THE DIAPASON OCTOBER 2015

Virginia Theological Seminary Alexandria, Virginia Cover feature on pages 34–36 Michael Hey

“The first piece [gave] the soloist, Michael Hey, the opportunity to show his talents. Mr. Hey performed admirably, playing without a score in front of him and making the music seem improvisatory in the way that Handel might have played it.” Seen and Heard International

“The organ part was vividly played on Friday by Michael Hey.” The New York Times

PO Box 6507, Detroit, MI 48206-6507 WWW.CONCERTARTISTS.COM Charles Miller, President - [email protected] Phillip Truckenbrod - [email protected] (860)-560-7800 THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Sixth Year: No. 10, In this issue Whole No. 1271 The organ and church music world grieves the sudden loss OCTOBER 2015 of John Scott, organist and choirmaster at St. Thomas Church Established in 1909 in New York City. In his column this month, John Bishop pays Joyce Robinson ISSN 0012-2378 tribute to this incomparable musician. 847/391-1044; [email protected] Gavin Black has returned from his summer hiatus and www.TheDiapason.com An International Monthly Devoted to the Organ, discusses the question of looking at the hands (or feet) while the Harpsichord, Carillon, and Church Music playing. Larry Palmer’s column this month offers a look at the latest of Mark Schweizer’s “liturgical mysteries,” along with a CONTENTS cautionary tale for those of us who travel. 20 under 30 FEATURES Our feature articles this month include an interview with Juan The nominations for our 20 under 30 Class of 2016 will open The Liturgical Organist Paradell-Solé, the well-traveled organist who serves the Sistine on December 1, so please begin thinking about worthy candi- A Conversation with Juan Paradell-Solé Chapel Choir in Rome, and John Speller’s report of the 2015 dates for nomination. Selections are made solely from nomina- by Joyce Johnson Robinson 24 Organ Historical Society convention held in western Massachu- tions. If you nominated someone for 2015 and they were not OHS 2015: The Pioneer Valley, setts. This month’s cover feature is the organ in Virginia Theo- chosen, you may nominate them again. Massachusetts The Organ Historical Society’s Annual Con- logical Seminary, Alexandria, Virginia, built by Taylor and Boody. vention, June 28–July 3, 2015 Corrections and clarifi cations by John L. Speller 28 2016 Resource Directory In the stoplist for the August cover feature, Austin Organs NEWS & DEPARTMENTS The advertising deadline for the 2016 Resource Directory Opus 2344 at St. Mark’s Episcopal Church in New Canaan, is November 1. For information and to place your ad, contact Connecticut, we inadvertently omitted an important stop, Editor’s Notebook 3 ′ Here & There 3 Jerome Butera: [email protected], 608/634-6253. namely, the 8 Open Diapason in the Great division. Q Appointments 6 Nunc Dimittis 10 On Teaching by Gavin Black 20 Here & There In the wind . . . by John Bishop 22

REVIEWS Events Music for Voices and Organ 13 Methuen Memorial Music Hall, Book Reviews 14 Methuen, Massachusetts, continues its New Recordings 15 Wednesday evening organ recitals: Octo- New Organ Music 16 ber 3, children’s program, Peter and the New Handbell Music 18 Wolf, with Joyce Painter Rice; October 23, Christopher Houlihan plays the Berj NEW ORGANS 19 Zamkochian Memorial Organ Recital; CALENDAR 37 December 4, Holiday Open House. “A ORGAN RECITALS 41 Merry Music Hall Christmas,” featuring CLASSIFIED ADVERTISING 42 music for organ and trumpet, will be presented 12/5 with Ray Cornils at the console and 12/6 with Peter Sykes. For information: www.mmmh.org.

The Cathedral of St. John, Mil- waukee, Wisconsin, announces organ Philadelphia Young Artist Organ Camp recitals Wednesdays at 12:15 p.m.: October 7, Scott Foppiano; 10/28, John The 10th Annual Philadelphia Young Artist Organ Camp was held June 28– Seboldt; November 4, Larry Wheelock; July 4, with students from around the USA. Under the artistic direction of Alan Mor- 11/11, Jared Stellmacher; 11/25, Marco rison and Peter Richard Conte and with administrative support by Rudy Lucente, the LoMuscio. December 13, Advent Les- yearly camp is generously funded by the Sansom Foundation and supported by the sons & Carols at 5:15 p.m. For informa- Friends of the Wanamaker Organ and Macy’s, Center City Philadelphia. In the past tion: www.stjohncathedral.org. ten years the main venues have been Verizon Hall at the Kimmel Center, the Wana- COVER maker Organ at Macy’s, Curtis Institute of Music, Longwood Gardens, and St. Mark’s Taylor and Boody, Staunton, Virginia; TENET announces its 2015–16 Church, Locust Street. Students receive two daily lessons in two different venues, Virginia Theological Seminary, schedule of events, at various venues daily organ class, plus group classes in improvisation with Matthew Glandorf. At the Alexandria, Virginia 34 in New York City: October 9, Songs of culmination of the camp the students performed a recital in Field Hall (Aeolian- the Trouvères, medieval music of the Skinner V/116) and on the Wanamaker organ at Macy’s. The latter was recorded and 14th–16th centuries; December 12, aired on WRTI, which also featured interviews with each performer. The camp is lim- Editorial Director JOYCE ROBINSON Praetorius: A Weihnachts Celebration; ited to six participants who receive full scholarship, room/board, and travel expenses. and Publisher [email protected] 847/391-1044 January 4, February 5, and 2/6, Music Students in the 2015 camp were: Michael Jon Bennett, Adrian Binkley, Martin Jones, of the Ars Subtilior; 2/27 and 2/28, Bux- Ben Henderson, Lorraine Mihaliak, and Aaron Patterson. VP/Group Publisher DIANE VOJCANIN tehude’s Membra Jesu Nostri; March 6, [email protected] The Secret Lover; April 16, Monteverdi’s 847/391-1046 Madrigals of War and Love; May 20, 14, “You Gotta Believe,” with Anton Allen, organ, and Christine Westhoff, Editor-at-Large STEPHEN SCHNURR Music of the Burgundians. For further Armstrong, guest conductor; December soprano; January 24, 2016, Albatross [email protected] information: www.tenet.nyc. 5, Britten, St. Nicolas; 12/12 and 12/13, Clarinet Quartet; February 21, Lyle Shef- 219/531-0922 Christmas at the Villa; January 31, 17th fl er, guitarist; April 10, Allegra Chapman, Sales Director JEROME BUTERA The Indianapolis Symphonic Choir annual Invitational School Choral Festi- pianist; May 22, Bella Piano Trio. For [email protected] announces its 2015–16 performance sea- val; March 5, “Mexicantos,” Five Centu- information: www.creativeartsseries.com. 608/634-6253 son, which takes place at various venues ries of Mexican Choral Treasures; May Circulation/ in the Indianapolis area: October 9–10, 22, “Just Gettin’ Started,” jazz music St. Peter in Chains Cathedral, Subscriptions DONNA HEUBERGER Beethoven’s Missa Solemnis; December with bassist Christian McBride. For Cincinnati, Ohio, announces its 2015–16 [email protected] 6, 12/18–20, 25th Anniversary of Festival information: houstonchamberchoir.org. concert season: October 18, Blake Cal- 847/954-7986 of Carols; 12/13, Handel’s Messiah; Janu- lahan; 10/28, Tenebrae; November 29, Designer DAN SOLTIS ary 29–31, Holst’s The Planets; April 2, Church of the Gesu, Milwaukee, Advent Lessons & Carols; February 7, Bach’s St. John Passion; May 13, Pops: A Wisconsin, continues organ recitals Tues- 2016, The Rose Ensemble; 2/19, Chanti- Contributing Editors LARRY PALMER Choral Spectacular; 5/20, 5/21, Durufl é days at 7:30 p.m.: October 13, John Para- cleer; 2/21, Early Music Choral Festival; Harpsichord Requiem; June 10 and 12, Bizet’s Car- dowski; December 8, Rob McWilliam. March 23, Ancient Offi ce of Tenebrae; JAMES MCCRAY men. For information: indychoir.org. For information: www.gesuparish.org. April 13, Tallis Scholars. For informa- Choral Music tion: www.stpeterinchainscathedral.org. BRIAN SWAGER The Houston Chamber Choir pres- The Creative Arts Series announces Carillon ents its 20th anniversary season: October its 2015–16 series of programs held at Musica Sacra, New York City, 11, “The Original Jersey Boy—Frank Resurrection Catholic Parish, Santa announces its 2015–16 season: October JOHN BISHOP Sinatra, Big Band to Vegas”; November Rosa, California: October 18, Timothy ³ page 4 In the wind . . .

GAVIN BLACK THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. On Teaching Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2015. Printed in the U.S.A. 5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Reviewers John M. Bullard Subscriptions: 1 yr. $38; 2 yr. $62; 3 yr. $85 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Karen Beaumont Foreign subscriptions: 1 yr. $48; 2 yr. $75; 3 yr. $96. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Kola Owolabi Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: at the rate of one copy for every fi fteen students. Such copies may be reused for other John L. Speller Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington courses or for the same course offered subsequently. John Collins Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the Kenneth Udy issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, Leon Nelson should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 3 Here & There

³ page 3 21, St. John the Divine, a cappella choral music; December 22, Carnegie Hall, Handel’s Messiah; March 9, Alice Tully Hall, Lincoln Center, Mozart’s Solemn Vespers, K. 339, and Deborah, a newly commissioned oratorio by American composer Evan Fein. For information: www.musicasacrany.com.

Flentrop organ, Holy Name Cathedral Brevard-Davidson concert (photo credit: Joan Keith) Holy Name Cathedral in Chicago, Eastman Italian Baroque organ (photo Illinois, continues recitals celebrating Dr. Charlie Steele, (right), music director at Brevard-Davidson Presbyterian courtesy University of Rochester) the 25th anniversary of the installation of Church, in Brevard, North Carolina, played a concert at Central Presbyterian the Flentrop organ: October 25, David Church, Bristol, Virginia, on May 29 to kick off that church’s celebration of their The Eastman School of Music, Jonies; November 8, Ricardo Ramirez. 140th anniversary. He was assisted in one piece by his wife Patti Black, pianist (left in Rochester, New York, will sponsor a four- For information: holynamecathedral.org. the picture). Joy Briggs, organist at Central, and Randall Dyer, organbuilder are also day festival October 22–25, marking the pictured. The organ is Dyer’s III/41 built in 2009. tenth anniversary of the installation of its South Church, New Britain, Con- Italian Baroque organ in the Memorial necticut, continues its music series: Art Gallery of Rochester. Events are free November 1, Johannes String Quartet and open to the public, but concert tick- with pianist David Westfall; December ets should be reserved in advance. Recit- 20, Candlelight Festival of Lessons & alists include Roberto Antonello (Italy), Carols; April 10, Organized Rhythm: Edoardo Bellotti, Nathan Laube, Annie Clive Driskill-Smith, organist, and Laver, David Higgs, Hans Davidsson, Joseph Gramley, percussionist; May 15, William Porter, and Eastman students. Lorelei Ensemble. For information: Masterclasses will be given by Armando www.musicseries.org. Carideo (Italy) and Roberto Antonello. For more information, www.esm. Westminster United Church, Win- rochester.edu/organ. nipeg, Manitoba, Canada, announces upcoming organ recitals, at 2:30 p.m.: St. John’s Episcopal Church, West November 1, Benjamin Sheen; Febru- Hartford, Connecticut, announces its ary 28, David Enlow; April 24, Marnie 2015–16 music series: October 25, Char- Giesbrecht and Joachim Segger. For lotte Beers Plank; December 13, Candle- information: westminsterchurch.org. light Festival of Nine Lessons and Carols; January 3, Scott Lamlein; 1/8, silent fi lm Shadyside Presbyterian Church, screening with Jason Roberts; February 7, Pittsburgh, Pennsylvania, presents Natasha Ulyanovsky; March 6, Kari Miller; its 2015–16 music series: November April 3, Ben Gessner; 4/9, Rick Ericksen, 1, Durufl é, Requiem; 11/6, Rutgers organ, Donald Meineke, harpsichord, University Glee Club; 11/22, Jonathan with dance interpretation, Bach, Art of Rudy; December 13, Advent concert; Fugue; May 1, Vaughn Mauren; 5/22, Rut- 12/24, Candlelight service; January 31, ter, Requiem; June 5, Scott Lamlein. For Nathan Carterette, pianist; February 21, information: www.sjparish.net. Chatham Baroque; April 10, Ayreheart; Young Organist Collaborative 4/17, Choral Evensong. For information: Longwood Gardens, Kennett www.shadysidepres.org. On May 9, 2015, the thirteenth class of the Young Organist Collaborative, Square, Pennsylvania, announces its centered in Portsmouth, New Hampshire, performed a year-end recital on the 2015–16 organ recitals: October 25, John Quire Cleveland announces its Lively-Fulcher organ at Christ Episcopal Church in Exeter, New Hampshire. The Richardson; November 21, Peter Rich- 8th concert season: Bach, Beethoven, YOC, funded exclusively by donations, supports students in seventh through twelfth ard Conte; February 6, Peter Richard Mozart, Byrd, Brahms, Britten, Novem- grades by providing fi nancial support for lessons with local organists, opportunities Conte; 2/19, James O’Donnell; March ber 7 (7:30 p.m., Cathedral of St. John the for masterclasses with well-known organists, and fi eld trips to area pipe organs and 6, Jackson Borges; 3/20, Neil Harmon; Evangelist, Cleveland) and 11/8 (4 p.m., organbuilders. Students participating in the program were from southern Maine, the April 2, Paul Jacobs; 4/17, Rebecca Painesville United Methodist Church); Seacoast of New Hampshire, and northeastern Massachusetts. They performed pieces Kleintop Owens; 4/24, Eric Plutz. In Carols for Quire VII, December 4 (7:30 by Bach, Pachelbel, Barr, Vierne, Messiaen, and Porter. Participants (pictured left addition, the gardens offers its Open p.m., Trinity Cathedral), 12/5 and 12/6 to right) were Ben Taylor, Richard Gress, Noah Abasciano, Philip Pampreen, Alex Organ Console Day, April 23. For infor- (4 p.m., St. Peter Church); music of Marin, Roric Cunningham, Yosua Siagian, Lucas Bay Nering, Marshall Joos, Seamus mation: www.longwoodgardens.org. William Byrd, May 21 (7:30 p.m., St. Gethicker, Emma Masse, Mason Elle-Gelernter, and Adele Elle-Gelernter. Bernard Church, Akron) and 5/22 (4 Church of the Nativity, Huntsville, p.m., St. Peter Church, Cleveland). For Alabama, announces music events: information: quirecleveland.org. November 9, Stephen Tharp (7:30 p.m.); Seraphic Fire, Patrick Dupré November 1, Evensong; December 19, December 2 and February 24, David Quigley, artistic director, announces its Lessons & Carols; both events take place Morrison United Methodist Bellows; March 2, Josiah Armes; 3/9, 2015–16 performance schedule. Based in at 5 p.m. For information: Church, Leesburg, Florida, announces Ken Stoops. For further information: Miami, Florida, the ensemble will make www.nativity.dioala.org. organ recitals at 12 noon except as noted: www.morrisonumc.org. three separate tours to Philadelphia, Washington, D.C., and New York City. The group will journey to the Northeast THE WANAMAKER ORGAN for performances of Handel’s Coronation The Sound of Pipe Anthems (November 10, Washington; Listen to it worldwide 11/11, New York; 11/12, Philadel- Organs phia), Mozart’s Requiem (February 16, M. McNeil, 191 pages over the Internet! ³ page 6 A new technical study of the Hourlong streamcasts relationships between scaling, Music of Ed Nowak are featured at 5pm ET voicing, the wind system, and Choral, hymn concertatos, psalm tuning. Search on the title at the first Sunday of settings, organ, piano, orchestral the Organ Historical Society each month at wrti.org and chamber ensembles and Amazon websites. http://ednowakmusic.com

4 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Michael D. Boney Daniel Bruun Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Presenter Organist/Conductor Organist Organist/Harpsichordist Indiana University Montevideo, Uruguay Charlotte, North Carolina Indianapolis, Indiana Copenhagen, Denmark Ann Arbor, Michigan

Leon W. Couch III Joan DeVee Dixon Rhonda Sider Edgington Laura Ellis Henry Fairs Faythe Freese Organist/Lecturer Organist/Pianist Organist Organ/Carillon Head of Organ Studies Professor of Organ Birmingham, Alabama Hutchinson, MN Holland, Michigan University of Florida Birmingham Conservatoire University of Alabama

Simone Gheller Sarah Hawbecker Johan Hermans James D. Hicks Michael Kaminski Sarah Mahler Kraaz Organist/Recording Artist Organist/Presenter Organist/Lecturer Organist Organist Professor of Music/Organist Oconomowoc, WI Atlanta, GA Hasselt, Belgium Bernardsville, NJ Brooklyn, New York Ripon College

Angela Kraft Cross David K. Lamb Mark Laubach Colin Lynch Yoon-Mi Lim Philip Manwell Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Conductor Assoc. Prof. of Organ Organist San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania Boston, Massachusetts SWBTS, Fort Worth, TX Reno, Nevada

Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stahlman Anna Myeong David F. Oliver Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Organist/Lecturer Organist U of Nebraska-Lincoln Manhattan School of Music Champaign, Illinois Lebanon Valley College Mission, Kansas Morehouse College

Ann Marie Rigler Brennan Szafron Edward Taylor Michael Unger Rodland Duo Christine Westhoff Organist/Presenter Organist/Harpsichordist Organist/ Choral Conductor Organist/Harpsichordist Viola and Organ & Timothy Allen William Jewell College Spartanburg, S. Carolina Carlisle Cathedral, UK Cincinnati, Ohio Eastman School of Music/ Soprano & Organ St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 a non-traditional representation celebrating its 28th year of operation Here & There

³ page 4 will also perform on the November and language of love, inclusiveness, commit- February 15, 2016. For information: Washington; 2/17, New York; 2/18, Phila- February Northeast programs. For infor- ment, and the love God has for the union www.macalester-plymouth.org. delphia) and Brahms’s German Requiem mation: www.seraphicfi re.org. of all people regardless of gender. (April 19, Washington; 4/20, New York; This is a search for new texts. The use The Church Music Association of 4/21, Philadelphia). In New York, they Macalester Plymouth United of familiar meters, which may be sung America will hold its Winter Sacred Music perform in Trinity Episcopal Church, Church in St. Paul, Minnesota, to familiar tunes, is encouraged; original Workshop at St. Mary’s Seminary, Houston, Wall Street, in Philadelphia at St. Clem- announces the twentieth annual interna- tunes are also welcome. It is suggested Texas, January 4–8, 2016. The event will ent Episcopal Church, and in Washing- tional contest for English-language hymn that competitors avoid archaic and non- include study of chant and polyphony with ton, D.C., at St. Paul Episcopal Church, writers, which carries a prize of $500 inclusive language. All entries must be Wilko Brouwers and Scott Turkington. For K Street. The New York-based period for the winning entry. The 2015 contest postmarked by December 31, 2015. The further details, see musicasacra.com. instrument ensemble The Sebastians will be a search for hymns that celebrate judges will announce their decision by ³ page 8

Appointments at Bok Tower Gardens, and the 2014 Monica Czausz has been appointed cathedral organ- International Carillon Festival Barce- ist at Christ Church Cathedral (Episcopal), Houston, lona. Previous appointments include Texas, where she previously served as organ scholar for visiting professor of music history at three years. She is a fourth-year student of Ken Cowan at St. Olaf College, associate carillonist at Rice University’s Shepherd School of Music in Houston, UC Berkeley, and instructor of carillon Texas, where she will complete the fi ve-year combined at the University of Rochester. Dr. Ng Bachelor of Music/Master’s degree program in organ holds degrees in carillon, organ, musi- performance in May 2017. She has received fi rst prize in cology, new media, and English from the the 2015 AGO Regional Competition for Young Organ- Royal Carillon School “Jef Denyn,” UC ists (Region VII: Southwest), as well as the 2013 William Berkeley, the Eastman School of Music, Tiffany Ng C. Hall, 2012 L. Cameron Johnson, and 2011 Oklahoma and Yale University. Her former teachers City University competitions. Monica Czausz include Geert D’hollander, William Porter, and Joris Verdin. At the University of Czausz was a featured performer at the 2015 Organ Michigan she will join Department of Organ faculty members Vincent Dubois Historical Society national convention in Western Massachusetts, and the 2015 (visiting artist), Joseph Gascho (harpsichord and early music), James Kibbie American Guild of Organists regional convention in Fort Worth, Texas. She will (organ, chair), and Kola Owolabi (organ and sacred music). be a featured performer at the 2016 national convention of the American Guild of Organists in Houston, both as a “Rising Star” and as cathedral organist for Solemn Nigel Potts has been appointed organist & master Evensong at Christ Church Cathedral, with Robert Simpson and the Cathedral of the music at Grace Episcopal Church, Charleston, Choir. Her 2015–16 schedule includes performances at the Cathedral of St. John South Carolina, where he will direct two adult choirs the Divine, New York City; Broadway Baptist Church, Fort Worth; St. Philip’s and oversee all aspects of the music program. Born in Cathedral, Atlanta; Church of the Advent and Trinity Church, Boston, as well as New Zealand, Potts studied in England with John Scott feature performances for the Tulsa, Oklahoma, and Austin, Texas, AGO chapters. and Jeremy Filsell, before coming to the United States Her performances have been broadcast on WRTI Philadelphia, 91.7 Houston, and to study organ with Thomas Murray at Yale University KTRU Rice Radio. for his Master of Music degree. He leaves the position of organist and choirmaster of Christ & St. Stephen’s Jens Korndörfer has been appointed director of wor- Episcopal Church in New York City, where for the last ship, the arts, and organist at First Presbyterian Church nine years he directed the professional choir, oversaw the of Atlanta, Georgia, where he has served as organist installation of a new Schoenstein organ, and founded the since 2012. In addition to his position at First Presbyte- Music at Christ & St. Stephen’s concert series. Potts has Nigel Potts rian, Korndörfer teaches organ and harpsichord at Agnes performed organ recitals in four continents and exten- Scott College and frequently concertizes in North Amer- sively across the USA, including an evening recital at the Mormon Tabernacle in ica, Europe, and Asia. He holds degrees from McGill Salt Lake City this past summer. His transcriptions are published by MorningStar University in Montréal, the Oberlin Conservatory, the Music, and MSR Classics just released his latest Wagner/Elgar CD with mezzo Conservatoire National Supérieur de Musique in Paris, soprano Sarah Rose Taylor. and the Hochschule für Kirchenmusik in Bayreuth in his native Germany. Douglas Reed has been appointed adjunct professor Korndörfer has published numerous articles in journals of music (organ) at Indiana University’s Jacobs School in fi ve different languages, presented at conferences on Jens Korndøorfer of Music, Bloomington, Indiana, where he will teach three continents, recorded three CDs, and served as church music courses. In 2010, Reed retired as Profes- organist in residence at the Concert Hall Kitara in Sapporo, Japan, in the 2005–06 sor Emeritus of Music and University Organist after season. Visit his website (www.jenskorndoerfer.com) for recordings and more 35 years of teaching at the University of Evansville, a information on his career. Korndörfer is represented by Karen McFarlane Artists. United Methodist-related institution. Under reorga- nized administration of the university organist position, Emanuele Marconi is the new he continued his work in the university’s Neu Chapel. conservator for the National Music In 2014, he was named University Organist Emeritus. Museum of Vermillion, South Dakota. His work in Neu Chapel has included a broad range of A native of Milan, Italy, Marconi has initiatives including establishing a series of Night Prayer worked previously in conservation and Noon Prayer services, training student cantors in Douglas Reed and curation at institutions and orga- the traditional arts of hymn singing and chanting the nizations including the Musée d’art et Psalms, instituting a series of interfaith services, and establishing the Neu Chapel d’histoire, Geneva, Switzerland, the jazz ensemble. The University of Evansville awarded him a Global Scholar Grant Musée de la musique, in Paris, the in 2008 for research in global Christian song. In August 2015, he received an Ministry of Cultural Heritage and Cor- Artist Award from the Southwest Indiana Arts Council as part of the Mayor’s Arts rer Museum in Venice, the Depart- Emanuele Marconi Award celebration. ment of Cultural Heritage of Regione Lombardia in Milan, and the Milan Museum of Musical Instruments. Marconi Jeffrey Schleff, Ed.D., has been appointed director has also been an instructor of lutherie at the School of Lutherie, Milan, and is a of music ministries and organist at St. Philip’s Episcopal maker of classical guitars. Marconi earned a diploma as a restorer, then earned a Church in Ardmore, Oklahoma, where he will coor- bachelor of arts degree in preservation of historical and musical heritage from the dinate liturgical music and supervise all aspects of the University of Bologna, followed by a master of arts in conservation-restoration of church music program, including adult, youth, and chil- cultural property from the Sorbonne in Paris. His main scholarly research is in the dren’s choral and instrumental ensembles, and handbell history of restoration of musical instruments. He has participated in numerous and choirchime groups. Special musical events include conferences and has published and presented on a variety of organological topics. the annual Advent Service of Lessons and Carols. The Marconi will also teach musical-instrument conservation as part of the National church sanctuary features Aeolian-Skinner Opus 1387 Music Museum’s and University of South Dakota’s History of Musical Instruments (1959), with anticipated renovation. master’s degree program. In his NMM work, Marconi will assume many of the St. Philip’s Episcopal Church (www.stphilipsardmore. responsibilities previously carried out by former conservator John Koster, who org) was established in 1893, and became a self-sustaining recently retired after a 24-year tenure. parish in 1907, the same year Oklahoma became the 46th Jeffrey Schleff state. The current sanctuary, built in 1927, was modeled Tiffany Ng has been appointed assistant professor of carillon and university after Merton College Chapel, Oxford University, in England, and is considered to carillonneur at the University of Michigan. She will teach studio carillon and be one of the fi nest representations of modifi ed Gothic architecture in the region. other topics. An energetic advocate of contemporary music, she has premiered Dr. Schleff most recently served as director of parish music and organist for or revived two dozen acoustic and electroacoustic pieces by composers from Immanuel Lutheran Church (LC-MS) in Des Plaines, Illinois, and principal for Ken Ueno to Kaikhosru Sorabji, and collaboratively pioneered models for Barbour Language Academy, Rockford Public School District #205, in Rockford, interactive “crowdsourced” carillon performances. She has performed at UC Illinois. He holds performance degrees from Arizona State University and North- Berkeley’s 2015 Campanile Centennial, the 23rd International Carillon Festival western University.

6 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM IT’S ALL IN THE DETAILS.

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³ page 6 The International Competition Cavaillé-Coll Organ will be held March 17–20, 2016, in France. The qualifying round will be conducted March 17–18 in Trouville, with the fi nal round follow- ing in Neuilly-sur-Seine. The jury will consist of Jean-Michel Louchart, Loïc Mallié, Nicole Marodon-Cavaillé-Coll, Jean-Louis Petit, and Philippe Sauvage. The competition is open to organists of all nationalities without age limit. For additional information and registration, Jordan Prescott Eric Surber e-mail [email protected]. Duke Chapel has begun a new Organ Scholars program. The two-year program includes instruction for two students on service playing and choral accompaniment. People The chapel is launching the program along with a new weekly worship service, Choral Evensong, which will take place at 4 p.m. Sundays in the Divinity School’s Goodson Chapel. The two organ scholars will play at the Evensong service and be joined by the David Enlow at Salzburg Cathedral organ Evensong Singers, a new auditioned choir at Duke Chapel. Chapel organist Chris- topher Jacobson will oversee the instruction of the scholars and conduct the choir David Enlow just completed a nine- during the Evensong services. The service will move into Duke Chapel in the 2016–17 concert solo tour of Austria, Germany, academic year, after restoration work on the building is complete. France, and Switzerland, playing several The two organ scholars for the 2015–16 academic year are Jordan Prescott and historic and modern pipe organs, includ- Eric Surber. Jordan Prescott, a native of Greenville, North Carolina, is an under- ing at the Stiftskirche, Stuttgart, and at graduate organ student at East Carolina University. He was the 2014 winner of the Salzburg Cathedral. He played some VanSciver Church Music Scholarship in Organ from Metropolitan Music Ministries repertoire in each place from his newly and was also awarded an 2015 E. Power Biggs Fellowship from the Organ Historical released (July 2015) recording on the Society. He has held music positions at St. Paul’s Episcopal Church in Greenville and Pro Organo label, Piano à l’Orgue, which First Christian Church in Farmville, North Carolina. Eric Surber is a senior at the includes Enlow’s own transcriptions of University of North Carolina-Chapel Hill, studying journalism and organ. A native Debussy’s Petite Suite, Grieg’s Holberg of Greensboro, North Carolina, Surber has been playing for evening services and Suite, and music of Robert Schumann. singing in two choirs at the Chapel of the Cross in Chapel Hill. In addition to studying Blaise Carson For information: www.davidenlow.com. organ, he has been a harpsichordist for UNC-Chapel Hill’s Baroque Ensemble. For information: https://chapel.duke.edu/worship/music/organs#organ_scholars. Blaise Carson’s scholarship for organ study at Ave Maria University in Ave Maria, Florida, was renewed for a sec- Organist Stephen Hamilton, minis- ond year. Carson is an organ student of ter of music emeritus at the Church of Sylvia Marcinko Chai and of Dr. Brice the Holy Trinity (Episcopal) in New York Gerlach at Ave Maria University. City, announces performances: October 4, First Unitarian Church, Wilmington, Delaware; 10/6, St. Paul Chapel at Columbia University, New York City; 10/16, The Lutheran Seminary, Colum- bia, South Carolina; November 8, St. James Episcopal Church, New London, Connecticut; 11/15, St. Ignatius on Park Simone Gheller Avenue, New York City. Hamilton will also present his “Church Simone Gheller, music director and Music Repertoire” classes: October 3 organist at St. Jerome Catholic Church, at 10:00 a.m., First Unitarian Church, Oconomowoc, Wisconsin, announces Wilmington, Delaware (Rieger organ); the third edition of “Organ Vespers at October 17 at 10:00 a.m., Lutheran St. Jerome.” He will perform a recital on Marcelo Giannini Seminary, Columbia, South Carolina the 2008 Berghaus three-manual organ (Flentrop organ); November 8 at 7 Jo Deen (Jody) Blaine Davis on November 13 at 7 p.m. The program Brazilian-Swiss organist Marcelo p.m., St. James Episcopal Church, New includes works by Lübeck, Bach, Franck, Giannini will make his fi rst United London, Connecticut (Aeolian-Skinner Jo Deen (Jody) Blaine Davis was Durufl é, Whitlock, Thalben-Ball, and States concert tour, with concerts in organ). The workshops feature recent recently installed as president of the Creston. Next year the schedule includes Kentucky and New Jersey: October 18, publications from Augsburg, Concordia, United Church of Christ Musicians the complete organ and piano works of 4 p.m., Cathedral Basilica of the Sacred MorningStar, Oxford, and Leupold and Association at its national conference at César Franck in a marathon-concert. Heart, Newark, New Jersey; 10/20, cover organ registration, general rep- Elmhurst College in Elmhurst, Illinois. Simone Gheller was born in Padua, Campbellsville University, 12:20 p.m., ertoire, and planning liturgies around a Davis is director of music ministries Italy, in 1978. In 2009 he moved to the Our Lady of Perpetual Help Church, central theme, with a sample of suitable at the Congregational Church in New United States and completed the Artist 8:00 p.m., Ransdell Chapel; 10/21, 4 music. Workshop participants receive an Canaan, Connecticut. Diploma at Oberlin College, studying p.m., masterclass with Campbellsville extensive handout of music. For informa- The United Church of Christ Musi- with James David Christie and Olivier University organ students; 10/22, 6:30 tion: www.stephenjonhamilton.com. cians Association, Incorporated, is a Latry. Gheller served as organist at p.m., Gethsemani Abbey, Trappist, national organization with a member- First Church in Oberlin (2009–11) and Kentucky; 10/23, 7:30 p.m., Cathedral Edgar Highberger, adjunct associ- ship of musicians, clergy, and interested music director and organist at St. Joseph of Christ the King, Lexington, Ken- ate professor of music and university laity. UCCMA provides professional Catholic Church in Wilmette, Illinois, tucky. Giannini is currently principal organist at Seton Hill University and development and support, education (2011–13). He has performed in Italy, organist at the Temple of Carouge and Minister of Music at First Presbyterian programs, networking, resources, pub- France, Germany, Austria, and America, professor in the Department of Ancient Church in Greensburg, Pennsylvania, lications, and conferences. For informa- and has garnered fi rst prizes in national Music at the Haute École de Musique recently completed a compact disc, tion: www.uccma.org. and international organ competitions. in Geneva, Switzerland. ³ page 10 Listen to the Music of Denice Rippentrop DeniceRippentrop.com BeautifulStar.com Email: [email protected]

CLAYTON ACOUSTICS GROUP Duchon’s Organ Pipes 2 Wykagyl Road Carmel, NY 10512 New Reeds & New Flues 845-225-7515 [email protected] www.claytonacoustics.com Additions & Repairs CLAYTON ACOUSTICS AND SOUND SYSTEM 330/257-0491 ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP [email protected]

8 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM Celebrating 75 Years Of Innovation! Since its pioneering sound production patents, awarded 75 years ago, Allen Organ Company has garnered nearly 100 more. Along the way, we have also advanced organ technology in myriad ways that today’s finest organists now demand as “essentials.” This includes multiplexed keying; sophisticated capture systems; state-of-the-art digital tone generation; comprehensive MIDI implementation; multiple stoplists; sampled reverb and, most recently, Allen’s ground- breaking GeniSys™ Control System.

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Allen Organ Company LLC 150 Locust Street, Macungie, PA 18062 USA ŜŗŖȬşŜŜȬŘŘŖŘȱȱȊȱȱŠ˜œŠ•ŽœȓŠ••Ž—˜›Š—ǯŒ˜–ȱȱȊȱȱ ǯŠ••Ž—˜›Š—ǯŒ˜– Here & There Nunc Dimittis 20 years developing a noted church music program. Upon Alan Curtis died unexpectedly on July 15 in Florence, her retirement from Westminster Choir College, Kemp ³ page 8 Italy. He was 80 years old. was named Professor Emerita of Voice and Church Music His 1956–58 Fulbright Award brought him to Amsterdam, and received honorary doctorates from Westminster Choir where he studied harpsichord with Gustav Leonhardt. While College and Shenandoah University. In 2003, she was working toward a master’s degree in musicology, Curtis awarded The Elaine Brown Award for Choral Excellence unlocked the mysteries of the Louis Couperin unmeasured from the Pennsylvania ACDA, and a lifetime membership preludes. He also commissioned a split-key enharmonic award from the Presbyterian Association of Musicians. harpsichord from Dowd and the fi rst contemporary authentic Helen Kemp was the subject of a documentary video, chittarone from Warnock. He was known for his reconstruc- A Helen Kemp Portrait (Choristers Guild). Her books and tions of early operas, including a Rameau opera with period prepared instructional materials have become standard instruments and authentic choreography and a reconstruc- resources, and church choir directors around the world use tion of Monteverdi’s L’incoronazione di Poppea. Curtis was her text, Of Primary Importance, and its Volume II sequel. a particular champion of Gluck’s Armide, leading three very Her choral compositions for children are widely performed. different productions, including one with his own period- She was also the subject of a doctoral dissertation by Chris- instrument orchestra. tine Farrier entitled “Body, Mind, Spirit, Voice: Helen The recent project Handel’s Bestiary presents illustrations Kemp and the Development of the Children’s Choir Move- by Michael Sowa that accompany twelve arias by Handel ment” (University of North Carolina, Greensboro, 1992). about twelve different animals, recorded for the occasion Helen Hubbert Kemp is survived by her children, Julia Edgar Highberger’s CD, Celebration: by Curtis’s orchestra Il Complesso Barocco and four solo- Kemp Rothfuss (Guy), John Matthew Kemp (Mary), Fifty Years of Preludes and Postludes ists. At the time of his death he was working to recreate the Michael E. Kemp (Janet), Peggy Kemp Henry, and Kathy Italian recitatives for Cherubini’s Medea and preparing the Kemp Ridl (Jim), along with grandchildren, great-grand- Celebration: Fifty Years of Preludes and Australian debut of a Handel pasticcio, Voyage to the Moon. children, and nieces, nephews, and cousins. Postludes. The recording, a sequel to his Alan Curtis is survived by his partner of the last 25 years, Signature Preludes and Postludes, is a lutenist Pier Luigi Ciapparelli; his ex-wife Jennifer Curtis, John Scott, organist and project documenting Highberger’s fi fty daughters Julia Curtis and Daria Wrubel, and grandchil- director of music at St. Thomas years of service to First Presbyterian dren Cornelia Curtis and Zachary Wrubel. Church in New York City, died Church. Works by Bach, Karg-Elert, suddenly on August 12. He was Elgar, Howells, Bridge, Cook, Purvis, Helen Hubbert Kemp, 59. Having returned to New Rogg, Diemer, Callahan, and others noted children’s choir direc- York on August 11 after a Euro- are featured and played on the 77-rank tor, died August 23 at the pean tour, he was not feeling Austin organ. Five of the works include age of 97. Born in 1918, she well the next morning and suf- instrumentalists Christopher Gaudi, act- worked for almost 80 years as fered a sudden cardiac episode ing associate oboist of the San Francisco a singer, teacher, choir direc- from which he never regained Symphony Orchestra, and Seton Hill tor, clinician, and composer. consciousness. His wife, Lily, University faculty members Theodore Kemp attended Westminster was by his side when he died. John Scott DiSanti, John Seybert, and Kevin Choir College, Princeton, New John and Lily were expecting McManus. Joanne Highberger reads Jersey, where she met her hus- their fi rst child, a son who was born September 4. poetry by Dryden, Milton, and Audsley, band John S. C. Kemp. Helen A graduate of St. John’s College, Cambridge, John Scott which refl ects the beauty and wonder- and her late husband John Helen Hubbert Kemp was appointed organist and director of music of St. Thomas ment of the “King of Instruments.” The served as founding members Church and Choir School in 2004, having previously served CD is priced at $12 (includes postage) and leaders of Choristers Guild, the international organi- at St. Paul’s Cathedral in London for 26 years. In addition and is available from First Presbyte- zation for children’s choirs. The Kemps served two tenures to his wife, Lily, he is survived by three children, Emma, rian Church, 724/832-0150 or e-mail on the faculty of Westminster Choir College and held Alex and a newborn son, and two sisters, Judith and Helen. [email protected]. church positions in several states, including one at First See John Bishop’s column on page 22 of this issue for Presbyterian Church, Oklahoma City, where they spent further remembrances of John Scott. Q

Dexter Kennedy has completed two Orgelsommer in St. Willibrord Basilika European tours as the 2014 Grand Prix de in Echternach, Luxembourg. The second Chartres winner. The fi rst, summer tour tour in September included recitals at comprised recitals at the Hallgrímskirkja the Auditorio Manuel de Falla, Granada, in Reykjavik, Iceland; Chiesa San Panta- Spain; St. Andreas Kyrka, Malmö, leone in Courmayeur, Italy, for the Aosta Sweden; Chichester Cathedral and Valley Organ Festival; Basilique Saint- Christchurch Priory, UK; and the Slovak Nazaire in Carcassonne, France; Nar- Philharmonic Hall for the 51st Bratislava bonne Cathedral, for Le Festival d’Orgue Music Festival. Dexter Kennedy is a mem- de Narbonne, France; Chiesa Santa Maria ber of the inaugural class of The Diapa- Assunta, Bibione, Italy; and the open- son’s “20 Under 30.” For information: Dexter Kennedy ing concert of the inaugural Echternach www.dexterkennedy.com.

Walter McAnney, Greg Zelek, and Peter Hewitt EAST TEXAS PIPE ORGAN FESTIVAL Greg Zelek, a Kovner Fellow at the Juilliard School studying with Paul Jacobs, performed at the home of Peter November 8-12, 2015 Hewitt and Walter McAnney in Mt. Gretna, Pennsylvania. The summer organ series has provided opportunities Honoring the Life and Work of for young organists to perform for a gra- cious audience on the instrument that Roy Perry sits in the living room of their home. Heading into its 20th season, the series Thirteen recitals has featured recitalists from all over, and on five Aeolian-Skinners is a staple of the Mt. Gretna community.

with Publishers David Baskeyfield, Charles Callahan, Augsburg Fortress announces Ken Cowan, Scott Dettra, Mark Dwyer, the release of a new collection in their Jelani Eddington, Matthew Lewis, Adam Pajan, “ChildrenSing” series, ChildrenSing at Christmas: Nine Unison and 2-Part East Texas Pipe Organ Festival Caroline Robinson, Damin Spritzer, Anthems for Advent and Christmas. P. O. Box 2069 Bradley Welch, Todd Wilson, The selections can be sung individually Kilgore, Texas 75663 and special concerts, presentations, and exhibits during the Advent-Christmas season or honoring the life and career of paired with scripture to create a service Albert Russell. of lessons and carols for treble voices. The ChildrenSing series features www.EastTexasPipeOrganFestival.com [email protected] anthems for the church year for sing- ers aged 8 to 12 years. Each collection includes both the complete score with accompaniment for the director and a

10 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM Here & There reproducible melody line version for vocal works for organ solo, four-hand published in 1920–23 as Six Pieces, op. the singer. For further information: organ, and organ plus solo instrument, 9. Passacaglia in E Minor, op. 40, from augsburgfortress.org. in addition to its other publications. 1935, is his only piece for organ based on The line of editions with transcriptions the baroque passacaglia form. will be continuously extended. Further Marks recorded on the four-manual, information with sample pages of scores 110-rank Schoenstein organ built in Best loved Melodies can be found under www.butz-verlag.de 1997 at First-Plymouth Congregational Band 3 or directly ordered through the Organ Church in Lincoln, Nebraska, utilizing 12 beliebte Melodien Historical Society, www.ohscatalog.org. many of the special tonal and dynamic in leichten Orgelbearbeitungen effects as suggested in the music. The Ausgabe mit Pedal The Leupold Archives, a division of organ refl ects tonal capabilities similar to Bearbeitet und herausgegeben von Christopher Tambling the Leupold Foundation, announces the those prevalent at the time of Bingham’s gift of the library of organ music, books, compositions and as had been incor- and memorabilia of Ralph Kneeream. porated into the 1923 Casavant organ Mr. Kneeream, a former student of Bingham designed for his church. Marcel Dupré, was with Dupré on the Thomas Baugh, Éclat Encore Both releases are available from www. day that he died. Later in life, Kneeream RavenCD.com and also from the Organ translated Dupré’s recollections (Marcel Historical Society. For information: Dupré raconte . . . [Paris: Bornemann, www.ravencd.com. 1972]) into English, which was sub- sequently published by CPP/Belwin, Inc. Because of the large quantity of Organ Builders Dr. J. Butz Bonn Kneeream’s memorabilia of Marcel Schoenstein & Co. has made Verl.-Nr. 2729 Dupré (e.g., photos, letters, and other an educational video on symphonic documents) the foundation has created a organ design available on YouTube. At Best loved Melodies specially designated “Dupré Collection” YouTube.com, search for “Schoenstein within the archives. Tonal.” Using the 15-stop, 17-rank Dr. J. Butz Musikverlag announces The Leupold Foundation’s mission Schoenstein organ at Christ & St. Ste- Best Loved Melodies, a series of col- is the preservation, reproduction, and phen’s Church in New York City, Jack lective volumes of organ transcriptions dissemination of the culture of the pipe Bethards, president of Schoenstein, of essential pieces from the classical organ. The Leupold archives continues explains in detail the tonal character- repertoire. At present, three editions to welcome gifts of organ music, books, istics of each stop. Nigel Potts, recent by British composer and arranger organ recordings, and other memorabilia Organ Music of Seth Bingham Vol. 3 organist and choirmaster of the church, Christopher Tambling contain popular dealing with the organ. Contact wayne@ plays short examples from the organ melodies and masterworks in easy wayneleupold.com. includes works by Mendelssohn, Gib- and transcription repertoire. The video organ arrangements (offered as pedal bons, de Grigny, Franck, Wild, Han- demonstrates how the stops fi t into tonal or manual versions). Repertoire ranges cock, and Reger. families and then combine to create a from early baroque to contemporary Recordings Organ Music of Seth Bingham, Vol. 3: symphonic color palette. The Double works—such composers as Susato, Raven Recordings announces new Cathedral Strains, recorded by Christo- Expression system is illustrated along Bach, Mozart, Mendelssohn, Rach- releases: Éclat Encore features Thomas pher Marks, is a two-CD set including a with other organ design principles that maninoff, Widor, and Ravel, as well as Baugh, organist and choirmaster at 24-page booklet with essays on the music can make a small instrument sound like Gershwin and Ketèlbey. The German Christ Episcopal Church in Roanoke, of Bingham. Bingham’s most popular a much larger one. This video will be of music-publishing house has featured Virginia, playing the church’s Fisk work, Roulade, is included in Volume value to anyone interested in organ reg- transcriptions of orchestra, piano, and pipe organ, Opus 124. The recording 3 with the pieces with which it was istration, composition, or tonal design.

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 11 Harpsichord News By Larry Palmer

A mystery, a cautionary tale, and a little advice

A new “liturgical mystery” from author Mark Schweizer The Maestro Wore Mohair is the twelfth addition to his rib-tickling series of books featuring Hayden Konig, the doubly employed Episcopal organist-choirmaster and police chief of fi ctional St. Germaine, North Carolina, abetted by his memorable group of choristers, bizarre townspeople, and the highest per capita number of mur- der victims of any choir and congregation known to literary history! Joining the riot- ous series of zany (but compelling) page turners The Alto Wore Tweed, The Baritone Wore Chiffon, The Tenor Wore Tapshoes, The Soprano Wore Falsettos, The Bass Wore Scales, The Mezzo Wore Mink, The Diva Wore Diamonds, The Organist Wore Pumps, The Countertenor Wore Garlic, The organ in St. Lambertus Church, Düsseldorf-Altstadt (photo credit: Armand Maruhn) The Treble Wore Trouble, and The Cantor The Maestro Wore Mohair Wore Crinolines, this latest volume contin- ues the laugh-out-loud-inducing portrayal of contemporary church goings-on and small-town political skullduggery that we have come to expect from the talented Mr. Schweizer. By the time I had perused the fi rst third of the book I had noted accurate references to composers Arthur Baynon, Max Reger, Ralph Vaughan Wil- liams, Henry Purcell, George Frideric Handel, Robert Lehman, and J. S. Bach, and been introduced to the developing Simon’s new organ shoes (photo credit: “Cuddling Ministry” at St. Barnabas Epis- Simon Menges) copal Church (with predictable results for the parish). Need I write more to whet the appetite for this must-have book? To those of us who are hooked on the series, each new Larry Palmer and Simon Menges (photo Larry, Eun-hye, and Simon (photo credit: addition is the year’s standout literary credit: Eun-hye Lee) Clyde Putman) event. And should any reader be seeking the perfect Christmas gift(s), forget the to Dallas since his student days. We had Liszt Totentanz, Mystique by Widor, and partridge-in-a-pear-tree and go for the a lovely reunion, but shortly after his Brünnhilde’s Immolation from Wagner’s dead-body-in-St.-Germaine! For those return to Europe, I received this quite Götterdämmerung. Luckily I was able to truly special ones on your gift list, why not startling e-mail from Simon. He wrote: get all the scores from friends. One took a set of all twelve? [Or thirteen: the touch- “When one travels to play recitals, there pictures of the Karg-Elert piece and sent ing, but much shorter, Christmas Cantata is much to tell! I played a concert in Düs- it to me via e-mail. It took three hours to (A St.-Germaine Christmas Entertain- seldorf on Monday evening (June 1). My get all the music, but it worked, some- ment)—is only 96 pages as compared to wife Eun-hye and I traveled there on Sun- thing I thought would be impossible. It the 200-plus pages comprising each of day afternoon. Before I went to the church turned out to be a nice experience, having the twelve liturgical mysteries—but is to practice, my wife and I plus a school friends from all over the world sending sometimes included by the author in his friend went to a restaurant to have dinner me the music for my own concert! numbering of the series.] Published by together. When I reached for my backpack “The next morning I just had to buy Simon Menges at the console (photo cred- SJMP Books, and available from St. James to retrieve my wallet and pay for the food, new organ shoes and then I was all set it: Kristina Ober) Music Press, P. O. Box 249, Tryon, NC I discovered that it [the backpack] was not to prepare for the concert. I missed a 28782 (www.sjmpbooks.com). Not rec- there anymore. Someone had stolen it. I few hours of practicing and preparing from a longtime friend, now retired, who ommended, however, for music commit- know that it was done on purpose, because registrations, but I was able to play the is enjoying quite a lot of traveling. His tee members, who would almost certainly the thief took out my umbrella and left concert. I was not in the best condition camera (with irreplaceable pictures of a lobby for a Pirate Eucharist or a staged it there for me, which was nice since it after the shock of losing such important dying friend) and passport were stolen performance of Elisha and the Two Bears. rained very hard that night. items, but still I played OK.” during a cruise stopover—certainly an (Yes, dear reader, printed scores to these, “The backpack had my wallet with Simon sent me the link to an online unsettling thing to happen to anyone. I and other madcap liturgical adventures, quite a lot of money, all our passports forum review of his concert (in German), have long made it a habit to carry a pho- are available. See the website). and bank cards, etc. in it, plus the scores and he did, indeed, receive high marks tocopy of the data page from my passport for the concert, my organ shoes, and a for his sensitive and musically rewarding in a separate bag, or have it fi led with a A cautionary tale recording machine. This meant I could playing of the organ in St. Lambertus friend when I am traveling abroad. In mid-May my former Southern not go to practice on Sunday night. Church, Düsseldorf-Altstadt. Methodist University (SMU) Art- “I had to replace the music for the I report this frightening story (albeit A “Little” advice ist Certifi cate organ and harpsichord concert somehow, a task particularly dif- one with a positive ending) to serve as While clearing my SMU offi ce and student Simon Menges (born 1982), fi cult because this was not a very usual a reminder for all of us to guard our trying to organize the glut of papers and now employed as an organist in Arbon, program: William Walton’s Crown Impe- belongings with the utmost care, espe- memorabilia at home, I came across Switzerland, made his fi rst return visit rial, Karg-Elert’s Valse Mignonne, the cially when we are traveling to a concert an obituary from The New York Times engagement. Today’s communication (August 3, 2008) that had caught my possibilities worked well for Simon, eye. I had never read anything by the Whole & Fast but in the recent past I have also heard deceased writer Stuart W. Little, but from Half Sizes Shipping! this Times piece I learned that he had in 3 Widths written many articles and books about Building websites for tomorrow developments in the theatre from the Try our suede soles and experience 1950s through the 1970s. However it was obit author Bruce Weber’s short closing the perfect combination of paragraph that made me feel the most slide and grip empathy with the late Mr. Little: “He was on the pedals! proudest of the fact that he never became Content Strategy Custom Coding a critic,” [his son] Christopher Little said. Mens & Unisex “He wanted to be liked by people.” Q Women’s Mary Oxford $60.50* and up E-Commerce SEO Training Jane $52.50* *plus postage Comments and news items are always Want to know more? TOLL FREE: 1 (888) 773-0066 organmastershoes.com www.mediapressstudios.com or welcome. Send them to lpalmer@smu. 44 Montague City Rd, Greenfield, MA 01301 USA e-mail [email protected] edu or Dr. Larry Palmer, 10125 Crom- well Drive, Dallas, TX 75229.

12 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM Reviews

Music for Voices and Organ servant depart in peace, for mine eyes of unaccompanied singing. The middle to those words. The organ music is on by James McCray have seen thy salvation” (Luke 2: 29–32), section (“He hath showed strength with two staves with limited independence. when he beheld the Christ-Child at the His arm”) changes to an organ fanfare The Nunc Dimittis has some dramatic Magnifi cat and Nunc dimittis Presentation in the Temple. It is sung in style with fresh harmonies that have sur- harmonies that are boldly exciting. the Roman rite on February 2, and in the prises in the choral parts. The Gloria Patri My soul doth magnify the Lord, and my spirit hath rejoiced in God my savior. For Eastern rite is closely associated with Ves- has a soaring melody for the choir that is Magnifi cat and Nunc Dimittis in E He hath regarded the lowliness of His hand- pers and in accordance with the Anglican punctuated by organ motives from the Minor, Daniel Purcell. SATB unac- maiden: For behold, henceforth all genera- Book of Common Prayer at Evensong. fanfare section. The Nunc Dimittis is for a companied or with organ, Oxford tions shall call me blessed. Some composers have set only the tenor soloist who sings a slow contempla- University Press (Church Music —Luke 1: 46–48 Magnifi cat, not the Nunc Dimittis, yet tive melody above sustained chords. Both Society Reprints #134), £2.60 (E). One of the church’s treasures is the it is normal to publish these two works movements are sophisticated and stylish. Subtitled “Restoration Canticles,” Song of Mary, usually known as the together. Typically, cathedral choirs these early settings are in hymn style with Magnifi cat. In many churches, especially often have several settings as their stan- Magnifi cat and Nunc dimit- the organ doubling the voices if needed. Anglican, it is paired with the Nunc dard repertoire. tis, Michael J. Hale. SSAATTBB Originally the treble parts were probably Dimittis and used as part of the evening So let’s consider this column as a pre- unaccompanied, Paraclete Press, sung by countertenors in some of the prayer service. Numerous composers, lude to Advent. The Magnifi cat often PPM00508, $3.00 (M+). verses. Brief counterpoint occurs on the especially British, have set these texts serves as special music during that season, Although fi lled with mild dissonances, text “He hath put down the mighty.” The to music. Both the Magnifi cat and the thus this should give directors ample time the work is not especially diffi cult, yet Gloria Patri is for full choir and returns Nunc Dimittis are usually linked by the to review and order these settings before Hale suggests, “the reduction may be to the opening section’s hymn style. The Gloria Patri, which is sung at the end of they need to be rehearsed by the choir. played discreetly to aid the choir.” Most Nunc Dimittis follows the same pattern each, often to the same music. of the setting is SATB with only periodic of verse/full arrangement. Easy and The Magnifi cat text has received count- Magnifi cat and Nunc dimittis: ‘The areas of divisi. The Gloria Patri (repeated functional music. less musical settings. Mary’s song, from Good Shepherd Service,’ Robert J. in Nunc Dimittis) has some unusual Luke I: 46–55, has come to be associated Powell. SATB and organ, Paraclete vocal lines and harmonies. The Nunc Magnifi cat from the Nativity Accord- with the Christmas season, especially Press, PPM01346, $2.20 (E). Dimittis is on four staves and tends to be ing to Saint Luke, Randall Thomp- Advent. It is not exclusive to this time of This pragmatic setting has extended somewhat more dramatic and immedi- son. Arranged for soprano solo and the year. The Canticle of the Virgin has passages of choral unisons. The choir ate. These works are quietly seductive. SSA with keyboard, E.C. Schirmer, 10 verses, but is increased to 12 with the and organ parts are on two staves; the No. 7741, $1.95 (M). addition of the Lesser Doxology. The organ music is strictly accompaniment. Magnifi cat and Nunc dimittis in A, Thompson has long enjoyed a original eight Gregorian recitation tones There are only 12 measures to the two William Denis Browne. SATB and respected reputation with several stan- upon which it was sung were common Gloria Patri settings. Both movements organ, Oxford University Press dard classic choral works that continue elements of early settings. Fourteenth- alternate phrases in unison with those in (Church Music Society Reprint) No. to be performed. Here, this work is century England usually is credited with parts, so it is clear that these two works 133, £2.60. taken from his mixed choir cantata the earliest examples of polyphonic set- will be easy enough for most choirs and Using an allegro tempo with little and arranged for women’s voices. The tings. Typically there was an alternation of are intended for functional service use. counterpoint, this Magnifi cat is mostly soprano soloist does not enter until the verses between plainsong and polyphony; set with block chords with the same text “He hath shew’d strength with his usually the fi rst word was treated alone, Evening Service in A, Byron Adams. rhythms for all voices. There is the use of arm,” and only sings for 18 measures. no matter what set of (odd or even-num- SATB and organ, Paraclete Press, decani and cantoris choirs (they alternate Choral parts are not diffi cult although bered) verses remained in plainsong; this PPM01348, $3.70 (M). sides of the sanctuary), but most textures the alto has a low tessitura; the keyboard treatment often involved long melismatic The choral parts are on two staves and require full voices except for the brief accompaniment is very simple and on phrases of exultation. the organ accompaniment on three. This soprano solo that closes the Magnifi cat. two staves with pedal indications for The opening words in Latin, “Nunc is an attractive setting fi lled with brief There is an omission of the phrase “world organ. A version for soprano solo with- dimittis servum tuum Domine,” are from unisons and alternating triplets for both without end” in the Gloria Patri, but Pat- out the choir is available (No. 124). The the song of Simeon: “Now lettest thou thy choir and organ. There are short sections rick Russell has adapted the fi rst Amen ³ page 14

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 13 Reviews

³ page 13 St. Edmundsbury Cathedral in Sussex. commissioning living composers to write analyzes cathedral choral services and the complete Nativity work is also available He has carefully studied the creative for the liturgy. These same composers disputes concerning the ways music and (No. 622). This women’s choir arrange- innovations, reforms, and revisions of distinguished themselves in secular liturgy were used together. The period ment is by David Seitz. Charming music. liturgy in the cathedrals of the Church works for the concert hall or opera house. between the two World Wars, when the of England and compared these with the Three Archbishops’ Reports (1922, cathedral music genre began to ossify, saw Magnifi cat, David Kendrick. SSA music used with them throughout the 1951, 1992) tended to prescribe what sort the creation of a specifi c style of criticism unaccompanied, Santa Barbara 20th century. He fi nds a marked contrast of music is “fi tting” for worship. In 1922 that gave strength to the outmoded music Music Publishing, SBMP 185, $1.95 with the situation in the 19th century. the language of the liturgy was closely by using the criterion of utility: how easy (M-). Visitors to English cathedral services, tied to the archaic language of the Book is the new music to learn and how useful Only a Latin text is set, but the entire especially foreign tourists, bring away of Common Prayer; therefore appropriate will it be in the choir’s repertoire? Magnifi cat is not used. The opening impressions of overwhelming beauty, music to accompany the liturgy had also Chapter 3, “Examples from Individual (Verse I) is a unison chant in note-head ranging from the architecture and to be archaic. The 1951 Report reiter- Cathedrals Illustrating the Themes of style with free rhythms, and this style stained glass to the relaxed dignity of ates the 1922 restrictions, emphasizing Chapter 2,” provides samples from Liv- returns for the second verse after there the liturgy and the sheer excellence of “fi ttingness.” The 1992 Report eschews erpool, Hereford, St. Paul’s, Lichfi eld, is a choral statement of the text of verse the transcendent music performed. But Concrete Music, Electronic Music, and Norwich, and Chichester, illustrating I. There is no Gloria Patri. This setting they are often unaware of turbulent Computational Composition (“three how patterns of worship, choice of rep- probably is more suited for a concert forces at work behind the scenes. Ten- lunacies”), but lauds the 1980s inclusion ertoire, and attitudes to contemporary than a liturgy. sions between clergy and musicians are in the Oxford Anthems series of music music found practical application. Com- not unknown. The book’s jacket displays by John Rutter, described by Thomas as posers included Bax, Armstrong Gibbs, Magnifi cat and Nunc dimittis in a full-color photo of the famous John “popular and saccharine.” The inclusion Harris, Howells, Ireland, C. S. Lang, B-fl at, Thomas Attwood Walmisley. Piper tapestry in Chichester Cathe- of Rutter and Jonathan Willcocks repre- Ley, McKie, Moeran, M. Shaw, Heath- Double choir (Decani and Cantoris) dral, strikingly ablaze in fi ery images sents a “reversion to the stylistic mores cote Statham, Sumsion, S. Watson, and and organ, Oxford University Press complementing the colorful glass win- of the 1940s, if not earlier.” The upshot is Vaughan Williams. Chapter 4, “Music in (Church Music Society Reprints No. dows by Marc Chagall and reinforcing that the three Reports failed to challenge English Cathedrals 1950–2005, General 130), £3.50 (M). Thomas’s observation that the 20th cen- the low quality of cathedral music and the Background,” longest in the book, focuses Walmisley was the son of Thomas tury was a time of liturgical upheaval need for reform, revealing a certain com- on the period of most dramatic change Forbes Walmisley, organist of St. in English cathedrals. Where was the placency on the part of the archbishops. during which the stylistic gulf between Martin in the Fields and godson of music? Apparently lagging behind in an Along the way individual prelates church and secular music widened most Mozart’s pupil (and organist of St. Paul’s archaic, static style that resisted reform. attempted to recommend alternatives to tellingly. Despite the recommendations Cathedral), Thomas Attwood. The two Yet all the while cathedrals were the outmoded “church music” by sug- of liturgists, the cathedral church music SATB choirs follow a typical pattern of friendly to innovations in sculpture, gesting Taizé songs and “the greater use establishments successfully limited the alternation, but sing together most of the visual arts, and stonemasonry, com- of rock and country music” as happens in impact of the new liturgies on musical the time creating an eight-part texture. missioning new works and encouraging some parish churches, sometimes “with development, attributable to “develop- The music is very static with the organ experimentation everywhere—except the throb of electric guitars.” (233) But ing attitudes of defensiveness and over- doubling the choirs. There are fl ashes of in the fi eld of music. the Dean of Lichfi eld Cathedral, Tom confi dence.” The Royal School of Church counterpoint in the melismatic Gloria Thomas’s thesis is that English cathe- Wright, cites practical reasons why this is Music (RSCM) and similar organizations Patri. The Nunc dimittis is in the same dral music throughout the 20th century not possible. Perhaps the most important are shown to be villainous collaborators basic limited style. failed to accommodate itself to signifi cant message of the whole book is Martin in this activity by “maintaining a stylistic changes in the liturgy it was intended to Thomas’s reiterated theme: in the 20th hegemony” in the tradition, wishing to support. An increasingly rigid position on century English cathedrals lost awareness preserve and protect the cathedral heri- Book Reviews the part of leading church music fi gures of contemporary classical music and its tage. The result was a studied indiffer- English Cathedral Music and Liturgy and organizations successfully resisted potential for enhancing the new liturgies. ence to contemporary classical music and in the Twentieth Century, by Martin attempts to introduce new music into Organized in six tightly knit chap- contemporary classical composers who Thomas. Farnham, Surrey, UK, and the repertoire. As a result, “cathedral ters, the book begins by reviewing the could have been encouraged to contrib- Burlington, VT: Ashgate Publishing music became an anachronistic anomaly “Victorian Background” (Chapter 1), ute signifi cantly to the cathedral liturgies. Co., 2015. ISBN 978-1-4724-2630-7. in the fi eld of composition . . . lacking showing great developments and move- No such restraints applied to the visual 265 + xvii pages, 20 music examples, artistic individuality.” A new genre thus ments in the Church of England, the arts, as the cathedrals willingly cooper- select bibliography and index. Hard- emerged, “church music.” For Thomas, Choral Revival, the infl uence of the ated with leading contemporary artists to bound, $119.95; www.ashgate.com true church music is not a fi xed style but parish church on the cathedrals, and produce new works. This has to be one of the most excit- a developing tradition. But in the 20th the chief composers: S. S. Wesley, Goss, Chapter 5, “Examples from Individual ing books on church music this reviewer century the new church music genre Attwood, Gounod, Spohr, Mendelssohn, Cathedrals Illustrating the Themes of has ever encountered. Its title is as bland led to a lowering of standards of quality, Stainer, and Sullivan, culminating in the Chapter 4,” selects Liverpool, Norwich, as dishwater and sounds like a textbook exemplifi ed by the production of large reformers Parry and Stanford. Excerpts Chichester, Hereford, Lichfi eld, and intended for use in an Episcopal semi- quantities of disposable music that found from Elgar’s oratorios made it into some St. Paul’s to demonstrate a surprising nary survey course. But from the very no permanent place in the repertoire. cathedral repertoires. All of these men variety of musical services and compos- outset it is electrifying. Its author, the In previous centuries the cathedrals wrote for both church and concert hall. ers. Chapter 6, “Conclusions,” shows Reverend Dr. Martin Thomas, is well enjoyed the contributions of the great- Chapter 2, “Music in English Cathe- how the stylistic archaism of cathedral known as a former Canon Precentor of est composers of the day, sometimes drals 1900–1950, General Background,” music in the 20th century led to the alienation from the Church of England, as a patron of musical art, of most lead- ing composers of international standing. The ossifi cation of the church music tra- dition has robbed it of relevance: “The Church fi nds her liturgy accompanied by music that often carries only the slightest indications of individuality and with an art form that has become all but cut off from contemporary practice.” (247) The inferior quality of much music composed for cathedrals in the 20th century is so low that most of it will not survive, as witnessed by the discarding of so much material throughout the period. Dr. Thomas heaps praise on many adventurous cathedral musicians, such as Martin Neary at Winchester and Moscow - Strawinsky Musikschule - Russia - 2014 Salisbury, Noel Rawsthorne at Liver- pool, Michael Nicholas at Norwich, and Duncan Jones at Chichester. Rieger builds classics This very fascinating and brilliant study, the fi rst of its kind in this fi eld, is for the future. too important to be ignored. It will defi - nitely engender controversy. It is entirely relevant to present-day church musicians and their concerns for musical enhance- ment of worship. Dr. Thomas has amply supported his interesting thesis and given Rieger-Orgelbau GmbH us an exhaustive study from which musi- A-6858 Schwarzach-Vbg., Hofsteigstraße 120 cians of all denominations will profi t. T +43 (0) 5572/58132-0, US: 212-289-0615 Concluding his excellent foreword to the Moscow - Strawinsky Musikschule - Russia - 2014 www.rieger-orgelbau.com, [email protected] book, Michael Nicholas optimistically

14 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM Reviews and prophetically observes: “As I write signatures available to Buxtehude due statement by his widow, Judith Han- the Aeolian-Skinner organ in the chancel this on the centenary of the start of the to the tuning practices of the time, this cock, which points out that “years from (1956, four manuals, 160 ranks, electro- First World War, a televised service from is easily possible, though it takes some now, when this organ is no longer at St. pneumatic action) and the gallery organ Westminster Abbey has choral music by effort. This would have lent greater fl ow Thomas, this CD will assist our memory by Taylor & Boody (1996, two manuals, Tallis, Vaughan Williams, Walton and to the recording. of the uniquely thrilling and beautiful 32 ranks, mechanical action). For the David Matthews (a special commission). But cautionary tales aside, this is a qualities of that instrument—sounds that duets, Todd Wilson is joined by his for- It could be that cathedral music in this recording that offers splendid musician- were so closely associated with Gerre’s mer student Kevin Kwan, organist and country is in safer hands than parts of this ship and the chance to hear a Schnitger own playing and composing.” director of music at Christ and St. Luke’s book suggest.” (xiii) pipe organ. For both of these reasons, I Judith Hancock endorses Todd Wilson Church in Norfolk, Virginia. The CD —John M. Bullard recommend this recording. as an ideal interpreter for her husband’s booklet contains excellent program notes Spartanburg, South Carolina —Karen Beaumont music, given their long-term friendship written by Brian Harlow, who points out Milwaukee, Wisconsin and Wilson’s thorough acquaintance with how the compositional techniques used Hancock’s musical ideals. Todd Wilson is in Hancock’s music correlate to ideas New Recordings The Organ Music of Gerre Hancock. currently director of music and worship in his textbook, Improvising: How to Buxtehude: Organ Works. Marie- Todd Wilson, organist. St. Thomas at Trinity Episcopal Cathedral in Cleve- Master the Art, which is widely used Claire Alain (1926–2013). Gronin- Church, New York. Raven OAR-951 land and head of the organ department by improvisation students and teachers gen, Netherlands: Schnitger/Ahrend (2-CD set); ravencd.com. at the Cleveland Institute of Music. He across the United States. organ (1692), 3 manuals, recorded For many American organists, Gerre has made 15 recordings and has an inter- The double-CD set begins with Air: A on September 30, 1986; Erato/Apex Hancock stands out as an icon due to national performing career, having given Prelude for Organ, which starts quietly (division of Warner Classics) 51790. his lifelong achievements as an organist, solo performances at many conventions with a beautiful solo melody. The middle The above information is all a person choir director, improviser, and teacher. of the American Guild of Organists section develops this theme contrapun- needs to consider listening to this two- This double-CD set of his complete and having performed with numerous tally, building to full organ and then sub- disc collection of Dietrich Buxtehude’s organ works fulfi lls an essential role in orchestras, including those of Cleveland, sides back to softer sounds at the end, organ works, a representative collage preserving the legacy he created at St. Los Angeles, and Atlanta. where the opening melody is presented of free works, chorale preludes, fugues, Thomas Church, Fifth Avenue in New Many of the works on this recording in canon between a soft 8-foot reed and two ciaconas (BuxWV 159 and 160), the York City, where he served as organist are chorale preludes or variation sets on a 4-foot pedal stop. This piece seems Passacaglia in D Minor (BuxWV 161), and director of music for 35 years. The well-known hymn tunes. There are also like the perfect music for a procession the Canzonetta in G Major (BuxWV 171), liner notes to the recording contain a two organ duets, which make use of both ³ page 16 and verses on the Magnifi cat (BuxWV 203) and Te Deum (BuxWV 218). Marie- Claire Alain performed these at age 60, which certainly promises seasoned, thoughtful performances. The documen- MARBLE COLLEGIATE CHURCH tation of the Schnitger/Ahrend organ Designed and voiced by Sebastian M. Glück, our new pipe organ encircles the listener in a manner both in Groningen, the Netherlands, has the potential to pique even a sampling of the heard and felt, complementing Marble's esteemed choirs and renowned preaching. sound. And the Apex line of Erato record- ings is specifi cally priced for the budget- minded (hence, perhaps, the lack of any Commissioned by Marble Collegiate liner notes outside the listing of pieces). Church, under the supervision of Marie-Claire Alain’s readings of the Kenneth V. Dake, Director of Music. “quieter” works—the chorale preludes, for instance—are sensitive, her registra- • 101 ranks, 6500 pipes spread over tions understanding. One can hear the 7 divisions romantic side of the Baroque era and the beating heart of an otherwise stern • Technologically-advanced German Lutheranism. four-manual drawknob console in the Her display in the bigger free works and fugues is impressive, and I think East Choir Gallery offers a cautionary tale. Classical music • Tonally designed for the great concert at large, and organ music in particular, has been infected since the 19th century literature, dynamic public worship, (and maybe before) with a sense of and refined choral accompaniment showmanship that can put the music’s Highlights from the 2015-16 message in danger. Any music—and Inaugural Concert Series featuring the new especially organ music—played too Sebastian Glück, opus 20 organ: loudly or too quickly will soon become a blur for the listener. The music loses its clarity/enunciation; the listener’s ears numb to all the noise. The second caution is a quibble, but • Ken Cowan I shall dare to articulate it anyway. Ms. Tuesday, October 27 at 7:30pm Alain alternates bigger and quieter One of North America’s finest works, which saves the recording from tedium, but I would have been more concert organists satisfi ed if the pieces had been arranged in an order that demonstrated key rela- tionships. Given the narrow range of key

• Richard Elliott Thursday, March 10 at 7:30pm Principal Organist of The Mormon Tabernacle Choir

(For full specifications of the Glück pipe organ please visit MarbleChurch.org)

www.pipe-organ.com 1 West 29th Street / New York, New York 10001 / 212 686 2770 / MarbleChurch.org

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 15 Reviews

³ page 15 This disc and the published music division of the Gallery Organ of two reed qualities. I was expecting the last move- at the start of Evensong, and one can are invaluable resources in preserving stops based on traditional Jewish musi- ment to be much louder, but was sur- easily imagine the solemn splendor of the legacy of Gerre Hancock’s impro- cal instruments—the Trompette Shofar prised that it opened in the same calm the liturgies at St. Thomas Church, Fifth visations. There were only a handful of and the Klezmer Clarinet. The latter is and tranquil manner as the other two, Avenue. Todd Wilson captures the mood moments on the recording where I felt probably unique as an organ stop and though it starts building up about half- perfectly, and throughout the recording, that Hancock’s facility as an improviser is imitative of the style of clarinet used way through and ends fortissimo. his playing is masterful with a great sense prevented him from writing music that by the klezmorim, the Ashkenazi Jewish The fi nal seven tracks on the disc, The of poise, balanced by tender expression was distinctively original—one instance musicians of Eastern Europe. Everlasting Crown, are all about crown when needed and brilliant virtuosity at being the presentation of the theme The recording’s fi rst three pieces jewels. English composer Judith Bing- other times. in his Variations on Ora labora. Here are the three miniatures that Nadia ham (b. 1952) was commissioned to write Of the several variation pieces on the the pedal repeats the fi rst four notes Boulanger wrote for Joseph Joubert’s something for international recitalist Ste- recording, I was struck by the rhapsodic of the hymn tune as a two-measure Maîtres contemporains de l’orgue (Paris, phen Farr in 2010. Farr gave the world character of the Fantasy on Divinum ostinato, while the complete tune in the eight volumes, 1912–14), and which première performance of the work at a mysterium. This piece begins with a short soprano is harmonized by parallel sev- represent three of Boulanger’s known BBC Promenade Concert in the Royal introduction on full organ, and then alter- enth chords (with occasional changes compositions for organ—the fourth Albert Hall, London, on July 17, 2011. nates quieter expressive passages with in inversion). For me, even a simple being the little-known later Pièce sur des Judith Bingham was inspired in the short commentaries that bring back the harmonization of the hymn tune might airs populaires fl amands (1917), dedi- composition of The Everlasting Crown opening material for full organ. There is have been more effective here, given cated to her sister Lili, whose death the by a book published in Boston in 1890 by a particularly beautiful variation where that there is some very striking music in following year robbed the world of one Adela E. Orpen, Stories about Famous the plainchant melody is transformed the variations that follow. of the fi nest composers of the century. Precious Stones. The fi rst movement from the major mode into the minor and I must comment once more on Todd The three pieces from Fr. Joubert’s col- of The Everlasting Crown is called The Dorian modes. Here the melody is played Wilson’s superb artistry, which would lection are all written fairly high up on Crown, and the last one is named The on a solo registration accompanied by come as no surprise to those who are the keyboard, and require careful regis- Peacock Throne (after the multi-jeweled left-hand chords on soft strings, with a familiar with his performances. His play- tration on a richly voiced organ if they throne of the Mogul emperors), while all pedal ostinato. The piece culminates in a ing is musical throughout, with thought- are not to sound top-heavy. The results of the others are named after individual fugue followed by a French-style toccata. ful attention to registration and phrasing, on this recording are a credit both to the gems. As Bingham implies by adding The second disc includes Prelude but what stands out most is his innate performer and the instrument. We next the comment “murder” to The Russian on Hyfrydol and Fantasy on St. Denio. comfort with the musical and liturgical hear Jeanne Demessieux’s well-known Spinel—referring to the death of the The Prelude on Hyfrydol is written in a traditions that shaped Gerre Hancock’s Te Deum (op. 11), which in its use of Russian Czar Nicholas II at the hands neo-romantic style with lush harmonies. music. I highly recommend this record- Gregorian chant and warm chromati- of the Bolsheviks in 1918—if Adela The hymn tune is passed back and forth ing to anyone with an interest in Ameri- cism makes a striking contrast with the Orpen were alive today she might wish between the soprano and tenor registers, can sacred music and organ repertoire. miniatures that have gone before, and to update her book. For example, one while the accompaniment moves in fl ow- —Kola Owolabi I very much liked Dr. Archer’s majestic little fact I gleaned from the Internet ing eighth-notes. Hancock’s harmonies The University of Michigan performance of it. was that La Pelegrina, the “pearl of great are striking, with frequent seventh and We come then to two more recent price” worn by Queen Mary I of Eng- ninth chords and some surprising refer- composers, the fi rst of whom, Brooklyn- land, was later in the possession of the ences to other keys including D-fl at The Muse’s Voice. Gail Archer, born Jennifer Higdon (b. 1962), was actress Elizabeth Taylor. This movement major, while the tune moves happily Casavant organ of the Central Syna- commissioned to write a major work of the organ suite is for manuals only, along in F major. The piece begins with gogue of New York. Meyer Media for the American Guild of Organists in evocative of the pedal-less instruments soft registrations (indicated as “soft 8 & 4 MM14027; www.meyermedia.com. Philadelphia. This resulted in Ceremo- of sixteenth-century England. foot stops,” but Wilson’s use of soft 8-foot Gail Archer devotes this compact nies, a large-scale work for organ and The Everlasting Crown is an extremely stops only is very effective) and builds disc entirely to the works of noteworthy brass from which is excerpted the suite elegant suite, possessing a medieval gran- to a climax on the full organ. In contrast female composers of the last hundred of three movements for solo organ that deur as befi ts its royal subject matter. The to this is the short Fantasy on St. Denio, years. The program is played on the features on this recording. Gail Archer compositional style reminds me to some which begins in a neo-baroque style with Casavant organ of the Central Reform comments in the notes that she par- extent of Olivier Messiaen, though the bright, gapped fl ute registrations. The Synagogue in New York City. The ticularly liked the middle movement for individual movements are very different middle section is contrasting, with modal organ’s specifi cation is unfortunately the “rocking fi fths in the pedals and the from each other in mood. Archer’s imagi- French harmonies building to full organ. not included in the accompanying leaf- unusual spacing of the rhythm,” which native registration again adds to their The piece concludes with lush harmonies let, but from the builder’s website we is “both technically challenging and effectiveness. I was particularly taken with on string stops and an 8-foot solo fl ute. learn that the Gallery Organ (Casavant has a calm feeling about it” while being the last movement, The Peacock Throne, This disc closes with Holy Week, a duet Opus 3813, electro-pneumatic action) played. All three movements make which begins almost imperceptibly softly that makes use of both organs. Each was built in 2002 and has four manuals effective use of unusual rhythms and on the pedal and builds up into a compo- movement quotes a different plainchant and pedals with 46 stops and 63 ranks. tonalities, and Archer’s sparkling reg- sition of great structural complexity. theme: Vexilla Regis, Pange lingua, and There is also a Bimah Organ (Casavant istrations enhance the effect. Though This is a recording of very creative Victimae paschali. This is a very distinc- Opus 3812, electric slider chests) with the movements are named Meditation, compositions—the title, The Muse’s tive work and would make a good impres- nine ranks and eleven stops. Particularly Prayer Song, and Celebration, they all Voice, seems entirely appropriate— sion wherever it is possible to perform it. interesting is the inclusion in the Solo in fact possess prayerful and meditative played very creatively by a superb player on a superb organ. A few might fi nd some of the music a little recherché, but in my opinion it demonstrates refreshingly that the creative imagination is still very much faculty alive—among female composers as well graduate study in as male. I have therefore no hesitation Thomas Murray in recommending this compact disc to organ performance Professor of Organ readers of The Diapason. —John L. Speller at Yale Institute of Sacred Music and Yale School of Music Martin Jean Port Huron, Michigan Professor of Organ Jeffrey Brillhart New Organ Music Organ Improvisation Catena Sammlung: Mus. Ms. Lands- berg 122—Berlin, edited by Jolando Walden Moore Scarpa. Edition Walhall EW919 Liturgical Keyboard Skills (€21.80) and EW922 (€17.50), www. edition-walhall.de. With these two volumes Jolando Scarpa continues to provide modern degrees offered editions of important 17th-century Ital- Master of Music ian manuscripts that contain keyboard music. They include the previously Artist Diploma unpublished pieces contained in manu- Doctor of Musical Arts script Landsberg 122, Berlin, compiled by Giovanni Battista Catena around the middle of the 17th century. It offers an overview of the different compositional genres encountered in Rome at this time, Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511 Institute students receive full with the majority being, as one would tuition scholarships. Generous tel 203.432.9753 fax 203.432.9680 · ism.yale.edu/musicprograms expect, versetti for use in the liturgy. [email protected] awards available to qualified The contents of this modern edition applicants. include three pieces ascribed to Fresco- baldi, which are not known from other

16 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM Reviews sources, either published or in manu- manuscript and have been given tenta- eighth-note arpeggio fl ourishes before nothing in common with the pieces scripts. The fi rst two pieces opening tive titles by the editor. It opens with a settling into scalar sixteenth notes over entitled Spagnoletta by Frescobaldi or Volume 1 are elevazioni, in a style very Fantasia dopo l’Epistola in three sec- held octaves and two-voice passages Storace. The following untitled piece different from the two fl oridly embel- tions, outer movements in common time before a winding down single-note bro- and the next Canzone are short imitative lished toccatas included in Frescobaldi’s in a canzona rhythm enclosing a triple ken arpeggio. This is followed by a majes- pieces, after which comes the corrente second book of toccatas, consisting of time section. This is followed by a toc- tic Passacalli based on the descending called Frescobaldi. An imitative piece slow chordally based durezze e ligature cata-like piece similar to some of those tetrachord, which progresses through titled Canzone by the editor opens with in the style of Ercole Pasquini’s few sur- found in the Vatican manuscripts. Three fi guration and rhythmic motifs before a the expected half note converted into viving examples. The fi rst piece contains contrapuntal versetti on the fi rst tone are harmonically exciting conclusion. an eighth-note rest followed by three some passages with the treble half notes followed by a more substantial Canzone Of the following three versetti on the repeated notes; the piece concludes ascending by semitones, and from bar 29 with plenty of eighth-note work against sixth tone, the second is homophonic with a short fl ourish. The closing piece the bass quickens to eighth-note move- half notes as the piece progresses. Five and the third is in 3/2 with a dotted in the collection, titled Versetto by the ment before sixteenth-note passaggi shorter canzonas follow, of which only rhythm to the subject. A short imitative editor, consists of short motifs in two enliven the fi nal three bars. The second the second one has a triple-time central untitled piece is followed by three pieces voices before left-hand octaves in the piece moves almost entirely in half notes, section; the third and fi fth conclude with titled Canzone by the editor, which are fi nal two bars. again with progressions by semitone, this toccata-like passages, which also occur imitative although not in the expected The preface concentrates on the time in all parts. In Volume II there is a in a few canzonas in the Cimino manu- rhythms, the subject of the fi nal one comments made by Bartolomeo Grassi piece simply entitled Frescobaldi, which script. There follow four versetti, one being similar but in a different rhythm to in the Partitura del primo Libro dello is a corrente, again not known from his on the fi rst tone and three on the fourth an earlier versetto on the fi rst tone. Two Canzoni of 1628 about Frescobaldi hav- published works. tone. All have canzona rhythms, the fi nal imitative versetti on the fi rst tone are ing many manuscripts of pieces ready The two elevazioni attributed to two in smaller note values. A further then followed by a Canzone, the subject for publication. Many pieces remained Frescobaldi are followed by two pieces imitative piece entitled Canzone by of which includes both the sharpened in manuscripts that are now in various attributed to Orazio Tarditi (1602–77), the editor has a subject in equal eighth and natural seventh; in the fi nal bar the libraries in Europe; the authenticity of who was a member of the Roman school. notes, followed by two more versetti on three voices of the right hand telescope these is a subject that still causes much One is an Elevazione that is also in the the fi fth tone. into one. disagreement among eminent scholars. earlier chordal style, but with several Two far more substantial pieces in The next piece is entitled Spagnola The introduction advises that some com- bars of quarter notes against whole notes. the fi rst tone follow. A piece the editor in the manuscript, its dactylic rhythm positions including canzoni, a toccata, It is followed by a Toccata that consists has, rightly, entitled Toccata, opens with showing its genesis in a canzona; it has ³ page 18 primarily of sixteenth-note fi guration against whole notes or half notes, leading to a Fuga, a loosely imitative few bars that soon lapse into toccata-like writing. This work, with its sequential fi gures based on short motifs, closely resembles Bernardo Pasquini’s toccatas and also Frescobaldi’s manuscript toccatas, far removed from his published examples. The remainder of the fi rst volume is anonymous. There are two incomplete pieces on pages 30–32 (one toccata-like piece without heading on page 30, a short 20-bar piece, seems complete). There is a Fantasia, a 35-bar, mainly imitative work on the sixth tone, eight canzonas (one of which is incomplete), a Toccata similar to Tarditi’s followed by a Ricercar (which opens in a canzona rhythm that is then presented in diminution followed by a triple-time section, which leads into a 3-bar toccata-like coda), a set of four Versetti sull’ Inno Veni Creator (the fi rst is a very short toccata, the second is westminster choir college of rider university chordal and the other two are imitative), a short Toccata per la Gloria in Excelsis, is pleased to announce these new faculty appointments: Sette (seven) Versetti per il Sanctus (the fi rst six are imitative; the fi nal one is marked Adagio col Tremolo, a very rare Daryl Robinson Carolann Buff indication, followed by a concluding chordal Amen), two individual versetti Assistant Professor of Organ Assistant Professor of Choral Musicology on the sixth tone and some nine sets of M.M. Rice University, Ph.D., M.M. Princeton University, versetti on various tones, ranging from B.M. University of Houston M.M. Longy School of Music, three to six in the set. Those headed del Winner of First Prize and Audience Prize, B.M. University of California VII Tono are actually in C, not in D, so perhaps the editorial title is incorrect. 2012 American Guild of Organists Founding member of the medieval trio Most of the versetti are imitative and National Young Artists Competition in Liber unUsualis, rarely exceed ten double whole-note Organ Performance. specialist in historical performance. bars (the numeration includes some whole-note bars as well), although the fourth and fi fth versetti on the fi rst tone run to over 30 bars. Most subjects are CONDUCTING, ORGAN, SACRED MUSIC FACULTY in longer note values, but a few move in Joe Miller, Director of Choral Activities eighth notes and exhibit a livelier sense of movement. James Jordan, conducting Matthew Lewis, organ Steve Pilkington, liturgy & worship The canzonas (all but two presumably untitled in manuscript as the title in the Amanda Quist, conducting Alan Morrison, organ Kathleen Ebling Shaw, handbells volume is in brackets) are mostly fairly Ryan Brandau, conducting Kathleen Scheide, harpsichord Tom Shelton, youth choirs short, one-section pieces with various Brandon Waddles, jubilee singers opening rhythms. The canzona on page 36 opens with a fi ve-note ornamental Learn more at www.rider.edu/wcc fi gure similar to Santa Maria’s redoble; the concluding triple-time section works Call: 800-962-4647 new material. The next piece in this vol- ume is a rare example of a piece in D with two sharps in the key signature—a rather earlier example is by Sperindio Bertoldo. The Canzone on page 45 con- cludes with a triple-time section, whose subject is loosely derived from the open- ing material, before a concluding coda. westminster choir college of rider university •  walnut lane • princeton, nj  Volume II contains a further 28 pieces, most of which are untitled in the

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 17 Reviews

³ page 17 footnoted. The lovely Magnifi cat setting a collection of four Thanksgiving hymn From the “Ring More with Less” hymns, and a Magnifi cat, are already is for manuals only. The toccata setting arrangements. St. George’s Windsor series, this familiar carol brings with it available in modern editions, but it of Veni creator spiritus would make an is a gossamer setting, with one measure a lovely descant with handchimes or tre- would have been helpful if fuller details effective Pentecost postlude. echoes and breaks between statements ble instrument. Both tunes—Mueller had been provided. Also helpful would of the tune. Kremser is character- and Cradle Song—are incorporated have been confi rmation that the order of Philip M. Young, Preludes on ized by its eighth-note arabesques. in this arrangement, making it a fresh the pieces in the new edition follows the American Tunes for Organ. Augs- Holy Manna ends using chimes. Nun addition to any Christmas worship or order of the manuscript. The printing is burg Fortress 97-7629, $15.00; danket alle Gott follows the tune concert setting. clear in a generously sized font, with six www.augsburgfortress.org. harmonically with occasional interludes. systems to the page. There is no critical Philip M. Young (b. 1937) served as This collection helps to fi ll the dearth of He Is Born, arranged for 3–6 octaves commentary as such, editorial correc- minister of music at First Baptist Church Thanksgiving organ repertoire. of handbells with 2–3 octaves of tions being marked in the score, although of Henderson, North Carolina, for 45 —Kenneth Udy handchimes, by Sandra Eithun. Agape several missing accidentals will need to years from 1959–2004 and is now the Salt Lake City, Utah (a division of Hope Publishing Com- be marked, and there are a few passages church’s composer-in-residence. This pany), Code No. 2728, $4.95, Level still remaining that are open to conjec- is a collection of eight preludes based 3- (D-). ture and, in one or two cases, which seem on popular American hymn tunes, each New Handbell Music Beginning with gentle strains of to be quite incorrect—an example is in with the melody clearly defi ned. Beach O Come, O Come, Emmanuel, “O Come, O Come, Emmanuel,” this the left hand of the Canzona on page 33 Spring is gentle and modulates from F arranged for 2 or 3 octaves of hand- piece quickly expands into a rhythmic, of volume I, in bars 5 and 11. to B-fl at. Distress features the melody bells or handchimes by Susan E. syncopated celebration of the birth Several versetti fi nish with a chord soloed out, fi rst with the right hand, then Geschke. Choristers Guild, CGB857, of the Christ Child. Several special containing the fi fth but no third—given the left. Dove of Peace is a pastorale $4.50, Level 2 (E+). techniques are used, which add to the that the majority conclude with either a utilizing a 4′ fl ute in the pedal. Holy This lovely setting of Veni Emman- festive spirit. full chord or a bare octave, today’s player Manna is joyful with the melody some- uel also incorporates the tune Divinum may well be entitled to some license in what veiled in the bass. Land of Rest Mysterium (“Of the Father’s Love An Angelic Celebration, arranged by such matters. The fi rst system of the left is lilting and lovely. Pleading Savior is Begotten”). Here is a lovely marriage of Joel Raney, arranged for 3–6 octaves hand of the Canzona in D on page 39 of mildly contrapuntal. Wedlock uses an tunes that brings the arrangement from of handbells by Arnold B. Sherman. Volume I is in the bass clef, necessitat- effective ostinato of open fourths and the minor key to the major key, then Agape (a division of Hope Publishing ing multiple ledger lines as the notes fi fths over a pedal point. Wondrous returns to minor. Company), Code No. 2722, $4.50, ascend to treble D—surely a treble clef Love intersperses the tune in between Level 3+ (D). would have made reading far easier. The interludes. The settings are straightfor- Jesus, Jesus, Rest Your Head, A medley of “Hark, the Herald Angels distribution of the notes between the ward and can be learned with a mini- arranged for 2 or 3 octaves of hand- Sing” and “Angels We Have Heard hands in the original tablature has been mum of practice. bells or handchimes by Cathy Mokle- on High,” this piece is loaded with a maintained, although this does not offer bust. Choristers Guild, CGB240, plethora of stopped sounds and handbell clarity in voice leading. Charles Callahan, Two Patriotic $3.95, Level 1 (E). techniques that bring this spectacular The volume is a welcome addition in Pieces for Organ. Concordia Pub- This Appalachian carol is presented in seasonal music to life. modern notation to the relatively scarce lishing House 97-7560, $12.00; www. a gentle, lyrical setting that is perfect for material from the post-Frescobaldi cph.org. the smaller bell choir. Very accessible, Take My Life and Let It Be, arranged period in Rome in particular and Italy in Charles Callahan offers two useful beautifully written, and a great addition for 3–5 octaves + Bb2 handbells, general. None of the pieces has an obbli- arrangements for occasions that call for to the season’s Christmas music. with optional 3–5 octaves and Bb2 gato pedal part and they are still suitable patriotic music. “Prelude on America” handchimes, by Sandra Eithun. for such use today, in addition to offering has a simple pedal part and is sight-read- Pat-a-Pan, arranged for 3 to 6 octaves Agape (a division of Hope Publishing recreation and good teaching material. able (or can be easily learned). “Hymn of handbells by Sondra A. Tucker. Company), Code No. 2710, $4.50, —John Collins Fantasia on Melita” is an improvisatory Agape (a division of Hope Publishing Level 3 (M+). Sussex, England fantasy with kaleidoscopic harmonies, Company), Code No. 2648, $4.95, This handbell setting brings together ending nicely with a plagal cadence. This Level 4 (D). two great hymns: Hendon, “Take My Charles Callahan, Chant, Volume is the tune for the U.S. Navy Hymn and This traditional French carol provides Life and Let It Be,” and Angel’s Story, 3. Concordia Publishing House would be effective at a funeral service for energy and syncopation throughout, “O Jesus, I Have Promised.” Hand- 97-7629, $27.00; www.cph.org. anyone connected with the U.S. Navy. incorporating a hint of “Ukrainian Bell chimes and suspended bell lines open to Dr. Charles Callahan (b. 1951) contin- Carol.” Here is a great concert opener set up the melodic material. The piece ues his series of one- to three-page settings Robert J. Powell, Harvest Festival. or closer. builds to a full rendition of both tunes, of plainchant tunes. This volume contains Paraclete Press PPM01239, $11.25; winding down to a refl ective ending of settings of 17 different hymns, canticles, www.paracletepress.com. Away in a Manger, arranged for 5, 6, or these two great texts. responsories, and antiphons—some A composer of over 400 works for 7 ringers (2 or 3 octaves of handbells), more familiar than others. The chants organ, handbells, and choir, Robert J. and optional 2 octaves of handchimes, A Celtic Ring, arranged for 3–5 cover various seasons of the church year, Powell (b. 1932) is now organist at Trin- or a B-fl at or C treble instrument, by octaves of handbells by Susan E. from Advent to Pentecost, with Liber ity United Methodist Church in Green- Karen Thompson. Choristers Guild, Geschke. Agape (a division of Hope Usualis page references conveniently ville, South Carolina. Harvest Festival is CGB895, $4.95, Level 2 (E+). Publishing Company), Code No. 2706, $4.50, Level 2 (M-). Using original melodic material and incorporating the hymn tune Holy Manna, Susan Geschke provides a lovely Penny Lorenz Artist Management piece for church or community use. A presents sprinkling of staccato notes throughout with no bell changes will give ringers just the right amount of challenge. —Leon Nelson Vernon Hills, Illinois

Robert Bates Craig Cramer Kathrine Handford Balint Karosi

For Organ Recitals & Workshops, Please Contact: Penny Lorenz 425.745.1316 [email protected] www.organists.net Like us on Facebook! Aaron David Miller Jack Mitchener www.facebook.com/TheDiapason

18 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM New Organs

Schoenstein & Co., Swell box. This provides the instrument Benicia, California with an extended dynamic range. Dahlgren Chapel, A few stops require some description. Georgetown University, The Gamba and Vox Celeste are true Washington, D.C. strings of keen intonation in contrast Schoenstein & Co. has built a new to the Salicional, which has some string organ in the symphonic style for Dahl- character but is essentially an Echo gren Chapel of Georgetown University Diapason foundational stop. The Tuba in Washington, D.C. The organ of just in this instrument is a member of the 16 voices and 19 ranks is an example of trumpet family—not the dark, sonorous distilling the symphonic concept to its tromba-type. The Corno Dolce is a essence, providing maximum tonal and strongly tapered stop with a mysterious dynamic range from a modest stoplist. “hybrid” character between fl ute and Half of the instrument’s voices are at 8′ string. It is an excellent accompaniment pitch, 25% at 16′, and 25% above 8′. All voice and, when extended to the 16′ of the major tonal families are repre- octave, provides a clean, quick-speaking, sented, including important solo voices pointed bass. such as the Harmonic Flute, Oboe, Space always seems to be a concern, Clarinet, and Tuba. especially in a building not originally The musical job description for this designed to house an organ. Compact university organ is quite demanding. cases were placed on either side of the In addition to the usual Catholic litur- sanctuary; the 16′ Open Wood Pedal gies, there are many major celebrations pipes were placed horizontally along (ordinations, baccalaureates, etc.) and the east wall under the window behind a very large number of weddings. The a carved and paneled screen. By double- Console organ is used in various special liturgies decking the Great and Swell divisions, as part of the academic program, and it we were able to keep the casework on serves the music department as a recital, either side of the sanctuary quite narrow, ensemble, and teaching instrument. Two thus avoiding the crowding of the huge Schoenstein & Co. vital characteristics for success are power east end window. Dahlgren Chapel, Georgetown University, Washington, D.C. and variety. If the organ can’t project an The organ installation was part of atmosphere of grandeur and doesn’t a complete chapel renovation and GREAT (Expressive) PEDAL (Unenclosed) hold the musical interest of a lot of highly was provided through a grant from 16′ Corno Dolce 12 pipes 32′ Resultant educated people, it will be a failure. the Lewnowski family. The inaugural 8′ Grand Open Diapason 61 pipes 16′ Open Wood 12 pipes The instrument is a two-manual organ recital program was played on Novem- (unenclosed) 16′ Corno Dolce (Great) 8′ Open Diapason 61 pipes 16′ Bourdon (Swell) with an additional third manual to access ber 7, 2014, by Lynn Trapp, who also 8′ Harmonic Flute 42 pipes 8′’ Principal 20 pipes solo stops and a group of ensemble stops served as consultant for the project. (Corno Dolce bass) (Grand Open Treble) along the lines of a Positiv division. The The director of music, liturgy, and 8′ Corno Dolce 61 pipes 8′ Salicional (Swell) entire instrument with the exception of Catholic life is James Wickman, who is 4′ Principal 61 pipes 8′ Stopped Diapason (Swell) 4′ Corno Dolce 12 pipes 8′ Corno Dolce (Great) display pipes is under expression. The also the organist. 1 1 ⁄3′ Mixture (III–IV ranks) 186 pipes 4′ Fifteenth (Great) Swell includes the Schoenstein double- —Jack Bethards 8′ Tuba Minor (Swell) (from Grand Open) expression system wherein the high pres- Schoenstein & Co. 8′ Clarinet (TC) 49 pipes 4′ Flute (Great) sure Gambas and Tuba are in a separate Tremulant (from Harmonic Flute) Chimes 16′ Bass Tuba (Swell) expression box located inside the main Photo credit: Louis Patterson Great Unison Off 8′ Tuba Minor (Swell) Great 4 4′ Clarinet (Great) SWELL (Expressive) Couplers 16′ Bourdon 12 pipes Great to Pedal 8′ Salicional 61 pipes Great to Pedal 4 8′ Stopped Diapason 61 pipes Swell to Pedal 8′ Gamba† 61 pipes Swell to Pedal 4 8′ Vox Celeste† 61 pipes Solo to Pedal 4′ Salicet 12 pipes Solo to Pedal 4 4′ Chimney Flute 61 pipes Swell to Great 16 2 2⁄3′ Nazard (from Chimney Flute) Swell to Great 2′ Fifteenth (ext Salicet) 12 pipes Swell to Great 4 3 1⁄5′ Tierce (TC) 42 pipes Solo to Great 16 16′ Bass Tuba† 12 pipes Solo to Great 8′ Tuba Minor† 61 pipes Great to Solo 8′ Oboe 61 pipes Swell to Solo Tremulant Great to Swell Swell 16 Swell Unison Off Mechanicals Swell 4 Solid state capture combination action with: †Stops under double expression 100 Memories 35 Pistons and toe studs SOLO 6 Reversibles including Full Organ Solo Stops Programmable piston range for each 8′ Grand Open Diapason (Great) memory level 8′ Open Diapason (Great) Programmable Crescendo and Full Organ 8′ Harmonic Flute (Great) Piston Sequencer 8′ Clarinet (Great) Adjustable bench 8′ Oboe (Swell) 16′ Bass Tuba (Swell) Mixture Composition 8′ Tuba Minor (Swell) C1 D15 A#35 G#45 Ensemble Stops 19 12 8′ Stopped Diapason (Swell) 22 15 12 4′ Salicet (Swell) 26 19 15 12 4′ Chimney Flute (Swell) 22 19 15 2 2⁄3′ Nazard (Swell) 2′ Fifteenth (Swell) Tonal Analysis of Manual Voices 3 1⁄5′ Tierce (Swell) Pitch Summary Percussion Stops 16′ 4 25.0% Harp (Digital) 8′ 8 50.0% Celesta (Digital) 4′ 2 12.5% Cymbelstern (Acoustic) Above 4′ 2 12.5% Solo 16 16 100.0% Solo Unison Off Solo 4 Tonal Families Diapasons 6 37.50% Open Flutes 2 12.50% Stopped Flutes 2 12.50% Hybrids 1 6.25% Strings 2 12.50% Chorus Reeds 1 6.25% Color Reeds 2 12.50% 16 100.00% Three manuals and pedal 16 voices, 19 ranks Electric-pneumatic action Dahlgren Chapel, Georgetown University

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 19 On Teaching

Reuter—Milnar To look or not to look Most of us fi nd it natural to look—that During my months off from writing is, literally, with our eyes—for things that this column, I heard from several read- we want to fi nd. Picking up our glasses off Removed from Blair School of Music, ers, partly with various stories or ques- the table, reaching for the light switch, tions or comments about organ study, getting a stick of butter out of the fridge, but also with some suggestions for topics anything normal and everyday, is usually Vanderbilt University for future columns. These suggestions achieved partly through looking. The included aspects of service playing, keys of keyboard instruments—more advice about how to get pieces up to a fast than the technical components of string tempo, and on fi ngering, including how or wind instruments, I believe—seem to to plan fi ngering with ultimate tempo in be things that are there and that we want mind, dealing with acoustics, and details to fi nd. So it is natural to think something about pedal playing (always at the fore- like: “OK, I need to play that ‘A-fl at,’ so I front of concern about organ playing!). I should look for it” or even “so I’d better will in due course cover these topics. This look for it.” This is a way of seeming to month, however, I begin with something map normal experience onto the act of I consider to be more important the more playing a keyboard instrument: it seems I observe students—and indeed the more intuitive, at least as a starting point. I observe my own process of learning and However, there are equally funda- performing music. This is the question of mental reasons not to accept that intui- whether, when, and how to look at one’s tive feeling, not to look at the hands and hands and feet while playing. feet while playing—especially while fi rst In an early column, I noted that some learning to play. First of all, it is impos- day I would devote a whole column to sible to fi nd every note of every piece by this, and while I have mentioned aspects looking in time to play that note on time. of it from time to time, I have not yet If all music were extremely slow, this written that column. Furthermore, I whole discussion might well be different. have developed some new ideas about Looking at the hands and feet might be a it over the last few years—ideas that valid option as a way of feeling comfort- supplement rather than contradict or able at the instrument. But with real-life change my thoughts from several years repertoire and performance conditions ago. So it seems like a good idea to take this just won’t work: there just isn’t time. it on, in this column and the next, pull- Only a strong and reliable kinesthetic For Sale: $49,500 ing together some of my long-standing sense of the keyboard can enable the ideas and supplementing them with fi ngers and feet to go where they need to some new thoughts. go, when they need to go there. So learn- For more details, go to www.milnarorgan.com I have always been—and still am— ing to play has to be, in part, a matter of very skeptical of the practice of looking developing that kinesthetic sense. And at the hands or (perhaps especially) the (this is the most important point here) feet. However, I have become more every time that a student fi nds a note by open to the idea that looking can some- looking, he or she misses an opportunity times be all right—certainly neutral, if it to strengthen this all-important sense. is done correctly, perhaps even helpful in It is a very clear distinction: if you some cases. This has led to the other new move your hands and fi ngers, or your turn in my thinking: how to be sure that feet, directly from whatever position when you occasionally look down at the they have just been in to the position they keyboard(s), you don’t create any prob- need to be in to play the next notes or lems by doing so. I have also developed chords, then you establish in your mind a some exercises and practice techniques connection between those two positions. that address looking or not looking at the If you intervene between those two hands and feet, or deal with looking away points with a glance at the new position, from the music. and then fi nd that new position through Beyond the practical aspects of looking that visual clue, you do not establish that or not looking, one can learn about focus connection, or you establish it weakly. and concentration, and about the whole Only by reinforcing these connections ORGANS OF OBERLIN learning process, by thinking about the over and over and over again can we different approaches to the looking/not achieve the ability to execute them reli- STEPHEN J. SCHNURR JR. looking question. I will include a few ably in the infi nitely varied circumstances thoughts about that here. created by an infi nitely varied repertoire. STEPHEN SCHNURR’S book traces The fundamental, most important Using our eyes to fi nd notes makes this as many of Oberlin’s pipe organs as fact about looking at the hands and feet process of learning physical connections while playing is that a reliance on looking ineffi cient. Using the eyes a lot makes it possible, on campus, in churches, is extremely damaging to the learning extraordinarily ineffi cient, and possibly and in residences. The vast major- process for someone who is still learn- totally ineffective. ing to play. This is probably one of the Other reasons to be concerned about ity of instruments have specifica- things that I have observed the most looking at the hands and feet are more tions included. The text is enriched clearly in my years of teaching and that I practical, and apply beyond the learn- am most sure about. It is also one of the ing stage. It is always a possibility that with many photographs, contem- few things that I am willing, if necessary, upon looking away from the music, to ask students to believe on trust even the player will get lost and be unable porary and vintage. Two indices as- if they don’t see it for themselves right to come back to the right place in the sist the reader in locating specific in- away. Not every student will do that, music. I will discuss ways of dealing with especially since I always urge students this later on. This is tied up with ques- struments. Organs of Oberlin will be not to take things on trust, but it is why I tions about memorization and about valuable to Oberlin alumni, residents have tried to make the advantages of not solid learning in general. Also, there is looking seem clear and obvious. a strong tendency for looking away from NON-MEMBER PRICE: $49.95 of Oberlin, and those who enjoy There is a distinction between some- the music to cause delay: very tiny delay MEMBER PRICE: $45.95 music, art, architecture, and history. one who is still learning and someone that doesn’t add an amount of time to who is an accomplished player. The the playing that can really be counted, pitfalls of too much looking are the most but that tends to undermine the sense IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM 4,367 SELECTIONS! hazardous for anyone who is still engaged of rhythmic momentum and continuity. in the early to middle stages of becoming This is something that an accomplished ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG comfortable with the instrument. This is player can fi nd ways to deal with, if it is why thinking about this issue is specifi - addressed purposefully. I will also come cally an important part of the work of a back to this later. ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we teacher. For more experienced, com- The good news, especially for begin- P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. fortable, “advanced” players (whatever ning students, is that a very basic level Media Mail shipping is $5.00 for your entire Telephone: (804) 353-9226 imprecise term seems best), looking or of awareness of the kinesthetics of the order. Shipping outside U.S. is $4.50, plus not looking becomes more of a personal keyboard gets established surprisingly Monday–Friday 9:30am–5:00pm ET the cost of air postage, charged to your VISA choice, a matter of comfort—at least promptly. I tell students that anyone who [email protected] SHIPPING or MasterCard. much of the time. has been playing any keyboard instrument

20 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM By Gavin Black for a few weeks essentially knows where the keys are, though he or she might not School of MUSIC realize it. Of course, this sense of where the keys are needs to grow stronger, so that it can function reliably with ever Karen Beres, Interim Dean more complicated (and faster) music. Also, crucially, the player needs to learn to believe in it. However, a basic version of this awareness is established much sooner than most people—most students—real- ize. How early may depend somewhat on the exact nature of the very beginning lessons and/or practicing that this stu- dent encountered. But it will be there as something to build on, even from random doodling around. The layout of keyboards seems to be intuitive and humane enough visual confi rmation. But such things can to make this happen. help to persuade students that the keys Let me mention the analogy to the typ- of their instrument can also be routinely ing keyboard. I don’t know from personal found without looking. experience how intuitive that layout is, Another way of looking at it is this: since I have never learned “touch typing.” when we talk about reliably fi nding I type with, perhaps, two or three fi ngers, notes, we are also talking about avoiding always looking at the computer keyboard. wrong notes. These are complementary Sometimes I must spend appreciable ways of looking at the same thing. When time searching for a given letter or sym- a student feels a strong urge to look at the bol: my sense of where they all are is that hands or feet, that student is trying not to poorly developed. It has slowly improved play wrong notes. However, by far most over many years of typing that way; I now actual wrong notes made by students— often fi nd my fi ngers heading towards the and by most of us—come specifi cally correct letter before I have consciously because we don’t really know what the thought about where it might be. But correct note was supposed to be. I fi rst I never can pin a letter down exactly learned this by observing myself. When without looking. This means that I am I was still a beginning (or at most “inter- an extremely slow typist, and that I effec- mediate”) player, it one day occurred to tively cannot type a copy of something me that whenever I made a wrong note that I would have to read while typing. I or a cluster of wrong notes, if someone can only type while composing. It is inter- had stopped me and asked me what the esting to me that the most common form right notes were supposed to be, I would of “real” typing involves always pressing (I never have been able to answer that originally wrote “playing”) any given key question. I have since observed this with with the same fi nger. students, fairly consistently. The propor- This is completely different from play- tion of wrong notes that happen when Dr. Timothy Olsen, ing a keyboard instrument, where there the student clearly knows what note or is no linkage between specifi c fi ngers notes or chord is indicated—and could UNCSA Kenan Professor of Organ and specifi c keys. It is more analogous to promptly tell you if you asked—but fi ngering on a wind instrument. My own makes a wrong judgment about where to 2016 AUDITION DATES slow typing suits me: it matches the speed fi nd the note(s) on the keyboard is very at which I think out what I want to type. small. The proportion that happens when January 22*; February 5*, 19*; April 1 This is analogous to the slow musical the student doesn’t quite really know *Scholarship Priority Auditions tempos that would be required if players what was supposed to be played is very were all to try to fi nd all of their notes by high. It is exactly the information that is PROGRAMS looking, but in this case it is suitable—or on the page that is most urgently needed at least it works for me. I am, however, at the moment when a passage might be High School Diploma, Bachelor of Music, very aware that my need to look imposes about to go wrong, not the information Master of Music, Professional Artist Certificate; limitations. This informs my sense of how found on the keyboard itself. important it is not to be limited by looking When a student has played a number Internship and study abroad opportunities; while playing music. My awareness that of wrong notes—especially if it happens Student access to instruments by: (almost) everyone but me does indeed to be a high number—and has been type without looking reinforces my belief looking down at the hands or feet quite Fisk, Flentrop, E.M. Skinner, Hook & Hastings, that everyone can do the same with a frequently, I ask the student to try play- Noack, and Tannenberg musical keyboard. ing the same thing without looking at all. The fundamental difference between If the student is reluctant to do that, I the keys of a keyboard instrument (and remind him or her that the worst that can FIFTH ANNUAL HIGH SCHOOL the typing keyboard) and the other happen is that the passage will fall apart FESTIVAL & COMPETITION: JAN. 29-31 objects that I mentioned above—the dramatically—so badly that it will be Prizes include cash and/or tuition scholarships stick of butter, and so on—is that the funny. And if that happens, so what? We keys don’t move. We don’t come to the will have learned something. Of course, in excess of $12,000. Workshops, master classes moment when we need to fi nd them the most common result is that the accu- and lessons included. For details, contact without knowing where they are to be racy improves immediately and dramati- found. This is a necessary condition for cally, even if the student didn’t expect Dr. Timothy Olsen at [email protected] us to be able to fi nd them without look- anything good, and even before he or she ing. Other things in everyday experience had any sort of chance to get comfortable also have this quality, such as the gas doing this, or to believe that it was a good pedal and brake arrangement in a car. Of idea. This experience, repeated as often course, no one has ever thought that they as necessary, will help to persuade the had to look to get a foot from one of those student that not looking is fruitful. to the other. It would be courting death I will continue this discussion next to do so, so we are motivated to learn month and include further ideas about and believe that we don’t have to! Vari- how to convince or cajole students into ous household situations work this way: taking advantage of not looking at the Your passion today. reaching for the bedside alarm clock, or hands and feet. I will also talk about Your profession tomorrow. a light switch on the wall of a room that when and how it is OK to look, and I you always enter the same way. Anything will give the exercises and practice tech- that is always in the same place relative niques that I mentioned above. Q WWW.UNCSA.EDU/ORGAN to your person is something that you [email protected] might well be able to reach for and fi nd Gavin Black is director of the Prince- 336-770-3290 without looking. In normal life we don’t ton Early Keyboard Center in Princeton, always do so, since there is often (gas New Jersey, teaching harpsichord, organ, Winston-Salem, N.C. and brakes aside) very little reason not and clavichord. Gavin can be reached by to supplement the spatial awareness with e-mail at [email protected].

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 21 In the wind...

A thousand ages in Thy sight . . . In June 1956, the Aeolian-Skinner Organ Company, under the leadership of tonal director G. Donald Harrison, was rushing to complete the new organ for St. Thomas Church on Fifth Avenue in New York City. Pierre Cochereau, the organist at the Cathedral of Notre Dame in Paris, was to open the national con- vention of the American Guild of Organ- ists on June 26 with a recital on the new organ at St. Thomas Church, and the pressure was on. On June 14, New York’s taxi drivers were on strike, forcing Harrison to walk the eight blocks home to the apartment on Third Avenue he shared with his wife, John Scott at the Taylor and Boody, St. Thomas Church John Scott as accompanist (photo credit: Indra Hughes) Helen. It was unseasonably hot, and the (photo credit: copyright Joe Vitacco) exhausted Harrison stopped at a drug store for a dose of smelling salts. After his death. How was anyone to know that dinner that evening, “Don” sat down this would be his last concert? with Helen to watch the impish piano And never in its eleven-year history virtuoso Victor Borge on television, and has Facebook showed its real value at 11 p.m. suffered a massive fatal heart more than the days following John attack. On June 18, he was buried on Scott’s tragic and untimely death, as Long Island.1 hundreds of mentors, colleagues, and In exquisite foreshadowing and coin- former and present choristers elo- cidence, on June 18, 1956, John Gavin quently shared their grief and memories Scott was born in Wakefi eld, Yorkshire, around the world. Photos of John at the in the United Kingdom. His early musi- organ, in front of choirs and orchestras, cal education and performing career was and at post-concert celebrations in pubs as a chorister at Wakefi eld Cathedral. showed up by the hundred. I clicked From 1974 to 1978 he served as organ “play” for dozens of John’s performances scholar at St. John’s College, Cambridge, as they appeared on my page—from under George Guest. After his gradua- elegant moments of small ensembles on tion, he served concurrently as assistant period instruments, to serene readings organist at Southwark and St. Paul’s of the great anthems of the Anglican Cathedrals in London. And in 1990, he tradition, to the supreme sonic swash- famously rose to serve as organist and buckling from the 1997 Christmas director of music at St. Paul’s, following Concert at St. Paul’s Cathedral (type “St the retirement of Christopher Dearnley. Paul’s Cathedral Choir 1997 Christmas John Scott conducting (photo credit: Bruce Parker) John Scott was appointed organist and Concert: Hark” in the YouTube search director of music of St. Thomas Church fi eld, and fasten your seatbelt). genius, dramatic swirls of a cape, and (as John’s basic musical and keyboard and Choir School in New York in 2004, And someone please tell me, just I once witnessed a world-famous con- skills were unparalleled. Once, when the forty-eight years after the death of the how do a couple dozen boys project ductor do in Cleveland) standing regally choir was working toward a performance creator of the organ there. their voices in descant above such a erect to announce his restaurant dinner of J. S. Bach’s St. Matthew Passion, there On Tuesday, August 11, 2015, John mass of sound? order in stentorian voice, stopping all were an extra few minutes in a rehearsal Scott returned home to New York from Millions of people have been privi- other conversation in the room! just before Evensong. John asked the a triumphant concert tour of Europe, leged to hear John Scott’s music-making. But there’s the beauty. As the Gospel choir to “take out the Bach” and run anticipating a day of meetings discussing His position at St. Paul’s Cathedral in of Luke reminds us not to keep our light through one of the big fl ashy choruses. the replacement of the much-altered London had him on the bench for such (talent) hidden under a bushel, John He went to the piano to lead, and his col- Aeolian-Skinner organ at St. Thomas, internationally televised celebrations Scott knew that his was a special gift, league noted that as the performance was and the start of a new academic year as “The Royal Wedding” (Charles and not given him for self-aggrandizement, to be performed at Baroque “low pitch” with the Choir School. According to Diana), Queen Elizabeth’s Diamond but to be shared freely with all the (A=415Hz) with an orchestra of period the website of St. Thomas Church, he Jubilee, and the Queen Mother’s Hun- energy he could muster. Hundreds of instruments, John was transposing down was “not feeling well the next morning dredth Birthday.2 And those of us who people writing about John on Facebook a half-step at sight. Another glance and suffered a sudden cardiac episode. understand anything about performing quoted Johann Sebastian Bach’s maxim, showed that he was playing from the He was taken to Roosevelt Hospital but before the public know that a certain Soli Deo Gloria (to God alone be glory). full orchestral score—casually enough never regained consciousness. His wife, amount of self-assurance (dare I say John impressed and inspired thousands drawing on those basic skills—basic for Lily, was by his side when he died.” John ego?) is necessary. of musicians with his exquisite taste, him perhaps, but unattainable for most and Lily were married at St. Thomas But there are two sentiments com- consummate musicianship, and unparal- of us. His skills were perfectly preserved Church in May 2013, and Lily gave birth mon to virtually every comment I read: leled collegiality. He honored us all by and carefully nurtured, available at any to their son, Arthur John Gavin Scott, on that John Scott was the consummate the care he invested in his work, and our moment without notice. September 4. musician, setting the highest standards lives are all enriched by his devotion to Another rehearsal story came from in everything he did, making it look the music of the church. an organist who was “fi lling in” during a The power of social media natural and easy, and that John Scott was period when the associate and assistant Social media is everywhere, and there the epitome of humility, of gentlemanli- Reminiscing organist positions were vacant. The are all kinds of uses for it, from the ness, of grace, and of kindness. I read In the past few days, I’ve spent time piece in question was Bach’s rollicking ridiculous to the sublime. I don’t need to of students who, in the thrall of John’s with several of John’s colleagues and motet, Lobet den Herrn—fi ve minutes describe the ridiculous—everyone who solo organ recordings, made impromptu coworkers, hearing their memories and and forty-fi ve seconds of bounding lurks on Facebook knows what I mean. international pilgrimages to hear him impressions. I intended to distill those Baroque ebullience. Determined to But the sublime is there, and it can be play, and were thrilled to be treated like offerings into separate vignettes, but felt meet John’s standards, he had prepared powerful. In August, I was following the honored guests. I read of colleagues that it read too much like tributes to the carefully, and after a rehearsal run- Facebook posts of four colleagues giving who marveled at his virtuosity, hearing contributors.3 through, was pleased to have grazed just concert tours in Europe. Each published him play concerts that included not one, You know those gala dinners when one note. As the last chord died away, photos of the organs they were playing, not two, but four or fi ve of the most a member of the committee introduces John turned to him and said, “Mr. ____, and the buildings they were in. There notoriously complex pieces—a series of the keynote speaker by giving a ten- on page . . . .” One note of the multitude were a few obligatory pub photos, and one blockbuster closers—with apparently minute biography of himself? out of place, and John identifi ed it per- of an Austrian cow. There were photos of little effort. And I read of people thrilled Instead, what follows is drawn from fectly and immediately. What’s more, statues of great musicians, with captions beyond belief to have received affi rma- the words of others. the correction was not personal. It was describing our colleague’s inspiration as tion and encouragement from him. John had a relentless work ethic. He accurate and simple, in the service of they followed in great footsteps. It was I read the words of parents of choristers studied, practiced, and programmed the music alone. fun to follow them as they crossed paths, who valued the fatherly, mentoring life meticulously. He approached each piece A colleague wrote: sharing the stories of each venue, and example for their sons as much or more of music and each instrument he played John’s unparalleled, gentlemanly con- rewarding to share the observations of than the spectacular musical education. as a fresh experience, and he prepared duct with people was tangible in his sense such sensitive musicians as they sat on the And I read the words of clergy describ- each performance as though it were his of musical proportion, balance, communi- same benches occupied by past masters. ing John Scott as the ideal colleague, fi rst. When there was extra practice time cation and temperament. Never the trivial- John Scott was one of the touring art- unruffl ed, unruffl eable, intuitive, innova- available he used it diligently—perhaps ity of wasted time nor wasted words, what was undeniably correct in the music could ists. It was fun to follow him as he moved tive, and always exquisitely prepared.We nurturing his skills to be ready for the not have been easier to comprehend and around, but eerie to scroll through them would have forgiven him for thundering many times when there wasn’t much follow. One hundred simply perfect musical a second time after receiving the news of through life with full awareness of his rehearsal or practice time. thoughts communicated with one gesture

22 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM By John Bishop

and a smile. The acceptance of nothing less worship at St. Thomas to stratospheric art form, are the richer for having shared through the reciprocity that made this pos- levels. People thronged from around the the earth with John Scott. sible without a hint of eccentricity, ever. world to participate in worship there, Never has the world of church music and under his leadership, the St. Thomas been graced by a more highly skilled, A correspondent engaged John to play Choir was respected as among the best. thoughtful, humble, caring participant. a recital on his home instrument, enjoyed Dr. Hancock’s organ improvisations were Church music will never be the same and admired John’s preparation, and was legendary, as were his compositions and because John Scott was part of it. Much astonished during the performance at hymn arrangements. of his legacy is permanent through stacks how fresh and vital the organ sounded. Following Gerre Hancock’s retire- of solo, choral, and ensemble recordings. The story-teller was used to playing ment, John Scott arrived in New York And all who heard him have witnessed on the instrument weekly, performing and quietly assumed his duties without the best there is. He was born with frequently outside of worship, and hear- fanfare. He simply took up where immense gifts, nurtured them with grace ing many other musicians use the same Hancock had left off, and continued to and energy, and shared them generously instrument—but somehow this perfor- build and develop the sound, the prow- with the world to the Glory of God. That mance was different. With the program ess, and the international esteem of the was his way. Q National Cathedral, frequent “fi ll-in” or- over, John returned to New York, and choir. Perhaps this metamorphosis was ganist at St. Thomas. Erik’s son Daniel is a the story-teller took a look at the piston enhanced by the turnover inherent in a Notes chorister in the St. Thomas Boy Choir. 1. Craig Whitney, All the Stops, New York, c. Haig Mardirosian, dean of the College of settings used during the concert, expect- choir of young boys. After all, a treble PublicAffairs, 2003, page 119. Arts and Letters at the University of Tam- ing to fi nd magical creative combinations chorister’s career cannot last more than 2. Queen Elizabeth appointed John Scott pa, where he presides over the Dobson as yet untried. But no. John had used four or fi ve years. But as one commented as a Lieutenant of the Royal Victorian Order pipe organ in Sykes Chapel. registrations that were conventional and to me this week, John Scott saw himself (LVO) in 2004 in recognition of his work at St. d. Canon Carl Turner, rector of St. Thomas Paul’s Cathedral. Church. uncomplicated. There was simply some- as a steward of the choir, of that great 3. Thanks to those who contributed mem- e. Stephen Tharp, concert organist, and artist thing about his fi ngers on the keys, the tradition in that great church. It was his ories by phone and in writing: in residence at St. James Episcopal Church turns of phrase, the impalpable sense of duty to encourage its work for the Glory a. Fred Teardo, organist and director of mu- on Manhattan’s Upper East Side. rhythm that transformed the instrument of God as long as his tenure lasted. Tragi- sic at the Cathedral Church of the Advent, 4. I have written twice about attending Birmingham, Alabama, who served as asso- worship at St. Thomas Church with John into something even more special. cally, his tenure was drastically shorter ciate organist at St. Thomas for more than Scott at the helm. See “In the wind . . . ” in In 2011, I wrote about attending than any of us might have hoped or fi ve years. The Diapason issues from January 2008 and worship at St. Thomas on Easter imagined. But we as individuals, and our b. Erik Suter, former organist at Washington June 2011. Sunday.4 Wendy and I attended the early Mass—the preludes started at 7:30 a.m. Two hours later, after we heard the sub-organists playing the anthems, hymns, and service music, John slid onto the bench for the post- lude and it seemed suddenly like a different organ. It was breathtaking. The energetic drive of his playing woke up the instrument, giving it a new and distinct voice. GET REAL John was devoted to the boys of the choir. He cared deeply about them, and cared for them as a parent would. The mother of a chorister commented to the rector, “My son doesn’t have a father at home—Mr. Scott serves as his father.” Are you purchasing sounds, John noticed dark circles under a cho- rister’s eyes. “You look a little tired. Do you need an early evening?” A choris- or samples of sounds? ter’s father posted a short video of John playing (pretty good) ping-pong with the boys, adding, “John was at home ...real pipes can last for centuries. with the boys, and they were at home with him.” The choir sang in a series of perfor- mances of Bach’s St. Matthew Passion, led by the brilliant Sir Simon Rattle. After the last performance, Rattle com- mented, “Those are the fi nest choristers I’ve ever worked with.” An organist was dejected after miss- ing notes and registrations during Evensong. John expressed his belief in his associate, encouraged him—“I know NORTH AMERICA’S PREMIER PIPE ORGAN you have it in you”—giving the richest of BUILDING AND SERVICE FIRMS collegial experiences. An organbuilder working at St. Thomas spoke of John’s vision for the organ—his intuitive sense of how timbres blended, and how he was able to alter the sound of the instrument with the subtlest changes Call today for in phrasing and articulation. Another commented that John was at home APOBA’s free 66+ with whatever instrument he played. When on tour, he played a wide variety of instruments, from massive romantic page color prospectus cathedral organs, to huge modern track- ers, to tiny ancient instruments. One Please watch and share observer pointed out that it didn’t seem APOBA.COM as though he adjusted to each organ, he our short video at: simply played the organ of the day. 1-800-473-5270 www.apoba.com/video Big shoes to fi ll It’s a special responsibility for an BUILDER MEMBERS SUPPLIER MEMBERS artist to follow a legend—to assume a ANDOVER ORGAN COMPANY DOBSON PIPE ORGAN BUILDERS NOACK ORGAN COMPANY, INC. QUIMBY PIPE ORGANS, INC. A.R. SCHOPP’S SONS, INC. 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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 23 Interview

The Liturgical Organist A conversation with Juan Paradell-Solé

By Joyce Johnson Robinson Juan Paradell Solé at the Sistine Chapel organ (Mathis, 2002, 14 ranks)

hile the Sistine Chapel—la Cap- years with Günther Kaunzinger. He looked for children who wanted to sing for the Barcelona Conservatory, and to Wpella Sistina (which takes its name served as organist at Rome’s Basilica of . . . And this priest was very good with study with Montserrat Torrent. In the from Pope Sixtus IV, who reorganized it St. Mary Major (Santa Maria Maggiore) Gregorian chant. He was quite serious early 1970s Miserachs became maestro in 1471)—is a must-see for many who for 30 years, and assumed the position as and even though he was dealing with di cappella at the papal basilica of St. travel to Rome, it is unlikely they will organist of the Sistine Chapel in 2011. children, he taught music using solfège. Mary Major in Rome. Thus I asked him hear music performed there, as any I had learned piano and around the age if I could come to Rome to study with services and concerts in the chapel are Joyce Johnson Robinson: At what of nine or so I began to accompany the him, and there I was on my way to the usually not open to the public. The Sis- age did you begin studying music? Pueri Cantores on the harmonium, dur- Eternal City. tine Chapel Choir is the pope’s personal Juan Paradell-Solé: I was eight years ing sung Masses, getting accustomed to choir, singing at all the liturgical celebra- old. sacred music. Thus thanks to my fi rst What are some of your early memo- tions of the Supreme Pontiff—in the Sis- maestro I was already, as a child, learning ries of learning the organ? tine Chapel itself, at St. Peter’s Basilica, Do you come from a musical family? Gregorian chant and sacred polyphony. Lessons with Montserrat Torrent took and at outdoor services. Yes. My maternal grandfather was a place in the Palau Nacional, in which During a 2014 visit to Rome, I was musician—including in church, because How is that you came to be in Rome? there was a large Walcker organ, enor- able to meet with the titular organist of at that time one did a bit of everything. After some study with Father Albert mous, fi ve manuals, and I began to take the Sistine Chapel, Juan Paradell-Solé. He had a band, played piano, and they Foix, I enrolled at the conservatory in lessons on that organ. It had over 100 reg- A native of Spain, he received his early made appearances in nearby towns, but my city, Igualada, which is near Barce- isters—mamma mia! (laughs) It seemed training in Igualada, near Barcelona, he also always played in church. lona, for study of solfège and piano. In to me as though I were in the cockpit of with Father Albert Foix, and studied the late 1960s, a priest musician from a an airplane—it almost scared me! This organ with Montserrat Torrent at the What about your parents? nearby city, who had studied in Rome, huge machine, these keyboards—it was conservatory of music in Barcelona. My parents, no. I attended a school started coming during the summer. This a very beautiful instrument, mechanical In 1973 Paradell-Solé moved to Rome run by the Scolopi Fathers and one of was Maestro Monsignor Valentì Miser- action; its original keyboard was from the for study in organ and composition with the priests there, Father Albert Foix, achs; he played organ in the basilica 18th century. Monsignor Valentí Miserachs. He sub- was a musician, and had formed a Pueri and gave concerts. So I met him, and At that time, the organ world in Spain sequently studied in Germany for three Cantores choir. He visited classes and he prepared me for the entrance exam almost didn’t exist. There was only Montserrat Torrent, who held courses and gave concerts . . . while here in Rome at that time there were these big names, such as Fernando Germani and Ferruccio Vignanelli.

What music did you study with Montserrat Torrent? Always music of every period—cer- tainly not only Spanish music. She began with easy Bach pieces, Baroque works, pre-Bach composers such as Böhm, then little by little moved on to French Classic works, and gradually later French works. Montserrat is an organist who plays everything—much early Spanish music, but also Bach, Durufl é, Reubke, Reger. At the organ in St. John Lateran, Rome She is “360 degrees,” playing all the rep- ertoire. Today there are organists who With Pope Benedict in 2012 play only early music. Montserrat is still active, even in her eighties. In 2013 she played a challenging program in Rome, including even Alain and Durufl é.

You also studied in Germany. I spent three years in Germany, study- ing with Günther Kaunzinger.

Can you describe the organ world in Spain after the civil war? In Spain, gradually things changed after Franco—new organs began to be built. In Spain, during the civil war, many historic organs were destroyed. But some organs were saved—all the organs in the south of Spain, and in the Basque regions, in special cases, some were saved. For example, let me tell you about an eighteenth-century organ in At the organ in the Sistine Chapel Juan with his maternal grandfather Igualada, my native city.

24 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM Accompanying a mixed choir in St. Peter’s Basilica At the 1763 Gaspar de la Redonda Zeballosen organ in Torre de Juan Abad, Spain

Someone saw children in the town in a cathedral in Catalonia. Starting in the a Spanish actress. Last year we recorded a of Romantic-Symphonic organs that’s square who were playing with very small 1980s many organs began to be rebuilt, CD on that organ, also Spanish poetry and unique in the world—many by Cavaillé- pipes from an organ that was being taken concert halls constructed, and many music. This CD, Aquesta divina unión, Coll, Merklin, Mutin, Stoltz Frères, apart. So he called the city’s music teacher: organ students, like me, went abroad to will be released in late September 2015. Puget, and Walcker. And these instru- “Maestro, someone wants to destroy the study. So now in Spain there are many fi ne ments haven’t been touched—they have organ—come right away.” And the mae- organists, new instruments, and the organ What sort of concert repertoire do not been changed, they are as they were. stro asked what the person was doing, world in Spain has changed a great deal. you favor? They’ve been maintained but nothing has and was told, “This organ is of no use any- I perform much Spanish music, to been changed. So musicians from the late more.” The maestro answered, “What are You have concertized throughout help make it known—although not too nineteenth century onwards grew up with you doing? This is a musical instrument. Europe, South and North America, much early music, because early Spanish these instruments, and many wrote for the It’s not just used in the church; it can also and even in Syria! music is familiar. There is a large rep- organ. It’s a large body of Spanish sym- be used for dancing, for tangos . . . ” And Yes, Syria—in Damascus. There was ertoire from the late nineteenth–early phonic literature that is very little known. he succeeded in convincing him. So they an organ in the Franciscan church there; twentieth century up to now, written by dismantled the organ and stored it in a I think it was the only organ in Damascus. composers from the Basque countries. You’ve recorded some of this convent school during the civil war; thanks The concert had been organized through repertoire. to this it was saved. the Cervantes Institute—the institute for Do you mean the Euskarien region? I enjoyed making this CD (Orgues en But many others were in ruins, Spanish culture. It was very interesting: a Exactly. The Euskarien region is Duos, by Daniel Pandolfo et Juan Paradell- included a beautiful, large Cavaillé-Coll concert of Spanish music and poetry, with not very big but has a large collection Solé on the Merklin and Koenig organs,

Simon Johnson Organist St. Paul’s Cathedral, London

2015 Fall Concert Tour

October 30 St. Martin’s Episcopal Church, Houston, Tex. - 7:00 p.m. November 1 First Presbyterian Church, Jackson, Miss. - 4:00 p.m. November 3 The Cathedral Basilica of St. Louis, New Orleans, La. - 6:30 p.m. November 6 Park Cities Presbyterian Church/Dallas, Tex. AGO Chapter - 7:30 p.m. November 8 The Independent Presbyterian Church, Birmingham, Ala. - 4:00 p.m. November 10 The National Presbyterian Church, Washington, DC. - 7:30 p.m. November 13 Calvary Episcopal Church, Memphis, Tenn. - 7:30 p.m. November 15 Christ Church Cathedral, Nashville, Tenn. - 4:00 p.m.

The William Wymond Agency, LLC [email protected] 601-355-6003

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 25 Interview

With Günther Kaunzinger

Pamina SPM 1520 393 CD) because some of these pieces are very interest- ing—for example, Usandizaga, and Jesus Guridi, for instance. It was recorded in Alsace on a Merklin organ. And Daniel Pandolfo (who’s French, though of Ital- ian ancestry) and I recorded some duets, utilizing a second, choir organ.

You’ve also done a lot of concertizing. The Sistine Chapel Choir greets Pope Francis (Choirmaster Monsignor Massimo Palombella is between Paradell and Pope Francis) However, I am at heart a liturgical organist—I have been a liturgical organ- ist for all my life. For me the church is important. The liturgical organist can seem to some people perhaps of less value, but that’s not true. The liturgical organist must have many more com- petencies, really a 360-degree skill set: know how to immediately accompany Gregorian chant, accompany a choir, transpose, must know how to improvise. A concert organist studies pieces; if he learns them well, he moves on to the next ones. Of course, a liturgical organist also plays the great literature, but must have an even broader skill set. I remem- ber when I was twenty, I went to St. Peter’s to hear Vespers, and sometimes also the morning Mass, sung by the Cap- pella Giulia choir. The director, Maestro In the Aula Nervi, for a papal rosary ceremony, 2006 The organist’s view of the Sistine Chapel Armando Renzi, who was very famous in Italy, said to me, “If you don’t know I continue on organ. The afternoon is concertato style with the organ. Other- for 30 to 45 minutes before the Mass, or how to do these things you’ll never be a normally dedicated to study and private wise we rehearse together a day or two the arrival of the Holy Father, or at the good organist, because beyond playing lessons. Tuesdays and Wednesdays are before an important celebration. end of a Mass or Vespers, accompanying concerts, an organist must be able to do my days at the conservatory [Conserva- During the weekend there are often the papal procession and while the entire these things.” And it’s true. torio Licinio Refi ce, Frosinone], where celebratory liturgies in the Vatican. Then assembly leaves. So there is a lot of time I teach organ, Gregorian chant, modes, I am involved both for the Mass that the in which to play plenty of literature. What is a typical week like for you? and basso continuo. Pope says on some Sundays, as well as During the Mass, often the Offertory Most of my weeks are quite similar. Normally during the week I don’t for important feastdays that can occur is sung fi rst, before the choir sings a Fortunately, my schedule allows for at have rehearsals with the Sistine Chapel during the week. motet. But often the organ must con- least a half day of practice at the organ. I choir. The choir rehearses every day, tinue improvising, in the same style of begin in the morning as soon as possible, but reheases with the organ only for How is your position at the Sistine the motet that was sung. There are other with a bit of piano technique and then something particular, such as a piece in a Chapel different from that at St, moments when there is a lot of time for Mary Major? the organ—for example, in the baptismal My work as an organist for the choir of liturgy, during the ordination of a priest, the Sistine Chapel—the pope’s choir—is in a penitential service—where the not much different from that at St. Mary organ must play quietly. And those are A Precious Gift Major: namely, that of a liturgical organ- times when the organist must play for 45 ist. At St. Mary Major, there was a short minutes, or even an hour. from the Past rehearsal before every Mass. After an improvisation on the Introit, I accompa- In accompanying chant and Psalms, nied the various types of song and also do you use written-out accompani- for the Present played during and after the motet. I also ments, or do you always improvise? played the offertory and a fi nal piece For Gregorian chant, normally I impro- and the Future from the literature at the end of Mass. vise the accompaniments. I’ve spent And the papal celebration is not very dif- many years studying the accompaniment Supremely beautiful and blendable ferent. Whether a Mass or a Vespers, it is of Gregorian chant, and I also teach this in tonal color – a Gift from the Venetian similar, only in St. Peter’s there is much the conservatory. I like to improvise chant more time for playing the organ, above accompaniment, so that it is not always School of organbuilding, a monumental part of our all before and at the end of the Mass or the same. Sometimes I use accompani- JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH Vespers—since the basilica is so large, ments that I wrote, which were published SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN one needs to play until almost all of the in various musical journals. For psalmody, assembly has exited the basilica. But it’s normally the psalm is composed by the Intriguing? Let us build your dream. essentially the same. Sistine Chapel choirmaster—at present, Maestro Palombella—and he also writes How much of your work is accompa- the accompaniment. But this doesn’t nying the Sistine Chapel Choir, ver- mean that I cannot change accompani- sus playing repertoire (for example, ments during the verses and create my during postludes)? own on occasion. Papal celebrations, with the Sistine Chapel Choir, certainly involve much What is involved when you must play accompanying of the choir, especially for a Mass outdoors in Piazza San Builders of Fine Pipe Organs to the World during Mass, meaning all the parts of the Pietro (St. Peter’s Square?) Ordinary or the Propers of the Mass, or During Masses that are said outdoors www.ruffatti.com the various parts of Vespers. But there is in St. Peter’s Square—from Palm Sunday also much opportunity for being able to through the summer—the situation var- Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 play organ literature, repertoire —above ies greatly, and for the choir there is the all before Mass. Often I must play even diffi culty of singing outdoors. Another

26 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM occasion for the pope himself to choose the Sistine Chapel, for the cardinals only, particular music that he would like to and then there was the fi rst Mass, in St. have performed. For example, for Mass Peter’s Square, for the whole world. last Christmas, Pope Francis himself personally asked that the “Et incarnatus Deutsche Gramophon has recorded est “ from Mozart’s Mass in C Minor, be some of this (Habemus Papam, sung during the Credo—and certainly it includes the Mass for the election was. Thus, the staff together with others of the Roman Pontiff, Entrance decide on the music for each occasion. into the Conclave, Mass with the As for the music that the organist must Cardinal electors, and Mass for the perform, I must say that no one forced beginning of the Petrine Ministry; me to play anything—they allow the DG B0022404-02). organist to choose, based on his good Yes. It was recorded live and includes sense and liturgical understanding. Of music from the conclave, the Mass in the course, the organist must always know Sistine Chapel with the cardinals, the how to choose, from the liturgical point Mass in St. Peter’s, and the Mass for all of view, which works from the literature the world. I presented a copy to the pope. are most suitable; certainly the Christ- mas season is not the same as Lent, or What are your future plans and Easter, or a penance service. So the goals? organist chooses from the repertoire. Goals: I hope to continue to play for papal celebrations for many years! In St. Peter’s Basilica, with the Cappella Sistina choir You have played for historic events, As for projects, in summer 2015 I such as the ceremony starting the have many concerts throughout Europe diffi culty is the loudspeakers that trans- take shelter and improvise. So to work conclave that elected the new Pope, (Spain, France, Austria, Germany, Den- mit sound through the piazza, and that around these problems—weather as well and for Pope Francis’s fi rst Mass. mark, Italy), and on August 28, I play in transmit for radio and television. as the diffi culty for the choir of singing [When the conclave began] I went to St. James Catholic Cathedral in Orlando, Regarding the organ, a movable radio- outdoors—in the last couple years the the gathering of the cardinals in the Sala Florida. In 2016 there will be much to controlled console is used, which controls choir has been standing in the atrium of Nervi . . . The Offi ce of Terce was sung do at the Vatican, marking the Holy Year, the organ in the basilica. I must say that the basilica, covered, so this is much more at the beginning. I went every morning the Jubilee of Mercy, with celebrations, the sound of the organ is very good; even comfortable. The choir and organ can to play; each day cardinals from all over concerts, and other events. Then in sum- though the organ is inside the basilica, the mutually be heard well, and we can coor- the world were arriving. Then there mer 2016 there will be many concerts— organist can hear it immediately. Logi- dinate everything much better, almost as was the ceremony to open the conclave. in Japan and South America—and cally this requires speakers; this system, if we were within St. Peter’s Basilica. Before the conclave began, there were recording a new CD. however, has had some problems lately. other people inside the Sistine Chapel, Until a better solution is found—and Who plans the music for Masses? and all the cardinals must swear an oath. Thank you very much, Maestro this is just a temporary solution—when The music for papal celebrations I had to play during the swearing-in, Paradell-Solé—grazie mille! Q we are in St. Peter’s Square, I play an is chosen by the offi ce of papal cel- and then once the master of ceremonies electronic organ. Another problem, when ebrations, headed by Monsignor Guido declared “Extra Omnes” (“everybody Photos courtesy of Juan Paradell-Solé. we are all outside in the piazza, is that of Marini, together with the director of the out”), I had to quickly grab my scores weather. Sometimes we are out in the Cappella Musicale Pontefi cio Sistina, and run out. I was the last to exit the Translation by Joyce Johnson Robinson. rain, other times with strong sun in our Maestro Don Massimo Palombella, of Sistine Chapel. eyes; there is wind (many times the wind course under the guidance and approval After the election of the new pope, Joyce Johnson Robinson is editorial has blown my score away!). I have had to of the Holy Father. It’s not unusual on the next day there was his fi rst Mass in director of THE DIAPASON.

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 27 Convention report OHS 2015: The Pioneer Valley, Massachusetts The Organ Historical Society’s Annual Convention, June 28–July 3, 2015

By John L. Speller

he Organ Historical Society’s 60th TAnnual Convention took place in the Pioneer Valley of Western Mas- sachusetts, with the Marriott Hotel in central Springfi eld as the convention headquarters. I arrived on Amtrak’s Lake Shore Limited on Saturday, June 27, and found the hotel conveniently located a short walk from the railroad station. Pre- convention events offered on Sunday morning and afternoon included visits to the Norman Rockwell Museum and the Daniel Chester French Estate, and a walking tour of the Springfi eld Quad- rangle, though I opted instead to attend the Sung Eucharist at Christ Church Cathedral (Episcopal) in Springfi eld, again conveniently located a short walk- ing distance from the hotel.

Sunday, June 28 The convention proper began with Choral Evensong at Christ Church Cathedral, with an augmented Cathe- dral Choir directed by David Pulliam, in which we were treated to the John Sanders Responses, Sumsion in G, and Stanford’s Te Deum in B-fl at. Evensong was rounded off by a spirited perfor- mance of the Allegro from Mendels- sohn’s Sonata No. 5 on the fi ne 1953 Austin Opus 2195, rebuilt as a III/54 instrument by Theodore Gilbert Associ- ates in 1985. 1929 Casavant Opus 1323, Cathedral of St. Michael the Arch- Bruce Stevens at the 1883 Roosevelt Opus 113, First Congre- Another short walk took us to St. angel, Springfi eld (photo credit: Len Levasseur) gational, Great Barrington (photo credit: William Van Pelt) Michael’s Catholic Cathedral, where we heard the fi rst recital of the conven- tion, given by Christopher Houlihan on the rebuilt 1929 4-manual Casavant organ, comprising a gallery organ in the fi ne Gothic case of the previous 1862 E. & G. G. Hook organ, and a chancel division in cases designed when the present organ was installed. This is the largest organ in Western Massachusetts. The program included the Prelude and Fugue in B-fl at Minor by Henry Martin (b. 1950) of Rutgers University, commissioned by OHS member Michael Barone and previ- ously given its première performance by Christopher Houlihan in New York City. Houlihan also treated us to one of Brahms’s earliest works, the Prelude and Fugue in A Minor, WoO 9, and one of his latest works, the chorale prelude O Welt, ich muss dich lassen, op. 122, no. 11, effectively sandwiching the cho- Caroline Robinson at St. Mary’s Church, Cynthia Meyers, Robert Sheena, and James David Christie at Tanglewood (photo rale prelude between the prelude and Westfi eld (photo credit: Len Levasseur) credit: Len Levasseur) the fugue. Houlihan’s performance of Bach’s Prelude and Fugue in E Minor, Monday, July 29 from Pittsfi eld by the Czelusniak fi rm.to Following these recitals, founding BWV 548, was masterful, and indeed I We boarded the buses early Monday St. Mary’s Catholic Church in Westfi eld. OHS member Barbara Owen gave a think this was the best performance of morning for a day looking at organs in and The organ is situated in a divided case in lecture on organ building in the Pioneer the “Wedge” Fugue I have ever heard. around Westfi eld, Massachusetts. The day the gallery at the west end of the church, Valley. Three important organ builders The other major work in the recital was began with a recital given by Patricia Sny- with the console on the north side, and is had their workshops in Westfi eld—Wil- Vierne’s Symphony No. 4 in G Minor, der on the 1977 C. B. Fisk organ, Opus believed to be the second oldest Casavant liam A Johnson/Johnson & Son, Steer op. 32, in which Houlihan effectively 71, in First Congregational Church. This organ in the United States. It has a warm, & Turner/J. W. Steer(e) & Son, and demonstrated the large mood swings splendid little organ was ideally suited to bold tone with rolling diapasons, but is Emmons Howard. The Steere company that characterize this work. After this, the program of de Grigny and Bach that brilliant enough to be effective in classical was purchased by the Skinner Organ it was a short walk back to the hotel for Ms. Snyder played. Next was a recital by as well as romantic music. Ms. Robinson’s Company in 1921; the Westfi eld fac- drinks and to explore the books, music, Caroline Robinson on the 1897 Casavant recital consisted of music by Brahms, tory continued to run as a branch of the and recordings in the exhibit hall. tracker organ, Opus 78, relocated in 2008 Widor, Schumann, and Boëly. Skinner fi rm until 1929. The lecture was

28 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM Plagerman brought forth some very pretty effects in the Greene. We next heard an organ—perhaps the only surviving organ—built in 1868 by William Jackson of Albany in Holy Name of Jesus Polish National Catholic Church in South Deerfi eld. Jackson was the son of an organ builder in Liverpool, Eng- land. Jackson’s father was chiefl y memo- rable for having built the fi rst organ in England with a 1-1/7 foot stop. William Jackson trained with Gray & Davison in London before coming to the United States, which is evident from the Gray & Davison-style console of the South Deerfi eld organ. The recitalist, Larry Schipull, began with Niels Gade’s Three Tone Pieces, op. 22, and then—appropri- ately for an ethnically Polish church— played a transcription of a Chopin Fugue in A Minor. The Chorale Prelude on Gregory Crowell at First Congregational Church, Montague ‘Wie schön leucht die Morgenstern’ by (1856 Johnson Opus 54) (photo credit: William Van Pelt) Johann Christoff Oley featured the labial 1869 Johnson Opus 281, The Church on the Hill UCC, Lenox oboe on the Swell, perhaps the earliest (photo credit: Len Levasseur) stop of its kind in North America. We also heard the Andante with Variations in D of Mendelssohn and the Finale in D by T. Tertius Noble. The organ sounds grand yet bright and has a particularly beautiful Melodia. Gregory Crowell then played the early William A. Johnson organ, Opus 54 of 1856, in First Congregational Church, Montague. Works of the eighteenth-century English composers Jonathan Battishull and Henry Heron were followed by Bach’s Prelude and Fugue in C Major, BWV 870, from Das wohltemperierte Klavier II, together with an Adagio by nineteenth-century German composer E. F. E. Richter and a Maestoso by an anonymous German composer of the same period. This is quite a charming little instrument with a very substantial Pedal Sub Base [sic]. We also took in a recital by Don VerKuilen at the First Congregational Church of Sunderland, home of an early Odell organ, Opus 109 of 1871, a rela- tively rare example of a New York-built organ in the Pioneer Valley. The pro- gram consisted of nineteenth-century 1907 Howard, South Deerfi eld Congregational (photo credit: Len 1921 Skinner Opus 322, United Congregational Church, American music and Seth Bingham’s Levasseur) Holyoke (photo credit: Len Levasseur) Fughetta on ‘St. Kevin.’ Following lunch at the same church, accompanied by slides illustrative of the probably by Johann Tobias Krebs, to a Wilhelm Middelschulte’s transcription of we boarded the buses for a recital at St. history of all these companies. modern piece, the Sonatina by Robert Bach’s Chaconne for Violin Solo from the Paul’s Catholic Church in Springfi eld. After lunch we went to nearby Lenox, W. Jones. Altogether this was a pristine Partita in D Minor, BWV 1004. A fea- This for me was one of the highlights Massachusetts, for a recital on the and delightful little organ. Next was a ture of the Great Barrington Roosevelt of the convention. The church was built famous Aeolian-Skinner, Opus 1002 of recital given by Adam Pajan on a later is the striking façade of pipes stenciled in in 1962 during the pastorate of Father 1940, at the Serge Koussevitzky Music Johnson instrument, Johnson & Son blue and brown on a background of gold. Basil J. Rafferty, who spared no expense Shed of the Boston Symphony Orchestra Opus 805 of 1893, at the Unitarian-Uni- Small chunks of wood and plaster were to make sure that it was an outstanding at Tanglewood. The “shed” is a fi ne semi- versalist Meeting of North Berkshire glued to the pipes under the paintwork example of modern architecture, with outdoor concert hall designed by Joseph in Housatonic, Great Barrington. The to create a rich three-dimensional effect excellent acoustics and built from the Franz. James David Christie, who is music included works of Arthur Foote, that is most unusual and possibly unique. fi nest materials. Much of the building the resident organist of the Boston Sym- J. S. Bach, Brahms, and Mendelssohn. is lined with marble in various hues, phony Orchestra, gave an interesting The day culminated in the evening Tuesday, June 30 including a striking emerald green concert, assisted by two members of the recital given by Bruce Stevens on the We began the day with a recital by marble reredos. The stained glass is Boston Symphony Orchestra, Robert Hilborne L. Roosevelt organ, Opus 113 Michael Plagerman on the 1907 also extremely beautiful. The organ is a Sheena, English horn and oboe, and of 1882, at First Congregational Church, Emmons Howard organ in South Deer- three-manual electro-pneumatic Law- Cynthia Meyers, fl ute. The program Great Barrington, an organ I have fi eld Congregational Church. If anyone rence Phelps Casavant, Opus 2750, built included music by Johann Sebastian been longing to hear since I fi rst heard thought that Johnson and Steere were in 1963. The church was threatened and Johann Bernard Bach, Georg of it around thirty years ago. I was not the important organ builders in West- with closure in 2005, but following the Böhm, Marguerite Roesgen-Champion, disappointed: it is a wonderful mellow, fi eld and that Emmons Howard was appointment of Father Quynh D. Tran Charles Callahan, Jacques Berthier, and cohesive instrument. The chorus was an “also ran,” this instrument and the as pastor in 2006 has taken on a new Jean Langlais. The J. S. Bach piece was perhaps a little lacking in brilliance for other Emmons Howard organ we heard lease on life as a predominantly ethni- the Sonata No. 1 in B fl at, BWV 525, the Bach Prelude and Fugue in G, BWV would defi nitely give the lie to such a cally Vietnamese congregation. One transposed to G major and transcribed 541, though Stevens’s performance thought. Emmons Howard may not would hope that this fi ne Casavant organ for organ and fl ute, a very interesting was nevertheless very effective, and have had quite such a large output as the might inspire some parishioners to learn change from the usual version. the instrument later proved more than other Westfi eld builders, but his instru- the instrument. The recital was given We then moved to the Church on the capable of softer baroque effects in the ments were certainly of equal quality. by Joey Fala. Fala, a native of Hawaii, Hill (United Church of Christ) in Lenox Pachelbel Partita on ‘Christus, der ist The conventioneers began by singing has completed two degrees at the Rens- for a recital played by Peter Crisafulli mein Leben.’ The organ was at its best, the chorale Vater Unser, after which selaer Polytechnic Institute in Albany, on the I/9 William A. Johnson organ, however, in the performance of Max Plagerman played Bach and Pachelbel New York, and is now undertaking Opus 281 of 1869. In 1988, Andover Reger. We heard both Reger’s Scherzo, chorale preludes on this hymn. We then graduate work in organ performance at Organ Company releathered the bel- op. 65, no. 10, and his Introduction and heard a voluntary by the eighteenth- the Yale Institute of Sacred Music. Fala lows and in 1991 carried out a thorough Passacaglia in D Minor, op. 96, in which century English composer Maurice promises to be one of the outstanding historically informed restoration. Cri- the organ sounded absolutely magnifi - Greene, Franck’s Cantabile, and the organists of the upcoming generation. safulli’s eclectic program ranged from cent. We then heard the suite In Festo Allegro from Mendelssohn’s Organ His varied program included Marcel No. 5 of the Eight Little Preludes and Corporis Christi by Bruce Stevens’s Sonata No. 2. The organ produced a Dupré’s transcription of the Sinfonia Fugues, attributed to J. S. Bach but former teacher Anton Heiller, and fi nally grand effect—rich and powerful—and from Bach’s Cantata 29, the Prélude

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 29 Convention report from Franck’s Prélude, Fugue, and Variation, and Hyfrydol from Vaughan Williams’s Three Welsh Hymn Preludes. Fala’a program continued with Miroir by Dutch composer Ad Wammes and ended with the Te Deum, op. 11, by Jeanne Demessieux. The Casavant is a wonderful organ in excellent acoustical and architectural surroundings. The evening recital featured Peter Sykes, assisted by his wife Victoria Wagner, playing the four-manual E.M. Skinner organ, Opus 322 of 1921, in the United Congregational Church of Holyoke. This is a very forthright Skin- ner organ—I found it a little brutal in the bass at times—in a vast and very beautiful church. Following an Ameri- can folk tune, White’s Air, arranged by William Churchill Hammond, we heard Peter Sykes’s fi ne and now well-known transcription of Holst’s The Planets, op. 12. I have now heard Sykes’s transcrip- tion of The Planets on several organs in several states, but I thought this was the best performance I have heard. Sykes 1874 Johnson Opus 424, Wesley UMC, Warehouse Point, CT was able to produce some almost magi- (photo credit: Len Levasseur) cal effects on the Skinner organ in the quieter passages.

Wednesday, July 1 1892 Johnson & Son Opus 781, First Church of Monson, UCC The fi rst recitalist on Wednesday was (photo credit: Len Levasseur) Monica Czausz, a young woman who also promises to be one of the outstand- ing organists of the upcoming genera- tion. A student of Ken Cowan, she has already received several awards in organ-playing competitions. The organ was Johnson Opus 424 of 1874 in Wesley United Methodist Church, Warehouse Point, Windsor, Connecticut, a lovely lit- tle organ in a very well-kept church. Ms. Czausz played selections from Widor, Schumann, and Saint-Saëns, as well as a haunting Adagio by Charles-Valentin Alkan and Will o’ the Wisp by Gordon Balch Nevin. Next we travelled to Somers Con- gregational Church (United Church of Christ), Somers, Massachusetts, for a recital by Christa Rakich, organ, with Patrick Scott at St. Theresa of Lisieux, South Hadley (1964 Christa Rakich at Somers Congregational UCC (2014 Rich- cellist Jeffrey Krieger of the Hart- Casavant Opus 2791) (photo credit: William Van Pelt) ards, Fowkes Opus 21) (photo credit: William Van Pelt) ford Symphony Orchestra. The recital included Ms. Rakich’s own composition, that through the generosity of the Wyn- Lawrence Phelps Casavant tracker origi- one might imagine. The Casavant organ Hommage à Pachelbel: Eleven Variations cote Foundation, founded with monies nally built for St. Andrew’s Episcopal was secured for St. Theresa’s in South on ‘St. Anne,’ three pieces for cello and from the late Otto and Phoebe Haas Church in Wellesley, Massachusetts. My Hadley through the Organ Clearing organ by Edward Elgar, and the Ricercar Charitable Trusts, the Organ Historical late mother-in-law was for many years a House and was installed in 2005 by à Trois from Bach’s Musical Offering, Society offi ces, library, and archives are member of St. Andrew’s, and so I knew Czelusniak et Dugal of Northampton, BWV 1079. The organ is a fi ne new all to be housed in Stoneleigh, a 35-room the Casavant organ in its original loca- Massachusetts. Bill Czelusniak told me tracker instrument by Richards, Fowkes mansion built in 1901 in Villanova, tion well. It was far from satisfactory, that no changes were made to the voic- & Co., Opus 21 of 2014. Pennsylvania. A presentation showing being architecturally out of keeping with ing apart from raising a few drooping We then went to St. Theresa’s Catho- the plans for the new climate-controlled the building, too loud, and excessively languids and note-to-note regulation. lic Church, South Hadley, Massachu- OHS headquarters was given by OHS bright and screechy. The church put up The Casavant organ fi ts St. Theresa’s setts, for the OHS Annual Meeting member Fred Haas, son of Otto and with the instrument until 2005 when as though it had been built for it. The followed by a hymn sing led by Patrick Phoebe Haas, and also the chair of next the then organist and choirmaster, OHS casework that was so out of place in Scott and featuring the church’s 1964 year’s OHS convention in Philadelphia. member Harry Kelton, persuaded them Wellesley looks just right in the fi ne Casavant tracker organ, Opus 2791. At I was particularly interested in the organ to buy a new Juget-Sinclair organ, which modern architecture of St. Theresa’s the meeting, we heard the exciting news at St. Theresa’s used for the hymn sing, a is as perfect an organ for the church as and the volume of the instrument is just A New Song In Switzerland MANDER ORGANS

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30 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM For the evening concert we went to the First Church of Monson (United Church of Christ) for a concert on the organ, Johnson & Son Opus 781 of 1892, played by Rosalind Mohnsen. I suspect that the convention committee’s choice of Mohnsen to give a concert on the Johnson in Monson may have been a little tongue-in-cheek, but it proved to be an excellent pairing. The organ is a fairly comprehensive three- manual and includes—unusually for the period—a soft yet very effective 32-foot Pedal Quintaton. In addition to some well-known works such as Saint- Saëns Fantaisie, the recital included a number of interesting works that are not often played. These included Albert W. Ketelbey’s Sanctuary of the Heart, Karg- Elert’s concert arrangement of Handel’s The Harmonious Blacksmith, Alfred Hollins’s Concert Overture in C Minor, Toccata from Sonata No. 1, op. 40, by René L. Becker, and the Concert Sonata No. 5 in C Minor, op. 45, by Eugene Thayer. Of particular interest was Zsolt Gárdonyi’s playful Mozart Changes.

Grant Moss at Annunciation Chapel, Florence (1890 Steere & 1936 Skinner & Son Opus 507, The First Churches of Thursday, July 2 Turner Opus 305) (photo credit: William Van Pelt) Northampton (photo credit: Len Levasseur) We began the day with a visit to Heath Union Evangelical Church for a program given by Frances Conover Fitch on the very early William A. Johnson two-manual organ, Opus 16 of 1850. The instrument is interesting in that it appears to have been constructed as a G-compass organ but changed to C-compass during installation. Ms. Fitch demonstrated this very attractive little organ with a selection of works by Percy Buck, John Stanley, John Zundel, and Samuel Wesley. 1896 Casavant Opus 74, South Congre- The next organ we visited at First gational, South Amherst (photo credit: Wil- Congregational Church in Shelburne liam Van Pelt) was an eye-opener for me in a number of ways. The instrument was J. W. Steere & for a recital by Vaughn Watson. The Son Opus 681 of 1915, an early example organ, a splendid little instrument, was of a pitman electro-pneumatic action built by Emmons Howard in 1900. The Steere. The fi rst thing that impressed synagogue inherited the organ in 1976 me was the quality of the work, both when they purchased the building from tonally and mechanically, every bit as the Second Congregational Church good as the best work of Ernest M. Fred Haas shows the plans for the new OHS headquarters (photo credit: William Van Pelt) of Amherst, which had merged with Skinner during the same period. But First Congregational Church in 1970. what was also really impressive was that right for the spacious acoustics of the Christopher Marks gave a recital Although the Jewish Community used the organ is a hundred years old and church. Furthermore, the acoustics of on Casavant Opus 74 of 1896. This is the organ for a time, they had not used it still operating on its original leather, the building boost the bass frequencies believed to be the oldest unaltered recently and were excited to discover that which as yet is showing no signs of giv- and absorb some of the upper frequen- Casavant organ in North America and it might still be played. Several members ing out. This can be attributed to three cies, so the organ is perfectly balanced was relocated to the Amherst church of the community were present and factors—the use of very high quality for the room. So now St. Andrew’s, by Czelusniak et Dugal. The stoplist is expressed interest and enthusiasm for vegetable-tanned (or perhaps even mer- Wellesley, and St. Theresa’s, South Had- interesting in being somewhat similar the recital, so one hopes they may make cury-tanned) leather, the careful sealing ley, both have ideal tracker instruments to many Cavaillé-Coll orgues de choeur, more use of the instrument in future. of the leather against the atmosphere, in their buildings. As I asserted above, with a small Grand-orgue to 4 foot and The recital consisted of works by Bach, and the absence of air pollution in the it is as though the Casavant organ was a larger Récit to mixture and reed. The Schumann, and Mathias, after which the Pioneer Valley of Massachusetts. The built for the South Hadley church: the recital consisted of works by Pierné, congregation sang “The God of Abraham only changes ever made to the organ organ has at last found its true home. Ropartz, and Widor. Praise,” and Watson rounded off the pro- were the addition of an electric blower The next venue was the South Con- After this we made a short trip to gram with Louis Lewandowski’s Prelude and the replacement of the original dry gregational Church of Amherst, where the Jewish Community of Amherst ‘Rosh Hashanah.’ batteries for the action current with a

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 31 Convention report rectifi er. I was further impressed by how laid back the organist Carol Britt was about her recital. Unlike the other organists who spent the fi rst few days of the convention frantically practicing for their recitals, Dr. Britt had practiced the previous week and came along on the bus with the rest of us and enjoyed listening to all the organs. She gave a faultless recital consisting of the Pas- torale from Guilmant’s Organ Sonata No. 1, David Dahl’s Suite Italiana, and Lefébure-Wély’s Sortie in E-fl at. One of the little-known gems of the Pioneer Valley is the village of Florence, now part of Northampton, Massachusetts. The Victorian Annun- ciation Chapel was formerly a parish in its own right, but is now part of the consolidated St. Elizabeth Ann Seton Parish and is only used for one Mass each week. The organ, Steere & Turner Opus 305 of 1890, is the oldest organ in Northampton. It is a surpris- ingly powerful organ for its size. The recitalist was Grant Moss, organist of nearby Smith College in Northampton. The last time Dr. Moss gave a recital at an OHS Convention, our bus driver got hopelessly lost and we missed the recital, so I was delighted that I fi nally Nathan Laube at Abbey Chapel, Mount Holyoke College, 1909 Skinner Opus 179, United Congregational Church, Skin- got to hear him this time. The program South Hadley (1985 Fisk Opus 84) (photo credit: William Van Pelt) ner Memorial Chapel, Holyoke (photo credit: Len Levasseur) consisted of works by Healey Willan, Nadia Boulanger, Joseph Jongen, and Chapel, an amazing neo-Perpendicular streamed live on the Internet. The 94, and the Andante Sostenuto from Alexandre Guilmant. building with a vaulted apse. As a webcast will be available on the OHS Widor’s Symphony No. 9 (Symphonie We then travelled into the center of chapel, it is much larger than most website under “Conventions” at www. Gothique). The program provided a Northampton for a recital at the First people’s churches! Unlike the main organsociety.org. The recital featured very fi tting close to a great convention. Churches of Northampton, affi liated church, the chapel has air condition- the two organs of the Abbey Chapel, with both the United Church of Christ ing, so the congregation has the main Holyoke College, South Hadley. Laube Friday, July 3 and the American Baptist Church. The worship service there during the sum- played the fi rst half of the program on More than half of us were still around church is a fi ne Victorian brownstone mer. The organ was Ernest M. Skinner the large two-manual C. B. Fisk organ, to board the buses for the optional building with cast iron pillars and an Organ Company Opus 179 built in Opus 84 of 1986, in the west gallery extra day of the convention on Friday. outstanding Tiffany glass window. The 1910–12. It was rebuilt in 1972–74 by of the chapel. The program refl ected We began the day with recitals on two celebrated preacher and theologian the Berkshire Organ Company, and Laube’s recent research in early Euro- early E. & G.G. Hook organs. The fi rst Jonathan Edwards (1703–58) was once reconstructed again, more in keeping pean styles of music and included works of these was Opus 93 of 1849 in First the pastor. The organ is E. M. Skinner with the original design, by Czelusniak by Buxtehude, Cabanilles, Poglietti, Congregational Church, Hinsdale, New & Son Opus 507 of 1936, which retains et Dugal in 1990–92. Christoph Bull Rossi, and van Noordt. These came off Hampshire. The recitalists were David the case and 16 ranks from the previous began his recital with one of his own extremely well on the organ, which I and Permelia Sears, organ, and their Johnson & Son organ, Opus 718 of 1889. compositions, a rather exciting piece think in some ways is the best Charles daughter, Rebecca Sears, violin. Per- Lorenz Maycher was intending to give named Vic 1, short for Victimae Pasch- Fisk organ I have ever heard. melia Sears played a suite by Jacques the recital but had to withdraw owing ali Laudes, the Gregorian chant upon The second half of the concert was Boyvin, which came off very well since to indisposition, and Charles Callahan which it is based. He followed this performed on the Abbey Chapel’s the surprisingly complete specifi cation graciously agreed to come down from with Bach’s Passacaglia and Fugue in magnifi cent four-manual chancel of the organ includes a Tierce, Cremona, Orwell, Vermont, and step into the C Minor, BWV 582, an Invention in C organ, built by George S. Hutchings, and other stops suited to eighteenth- breach. He played the Bourée in D of Minor by William Joel, and a transcrip- Opus 436 of 1896, rebuilt by the Skin- century French organ music. Next Per- Wallace A. Sabin, Adoration by Florence tion of Ravel’s Boléro. Bull’s program ner Organ Co., Opus 367 of 1922, and melia and Rebecca Sears played a tran- Price, Nevin’s Will o’ the Wisp, and two continued with another entertaining again rebuilt by E. M. Skinner & Son, scription for organ and violin of Arthur pieces of his own composition, Folk Tune piece composed by the recitalist, When Opus 511 of 1938. Restoration work was Foote’s Cantilena in G, op. 71. Permelia (1994) and Hymn-Fantasia on ‘Melita’ Felix met J. S.—Mash-up of Mendels- subsequently carried out by William Sears’s fi nal offering was the Introduc- (2013)—altogether a very interesting sohn and Bach. The organ retains Baker in 2001 and Czelusniak et Dugal tion and Passacaglia from Rheinberger’s and varied program that showed off the much of its E. M. Skinner sound, but as in 2013. The second half of Laube’s Eighth Sonata. Then, in honor of it being lovely voicing of the Skinner organ to this recital demonstrated it can handle program included a transcription for the day before July 4, David Sears played good advantage. many varied styles of repertoire well. organ of Sergei Rachmaninoff’s Prelude his own transcription of Sousa’s Stars We then returned to the United The convention proper ended with the in G, op. 23, no. 5, Lynnwood Farnam’s and Stripes Forever, specially written Congregational Church of Holyoke, evening recital on Thursday, although transcription of Dupré’s Cortège et lita- to exploit the G-compass of the Hook where we had heard The Planets on there was an additional optional day on nie, op. 19, no. 2, the third of Herbert organ. The organ was originally built for Tuesday evening, for a recital by Chris- Friday. The Thursday evening recital Howells’s Three Psalm Preludes, op. the much larger First Congregational toph Bull in the monumental Skinner was given by Nathan Laube and was 32, Joseph Jongen’s Sonata Eroïca, op. Church in Springfi eld, where it may have The Diapason 2016 Resource Directory

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32 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM Hermon School in Gill, Massachusetts, with lovely views of the surrounding hills. After lunch it was only a few yards to the school’s Memorial Chapel, built in 1901. Here we heard Rhonda Sider Edgington give a recital on Andover Organ Company Opus 67 of 1970. The program was made up entirely of works by composers born in the last century— Adolphus Hailstork, James Woodman, Margaret Sandresky, Daniel Pinkham, and Libby Larsen. The organ is a fi ne instrument in fi ne acoustics and though now 45 years old has weathered well. There is something to be said for the view that a good organ will never really go out of fashion. Next we proceeded to the First Church of Deerfi eld, affi liated with both the United Church of Christ and the Unitarian Universalist Association. Here there is a 2003 organ by Richards, Fowkes & Co., Opus 13, which was designed to be similar to the small vil- lage church organs in Thuringia that J.S. Bach would have been familiar with, by builders such as Trost and Hildebrand. The builders have done a remarkable job of fi tting a II/22 organ into a case in the relatively shallow gallery that is a mere fourteen feet high. Margaret Irwin-Brandon gave a recital of works by J. G. Walther and J. S. Bach that was Frances Conover Fitch at 1850 Johnson Opus 16, Union Evan- 1902 Steere Opus 504, Our Lady of the Valley Church, East- well suited to the instrument. gelical Church, Heath (photo credit: William Van Pelt) hampton (photo credit: Len Levasseur) The fi nal recital of the post-conven- tion day was given by Daniel Romero on the organ of Our Lady of the Valley in Easthampton. The J. W. Steere & Son organ, Opus 504 of 1902, originally had a Weigle membrane tubular-pneu- matic action that was never satisfactory, but this has now been replaced with an electro-pneumatic action by Czelusniak et Dugal, who also made additions, including a mixture, using Steere pipework. The organ has a rich, warm sound, not unlike a Skinner organ. The program unusually included a plain- song Credo sung by the congregation and accompanied on the organ. Also included were Durufl é’s Choral varié sur le thème de ‘Veni Creator,’ Philip G. Kreckel’s Silent Night, Harold Darke’s An Interlude and Charles Tournemire’s Improvisation sur le ‘Te Deum’ as reconstructed by Maurice Durufl é. And so back to the hotel for drinks and a din- ner together before parting homewards 2002 Richards, Fowkes Opus 13, First Church of Deerfi eld 1970 Andover Opus 67, Northfi eld Mount Hermon School by our several ways, God willing to (photo credit: Len Levasseur) (photo credit: Matthew Bellocchio) meet again at the Philadelphia conven- tion, June 26 to July 1, 2016. been used to accompany Jenny Lind, the building than the one for which it was by Franck, Dupré, and Sweelinck. “Swedish Nightingale,” when she visited originally constructed. This was Hook The instrument, though smaller than Dr. John Speller has degrees from the the church in 1851. It makes a very Opus 48 of 1842 in the First Parish the Hinsdale one, again produced a Universities of Bristol and Oxford in the grand sound in the rather smaller church (Unitarian) in Northfi eld, Massachu- rather grander sound than one might United Kingdom. He is a retired pipe in Hinsdale, New Hampshire. setts, originally built for Third (later have expected. organ builder and has been a member The second early Hook organ we vis- Unity) Church in Springfi eld. Lubbert We had lunch on the attractive of the Organ Historical Society for more ited was also located in a rather smaller Gnodde gave a short recital of works grounds of the Northfi eld Mount than thirty years.

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Taylor and Boody Organbuilders Although we made sure that this cha- There is nothing ephemeral about this hand. The result is visually and tonally an Staunton, Virginia pel can work for informal music and for chapel. The last organ served the semi- impressive work of art. Opus 70, 2015 unaccompanied singing, we always knew nary over a century; this organ will— Musicians often say of Taylor and Virginia Theological Seminary we needed an organ. The organ remains God willing—be serving the seminary Boody Opus 70 that each individual Alexandria, Virginia the most dependable instrument to for centuries to come. voice has its own discrete character, and accompany congregational singing; even —The Very Reverend Ian S. Markham, Ph.D. that the voices combine to create ensem- Virginia Theological the nine-foot grand piano is drowned Dean and President, ble sounds of rare beauty. What could be Seminary and the Organ out when you have a seminary congre- Virginia Theological Seminary better? We are delighted with the results It is often said, “No one ever leaves a gation of people who know the hymns of our collaboration, and our dedication church humming the words of the ser- and love to sing. And we were not even The Mission of Liturgical to these builders is even stronger now mon.” Music in congregational worship is tempted by the electronic alternative. Music and the Virginia than when we selected them. vitally important. The experience of wor- We wanted a traditional pipe organ in Theological Seminary The consecration of the chapel and ship is for many people linked with their this chapel. When Virginia Theological Seminary the organ on October 13 will be led experience of the music. So when Virginia Taylor and Boody both appreciate (Episcopal) lost its 1881 chapel in a by the Archbishop of Canterbury and Theological Seminary lost its 1881 chapel the majesty of the pipe organ and its tragic fi re in October of 2010, the tracker the Presiding Bishop of the Episcopal to fi re in 2010, the board gave the admin- fl exibility. They were ready to work with organ was also destroyed. In addition to Church. We look forward to many years istration a clear instruction—to build a a demanding client. And the result is the seminary community, the chapel and with this magnifi cent instrument, con- new chapel that was perfect for music. exceptional. The case is made from the organ were also used by a neighboring tinually discovering its many qualities, For the new Immanuel Chapel, Rob- two great white oaks that had to be cut Episcopal parish, Immanuel Church on but, more important for our purposes, ert A. M. Stern Architects and acoustician down to allow the chapel to emerge. It the Hill, with whom the seminary has being powerfully led by the organ into Jaffe Holden (with acoustics reviewed by is visually striking in its simplicity. And a long and intimate connection. One prayer, as new leaders are formed for the Robert Mahoney) produced a worship Taylor and Boody worked hard to create parishioner had worshipped in this cha- future Church. Soli Deo Gloria. space that has a rich, vibrant acoustic. an instrument that can play the full spec- pel for over seventy years. Both commu- —The Reverend William Bradley From the thick walls, heavy doors, and a trum of music needed in the Anglican nities felt keenly the loss of the chapel, if Roberts, D.M.A., Professor of Church heating and cooling system that is silent, tradition. The result is extraordinary. One not the organ. Music and Director of Chapel Music the seminary made experience of sound cannot help but have one’s heart lifted by Built by Adam Stein of Baltimore in a priority. Now we needed an organ to fi t the sound of an instrument so beautiful, 1900, this organ might be described as The Building of Taylor and this perfect space for music. so resonant, and so powerful. serviceable but not beloved. It was small, Boody Opus 70 for the Virginia diffi cult to manage, and offered a limited Theological Seminary tonal palette. Nonetheless, during its 110 Psalm 11:6. Fire and hail, snow and years the Adam Stein led thousands of mist, stormy wind fulfi lling his word! services, faithfully ushering people into Two powerful events at the Virginia prayer. I asked our director of buildings Theological Seminary conspired to and grounds if there was any other piece bring to life a new chapel and a new of equipment of any kind on the campus pipe organ: the tragic destruction of the that was still in daily use after 110 years. 1881 seminary chapel by an accidental He could think of none. And so, while fi re in October of 2010 and the destruc- we didn’t mourn the loss of this organ in tion wrought in the mid-Atlantic region the same way we did the small, charming by a freak summer derecho windstorm Victorian chapel, still we gave thanks for on June 29, 2012. The fi re spurred the its extraordinary length of service. creation and building of a new, elegant, It is a rare opportunity to commis- and powerful worship space that bears sion an organ for a new building, giving witness to the dedication of the Virginia architect and organbuilders a chance to Theological Seminary to worship arts meet, to gain respect for each other, and and liturgy. The windstorm felled over to develop synergy. Though I have been 20 of the old-growth white oak trees that involved in three new organ commis- graced the seminary campus, some of sions in my career, this is the fi rst for a which were eventually incorporated into new worship space. While the concerns a new organ for the chapel. of architects and organbuilders intersect, Prior to the fi re, Taylor and Boody had even overlap, they come to the drawing already met with a renovation committee board from completely different perspec- to see what could be done to update and tives. A working relationship needed to improve the 110-year-old Adam Stein develop over time, and there were some organ. We were already acquainted with surprises. The project managers, for the Virginia Theological Seminary lead- example, were continually alarmed at the ership and had been talking about a new time, attention, and expense we devoted organ for the chapel. Following the fi re, to acoustics. They soon perceived that an organ committee was formed, com- music is a core value for this community. posed of Jason Abel, musician at Christ Singing is at the heart of Anglican Church, Alexandria, and assistant chapel worship. We therefore needed an instru- musician at VTS; Scott Dettra, consultant, ment that supports and encourages the organist at Washington National Cathe- human voice. Seminarians are passion- dral [now at Church of the Incarnation, ate about their faith, and this is heard Dallas]; Ray Glover, consultant, professor in their robust singing, thus we also of church music emeritus, editor of The required an instrument that could sing. Hymnal 1982; Barney Hawkins, profes- While we looked at a number of superb sor of pastoral theology and associate builders, we were impressed by the dean; Lloyd A. (Tony) Lewis, professor impeccable craft of Taylor and Boody, of New Testament [now emeritus] (and who, not unlike medieval artisans, begin assisting clergy at St. Paul’s, K Street); with the raw, basic materials, and build William Bradley Roberts, professor Taylor and Boody Opus 70, keydesk an instrument slowly, individually, and by of church music, director of chapel

Taylor and Boody Organbuilders Opus 70 Virginia Theological Seminary, Alexandria, Virginia

GREAT SWELL PEDAL Mechanical swell pedal 16′ Double Open Diapason 8′ Principal* 16′ Open Diapason (Great) Mechanical key action: 58-note manuals, 32- 8′ Open Diapason 8′ Lieblich Gedackt 16′ Sub Bass note pedal 2 8′ Spire Flute 8′ Viol da Gamba 10 ⁄3′ Quint Bass Electric stop action with electric solenoid sol- 8′ Salicional 8′ Vox Cœlestis (tc) 8′ Principal id state combination action and sequencer 4′ Principal 4′ Octave 8′ Spire Flute (Great) by Solid State Organ Systems 4′ Harmonic Flute 4′ Rohr Flute 4′ Fifteenth Bone keys, ebony sharps 2 2⁄3′ Twelfth 4′ Salicet 16′ Trombone Console integral with the lower case 2 2′ Fifteenth 2⁄3′ Quint Flute 8′ Trumpet (Great) Pallet and slider wind chests climate proof, all V Cornet (from tenor g) 2′ Gemshorn solid wood construction IV–VI Mixture II Sesquialtera Couplers Organ tuned in Taylor and Boody’s “Grace 8′ Trumpet III–IV Mixture Swell to Great Church” temperament: a modifi ed equal 8′ Clarionet 16′ Fagott Great to Pedal temperament at a=440 Hertz 8′ Trumpet Swell to Pedal 2 wedge bellows 8′ Oboe 2 manuals and pedal, 2,061 pipes, 34 stops, Tremulant 44 ranks *Some bass pipes transmitted from other stops Zimbelstern

34 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM music, committee chair; Thomas Smith, musician at Redeemer, Bethesda [now musician at Christ Church, George- town, Washington], and assistant chapel musician at VTS; and Heather Zdance- wicz, vice president for administration and fi nance. This committee worked diligently, considering several builders and visiting many instruments. We were pleased to have been chosen to build the organ for this important and infl uential Episcopal seminary. The connections seem to fi t together. We are a Virginia organbuilder who could take on this important commission. There was also an historic connection between Staunton, Virginia, and the seminary. After the fall of Alexandria at the beginning of the Civil War, the seminary moved for a time to Trinity Episcopal Church in Staunton, Virginia, home church of George Taylor and John Boody. Over the years, Taylor and Boody have worked together with many architects and acousticians to design and build worship spaces and concert halls. This is one of the things that we do best, but our experience at the Virginia Theological Seminary was unique. We were teamed Façade (Double Open Diapason 16′) with Robert A. M. Stern Architects (RAMSA) of New York, New York, a 300-person giant of a fi rm with hundreds of projects to their credit, including: 15 Central Park West, New York City; Tour Carpe Diem, Paris, France; the George W. Bush Presidential Library; the Com- cast Center, Philadelphia, Pennsylvania; and the Disney Beach Club Resort, Orlando, Florida. They had, however, relatively little experience in liturgical buildings. Fortunately, the chapel build- ing committee at VTS, led by the Very Reverend Dean Ian S. Markham and the Reverend J. Barney Hawkins IV, assisted by a well-informed committee from the seminary faculty and staff, had a very clear idea of what they wanted. The creative power of the RAMSA team led by Robert A. M. Stern and Grant Marani was harnessed to bring those concepts to life in a refi ned building plan. There were times when the organ- builders and musicians had to state their requirements clearly, but the end result is a unique and wonderful space that is emblematic of the seminary’s purpose, emphasizing the importance of worship, music, and liturgy in the education of Episcopal priests. The Immanuel Chapel is a beautifully crafted building. The red brick exterior is not a copy of any building on the VTS campus, but a new creation that harmo- nizes with the existing historic campus architecture. The RAMSA architects and the builders, Whiting-Turner Con- Trackers and mechanism Interior of Great tracting of Greenbelt, Maryland, have already won awards for craftsmanship the arms of the cross. The case is solid in the chapel’s construction. The build- quarter-sawn white oak fi nished with a ing gives the impression of refi nement, clear matte-fi nish water-based lacquer. solidity, and grace that will be endur- The 80% burnished tin Open Diapason ing. The worship space is in the form 16′ from low F is en façade. The shape of an equal-armed Greek cross with of the case is classical but restrained in the center defi ned by a large, circular, complexity of moldings and decoration, black aluminum chandelier. All the allowing the organ to be at home in this furnishings are uniquely designed by clean, contemporary space. The effect the architects and are moveable should is powerful and compelling, letting the the seminary ever want to modify the worshiper know that music is important arrangement. The ceiling is divided to the seminary. into coffers for good sound dispersion. The Great organ is at the impost level. The fl oor is slate and the walls are hard The Swell box, made of heavy wood, plaster on concrete block. The acoustic is in the center, above the Great. The is brilliant in the empty space, toning Swell pipes are in major thirds, with the down to a comfortable and discernible treble pipes in the front. The Swell reeds reverberation with full congregation. are placed at both ends of the channels Keys and thumb pistons The air handling is remarkably silent. so that tuning can be done from both Mark Holden of Jaffe-Holden was the sides of the box. The Swell shutters chests at fl oor level behind the organ. It The key action is mechanical tracker acoustician, with a peer review done by are mechanically operated and are on speaks directly through tracery grilles on with the tracker runs done in rectangu- Bob Mahoney. three sides of the box. This makes for a both sides of the lower case and also into lar carbon fi ber 4mm x .6mm. Of all the The new Opus 70 organ stands 8.3 dramatic crescendo and refi ned control the ambulatory that is connected to the modern materials that have been used meters (27 feet) tall at the end of one of of the Swell sound. The Pedal is on two chapel acoustic. for trackers, carbon fi ber is, by far, the

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 35 Cover feature best. The carbon fi bers are extruded through a die and embedded in epoxy. It comes on a roll a mile long. When the material is taken off the roll, it is perfectly straight and extremely rigid. This reduces the number of guides and hence friction. It is nearly impossible to break and impervious to moisture. The roller boards are made of 3/8-inch square solid aluminum rollers with black walnut bearings. The key levers are thermally treated poplar, which has great stability. All these things together make for a key action that is crisp, pre- cise, and responsive. We do like some mass in the key action, so we make the pallet valves out of white oak. The key coverings are polished cow bone and the sharps are Gabon ebony. The stop action control is by electric solenoids with a combination action by Solid State Organ Systems using Harris drawstops with engraved knobs. The slider windchests are all solid wood with yellow poplar grids, quarter- sawn yellow poplar sliders, Western red cedar tables 6 mm thick, Eastern white pine toeboards, and quartered white oak pipe racks. The pipe racking was done in a traditional manner with red-hot burn- ing irons fi tting the pipes to the racks. This leaves a ring of inert charcoal in contact with the lead-tin alloy pipes. All Immanuel Chapel, Virginia Theological Seminary the pipes were made in the Taylor and Boody workshop of lead-tin alloys. All pipes were hammered with our 50-lb. pneumatic foundry hammer with the exception of the front pipes, which were hand scraped and polished. The chance to use the 20 white oak trees downed in the derecho and acquir- ing the logs from the three large oak trees that were removed from the site of the chapel construction was one we could not pass up. We have always been inter- ested in whole-tree utilization. Other Taylor and Boody instruments such as Opus 27 for St. Thomas Fifth Avenue, New York City, have been built from a group of trees harvested in one location. In commercial timbering, the very best logs go for veneer and we never see them. The middle grade are used for saw logs, but usually only for fl at-cut boards cut around the outside of the logs. The top logs are used for industrial lumber Pedal division pipework building timbers and railroad ties. In historic European organs, because the Church, New York City, was a departure and Gamba, Celeste, and 4′ Salicet in Processional cross labor-intensive cutting, transportation, from this Schnitger model. Particularly the Swell, makings for a string chorus. It and preparation of timber made the in the construction of the swell boxes is useful that both the Great and Swell Bono, Kelley Blanton, Robbie Lawson, wood so valuable, the whole tree was and the voicing of the enclosed divisions, have Trumpets and solo reeds, the Oboe Thomas Karaffa, Robert Harris, Erik used. There was a hierarchy of use so the the Grace Church organ taught us how in English style, and a sweet Clarionet Boody, Aaron Reichert, Bobbi J. Regi, best wood went into the pipes, keys, and effective these divisions can be for choral on the Great. The Pedal Open Diapason Katina Lawson, Alessio Giacobone, windchests. Lesser quality was used for accompaniment. In the development of 16′, which is transmitted from the Great, Christopher Witmer, Jenna Dennison, the case and carvings, and the lowest for the VTS organ we knew that this type is quite round and full, having full-length Chris Peterson, Steven Jett. 2 the timbers and supports. of organ would serve the Episcopal wooden basses. A large-scaled 10 ⁄3′ Chapel design by Robert A. M. Stern We took these logs, some up to 30 seminary well. Coupled with this wide Quint Bass gives a synthetic 32′ for a Architects New York, New York. inches in diameter, and split them down range of expression in the Swell organ, convincing pedal point for English cho- Design Partner: Grant F. Marani. the center with a 60-inch chainsaw. The we wanted the Great and Pedal to retain ral music. Senior Associates: Rosa Maria Colina, half logs were then placed on our band the power and vocal qualities essential This instrument has already proven Charles Toothill. Associates: Esther sawmill at 45 degrees and most of the to good hymn singing. In the words of to be a stimulant to the musicians at Park, David Pearson, Leticia Wouk- cutting was done in a radial fashion Aaron Reichert, who along with Christo- VTS. There is often a student or visiting Almino. Team: James Brackenhoff, to produce the maximum amount of pher Bono voiced the organ: organist learning, discussing, and enjoy- Kevin Kelly, Marc Leverant, Marissa lumber with the year rings oriented in ing the organ. As Bill Roberts said in the Looby, Katie Casanta Rasmussen, Frank vertical or quarter-sawn direction. This Should not the organ sing with as good mission statement for the organ search: Stevens, Mark Talbot, Jessie Turnbull, a vowel as one asks of their choir? The bal- lumber is the most stable, dries without ance of the organ is based on, and in direct “Procuring a fi ne organ will enrich the Chriska Wong. defect, and in oak produces the beauti- relationship with, the fervor with which the worship life of the community for years Landscape Architect: Michael Ver- ful fl ake grain pattern that we so cher- VTS community sings. Each division can to come. It will contribute to the forma- gason Landscape Architects. Liturgical ish. We air-dried the wood on our yard accompany the other, a soloist, a choir, an tion of young women and men who are Consultant: Terry Byrd Eason Design. orchestra, a congregation, or all combined; for about a year and then fi nished off coincidentally, being so versatile in accom- being trained to lead the Church, model- the drying in our dehumidifi cation dry paniment makes the organ quite a good ing the power of music to transform lives Inaugural Year Events kiln. The results were well worth the soloist as well. and bring worshippers into the presence November 6, 2015, 7:30 p.m., Scott Det- effort. This also provides environmental of God.” We also as organ builders tra, dedicatory organ concert economy and a connection to the saints The two-manual specifi cation of 34 believe this and we are honored to have January 10, 2016, 4 p.m., Janet Yieh of VTS who walked beneath those stops allows for a balanced chorus on been able to contribute to this landmark March 18, 2016, 7:30 p.m., Marilyn ancient trees. each division. There are two mixtures project. Soli Deo Gloria. Keiser What kind of organ is appropriate and fi ve manual reeds, giving the organ —George K. Taylor and John H. Boody April 22, 2016, 7:30 p.m., Dorothy Papa- for a seminary? In many of our projects suffi cient power to accompany the dakos accompanies the silent movie, Taylor and Boody has used historic mod- robust singing of the seminary congrega- Opus 70—The Builders “Hunchback of Notre Dame” els in the North European style for our tion. There is also a good complement George Taylor, John Boody, Larry projects. Our Opus 65 project at Grace of string stops: a Salicional on the Great, Damico, Emerson Willard, Christopher Photo credit: Robbie Lawson

36 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Jeannine Jordan, with media artist; Park Ridge Presbyterian Church This calendar runs from the 15th of the month Wooster United Methodist, Wooster, OH Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline 7 pm Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Marcelo Giannini, masterclass; Camp- Feb. issue). All events are assumed to be organ Bloomingdale, IL recitals unless otherwise indicated and are grouped bellsville University, Campbellsville, KY 4 pm within each date north-south and east-west. •=AGO 22 OCTOBER chapter event, • •=RCCO centre event, +=new organ Roberto Antonello; Fountain Court, Me- dedication, ++= OHS event. Christopher Babcock Michael J. Batcho Information cannot be accepted unless it morial Art Gallery, Rochester, NY 7:30 pm Michael Britt; Christ Episcopal, Easton, specifi es artist name, date, location, and hour in Director of Music writing. Multiple listings should be in chronological MD 4 pm St. Andrew’s by the Sea, order; please do not send duplicate listings. Elizabeth & Raymond Chenault; Young CATHEDRAL OF ST. JOHN Harris College, Young Harris, GA 7 pm Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. Marcelo Giannini; Gethsemani Abbey, Trappist, KY 6:30 pm

UNITED STATES 23 OCTOBER East of the Mississippi Christopher Houlihan; Methuen Memo- Dean W. Billmeyer rial Music Hall, Methuen, MA 8 pm Dexter Kennedy; Old West Church, 15 OCTOBER University of Minnesota Choir of St. Luke in the Fields, works of Boston, MA 8 pm Victoria; St. Luke in the Fields, New York, David Ball; St. Malachy’s Church, New Minneapolis 55455 • [email protected] NY 8 pm York, NY 10:30 pm Armando Carideo, Frescobaldi master- 16 OCTOBER class; Fountain Court, Memorial Art Gal- •William Ness; First Unitarian, Worces- lery, Rochester, NY 9 am Byron L. Blackmore ter, MA 7 pm Edoardo Bellotti; Fountain Court, Me- GAVIN BLACK Colin MacKnight; St. Malachy’s Church, morial Art Gallery, Rochester, NY 7:30 pm Princeton Early Keyboard Center Crown of Life Lutheran Church New York, NY 10:30 pm Scott Dettra; Calvary Episcopal, Pitts- Stephen Tharp; Christ United Methodist, burgh, PA 8 pm 732/599-0392 Sun City West, Arizona Greensboro, NC 7:30 pm David Cherwien, hymn festival; Zion Lu- www.pekc.org 623/214-4903 Stephen Hamilton; Lutheran Seminary, theran, Wooster, OH 7 pm Columbia, SC 7:30 pm Jeremy David Tarrant; Plymouth Con- 24 OCTOBER gregational, Lansing, MI 7 pm Roberto Antonello, Zipoli masterclass; Gail Archer; Cathedral of the Assump- Memorial Art Gallery, Rochester, NY 10 am THOMAS BROWN ROBERT CLARK tion, Louisville, KY 7:30 pm Nathan Laube, with Publick Musick and UNIVERSITY Houston Texas Christ Church Schola Cantorum; Memorial PRESBYTERIAN CHURCH Master Classes, Consultation 17 OCTOBER Art Gallery, Rochester, NY 7:30 pm CHAPEL HILL, NORTH CAROLINA [email protected] Stephen Hamilton, church music reper- Huw Lewis, with orchestra; Dimnent ThomasBrownMusic.com 513/478-0079 toire class; Lutheran Seminary, Columbia, Chapel, Hope College, Holland, MI 7:30 pm SC 10 am Peter Richard Conte; St. Norbert Abbey, 25 OCTOBER De Pere, WI 2 pm Paul Cienniwa, harpsichord, with instru- JAMES DORROH, AAGO, PhD ments; Portland Conservatory of Music, DELBERT DISSELHORST 18 OCTOBER Portland, ME 4 pm Saint Luke’s Episcopal Church Mendelssohn, Elijah; Zeiterion Perform- Charlotte Beers Plank; St. John’s Epis- Professor Emeritus Samford University ing Arts Center, New Bedford, MA 3 pm copal, West Hartford, CT 3 pm Marilyn Keiser; Dennis Union Church University of Iowa–Iowa City Birmingham, Alabama Ken Cowan; Marble Collegiate Church, (Congregational), Dennis, MA 3 pm Organ Consultant Organ Recitals New York, NY 11 am service Thomas Murray; Woolsey Hall, Yale Uni- Annie Laver; Fountain Court, Memorial versity, New Haven, CT 7:30 pm Craig Cramer; Performing Arts Center, Art Gallery, Rochester, NY 3 pm Hosmer Hall, SUNY, Potsdam, NY 3 pm David Higgs, Hans Davidsson, & Wil- STEVEN EGLER OHN ENSTERMAKER liam Porter; Fountain Court, Memorial Art J F Andrew Henderson, with instrumental- Central Michigan University Gallery, Rochester, NY 5:30 pm ists; Madison Avenue Presbyterian, New School of Music TRINITY-BY-THE-COVE York, NY 3 pm John Richardson; Longwood Gardens, Carole Terry; Grace Episcopal, Brooklyn Kennett Square, PA 1 pm Mt. Pleasant, MI 48859 Heights, NY 3 pm Raúl Prieto Ramírez; Wilson College, [email protected] NAPLES, FLORIDA Christopher Houlihan; First Presbyte- Chambersburg, PA 3 pm rian, Ilion, NY 3 pm Michael Britt, silent fi lm accompani- Tom Trenney, choral festival; First Pres- ment; Christ Church, Easton, MD 4 pm Norberto byterian, Northport, NY 4 pm Olivier Latry; Church of the Redeemer, Daryl Robinson; St. Paul Catholic Baltimore, MD 5 pm Guinaldo STEPHEN HAMILTON Church, Princeton, NJ 2:30 pm Coro Vocati; Peachtree Road United Marcelo Giannini; Cathedral Basilica of Methodist, Atlanta, GA 3:30 pm His Music recitalist–clinician–educator the Sacred Heart, Newark, NJ 4 pm Christian Lane; University Auditorium, See—Listen—Buy www.stephenjonhamilton.com Alan Morrison; Bomberger Hall, Ursinus University of Florida, Gainesville, FL 2 pm www.GuinaldoPublications.com College, Collegeville, PA 4 pm Todd Wilson, silent fi lm; Stambaugh Au- Choral Evensong; Emmanuel Church, ditorium, Youngstown, OH 4 pm Chestertown, MD 4 pm Choral Evensong; Cathedral Church of Isabelle Demers; Christ Episcopal, Pen- St. Paul, Detroit, MI 4 pm sacola, FL 4 pm Christ Church Schola, works of Byrd; Todd Wilson; Most Blessed Sacrament Christ Church Grosse Pointe, Grosse David Herman Catholic Church, Toledo, OH 4 pm Pointe Farms, MI 4:30 pm Trustees Distinguished Professor Emeritus of Music and University Organist Rachel Lammi; St. Mary’s Catholic Nicholas Schmelter; St. Paul’s Episco- Church, Dayton, OH 4:30 pm pal, Flint, MI 3:30 pm The University of Delaware Q [email protected] Blake Callahan; St. Peter in Chains Ca- Marcelo Giannini; Cathedral of Christ thedral, Cincinnati, OH 3 pm the King, Lexington, KY 7:30 pm Aaron Tan; Cathedral Church of St. Paul, Anthony & Beard; Auburn United Meth- Detroit, MI 5:30 pm odist, Auburn, AL 3 pm A Professional Card in Olivier Latry; All Saints Chapel, Se- David Jonies; Holy Name Cathedral, wanee, TN 3 pm Chicago, IL 7 pm Choral Evensong; Cathedral Church of The Diapason Bach, Cantata 120; Grace Lutheran, Riv- the Advent, Birmingham, AL 3 pm For rates and digital specifi cations, contact Jerome Butera er Forest, IL 3:45 pm Andrea Handley; Madonna della Strada 847/391-1045; [email protected] Chapel, Loyola University, Chicago, IL 3 pm Jonathan Rudy; Westminster Presbyte- rian, Rockford, IL 3 pm 19 OCTOBER Stephen Tharp; St. James Episcopal, 26 OCTOBER LORRAINE BRUGH, Ph.D. New York, NY 7 pm Gail Archer; Cathedral of the Immacu- late Conception, Syracuse, NY 7:30 pm 20 OCTOBER Julia Brueck; Elliott Chapel, Presbyte- Associate Professor Webb Wiggins, harpsichord and organ; rian Homes, Evanston, IL 1:30 pm University Organist Stetson University, DeLand, FL 7:30 pm Marcelo Giannini; Our Lady of Perpetual 27 OCTOBER Valparaiso University Ken Cowan; Marble Collegiate Church, Help Church, Campbellsville, KY 12:20 pm Valparaiso, IN Marcelo Giannini; Ransdell Chapel, New York, NY, 7:30 pm Campbellsville University, Campbellsville, Thiemo Janssen; St. Paul Cathedral, www.valpo.edu KY 8 pm Pittsburgh, PA 7:30 pm

21 OCTOBER 28 OCTOBER 219-464-5084 Musica Sacra; Cathedral of St. John the Frederick Hohman; Cathedral of St. [email protected] Divine, New York, NY 7:30 pm John the Divine, New York, NY 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 37 Calendar WILL HEADLEE ANDREW HENDERSON, DMA 1650 James Street Madison Avenue Presbyterian Church Stephen Tharp; First Presbyterian, Phil- Tom Trenney, with orchestra; Trinity Epis- New York, NY copal Cathedral, Cleveland, OH 7:30 pm Syracuse, NY 13203-2816 adelphia, PA 7 pm TENEBRAE; St. Peter in Chains Cathe- Jonathan Rudy; First Presbyterian, Lex- (315) 471-8451 www.andrewhenderson.net dral, Cincinnati, OH 7:30 pm ington, KY 7:30 pm John Seboldt; Cathedral of St. John, Nathan Laube, with chorus; Trinity Unit- Milwaukee, WI 12:15 pm ed Methodist, Huntsville, AL 7:30 pm CALIFORNIA LUTHERAN UNIVERSITY Gary L. Jenkins 30 OCTOBER 7 NOVEMBER Director, Schmidt Concert Series Tom Trenney, silent fi lm accompaniment; Thomas Murray, masterclass; St. Paul Kyle Johnson, DMA Episcopal, Rochester, NY 10 am Director of Music, Carmelite Monastery Merrill Auditorium, Portland, ME 7:30 pm University Organist Brian Preston Harlow; St. Malachy’s Quire Cleveland; Cathedral of St. John Curator of Organs 

r
LFKPIOT!DBMMVUIFSBOFEV Church, New York, NY 10:30 pm the Evangelist, Cleveland, OH 7:30 pm Rose-Hulman Institute of Technology Christopher Young, masterclass; De- Terre Haute, Indiana Organ Spooktacular; St. Paul’s Episco- www.callutheran.edu pal, Greenville, NC 6:30 pm Bartolo Center for Performing Arts, Notre David Jonies; St. Augustine Cathedral, Dame University, South Bend, IN 10 am Kalamazoo, MI 7 pm KIM R. KASLING Nathan Laube; Benson Great Hall, 8 NOVEMBER Brian Jones Bethel University, St. Paul, MN 7:30 pm Jay Zoller; St. Andrew’s Episcopal, New- D.M.A. castle, ME 3 pm Director of Music Emeritus Matthew Dion St. John’s University 31 OCTOBER ; First Baptist, Fall River, TRINITY CHURCH Mark Steinbach; Sayles Hall, Brown MA 3 pm Collegeville, MN 56321 Stephen Hamilton; St. James Episco- BOSTON University, Providence, RI 11:59 pm University of Cincinnati CCM Cham- pal, New London, CT 3 pm recital, 7 pm ber Choir, iBaroque choral works; Christ church music repertoire class Church Cathedral, Cincinnati, OH 7:30 pm Vincent Dubois; Congregational Church (UCC), Salisbury, CT 3 pm JAMES KIBBIE 1 NOVEMBER Gail Archer; Christ Episcopal, Pough- The University of Michigan Matthew Dion; St. Thomas Episcopal, keepsie, NY 7 pm Ann Arbor, MI 48109-2085 Taunton, MA 3:30 pm, Evensong, 4 pm Sylvia Marcinko Chai; St. Patrick’s Ca- ORGAN CONSULTANT 734-764-1591 FAX: 734-763-5097 F. Anthony Thurman; First Presbyterian, thedral, New York, NY 3:15 pm www.gabrielkney.com Bill Wharton; St. Mark’s United Method- email: [email protected] Haddonfi eld, NJ 4 pm Daniel Umholtz; First United Methodist, ist, Easton, MD 3 pm Hershey, PA 3 pm Andrew Peters, silent fi lm accompani- F. Allen Artz, III; Jerusalem Lutheran, ment; Grace Lutheran, Clarksville, TN 4 pm David K. Lamb, D.Mus. Schuylkill Haven, PA 3 pm Quire Cleveland; Painesville United Durufl é, Requiem; Shadyside Presbyte- Methodist, Painesville, OH 4 pm Director of Music rian, Pittsburgh, PA 3 pm Christopher Young; DeBartolo Center Trinity United Methodist Church Choral Evensong; St. John’s Episcopal, for Performing Arts, Notre Dame University, New Albany, Indiana Hagerstown, MD 5 pm South Bend, IN, 2:30 and 5 pm 812/944-2229 Leon Couch, III; Peachtree United Meth- Nathan Laube, with Huntsville Communi- odist, Atlanta, GA 4:30 pm, 5 pm Evensong ty Chorus; First Baptist, Huntsville, AL 3 pm Christopher Houlihan; Venice Presby- Choral Evensong; Cathedral Church of terian, Venice, FL 3 pm the Advent, Birmingham, AL 3 pm Jonathan Rudy; Concordia Theological Simon Johnson; Independent Presbyte- Seminary, Fort Wayne, IN 4:30 pm rian, Birmingham, AL 4 pm A.S.C.A.P. Marilyn Keiser, hymn festival; St. John Ricardo Ramirez; Holy Name Cathe- FELLOW, AMERICAN GUILD OF ORGANISTS Episcopal, Lafayette, IN 5 pm dral, Chicago, IL 7 pm 345 SADDLE LAKE DRIVE Karen Beaumont; St. John Cantius 9 NOVEMBER ROSWELL-ATLANTA, GEORGIA 30076 Catholic Church, Chicago, IL 2 pm (770) 594-0949 Stephen Tharp; Morrison United Meth- Anita Werling; First Presbyterian, Ma- odist, Leesburg, FL 7:30 pm comb, IL 5 pm Evensong; Church of the Nativity, Hunts- 10 NOVEMBER ville, AL 5 pm Seraphic Fire, Handel, Coronation An- Simon Johnson; First Presbyterian, thems; St. Paul Episcopal, Washington, Jackson, MS 4 pm DC 7:30 pm Professor Emeritus – University of Michigan – Ann Arbor Simon Johnson; National City Presby- 2 NOVEMBER Professor of Organ for 67 years terian, Washington, DC 7:30 pm MarilynThe University’s longest-serving faculty memberMason Oratorio Society of New York; Carnegie Doug O’Neill; Ransdell Chapel, Camp- Hall, New York, NY 8 pm bellsville University, Campbellsville, KY Isabelle Demers; Cincinnati Museum 12:20 pm Center, Cincinnati, OH 7:30 pm 11 NOVEMBER PHILIP CROZIER LARRY PALMER 3 NOVEMBER Seraphic Fire, Handel, Coronation An- Kimberly Marshall; Stetson University, thems; Trinity Wall Street, New York, NY CONCERT ORGANIST Harpsichord – Organ DeLand, FL 7:30 pm 7:30 pm David Jonies; Lutheran School of Theol- Michel Bouvard, masterclass; Princeton ACCOMPANIST ogy, Chicago, IL 12:15 pm Professor of Music, Emeritus University Chapel, Princeton, NJ 1 pm 3355 Queen Mary Road, Apt 424 Highland Consort; Cathedral Church of Vincent Dubois, masterclass; Hill Audi- the Advent, Birmingham, AL 7:30 pm Montreal, H3V 1A5, P. Quebec torium, University of Michigan, Ann Arbor, SMU, Dallas, Texas Simon Johnson; Cathedral Basilica of MI 3:40 pm Canada St. Louis, New Orleans, LA 6:30 pm Jared Stellmacher; Cathedral of St. Recitals — Lectures — Consultancies John, Milwaukee, WI 12:15 pm (514) 739-8696 4 NOVEMBER [email protected] David Binkley; Camp Hill Presbyterian, 12 NOVEMBER [email protected] + 214.350-3628 Camp Hill, PA 12:15 pm Seraphic Fire, Handel, Coronation An- Haydn, The Creation; Corbett Auditorium, thems; St. Clement Episcopal, Philadel- University of Cincinnati, Cincinnati, OH phia, PA 7:30 pm 7:30 pm Larry Wheelock; Cathedral of St. John, 13 NOVEMBER Milwaukee, WI 12:15 pm Isabelle Demers; Trinity College, Hart- The Diapason ford, CT 7:30 pm 5 NOVEMBER Michel Bouvard; Christ Episcopal Douglas Cleveland; Furman University, Church, New Brunswick, NJ 7:30 pm 2016 Resource Directory Greenville, SC 8 pm The Chenaults; St. Paul Episcopal, Daryl Robinson; Savage Chapel, Union Wilmington, NC 7:30 pm University, Jackson, TN 7:30 pm Simon Johnson; Calvary Episcopal, • The only comprehensive directory for the organ and Memphis, TN 7:30 pm 6 NOVEMBER Simone Gheller; St. Jerome Catholic church music fi elds Jay Zoller; St. John’s Episcopal, Thom- Church, Oconomowoc, WI 7 pm • Includes listings of associations, suppliers, and the aston, ME 7:30 pm •Jack Mitchener; United Congregation- 14 NOVEMBER products and services they provide al, Holyoke, MA 7 pm Isabelle Demers, masterclass; Trinity Thomas Murray; St. Paul’s Episcopal, College, Hartford, CT 10:30 am Rochester, NY 8 pm Manhattan School of Music Chamber Reserve advertising space now! Jeremy Filsell; First Presbyterian, Lock- Choir; Metropolitan Museum of Art, New Deadline: November 1 port, NY 7:30 pm York, NY 2 pm and 7:30 pm Rutgers University Glee Club; Shadyside Peter Krasinski, silent fi lm; St. Mala- Presbyterian, Pittsburgh, PA 8 pm chy’s Church, New York, NY 7:30 pm To reserve advertising space, contact Jerome Butera +Scott Dettra; Virginia Theological Sem- Daryl Robinson, masterclass; Haddonfi eld 608/634-6253; [email protected] inary, Alexandria, VA 7:30 pm United Methodist, Haddonfi eld, NJ 10 am Janette Fishell; St. Paul’s Episcopal, Crescent Choral Society; Crescent Av- Greenville, NC 7:30 pm enue Presbyterian, Plainfi eld, NJ 7 pm

38 Q THE DIAPASON Q OCTOBER 2015 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Scott Montgomery Ken Cowan, masterclass; Christ Episco- Nicole Keller; Cathedral Church of St. Concert Organist pal, Pensacola, FL 10 am Paul, Detroit, MI 7 pm Bálint Karosi, masterclass; St. Thomas www.ScoMo.org Aquinas Chapel, University of St. Thomas, 21 NOVEMBER [email protected] St. Paul, MN 10 am CONCORA; St. Thomas the Apostle, West Hartford, CT 7:30 pm 15 NOVEMBER Peter Richard Conte; Longwood Gar- Craig Cramer; Chapel of the Holy Spirit, dens, Kennett Square, PA 8 pm Assumption College, Worcester, MA 2 pm ANDREW PAUL MOORE LEON NELSON F. Anthony Thurman; Briarcliff Congre- 22 NOVEMBER Director of Traditional Music gational, Briarcliff Manor, NY 3 pm Michel Bouvard; Woolsey Hall, Yale Uni- CHRIST CHURCH Stephen Hamilton; St. Ignatius Loyola, versity, New Haven, CT 8 pm Southminster Presbyterian Church New York, NY 3 pm Gesa Graumann; Irvington Presbyte- SHORT HILLS Arlington Heights, IL 60005 Fauré Requiem; Madison Avenue Pres- rian, Irvington-on-Hudson, NY 4 pm byterian, New York, NY 3 pm Maryland State Boy Choir; Christ Episco- Gail Archer ; Vassar College, Pough- pal, Easton, MD 4 pm keepsie, NY 3 pm Faythe Freese; Bryn Mawr Presbyterian, Stephen G. Schaeffer Nicholas E. Schmelter Nathan Laube; Hitchcock Presbyterian, Bryn Mawr, PA 2 pm Scarsdale, NY 4 pm Recitals – Consultations Director of Music Daryl Robinson; Haddonfi eld United Jonathan Rudy; Shadyside Presbyte- Director of Music Emeritus rian, Pittsburgh, PA 4 pm Immaculate Conception Methodist, Haddonfi eld, NJ 7 pm Cathedral Church of the Advent Catholic Church Peter Richard Conte; St. John United Douglas Cleveland; Stambaugh Audito- Church of Christ, Nazareth, PA 4 pm rium, Youngstown, OH 4 pm Birmingham, Alabama Lapeer, Michigan Carole Terry; Second Presbyterian, Ro- Marijim Thoene; Our Lady, Queen of anoke, VA 3 pm the Most Holy Rosary Cathedral, Toledo, Bernstein, Chichester Psalms; Westmin- OH 3 pm ster Presbyterian, Dayton, OH 4 pm Choral Evensong; Cathedral Church of ROBERT L. Atlanta Singers; Peachtree Road United St. Paul, Detroit, MI 4 pm Mark Steinbach Methodist, Atlanta, GA 3:30 pm Handel, Alexander’s Feast; Christ SIMPSON Marilyn Keiser; Wertheim Performing Church Grosse Pointe, Grosse Pointe Christ Church Cathedral Brown University Arts Center, Miami, FL 3 pm Farms, MI 4:30 pm 1117 Texas Avenue Ken Cowan; Christ Episcopal, Pensac- North Shore Choral Society; Glenview Houston, Texas 77002 ola, FL 4 pm Community Church, Glenview, IL 3 pm Vincent Dubois; Cathedral Basilica of Bach, Cantata 61; Grace Lutheran, River St. Augustine, St. Augustine, FL 7:30 pm Forest, IL 3:45 pm Stephen Tappe ORGAN MUSIC OF THE SPANISH BAROQUE David Baskeyfi eld; St. Mark’s Episco- Scott Dettra; Independent Presbyterian, Organist and Director of Music pal, Grand Rapids, MI 5 pm Birmingham, AL 4 pm David Troiano Barry Wenger; Madonna della Strada Saint John's Cathedral DMA MAPM Chapel, Loyola University, Chicago, IL 3 pm 23 NOVEMBER Denver, Colorado Simon Johnson; Christ Church Cathe- 586.778.8035 Kalle Toivio, with soprano, works of Si- www.sjcathedral.org [email protected] dral, Nashville, TN 4 pm belius; Cathedral of St. John the Divine, Bálint Karosi; Chapel, University of St. New York, NY 7:30 pm Thomas, St. Paul, MN 2 pm NykkÖ-Michaël Grégoire; Elliott Cha- pel, Presbyterian Homes, Evanston, IL 16 NOVEMBER Marcia Van Oyen David Baskeyfi eld, masterclass; St. 1:30 pm Joe Utterback Mark Episcopal, Grand Rapids, MI 8 pm First United Methodist Church 25 NOVEMBER COMMISSIONS & CONCERTS Plymouth, Michigan 17 NOVEMBER Thanksgiving Evensong; Emmanuel 732 . 747 . 5227 Carol Williams; Merrill Auditorium, Port- Church, Chestertown, MD 6 pm mvanoyen.com land, ME 7:30 pm Marco LoMuscio; Cathedral of St. John, Gail Archer; First Presbyterian, Marietta, Milwaukee, WI 12:15 pm GA 8 pm 29 NOVEMBER 18 NOVEMBER Advent Procession; Cathedral Church of Kevin Walters Kent Tritle; Cathedral of St. John the Di- St. Paul, Detroit, MI 4 pm David Wagner vine, New York, NY 7:30 pm Advent Lessons & Carols; St. Peter in DMA M.A., F.A.G.O. Vincent Dubois; Cathedral of St. John Chains Cathedral, Cincinnati, OH 3 pm www.davidwagnerorganist.com the Evangelist, Cleveland, OH 7:30 pm Rye, New York UNITED STATES 20 NOVEMBER West of the Mississippi Margaret Harper; Elm Street Congrega- tional, Bucksport, ME 7 pm Aaron David Miller 16 OCTOBER Alan G Woolley PhD , silent fi lm accom- KARL WATSON paniment; St. Martin’s Lutheran, Archbold, Christopher Houlihan; First United Musical Instrument Research

OH 7 pm Methodist, Lincoln, NE 7:30 pm SAINT LUKE’S Edinburgh

[email protected] METUCHEN

RONALD WYATT RUDOLF ZUIDERVELD Trinity Church Illinois College, Jacksonville Galveston First Presbyterian Church, 6 Springfi eld * )URPWKH&DQDGLDQ,QWHUQDWLRQDO2UJDQ&RPSHWLWLRQ SHUIRUPDQFHVE\SUL]HZLQQHUVRIWKHFRQFRXUVKHOG ; LQ0RQWUHDOODVW2FWREHU A two-inch Professional Card 6 7RZQ+DOO7UHDVXUHVWKHWUDGLWLRQRIJUDQGSLSH in The Diapason ) RUJDQVLQFLYLFKDOOVVHHPVWRKDYHEHHQDQ(QJOLVK LQYHQWLRQRQHFDUULHGRQVXFFHVVIXOO\WKURXJKRXWWKH For information on rates and specifi cations, contact Jerome Butera: , (PSLUHDQGVWLOOPDLQWDLQHG«DQGHPXODWHG«WRGD\ [email protected] 608/634-6253

9 4XRWHVIURP5DYHQUHFHQWVHOHFWLRQVIURPRQHRI $PHULFD¶VSULPHµRUJDQODEHOV¶DQGFRQYHUVDWLRQVZLWK ArtistArtist Spotlights Spotlightspotlight s 5DYHQ¶VFXUDWRU:LOOLDP9DQ3HOW DAVID SPICER  First Church of Christ (DVW7H[DV7UHDVXUHVVHOHFWLRQVIURPWKH Artist Spotlights  LQFUHDVLQJO\SRSXODUIHVWLYDOGHYRWHGWR$HROLDQ6NLQQHU are available on Wethersfi eld, Connecticut  SLSHRUJDQVGHVLJQHGE\5R\3HUU\ The Diapason  website and e-mail newsletter. Contact Jerome

7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK Butera for rates [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM and specifi cations. [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY 608/634-6253 ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZŽ HWVIHJVT House Organist [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 39 Calendar

Joseph Painter, with harp; Belin Cha- 6 NOVEMBER 21 NOVEMBER 28 OCTOBER pel, Houston Baptist University, Houston, •Simon Johnson; Park Cities Presbyte- Ken Cowan, masterclass; All Saints Samuel Kummer; Frauenkirche, Dres- TX 12 noon rian, Dallas, TX 7:30 pm Episcopal, Sacramento, CA 10 am den, Germany 8 pm Olivier Latry; Edythe Bates Old Recital Hall, Rice University, Houston, TX 7:30 pm 8 NOVEMBER 22 NOVEMBER 29 OCTOBER Aaron David Miller, with brass quintet; Raúl Prieto Ramírez; Walt Disney Con- Margaret Phillips, Bach; St. George’s 18 OCTOBER Union Presbyterian, St. Peter, MN 3 pm cert Hall, Los Angeles, CA 7:30 pm Church, Hanover Square, London, UK 6 pm Chelsea Chen; Highland Park Presbyte- Christopher Houlihan; Cathedral of the Ken Cowan; Fremont Presbyterian, Sac- rian, Dallas, TX 7 pm Madeleine, Salt Lake City, UT 8 pm ramento, CA 4 pm 30 OCTOBER John Cannon; Cathedral of St. Mary of Joseph Adam; Lagerquist Hall, Pacifi c Samuel Kummer & Holger Gehring; the Assumption, San Francisco, CA 4 pm Lutheran University, Tacoma, WA 3 pm 24 NOVEMBER Kreuzkirche, Frauenkirche, & Kathedrale, Bruce Neswick; Trinity Episcopal, Tulsa, Timothy Allen, with soprano; Resurrec- Interfaith choral concert; St. Mary’s Ca- Dresden, Germany 8 pm OK 7:30 pm tion Parish, Santa Rosa, CA 3:30 pm thedral, San Francisco, CA 5 pm Margaret Phillips, Bach; St. George’s Christian Lane; St. Mark Episcopal, Church, Hanover Square, London, UK 6 pm 23 OCTOBER Berkeley, CA 6 pm INTERNATIONAL Jonathan Ryan; St. Paul Reformation 31 OCTOBER Lutheran, St. Paul, MN 7:30 pm 9 NOVEMBER Margaret Phillips, Bach; St. George’s 15 OCTOBER Church, Hanover Square, London, UK 6 pm Olivier Latry; Bales Recital Hall, Univer- Bradley Hunter Welch; First United Margaret Phillips, Bach; St. George’s sity of Kansas, Lawrence, KS 7:30 pm Methodist, Kilgore, TX 10 am Church, Hanover Square, London, UK 6 pm 1 NOVEMBER Todd Wilson; First Presbyterian, Kilgore, Loïc Mallié; Notre Dame de France, 25 OCTOBER David Humphries; St. Paul’s Cathedral, TX 8 pm London, UK 7:30 pm London, UK 4:45 pm Gail Archer; Cathedral Basilica of the Stephanie Burgoyne and William Martin Ford; Westminster Abbey, Lon- Immaculate Conception, Denver, CO 3 pm 10 NOVEMBER Vandertuin; St. Peter’s Anglican Church, don, UK 5:45 pm David Baskeyfi eld; St. Mark Episcopal Mississauga, ON, Canada 12:15 pm Benjamin Sheen; Westminster United 30 OCTOBER Cathedral, Shreveport, LA 10 am Church, Winnipeg, MB, Canada 2:30 pm Simon Johnson; St. Martin’s Episcopal, Scott Dettra; St. Mark Episcopal Cathe- 16 OCTOBER Houston, TX 7 pm dral, Shreveport, LA 5 pm Margaret Phillips, Bach; St. George’s 2 NOVEMBER Church, Hanover Square, London, UK 6 pm 31 OCTOBER Thierry Escaich; Royal Festival Hall, 12 NOVEMBER London, UK 7:30 pm Joel Bacon, with students; Organ Re- Ken Cowan; First Presbyterian, Kilgore, 17 OCTOBER cital Hall, Colorado State University, Fort TX 7:30 pm Christophe Mantoux; Notre Dame Ca- 4 NOVEMBER Collins, CO 11 pm thedral, Moulins, France 8 pm Holger Gehring; Kathedrale, Dresden, Bradley Hunter Welch; Dallas Sympho- 13 NOVEMBER Margaret Phillips, Bach; St. George’s Germany 8 pm ny, Dallas, TX 11 am Christopher Houlihan; Trinity Episcopal Church, Hanover Square, London, UK 6 pm Rosemary Evans; Reading Town Hall, James Welch, Halloween concert; St. Cathedral, Portland, OR 7 pm Reading, UK 1 pm Mark’s Episcopal, Palo Alto, CA 8 pm 18 OCTOBER 14 NOVEMBER Peter King; St. Paul’s Cathedral, Lon- 6 NOVEMBER 1 NOVEMBER Bradley Hunter Welch; First United don, UK 4:45 pm Stefan Engels; Metropolitan United Gail Archer; First United Methodist, Bel- Methodist, Waxahachie, TX 7 pm Robert Brodacki; Westminster Cathe- Church, Toronto, ON, Canada 7:30 pm la Vista, AR 3 pm dral, London, UK 4:45 pm Fauré, Requiem; St. Paul’s United Meth- 15 NOVEMBER Martin Knizia; Westminster Abbey, Lon- 7 NOVEMBER odist, Houston, TX 4 pm Jeremy Filsell; First Presbyterian, Roch- don, UK 5:45 pm Stefan Engels, masterclass; Metropolitan ester, MN 4 pm Philip Crozier; Grand Séminaire de United Church, Toronto, ON, Canada 10 am 2 NOVEMBER Anthony & Beard; Chapelwood United Montréal, Montréal, QC, Canada 3 pm Jonathan Ryan, Durufl é, Requiem; St. Methodist, Houston, TX 6 pm 8 NOVEMBER Thomas Aquinas Catholic Church, Dallas, •Nicholas Welch, organ and piano; St. 20 OCTOBER Richard Hills; St. Paul’s Cathedral, Lon- Olivier Latry TX 7 pm Mark’s Episcopal, Palo Alto CA 3 pm ; Christ Church Cathedral, don, UK 4:45 pm Victoria, BC 7:30 pm James O’Donnell; Westminster Abbey, 21 OCTOBER London, UK 5:45 pm Hans Gebhard; Kreuzkirche, Dresden, Philip Crozier; Co-cathédrale Saint-An- Germany 8 pm toine-de-Padoue, Longueuil, QC, Canada Gordon Stewart; Westminster Cathe- 2 pm dral, London, UK 7:30 pm 15 NOVEMBER 22 OCTOBER Peter Stevens; Westminster Abbey, Lon- Margaret Phillips, Bach; St. George’s don, UK 5:45 pm Church, Hanover Square, London, UK 6 pm Simon Lindley; Holy Trinity, Sloane Square, London, UK 7 pm 23 OCTOBER Margaret Phillips, Bach; St. George’s 18 NOVEMBER Church, Hanover Square, London, UK 6 pm Olivier Eisenmann; Frauenkirche, Dres- den, Germany 8 pm 24 OCTOBER Margaret Phillips, Bach; St. George’s 21 NOVEMBER Church, Hanover Square, London, UK 6 pm James O’Donnell; St. John’s Hyde Park, London, UK 7:30 pm 25 OCTOBER Nikolai Garsak; St. Paul’s Cathedral, 22 NOVEMBER London, UK 4:45 pm Rachel Mahon; St. Paul’s Cathedral, A. David Moore, Inc. Simon Leach; Westminster Cathedral, London, UK 4:45 pm TRACKER ORGAN DESIGNERS & BUILDERS London, UK 4:45 pm Robert Mingay-Smith; Westminster Ab- Matthew Jorysz; Westminster Abbey, bey, London, UK 5:45 pm HC 69 Box 6, North Pomfret, Vermont 05053 London, UK 5:45 pm 801-756-5777 Geoffrey Morgan; Holy Trinity Sloane 25 NOVEMBER www.bigeloworgans.com 802/457-3914 Square, London, UK 7 pm Elke Eckerstorfer; Kathedrale, Dresden, Stephanie Burgoyne & friends; St. Germany 8 pm Paul’s United Church, Paris, ON, Canada Martin Baker; Westminster Cathedral, Member Firm: The Associated Pipe Organ Builders of America GAN BUILDERS - EST E OR . 187 PIP 7 3 pm London, UK 7:30 pm RANDALL DYER & ASSOCIATES, INC. Schoenstein 26 OCTOBER 29 NOVEMBER Gloucester Cathedral Choir; St. Mark’s Daniel Cook; Westminster Abbey, Lon- PIPE ORGANS OF QUALITY AND DISTINCTION SAN FRANCISCO BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 Church, Port Hope, ON, Canada 1 pm don, UK 5:45 pm w ww 58 ◆ .sch 47-58 [email protected] www.rdyerorgans.com oenstein.com - (707) 7

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DAVID CARRIER, Old West Church, COLIN MACKNIGHT, Christ Episcopal tary March, Stewart; Welcome to All Is San ANDREW SHERANIAN, Old West Boston, MA, July 14: Dialogue, Marchand; Church, New Haven, CT, June 29: Fantasia Diego’s Call, Kennedy; Fantasy on Nursery Church, Boston, MA, July 21: Praeludium Pastorale, Franck; Toccata in b, Gigout; Cat and Fugue in G, op. 188, Parry; Chaconne Tunes, Elmore; The Japanese Garden at Mid- in F, BuxWV 145, Buxtehude; Allein Gott in Suite, Bedard; Noël en recit, Daquin; Pièce (Partita No. 2 in d, BWV 1004), Bach; Sicili- day (Balboa Sketch), Jones; Star Trek for Or- der Höh’ sei Ehr’, BWV 662, BWV 663, Sei Héroïque, Cooman. enne (Suite, op. 5), Durufl é; Phantasie über gan, Jones; Final (Symphonie VI), Widor. gegrüsset, Jesu gütig, BWV 768, Bach. den Choral ‘Hallelujah, Gott zu loben bleibe PETER RICHARD CONTE, Woolsey meine Seelenfreud,’ Reger. CHRISTA RAKICH, Church of the Trans- WYATT SMITH, First United Methodist Hall, Yale University, New Haven, CT, June fi guration, New York, NY, June 20: Ricercar Church, Casper, WY, June 15: Festive Vol- 28: Wotan’s Farewell and Magic Fire Mu- THOMAS MELLAN and SUSANNA à 3 (Musical Offering, BWV 1079), Bach; So- untary, Peeters; Trio Sonata in c, BWV 526, sic (Die Walküre), Wagner, transcr. Lemare; VALLEAU, Village Church, Rancho Santa Fe, nata in F, Anna Amalia, Princess of Prussia; Bach; Archangel Suite, Phillips. Symphonie-Passion, op. 23, Dupré; Cock- CA, June 30: Das musikalische Opfer, BWV Two settings of O Traurigkeit, O Herzeleid, aigne Overture ‘In London Town,’ op. 40, El- 1079, Bach, adapted Guillou; Adagio, Allegro Brahms, Smyth; Hommage à Pachelbel: 11 PATRICIA SNYDER, First Congregation- gar, transcr. Conte. (Sonata sopr’il Soggetto Reale a Traversa, Vio- Variations on St. Anne, Rakich; Prélude, Cho- al Church, Westfi eld, MA, June 29: Veni cre- lino e Continuo), Bach; Toccata, op. 9, Guil- ral varié et Fugue sur Veni Redemptor Gen- ator, de Grigny; Schmücke dich, o liebe Seele, GREGORY CROWELL, First Congrega- lou; Symphonische Phantasie und Fugue in tium, de Jong. BWV 654, Pièce d’Orgue, BWV 572, Bach. tional Church, Trinitarian, Montague, MA, d, op. 57, Reger; Fantasia and Toccata in d, June 30: Air, Battishill; Voluntary in G, op. 1, Stanford; Argon, Neon, Xenon (Four Noble CAROLINE ROBINSON, St. Mary Cath- no. 2, Heron; Fuga a 3 voce, Zeuner; Prelude Gases), Gawthrop; Agitato (Sonata XI in d, olic Church, Westfi eld, MA, June 29: Prelude BRUCE STEVENS, First Congregational and Fugue in C, BWV 870, Bach; Adagio, op. 148), Rheinberger. and Fugue in g, WoO 10, Brahms; Adagio Church, Great Barrington, MA, June 29: Richter; Maestoso, anon. German. (Symphonie VI, op. 42, no. 2), Widor; Nicht Prelude and Fugue in G, BWV 541, Bach; MITCHELL MILLER, St. Mary Catholic zu schnell (Sechs Studien in kanonischer Scherzo, op. 65, no. 10, Introduction and KENNETH DANCHIK, St. Paul Catholic Church, Menasha, WI, July 1: Sonata III in Form, op. 56, no. 5), Schumann; Fantasie et Passacaglia in d, Reger; Partita on Christus, Cathedral, Pittsburgh, PA, May 3: Cathedral A (op. 65, no. 3), Mendelssohn; Adagio con Fugue, op. 18, no. 6, Boëly. der ist mein Leben, Pachelbel; Improvisa- Suite, Farrell; Trois Danses, Alain; Nocturne, Affetto (Sonata VIII in A, op. 91), Guilmant; tion (Miscellaneen, Zwölf Orgelvorträge, op. Donnelly; Finale, Franck. Allegro deciso (Evocation pour Orgue, op. NAOMI ROWLEY, St. Joseph Catholic 174), Rheinberger; In Festo Corporis Christi, 37), Dupré. Church, Appleton, WI, June 17: Prelude and Heiller; Chaconne (Partita in d, BWV 1004), STEPHEN HAMILTON, Trinity Episco- Fugue in B-fl at, Simon; Allegro Moderato Bach, transcr. Middelschulte. pal Church, Tulsa, OK, March 22: Le Chemin GRANT MOSS, Annunciation Catholic (Concerto IV in E-fl at), Tartini, transcr. Frisch- de la Croix, op. 29, Dupré. Chapel, Florence, MA, July 2: Prelude and muth; Andante for Two Manuals and Pedal, op. CAROLE TERRY, St. Brigid Catholic Fughetta, Intermezzo, Scherzo, Finale Jubi- 13, no. 2, Dienel; Suite Médiévale, Langlais. Church, San Diego, CA, June 29: Praeam- AHREUM HAN, Trinity Episcopal lante (Five Pieces), Willan; Prélude, Improvi- bulum in e, LubWV 7, Lübeck; Nun komm Church on the Green, New Haven, CT, June sation, Boulanger; Larghetto, op. 38, Jongen; LARRY SCHIPULL, Holy Name of Jesus der Heiden Heiland, BWV 659, Prelude and 29: Fantasia and Toccata in d, op. 57, Stan- Deux Strophes pour l’Hymne Iste Confessor, Polish National Catholic Church, South Deer- Fugue in a, BWV 543, Bach; Schmücke dich, ford; Rondo alla campanella, op. 15, Sym- Guilmant; Fughetta on Iste Confessor, Willan. fi eld, MA, June 30: Three Tone Pieces, op. 22, o liebe Seele, Herzlich tut mich erfreuen, Es phonic choral on Ach Bleib mit deiner Gnade, Gade; Fugue in a, Chopin; Wie schön leuchtet ist ein Ros’ entsprungen (Eleven Chorale Pre- op. 87, no. 1, Karg-Elert; Organ, Timbrel, and LOUISE MUNDINGER, Old West der Morgenstern, Oley; Andante with Varia- ludes, op. 122), Brahms; Sonata IV in B-fl at, Dance: Three jazz organ preludes, Michel; Church, Boston, MA, June 28: Embertides, tions in D, Mendelssohn; Finale in D, Noble. op. 65, no. 4, Mendelssohn; Introduction and Naïades, Claire de Lune (Pièces de Fantasie), Tann; In the Bleak Midwinter, Angels We Passacaglia in d, Reger. Final (Symphonie VI, op. 59), Vierne. Have Heard on High, Lo How a Rose (The NICHOLAS SCHMELTER, Redpath Young Shepherds’ Tale), Mundinger; Aspects Memorial Presbyterian Church, Cross Vil- DAVID TROIANO, Presbyterian Homes, TIMOTHY HARRELL, Trinity Episcopal of Glory, Larsen; March to Glory, Barnett. lage, MI, June 9: Toccata, Sowerby; A Spring Evanston, IL, June 22: Voluntary, Selby; Church, Solebury, PA, May 3: Suite on the Song, Holst; Chant du Soir, Bossi; Fuga in c, How Great Thou Art, Diemer; Fuga à 3 Voce, Second Tone, Clérambault; Ein feste Burg ist MICHAEL PLAGERMAN, Congrega- Krebs; Erbarm dich mein, o Herre Gott, BWV unser Gott, BuxWV 184, Buxtehude; Prelude tional Church, South Deerfi eld, MA, June 30: 721, Liebster Jesu, wir sind hier, BWV 731, Zeuner; Variations on ‘Old 100th,’ Paine; All and Fugue in e, BWV 548, Bach; Pastorale, Vater unser, Bach; Vater unser, Böhm; Vater Bach; Capriccio in D, Böhm; Nimrod (Enig- Things Bright and Beautiful, Travis; Toccata Franck; Scherzo, Durufl é; Introduction and unser, Pachelbel; Voluntary in B-fl at, Greene; ma Variations), Elgar; Melody in Mauve, Pur- on ‘Amazing Grace,’ Pardini. Passacaglia, Reger. Cantabile, Franck; Allegro vivace (Trio So- vis; Carillon Sortie, Mulet. nata VI in G, BWV 530), Bach. JAMES WELCH, Mozarteum, Salzburg, CHRISTOPHER HOULIHAN, First STEPHEN SCHNURR, First English Lu- Austria, June 16: Praeludium und Fuge in e, United Methodist Church, San Diego, CA, ROBERT PLIMPTON, Spreckels Or- theran Church, Appleton, WI, June 10: Prae- Lübeck; Noël en Grand Choeur: ‘Votre bonté, June 30: Prelude and Fugue in a, WoO 9, O gan Pavilion, Balboa Park, San Diego, CA, ludium in G, Bruhns; Mein Junges Leben hat grand Dieu,’ Charpentier; Nun freut euch, Welt, ich muss dich lassen, op. 122, no. 11, June 28: Trumpet Minuet, Hollins; Overture ein End, Sweelinck; Ein feste Burg ist unser lieben Christen g’mein, BWV 734, Bach; Trio Brahms; Prelude and Fugue in B-fl at, Mar- to Carmen, Bizet, transcr. Koch; To Spring, Gott, BuxWV 184, Buxtehude; Ein feste Burg in c, Krebs; Trio, Hurford; Toccatina, Noble; tin; Prelude and Fugue in e, BWV 548, Bach; Grieg, transcr. Lemare; Grand March from ist unser Gott, Pachelbel; Prelude and Fugue Wonderful Words of Life, Wood; The Liberty Symphonie IV in g, op. 32, Vierne. Aïda, Verdi, transcr. Lemare; Spanish Mili- in a, BWV 543, Bach. Bell, Sousa.

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Responsi- Harpsichord Technique: A Guide to Expres- bilities include Sunday morning worship services, sivity, 2nd Edition, with recordings by The new Nordic Journey series of CD record- seasonal services, adult/children’s choir rehears- Nancy Metzger, is the practical, hands on OHS Convention CDs: Historic Organs of Balti- ings reveals premiere recordings of symphonic als, ad hoc ensembles, and funerals (weddings guide to historical keyboard performance. more, Historic Organs of Boston, Historic Organs organ music—much of it still unpublished—from extra fee). Profi ciency in traditional sacred organ $35 at www.rcip.com/musicadulce. of Buffalo, Historic Organs of Chicago, Historic Nordic composers, played by American organist repertoire and strong accompanying skills Organs of Colorado, Historic Organs of Connecti- James Hicks on a variety of recently restored required. Salary commensurate with education cut, Historic Organs of Indiana, Historic Organs Swedish organs. It’s a little bit like Widor, Reger and experience. E-mail letter of interest, résumé, World Library Publications: From the Piano of Louisville, Historic Organs of Maine, Historic and Karg-Elert, but with a Nordic twist. Check it and supporting materials to Patti Moschouris Bench to the Organ Bench, by Alan J. Hommerd- Organs of Montreal, Historic Organs of New out at www.proorgano.com and search for the (828/421-7316) at [email protected]. Orleans, Historic Organs of Pennsylvania, Historic ing. This complete method book offers a variety term “Nordic Journey.” of exercises to increase pedal technique and Organs of Portland, Historic Organs of Seattle, His- manual/pedal dexterity. Explore topics such as toric Organs of SE Massachusetts. Visit the OHS Organist part time position available at Trin- online catalog for over 5,000 organ-related books, service playing/accompanying—when to lead, PIPE ORGANS FOR SALE ity UMC, Huntsville, AL. 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1981 Casavant tracker—3 manuals, 23 1938 Kimball studio/practice organ, 4 ranks, Wood pipes. Missing pipes made to match. Complete Pipe Organ Services from the Organ stops, 30 ranks. Footprint 10′ x 14′; height 18′. 21 stops, excellent condition, 91″ H, 85″ W, Damaged pipes in any condition repaired. Over Clearing House: 450 vintage pipe organs avail- Good working order. Available now. Seller will 56″ D (+pedalboard). Organ Clearing House, 25 years experience. Filip Cerny, 814/342-0975. able, renovation, tuning, consultation. Other consider offers on a competitive basis. For 617/688-9290, [email protected]. services include transportation, cleaning and details, contact consultant Dr. David Lowry at renovation of carvings, reredos, liturgical furnish- [email protected]. Möller 16′ Principal (32 pipes) in zinc. Suit- ings. Call John Bishop at 617/688-9290. john@ HYBRID ORGANS FOR SALE able for a façade with over-length bodies. Asking organclearinghouse.com. $5,000. For information: mail@letourneauorgans. 1981/2015 BIGELOW tracker, II+Ped, six stops: Three-manual Rodgers Hybrid with seven com or 450/774-2698. 8′, 4′; 8′, 4′; 16′, 8′. Excellent for a small chapel, Aeolian/Robert Morton-style maroon sets of pipes; all working and in excellent residence, or practice room. www.bigeloworgans. leather is now available from Columbia Organ com. Click on News. condition. For more information please go to Consoles, pipes and numerous miscellaneous Leathers! Highest quality. 800/423-7003, www.milnarorgan.com. parts. Let us know what you are looking for. www.columbiaorgan.com. E-mail [email protected] (not comcast), Historic 1859 ROBJOHN, II+Ped, 11 ranks. phone 215/353-0286 or 215/788-3423. Drop dead gorgeous rosewood case, 14′-2″ tall. ELECTRONIC ORGANS FOR SALE ANNOUNCEMENTS Lovely for chapel, large residence, or museum. www.bigeloworgans.com. Click on News. Allen MDS 8: 2 manuals, MIDI, transposer, SERVICES / SUPPLIES 2 HC-15 speakers, internal speakers, AGO THE DIAPASON E-Newsletters are e-mailed specs, in very good condition. Ideal for small monthly to subscribers who sign up to Werner Bosch tracker organ, 1969. Two manu- Professional organ consultants assist church, chapel or home. [email protected]; receive them. Don’t miss the latest news, als and pedal, 9 stops. Case of African mahogany, with your church’s pipe organ project. New 609/641-9422. featured artists, and classifi ed ads—all with 12′ wide, 8′ high, 4′ deep. Self-contained 110-volt organs, rebuilding, renovations, repairs, tonal photos—some before they appear in print! blower. $30,000. The Organ Clearing House, designs. Contact: Audio Forum, 254/230-8476, Visit www.TheDiapason.com and click on 617/688-9290, [email protected]. MISCELLANEOUS FOR SALE [email protected]. Subscribe to our newsletter. For assistance, contact Joyce Robinson, 847/391-1044, [email protected]. Expressive and compact—3/27 Kilgen (1940). Atlantic City Pipe Organ Company: Stinkens Releathering all types of pipe organ actions Two expressive divisions. 17 manual 8-foot fl ues. II–III Mixture and chest, 8′ Prestant, 2′ Principal, and mechanisms. Highest quality materi- Reeds include Tuba, Cornopean, Oboe, Clarinet, 1-1/3′ Quint. Beautiful 1955 broad scale Möller als and workmanship. Reasonable rates. Visit THE DIAPASON on Facebook. Vox Humana. Harp. 16′ Open Wood. H: 237″, W: pipework: 1/3-tapered 8′ Diapason, strings, Columbia Organ Leathers 800/423-7003. www.facebook.com/TheDiapason 170″, D: 189″. Stopkey console. Original restor- 16′ Rohrfl ute unit, and more. E-mail acorgan@ www.columbiaorgan.com/col. able condition. $30,000. Organ Clearing House, comcast.net or phone 609/432-7876. 617/688-9290, [email protected]. Do you have a pipe organ that you would Postal regulations require that mail to THE Schantz 16′ Bourdon, 32 stopped wood pipes, like to interface with an electronic or digital DIAPASON include a suite number to assure 1986 Rudolf von Beckerath, 2/15 (20 ranks) scale 1, with chest, rack, and stand, $6,000. organ? We can interface any digital organ or delivery. Please send all correspondence to: 162″ H, 146″ W, 114″ D. $150,000, Organ Clear- Schantz 16′ Gedeckt, 18 capped metal pipes, any organ console with any pipe organ. For more THE DIAPASON, 3030 W. Salt Creek Lane, Suite ing House, 617/688-9290, john@organclearing- CC–F, with chest, rack, and stand, as is, $1,000. information e-mail [email protected] (not 201, Arlington Heights, IL 60005. house.com. Chimes and harp. Miami, Florida, 305/649-2194. Comcast) or call 215/353-0286.

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2015 Q 43 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Jonathan Rudy 2014 AGO National Competition Winner Available 2014-2016

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2017

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Choirs

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison Thomas Murray The Choir of Saint Thomas Church, NYC John Scott, Director April 2016

James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Daryl Robinson Daniel Roth* Jonathan Ryan Celebrating Our 94th Season!

*=Artists based outside the U.S.A.

Ann Elise Smoot Tom Trenney Thomas Trotter* Todd Wilson Christopher Young