Koppelfl öte Independently, this organ is catalogued 2′ Octavebass as Opus 49 by Goulding & Wood. The 1 1⁄3′ Mixture II organ now embraces and surrounds the 32′ Contre Basson (extension/Swell) congregation with music and fi lls the 16′ Posaune large sanctuary without overpowering 16′ Basson (Swell) and overwhelming. 8′ Trompete 8′ Basson (Swell) The organ completion was dedicated ′ in the worship service on January 10. 4 Schalmei 8′ Bombarde (Great) Upcoming dedication recitals will be 8′ Fanfare Trumpet (Antiphonal) presented by Dr. Monica Sparzak of Fay- etteville, North Carolina, February 21; Opus 49 Antiphonal/Chapel Organ Dr. William Weisser of Edenton Street United Methodist in Raleigh, March 14; MANUAL Christin Baker, sub dean of the East Car- 8′ Open Diapason (1–13 in façade) 8′ Stopped Diapason olina AGO chapter and an East Carolina ′ University student, April 11; and Dr. 8 Dulciana 8′ Unda Maris Marcia Heirman with Lawrence Goer- 4′ Principal (1–6 in façade) ing on May 16; all of these recitals will 4′ Recorder be at 4 pm. Coming in the fall will be Dr. 2′ Fifteenth 2 Marilyn Mason, University Organist and 2⁄3′ Sesquialtera II (from middle c) 1 Chairman of the University of Michigan 1⁄3′ Fourniture II–III Organ Department in Ann Arbor, Michi- Tremulant Robert Duffy constructing one of the façade/case columns gan; Dr. Michael Stefanek of Green Bay, Wisconsin; and Jeffrey Thompson of PEDAL 16′ Stopped Diapason (extension of Goldsboro, North Carolina. Dates and Manual stop) times for the fall 2010 recitals will be an- 8′ Stopped Diapason (Manual stop) nounced later. Manual to Pedal Coupler —Dr. Marcia Heirman Chapel console: One-manual mahogany key- desk with natural keys in maple and sharps Goulding & Wood, Inc. in rosewood. Stop controls divided bass and Opus 28 (1996) and Opus 49 (2009) treble (b-24/c-25) except Fourniture, Dulci- First United Methodist Church ana, and Unda Maris. Rocky Mount, North Carolina Chest action: Goulding & Wood’s exclusive Opus 28 Chancel Organ design of electro-pneumatic slider and pallet (prepared pipework installed in 2009 windchest. listed in bold) Casework: Dual façades with two sets of GREAT (Manual II) speaking display pipes. Woodwork designed 16′ Violone and painted to match church interior. 8′ Principal 8′ Violone (extension) 8′ Harmonic Flute Goulding & Wood, Inc. 8′ Bourdon 823 Massachusetts Ave. 4′ Octave Indianapolis, IN 46204 4′ Block Flute 2′ Super Octave 800/814-9690 2 2⁄3′ Sesquialtera II (tenor c) [email protected] 1 ′ Right stop jamb 1⁄3 Mixture IV www.gouldingandwood.com
FEBRUARY, 2010 31
Feb 2010 pp. 30-32.indd 31 1/13/10 8:36:11 AM New Organs
Kegg Pipe Organ Builders, GREAT Manual I 12 stops, 15 ranks, 903 pipes Hartville, Ohio 16′ Violone 73 pipes Christ Episcopal Church, 8′ Principal 61 pipes Eureka, California 8′ Violone (ext) It has often been stated that the most 8′ Rohrfl ute* 61 pipes important stop of an organ is the room 8′ Harmonic Flute* 49 pipes in which it is heard. True, but unremark- 1–12 from Rohrfl ute 8′ Flauto Dolce* 61 pipes able. When a church actually takes to ′ heart every suggestion of its acoustician 8Flute Celeste* TC 49 pipes 4′ Octave 61 pipes and organbuilder and makes the needed 4′ Koppelfl ute* 61 pipes 2 improvements, that is remarkable in- 2⁄3′ Twelfth 61 pipes deed! Christ Episcopal Church in Eu- 2′ Super Octave 61 pipes 1 reka, California is such a church. 1⁄3′ Mixture IV 244 pipes Sound-absorbing surfaces abounded 8′ Trumpet (Pedal) at Christ Church. Carpeted fl oors, com- 8′ Clarinet* 61 pipes fortably upholstered pews, and acres of Tremulant Celotex on the ceiling and organ cham- Chimes Existing bells, new action Great Unison Off–Great 4 bers offered dismal prospects for a suc- Zimbelstern 5 handbells cessful new organ. The choir sat in pews * Enclosed on risers on one side of the chancel, with the organ console on the opposite side SWELL Manual II facing them. High above the altar, three 11 stops, 14 ranks, 902 pipes lancets of stained glass let in so much 16′ Gedeckt 73 pipes 8′ Diapason 61 pipes light that the entire sanctuary area nearly ′ disappeared in the glare. 8Gedeckt (ext) 8′ Salicional 61 pipes Working with acoustician Ewart 8′ Voix Celeste 61 pipes “Red” Wetherill, we established sev- 4′ Octave 61 pipes eral imperatives. First, carpeting in the creating a very fl exible space without the chamber walls and the sloped ceilings 4′ Nachthorn 73 pipes 2 chancel needed to be replaced with a appearance of a multipurpose room. of the swell boxes, organ sound now fi lls 2⁄3′ Nazard 61 pipes sound-refl ective material of some kind. Because the Christ Church organ the church with very little effort. Build- 2′ Flute (ext Nachthorn) 3 ′ Second, absorptive material on the ceil- plays such an integral and varied role ing from the “Anglican mist” of the Flute 1⁄5 Tierce 61 pipes 2′ Mixture IV 244 pipes ing needed to be removed or covered, at in the musical life of the community in Celeste to the thrilling satisfaction of full ′ least over the chancel area, but prefer- addition to accompanying the Episcopal organ, each nearly imperceptible step 1Scharf IV From Mixture, cancels Mixture when drawn ably throughout the entire nave. Third, liturgy, we chose not to pattern its tonal along the way weaves an aural tapestry 16′ Bassoon 73 pipes at least part of the organ needed to speak scheme on any one particular musical pe- rich in color and texture. 8′ Trompette 73 pipes on the main axis of the building. Lastly, riod or style. But instead of the eclectic An often unsung benefi t of commis- 8′ Oboe (ext) any chamber spaces used needed to be grab-bag that tries to cover all the bases, sioning an organ from a relatively small 8′ Vox Humana (console preparation) covered in double-layer drywall. this organ speaks its own musical lan- company like ours is the relationship 4′ Clairon (ext) In the end, the church made ALL guage with integrity and authority. And that develops between the organbuild- Tremulant the recommended improvements and that language is decidedly American, ing crew and a client congregation. Di- Swell 16–Swell Unison Off–Swell 4 the visual and acoustical result is stun- though it converses fl uently with most of rector of music Douglas Moorehead and SOLO Manual III ning! The center tower and two fl ats of Western Europe. his wife Carol (who surely is on the fast- 8′ Solo Diapason III (Gt and Ped) the new façade now give the three lan- At its core, the instrument is a care- track for sainthood), choir director Betty 8′ Harmonic Flute (Gt) cet windows a base, while the tall towers fully developed two-manual that could Burton, interim priest-in-charge Fr. Leo 8′ Salicional (Sw) fl anking the windows continue the lan- function perfectly well with no borrow- Joseph, parishioners Earl Morgan, John 8′ Voix Celeste (Sw) cet theme, stepping down away from the ing at all. We then drew on our experi- Patton, Leann Thoresen, Faye Judy and 8′ Flute Celestes II (Gt) center. The semi-circle within a triangle ence with unit organs to give the organist many others became like family to us Cornet V (Sw) 8′ State Trumpet (console preparation) motif at the tops of the towers comes maximum fl exibility in accessing those and will stay in our hearts for a very long ′ directly from the trusses supporting the resources. The three-manual console time. We invite you to visit them and 8Trumpet (Ped) 8′ Trompette (Sw) roof of the church. The beautiful wood and what appears to be a bevy of perni- their new Kegg organ. 8′ Oboe (Sw) altar, which had been nearly invisible cious borrowing must always be viewed —Fredrick Bahr, tonal director 8′ Clarinet (Gt) in the old confi guration, now sits in the within that context. Kegg Pipe Organ Builders Tremulant middle of the chancel in a large circle Keeping the organ footprint small was www.keggorgan.com Chimes inlaid in the new tile fl oor. Against the a high priority. Projecting out less than Solo 16–Solo Unison Off–Solo 4 backdrop of the new organ case it is now 48 inches from the east wall, the front Kegg Pipe Organ Builders very clearly the focal point of the front of case houses the unenclosed Great cho- Fredrick Bahr ANTIPHONAL Floating the church. The choir now sits behind it rus including the 16′ Violone, the full- Philip Brown Prepared in console only ′ ′ 8′ Principal 61 pipes in the optimum location for support from length 16 Trombone, the Pedal 16 Sub- Michael Carden 8′ Bourdon 85 pipes the organ, with the base of the case act- bass and generous walkboards for tuning Joyce Harper 8′ Dulciana 61 pipes ing as a sort of acoustical shell projecting access. The remainder of the organ is Charles Kegg 4′ Octave 61 pipes their sound. The altar and organ console located in free-standing enclosures in Philip Laakso 4′ Flute (ext) are on wheels, and the choir chairs and the existing organ chambers. With the Tom Mireau 2′ Piccolo (ext) chancel furniture are easily movable, new double thickness of drywall on the Bruce Schutrum Tremulant 8′ State Trumpet 61 pipes fl ared bells, polished brass Antiphonal to Great Antiphonal to Swell Antiphonal to Choir /44/ (%533 /2'!. 0!243 Antiphonal to Pedal PEDAL 4RADITION AND 0ROGRESS 3 stops, 3 ranks, 173 pipes 32′ Bourdon (ext, 1–12 generators) 32′ Resultant (derived) &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN 16′ Open Wood 12 existing pipes, 44 new pipes CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND 16′ Subbass 44 pipes ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS 16′ Violone (Gt) 16′ Gedeckt (Sw) 8′ Octave (ext) /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY 8′ Subbass (ext) MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR 8′ Violone (Gt) ′ EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP 8Gedeckt (Sw) 4′ Super Octave (ext) MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES 4′ Cantus Flute (Gt) 32′ Harmonics (derived) 16′ Trombone 73 pipes 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING 16′ Bassoon (Sw) 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS 8′ Trumpet (ext) 4′ Clarion (ext) 4′ Clarinet (Gt) %VERYWHERE AND AROUND THE WORLD /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING Tonal resources 26 stops, 32 ranks, 1978 pipes Inter-manual couplers Great to Pedal 8, 4 Swell to Pedal 8, 4 /44/ (%533 'MB( n 'ERMANY Solo to Pedal 8, 4 Swell to Great 16, 8, 4 0HONE n s &AX n Solo to Great 8 E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE Swell to Solo 8 Great to Solo 8
32 THE DIAPASON
Feb 2010 pp. 30-32.indd 32 1/13/10 8:36:49 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Murray Forman; Holy Trinity Lutheran, Lan- Pickle Piano & Church Organs This calendar runs from the 15th of the month of caster, PA 12:30 pm NEW YORK issue through the following month. The deadline is Christophe Mantoux; Grace Episcopal, Alex- Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. andria, VA 8 pm issue). All events are assumed to be organ recitals Janet Hamilton; St. Mary’s Catholic Church, unless otherwise indicated and are grouped within Lanesville, IN 12 noon each date north-south and east-west. •=AGO chap- Christopher Babcock John W.W. Sherer; Fourth Presbyterian, Chi- WILLIAM AYLESWORTH ter event, • •=RCCO centre event, +=new organ cago, IL 12:10 pm dedication, ++= OHS event. St. Andrew’s by the Sea, Information cannot be accepted unless it speci- 27 FEBRUARY D. M. fi es artist name, date, location, and hour in writ- Nicole Marane, with narrator; Peachtree Road Hyannis Port ing. Multiple listings should be in chronological order; United Methodist, Atlanta, GA 10 am EVANSTON, ILLINOIS please do not send duplicate listings. THE DIAPA- Bach, Mass in B Minor; Rockefeller Memorial St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for Chapel, University of Chicago, Chicago, IL 8 pm the accuracy of calendar entries. 28 FEBRUARY Robert Richter; Church of the Advent, Bos- UNITED STATES ton, MA 4:30 pm, Evensong at 5 pm East of the Mississippi Choral Evensong; All Saints, Worcester, MA 5 pm Spirituals concert; First Church of Christ, 15 FEBRUARY Wethersfi eld, CT 4 pm Stefan Engels, class; First Presbyterian, New CONCORA, Bach motets; Immanuel Congre- York, NY 10:30 am gational, Hartford, CT 4 pm Ryan Jackson; Cathedral of the Incarnation, 17 FEBRUARY Garden City, NY 4 pm David Simms; North Christian Church, Co- B. Andrew Mills; St. Thomas Church Fifth Av- lumbus, IN 12 noon enue, New York, NY 5:15 pm Dean W. Billmeyer Scott Dettra; St. Stephen’s Episcopal, Mill- 19 FEBRUARY burn, NJ 4 pm University of Minnesota Stephen Tharp, with narrator, Dupré, Stations Gail Archer; United Church of Christ, Read- of the Cross; Cathedral of St. Joseph, Hartford, ing, PA 3 pm CT 7:30 pm Katherine Hunt; Cathedral of Mary Our Minneapolis 55455 • [email protected] Peter Brown; Holy Trinity Lutheran, Lancast- Queen, Baltimore, MD 5:30 pm er, PA 12:30 pm Christophe Mantoux; St. Paul’s Episcopal, Choral concert with brass; Coral Ridge Pres- Richmond, VA 3 pm byterian, Fort Lauderdale, FL 7:30 pm Cathedral Choir; St. Joseph Cathedral, Colum- bus, OH 3 pm Byron L. Blackmore THOMAS BROWN 20 FEBRUARY Christopher Houlihan; Hyde Park Commu- UNIVERSITY Davis Wortman; St. James’ Church, New nity United Methodist, Cincinnati, OH 4 pm Crown of Life Lutheran Church PRESBYTERIAN CHURCH York, NY 3 pm Bradley Hunter Welch; Central College Pres- Sun City West, Arizona Paul Jacobs, masterclass; John Knox Pres- byterian, Westerville, OH 4 pm CHAPEL HILL, NORTH CAROLINA byterian, Greenville, SC 10:30 am Todd Wilson; Emerson Concert Hall, Emory 623/214-4903 ThomasBrownMusic.com Choral concert with brass; Coral Ridge Pres- University, Atlanta, GA 4 pm byterian, Fort Lauderdale, FL 2 pm Lakeshore Chamber Singers; Christ Church Hector Olivera; Spivey Hall, Clayton State Grosse Pointe, Grosse Pointe Farms, MI 4:30 University, Morrow, GA 7 pm pm University of Michigan Men’s Glee Club; West- •Anita Werling, with Western Illinois Univer- David Chalmers minster Presbyterian, Dayton, OH 7 pm sity AGO chapter members; Faith Presbyterian, DELBERT DISSELHORST Monmouth, IL 3 pm Concert Organist 21 FEBRUARY Marijim Thoene; St. Patrick’s Church, New GLORIÆ DEI CANTORES Professor Emeritus Donald Meineke; All Saints, Worcester, MA Orleans, LA 3 pm University of Iowa–Iowa City 5 pm Orleans, MA Katherine Meloan; St. Thomas Church Fifth 1 MARCH Avenue, New York, NY 5:15 pm Todd Wilson, masterclass; Emerson Concert Lenten Handbell Vespers; Bryn Mawr Presby- Hall, Emory University, Atlanta, GA 9 am terian, Bryn Mawr, PA 4 pm STEVEN EGLER Donald Sutherland, with Brass Roots Quin- 2 MARCH JOHN FENSTERMAKER tet; Griswold Hall, Peabody Conservatory, Bal- Heinrich Christensen, with clarinet; King’s Central Michigan University timore, MD 4 pm Chapel, Boston, MA 12:15 pm First Presbyterian Church RINITY BY THE OVE Choral Evensong; Episcopal Church of the Re- Christa Rakich, masterclass; Memorial Mt. Pleasant, Michigan 48858 T - - -C deemer, Bethesda, MD 5 pm Church, Harvard University, Cambridge, MA SOLO Shelly-Egler Choir of St. John’s Huntingdon; Cathedral of 12:15 pm, recital 7:30 pm RECITALS Flute and Organ Duo NAPLES, FLORIDA Mary Our Queen, Baltimore, MD 6:30 pm David Lamb; Church of St. Louis, King of Procession for Lent; Church of St. John the France, St. Paul, MN 12:35 pm Evangelist, Severna Park, MD 7 pm Monica Sparzak; First United Methodist, 3 MARCH Organist / Pianist Rocky Mount, NC 4 pm Arnold Sten; Camp Hill Presbyterian, Camp JAMES HAMMANN Michael Radulescu; Duke University Chapel, Hill, PA 12:15 pm Michael Gailit Durham, NC 5 pm Ed Bruenjes; Asbury United Methodist, Co- DMA-AAGO Paul Jacobs; John Knox Presbyterian, Green- www.gailit.at lumbus, IN 12 noon offi [email protected] University of New Orleans ville, SC 3 pm Marijim Thoene; Rogers Chapel, Tulane Uni- Choral Evensong; Christ Church Grosse versity, New Orleans, LA 12 noon Konservatorium Wien University Chapel of the Holy Comforter Pointe, Grosse Pointe Farms, MI 4:30 pm University of Music, Vienna Stefan Engels; Wabash College Chapel, 4 MARCH Crawfordsville, IN 3 pm The Chenaults; All Saints Chapel, Sewanee, Choral Vespers; Neu Chapel, University of TN 7:30 pm Evansville, Evansville, IN 5 pm ANDREW HENDERSON, DMA Alan Hommerding; Madonna della Strada 5 MARCH WILL HEADLEE Chapel, Loyola University, Chicago, IL 3 pm Choir of St. Thomas Church New York City; 1650 James Street Madison Avenue Presbyterian Church Christ and Holy Trinity Episcopal, Westport, CT New York, NY 22 FEBRUARY 8 pm Syracuse, NY 13203-2816 John Scott; Cincinnati Museum Center, Cin- Donna Burkholder www.andrewhenderson.net cinnati, OH 7:30 pm ; Holy Trinity Lutheran, (315) 471-8451 Michael Stefanek; Elliott Chapel, Presbyte- Lancaster, PA 12:30 pm rian Homes, Evanston, IL 1:30 pm Brian Jones; Emmanuel Church, Chester- Jay Peterson, practice technique roundtable; town, MD 7:30 pm Lutheran School of Theology, Chicago, IL 7:30 pm Jonathan Stanley; Madison Presbyterian, MICHELE JOHNS Madison, IN 12 noon Harry H. Huber A.Mus.D 23 FEBRUARY D. Mus. 6 MARCH Heinrich Christensen; King’s Chapel, Bos- Kansas Wesleyan University, Emeritus Organ — Harpsichord ton, MA 12:15 pm Evensong; Christ & St. Stephen’s Episcopal, University Methodist Church The University of Michigan Swedish Radio Choir; Fourth Presbyterian, New York, NY 5 pm Cameron Carpenter; Verizon Hall, Kimmel Chicago, IL 8 pm SALINA, KANSAS School of Music Laura Edman; Church of St. Louis, King of Center, Philadelphia, PA 3 pm France, St. Paul, MN 12:35 pm 7 MARCH 24 FEBRUARY Henry Hokans; All Saints, Worcester, MA LORRAINE BRUGH, Ph.D. Christophe Mantoux; Church of St. Ignatius 5 pm A two-inch Loyola, New York, NY 7:30 pm Gerre Hancock, with Three Choirs Festival; Swedish Radio Choir; St. Peter in Chains Ca- All Saints, Worcester, MA 4:30 pm Associate Professor Professional Card thedral, Cincinnati, OH 7:30 pm Mark Steinbach; Sayles Hall, Brown Univer- University Organist Mitch Rorick & Chris Lynch; St. Paul’s Lu- sity, Providence, RI 3 pm theran, Columbus, IN 12 noon Choral Evensong for Lent; Cathedral of the In- in The Diapason carnation, Garden City, NY 4 pm Valparaiso University 25 FEBRUARY Arthur Lawrence; St. Thomas Church Fifth Valparaiso, IN For information on rates and Gail Archer; Holy Trinity Lutheran, New York, Avenue, New York, NY 5:15 pm www.valpo.edu specifi cations, contact: NY 7:30 pm David Enlow; Rutgers Presbyterian, New York, NY 4 pm Jerome Butera 26 FEBRUARY Hector Olivera; St. John’s Evangelical Luther- 219-464-5084 [email protected] Stephen Hamilton, Dupré, Le Chemin de la an, Allentown, PA 4 pm [email protected] Croix; Cathedral of St. Peter and St. Paul, Provi- Alan Morrison; Evangelical Lutheran Church 847/391-1045 dence, RI 8 pm of the Holy Trinity, Lancaster, PA 4 pm
FEBRUARY, 2010 33
Feb 2010 pp. 33-37.indd 33 1/13/10 8:38:54 AM Choral Evensong; St. John’s Episcopal, Hag- Fauré, Requiem; St. Cletus Church, La erstown, MD 5 pm Grange, IL 3 pm Brian Jones KIM R. KASLING Joseph Gascho, harpsichord, with chamber D.M.A. orchestra; Episcopal Church of the Redeemer, 15 MARCH Director of Music Emeritus Bethesda, MD 5 pm Bach, Johannes-Passion; Trinity Wall Street, St. John’s Univeristy Gail Archer; First United Methodist, Brevard, New York, NY 7:30 pm RINITY HURCH T C SC 4 pm Jane Parker-Smith, masterclass; Cathedral BOSTON Collegeville, MN 56321 Scott Dettra; Bower Chapel, Naples, FL 4 pm Church of St. Luke, Orlando, FL 7:30 pm James David Christie; Rollins College, Win- Karen Beaumont; Summerfi eld Methodist, ter Park, FL 3 pm Milwaukee, WI 1 pm Evensong; Christ Church Grosse Pointe, Grosse Pointe Farms, MI 4:30 pm 16 MARCH JAMES KIBBIE Helen Skuggedal Reed; First Presbyterian, Ray Cornils, Bach Birthday Bash; Portland The University of Michigan Evansville, IN 4:30 pm, Choral Evensong 5 pm City Hall, Portland, ME 2 pm, 7:30 pm Lenten Choral Evensong; Cathedral Church of Choral Evensong; St. James’ Church, New Ann Arbor, MI 48109-2085 ORGAN CONSULTANT the Advent, Birmingham, AL 4 pm York, NY 5:30 pm 734-764-1591 FAX: 734-763-5097 Agape Ringers; First Presbyterian, Arlington Douglas Reed; Wheeler Concert Hall, Univer- www.gabrielkney.com Heights, IL 4 pm email: [email protected] sity of Evansville, Evansville, IN 7:30 pm Ralph Johansen; Church of St. Louis, King of 9 MARCH France, St. Paul, MN 12:35 pm Heinrich Christensen, with oboe and sopra- David K. Lamb, D.Mus. no; King’s Chapel, Boston, MA 12:15 pm 17 MARCH James Sperry; Ransdell Chapel, Campbells- John Matthews, Jr.; Grace Lutheran, Colum- Director of Music/Organist Richard Litterst ville University, Campbellsville, KY 12:20 pm bus, IN 12 noon Choral Evensong; Rockefeller Memorial Chapel, First United Methodist Church Christine Kraemer; Nichols Concert Hall, Mu- In Memoriam University of Chicago, Chicago, IL 5 pm sic Institute of Chicago, Evanston, IL 12:15 pm Columbus, Indiana Thomas Ferry; Church of St. Louis, King of 812/372-2851 February 4, 1926–August 9, 2009 France, St. Paul, MN 12:35 pm 18 MARCH Gillian Weir; Nelson Hall, Elim Park Place, 10 MARCH Cheshire, CT 7:30 pm John Simpson; Sandy Hook United Method- BETTY LOUISE LUMBY ist, Columbus, IN 12 noon 19 MARCH David Lowry Jeanine Jordan; Grace Episcopal, Elmira, NY THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD 11 MARCH 7:30 pm DSM • FAGO Choral works of Lassus; St. Luke in the Fields, 1512 BLANDING STREET, COLUMBIA, SC 29201 Josephine Freund; Holy Trinity Lutheran, New York, NY 8 pm Lancaster, PA 12:30 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO Gail Archer; St. Helena’s Episcopal, Beaufort, 12 MARCH ROCK HILL, SC 29733 MONTEVALLO, AL 35115 SC 12 noon Isabelle Demers; Christ Church, Greenwich, Ken Cowan; Holy Trinity Lutheran, Akron, OH CT 7:30 pm 8 pm Margaret Marsch; Holy Trinity Lutheran, Lan- David Lamb, with mezzo-soprano; St. John caster, PA 12:30 pm Presbyterian, New Albany, IN 12 noon David Higgs; Presbyterian Church of Chest- nut Hill, Philadelphia, PA 8 pm James R. Metzler Tom Trenney; St. Mark’s Episcopal, Colum- 20 MARCH bus, OH 8 pm Singing Boys of Pennsylvania; Dubbs United ARK ONGREGATIONAL HURCH P C C Choir of St. Thomas Church New York City; St. Church of Christ, Allentown, PA 3 pm GRAND RAPIDS, MICHIGAN George’s Episcopal, Nashville, TN 7 pm Mendelssohn, Elijah; Coral Ridge Presbyte- Paul Jacobs; Trinity United Methodist, Hunts- rian, Fort Lauderdale, FL 7:30 pm ville, AL 7:30 pm Todd Wilson, with brass quintet; St. Turibius Faythe Freese; St. James Episcopal, Chapel, Pontifi cal College Josephinum, Colum- Fairhope, AL 7:30 pm bus, OH 5:30 pm Judith Miller; First Presbyterian, Jefferson- Thomas Murray; St. Norbert Abbey, DePere, LEON NELSON ville, IN 12 noon WI 2 pm A.S.C.A.P. Adam Brakel; Fourth Presbyterian, Chicago, •Anita Werling, workshop; Emmanuel Episco- FELLOW, AMERICAN GUILD OF ORGANISTS University Organist IL 12:10 pm pal, Rockford, IL 10 am Exultate; Bethel University, Roseville, MN 7:30 345 SADDLE LAKE DRIVE North Park University pm 21 MARCH ROSWELL-ATLANTA, GEORGIA 30076 Chicago, Illinois (770) 594-0949 Thomas Mueller, works of Bach; First Con- 13 MARCH gregational, Camden, ME 3 pm Stephen Hamilton, new church music pre- Gretchen Longwell & David Worth; All sentation; First Church of Deerfi eld, Deerfi eld, Saints, Worcester, MA 5 pm MA 10 am David Enlow; Cathedral Church of St. John DOUGLAS O’NEILL BEDE JAMES PARRY Ken Cowan; St. Matthew’s Episcopal, Wilton, the Divine, New York, NY 5 pm Cathedral of the Madeleine CT 7:30 pm Eugene Lavery; St. Thomas Church Fifth Av- ALL SAINTS’ CHURCH Gillian Weir, masterclass; Covenant Presby- enue, New York, NY 5:15 pm Salt Lake City, Utah terian, Charlotte, NC 9 am Stephen Tharp; Cathedral Basilica of the Sa- [email protected] AS EGAS EVADA Fauré, Requiem; Madonna della Strada Cha- cred Heart, Newark, NJ 4 pm 801/671-8657 L V , N pel, Loyola University, Chicago, IL 7:30 pm Stef Tuinstra; Christ Church, New Brunswick, Verdi, Requiem; Rockefeller Memorial Chapel, NJ 4 pm University of Chicago, Chicago, IL 7:30 pm Singing Boys of Pennsylvania; Peace-Tohick- Exultate; Woodbury Lutheran, Woodbury, MN on Lutheran, Perkasie, PA 4 pm MARILYN MASON 7:30 pm •Jane Parker-Smith; East Liberty Presbyte- CHAIRMAN, DEPARTMENT OF ORGAN rian, Pittsburgh, PA 4 pm UNIVERSITY OF MICHIGAN 14 MARCH Choral concert; Cathedral of Mary Our Queen, ANN ARBOR Stephen Hamilton; First Church of Deerfi eld, Baltimore, MD 5:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Deerfi eld, MA 3 pm Fauré, Requiem; Church of St. John the Evan- with awesome technique and a thrilling command of its daring writing.” Gerre Hancock, Three Choirs Festival; All gelist, Severna Park, MD 7 pm Saints Episcopal, Worcester, MA 4:30 pm The American Organist, 1980 Robert Parkins; Duke University Chapel, Dur- David Spicer, with choirs; First Church of ham, NC 5 pm Christ, Wethersfi eld, CT 4 pm Martin Jean; First Presbyterian, Gainesville, Choral concert; Cathedral of the Incarnation, FL 4 pm Garden City, NY 4 pm Bruce Neswick; Episcopal Church of Bethes- SYLVIE POIRIER Gail Archer; St. Michael’s Episcopal, New da-by-the-Sea, Palm Beach, FL 4 pm LARRY PALMER York, NY 3 pm Gail Archer; St. Joseph Catholic Church, Ma- Saint Andrew Chorale, Sing-Along Messiah; PHILIP CROZIER con, GA 4 pm Professor of Madison Avenue Presbyterian, New York, NY Scott Atchison & Zachary Hemenway; ORGAN DUO 3 pm Peachtree Road United Methodist, Atlanta, GA Harpsichord and Organ Scarlatti, Stabat Mater; Church of St. Vincent 7 pm 3355 Queen Mary Road, Apt 424 Ferrer, New York, NY 3 pm Evensong; Christ Church Grosse Pointe, Meadows School of the Arts Nicholas Bideler; St. Thomas Church Fifth Montreal, H3V 1A5, P. Quebec Grosse Pointe Farms, MI 4:30 pm Avenue, New York, NY 5:15 pm David Higgs SOUTHERN METHODIST UNIVERSITY Canada James Kennerley; Christ Church, New Bruns- ; Church of the Ascension, Knox- wick, NJ 4 pm ville, TN 5 pm (514) 739-8696 Gillian Weir; Cathedral Church of the Advent, Dallas, Texas 75275 The Kent Camerata; Shadyside Presbyterian, Fax: (514) 739-4752 Pittsburgh, PA 4 pm Birmingham, AL 4 pm Paul Winter, Missa Gaia; Bryn Mawr Presbyte- •Anita Werling; Emmanuel Episcopal, Rock- Musical Heritage Society recordings [email protected] rian, Bryn Mawr, PA 4 pm ford, IL 3 pm Charles Miller; Washington National Cathe- Thomas Wikman, with trumpets; Lutheran dral, Washington, DC 5:15 pm School of Theology, Chicago, IL 4 pm Gillian Weir; Covenant Presbyterian, Char- lotte, NC 3 pm 22 MARCH Arthur LaMirande William Weisser; First United Methodist, Stephen Tharp, masterclass; Cathedral Ba- LaMirande must be complimented upon investi- Rocky Mount, NC 4 pm silica of the Sacred Heart, Newark, NJ 10 am gating music that few of his fellow organists have Jane Parker-Smith; Cathedral Church of St. Jane Parker-Smith, masterclass; East Liberty had the foresight to examine and to bring before the Luke, Orlando, FL 3 pm Presbyterian, Pittsburgh, PA 8 pm public.—American Record Guide Nathan Laube; St. John’s Episcopal, Tampa, FL 5 pm 23 MARCH L’organiste traversa son programme entier avec Jeanine Jordan; First United Methodist, At- Aaron David Miller; Church of St. Louis, King une authorité, une solidité technique et une fraîcheur lanta, GA 2 pm of France, St. Paul, MN 12:35 pm de registration qui, loin de faiblir en fi n d’exercice, Carole Terry; St. Joseph’s Cathedral, Colum- accompagnèrent les deux rappels d’ailleurs accordé bus, OH 3 pm 24 MARCH sans la moindre hésitation.—La Presse, Montréal S. Wayne Foster; Second Congregational, Hervé Duteil; Church of St. Ignatius Loyola, Grand Rapids, MI 4 pm New York, NY 7 pm 461 Fort Washington Avenue, Suite 33 St. Lorenz instrumental ensembles; St. Lorenz Mozart, Requiem; Church of St. Ignatius New York, NY 10033 Lutheran, Frankenmuth, MI 4 pm Loyola, New York, NY 8 pm 212/928-1050 [email protected] Celtic Evensong; Christ Church Grosse Pointe, William Picher; Morrison United Methodist, Grosse Pointe Farms, MI 4:30 pm Leesburg, FL 12 noon
34 THE DIAPASON
Feb 2010 pp. 33-37.indd 34 1/13/10 8:39:16 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM David Lamb; First United Methodist, Colum- •Christophe Mantoux, lecture/demonstration; bus, IN 12 noon Christ Church Episcopal, Tacoma, WA 7 pm DOUGLAS REED Stephen G. Schaeffer 25 MARCH 19 FEBRUARY Recitals – Consultations David Enlow; Princeton University Chapel, Todd Davis; Christ Church, Episcopal, Ta- UNIVERSITY OF EVANSVILLE Princeton, NJ 12:30 pm coma, WA 12 noon Cathedral Church of the Advent Christophe Mantoux; First Congregational, EVANSVILLE, INDIANA Birmingham, Alabama 26 MARCH Berkeley, CA 8 pm www.AdventBirmingham.org Cameron Carpenter; Ford Hall, Ithaca Col- lege, Ithaca, NY 8:15 pm 20 FEBRUARY Philip T.D. Cooper; Holy Trinity Lutheran, •Dupré, Le Chemin de la Croix; Chapel of Our Lancaster, PA 12:30 pm Lady of Good Counsel, Mankato, MN 7:30 pm Stephen Tappe Singing Boys of Pennsylvania; Greystone Mozart, Requiem; St. John the Divine Episco- ROBERT L. Presbyterian, Indiana, PA 7:30 pm pal, Houston, TX 7:30 pm Organist and Director of Music Samuel Metzger; Coral Ridge Presbyterian, SIMPSON Saint John's Cathedral Fort Lauderdale, FL 7:30 pm 21 FEBRUARY Christ Church Cathedral Theresa Bauer; Trinity United Methodist, New Ken Cowan; Cathedral Church of St. Paul, Denver, Colorado Albany, IN 12 noon 1117 Texas Avenue Des Moines, IA 4 pm Houston, Texas 77002 www.sjcathedral.org Anita Werling; First Presbyterian, Macomb, Gerre Hancock, Choral Evensong; St. Mark’s IL 7:30 pm Episcopal, San Antonio, TX 4 pm John W.W. Sherer; Fourth Presbyterian, Chi- Evensong; St. John’s Cathedral, Denver, CO cago, IL 12:10 pm 3:30 pm William Peterson; University of Washington, Beal Thomas 27 MARCH Seattle, WA 3 pm Singing Boys of Pennsylvania; Corry High Joe Utterback Isabelle Demers; The Neighborhood Church, Mount Calvary Church School, Corry, PA 8 pm Palos Verdes Estates, CA 4 pm COMMISSIONS & CONCERTS Bella Voce; Glenview Community Church, Baltimore Nathan Laube; St. Martin’s Episcopal, Davis, Glenview, IL 7:30 pm 732 . 747 . 5227 CA 7 pm [email protected] Namhee Han & S. Wayne Foster; First Con- 28 MARCH Bach, St. John Passion; Memorial Church, gregational, Los Angeles, CA 4 pm Harvard University, Cambridge, MA 8 pm Evensong; All Saints Episcopal, Pasadena, Fauré, Requiem; Church of the Holy Trinity CA 5 pm David Wagner (Episcopal), New York, NY 12 noon Carol Williams; Spreckels Organ Pavilion, DMA Kevin Walters Haydn, Seven Last Words; Madison Avenue Balboa Park, San Diego, CA 2 pm Presbyterian, New York, NY 3 pm Robert Plimpton, with percussion; First Unit- Madonna University M.A., F.A.G.O. Stephen Hamilton, Dupré, Le Chemin de la ed Methodist, San Diego, CA 4 pm Livonia, Michigan Croix; Cathedral Church of St. John the Divine, Christophe Mantoux; All Souls Episcopal, Rye, New York New York, NY 5 pm San Diego, CA 4 pm [email protected] John Sheridan; Christ Church, New Bruns- wick, NJ 4 pm 26 FEBRUARY Daniel Sansone, Dupré, Le Chemin de la Gerre Hancock; Edythe Bates Old Recital Croix; Cathedral of Mary Our Queen, Baltimore, Hall, Rice University, Houston, TX 7 pm MD 5:30 pm Andrew Henderson; St. John’s Cathedral, KARL WATSON Cherie Wescott Choral Vespers; Neu Chapel, University of Denver, CO 7:30 pm Concerts • Masterclasses • Coaching Evansville, Evansville, IN 5 pm James Welch; Aspen Community Church, As- SAINT LUKE’S Kammerchor; Concordia University, Mequon, pen, CO 7:30 pm 405/942-3958 WI 3:30 pm David Pickering; Doc Rando Recital Hall, e-mail: [email protected] Monteverdi, Vespers; Rockefeller Memorial Cha- University of Nevada, Las Vegas, NV 7:30 pm METUCHEN pel, University of Chicago, Chicago, IL 7:30 pm David Lines; Spanaway Lutheran, Tacoma, University of Minnesota Choirs; Cathedral of WA 12 noon St. Paul, St. Paul, MN 2:30 pm Peter Richard Conte; St. John’s Lutheran, Sacramento, CA 7:30 pm Davis Wortman 29 MARCH Bach, Mass in B Minor; All Saints’ Episcopal, RONALD WYATT Cathryn Wilkinson; Elliott Chapel, Presbyte- Beverly Hills, CA 8 pm rian Homes, Evanston, IL 1:30 pm St. James’ Church Trinity Church 27 FEBRUARY 30 MARCH Andrew Henderson; First Congregational, New York Galveston Klaus Becker; King’s Chapel, Boston, MA Boulder, CO 7:30 pm 12:15 pm David Pickering, workshop; Doc Rando Re- cital Hall, University of Nevada, Las Vegas, NV 31 MARCH 10 am Offi ce of Tenebrae; Cathedral of the Incarna- Charles Dodsley Walker, FAGO tion, Garden City, NY 8 pm 28 FEBRUARY Artist-in-Residence Founder/Conductor Ed Bruenjes, Ramon Hass, David Lamb, Lynne Davis; Cathedral Basilica of St. Louis, Saint Luke’s Parish Canterbury Choral Society John Matthews, & John Simpson; First Pres- St. Louis, MO 2:30 pm 1864 Post Road 2 East 90th Street byterian, Columbus, IN 12 noon Jonathan Hall, Dupré, Le Chemin de la Darien, CT 06820 New York, NY 10128 Croix; St. Mary’s Cathedral, San Francisco, CA (917) 628-7650 (212) 222-9458 UNITED STATES 3:30 pm West of the Mississippi Mark Mummert, hymn festival; Trinity Luther- an, Manhattan Beach, CA 4 pm
15 FEBRUARY 1 MARCH William Webber, C.A.G.O. Gail Archer; Grace and Holy Trinity Cathe- Joseph Lee, with choir; Northridge United Organist, First Christian Church, Danville, KY dral, Kansas City, MO 8 pm Methodist, Northridge, CA 8 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: http://users.cnjnet.com/williamwebber
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From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford
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Feb 2010 pp. 33-37.indd 35 1/13/10 8:39:38 AM 5 MARCH Wolfgang Zerer; Christ the King Lutheran, 30 MARCH 14 MARCH Nathan Laube; First Baptist, Abilene, TX Houston, TX 6 pm Bach, St. John Passion; Christ the King Lu- Simon Hogan; Westminster Cathedral, Lon- 7:30 pm Choir of St. Thomas Church New York City; theran, Houston, TX 7:30 pm don, UK 4:45 pm Douglas Cleveland; Holsclaw Hall, University Highland Park United Methodist, Dallas, TX 6 pm of Arizona, Tucson, AZ 7 pm Christopher Houlihan; American Evangelical 17 MARCH Robert Bates; First Presbyterian, Yakima, WA Lutheran, Prescott, AZ 2:30 pm INTERNATIONAL Ulfert Smidt; Catholic Cathedral, Moscow, 7:30 pm Jonathan Wohlers; Lagerquist Hall, Pacifi c Russia 7:30 pm Christoph Bull; First Lutheran, Torrance, CA Lutheran University, Tacoma, WA 3 pm Paul Derrett; Reading Town Hall, Reading, 7:30 pm Richard Elliott; St. Margaret’s Episcopal, 18 FEBRUARY UK 1 pm James Welch; St. Mark’s in the Valley Episco- Palm Desert, CA 4 pm Martin Baker; St. Matthew’s Westminster, pal, Los Olivos, CA 8 pm Evensong; St. James’ Episcopal, Los Angeles, London, UK 1:05 pm 18 MARCH CA 4:30 pm Alexander Fiseisky; Tchaikovsky Hall, Mos- 6 MARCH William Whitehead; St. James’ Episcopal, 21 FEBRUARY cow Philharmonie, Moscow, Russia 7 pm Sam Rathbone; Westminster Abbey, London, •Aaron David Miller, workshop; Recital Hall, Los Angeles, CA 6 pm Jonathan Bunney; St. Matthew’s Westmin- UK 5 pm Concordia University, Seward, NE 10 am, recital Hector Olivera; Walt Disney Concert Hall, Los ster, London, UK 1:05 pm 7 pm Angeles, CA 7:30 pm Dong-ill Shin; Westminster United Church, Winnipeg, MB, Canada 2:30 pm Robert Plimpton; Rancho Bernardo Commu- 19 MARCH Randy Mills, works of Bach; Memorial Chapel, 7 MARCH nity Presbyterian, San Diego, CA 4 pm Anna Magergut Trinity College School, Port Hope, ON, Canada , with violin; Russian Gnes- Bach, St. Matthew Passion; Walt Disney Con- sins’ Academy of Music, Moscow, Russia 7 pm cert Hall, Los Angeles, CA 7 pm 19 MARCH 2:30 pm Carol Williams; St. Mary’s Abbotsbury, New- Roger Sherman, with soprano and instrumen- Nathan Laube; Christ Episcopal, Little Rock, ton Abbot, Ashburton, Devon, UK 7:30 pm talists; Thomsen Chapel, St. Mark’s Cathedral, AR 8 pm 24 FEBRUARY Seattle, WA 2 pm St. Martin’s Chamber Choir and Colorado Cho- Randy Mills, works of Bach; St. Mark’s Angli- 20 MARCH Robert Bates, Bach, Clavierübung, Vol III; rale; St. John’s Cathedral, Denver, CO 7:30 pm can, Port Hope, ON, Canada 7:30 pm Margarita Eskina, harpsichord; Russian Trinity Lutheran, Lynnwood, WA 7 pm Stephen Rupp; Christ Church, Episcopal, Ta- coma, WA 12 noon 26 FEBRUARY Gnessins’ Academy of Music, Moscow, Russia 12 noon 8 MARCH Mark Batten; St. Stephen Walbrook, London, Alexander Fiseisky Nathan Laube; Fine Arts Center, University of 20 MARCH UK 12:30 pm ; Tchaikovsky Hall, Mos- Arkansas, Fayetteville, AR 8 pm Melvin Butler; Christ Church, Episcopal, Ta- cow Philharmonie, Moscow, Russia 7 pm coma, WA 2 pm 28 FEBRUARY 9 MARCH Keith Hearnshaw; Westminster Cathedral, 21 MARCH Choir of St. Thomas Church New York City; 21 MARCH London, UK 4:45 pm Jory Vinikour, harpsichord; Russian Gnes- Christ Church Cathedral, Houston, TX 7:30 pm Ken Cowan; Hennepin Avenue United Meth- Carol Williams; Salomons Conference & sins’ Academy of Music, Moscow, Russia 12 odist, Minneapolis, MN 4 pm Events Centre, Tunbridge Wells, Kent, UK 2 noon 10 MARCH Evensong; St. John’s Cathedral, Denver, CO pm Wolfgang Seifen; Catholic Cathedral, Mos- Choir of St. Thomas Church New York City; 3:30 pm Randy Mills, works of Bach; Memorial Chapel, cow, Russia 7:30 pm Trinity Episcopal, Longview, TX 7 pm Kathleen Dow, with handbells; First United Trinity College School, Port Hope, ON, Canada Carol Williams; Southampton Guildhall, Hector Olivera; Walt Disney Hall, Los Ange- Methodist, Bellevue, WA 3 pm 2:30 pm Southampton, Hampshire, UK 3 pm les, CA 7:30 pm Bach, Mass in B Minor; First United Methodist, Marcus Wibberley; Westminster Cathedral, Santa Monica, Los Angeles, CA 4 pm 2 MARCH London, UK 4:45 pm 12 MARCH Evensong; All Saints Episcopal, Pasadena, Andrew Earis; St. Giles-in-the-Fields, Lon- Ars Nova Singers; St. John’s Cathedral, Den- CA 5 pm don, UK 1:10 pm 25 MARCH ver, CO 7:30 pm Mark Brafi eld; St. Martin’s Dorking, Dorking, James Welch; Eliza R. Snow Performing Arts 26 MARCH 3 MARCH UK 1 pm Center, Brigham Young University, Rexburg, ID Laura Ouimette; Spanaway Lutheran, Taco- Randy Mills, works of Bach; St. Mark’s Angli- 7:30 pm ma, WA 12 noon can, Port Hope, ON, Canada 7:30 pm 27 MARCH Choral concert; All Saints’ Episcopal, Beverly Carol Williams; Gloucester Cathedral, 13 MARCH Hills, CA 7:30 pm 5 MARCH Gloucester, UK 7:30 pm VocalEssence; Ted Mann Concert Hall, Min- Simon Earl; Parish Church of SS. Peter and neapolis, MN 8 pm 28 MARCH Paul, Godalming, UK 1 pm 28 MARCH Daniel Sullivan; St. Mark’s United Methodist, Bach, St. John Passion; Christ the King Lu- Matthew Martin; Westminster Cathedral, Lon- Sacramento, CA 7 pm theran, Houston, TX 6 pm 7 MARCH don, UK 4:45 pm Choral concert; All Saints’ Episcopal, Las Ve- Thomas Wilson; Westminster Cathedral, Daniel Hyde; Westminster Abbey, London, 14 MARCH gas, NV 5:30 pm London, UK 4:45 pm UK 5 pm Exultate; Beautiful Savior Lutheran, Plymouth, William Porter; Grace Lutheran, Tacoma, WA Randy Mills, works of Bach; Memorial Chapel, William Whitehead; Eglise des Saints-Anges- MN 4 pm 3 pm Trinity College School, Port Hope, ON, Canada Gardiens, Montreal, QC, Canada 3 pm 2:30 pm
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36 THE DIAPASON
Feb 2010 pp. 33-37.indd 36 1/13/10 8:39:57 AM siaen; Sonata in D, op. 65, no. 5, Mendels- First Baptist Church, Worcester, MA, Oc- and Fugue in c, op. 37, no. 1, Mendelssohn; sohn; Psalm Prelude, Set 1, No. 1, Howells; tober 18: Gymnopédie No. 1, Satie; Elegie, Improvisation on a familiar melody, Swann; Organ Recitals Sicilienne (Suite, op. 5), Durufl é; Chorale Friedell; Danny Boy, Ross; Three Hymns, Introduction and Passacaglia (Sonata in e, op. Fantasy on Hallelujah! Gott zu loben!, op. 52, Mathews; Elysium, Schocker; Petite Suite, 132, no. 8), Rheinberger. no. 3, Reger. Speed; Berceuse, Tournier; Tierce en taille, ROBERT BATES, Messiah Lutheran Dialogue, Marchand; Sonata IV, Mendels- STEPHEN THARP, Münster, Lindau, Church, Redwood City, CA, October 10: DAVID A. GELL, Trinity Episcopal sohn; Serenade and Dance, Trapp. Germany, August 2: Praeludium und Fuge Praise to the Lord, the Almighty, Walther; Church, Santa Barbara, CA, October 4: Tocca- Es-Dur, BWV 552, Allein Gott, in der Höh’ Praeludium in d, BuxWV 140, Canzona in G, ta in a, My young life hath an end, Sweelinck; DAVID PICKERING, The Cathedral of sei Ehr’, BWV 664, Bach; Overtüre zum Ora- BuxWV 170, Ein feste Burg ist unser Gott, Fantasie over het Lutherlied ‘Een Vaste Burg St. Philip, Atlanta, GA, September 27: Pièce torium Paulus, op. 36, Mendelssohn, transcr. BuxWV 184, Praeludium in g, BuxWV 148, is onze God,’ J. Zwart; Boven de Starren, W. héroïque, Franck; Adagio in E, Bridge; O Je- Best; Rorate Coeli, Domine Jesu, Tu es Pe- Buxtehude; Concerto in b, Vivaldi, transcr. H. Zwart; Koraal, Trio, Introductie en Fuga rusalem, Gawthrop. trus, Attende Domine (Zwölf Choral-Prae- Walther; Annum per annum, Pärt; Sonatina, over Gezang 227, Bijster; Prelude and Fugue ludien), Demessieux; Vers l’Esperance (Trois op. 18/1, nos. 1-4, Distler; Liebster Jesu, wir in a, C. Kee; Ceremonial Trumpet Tune, Haan; JON RIEHLE, with Emily Fink, sopra- Poèmes), Escaich; Adagio, Finale (Orgel Sym- sind hier, BWV 731, Passacaglia and Fugue in Premier Choral, Andriessen. no, First Congregational Church U.C.C., phony No. 8, op. 42, no. 4), Widor. c, BWV 582, Bach. Appleton, WI, August 19: Eleven Chorale STEPHEN HAMILTON, St. John’s Lu- Preludes, Brahms. MICHAEL UNGER, First Presbyterian ROBERT CLARK, University of Notre theran Church, Lindenhurst, NY, October 4: Church, Arlington Heights, IL, October 11: Dame, South Bend, IN, September 13: Prae- O Gott, du frommer Gott, BWV 767, Bach; JOYCE JOHNSON ROBINSON, with Allegro vivace (Symphonie V in f, op. 42), ludium in g, BuxWV 149, Buxtehude; Partita Vater unser im Himmelreich, Böhm; Sonata Carol Burswold Lahti, violin, Sinsinawa Widor; Aria Prima (Hexachordum Apolli- on Freu dich sehr, O meine Seele, Böhm; Pre- VI in d, op. 65, Mendelssohn; Passacaglia, Mound, Sinsinawa, WI, July 15: Second Over- nis), Pachelbel; A fancy, Bancroft; Prelude lude and Fugue in d, BWV 539, Bach; No. 3, BWV 582, Bach; Litanies, JA 119, Alain; Cho- ture in Solomon, Handel, arr. Robinson; Pre- and Fugue in e, BWV 548, Bach; Introduc- Mit sanften Stimmen, No. 4, Mässig, doch ral No. I in E, Franck; Prelude and Fugue in lude and Fugue in C, BWV 537, Bach; Pas- tion and Passacaglia (Sonata No. 8 in e, op. nicht zu langsam, No. 5, Lebhaft (Six Fugues B, op. 7, no. 1, Dupré. torale (Sechs Stücke, op. 150), Rheinberger; 132), Rheinberger; There Is a Happy Land, I on B-A-C-H, op. 60), Schumann; Allein Gott Magnifi cat en A Mila 3#, très utile aux Dames Love Thee, My Lord (Sacred Sounds), Shear- in der Höh sei Ehr, BWV 662, Pièce d’Orgue, ANDREW HENDERSON, Madison Av- Religieuses (Premier Livre d’Orgue), Cor- ing; Prélude, Variations sur un noël Angevin BWV 572, Bach. enue Presbyterian Church, New York, NY, rette; Meditation, Dupont; Shall We Gather (Douze Pièces), Litaize. September 27: Prelude and Fugue in E-fl at, at the River, Be Thou My Vision, Come Thou PHILIP CROZIER, with Mette Mentzen, BWV 552, Bach; Four Pieces for a Musical Fount of Every Blessing, Burswold; Sonata I, ANITA EGGERT WERLING, First Pres- narrator; Sakskøbing Kirke, Sakskøbing, Den- Clock, Haydn; Te Deum Laudamus, BuxWV op. 65, no. 1, Mendelssohn. byterian Church, Macomb, IL, October 30: mark, July 26: Faust, Eben. 218, Buxtehude; Triptych, Paulus; Suite, op. Prelude in F, Hensel; Sonata in d, op. 65, no. 5, Durufl é. STEPHEN SCHNURR, The Cathedral 6, Mendelssohn; Passacaglia and Fugue in c, PHILIP CROZIER, Saint-Bavo Cathedral, of the Holy Angels, Gary, IN, October 11: BWV 582, Nun danket alle Gott, BWV 657, Ghent, Belgium, July 30: Hymn Pange Lin- VANCE HARPER JONES, The Old Praeludium in E, LübWV 7, Lübeck; Ein feste Schmücke dich, o liebe Seele, BWV 654, Herr gua, de Grigny; Six Paraphrases grégoriènnes, Meeting House, New Bern, NC, October 30: Burg ist unser Gott, BuxWV 184, Buxtehude; Jesu Christ, dich zu uns wend, BWV 655, Bach; Bédard; Pueri Hebraeorum, Adoro Te devote Ricercare (II tono), Pasquini; Prelude and Ein feste Burg ist unser Gott, Pachelbel; Ein Sonata in B-fl at, op. 65, no. 4, Mendelssohn. (Versetti), Eben; Variations on Victimae Pas- Fugue in C, Lübeck; Onward Christian Sol- feste Burg ist unser Gott, BWV 720, Praeludi- chali Laudes, Ropek; Postlude de l’offi ce des diers, Ashford; Prelude (Sonata No. 1 in c, op. um et Fuga in a, BWV 543, Bach; Toccata in D CHERIE WESCOTT, Christ the King Complies, Alain; Concert Study on Salve Re- 27), Rheinberger; Balm in Gilead, Utterback. moll, op. 59, no. 5, Reger; Prélude, op. 29, no. Catholic Church, Oklahoma City, OK, Octo- gina, Manari. 1, Pierné; Humoresque “L’organo primitivo,” ber 4: Concerto in C, BWV 595, Kyrie, God, AARON DAVID MILLER, Christ Church, Yon; In paradisum, Lesur; Cortège et Litanie, Holy Spirit, BWV 671, Bach; Grand Choeur ISABELLE DEMERS, Trinity College, Westerly, RI, October 18: Preludium in e, op. 19, no. 2, Dupré. Dialogué, Gigout; Te Deum laudamus, Bux- Hartford, CT, October 16: Prelude in E-fl at, Weckmann; Concerto in a, BWV 593, Bach; WV 218, Buxtehude; Moderato (Tonstuck, op. BWV 552/1, Bach; O Jesu Christ, meins Leb- Firefl ies, BWV 772–Variation (Clamor), Mill- FREDERICK SWANN, Presbyterian 22, no. 1), Gade; Pedal Variations on Jesus, ens Licht, BWV 118, Bach, transcr. Demers; er; Carillon, Benoit; Improvisation, Miller. Homes, Evanston, IL, October 17: Toccata, Keep Me Near the Cross, Thewes; The Prom- Christ unser Herr zum Jordan kam, BWV op. 59, no. 3, Benedictus, op. 59, no. 3, Reger; ised Land, Ward; Pax Vobiscum, op. 86, no. 5, 684, Fugue in E-fl at, BWV 552/2, Bach; Dieu WILLIAM NESS, with Debbie Franks, Concerto, op. 4, no. 5, Handel; Choral III, Karg-Elert; Stunde der Freude, op. 132, no. parmi nous (La Nativité du Seigneur), Mes- fl ute, and Lira Cady, harp (The Synergy Trio), Franck; Woodland Flute Call, Dillon; Prelude 5, Bossi.
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POSITIONS PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS AVAILABLE RECORDINGS RECORDINGS FOR SALE
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Moore, and Palmer Christian. repertoire from the usual to the unknown, Arne Phil Wellington, 818/773-8846, pwworgan@ Includes an informal history-memoir of the organ to Zundel, often in exceptional performances on dslextreme.com. department with papers by 12 current and former beautiful organs. Each set includes many hymns PUBLICATIONS/ faculty and students; 11 scholarly articles; remi- sung by 200–400 musicians. Historic Organs of RECORDINGS niscences and testimonials by graduates of the Indiana, 31 organs on 4 CDs, $34.95. Historic Moller 70–3-1/2—Asking $25,000. Pipes un- department; 12 appendices, and a CD record- Organs of Louisville (western Kentucky/eastern enclosed. Has reed stop and 30 feet of cable. ing, “Marilyn Mason in Recital,” recorded at the Indiana), 32 organs on 4 CDs, $29.95. Historic Contact Lee Russell at 931/592-4248. Looking for a challenge? Thanks to Peter National Shrine of the Immaculate Conception Organs of Maine, 39 organs on 4 CDs, $29.95. Basch, Serge de Gastyne’s “Cantique de Joie” in Washington, DC. $50 from The University of Historic Organs of Baltimore, 30 organs on 4 is now available for purchase. First played in Michigan, Prof. Marilyn Mason, School of Music, CDs, $29.95. Historic Organs of Milwaukee, 25-rank David Dyer pipe organ, modifi ed by 1973 in the packed Cathedral of Notre Dame, Ann Arbor, MI 48109-2085. 25 organs in Wisconsin on 2 CDs, $19.98. His- Brantley Duddy, in good condition. $15,000 or Paris, this diffi cult tour de force will stand out in toric Organs of New Orleans, 17 organs in the best offer, buyer to remove. 410/287-2482 or any organ concert. michaelsmusicservice.com; Bayous to Natchez on 2 CDs, $19.98. Historic [email protected]. Historic Organs of Seattle: A Young Yet Vi- 704/567-1066. Organs of San Francisco, 20 organs on 2 CDs, brant History, the latest release from OHS, is a $19.98. Add $4.50 shipping in U.S. per entire or- four-disc set recorded at the 2008 OHS national der from OHS, Box 26811, Richmond, VA 23261, Oldest extant Aeolian, Opus #871, 1899. The Organ Historical Society has released convention, held in the Seattle, Washington area. Nearly fi ve hours of music feature historic by telephone with Visa or MasterCard 804/353- Professionally moved by Meloni & Farrier from Historic Organs of Indiana, 4 CDs recorded at 9226; FAX 804/353-9266. Vanderbilt/Fabbri mansion in NYC in 2001. This the OHS National Convention in Central Indiana organs by Aeolian-Skinner, Casavant, Hook & Hastings, and Hutchings-Votey, Kilgen, Tallman, organ is in perfect condition, needing restoration in July, 2007. Nearly 5 hours of music features only. Please call Anthony Meloni at 914/843- 31 pipe organs built between 1851–2004, by Woodberry, Hinners, Cole & Woodberry, plus in- struments by Flentrop, C. B. Fisk, and Rosales, Aging of Organ Leather by Harley Piltingsrud 4766 for details. Organ specs may be viewed at Aeolian-Skinner, Skinner, Henry Erben, Felge- tells how to test and select organ leathers for lon- www.meloniandfarrier.com. maker, Hook & Hastings, Kilgen, Kimball, and and Pacifi c Northwest organbuilders Paul Fritts, Martin Pasi, John Brombaugh, Richard Bond, gevity of 60 years or more. Treats other aspects many more builders. Performers include Ken and many more! Renowned organists Douglas of leather production and the history of testing for Cowan, Thomas Murray, Bruce Stevens, Carol Cleveland, Julia Brown, J. Melvin Butler, Carol longevity. New 48-page edition in 1994, $9.95 + 8-rank Wangerin near Detroit is seeking a Williams, Christopher Young, and others. A 40- Terry, Bruce Stevens, and others are featured $4.50 shipping for entire order (within USA). Or- good home. I am in good condition and will page booklet with photos and stoplists is includ- in live performances on 24 pipe organs built be- der online at www.ohscatalog.org. bring joy to my new owner. Owner is asking ed. OHS-07 4-CD set is priced at $34.95 (OHS tween 1871 and 2000. Includes a 36-page book- $3,500 and buyer to remove. For information members, $31.95) plus shipping. Visit the OHS let with photographs and stoplists. $34.95, OHS please contact 248/356-0896 or mcclungave@ Online Catalog for this and over 5,000 other or- members: $31.95. For more info or to order: Request a free sample issue of The Diapason comcast.net. gan-related books, recordings, and sheet music: http://OHSCatalog.com/hiorofse.html. for a student, friend, or colleague. Write to the www.ohscatalog.org. Editor, The Diapason, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005; or e-mail: Portative organ: Designed for small choral or CD Recording, “In memoriam Mark Buxton [email protected]. baroque ensembles. Four stops: 8′, 4′, 2′, and The OHS Catalog is online at www.ohscatalog. (1961–1996).” Recorded at Église Notre-Dame 1-1/3′, with the last two divided into bass and org. More than 5,000 organ and theatre organ de France in Leicester Square, London, between treble registers and an adjustable point of di- CDs, books, sheet music, DVDs and VHS vid- 1987 and 1996. Works of Callahan, Widor, PIANOFORTE FOR SALE vision (b24/c25 or c25/c#26). Adjustable pitch eos are listed for browsing and easy ordering. Grunewald, Salome, Ropartz, and Boëllmann, between A=440 Hz and A=415 Hz. Quarter- Use a link for adding your address to the OHS along with Buxton’s improvisations. $15 post- sawn white oak case. Available immediately. Catalog mailing list. Organ Historical Soci- paid: Sandy Buxton, 10 Beachview Crescent, To- Brown and Allen/Boston square grand piano- For more information, contact Létourneau Pipe ety, Box 26811, Richmond, VA 23261. E-mail: ronto ON M4E 2L3 Canada. 416/699-5387, FAX forte. 73 keys. Very good condition. Best offer. Organs at [email protected] or [email protected]. 416/964-2492; e-mail [email protected]. Nelson, 847/367-5102 or 312/304-5287. 888/774-5105. glück newyork orgaNbuilders
170 Park Row, Suite 20A TOTAL PIPE ORGAN RESOURCES New York, NY 10038
2320 West 50th Street * Erie, PA 16505-0325 212.608.5651 (814) 835-2244 * www.organsupply.com www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
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PEEBLES-HERZOG, INC. THE ORGAN COMPANY 50 Hayden Ave. Columbus, Ohio 43222 1220 Timberedge Road Lawrence, Kansas 66049 Ph: 614/279-2211 • 800/769-PIPE (785) 843-2622 www.peeblesherzog.com www.reuterorgan.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON
Feb 2010 pp. 38-39.indd 38 1/13/10 8:41:08 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Pipe organ. $4,900. Two manuals, 11 ranks. Consoles, pipes and numerous miscellaneous Austin actions: Come to the source. Fast de- Releathering all types of pipe organ actions Over 500 beautiful pipes. 248/471-1515; cell parts. Let us know what you are looking for. livery. Guaranteed. 860/522-8293; www.austin and mechanisms. Highest quality materials and 586/202-9960. E-mail [email protected] (not comcast), organs.com. workmanship. Reasonable rates. Columbia phone 215/353-0286 or 215/788-3423. Organ Leathers 800/423-7003. www.columbia organ.com/col. 1964 M.P. Möller pipe organ. 36-rank American Aeolian/Robert Morton-style maroon leather Classic specifi cation including two célestes, two Wood pipes. Missing pipes made to match. is now available from Columbia Organ enclosed divisions and 32′ reed. Three-manual Damaged pipes in any condition repaired. Over Leathers! Highest quality. 800/423-7003, THE DIAPASON’s website now presents featured console. No casework or façades; instrument is 25 years experience. Filip Cerny, 814/342-0975. www.columbiaorgan.com. artists in its SPOTLIGHTS section—with pho- in good condition but will need releathering. Ask- tos, biographies, and contact links. Visit www. ing $50,000 “as is” or can be rebuilt with some TheDiapason.com to view details: in the left- modifi cations. Available immediately. For more ANNOUNCEMENTS Highest quality organ control systems since hand column, under Spotlights, click on Fea- information, contact Létourneau Pipe Organs at 1989. Whether just a pipe relay, combination tured Artists. [email protected] or 888/774-5105. action or complete control system, all parts Stephen Tharp is featured on a new recording are compatible. Intelligent design, competitive at St. Bavo in Haarlem—JAV Recordings JAV- pricing, custom software to meet all of your re- Tours of the World’s Largest Pipe Organ in At- 1960s Walcker (German) 14-rank tracker 178 presents Tharp playing a program of works quirements. For more information call Westa- lantic City’s Boardwalk Hall are now available by organ. Open toe voicing on 2″ wind pressure. by Buxtehude, Bach, Bruhns, Böhm, Liszt, Vi- cott Organ Systems, 215/353-0286, or e-mail reservation. The two-hour docent tours include Reverse console built into case. Footprint is 6′ erne, Alain, and Peeters, on the landmark 1738 [email protected]. the ballroom Kimball organ and the 33,000+ pipe wide by 11′6″ deep (including console and pedal Christian Müller organ. With notes on the music, Midmer-Losh organ, with its 7-manual console ′ ″ ′ instrument and artist; www.pipeorgancds.com. and 5-manual portable console. Tourgoers will stops), 9 10 tall. All encased with 4 Principal fa- ′ ′ çade. Manual I—8′ Gedackt, 4′ Octave, II Sesqui- Austin actions recovered. Over 40 years ex- see the 64 pedal stop, the immense 32 Diapa- altera, II–III Mixture. Manual II—8′ Gemshorn, 4′ perience. Units thoroughly tested and fully guar- sons, and areas of the organs not open to the ca- ′ ′ ′ The Carlene Neihart International Pipe Organ anteed. Please call or e-mail for quotes. Tech- sual visitor. Tours cost $20, which goes directly Rohrfl ote, 2 Principal, 1-1/3 Quinte. Pedal—16 Competition takes place April 10 at Second Bourdon, 8′ Flute, 4′ Choralbass. Playing and in nical assistance available. Foley-Baker, Inc., 42 to support the restoration of these instruments; Presbyterian Church, Kansas City, Missouri, on N. River Road, Tolland, CT 06084. Phone 1- children under 12 are admitted free. For reserva- use regularly. Asking $16,500. For recordings the church’s 1949 Möller pipe organ, rebuilt and and pictures contact [email protected]. 800/621-2624. FAX 860/870-7571. foleybaker@ tions: [email protected]. For information: restored in 2009. First place award ($2,500) is sbcglobal.net. www.acchos.org. underwritten by Quimby Pipe Organs; second place ($1,500) is sponsored by Casavant Frères MISCELLANEOUS and Carroll Hansen; third place award is $1,000. Postal regulations require that mail For information: organcompetitions.com. Need help with your re-leathering FOR SALE project? All pneumatics including to THE DIAPASON include a suite num- Austin. Over 45 years experience ber to assure delivery. Please send Atlantic City Pipe Organ Company—16′ The Pori International Organ Competition (on the job assistance available). all correspondence to: THE DIAPASON, Gemshorn with chests and racking, 1–12 Kilgen, takes place June 7–12 at Central Pori Church, 615/274-6400. 3030 W. Salt Creek Lane, Suite 201, 13–61 OSI, $2000. OSI 8′ metal Gedeckt, $600. Pori, Finland. Open to organists from all over 609/641-9422; [email protected]. the world; age limit 30 years. First prize €8,000, Arlington Heights, IL 60005. second prize €4,000, third prize €2,000. Jury in- cludes Ben Van Oosten, Hans Fagius, Markku ALL REPLIES Six ranks for sale: 16′ Bourdon (32 notes), 16′ Hietaharju, Kalevi Kiviniemi, and Louis Robil- TO BOX NUMBERS THE DIAPASON’s classified ads are Bombarde (1–12), 8′ Doppelfl öte, 4′ Hohlfl öte, ′4 liard. The organ at Central Pori Church was now available on THE DIAPASON Harmonic Flute, 8′ Vox Humana. Mike Jalving; built by Paschen Kiel Orgelbau. For information: that appear website—including photographs and 303/671-6708 (Colorado). www.poriorgan.fi . convenient e-mail links directly to the without an address sellers! Visit www.TheDiapason.com should be sent to: and in the left-hand column, look for 4-manual 1989 M.P. Moller organ console in Are you receiving THE DIAPASON E-News? Our SPOTLIGHTS, then click on Classified oak. MIDI on 3 manuals + pedals. Single memory, newsletter is e-mailed monthly to our registered THE DIAPASON Advertisements. Follow the links to the 10 generals, 6 divisionals, 18 rocker tabs. Match- subscribers; a separate issue each month sends 3030 W. Salt Creek Lane, Suite 201 classifieds that interest you, and click ing bench and pedal board. Also has a Yamaha you our web classifi ed ads. To register, visit the e-mail button to contact the sellers. recording and play back device. 407/222-1231; www.TheDiapason.com, click on Newsletter, Arlington Heights, IL 60005 What could be easier? [email protected]. and enter your contact information.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS W. Zimmer & Sons, inc. City ______❑ $55.00—2 YEARS Jacques Stinkens ❑ $35.00—1 YEAR pipe organ builders Organpipes - since 1914 State ______Zip ______FOREIGN SUBSCRIPTIONS 429 Marvin Road Fort Mill, SC 29707 ❑ $85.00—3 YEARS Flues - Reeds Phone/Fax: 803-547-2073 Please allow four weeks for delivery of fi rst issue ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" wzimmerandsons.com ❑ E-1 $45.00—1 YEAR Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] on new subscriptions. NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
FEBRUARY, 2010 39
Feb 2010 pp. 38-39.indd 39 1/13/10 8:41:38 AM 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] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Stephen Cleobury* Douglas Cleveland Michael Unger AGO National Competition Winner Available 2008-2010
Ken Cowan Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director March 2011 Jane Parker-Smith* Peter Planyavsky* Simon Preston* Daniel Roth* Ann Elise Smoot Donald Sutherland The Choir of St. John’s College Cambridge, UK Andrew Nethsingha, Director March, 2011
Westminster Cathedral Choir London, UK Martin Baker, Director Fall 2011 *=European artists available Tom Trenney Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young 2009-2010 and 2010-2011