THE DIAPASON JULY, 2007
Our Lady of Mt. Carmel Parish Kenosha, Wisconsin Cover feature on pages 26–27 “The 50th anniversary celebration of the Bach Festival culminated in a very impressive organ recital by Huw Lewis. A performer with an international reputation, he presented an almost-all-Bach program of thoroughly challenging works....With panache, Lewis deftly negotiated the many moods and rapid-fire register changes that make this work (Liszt BACH) such a dynamic closing number.” (Kalamazoo Gazette MI)
“Dr. Lewis played with great authority, but also with an elegance and sensitivity to style, room, and instrument, and received the first standing ovation of the [AGO] convention.” (The American Organist)
“Superb music, superbly executed...His repertoire includes the greatest, most demanding of the master works for organ and he plays them with great understanding, technical mastery and sensitivity....Lewis, with incredible technical skill, kept everything under control and tasteful.” (The Holland Sentinel MI) “Apart from being immensely enjoyable, it was an object lesson in how to prepare for, and give, a performance at the highest level on an instrument not of your choosing. Another memorable feature was the marvelous freshness of [his] playing following so many hours of grinding practice.” (K. B. Lyndon, RCCO, London ON)
HuwHuw LewisLewis Concert Organist Faculty, Hope College, Holland, Michigan
“I must tell you how delighted we were with the masterful performance by Huw Lewis...I am thrilled with the musicality of his playing. Anyone who can command the attention of an audience made up of non-concert- goers on the most gorgeous Sunday afternoon of the fall while playing a Bach Trio-Sonata on the most mediocre of instruments is an artist indeed.” (Larry L. Wheelock, recital at St. Mary’s Episcopal Church, Haddon Heights NJ)
“I could not have been more pleased with Dr. Lewis and his performance. His outstanding musicianship and thorough understanding of this varied and difficult music were wondrous to behold. His lucid program notes made even the more weighty pieces easier to follow by the musical lay person. I shall look forward to hearing him again.” (Dennis W. Zimmer, St. John Lutheran Church, Forest Park IL) “It was a delight to present Huw Lewis...The audience responded enthusiastically to his performance, which was at once energetic and sensitive.” (Robert Lee, St. James’ Episcopal Church, Jackson MS)
(860) 560-7800 • (860) 560-7788 Fax [email protected] www.concertartists.com very expensive, and we continue to appeal for funds. We have had an initial THE DIAPASON grant that matches all other donations A Scranton Gillette Publication and grants that come in, but we are a Ninety-eighth Year: No. 7, Whole No. 1172 JULY, 2007 small congregation here in Florence and Established in 1909 ISSN 0012-2378 are relying on contributions from friends around the world. Interested persons An International Monthly Devoted to the Organ, who wish to contribute in any amount the Harpsichord, the Carillon and Church Music may send a check (postage is 90¢) made out to St. James Organ Fund, Via Bernar- do Rucellai 9, 50123 Firenze, Italy. (Con- tributions to St. James Organ Fund are CONTENTS Editor & Publisher JEROME BUTERA [email protected] U.S. tax deductible. We will reply with a 847/391-1045 heartfelt thank you and a receipt.) FEATURES —Robert Heylmun Mendelssohn the Organist Organ Project Manager by William Osborne 19 Associate Editor JOYCE ROBINSON St. James Church, Florence [email protected] Organ Performance Posture Great 847/391-1044 by Patrick J. Hawkins 22 16′ Double Diapason 8′ Open Diapason Second International Organ Symposium 8′ Viola da Gamba Russian Gnessins’ Academy of Music Contributing Editors LARRY PALMER 8′ Flûte Harmonique by Ronald Ebrecht 24 Harpsichord 4′ Principal 2 2 ⁄3′ Twelfth ′ LETTERS TO THE EDITOR 3 2 Fifteenth Pedale JAMES McCRAY Mixture IV ′ Choral Music ′ 16 Contrebasse 8 Bombarde 16′ Bourdon NEWS ′ Swell 8 Violone Here & There 3, 4, 5, 6, 8, 10, 12 BRIAN SWAGER 8′ Bass Flute 8′ Lieblich Gedact ′ Appointments 6 Carillon ′ 16 Ophicleide 8 Salicional 8′ Trombone Nunc Dimittis 10 8′ Voix Célêste HERBERT L. HUESTIS 4′ Gemshorn In the wind . . . by John Bishop 12 2 Couplers OrganNet Report 2 ⁄3′ Twelfth Das Orgeleinbuch by Leonardo Ciampa 18 Osiris Organ Archive ′ Swell to Great 2 Flageolet Swell Octave www.mdi.ca/hhuestis/osiris Mixture III REVIEWS e-mail: [email protected] ′ Swell to Pedale 16 Waldhorn Great to Pedale 8′ Cornopean Music for Voices and Organ 14 ′ *Octaves Aigues (Gt) Prepress Operations DAN SOLTIS 8 Oboe *Octaves Graves (Gt) Book Reviews 15 Tremolo New Recordings 16 THE DIAPASON (ISSN 0012-2378) is published monthly by New Organ Music 17 Scranton Gillette Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005. Phone 847/391-1045. Fax (847) 390-0408. Telex: 206041 MSG RLY NEW ORGANS 28 Email: [email protected] web: TheDiapason.com Here & There Subscriptions: 1 yr. $35; 2 yr. $55; 3 yr. $70 (United CALENDAR 29 States and U.S. Possessions). Foreign subscriptions: 1 yr. $45; 2 yr. $65; 3 yr. $85. Single copies $6 ORGAN RECITALS 32 (U.S.A.); $8 (foreign). The 12th annual Lunchtime The Cathedral of St. Mary of the Back issues over one year old are available only from Organ Recital Series takes place in Assumption, San Francisco, continues CLASSIFIED ADVERTISING 33 The Organ Historical Society, Inc., P.O. Box 26811, Rich- Appleton, Neenah, and Kaukauna, Wis- its recital series on Sundays at 3:30 pm: mond, VA 23261, which can supply information on avail- consin. The series began on June 5 and July 8, David Christensen; 7/15 and abilities and prices. Periodical postage paid at Rockford, IL and additional continues on Wednesdays at 12:45 pm: 7/22, Angela Kraft-Cross; 7/29, Stephen Cover: Nolte Organ Building, Milwaukee, mailing offices. POSTMASTER: Send address changes July 4, Frank Rippl, All Saints’ Epis- Lind; August 5, David Graham; 8/19, Wisconsin; Our Lady of Mt. Carmel Parish, to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, copal Church, Appleton; 7/11, Naomi Emma Lou Diemer; 8/26, Gerard Kenosha, Wisconsin 26 Arlington Heights, IL 60005. Routine items for publication must be received six Rowley, First United Methodist Leclerc;
JULY, 2007 3 1969, will be available after each concert. The Association of British Choral musicians’ galleries, providing further For information: Ray Cornils, 207/729- Directors presents its 22nd annual presence and subtlety for choral accom- Art 7331,
Le Moyne-Owen College Concert Choir
Le Moyne-Owen College Concert Rao, Bach, Seiber, Cooman, Martin, Choir, Memphis, Tennessee, presented and others. Joining the choir were sev- a spring concert on April 15 at Second eral instrumentalists, percussionists, Congregational Church, under the soloists, and the college African Drum- direction of Godwin Sadoh, director of ming Ensemble led by James Wilburn. the sacred music program at the college. Members of the Concert Choir also The program included the world pre- accompanied the Ose Baba and Kabiye- miere of Sadoh’s African Nostalgia for si Hosana with conga drums, sekere Marimba, and an assortment of African (shaking idiophone), maracas, agogo songs—Mimo, Mimo, l’Oluwa [Holy, (iron bells), and other African percus- Holy, Is the Lord], Ose Baba [Thank sion instruments. You Father], and Kabiyesi Hosanna [O —Brooks Greene Mighty Jesus, Hosanna], by Godwin Brooks Greene is a sacred music major at Sadoh, and N’Kosi Sikelel’ Afrika [Lord Le Moyne-Owen College and organist/music Bless Africa] by Cheryl Lavender— administrator at Pilgrim Rest Baptist along with works by Vaughan Williams, Church, Memphis, Tennessee.
4 THE DIAPASON housed in 38 cabinets with 36 of them instrument. Anthony Tommasini of The director) and accompanied by Iain arranged in twelve triangular arrays hang- New York Times (10/6/06) observed that Quinn (director of cathedral music and ing from a fly above the stage. The two “Mr. Maazel and his [Philharmonic] play- organist). The premiere was part of the sub-woofers, when in use, are placed on ers lacked one essential for a proper per- Cathedral Commissions program and the stage floor. The console has all the formance of Saint-Saëns’ ‘Organ’ Sym- generously supported by Jay Hill. The wizardly bells and whistles that modern phony: a pipe organ, something Avery program commissions new works for the technology can provide. Fisher Hall sadly lacks.” But he added cathedral on an annual basis. This is not to be a case of déjà vu, but that the digital organ was “was close by replacing the older electronic the enough to the real thing to allow Mr. An organ study visit and organ Philharmonic is able to present more Maazel to lead a swashbuckling account of symposium took place April 11–15 in welcome performances of symphonic this exuberantly Romantic work.” Paris, commemorating the 100th and choral repertoire with organ. The Bruce Hodges, MusicWeb Interna- anniversary of the birth of Jean Langlais, Philharmonic is believed to be commit- tional, added: “The superb Kent Tritle presented under the auspices of the ted to the installation of a pipe organ in did about as well as one could imagine Gesellschaft der Orgelfreunde GdO and a renovated Avery Fisher Hall. Future on the (electronic) organ, choosing tim- organized by
ConcertArtistCooperative thth 20ANNIVERSARY
Sabin Levi Yoon-Mi Lim Ines Maidre Mary Mozelle David F. Oliver Organist/Harpsichordist/Carillonneur/ Organist Organist/Pianist/Harpsichordist Organist/Recording Artist Organist/Lecturer/ Lecturer/Recording Artist 2004 NYACOP Winner Associate Professor of Organ Associate Organist Recording Artist Organist and Composer in Residence Director of Music Grieg Academy of Music The National Presbyterian Church College Organist First Christian Church of Independence Fairlawn Presbyterian Church Bergen, Norway Washington DC Assistant Professor Assistant Music Director Columbus, Indiana “The Sights & Sounds Department of Music Shireinu Choir of Kansas City of the Pipe Organ” Morehouse College Kansas City, Missouri Atlanta, Georgia
Larry Palmer Roman Perucki Gregory Peterson Stephen Roberts Clair Rozier Harpsichordist/Organist Organist/Lecturer/Recording Artist Organist Organist/Harpsichordist/Lecturer Organist/Lecturer Professor of Harpsichord and Organ Director, Frederic Chopin College Organist and Instructor of Organ Director of Music Meadows School of the Arts Polish Baltic Philharmonic Assistant Professor of Music Western CT State University St. David's Episcopal Church Southern Methodist University International Organ Music Festival Luther College Director of Music Wayne, Pennsylvania Dallas, Texas J.P. Sweelinck Organ Music Competition Decorah, Iowa St. Peter Church Organist, Oliwa Cathedral Danbury, Connecticut Gdansk, Poland
Lisa Scrivani-Tidd Michael Stefanek Heinrich Walther Jane Watts Duo Majoya Organist/Lecturer Organist Organist/Clavichordist/Virginalist/ Organist Organ and Piano Assistant Professor of Music Director of Music Recording Artist Exclusive Recording Artist Recording Artists SUNY at Jefferson Aldersgate United Methodist Church Faculty, University of Music Priory Records Marnie Giesbrecht and Joachim Segger Watertown, New York Redford, Michigan Freiburg, Germany First RCO Performer of the Year Professors of Music University Organist Faculties, Church Music Schools Organist of the Bach Choir University of Alberta St. Lawrence University Heidelberg and Rottenburg London, England The King’s University College Canton, New York Germany Edmonton, Alberta, Canada
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
JULY, 2007 5 Clotilde, where Stefan Kagl played from the late 17th century. He has also positions as organist and director of works by Tournemire and Franck. given lecture/recitals on this manu- music at churches in New York, Con- Ten further organs were available for script, notably at the University of necticut, Minnesota, Indiana, and Mis- viewing and recitals, including the Michigan and the Conservatoire souri. Currently a member of the board Beuchet-Debiene organ in the Invalides supérieur de Lyon. Poirier has done and the 40th anniversary committee of Cathedral, played by Susan Landale; the recital tours in Canada, the United the Bach Foundation of Holy Trinity Van den Heuvel organ in St. Eustache, States, France, Belgium and Germany. Lutheran Church, New York City, he played by Yanka Hékimova; and the serves as the ongoing contact with the new Aubertin organ in St. Louis en New York Philharmonic for the NYC l’Ile, on which Gunther Rost-Graz gave AGO chapter’s Avery Fisher Hall organ a recital of music by Bach; and there Here & There advisory committee. were visits to services in St. Sulpice, Kuznik earned the BA, summa cum Notre Dame and La Trinité. laude, from Concordia Senior College, —Rainer Lanz, translation Peter Kirk Fort Wayne, Indiana; the MDiv and STM from Concordia Seminary, St. Corrections & clarifications Louis, Missouri; and the MMus in The review of the recording by Joan church music from the Eastman School DeVee Dixon, The Psalms of Emma Lou of Music. He studied organ with Austin Diemer (May 2007, p. 17), should have Lovelace, Frederick Swann, Ronald noted that the CDs (vols. 1, 2, and 3) are Arnatt, David Craighead, Jean Langlais, available from the website Julia Brown Marie-Madeleine Duruflé, and Anton
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-ICHAEL -ORVAN n #OVERING NEW KEYBOARDS AND RESTORING HISTORIC KEYBOARDS Keith E. Norrington $EMONSTRATIONS AT THE SHOP OF 0ATRICK * -URPHY !SSOCIATES FAÎADE PIPE STENCILINGRESTORATION TECHNIQUES 3PENCER BLOWER Keith E. Norrington, Executive !MERICAN )NSTITUTE OF /RGANBUILDERS REBUILDING AND CURVED TOE STUD BOLSTER FABRICATION Assistant for Miller Pipe Organ Compa- ny, celebrated his 20th anniversary with !NNUAL #ONVENTION the firm in May. A graduate of Indiana 3OME OF THE FEATURED ARTISTS University, Norrington started part-time with Miller in 1986 while still an ele- /CTOBER n !LAN -ORRISON AT 6ERIZON (ALL mentary school teacher. A lifelong inter- $IANE -EREDITH "ELCHER AT )RVINE !UDITORIUM est in pipe organs and serving as assis- 4HE 2ADISSON (OTEL n 6ALLEY &ORGE 0ENNSYLVANIA tant organist at St. Mary’s Catholic 0ETER 2ICHARD #ONTE AT -ACYS Church in his hometown of New Albany, 7ANAMAKER 'RAND #OURT /RGAN Indiana, prepared him for the task when .ON MEMBER AND SINGLE DAY ATTENDEES WELCOME Jim Miller invited him to join his rapidly .ATHAN ,AUBE AT 'IRARD #OLLEGE growing business, which now serves some 350 clients throughout ten states. Norrington serves as director of public 3CHEDULE AND REGISTRATION FORM AVAILABLE AT WWWPIPEORGANORG relations, overseeing the company’s
6 THE DIAPASON website and serving as editor of the nity of Christ) in Independence, Mis- quarterly newsletter, The Principal Cho- souri, from 1967 to 1998, where thou- rus. He is also a stockholder and mem- sands heard his weekly half-hour recital, ber of the board of directors. “The Auditorium Organ,” via satellite Always interested in promoting the broadcast. Dr. Obetz received the bach- King of Instruments, Norrington served elor of music and master of music as chairman for the 1993 national con- degrees from Northwestern University, vention of the Organ Historical Society and earned a doctorate in sacred music and was founding president of the Ken- at Union Theological Seminary in New tuckiana OHS Chapter. He has served York City, where he studied with Ver- on the board of the William H. Bauer non de Tar. Further study included Foundation, which seeks to restore the work with Marie-Claire Alain and par- 1929, 88-rank, four-manual Pilcher ticipation in the Haarlem International organ in the Memorial Auditorium in Academy for Organists. Obetz served as Louisville. Norrington is active in the adjunct associate professor of music at Southern Indiana chapter of the Ameri- the University of Missouri at Kansas can Guild of Organists and is publicity City until his retirement in 2005. An chairman. He was also a lecturer at the active member of the AGO, he served convention of the American Institute of on the national council for 19 years, Organbuilders in 1998. chairing several committee, and is a past Besides the pipe organ, Norrington’s dean and regional chairman. other passion is steamboats. An avid Edmund Shay collector of riverboat memorabilia since the age of 12, he was a crew MorningStar Music Publishers have Tom Trenney member aboard the Belle of Louisville released Hymn Harmonizations, Set 5 and Delta Queen, where one of his by Edmund Shay (MSM-10-611). Tom Trenney, winner of the 2006 duties was playing the steam calliope. The harmonizations of Set 5 are similar National Competition in Organ A member of several organizations that to those of Set 1 in that they were writ- Improvisation of the American Guild promote and preserve our river her- ten for various times of the liturgical of Organists, improvises a seven-move- itage, he is a curator of collections at year. Each hymn arrangement is print- ment suite on the hymn tune St. Denio the Howard Steamboat Museum in Jef- ed on heavy stock paper that is and a four-movement suite on Hyfry- fersonville, Indiana, where he has been designed to sit comfortably on the dol, and plays repertoire on a new CD a volunteer since 1968. music rack, and when not needed they on the Raven label. The CD is cur- may be stored in a ringed binder. Shay rently available online from describes these new settings as “in the
New Organs: Atlanta First United Methodist Church: 5-manual, 120 stops New Orleans Baptist Theological Seminary, Leavell Chapel: 4-manual, 78 ranks Midway Presbyterian Church, Powder Springs, GA: 3-manual, 55 ranks First United Methodist Church, Carrollton, GA: 3-manual, 42 ranks New Orleans Baptist Theological Seminary, Recital Hall: 3-manual, 33 ranks (new & existing pipes) Newberry A.R.P., Newberry, SC: 2-manual, 13 ranks (new & existing pipes) St. Andrew’s Episcopal Church, Rocky Mount, NC: 2-manual, 22 ranks Rebuilds: First Baptist Church, Orangeburg, SC: 3-manual, 31 rank M.P. Moller - complete rebuild with additions Selwyn Avenue Presbyterian Church, Charlotte, NC: 3-manual, 22 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Jackson, GA: 2-manual, 20 rank Austin - complete rebuild with major additions Cumberland United Methodist Church, Florence, SC: 2-manual, 10 rank M.P. Moller - complete rebuild with additions Covenant Presbyterian Church, Fayetteville, GA: rebuild 4-manual console 800-836-2726 y www.pipe-organ.com
8 THE DIAPASON
Classical for Dvorák: Requiem, op. 89; Brick Presbyterian Church in New York of new hymn texts by modern writers to Nunc Dimittis Symphony No. 9, op. 95. City. In 1950 she married Homer Erwin familiar hymn tunes such as “Duke Eargle had a deep commitment to Robbins Jr. at the Riverside Church; Vir- Street,” “Old Hundredth,” and “Hyfry- education, presenting at many forums as gil Fox was the organist. dol,” and In the Days to Come, settings a guest lecturer and serving on numer- Mrs. Robbins was an organist-choir- of Christian, Jewish, Islamic, and Bud- ous panels and committees. He taught at master for many churches in Georgia, dhist texts coupled with music from the Aspen Audio Recording Institute for including First Presbyterian Church in North and Central America, Africa, Asia, more than 20 years, in concert with JBL Marietta, Druid Hills United Methodist and the Middle East. The catalog also and Harman support of the Aspen Church in Decatur, and St. James features compact discs and paperbacks. Music Festival and School, and was a Methodist Church and Peachtree Road For information:
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10 THE DIAPASON LAVISH APPOINTMENTS
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Allen Organ Company LLC 150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 Phone: 610-966-2202 • Fax: 610-965-3098 E-mail: [email protected] • Web site: www.allenorgan.com which are still in use. Each discusses ment somehow separates the organ leagues set me to thinking. Noting that and compares theories about what from the violin! only a few stops on the Swell have com- makes Stradivari’s instruments stand plete ranks (most start at eº), that the out. Each poignantly describes the inti- An intimate friend keydesk is a little awkward, and that mate relationships between the player My violin trilogy refers continually to there is very little bass tone, she com- and his instrument with rich use of sex- the intimacy between the builder and mented that the organ is limiting. And ual and romantic metaphors. the player of a violin. They spend hours she’s right—it is, but it’s perfect for the Arnold Steinhardt gets right to the together discussing the ideal, and as the music its builder had in mind. If you point. Five pages into his book he writes, craftsman works on the new instru- meet the organ on its own terms, you’ll ment, the client’s recordings are play- get along much better. We cannot and When I hold the violin, my left arm ing in his workshop. Given the business should not expect to be able to play the stretches lovingly around its neck, my right hand draws the bow across the strings like of organbuilding—committees, con- same music on every organ, and when a caress, and the violin itself is tucked tracts, deadlines, and delays (Christmas we try, the results are less than artistic. under my chin, a place halfway between by of what year?), how often do organ- my brain and my beating heart. builders and organists truly work A place for everything, and together to create exactly the work of everything in its place Lovely images, aren’t they? You can art that will be the true vehicle for the In the weeks after Easter I participat- Allen Elite™ Opus I daydream about how the human musi- player? If I had a nickel for each time ed in several events that involved differ- cian and mechanical instrument I’ve told an organ committee that the ent groups of organists. Holy Day post program represents a new “gold stan- become one. The organist and organ- organ should be built for the coming mortems dominated the conversations, dard of organ building.” The program builder in me delves into the possibili- generations and not for the current and a common thread was how many of merges the resources and expertise of ties. But wait! Steinhardt’s next sen- organist, I’d have a lot of nickels. them had played “The Widor” for the the world’s premier organ builder and tence puts me in exile: How many organists tell of their rela- postlude. I knew that most of these the world’s finest organ designers. Each tionships with their instruments in such musicians play for churches that have Elite organ will be a numbered opus. Instruments that are played at arm’s colorful loving terms? Because organists 10- or 20-stop organs, and I reflected length—the piano, the bassoon, the tym- The first Elite instrument, Opus I, is a pani—have a certain reserve built into cannot take their favored instruments that playing the “The Widor” on any one 3-manual, 60-stop instrument designed the relationship. Touch me, hold me if along to distant gigs, they must make of them would be a little like entering a by Randy Miller, Allen’s vice president you must, but don’t get too close, they peace, love, war, or at least a truce with Volkswagen in a Formula One race. of product development. The primary seem to say. whatever organ they encounter. Widor wrote his famous Toccata for his goal for this design is the support of As a church organist I have had two lifelong partner, the Cavaillé-Coll organ congregational singing and traditional He completes the exclusion: long-term relationships with single at St. Sulpice in Paris, a magnificent worship service organ repertoire. Opus instruments. One was a 10-year stint instrument with five manuals and a hun- I’s stops were selected to ensure a well- To play the violin, however, I must stroke with a terrible organ that seemed to dred stops—but more to the point, a its strings and embrace a delicate body balanced relationship between the vari- with ample curves and a scroll like a per- want to stop me from everything I tried huge instrument in a perfectly enormous ous divisions, each division being com- fect hairdo fresh from the beauty salon. to do. I could hardly bear it. The other building rife with arches, niches, and plementary to the others, but possessing This creature sings ardently to me day was more like 20 years with an adequate statues. (By the way, Widor’s was a com- unique character and purpose. The after day, year after year, as I embrace it. instrument, comprehensive stoplist, mon-law relationship with his instru- instrument’s audio system comprises a good reliability, and a few truly beauti- ment. According to Marcel Dupré’s total of 30 audio channels. My envy of Steinhardt’s relationship ful voices. It didn’t stand in the way of memoir, he was appointed temporary with his instrument is at least a little what I played, but neither did it offer organist at St. Sulpice in 1869 and was assuaged by the beauty-salon simile—I much help. I have been fortunate simply reappointed each year until his can picture a sticky, brittle, slightly enough to have several extra-organic retirement in 1933. He served as tempo- singed concoction that smells of chemi- affairs with instruments I love. These rary organist for 64 years!) The sound of In the wind . . . cals, or Madeleine Kahn as Lili von experiences have allowed me the knowl- the organ rolls around in that building by John Bishop Shtupp in Mel Brooks’s riotous film, edge of what it’s like to play often on an like thunder in the mountains. In such a Blazing Saddles, rebuffing an advance organ that’s truly wonderful. I’m willing grand acoustic, the famous arpeggios of saying, “not the lips.” Some intimacy. to indulge in expanding Steinhardt’s “The Widor” that cost organists’ forearm At arm’s length Harumph. And what about the risk of metaphor to a monumental scale. tendons 128 notes per measure are In recent months I’ve read three simply being jilted? Rather than tucking a loved one under rolled into the grand and stately half- books about the violin, violinists, and In The Violin Maker, Eugene Druck- my chin, I or my fellow organists can note rhythm that is in fact the motion of luthiers: Stradivari’s Genius by Toby er speaks of his instrument “under my become one with a 10-ton instrument the piece. Eight half notes in two mea- Faber (Random House, 2004), Violin ear.” He uses the phrase a number of and with the room in which it stands. sures make a phrase of the melody. If Dreams by Arnold Steinhardt times, his reference to the immediacy you play it on a 15-stop organ in a church (Houghton Mifflin, 2006), and The Vio- of what the violinist hears. After all, the Steeple chase with 125 seats, your listeners hear 256 lin Maker by John Marchese (Harper instrument is barely an inch from the Ours is a picturesque seacoast town notes per musical phrase—an effect Collins, 2007). Faber is a publisher; he player’s ear. I reflect on how powerful a with 19th-century brick storefronts and achieved by pouring buckets of marbles traces the history of six instruments violin’s sound can be, and wonder what several distinctive steeples. One of on a tin roof. made by Antonio Stradivari. Steinhardt long-term effect that has on the player’s those, the white one on the top of the is the first violinist of the Guarneri hearing, but Drucker clearly considers hill that can be seen from miles away, is Quartet, writing about his lifelong quest it an advantage. In contrast, it’s com- leaning to the left (allowing jabs of polit- for the perfect instrument. Marchese is mon to hear an organist complain about ical humor) and threatening to fall. a journalist and amateur musician writ- the instrument being “in my face, the Because the cost of rebuilding the ing about Sam Zygmuntowicz who is a Zimbel in the Brustwerk is unbear- steeple far outstrips the resources of the revered luthier in Brooklyn, New York, able.” That Zimbel is intended to be parish, townspeople have mounted a and Eugene Drucker, a violinist in the heard from 50 feet away—not 30 inch- public save-the-steeple effort. We’d Emerson Quartet, chronicling the es; how we sacrifice for our art! A tuner hate to have to see all those postcards process of the commissioning, creation, will tell you that sitting inside a heavy- reprinted. Last Sunday I participated in and delivery of a splendid instrument. I duty expression box tuning a high-pres- a benefit recital that featured the recommend any and all of these as sure Tuba is not an experience of inti- church’s lovely little William B. D. Sim- excellent reads for anyone interested in macy with music “under your ear.” mons organ (1865?) played by six differ- musical instruments. Tuners, identify with me—it’s the worst ent organists. It was fascinating to hear There is much overlap between the when you stand up to tune the bass in how different the organ sounded as the three books. Each includes a pilgrimage octaves. When you get to bottom G, the occupant of the bench changed. Each to Cremona, the Italian city where the three-foot tall tenor G is necessarily player offered a favorite piece, each world’s best violins were built by gener- right in your ear. At least when you’re player placed different emphasis on dif- ations of Guarneris, one of whom taught tuning a powerful reed en chamade, ferent voices, and each had a different Leonardo da Vinci’s Vitruvian Man (1492) Stradivari, the local boy who eclipsed all you can duck! approach to the attack and release of others by building close to 2,000 instru- Come to think of it, the fact that the notes. And by the way, the steeple fund Proportion is an essential element to ments in a 70-year career, some 600 of tuner climbs ladders inside the instru- was satisfactorily increased. all art. Classic architecture follows clas- In a simple rural setting, it was clear sic proportions. A great painting or a to me that even though Steinhardt great photograph is celebrated for the refers to arm’s-length relationships with balance and proportion of its composi- instruments other than violins (and I tion. A great piece of music is an archi- MANDER ORGANS suppose violas, though he doesn’t men- tectural triumph with carefully balanced tion them), an organist can in fact have proportions. The best sculptors knew an artistic tryst with an instrument. But how to stretch the proportions of the New Mechanical with the violin trilogy in mind, a com- human form so a monumental statue ment made that day by one of my col- would seem in correct proportion when Action Organs
Exquisite Continuo Organs St. Peter’s Square London E 2 7AF • England [t] 011 44 20 7739 4747 [f] 011 44 20 7729 4718 [email protected]
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12 THE DIAPASON WHY
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Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue • Hillsboro, Oregon 97124 503.648.4181 • fax: 503.681.0444 Email: [email protected] • www.rodgersinstruments.com America’s Most Respected Organ Builder viewed from ground level. Leonardo da Children’s choirs singing with Vinci’s famous sketch Vitruvian Man is Music for Voices adults a vivid illustration of how an artist/scien- tist worked to understand natural pro- and organ Give Glory, All Creation, Donna CHANGE IS INEVITABLE. portion, and we print it on neckties and by James McCray Butler. SATB, children’s choir, and lunch boxes to prove how dedicated we keyboard, Concordia Publishing are to correct proportions. House, 98-3681, $1.75 (M-). In modern suburban life we grow Children singing with and without The children, in unison, do not enter GROWTH IS OPTIONAL. used to seeing McMansions—houses adults until halfway through the setting, and that belong on 40-acre estates— their music is primarily singing an crammed together on cul-de-sacs. It’s God sent his Singers upon earth “alleluia” text, although they also sing { really not the houses that are out of With songs of sadness and of mirth. quotations from “Lasst Uns Erfreuen” set —Henry Wadsworth Longfellow scale, it’s the fact that they are twice as (1807–1882) to an Isaac Watts text. The adult music is wide as the distance between them that syllabic with all parts on two staves, often ARTISTRY IS CRITICAL. bothers us. The singing of children is almost in unison. This is a delightful setting that In my opinion, playing “The Widor” always a positive experience. A chil- will have immediate appeal. on ten stops is simply a violation of pro- dren’s choir most often has an audience { portions and can hardly be a rich musical that greatly appreciates them; however, I Sing a Song of the Saints of God, experience—and I have to admit that that is more often linked to matters arr. Hal Hopson. SATB, unison chil- I’ve done it myself many times. Note my other than music. Yet, a well-trained dren, and organ with optional flute, use of quotes. We refer to this chestnut children’s choir is a joy. Choristers Guild (Lorenz Corp.), INTEGRITY AND AN INFORMED as though dear Charles-Marie only Last year my community adult CGA921, $1.60 (M-). wrote one piece, just as “Toccata and chamber choir gave their fall concert This work is designed for possible use POINT OF VIEW,SINCE 1917 Fugue” means only one thing to many with a local children’s choir. We pre- in remembrances of people who have people—you don’t even have to name miered a new work that had been com- died. An alternative performance sugges- the key or the composer before your missioned for the occasion. Based on tion is to use a single G4 handbell, which { mind’s ear flashes a mordent on high A. the poetry of Ogden Nash, it was is rung at the end of the setting then tolled designed so that the children’s choir after each name is read. After this occurs, Trivializing the monumental and adult choir each sang a series of the music for the first 20 measures is then Recently one of my second cousins short movements independently, then repeated. The work may be performed died in an auto accident. It’s a very large the choirs combined for several move- without that special treatment. The chil- family, Nick was an extremely popular ments. This, of course, reduced the dren’s choir sings most of the music, and guy, and at his funeral my parents and I time needed for joint rehearsal. Atten- without the adults for the first four pages. wound up in the last row of a long nar- dance was significantly larger than for Although in unison, the choir is divided row sanctuary with a low ceiling. (Okay, our usual concerts, and the event ulti- into two parts for contrasting areas. The I admit that my father and I were plan- mately was deemed a huge financial flute music is easy, on the back cover and ning a quick escape to get to the Boston and artistic success. used through the entire anthem. This is a Red Sox Opening Day game—the Red Because a large percentage of the very useful work that features the children Sox won!) The three-manual organ was audience comprises parents whose with limited adult singing. in chancel chambers a very long way interest in the broader scope of choral from us. But the organbuilders in all music might be limited, it is advisable to Psalm 96, Frank Ferko. SATB divisi, their wisdom had foreseen the difficulty program carefully. At many events, treble chorus, and organ, ECS Pub- Reuter Organ Co. and included a small exposed especially those at school, it is not lishing Co., 6340, $3.25 (D-). Antiphonal division at the rear of the uncommon for parents to depart the A challenging work that will require 1220 Timberedge Road church. I glanced at it and guessed the concert as soon as their child’s perfor- solid performers. At one point there is a Lawrence, KS 66049 stoplist: Gedeckt 8′, Octave 4′, Mixture mance is complete. This results not only free section with special cueing as the III. Logical enough—I’ve suggested the in embarrassing commotion in the audi- adult sections of the choir enter with 785/843-2622 inclusion of just such a thing in many sit- ence, but also in setting a poor example sustained “floating” notes in an indeter- www.reuterorgan.com uations. A little organ sound from for the children. When singing with minate manner to create a warm tone behind adds a lot to the support of con- adults it is suggested that at least one cluster; the treble choir then enters in gregational singing. During the prelude work be performed in the final set of two parts singing with a more distinct the organist used that Antiphonal music, which minimizes this. Another rhythm. The organ accompaniment is Gedeckt as a solo voice accompanied by alternative is to have a special place in on three staves with registration sugges- enclosed strings in the chancel. Trouble the front of the audience where the chil- tions. Its music is not difficult, some- was, from where we were sitting, you dren enter and exit the stage. Then the times doubling the choral parts. Anoth- couldn’t hear the strings—they were too orderly regimentation of returning to er interesting feature is that Ferko also far away. And when he launched “The their seats avoids a retinue of departing has published a separate organ solo (No. Widor” as the postlude, the effect was audience members. 6341), Toccata on Psalm 96, which was downright silly. What we heard from our When the choristers are very young, written as a companion piece for the seat was that huge piece being played on as is often the case in church, the actu- choral version. Very interesting music three low-pressure chiffy stops with a al music clearly is a tiny part of it all. that would be especially useful for com- subtle hint of a bass melody from far At that tender age their attention span munity choirs wanting to sing with chil- away. (By the way, the organist was a is still limited, so entering and depart- dren’s voices on a concert. friend. He and I shared a wink when I ing the sanctuary quickly is most often went forward with my parents to receive the prudent decision. The training tak- I Am Special, James E. Moore. Communion and we had a fun phone ing place with children under six is SATB, children’s choir, assembly, conversation a few days later, so I expect most often simply developing disci- and keyboard, GIA Publications, G- he’ll chuckle when he reads this!) plined routines rather than exquisite 5734, $1.40 (E). Arnold Steinhardt sees a bassoon “at musical beauty. Both are valuable in This sweet anthem has the children arm’s length,” but think about it—one the long run. singing “I am special,” and then the end of the bassoon is in the player’s There is a story about Napoleon III adults echo “You are special.” The mouth. You don’t have that kind of a (nephew of Napoleon I) who was music is very simple for all parts. An “Bedient’s relationship with a violin. I wonder what once implored by a lady to forbid all optional C instrument part is included Opus 75 he thinks of the organ. I’d love to have smoking on the grounds that it was a on the back cover. The adults sing in is a thrill to play, that conversation with him. I’ve heard of great vice. Laying aside his cigar, he block chords; the emphasis is on the orchestral conductors who claim the replied, “This vice brings in one hun- children throughout. practice and listen. organ is expressionless because you can’t dred million francs in taxes every It not only change the volume of a single note, but year. I will certainly forbid it at O Come to Bethlehem, Ruth Elaine inspires the musician, I’ve heard organ playing so expressive as once—as soon as you can name a Schram. SATB, unison children, key- but it inspires to take your breath away. I look forward virtue that brings in as much rev- board, and optional string synthesiz- the soul.” to hearing lots more organ music played enue.” The same may be said for er, Carl Fischer, CM8774, $1.60 (M). Mark J. Ludwig II, Director of Music with expression, chosen in proportion to adult choirs who perform with chil- This Advent setting incorporates the Saint Agatha Catholic Church the instrument and surroundings of the dren’s choirs; generally it is a safe box music of “O Come, Little Children” and Columbus, OH day. Join me, dear colleagues, in pro- office bonanza. With that in mind, the traditional “O Come, All Ye Faith- moting the organ as the expressive half the reviews this month feature ful.” The string synthesizer plays long, bedientorgan.com instrument that envelops you and moves works for children’s choirs singing sustained chords that provide a back- 800-382-4225 the masses with its powerful breath. I with adult voices. ground. The adults’ music is on two
RONALD CAMERON BISHOP Consultant Robert I. Coulter David Petty & Associates Organbuilders Pipe Organs Digital Enhancements Organbuilder All-digital Instruments Atlanta, GA 404.931.3103 27 Marlboro Lane • Eugene, OR 97405 8608 RTE 20, Westfield, NY 14787-9728 Coulterorgans.com (541) 521-7348 [email protected] Tel 716/326-6500 Fax 716/326-6595
14 THE DIAPASON staves, and is a development of the tra- years in Berlin and the broad influence music for the piano arises in the context never known a greater Bachian than ditional carol; it is recognizable yet of Bach’s sons on the Mendelssohn fam- of Mendelssohn’s relations with Schu- Johannes Brahms,” according to Stinson. modified with a different text. The spir- ily. It also includes an account of mann’s bride-to-be, Clara Wieck. Schu- In this section (the longest in the book), it of the music has excitement and the Mendelssohn’s “grand tour” throughout mann continued to champion Bach’s miscellaneous assorted topics are dis- tempo is fast. major European countries (a “Bach pil- organ music, which he did in an article cussed in varying degrees: Brahms’s grimage”), where he performed on vari- in the scholarly publication, Neue recitals that frequently included the Children’s choir without adults ous organs and consulted with several Zeitschrift, in 1842. He finally turned to works of Bach and their reception by the notable musical figures of the time. The the organ as a compositional medium. musical public (the F-major toccata was The Lord Is My Shepherd, Allen discourse on Mendelssohn’s young The remainder of this part, “Dresden probably played more often to enthusias- Pote. Two-part children’s choir and adulthood explores his search for a pro- and Beyond,” describes Bach’s fugues tic audiences than any other organ work piano, Choristers Guild (Lorenz), fessional position. One section, “The as compositional models (for example, by Bach); appreciative accounts of the CGA930, $1.50 (M-). Leipzig Bach Recital,” identifies this Bach’s “St. Anne” fugue), and other evi- “organ fantasy”; Brahms’s hosts on these Although not difficult, the piano part event in which he offered to the public dence that links Schumann to Bach’s occasions who were redoubtable con- is somewhat busy, often with flowing for the first time a full-length, all-Bach organ music. Other significant events noisseurs of Bach’s music; a table of arpeggios. The calm anthem begins in program, performed on an instrument include his appointment as municipal Brahms’s performances of Bach’s organ unison then later moves into two parts, on which Bach himself had played (a music director of the city of Düsseldorf, works by dates and places; an identifica- usually with both parts singing the same detailed account by Robert Schumann is his final responsible position. tion of theoretical sources that indicate rhythms. The setting is lovely with the provided); these works were mostly per- Part Three, “Franz Liszt,” opens with Brahms’s strength as a scholar of Bach’s majority of the children’s music in uni- formed from memory, and included a the report that Liszt’s father ensured organ works; the influence of the leading son. A sure winner! concluding improvisation, conforming that his son was thoroughly familiar with music scholar, Philipp Spitta, on Brahms; with the prevailing practice. (A photo- Bach’s works by playing and transposing and Brahms’s inscriptions in the organ- An Irish Benediction, Antony Bald- copy of the original program is included, Bach’s fugues, thus ensuring more than music volumes of the Bachgesellschaft win. Unison treble voices and key- which adds to the authenticity of the a passing interest in them. In his later edition of Bach’s works. Intricate subsec- board, Oxford University Press, 0- report.) The section on Mendelssohn’s life, Liszt secured a reputation as the tions include such topics as the marking 19-386704-4, $1.30 (E). final years mentions that Mendelssohn leading pianist in the world, and estab- of themes and motives; the marking of The two-page simple setting is a tran- would continue to champion Bach’s lished the concept of the piano recital, musical form; the marking of rhythmic, quil setting of the familiar text. The works until the end of his tragically short as it is known today. “Lisztomania” was harmonic, melodic, and contrapuntal accompaniment has indications for life. A table of 37 dates, places, and the term coined by the poet Heinrich irregularities; comparative readings, sug- organ with registrations and notes to be works performed concludes this part. Heine to describe the public’s enthusi- gested readings, and corrections; the played in the pedal. The anthem has a Part Two, “Robert Schumann,” cov- astic response to Liszt’s performances; marking of ornamentation; fingerings wide vocal range with “g” as the top ers this composer’s activities in both Liszt’s publication of his piano tran- and miscellaneous annotations. A con- note. There also is an SATB unaccom- Leipzig and Dresden and beyond. This scriptions of several major Bach works cluding passage discusses Brahms as panied version (0-19-386703-6) for sale section describes Schumann’s for organ ensured this reputation. scholar-composer, referring to the from Oxford. encounter with Bach’s organ chorales Part Four, “Johannes Brahms,” opens eleven chorale preludes, op. 122. In the and Mendelssohn’s role in this event. with a description of Brahms’s reaction last paragraph of the book, Stinson I Will Lift up Mine Eyes unto the The problem of transcribing organ to the music of Bach: “Music history has reminds the reader: “Brahms’s collection Hills, Martin Hotton. Two-part tre- bles and piano, Paraclete Press, PPM0050, $1.60 (M). There is a somewhat sophisticated, soloistic piano part. The music goes through several modulations, with a wide variety of dynamics and two brief areas that move into four-part choral chords. This setting would also be useful ... a voice for my soul for an adult women’s choir. Deep River, arr. Allan Bevan. Two- part trebles and descant with piano, Colla Voce Music, Inc., 20-96570, $1.40 (M). The tempo of this familiar spiritual is slow with some rubato. The keyboard plays throughout and adds to the drama of the music. A descant is used on the third and final verse; however, the full choir is singing in unison so it continues to sound as two-part singing. The arrangement is well constructed without being overly difficult. An excellent con- cert piece for children’s choir. I Will Bless the Lord at All Times, Aaron David Miller. Unison chil- dren’s choir and piano, Augsburg Fortress, 0-8006-7750-1, $1.60 (E). The text is an adaptation of Psalm 34, with the opening section repeated to the same words. The accompaniment dou- bles the choir. There are wide ranges of dynamics and very tuneful, syllabic melodies for the singers. This energetic work is a little longer than typical chil- dren’s choir settings, but sections are repeated in a new key.
Book Reviews
The Reception of Bach’s Organ Works From Mendelssohn to Brahms, by Rus- sell Stinson. Oxford and New York: Oxford University Press, 2006. 232 pages, $45. Orders: Oxford University Press, Tel: 800/451-7556; Fax: 919/677-1303;
JULY, 2007 15 represents the most profound response ancestry, and this led to the Nazis nally laid down for their use in the Mass. 5, Farrar; Impromptu in G, Postlude, to Bach’s organ works in the whole histo- imprisoning Petr Eben in the Buchen- The reign of Wenceslas I (921–935) is Alcock; Legend in A-flat, Bairstow; ry of music.” wald concentration camp, where he was one of the best-known episodes in the Installation March, Stanford. An appendix consists entirely of subjected to great hardships and from history of the Czech Republic, and the Graham Barber (born 1948) is a pro- Johannes Brahms’s study score of the which he was very lucky to escape with legend of “Good King Wenceslas” has fessor of performance studies at Leeds Fantasy in G Major, BWV 572. his life. Since the end of the war he has been familiar in the English-speaking University and the Royal Northern Col- This thoroughly researched book is by and large devoted himself to teaching world ever since Anne of Bohemia mar- lege of Music, Manchester, and is supported by a list of 242 works—in and composition, most recently as pro- ried King Richard II of England in 1382. organist at St. Bartholomew’s Church, English, French, and German—that fessor of composition at the Prague Few Czech composers for the organ Armley, Leeds, where he plays one of range, alphabetically, from Christoph Academy of Music. have been able to resist the temptation the finest pipe organs in England, built Albrecht’s two-volume, Felix Mendels- Such is Eben’s popularity at present to write music based on the Wenceslas by the German organ builder, Edmund sohn Bartholdy: Neue Ausgabe sämtlich- that several companies have recently chorale, and Petr Eben’s contribution is Schulze. In the United Kingdom and er Orgelwerke (Bärenreiter, 1993–94), undertaken to produce recordings of his his Festive Voluntary: Variations on Europe, his recitals have received excel- to Pietro Zappala’s Dalla Spree al complete organ works, and this compact “Good King Wenceslas.” This was writ- lent reviews, and a reviewer in The Tevere: il diario del viaggio di Felix Men- disc is the first of a planned Calcante ten for the dedication of the new Man- Gramophone magazine described him delssohn Bartholdy verso l’Italia Recordings five-CD set. It is recorded der organ in Chichester Cathedral in as “one of the organ world’s finest (1830–1831). The book’s jacket pro- on the III/64 mechanical-action Hell- 1986. Under these circumstances Eben recording artists.” This is the latest of claims that this uniquely comprehensive muth Wolff & Associés’ organ, Op. 40, in naturally designed the piece to show off many recordings he has made for Prio- discussion is a significant contribution to the Bales Recital Hall of the University the resources of the organ, especially the ry’s Great European Organs series. the literature on the so-called Bach of Kansas in Lawrence, Kansas. The reeds, to the best possible advantage, The CD is subtitled Symphonic revival. For this reason, as well as its instrument benefits greatly from the and this is very much apparent in the Organ Music from the Edwardian Era, engaging readability, it can be strongly acoustics of the hall, which was largely present recording. At just under nine and the Ripon Cathedral organ—the recommended to the attention of organ- planned and built with the organ in minutes in duration, it is the longest orchestral tonal scheme of which has ists and friends of Mendelssohn alike. mind. The performers are the husband- piece on the recording. A joyful and remained virtually unchanged since the —James B. Hartman and-wife team of Michael and Marie ebullient piece, it builds up to a grand early 20th century—is tailor-made for The University of Manitoba Rubis Bauer. Michael Bauer is Professor climax at the end. its performance. The organ’s foundation Winnipeg, MB, Canada of Organ and Church Music at the Uni- Michael Bauer’s contribution to the is a three-manual, 49-stop instrument versity of Kansas in Lawrence, and recording consists entirely of the eight built by T. C. Lewis in 1878, and, Marie Rubis Bauer is Director of Cathe- movements of Petr Eben’s suite, Job, between 1912 and 1926, Harrison & dral Music Ministry at St. Cecilia’s commissioned for the Harrogate Inter- Harrison revoiced and enlarged it to New Recordings Cathedral in Omaha, Nebraska. national Festival of 1987. This deeply four manuals and 59 stops. Although not Marie Rubis Bauer begins the pro- theological work examines the human large by British cathedral standards, gram with Eben’s Two Festive Preludes, condition, humanity’s sufferings, and the Barber’s performance proves Ripon’s Petr Eben: The Complete Organ published in 1994, and intended for the way in which God helps the individual to organ can comfortably produce the Works, Vol. 1. Michael Bauer and feast day of a confessor bishop. The first accept his or her fate. Each of the eight wide range of timbres and dynamic that Marie Rubis Bauer; Wolff organ, of these, based on the plainsong theme movements is introduced by a quotation the scores require. Bales Recital Hall, The University “Ecce sacerdos magnus,” is a series of from the Book of Job, and the work pro- His performance is characterized by of Kansas. Calcante Recordings, jubilant fanfare-like passages making gresses through Job’s afflictions to his technical mastery and insightful musi- Ltd. CAL CD027; available from effective use of the Trompette française final reward. Several plainsong themes cality, and Priory Records faithfully cap- the Organ Historical Society stop of the Wolff organ, followed by are again evident, including the Exsultet tures the mellifluous sounds of the ($14.98 plus shipping), contrasting passages on the fluework. and “Veni Creator Spiritus,” while the Ripon Cathedral organ. The reviewer
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16 THE DIAPASON parts enter unobtrusively and the Against this, the left hand and feet add a note arpeggios, punctuated by occasion- crescendos build and wane smoothly, a legato melodic idea and a sketchy New Organ Music al diatonic chords in the right-hand part, volatile, chromatic developmental mid- accompaniment. some of which have pungent added dle section, à la Elgar, grows three In many ways, the Klais is very differ- “wrong notes.” The Toccata ends times to convulsive climaxes in which ent from the Cavaillé-Coll organ that David M. Cherwien, Toccata and abruptly on a dominant ninth chord in F the Tuba blazes splendidly. Barber’s Guilmant played in La Trinité Church, Fugue on “Rise, Shine, You People!” major and leads directly into the Fugue, mastery of the symphonic organ style of Paris. However, Trotter’s convincing Augsburg Fortress, 11-10523, $7.00, which is of the double fugue variety in playing, which was in fashion in the performance of the Guilmant First
CD is good on all counts. HENDRICKSON WOOD & GOULDING GARLAND FISK DYER R. DOBSON FRERES CASAVANT The largest mechanical-action organ in the United Kingdom, the Johannes Klais 6000-pipe instrument heard on this CD was built in 2001 for Birming- ham Symphony Hall (1991), whose acoustics are widely considered among the finest in the world. The hall has a huge reverberation chamber that can be opened or closed so that the room per- fectly matches the scale and style of the music performed. In this recording, the doors to this chamber are fully open, so that there is clarity and reverberation. The instrument consists of 82 stops over four manuals, with enclosed Swell and Solo divisions. It has a tonal scheme that accommodates the performance of all historical styles of music. The orchestral stops are beautiful, but they do not imi- tate closely the orchestral instruments’ timbres on which they are based. Rubrics (1988), by Locklair (born 1949), is one of the most frequently played organ works by an American composer. Its success is partly due to its style, perhaps, which has been described as “contemporary music with a friendly face.” Indeed, although it is dissonant and modern, the music is warm and easy to enjoy. Trotter plays the first, third, and fifth movements at breakneck speed, in a joyous, assertive fashion that is breathtaking. He stimulates the ear with a thrilling panoply of powerful, short, bright dissonant sounds in the first and fifth movements. In these two movements there are eruptions of crack- ling rhythmic energy, characterized by the incessant repetition of small note patterns and little harmonic activity. Sandwiched between the outer pair of movements are two soft and reflective movements (the fourth movement was played at President Ronald Reagan’s APOBA funeral in Washington Cathedral in 2004), separated by a jazzy, sizzling dance that Trotter performs on the Solo We Finish What We Start division’s Trompette en chamade. With Miroir (1988), Wammes (born And you can count on us tomorrow, and for generations of tomorrows! 1953) achieved an international break- through, judging by the fact that Trot- ter, David Sanger, and John Scott are To receive information about pipe organs among the luminaries who have played it; this is the third time the work has A and recognized pipe organ builders been recorded, and Boosey & Hawkes is P write or call toll free 1-800-473-5270 working on a reissue of the score. Reflecting the Dutch composer’s back- O or on the web @ www.apoba.com ground in electronic and symphonic BA Associated Pipe Organ Builders of America rock music, Miroir is soft and fast, and pervaded with shimmering, hypnotic P.O. Box 155 • Chicago Ridge, Illinois 60415 sounds that might be seen to create an TT PARSONS QUIMBY REDMAN SCHANTZ SCHOENSTEIN TAYLOR & BOODY impression of delicately dancing images O reflected on a mirror. This effect is achieved primarily with an evolving, NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP jazzy, ostinato figure for the right hand.
JULY, 2007 17 the two fugue subjects worked into a which the mood of the first verse of the 16th-note linear counterpoint is perva- over gently roaming, mildly dissonant tapestry of 32nd-note passage work and hymn, “Come, you, faithful, raise the sive, with periodic chains of parallel manual harmonies underpinned by long cluster chords. The work ends with a strain Of triumphant gladness!” is cap- root-position triads and chopstick pedalpoints for the feet. In Variation 3, majestic cadential passage built on short tured. This is a majestic march, with dia- effects for alternating hands. Mean- the hymn tune is harmonized in parallel references to the two fugue subjects. tonic block chords peppered with added while, Horn’s tune is thundered out in perfect fourths, and, reflecting Watts’s The virtuosity, many calls for full organ, “wrong notes” in the manuals, and pedal the pedal in the manner of a cantus fir- words “Blessings abound where’er he and a pervasive sense of drama make this interjections that call for double pedaling. mus in long notes. reigns, The prisoners leap to lose their composition tailor-made for the per- In the second variation, which is a Partita on “Come, You Faithful, Raise chains,” there is a backdrop of leaping former who enjoys playing to the gallery. soft, fast movement, there is the idea of the Strain” calls for an advanced tech- quasi-imitative counterpoint in eighth- sprightliness and joy inherent in the sec- nique and is a recital piece. However, notes and slower moving descending David M. Cherwien, Partita on ond verse of the hymn, “This the spring movements might be played as preludes motifs. Cherwien brings down the cur- “Come, You Faithful, Raise the of souls today.” Over a moto perpetuo of and postludes at church services. tain on the work with a toccata that Strain.” Concordia Publishing oscillating eighth notes in the left hand depicts the last verse of Watts’s text, House, 97-6533, $8.50, part and intermittent quarter-note pedal David M. Cherwien, Variations on “Let every creature rise and bring.”
18 THE DIAPASON Mendelssohn the Organist William Osborne
harles Edward Horsley (1822–76), English Organs CMendelssohn’s composition student His contact with various English in Leipzig for two years beginning in organs has been well documented. On 1841 and later a family friend of the his second visit to Britain he often composer, first met Mendelssohn in played the closing voluntary or extem- London in 1832 during the second of porized at St. Paul’s Cathedral, at that this well-traveled cosmopolitan’s ten vis- point the only organ in the country with its to England. Through Horsley, Men- a pedalboard sufficient to accommodate delssohn was introduced to George the works of Bach without what one Maxwell, a student of the then-famed observer called “destructive changes.” Johann Nepomuk Hummel (1778–1837) On September 8, 1837 he played sev- and organist of St. John’s, Hyde Park, eral Bach fugues on a two-manual instru- whose modest two-manual instrument ment in St. John’s, Paddington. Two days built by J. C. Bishop Mendelssohn had later Mendelssohn was the focus of a par- expressed an interest in playing. ticularly memorable event following Evensong at St. Paul’s, described in deli- Such were the small means placed at cious detail by Henry John Gauntlett Mendelssohn’s disposal, but he made the (1805–76), himself an organist of consid- most of them, and many happy afternoons erable accomplishment: were spent in hearing his interpretation of Pencil portrait of Mendelssohn by Wil- Bach’s Fugues, his wonderful extemporiz- [Mendelssohn] had played extemporane- helm von Schadow, April 1834 ing, and the performance of his own ously for some time, and had commenced Sonatas, and other Organ pieces, then the noble fugue in A minor, the first of the only existing in his memory. As the reports six grand pedal fugues of Sebastian Bach, of these meetings became spread through October 5], the father of English organ- when the gentlemen who walk about in ists, was present and remained not the the town, other and larger organs were bombazeen [sic] gowns and plated sticks, placed at his disposal, and at St. Paul’s least gratified auditor, and expressed his became annoyed at the want of respect delight in terms of unmeasured approba- Cathedral, Christ Church, Newgate St., displayed by the audience to their ener- St. Sepulchre’s, and many other London tion. At the expressed desire of M. Men- getic injunctions. “Service is over,” had delssohn, who wished that he could here- churches he played on several occasions, been universally announced, followed by giving the greatest delight to all who had after say he had heard Wesley play, the A sketch of Mendelssohn at the age of the command “you must go out, Sir.” The veteran took his seat at the instrument and the good fortune to hear him. I have heard party addressed moved away, but the most of the greatest organists of my time, eleven by an unknown artist extemporized with a purity and originality crowd got no less; the star of Sebastian was of thought for which he has rendered his both [sic] English, German and French, in the ascendant. The vergers of St. Paul’s but in no respect have I ever known Men- organ is always to be found in this coun- name ever illustrious. The touch of the are not without guile, and they possessed instrument, however, requires a strong delssohn excelled either in creative or try; they are certainly small, and the sufficient knowledge of organ perfor- executive ability, and it is hard to say and vigorous finger, and Mr. Wesley who lower octave, both in the keyboard and mance to know that the bellows-blower is at present an invalid was unable to satis- which was the most extraordinary, his was not the least important personage manipulation or his pedipulation—for his the pedal, imperfect, or as I call it, crip- fy himself although he could gratify those pled; but still they are organs, and this is engaged in that interesting ceremony. around him.8 feet were quite as active as his hands, and Their blandishments conquered, and just the independence of the former, being enough for me.” He mentioned turning as Mendelssohn had executed a storm of totally distinct from the latter, produced a the D-major fugue subject of the first pedal passages with transcendent skill and On September 19, as part of the tri- result which at that time was quite book of Bach’s Well-Tempered Clavier energy, the blower was seduced from his ennial music festival in Birmingham, unknown in England, and undoubtedly into a pedal exercise: post and a farther supply of wind forbid- Mendelssohn first tried the 1834 four- laid the foundation of a school of organ den, and the composer was left to exhibit manual instrument by William Hill in playing in Great Britain which has placed I instantly attempted it, and I at least see the glorious ideas of Bach in all the digni- the Town Hall, and then improvised on English organists on the highest point that it is far from being impossible, and ty of dumb action. The entreaties of attainable in their profession.1 that I shall accomplish it. The subject themes from Handel’s Solomon and a friends, the reproofs of minor canons, the Mozart symphony, both part of the went pretty well, so I practiced passages outraged dignity of the organists, were of 9 Horsley’s memoir can serve to remind from the D major fugue, for the organ, no avail; the vergers conquered and all same program. us that Felix Mendelssohn (1809–47), a from the F major toccata, and the G retired in dismay and disappointment. We On July 9, 1842 Mendelssohn paid a child prodigy (Robert Schumann was to minor fugue, all of which I knew by heart. had never previously heard Bach executed visit to Queen Victoria and Prince call the man whose first compositions If I find a tolerable organ in Munich, and with such fire and energy—never wit- Albert in Buckingham Palace and then date from 1820 the “Mozart of the nine- not an imperfect one, I will certainly con- nessed a composition listened to with described the encounter in a charming teenth century”), prolific composer in quer these, and feel childish delight at the greater interest and gratification . . .6 letter to his mother written in Frankfurt idea of playing such pieces on the organ. virtually every medium available to him, The F major toccata, with the modulation on July 19: conductor of a vast repertory (for exam- at the close, sounded as if the church Two days later Mendelssohn impro- ple, for two years as city music director were about to tumble down: what a giant vised and managed to navigate the Prince Albert had asked me to go to him of Düsseldorf, where he mounted per- that Cantor was!3 entire piece on a three-manual instru- Saturday at two o’clock, so that I might try formances of at least five Handel orato- ment in Christ Church, Newgate (built his organ before I left England. I found him alone; and as we were talking away, rios in his own arrangements, and later Alas, the organ on which he practiced by Renatus Harris in 1690, enlarged by the Queen came in, also quite alone, in a for a decade at the helm of the famed in Munich was also “crippled,” as he William Hill in 1834 and considerably 7 house dress. She said she was obliged to Gewandhaus Orchestra in Leipzig), key- mentioned in a letter to sister Fanny on altered by that builder in 1838). leave for Claremont in an hour; “But, boardist, teacher (particularly as found- October 6, 1831: Gauntlett, the “evening organist” of the goodness! How it looks here,” she added, ing director of the Leipzig Conservatory church, was again present: when she saw that the wind had littered in 1843), impresario, visual artist and I also play on the organ every day for an the whole room, and even the pedals of the poet was, unlike most of the German hour, but unfortunately I cannot practice Many who were probably present on organ (which, by the way, made a very giants of the 19th century, very much properly, as the pedal is short of five upper the Tuesday morning at Christchurch pretty feature in the room), with leaves of involved with the organ as a means of notes, so that I cannot play any of Sebast- [sic], were probably attracted there more music from a large portfolio that lay open. ian Bach’s passages on it; but the stops are by the desire to see the lion of the town, As she spoke, she knelt down and began musical communication. wonderfully beautiful, by the aid of which than from an earnest attachment to classi- picking up the music; Prince Albert you can vary choral[e]s; so I dwell with cal music: but all were charmed into the helped, and I too was not idle. Then Prince Mendelssohn the Keyboardist delight on the celestial, liquid tone of the most unbroken silence, and at the conclu- Albert proceeded to explain the stops to Mendelssohn began formal piano instrument.4 sion only a sense of the sacred character of me, and while he was doing it, she said that study with noted Berlin pedagogue the building prevented a simultaneous she would put things straight alone. Ludwig Berger (1777–1839) in 1815, He wrote his parents from Düssel- burst of the most genuine applause. But I begged that the Prince would first and made his recital debut three years dorf on August 4, 1834 about an outing M. Mendelssohn performed six extem- play me something, so that, as I said, I later at the age of nine. He then studied to “Werden, a charming retired spot, pore fantasias, and the pedal fugue he was might boast about it in Germany; and not allowed to go through with at St. thereupon he played me a chorale by the organ with August Wilhelm Bach where I wished to inquire about an Paul’s. Those who know the wide range of heart, with pedals, so charmingly and (1796–1869) (who had no direct famil- organ; the whole party drove with me passages for the pedals with which this clearly and correctly that many an organist ial connection to the earlier Bach there; cherry tarts were handed to me fugue abounds, may conceive how per- could have learned something; and the dynasty, although he was a staunch on horseback out of the carriages. We fectly cool and collected must have been queen, having finished her work, sat advocate of the music of its most dined in the open air at Werden; I the organist who could on a sudden emer- beside him and listened, very pleased. famous citizen), perhaps from 1820 into played fantasias and Sebastian Bachs gency transpose them to suit the scale of Then I had to play, and I began my chorus 1823, and wrote his first pieces for the [sic] on the organ to my heart’s content; an ordinary English pedal board. His mind from “St Paul”: “How lovely are the Mes- instrument during that period. Bach, then I bathed in the Ruhr, so cool in the has become so assimilated to Bach’s com- sengers!” Before I got to the end of the positions, that at one point in the prelude, first verse, they both began to sing the then the organist of St. Mary’s Church evening breeze that it was quite a luxu- either by accident or design, he amplified chorus very well, and all the time Prince and later director of the Institute for ry, and rode quietly back to Saarn.” In and extended the idea of the author, in a Albert managed the stops for me so Church Music, published four volumes that same letter he talked of another manner so in keeping and natural that expertly—first a flute, then full at the of organ works between 1820 and 1824 those unacquainted with its details could forte, the whole register at the D major and surely had a significant influence on handsome new organ [that] has just been not by any possibility have discovered the part, then he made such an excellent his teenaged student. put up at considerable expense in a large departure from the text . . . diminuendo with the stops, and so on to choir room, and there is no way to reach it His extempore playing is very diversi- the end of the piece, and all by heart— Although Mendelssohn probably con- 10 sidered the piano his principal instru- but by narrow dark steps, without win- fied—the soft movements full of tender- that I was heartily pleased. dows, like those in a poultry-yard, and ness and expression, exquisitely beautiful ment, he was obviously fascinated by where you may break your neck in seven- and impassioned—yet so regular and the organ, was intent on developing a teen different places; and on my asking methodical, that they appear the produc- In early 1845 Mendelssohn was living significant organ technique, and seldom why this was, the clergyman said it had tions of long thought and meditation, from in Frankfurt, where he was visited by missed an opportunity at least to try the been left so purposely, in order to prevent the lovely and continued streams of W[illiam] S[mith] Rockstro (1823–95), instruments he encountered on his any one who chose, running up from the melody which so uninterruptedly glide later a composition student of the mas- extensive travels.2 For example, he church to see the organ. Yet, with all their onwards in one calm and peaceful flow . . . ter. They met at St. Catherine’s, where cunning, they forget both locks and keys: Mr. Samuel Wesley [(1766–1837) wrote from Sargans, Switzerland on 5 Mendelssohn played through all six of his September 3, 1831 that “happily an such traits are always painful to me. Gauntlett’s teacher, who was to die on sonatas, soon to be published. Rockstro
JULY, 2007 19 A drawing of Prince Albert playing the organ before Queen Victoria and Mendels- sohn at Buckingham Palace, artist unidentified was later to recall the “wonderfully deli- The formal recital was framed with cate staccato of the pedal part in the improvisations. The first served as a pre- [Andante con moto] of the 2nd [pub- lude to the “St. Anne” fugue. According lished as the fifth] sonata played with all to Schumann, the other was based on the crispness of Dragonetti’s mostly the Lutheran chorale O Haupt voll Blut highly finished pizzicato.”11 und Wunden (the language by Paul Ger- hardt commonly translated as “O sacred Mendelssohn the Romantic? head, now wounded”) and ended with a Mendelssohn’s drawing of the organ of the Church of the Holy Spirit in Hei- Mendelssohn lived his tragically fugal passage that included the BACH delberg, 1826 short life during that century that we motto (H equaling B-natural), “rounded somewhat glibly define as the Roman- to such a clear and masterly whole, that recitative; an awareness of the English Andante sostenuto—Allegro molto— tic Era. Romanticism in the realm of if printed, it would have appeared a fin- voluntary tradition of the preceding Fuga—Finale, Andante music conjures up imagery of unbri- ished work of art.”13 Mendelssohn’s ado- century (a slow introductory section fol- In July 1844 the English publisher dled, passionate expression, particular- ration of the Leipzig master is also lowed by a faster, sometimes fugal sec- Charles Coventry initiated what became ly through the use of luxuriant chro- reflected in the fact that, other than tion); and the lyric, one-movement opus 65 by commissioning Mendels- matic harmonies (with Wagner as the improvising and his own works commit- character piece, the sort of expression sohn to write a set of three voluntaries ultimate exponent of such an ted to paper, Mendelssohn as an organ- that was to flower fully in, for example, for the organ. On August 29 Mendels- approach), as well as attempts at musi- ist, with passing exceptions, otherwise Mendelssohn’s Songs Without Words sohn wrote Coventry, asking that the cal pictorialism at a time when purely played only Bach. for the piano. Idioms that seem more label “sonata” replace “voluntary,” say- instrumental music was being touted as natural at the piano do appear; ing that he didn’t quite understand the the ultimate means of expressing the As a Composer of Works for the Mendelssohn’s virtuosity on the pedals precise meaning of the latter term. He otherwise inexpressible. Mendelssohn Organ results in demands on the feet that continued to assemble individual move- surely had a gift for the pictorial; as Until recently, most were aware of equal those made of the hands. ments, some reworked from earlier witness, the “Italian” and “Scottish” only two sets of published pieces by efforts, some new for the occasion, and Symphonies, his Calm Sea and Pros- Mendelssohn for the organ: the Three The Published Works finally committed himself to what was perous Voyage (an “Overture after Preludes and Fugues, opus 37, issued in Three Preludes and Fugues, opus published in April 1845. At one point Goethe”), or The Hebrides (or “Fingal’s 1837 and dedicated to Thomas Attwood 37 there was discussion about titling the Cave”), another orchestral overture, (1765–1838), a student of Mozart and Little, volume I collection “Mendelssohn’s School of this one generated by a visit to the west organist of both St. Paul’s Cathedral and Published in 1837 simultaneously in Organ-Playing,” suggesting that the coast of Scotland. the Chapel Royal; and the Six Sonatas, London by Novello and in Leipzig by pieces could serve a didactic function, However, scholars agree that much of opus 65, issued in 1845. However, due Breitkopf & Härtel but that label was abandoned prior to his work was inspired by an obvious to the splendid and meticulous scholar- The Novello edition was dedicated to publication. Given their evolution, it admiration of the idioms of Bach, Han- ship of Wm. A. Little, since 1989 we “Thomas Attwood Esqre / Composer to should come as no surprise that these del and Mozart, music of balanced for- have been offered access to a larger cor- Her Majesty’s Chapel Royal.” The Breit- assemblages do not meet textbook defi- mal structures and elegant clarity. This pus of work. Dr. Little studied manu- kopf & Härtel edition was dedicated to nitions of what a typical four-movement is particularly evident in what he wrote scripts found in libraries in Berlin and [in translation] “Mr. Thomas Attwood / sonata ought to be, although No. 1 hints for the organ, as well as what he played Kraków, Poland, and has made available Organist of the Chapel Royal / in Lon- at the conventional (its opening loose on the instrument. He learned his rev- through a five-volume collection pub- don / with Respect and Gratitude.” sonata-form movement finds a double erence for Bach through his studies in lished by Novello a considerable num- Prelude and Fugue in C minor in the first movement of No. 4). theory and composition with Carl ber of preludes, fugues, duets, sets of Prelude and Fugue in G major Chorales appear in four of the sonatas. Friedrich Zelter (1758–1832), director variations and individual movements Prelude and Fugue in D minor Fugal writing appears in all but No. 5, of the Berlin Singakademie, who incul- simply defined by their tempo mark- Initial versions of the three fugues had and No. 3 contains a brilliant double cated those contrapuntal principles we ings. Many of these are preliminary ver- apparently been written earlier fugue. Even the minimal suggestions of find employed so fruitfully in the organ sions of what was later published by (although only that in C minor appears registration and terraced dynamics sug- works. Father Abraham Mendelssohn Mendelssohn, and some are inconse- in the Little edition) and were simply gest a retrospective viewpoint. acknowledged the impact of Zelter’s quential juvenilia (including Mendels- mated with preludes written during tutelage in a letter of March 10, 1835: sohn’s earliest work for the organ, a Mendelssohn’s honeymoon of early The Previously Unpublished Praeludium in D minor dated Novem- April 1837. Organists should be aware of Works I felt more strongly than ever what a great ber 28, 1820, written at a time when he and perhaps consult for stylistic compar- Little, volume I merit it was on Zelter’s part to restore was studying with A. W. Bach), but a isons Mendelssohn’s Six Preludes and Fugue in C minor [Düsseldorf, July Bach to the Germans; for, between handful of the truly independent move- Fugues, opus 35, for the piano, which 30, 1834] [Johann Nikolaus] Forkel’s day [1749–1818] and his, very little was ever ments warrant performance, and Dr. had been written over a period of years Fughetta in D major [July 1834?] said about Bach . . . [I]t is an undoubted Little’s work allows the possibility of a prior to their publication, also in 1837. Two [Duet] Fugues for the Organ in fact, that without Zelter, your own musical better understanding of Mendelssohn’s C minor and D major [Düsseldorf, Jan- tendencies would have been of a totally evolution as a composer by comparing Six Sonatas, opus 65 uary 11, 1835] different nature.12 preliminary with more mature versions Little, volume IV Fugue in E minor [Frankfurt, July 13, of familiar movements from the pub- Published in 1845 simultaneously by 1839] It was with Zelter’s Singakademie that lished pieces. Coventry & Hollier in London (Six Fugue in C major [Frankfurt, July 14, the 20-year-old Mendelssohn conduct- “[Mendelssohn’s] compositions were Grand Sonatas for the Organ), Breit- 1839] ed his famed “revival” of Bach’s Passion reflections of his celebrated improvisa- kopf & Härtel in Leipzig (Sechs Sonaten Fugue in F minor [Frankfurt, July 18, According to St. Matthew on March 11 tions, which had as a foundation the für die Orgel) and Giovanni Ricordi in 1839] and 21, 1829. polyphonic traditions of the Baroque. Milan (Sei Sonate per Organo); 6 Fughetta in A major A prime symbol of Mendelssohn’s The mature organ compositions went Sonates pour l’Orgue ou pour Piano à 3 Prelude in C minor [Leipzig, July 9, adulation of Bach is the recital he beyond a single style of music, however, mains was issued by Maurice 1841] played on August 6, 1840 in the St. and exhibited a skillful combination of Schlesinger of Paris in 1846. The first two pieces became the basis Thomas Church in Leipzig as a means Baroque and Romantic characteristics, Sonata I in F minor: Allegro modera- for the third, inscribed as “Two fugues of raising funds to build a memorial to masterfully integrated by his distinctive to e serioso—Adagio—Andante recitati- for the Organ / to Mr. Attwood with the Bach, a goal finally achieved with its musical personality.”14 Although finally vo—Allegro assai vivace author’s best and sincere wishes.” An unveiling on April 23, 1843. The sub- and distinctly “Mendelssohnian,” one Sonata II in C minor: Grave—Ada- accompanying letter informed Attwood stantial repertory consisted entirely of can delineate a handful of distinct gio—Allegro maestoso e vivace—Fuga, that “I take the liberty of sending to you works by the honoree: idioms in his works for organ: fughettas Allegro moderato two fugues for the Organ which I com- and fully developed fugues (obviously Sonata III in A major: Con moto posed lately, and arranged them as a Fugue in E-flat major (“St. Anne”), BWV based on an understanding of the maestoso—Andante tranquillo duet for two performers, as I think you 552 Bachian model, but not slavishly depen- Sonata IV in B-flat major: Allegro con told me once that you wanted some- Prelude on “Schmücke dich,” BWV 654 dent on it); employment of Lutheran brio—Andante religioso—Allegretto— thing in that way.” The idea for the Prelude and Fugue in A minor, BWV 543 Passacaglia in C minor, BWV 582 chorale melodies as a cantus firmus or Allegro maestoso e vivace duets perhaps arose from an experience Pastorale in F major, BWV 590 as the basis of variation sets; the virtu- Sonata V in D major: Andante— of June 23, 1833, when Attwood and Toccata in F major, BWV 565 osic toccata; improvisatory moments, Andante con moto—Allegro maestoso Mendelssohn performed a four-hand almost approximating instrumental Sonata VI in D minor: Choral— version of one of the former’s corona-
20 THE DIAPASON Example 1a. Mendelssohn, Allegretto in D minor (Little, Vol. II, Novello [Presser]) for their instrument admirably fill the void that had developed after the death of Bach, a period virtually devoid of sig- nificant writing for the instrument. They have maintained currency to the pres- ent and inspired an interest in the instrument on the part not only of Mendelssohn’s contemporaries (as wit- ness, Schumann’s Six Fugues on BACH, opus 60, written in 1845 and published a year later), but several of his succes- sors as well. I Example 1b. Mendelssohn, Andante con moto, Sonata V (Little, Vol. IV, Novello [Presser]) William Osborne holds three degrees from the University of Michigan, where he studied with both Robert Noehren and Marilyn Mason. He served on the faculty of Denison University for 42 years as Distinguished Pro- fessor of Fine Arts, University Organist, and Director of Choral Organizations. He retired from that position in August 2003 to become music director of the Piedmont Chamber Singers in Winston-Salem, North Carolina. Mendelssohn as an adult He has played recitals across this country, as well as in Europe and Australia and made Example 2a. Mendelssohn, Allegro con brio in B-flat (Little, Vol. III, Novello [Presser]) Fugue in D minor [Frankfurt, January three commercial recordings. He is author of 27, 1845 numerous articles, as well as of two books: Finale—Andante sostenuto in D Clarence Eddy: Dean of American Organists major [Frankfurt, January 26, 1845] (Organ Historical Society) and Music in The Allegro moderato e grave in F Ohio (Kent State University Press). minor became the first movement of Notes Opus 65, No. 1. The opening of the Alle- 1. Charles Edward Horsley: “Reminiscences of gro con brio in B-flat major generated Mendelssohn by His English Pupil.” Mendelssohn the first movement of Opus 65, No. 4 and His World, R. Larry Todd, ed. (Princeton: Princeton University Press, 1991), 238. Horsley’s (see Examples 2a and 2b). The following mention of “Sonatas” seems puzzling, since works Moderato and Fugue in C major provid- by Mendelssohn with that label were not to be pub- ed the genesis of the third and fourth lished until the following decade. Example 2b. Mendelssohn, Allegro con brio, Sonata IV (Little, Vol. IV, Novello movements of Opus 65, No. 2, while the 2. Many of those instances are mentioned in R. [Presser]) Larry Todd’s definitive Mendelssohn: A Life in Grave and Andante con moto are the Music (New York: Oxford University Press, 2003). obvious parents of the opening move- 3. Felix Mendelssohn Bartholdy, Letters from ments of that same sonata. The Chorale, Italy and Switzerland, edited by Paul Mendelssohn Variations and Fugue in D minor, with Bartholdy, translated by Lady Grace Wallace (Lon- don: Longman, Green, Longman, Roberts, and some reworking became the bulk of the Green, 1862), 280–81. Sonata in D minor, Opus 65, No. 6. The 4. Mendelssohn, Letters from Italy and Finale—Andante sostenuto in D major in Switzerland, 294. 3/4 meter was transformed with substan- 5. Felix Mendelssohn Bartholdy, Letters of tial alterations into the final movement of Felix Mendelssohn Bartholdy from 1833 to 1847, edited by Paul and Carl Mendelssohn Bartholdy, that same sonata as an Andante in 6/8 translated by Lady Grace Wallace (Freeport, New (see Examples 3a and 3b). York: Books for Libraries Press, 1970), 40–42. 6. Originally published in the Musical World in Little, volume V 1838. Quoted in Clive Brown, A Portrait of Men- Example 3a. Mendelssohn, Finale: Andante sostenuto in D (Little, Vol. III, Novello Praeludium in D minor [November delssohn (New Haven: Yale University Press, 2003), [Presser]) 213. Merriam-Webster’s Collegiate Dictionary 28, 1820] defines “bombazine” as “a twilled fabric with silk Fugue in D minor [December 3, warp and worsted filling.” 1820] 7. For a history of the instrument, see James Boeringer, Organa Britannica / Organs in Great Fugue in G minor [December 1820] Britain 1660–1860 (Lewisburg, Pennsylvania: Fugue in D minor [January 6, 1821] Bucknell University Press, 1986), vol. 2, 159–60. Andante—sanft in D major [May 9, 8. Brown, 214–16. 1823] 9. Todd, 358. For a history of the instrument, Volles Werk [Passacaglia] in C minor see John Norman, The Organs of Britain (North Pomfret, Vermont: David & Charles, 1984), [May 10, 1823] 290–91. Chorale Variations on “Wie groß ist 10. G[isella] Selden-Goth, ed., Felix Mendels- des Allmächt’gen Güte” [July and sohn / Letters (New York: Pantheon, 1945), 306–07. Example 3b. Mendelssohn, Finale, Sonata VI (Little, Vol. IV, Novello [Presser]) August 1823] This event was followed eventually by the Queen singing Mendelssohn’s Schöner und schöner with Nachspiel in D major [Rome, March the composer at the piano in her sitting room. For 8, 1831] a description and illustration of the organ see Rollin Fuga pro Organo pleno in D minor Smith’s “Pipe Organs of the Rich and Famous / [Berlin, March 29, 1833] Queen Victoria and Prince Albert,” The American Organist, May 2007, 96. Andante con moto in G minor [Lon- 11. Todd, 493. Domenico Dragonetti don, July 11, 1833] (1763–1846), a double bass virtuoso, was born in In this volume of early works (includ- Venice, but in 1794 moved to London and made it ing Mendelssohn’s first essays for the his home base for the remainder of his career. 12. Mendelssohn, Letters from 1833 to 1847, 71. instrument), only a single piece seems to Forkel had published the first biography of Bach in have inspired a mature work: The Nach- 1802. spiel [Postlude] in D major provided the 13. Brown, 216. tion anthems on the instrument in St. With its “pizzicato” pedal line, the basic material of the Allegro maestoso e 14. Robert C. Mann, “The Organ Music.” Chap- Paul’s. The Fugue in C minor later Allegretto in D minor seems a premoni- vivace of the Sonata in C, Opus 65, No. ter 10 of The Mendelssohn Companion, ed. Dou- glass Seaton (Westport, Connecticut: Greenwood became the second movement of Opus tion of the second movement of Opus 2, which blossoms into a quite different Press, 2001), 625. Dr. Mann’s chapter includes 35, No. 1. The Fugue in C major later 65, No. 5 (see Examples 1a and 1b). The fugue from that of the sonata. extensive analysis of the entire contents of the Lit- became the final movement of Opus 65, Con moto maestoso and following For organists Mendelssohn’s works tle volumes. No. 2. Andante became the two movements of Opus 65, No. 3. The Allegro Vivace Little, volume II became the final movement of Opus 65, Andante in F major [July 21, 1844] No. 1. The Allegro in D major and Allegretto in D minor [July 22, 1844] Andante in B minor became the third Andante [with Variations] in D major and second movements of Opus 65, No. [July 23, 1844] 5. The Adagio in A-flat major became Allegro [Chorale and Fugue in D the second movement of Opus 65, No. 1. minor/major] [July 25, 1844] Con moto maestoso in A major Little, volume III [August 9, 1844] Allegro moderato e grave in F minor Andante/Con moto in A major [Frankfurt, December 28, 1844] [August 17, 1844] Allegro con brio in B-flat major Allegro Vivace in F major [August 18, [Frankfurt, January 2, 1845] 1844] Andante alla Marcia in B-flat major Allegro in D major [September 9, [Frankfurt, January 2, 1845] 1844] Moderato in C major Andante in B minor [September 9, Fugue in C major 1844] Grave and Andante con moto in C [Chorale] in A-flat major [September minor [Frankfurt, December 21, 1844] 10, 1844] Allegro moderato maestoso in C Adagio in A-flat major [Frankfurt, major December 19, 1844] Fugue in B-flat major [Frankfurt, [Chorale] in D major April 1, 1845] Allegro in B-flat major [Frankfurt, Choral [& Variations] in D minor December 31, 1844] [Frankfurt, January 26, 1845]
JULY, 2007 21 Organ Performance Posture “Get off the bench and give me ten!” An investigation of the benefits of physical stretches on organ performance posture Patrick J. Hawkins
hysicians and music teachers have Figure 1. Self-reports of exercise Precently encouraged musicians to incorporate exercise into their daily lives. Wolff (1999)1, writing in his monthly “Medical Corner” for the I.T.A. Journal, suggests that one of the main benefits of a regimen of strength and endurance training for musicians is balanced and efficient performance posture and increased energy. These benefits, he argues, will allow musicians to have increased stamina for performance-relat- ed tasks. Roberts (2000)2, a trombone instructor and an active runner, reports that out of 211 participants surveyed at the 1991 Keystone Brass Institute only 49.3% of the participants said that they exercised on a regular basis, and 82.1% of these individuals were under the age of 40. Since this survey, Roberts has con- Figure 2. Endurance testing tinued to encourage his pupils and other professional musicians to add Cyclic Incremental Over-training into their Correct posture exercise program. Sirbaugh (1995)3, like Wolff and Roberts, believes that both aerobic and anaerobic exercise is vital for musicians, especially singers who need stronger abdominal muscle conditioning in order to perform bel canto literature. Martial arts are a popular form of exer- cise that music teachers are encouraging their pupils to incorporate into their schedules. Bruenger (1994)4 believes that T’ai Chi helps in brass playing, as this martial art requires an awareness of the area known as the “tant’ien” located a few inches below the navel in the lower abdominal muscle region. The develop- ment of these muscles through exercises and drills, he feels, will aid in better con- Figure 3. Lesson observations trol and production of air needed during a brass performance. Benson (1998)5, a pianist, advocates the martial art known as Qigong. Following a personal injury involving a broken arm, she used Chi- Posture break nese Qi (life) gong (energy) as a type of physical therapy. Benson reports She states that such posture breaks can regained strength and flexibility, a loss of also result in physical pain. bursitis, and lowered performance ten- At least two music instructors use sion due to a 20-minute daily exercise physical therapy exercises to aid in pos- routine. Similarly, Roskell (1998)6 ture and the reduction of performance believes that exercise training using Iyen- injuries (Wristen, 1996,9 and Steele, gar Yoga will help keyboard musicians. 199110). Wristen, a piano teacher whose She reports a 20-year improvement in master’s thesis involved issues of perfor- her personal back pain and thumb mance injury, says that over half of all tenosynovitis through the use of this yoga musicians seeking medical treatment for exercise. Roskell has taught a “Yoga for performance-related injuries each year Pianists” class at the London College of are keyboard musicians. In addition to Music, and claims that this martial art is recommending that all practice sessions aimed at improvement of alignment, be broken into 25–30 minute segments coordination, and strength throughout followed by a 5–10 minute break, Wris- the whole body. ten advocates the use of a 10–15 minute Good posture is vital to keyboard pre-practice warm-up session involving ture, the purpose of this study was to healthy career. The subjects were shown musicians who wish to avoid pain or at least seven repetitions each of arm, investigate the benefits of physical a series of four physical stretching exer- performance injuries. In a survey of shoulder, shoulder blade, elbow, palm of stretching exercises on three organ per- cises that were designed by the trainer leading piano teachers at conservatories the hand, and wrist exercises. Steele formance majors’ posture as demon- and the subjects’ organ professor to be of and colleges across the United States (1991), a percussion instructor, also strated at weekly lessons. benefit to organists in the reduction of conducted by Clavier magazine (1994), believes in the benefits of physical postural performance problems: a warm- Paul Pollei of Brigham Young Universi- warm-up exercises before and after Method up “leg over” exercise involving the lower ty said “one of the most awkward exam- practice and performance. A 1988–1989 The subjects for this study were Ji oblique muscles, a lower abdominal ples (of poor posture) is the young child study by Steele sought to design pre-task Young, Shiela, and Seung Eun. All three exercise, an abdominal plank exercise, whose legs do not reach the floor and warm-ups in correlation to necessary females were organ performance majors and a postural strength/endurance exer- therefore has cramping back muscles musculoskeletal segments used by per- at a major research university in the cise labeled the “prone cobra.” The sub- and possible injury to structural devel- cussionists. After videotaping his stu- Pacific Northwest portion of the United jects were told that they would be opment” (p. 15). Glaser (1994)7, a for- dents’ performances, he invited a physi- States. Ji Young was a doctoral student required to perform these exercises dur- mer pupil of Schnabel and Casals, states cal therapist at Frankford Hospital to from South Korea. She had been physi- ing the next quarter of classes. that good posture must begin at the review the videotape and to recommend cally active for the past ten years and At the start of the new quarter in torso and that 75% of weight should rest appropriate warm-up exercises for them enjoyed swimming, weight training, and 2002, the three subjects were selected on the hips and 25% should rest on the in order to lesson the risk of perfor- attending yoga classes. Shiela was a mas- out of a class of ten, as their schedules feet. Organists, however, are not able to mance-involved injuries. The physical ter’s degree student. Though she report- were flexible enough to allow them to balance themselves using their feet dur- therapist suggested that the students ed taking occasional classes in ballet and meet with the experimenter once ing a performance due to the nature of should warm up for at least five minutes yoga, her busy schedule prevented her weekly, at the same time, over a period the instrument. Thus, like the child that before each practice or performance from exercising on a routine basis. Seung of three weeks. At each session the Pollei describes, organists too often using a combination of 18 different exer- Eun was an undergraduate student, and subjects were asked to demonstrate all break their performance posture at the cises: shoulder stretch, shoulder shrugs, like Ji Young, was originally from South four exercises, were tested on the upper and lower back due to weak shoulder rotation, shoulder-arm wind- Korea. Seung Eun stated that she had amount of time they could perform the abdominal muscles. Fishell (1996)8, a mills, neck-limbering, elbow curl, elbow not been actively involved in an exercise postural endurance test using a stop- well-known organ pedagogue and windmill, shoulder lift, shoulder diago- program. All three women were propor- watch, and were asked to submit a daily recitalist, notes in her organ technique nal rotation, forearm twist, wrist stretch, tionate in their height and weight and exercise time-log for the week. At the manual that bad body position at the hand massage, finger wiggle, hand were under the age of 35. third and final meeting, the subjects console can be seen when an organist’s shake, arm shake, back flexion and In December 2001, a certified physi- were asked to comment if they noticed torso leans or curves back excessively, extension, and trunk rotation. cal trainer was invited to attend the sub- any benefit of the exercises upon their which can result in technical insecurity As there is no reported literature on jects’ organ class and lecture on the performance posture or upon their as a result of reduced range of motion. the effect of exercise on organists’ pos- importance of exercise in a musician’s general feeling of well-being.
22 THE DIAPASON The subjects’ organ professor was other keyboard musicians. Seung Eun, Descriptions of “core” physical asked to record the number of postural like Shiela, noticed the most improve- stretches breaks that were noticed when the sub- ment in her abdominal region. She also jects were performing during their said that she liked the warm-ups and 1. “Leg over” warm-up weekly lessons. A tally sheet was used that they “felt good.” Lying with your back on the floor, to record these observations, and each Perhaps the most interesting finding warm up by raising one knee to your subject was recorded at four consecu- was that Ji Young demonstrated only chest and inhale while bringing the knee tive lessons. The first observation one posture break at her third lesson up to the chest. Slowly exhale and lower began before the students began their and no posture breaks at her final lesson the leg. Switch sides and continue for 15 Warm-up exercises, in order to record a pre-test observation. Furthermore, she spent repetitions. Once complete, bring both score. They were told if they needed to more minutes per week exercising that knees up to the chest, exhale and release correct their posture at their subse- the other two subjects. While Ji Young the legs but do not let the feet come quent lessons, but were not shown did practice physical stretches, she also back to the floor. Repeat 10 times. Next, their professor’s tally sheets and writ- reported having taken several yoga raise your legs together to form a 90- ten comments. classes, and was active in swimming, degree angle with your body. Keep your jogging, and weight training. This seems arms at your side. Slowly cross your legs Results to confirm Wolff’s (1999) medical rec- over side to side. Remember that the The three subjects’ self-reports of ommendation for musicians to use a goal is quality of form rather than quan- weekly minutes of exercise show that combination of strength and endurance tity of repetitions. After the warm-up, they were able to exercise at least 45 training to help improve performance you may wish to follow with standard Oblique warm-up minutes or more per week using the posture and stamina. Future studies crunches, with lower oblique crossover four designed stretches (Figure 1). Both may wish to compare subjects who use a crunches, and/or with reverse crunches. Ji Young and Shiela reported a high combination of aerobic, anaerobic, and level of exercise their first week, stretching exercise to those who only 2. Lower abdominal (crunches) because they had been to the gym three use stretching exercise and those who To perform a standard crunch, lie on times for yoga or weight-training class- do not exercise at all. Also, future stud- your back with your knees bent. Place es. Seung Eun did not attempt any ies should involve a greater number of your hands behind your head. Contract other form of physical activity during subjects and should test behaviors over the abs and lift head and shoulders off the three-week period other than the a longer period of time. the floor. Crunch upwards. Think of required stretching exercises. However, On a personal note, soon after this bringing the rib cage towards the lower she was consistent in the performance study was made this researcher was belly. Also, think about a string attached of these. Shiela experienced a signifi- involved in a serious rear-end car colli- to your navel and running through your cant decrease in her amount of exercise sion, which resulted in a lower-back body pulling your stomach towards the during week two, due to illness. While injury. With the help of a physical floor. Slowly lower your head and shoul- Oblique crossover crunch the amount of exercise that Ji Young was therapist and a personal trainer, who ders back to the floor and repeat. As you able to perform decreased each of the was a certified public school instructor become more used to doing these, you three weeks, her self-reports show that of physical education, I was able to may begin to build up your repetitions. she was the most active of the three sub- soon regain my normal active practice Oblique crossover crunches are per- jects in the study. and performance schedule as a profes- formed in a similar fashion. Lie on the Each subject was tested weekly on sional organist, music teacher, and floor and cross your left foot over the the amount of time that they were able choir director. For the past six years I right knee. Lift the shoulder blades off to perform the posture/endurance have adopted a weekly schedule of aer- the floor and twist to the left, bringing stretch. Results showed an increase for obic activity along with weight training your right shoulder towards your left Reverse crunch each of the women over the three-week and physical stretches. As a result, my knee. Slowly lower yourself to your period (Figure 2). Both Shiela and back injury has caused me no pain and starting position. Repeat for 10 reps, Seung Eun showed steady improve- I feel a greater personal sense of well- then switch sides and repeat for 10 reps. ment at each testing session. Ji Young being than before my accident. I To perform a reverse crunch, lie with showed a decrease during week two, wholeheartedly believe in the power of your back to the floor. Bend your knees because she reported that she had over- exercise, and I encourage all of my to 90 degrees. Keep your shins parallel trained at the gym the day before the musician colleagues to remind them- to the floor. Activate your abs by con- test and had sore muscles. However, selves to get off the bench and begin tracting them and lower the feet her final score showed an increase from their own exercise routine. I towards the floor, keeping the knees her first session. bent. Rotate the pelvis up and bring the Plank The subjects’ organ professor record- Patrick J. Hawkins is currently pursuing knees back towards the ribcage. ed the total number of postural breaks his DMA degree in organ performance at Remember to not let your back arch observed when each student was per- Arizona State University, Tempe, where he is while performing the exercise. the graduate teaching assistant for the organ forming during their weekly lessons department. His articles have appeared in (Figure 3). The first observation The American Organist and in the Music 3. The plank occurred before the subjects were Educators Journal. As a concert organist he The plank works your entire core and asked to begin their stretching exercise has recorded works of J. S. Bach for the upper and lower body muscles. Lie program, in order to record a pre-test Arkay Records label and has appeared in down on your stomach. Lift your body score. Lesson two occurred on the same recital throughout the USA, Europe, and in off the floor with your forearms (elbows day that the students began their exer- South Korea. He is organist/choirmaster at at 90 degrees) and your toes. Keep your Cobra cise routine. The observations show the Episcopal Church of the Nativity in body in a straight position without arch- that both Ji Young and Shiela demon- Scottsdale, Arizona. ing your back and hold for 30 seconds to imagine pinching your shoulder blades strated a decrease in the number of one minute. For an advanced exercise, together. Keep your head in a natural performance posture breaks over the Notes lift one foot in the air for added difficul- position and do not look forward. Hold 1. Wolff, W. A. III (1999). “Medical Corner,” four-week period. Seung Eun appeared I.T.A. Journal, 27(1), 16–17. ty. Other variants of this include a for 10 seconds and then rest for 10 sec- to have remained the same; however, 2. Roberts, J. (2000). “Fitness and brass playing: “push-up plank”, which is the same as a onds. Progress to 10 seconds on and 5 her two posture breaks at lesson four Lessons for the trombonist from the road and the regular plank, but with the body in a seconds resting period. As you were reported by her professor to have gym,” I.T.A. Journal, 28(1), 20–27. push-up position. This variant works the progress you can increase the number 3. Sirbaugh, N. (1995). “Pedagogical opinion: been minimal. The effects of exercise on singing,” The N.A.T.S. core, chest, and biceps. of repetitions. Journal, 51(5), 27–29. Discussion 4. Bruenger, D. (1994). “The wind in both ears: 4. The prone cobra T’ai chi and the art of brass playing,” Brass Bulletin, Note: You should always consult your The observations made during this 87(3), 94–99. Lie face down with your hands at physician before starting any exercise pro- study show that all three subjects were 5. Benson, J. (1998). “Qigong for pianists,” your side and with the palms facing gram. You may wish to also consult a licensed able to perform at least 45 minutes of Piano and Keyboard, 194, 48–52. upwards towards the ceiling. Simulta- and certified physical trainer who specializes exercise per week using the designed 6. Roskell, P. (1998). “Yoga for pianists,” Piano neously raise the head and feet off the in core training in order to ensure that you and Keyboard, 192, 44–46. stretches. In addition, all of the women 7. Glaser, K. (1994). “Developing good pos- floor. When extending your trunk, are performing the stretches correctly. showed an increase in the amount of ture,” Clavier, 33(4), 16–17. “Harmful practices time that they could sustain the “prone that cause injuries,” Clavier, 33(2), 13–22. cobra” posture/endurance test, and two 8. Fishell, J. (1996). But What Do I Do With My Feet? The Pianist’s Guide to the Organ. Built in the 21st Century of the three subjects showed a decrease Nashville: Abingdon Press. in the number of posture breaks during 9. Wristen, B. (1996). “Fitness and form to their lessons. While these results are not reduce injuries,” Clavier, 33(4), 16–17. Installations in the United States 10. Steele, G. (1991). “Pumping mallets: A pre- conclusive, they do suggest that physical liminary investigation into musicians’ performance- United Congregational Church - Little Compton, Rhode Island 2001 exercise involving stretches might aid in related injuries, injury prevention and performance Church of the Epiphany - Miami, Florida 2002 the reduction of postural problems enhancement,” Percussive Notes, 29(5), 26–34. United Lutheran Church, Mt. Lebanon - Pittsburgh, Pennsylvania 2002 observed when playing the organ. Cathedral of the Immaculate Conception - Kansas City, Missouri 2003 Comments made by the three sub- OrganmasterShoes Brigham Young University - Rexburg, Idaho - fourth division addition 2004 jects at their last testing session revealed Phillips Church, Phillips Exeter Academy - Exeter, New Hampshire 2004 that all three believed that these exer- FAST Delivery Ɣ 3 Widths First Presbyterian Church - Naples, Florida 2004 cises would help them over time in HALF Sizes Available Immanuel Baptist Church - Little Rock, Arkansas 2005 avoiding performance-related injuries Friendship Missionary Baptist Church - Charlotte, North Carolina 2006 resulting from postural problems. Ji ~ Coming Soon ~ Young said that her organ professor had Johns Creek Baptist Church - Alpharetta, Georgia • Wesley Chapel - Elkton, Maryland noticed a continued improvement in Visit www.ruffatti.com for specifications her posture since she began using the stretches. Shiela said, “When I think of posture, it helps me to think of the abdominal muscles working.” This sug- Distinguished pipe organ builders of Padua, Italy gests that core muscular conditioning Call us: 1 (413) 773-0066 9-5 EST and training might be beneficial to Via Facciolati, 166 • 35126 Padua, Italy organists, who must support their FAX 1 (413) 773-0166 Telephone 39-049-750-666 • Fax 39-049-850-483 • In the United States: 330-867-4370 weight in the pelvic area more than organmastershoes.com
JULY, 2007 23 Second International Organ Symposium Russian Gnessins’ Academy of Music Ronald Ebrecht
he Russian Gnessins’ Academy of occupied most of each day, in 20-minute TMusic, Moscow, was the site of the intervals. These covered repertoire from Second International Organ Sympo- tablature to modern and organs from sium March 21–25. Some 60 enthusi- antiquity to the present. Speakers were asts from around the globe gathered. required to submit their talks several Alexander Fiseisky, editor and per- weeks in advance, so that students of the former, professor of organ at Gnessins, academy and others could translate them organized this most interesting sympo- into other languages for projection onto a sium. With bright sun and tempera- pair of screens. The polyglot Europeans tures in the mid-50s, the conference were given German versions of the lec- opened on Bach’s birthday at the tures delivered in Russian, and (some- Mikhail Glinka Museum of Music Cul- times) English versions alongside Russ- ture in Moscow. This fascinating muse- ian of those given in German. um houses a large collection of impor- Thursday evening in the academy’s tant instruments, including several organ hall, Andrew McCrea, Director of organs. Concerts are regularly a part of Academic Development of the Royal the programs offered here—given in a College of Organists, gave a lecture- dedicated hall with two Steinway Ds demonstration of British organ music, and a Schuke II/24, 1976. Our intro- using its perfectly appropriate early duction included opportunities to try 20th-century English mechanical-action various instruments. organ. This was followed by a party in The Guest House of the Lithuanian the organ hall. Embassy is just across a plaza from the Friday evening’s concert was again in Academy, and with participants from the organ hall, a recital of vocal and Austria, Belarus, Britain, France, Ger- organ music performed by the excellent Rieger-Kloss organ, Tchaikovsky Hall many, Holland, Poland, Russia, Ukraine, students of the academy. Later that and the U.S., no accommodations could night, we made an excursion to the have been more appropriate. Wednesday Moscow Baptist Church to see its early evening, the group assembled in 20th-century three-manual tubular- Moscow’s handsomely restored and pneumatic E. Roever organ. exquisitely lit Roman Catholic Cathedral. Saturday morning began with a visit Professor Wolfgang Baumgratz per- to the marvelous Sauer organ at SS. formed, to a standing room only audi- Peter and Paul Lutheran Church, care- ence, pairings of works by Buxtehude fully restored recently by Reinhard and and Bach on the four-manual Kuhn. Johannes Huefken. In the early after- On Thursday morning, the lectures of noon, organ students of the academy the symposium opened in the chamber performed in the main auditorium and music auditorium on the top floor of the in the evening, we again visited the academy, the main conference room for Catholic Cathedral for a thrilling perfor- the next two days. We were welcomed by mance by Professor Edgar Krapp. We the Rector of the Academy, Professor were all happy to have reserved seats as Mikhail Sayamov. Similar to many acad- participants of the conference, because emic conferences, formal lectures then the steps outside were mobbed with CHRIST CHURCH UNITED METHODIST Louisville, Kentucky Sauer organ, SS. Peter & Paul Lutheran Church
We are pleased to announce the commissioning of a new pipe organ for Christ Church United Methodist in Louisville, Kentucky. Our Opus 107 will enjoy pride of place at the front of an all-new sanctuary designed by Sherman Carter Barnhart Architects in collaboration with acoustician Dennis Fleischer. The stoplist was prepared in consultation with Dan Stokes, Director of Music, and will offer a total of 53 stops over three manuals and pedal, including two divisions under expression, an 8’ Tuba stop on high wind pressure and two 32’ ranks. For more information about this instrument and others, please visit our redesigned website at www.letourneauorgans.com. ORGUES LÉTOURNEAU LIMITÉE
United States Canada 1220 L Street NW 16355 avenue Savoie Suite 100 – No. 200 St-Hyacinthe, Québec Washington, DC J2T 3N1 20005-4018 Tel: (450) 774-2698 Tel: (800) 625-PIPE Fax: (450) 774-3008 Fax: (202) 737-1818 [email protected] [email protected] www.letourneauorgans.com Henry Jones organ (1871), Gnessins Organ Hall
24 THE DIAPASON those seeking tickets, and many were Professor Fiseisky deserves hearty turned away. congratulations for organizing a splen- Early-risers on Sunday (departure did symposium of the highest scholarly from the hotel was 7:15 am) were merit. Moscow shined for him, and his rewarded by a private tour of the stun- participants beamed their approval and ning new Moscow International House thanks in return. I of Music. The round auditorium is home to a new four-manual Klais with an Ronald Ebrecht researches French music imposing façade, as shown in the accom- from 1870–1940 both for performance and panying photographs. In the afternoon, publication. He has performed his recon- struction of the original versions of Duruflé’s we returned to the Glinka Museum organ works in Austria, Belarus, China, organ hall for a recital by Ronald France, Germany, Lithuania, Mexico, Rus- Ebrecht, and in the evening walked to sia, and across the U.S. He is University Tchaikovsky Hall for the closing recital, Organist of Wesleyan University, Middle- a performance by the conference’s orga- town, Connecticut. nizer and director, Alexander Fiseisky, on the four-manual Rieger-Kloss. Photo credit: Sergey Kaliberda
Kuhn console, Roman Catholic Cathedral
Sauer console
Friedrich Ladegast organ (1686), Glinka Museum
Eloquence and Artistry in Organ Building
Klais organ, International House of Music
St. Bede Catholic Church, Williamsburg, VA Neil Kraft, Music Director
Member, Associated Pipe Organ John-Paul Builders of America Buzard 112 West Hill Street Pipe Organ Builders Champaign, Illinois 61820 800.397.3103 • www.Buzardorgans.com
Klais console, International House of Music
JULY, 2007 25 Cover feature
Nolte Organ Building, Milwaukee, Wisconsin Original Kilgen stoplist Our Lady of Mt. Carmel Parish, Kenosha, Wisconsin GREAT What can you do with a late 1920s 8′ Open Diapason Kilgen organ that has a host of prob- 8′ Doppelflute 8′ Gamba lems? That is the question the organ ′ committee at Our Lady of Mt. Carmel 8 Melodia 8′ Dulciana in Kenosha, Wisconsin, asked us when 4′ Octave we first met with them. They had 4′ Flute already rejected both the idea of replac- Chimes ing the instrument with a new organ, and a lower-quality rebuild that would SWELL replace the electro-pneumatic action 16′ Bourdon 8′ Violin Diapason with an electro-mechanical action. ′ Based on our preliminary look at the 8 Stopped Diapason 8′ Quintadena organ, we agreed to design a rebuilt 8′ Salicional instrument that would be visually attrac- 8′ Vox Celeste tive, mechanically reliable, and tonally 4′ Flute d’Amour more complete. Because of the reason- 4′ Salicet able but limited budget, we would use 2′ Flautino as much of the old instrument as possi- 8′ Vox Humana ble, and some additions would have to Tremolo be left as “prepared for.” CHOIR The worship space is a very modern 16′ Dulciana T.C. room with good acoustics for music and 8′ Violone Cello the spoken word. The interior decoration 8′ Melodia is modern, tasteful, and quite plain. 8′ Dolce Stained glass windows depicting biblical 4′ Flute 2′ Piccolo scenes are located in the clerestory on ′ either side of the sanctuary. They feature 8 Synthetic Oboe various shades of blue, purple, and Tremolo brown. Stations of the cross are painted PEDAL on the upper walls in shades of brown 16′ Subbass and gold. The lower walls form an ellipti- 16′ Bourdon cal footprint and feature mosaic art 16′ Lieblich Gedeckt behind the two side altars. The baldachin 8′ Cello is a free-form plaster and mosaic arch 8′ Flauto Dolce over the tabernacle, illuminated with an oculus in a sunburst of beams in the 19 couplers chancel ceiling. The reredos consists of Nolte organ, Our Lady of Mt. Carmel Parish, Kenosha, Wisconsin simple paintings on the wall and two stat- New Nolte stoplist ues. In sharp contrast, the original organ, located in the balcony, was quite ugly. GREAT The tonal resources of the organ con- 16′ Bourdon sisted of three stopped 16′ ranks, eight 8′ Open Diapason ′ ′ 8′ Doppelflute (ext Bourdon) 8 ranks, and one 4 rank distributed ′ over three manuals and pedal. The only 8 Gamba 4′ Octave reed was the Vox Humana. Through the 2 2 ⁄3′ Quint former organist, the church had 2′ Octave acquired several more ranks of pipes IV Mixture (prepared) that were being stored in the balcony: a 8′ Trumpet (prepared) 32′ Subbass, a 16′ Open Diapason, a 16′ Chimes manual Bourdon, and a capped 8′ Oboe. SWELL The console shell was in poor condi- ′ tion, and its style was not appropriate 16 Lieblich Gedeckt 8′ Violin Diapason for the room. The three keyboards with 8′ Stopped Diapason (ext) ivory naturals and ebony sharps were in 8′ Salicional moderately good condition. The electri- 8′ Vox Celeste cal switching system in the console and 4′ Violin Diapason (ext) relay was the source of numerous dead 4′ Flute d’Amour (ext) notes in the stops and couplers. 4′ Salicet (ext) 2′ Flautino (ext) The blower still worked, but would ′ not last indefinitely. For budgetary rea- Balcony and organ before renovation 8 Oboe sons it would not be replaced. (The Tremolo blower failed a few months after the CHOIR organ was playing, and had to be 16′ Dulciana (ext, 1–12 Lieb Ged) replaced.) Two large regulators needed 8′ Gamba restoration. The two Swell boxes and 8′ Melodia their shutters were not serviceable. 8′ Dulciana 4′ Gamba (ext) Because of the extensive unification of ′ the organ, all of the chests were unit 4 Flute (ext) 4′ Dulcet (ext) chests. The original chest leather, dating 2 2 ⁄3′ Nazard (ext) from 1928, was still in excellent condi- 2′ Flute (ext) 3 tion and would provide many more 1 ⁄5′ Tierce (ext) years of reliable service. 8′ Clarinet (prepared) The pipework had suffered some minor damage, and some pipes did not PEDAL ′ 16′ Open Diapason (façade) speak properly. The Great 8 Diapason ′ was overly large and loud. Tonal 16 Subbass 16′ Lieblich Gedeckt (Sw) improvements in the Principal chorus 8′ Open Diapason (ext) were the highest priority, especially 8′ Bourdon (Sw) since congregational singing has become 4′ Choral Bass (ext) more important than it had been when 16′ Trumpet (prepared) the organ was originally installed. Our Lady of Mt. Carmel Parish, Kenosha 8′ Trumpet (prepared) For the visual design of the organ, we 4′ Oboe (Sw) began with a CAD drawing of a façade length of the longest pipes. The toes of the Principal chorus and the substitu- that would emphasize the vertical line of the treble pipes follow the line of the tion of an Oboe for the Vox Humana. 10 couplers 32-level combination system the organ, even though it was installed in “V.” As the smaller pipes rise higher and The Trumpet, Mixture, mutations and Transposer a low, wide space measuring 12 feet by higher, they seem to fade into the back- other stops to straighten the specifica- 29 feet. This drawing was further refined ground like a perspective drawing. Shad- tion are dependent on the prosperity of with an artist’s rendering, and finally a ing the smaller pipes darker and darker the organ fund. The 30-note Open scale model was used to determine sight enhances the illusion. The maple and Wood has been extended with new outward so beards are no longer neces- lines and other details. The façade purpleheart grilles that support the pipes to play at 16′, 8′, and 4′ in the sary for good speech. Ten of these pipes includes narrow side towers and an arch pipes also taper to the vanishing points Pedal. These pipes were painted and are in the side towers of the façade. The to reflect elements in the chancel. To that are located high on either side of placed in the façade. The 8′ Open Dia- original 4′ Octave became the rest of the further emphasize the vertical line, the the façade. The side towers and the arch pason in the Great was discarded, 8′ Diapason, and new ranks were added 2 wood 16′ Open was put into the façade, are made of walnut and maple. The wall except for the bottom octave of open at 4′, 2 ⁄3′, and 2′ pitches. Because all of and a “V” was cut into the center of the cap is walnut. wood pipes. These were reconditioned the stops are on unit chests, and the new wall in front of the organ to expose more Tonal improvements were limited to and revoiced with the flues shimmed relay and switching system utilizes a
26 THE DIAPASON View from the front of the sanctuary The front of the sanctuary
Façade detail
multiplex system, several stops are cur- organist to adjust the keyboards to the rently being played at additional pitches most comfortable position. A pencil tray for greater flexibility in registrations. above the top manual slides in and out For example, the Choir Melodia has with the keys under the music rack so 2 3 been wired to play at 2 ⁄3′ and 1 ⁄5′ just by that the key tails remain covered when adding a stop action and one wire. the keys are moved. Knobs under the While a new solid state switching sys- keydesk lock the keyboards in place. tem and multi-level combination system The organ committee and parish were were always part of the design, original- a pleasure to work with. Some of the cir- ly we planned to renovate the old con- cumstances were a little unusual. The sole because of the limited budget. We organ project began when there was no planned to save the keyboards and to organist at the parish. During the pro- repair and refinish the console shell. ject, the interim music director, whose During the project, the organ fund did expertise was piano and vocal music, quite well, the 32′ Subbass pipes were preferred to have no input into decisions sold, and we gave the church a very on the project. Also, several months good price on replacing the console after the contract was signed, the pastor, shell. When the church agreed to add Rev. John Richetta, retired. We were Console the new console, it exceeded the pro- able to have the organ playing for his duction budget and schedule, but we retirement, although the project was far think the results are worth it. from complete. Special thanks are due The design calls for a very low profile to the parish secretary, Peggy Dixon. three-manual console so that the organ- Through her efforts, even with signifi- ist can also direct the choir. The ellipti- cant changes in the parish staff, commu- cal footprint of the sanctuary is carried nication continued seamlessly. The new over to the console footprint, and to the pastor is Rev. Dominic Thomas, and the elliptical etched glass music rack. The new music director is Rita Torcaso. music rack casts an elliptical purpleheart John M. Nolte established Nolte shadow onto the console top, and from Organ Building & Supply, Inc. in 1986. the purple ellipse, there is a solid maple The firm currently employs five full- elliptical sunburst pattern to the console time and several part-time workers in rim. The outside of the console is made their well-equipped shop. They are from birdseye maple. The gorgeous known internationally for their expertise grain patterns were book matched in wood pipe making and voicing. They around the perimeter by carefully select- are also known for their innovative and ing and re-sawing the individual boards. creative designs. Benjamin Nolte assist- The interior woodwork of the console is ed with the design of the façade and was purpleheart, a South American tropical responsible for building and installing it. wood. The key cheeks, stop boards, knee Jeremy Nolte assisted with the design panel, pedalboard, and sharps are all and building of the console. made of purpleheart. The same material The firm is currently building a three- is used in the upper part of the grille manual and pedal mechanical-action prac- behind the façade pipes. tice organ. All of the pipes in this instru- The original ivory and ebony key- ment are made of maple and walnut. boards were saved for the new console. For more information and pictures, The keyboards in the new console are see
JULY, 2007 27 New Organs
Fabry Pipe Organs, Inc., new chambers. A new 16-stage expres- Antioch, Illinois sion motor was installed as well as two St. John Lutheran Church, new chamber relays and a new console Algonquin, Illinois relay that includes MIDI compatibility. Often a pipe organ is removed from The present console was stripped and a church because the sanctuary is refinished as well as being placed on a being renovated, the church has elect- new movable platform. Fabry Pipe ed to purchase a new instrument, or Organs, Inc. fabricated two new façade the church is building a new sanctuary. chests with a new 8′ Great Diapason In the case of St. John’s Lutheran and a new 8′ Pedal Principal. A 16′ Church, the organ was removed twice extension of the Swell Trumpet has also from two different sanctuaries to been installed. A 4′ Harmonic Flute was accommodate expanding congrega- added in the Great and a new 4′ Princi- tions. Dating from the early 1940s, the pal was added in the Swell. Stainless organ incorporates Wangerin chest- steel tuners were also installed. David work and pipework. A Möller console G. Fabry built all of the chestwork and completed the instrument. Fabry Pipe completed the refinishing. Installation Organs, Inc. stored the organ for five was handled by Philip A. Spressart as years in anticipation of reinstalling the well as tuning and voicing. organ in the new sanctuary. Fabry Pipe Organs, Inc. would like to Upon reinstallation, Fabry Pipe thank Pastor Kuznik, Dean Banwart, Organs, Inc. provided four new reser- chairman of the trustees, and Valerie voirs, two new blowers, rectifiers, and Groskopf, organist. 5HVSHFW IRU 7UDGLWLRQ electric tremolo units for both of the —Phil Spressart GREAT SWELL 8′ Principal 16′ Lieblich Gedeckt 9LVLRQ IRU WKH )XWXUH 8′ Melodia 8′ Stopped Diapason 8′ Dulciana 8′ Salicional 4′ Octave 8′ Voix Celeste (TC) 4′ Harmonic Flute 4′ Principal 3DVVLRQ IRU 5HOLDELOLW\ 2 ′ ′ 2 ⁄3 Twelfth 4 Flute d’Amour 2 2′ Fifteenth 2 ⁄3′ Nazard Mixture IV (prep) 2′ Super Octave 8′ Trumpet (Sw) 2′ Flautino (QDEOHG ZLWK ,QQRYDWLYH 7HFKQRORJ\ 3 Chimes 1 ⁄5′ Tierce Tremolo Plein Jeu III (prep) Great 4′ 8′ Trumpet Great Unison Off 8′ Oboe (prep) Great 16′ Tremolo WE BELIEVE BACH WOULD APPROVE. Swell 4′ Couplers & Accessories Swell Unison Off Great to Pedal 8, 4 Swell 16′ Swell to Pedal 8, 4 How About You? MIDI to Pedal PEDAL 32′ Resultant Swell to Great 16, 8, 4 16′ Subbass MIDI to Great 16′ Lieblich Gedeckt 8′ Principal Great to Swell 8 8′ Flauto Dolce An Unmatched Feature Set In A Compact Package That Is Easy to Operate and Install MIDI to Swell 4′ Choral Bass Mixture (prep) Zimbelstern 32′ Bombarde 16′ Trumpet 8′ Trumpet 4′ Clarion
To submit announcements for New Organs, Here & There, Appointments, and Nunc Dimittis, send text as a Word document and photos as hi-res JPG files to edi- Virtuoso tor Jerome Butera at
28 THE DIAPASON Bert Adams, FAGO ATRICK LLEN Calendar Park Ridge Presbyterian Church P A Park Ridge, IL GRACE CHURCH Gordon Turk; Great Auditorium, Ocean Pickle Piano & Church Organs Grove, NJ 7:30 pm NEW YORK This calendar runs from the 15th of the month Mary Kay Easty; First United Methodist, Bloomingdale, IL of issue through the following month. The deadline Appleton, WI 12:15 pm is the first of the preceding month (Jan. 1 for William Tinker; Sinsinawa Mound, Sinsi- Feb. issue). All events are assumed to be organ nawa, WI 7 pm recitals unless otherwise indicated and are grouped Christopher Babcock within each date north-south and east-west. •=AGO 26 JULY WILLIAM AYLESWORTH Christopher Babcock chapter event, • •=RCCO centre event, +=new Tom Sheehan; Old Dutch Church, Kingston, St. Andrew’s by the Sea, organ dedication, ++= OHS event. NY 12:15 pm D. M. Information cannot be accepted unless it spec- Felix Hell; Trinity Church Wall Street, New Hyannis Port ifies artist name, date, location, and hour in writ- York, NY 1 pm EVANSTON, ILLINOIS ing. Multiple listings should be in chronological Olivier Latry; Overture Hall, Madison, WI St. David’s, South Yarmouth order; please do not send duplicate listings. THE 7:30 pm DIAPASON regrets that it cannot assume responsi- bility for the accuracy of calendar entries. 27 JULY Olivier Latry, lecture and masterclass; Over- ture Hall, Madison, WI 9:30 am lecture, 10:45 am masterclass Tom Trenney, silent film accompaniment; UNITED STATES Redeemer Lutheran, Peoria, IL 8 pm East of the Mississippi 28 JULY Gordon Turk; Great Auditorium, Ocean 15 JULY Grove, NJ 12 noon Bradley Hunter Welch; Immanuel Church, Samuel Hutchison, hymn sing; Overture Newport, RI 5 pm Hall, Madison, WI 11 am Julie Evans; Basilica of the National Shrine of the Immaculate Conception, Washington, DC Dean W. Billmeyer 29 JULY 6 pm Bach Vespers; Holy Trinity Lutheran, New Choral Evensong; Cathedral of St. Philip, York, NY 7 pm University of Minnesota Atlanta, GA 4 pm Maurizio Corrazza; Basilica of the National ++Choral Evensong; St. John’s Roman Minneapolis 55455 • [email protected] Catholic Church, Indianapolis, IN 4:30 pm Shrine of the Immaculate Conception, Washing- ton, DC 6 pm 16 JULY Charles Austin; Plaza Presbyterian, Char- ++Christopher Young; St. Mark’s United lotte, NC 7:30 pm Methodist, Bloomington, IN 3 pm Jim Fackenthal, carillon; Chicago Botanic 30 JULY THOMAS BROWN DAVID CHALMERS Garden, Glencoe, IL 7 pm Wylie Crawford, carillon; Chicago Botanic Garden, Glencoe, IL 7 pm UNIVERSITY CONCERT ORGANIST 17 JULY PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES Ann Hartzler; First Parish Church, 31 JULY CHAPEL HILL, NORTH CAROLINA ORLEANS, MA Brunswick, ME 12:10 pm Phil Fournier; First Parish Church, Carlo Curley; Portland City Hall, Portland, Brunswick, ME 12:10 pm ME 7:30 pm Christa Rakich; Portland City Hall, Portland, David Phillips; King’s Chapel, Boston, MA ME 7:30 pm 12:15 pm Gail Archer; Old West Church, Boston, MA 8 STEVEN EGLER Steven Young; Old West Church, Boston, pm MA 8 pm Gerre Hancock; Christ Episcopal, Roanoke, DELBERT DISSELHORST Central Michigan University Bradley Hunter Welch; First Presbyterian, VA 7:30 pm First Presbyterian Church A. MUS. D. Glens Falls, NY 7:30 pm David Bohn; Holy Cross Catholic Church, Mt. Pleasant, Michigan 48858 Grant Hellmers; Christ Episcopal, Roanoke, Kaukauna, WI 12:15 pm UNIVERSITY OF IOWA SOLO Shelly-Egler VA 7:30 pm Wylie Crawford, carillon; Naperville Millenni- RECITALS Flute and Organ Duo ++Ken Cowan; Zion Evangelical United um Carillon, Naperville, IL 7 pm Church of Christ, Indianapolis, IN 8 pm Jim Fackenthal, carillon; Naperville Millenni- 1 AUGUST um Carillon, Naperville, IL 7 pm John Weaver; Methuen Memorial Music Hall, ELLEN KURTZ Methuen, MA 8 pm JOHN FENSTERMAKER 18 JULY Paul Leddington Wright; Great Auditorium, Chelsea Chen; Methuen Memorial Music Ocean Grove, NJ 7:30 pm RINITY BY THE OVE FUNK Hall, Methuen, MA 8 pm Nancy Siebecker; First Congregational, T - - -C Peter Richard Conte; Great Auditorium, U.C.C., Appleton, WI 12:15 pm M.Mus., A.A.G.O. Ocean Grove, NJ 7:30 pm Ellen Bowlin; Sinsinawa Mound, Sinsinawa, NAPLES, FLORIDA Concord, California Frances Nobert; Old Salem, Winston-Salem, WI 7 pm NC 12 noon Jared Stellmacher; First Congregational, 2 AUGUST U.C.C., Appleton, WI 12:15 pm Russel Oliver; Old Dutch Church, Kingston, Organist / Pianist Brenda Portman; Sinsinawa Mound, Sinsi- NY 12:15 pm CHRISTOPHER nawa, WI 7 pm Alan Morrison; Trinity Church Wall Street, Michael Gailit New York, NY 1 pm 19 JULY [email protected] GARVEN http://www.gailit.at Dale Ziegenfelder; Old Dutch Church, 4 AUGUST Organist & Music Director Kingston, NY 12:15 pm Gordon Turk; Great Auditorium, Ocean St. Augustine’s Church Church of the Good Samaritan Tom Trenney; Trinity Church Wall Street, Grove, NJ 12 noon Conservatory / University (Vienna) Paoli, Pennsylvania New York, NY 1 pm 5 AUGUST 21 JULY Cherie Wescott; Round Lake Auditorium, Gordon Turk; Great Auditorium, Ocean Round Lake, NY 8 pm Grove, NJ 12 noon John M. Gearhart III Craig Campbell; Cathedral of St. Patrick, ROBERT GLASGOW New York, NY 4:45 pm B.A., M.Mus. 22 JULY Edward Moore; Basilica of the National St. John the Divine (Episcopal) PROFESSOR EMERITUS Douglas Kostner; Cathedral of St. Patrick, Shrine of the Immaculate Conception, Washing- New York, NY 4:45 pm 2450 River Oaks Blvd. The University of Michigan ton, DC 6 pm Bach Vespers; Holy Trinity Lutheran; New Houston, TX 77019 Ann Arbor York, NY 7 pm Stephen Schreiber, carillon; Longwood Gar- 6 AUGUST dens, Kennett Square, PA 3 pm Cherie Wescott; Round Lake Auditorium, Paul Skevington, with trumpet; Basilica of Round Lake, NY 2 pm the National Shrine of the Immaculate Concep- Mark Lee, carillon; Chicago Botanic Garden, JAMES HAMMANN tion, Washington, DC 6 pm Glencoe, IL 7 pm Antone Godding Choral Evensong; Christ Church Cathedral, DMA-AAGO Indianapolis, IN 4:30 pm 7 AUGUST Nichols Hills Chris Ganza; First Parish Church, Brunswick, United Methodist Church University of New Orleans 23 JULY ME 12:10 pm Oklahoma City Chapel of the Holy Comforter Laura Ellis, carillon; Chicago Botanic Gar- Alan Morrison; Portland City Hall, Portland, den, Glencoe, IL 7 pm ME 7:30 pm John Skelton; Old West Church, Boston, MA 24 JULY 8 pm LORRAINE BRUGH, Ph.D. Sean Fleming; First Parish Church, Mark Lee, carillon; Naperville Millennium Car- Brunswick, ME 12:10 pm illon, Naperville, IL 7 pm A two-inch John Weaver; Greensboro United Church of Christ, Greensboro, VT 8 pm 8 AUGUST Associate Professor Professional Card David Morse, with mezzo-soprano; King’s John Finney; Methuen Memorial Music Hall, University Organist Chapel, Boston, MA 12:15 pm Methuen, MA 8 pm Douglas Major; Old West Church, Boston, Roger Sayer & Charles Andrews; Great in THE DIAPASON MA 8 pm Auditorium, Ocean Grove, NJ 7:30 pm Valparaiso University Harry Huff; Christ Episcopal, Roanoke, VA John Skidmore; Memorial Presbyterian, Valparaiso, IN For information on rates and 7:30 pm Appleton, WI 12:15 pm www.valpo.edu specifications, contact: Laura Ellis, carillon; Naperville Millennium Anita Werling; Sinsinawa Mound, Sinsinawa, Carillon, Naperville, IL 7 pm WI 7 pm Jerome Butera 219-464-5084 25 JULY 9 AUGUST [email protected] Jared Johnson; Methuen Memorial Music Eric Hepp; Old Dutch Church, Kingston, NY [email protected] 847/391-1045 Hall, Methuen, MA 8 pm 12:15 pm
JULY, 2007 29 Paul Jacobs; Trinity Church Wall Street, New UNITED STATES York, NY 1 pm WILL HEADLEE Harry H. Huber West of the Mississippi D. Mus. 11 AUGUST 15 JULY 1650 James Street Gordon Turk; Great Auditorium, Ocean Kansas Wesleyan University, Emeritus Angela Kraft-Cross; Cathedral of St. Mary of Grove, NJ 12 noon Syracuse, NY 13203-2816 University Methodist Church the Assumption, San Francisco, CA 3:30 pm 12 AUGUST Carol Williams; Balboa Park, San Diego, CA (315) 471-8451 SALINA, KANSAS John Courter, carillon; Longwood Gardens, 2 pm Kennett Square, PA 3 pm Robert Remek; Basilica of the National 16 JULY Shrine of the Immaculate Conception, Washing- Chelsea Chen; Balboa Park, San Diego, CA MICHELE JOHNS ton, DC 6 pm 7:30 pm A.Mus.D Brian Jones •R. Monty Bennett; Friendship Missionary Director of Music Emeritus Baptist Church, Charlotte, NC 4 pm 17 JULY Organ — Harpsichord David Gell, with cantor; Trinity Episcopal, The University of Michigan TRINITY CHURCH 13 AUGUST Santa Barbara, CA 3:30 pm Marijim Thoene; St. Francis of Assisi School of Music BOSTON Church, Ann Arbor, MI 7 pm 18 JULY Karel Keldermans, carillon; Chicago Botanic Felix Hell; Cathedral Basilica of St. Louis, St. Garden, Glencoe, IL 7 pm Louis, MO 7:30 pm Jeannine Jordan; Lorraine Avenue Mennon- JAMES KIBBIE 14 AUGUST ite Church, Wichita, KS 1 pm KIM R. KASLING Harold Stover; First Parish Church, D.M.A. The University of Michigan Brunswick, ME 12:10 pm 22 JULY Ann Arbor, MI 48109-2085 Thomas Heywood; Portland City Hall, Port- Marilyn Keiser; University Christian Church, St. John’s Univeristy Fort Worth, TX 7:30 pm 734-764-1591 FAX: 734-763-5097 land, ME 7:30 pm Collegeville, MN 56321 Gail Archer; King’s Chapel, Boston, MA Angela Kraft-Cross; Cathedral of St. Mary of email: [email protected] 12:15 pm the Assumption, San Francisco, CA 3:30 pm Diane Luchese; Old West Church, Boston, Namhee Han; Westwood United Methodist, MA 8 pm Los Angeles, CA 3 pm Karel Keldermans, carillon; Naperville Mil- Carol Williams; Balboa Park, San Diego, CA DAVID K. LAMB, D.MUS. lennium Carillon, Naperville, IL 7 pm 2 pm Director of Music/Organist RICHARD LITTERST 15 AUGUST 23 JULY First United Methodist Church Warren & Margaret Scharf; Methuen Memo- Olivier Latry; Balboa Park, San Diego, CA First Church of Christ, Scientist rial Music Hall, Methuen, MA 8 pm 7:30 pm Columbus, Indiana Paul Jacobs; Shepherd of the Bay Lutheran 812/372-2851 Rockford, Illinois Church, Ellison Bay, WI 8 pm 25 JULY Heather Paiser; First Presbyterian, Neenah, Jeannine Jordan; Mt. Angel Abbey Church, WI 12:15 pm St. Benedict, OR 6 pm Peter Sziebal; Sinsinawa Mound, Sinsinawa, WI 7 pm 26 JULY David Lowry BETTY LOUISE LUMBY Jeannine Jordan; Mt. Angel Abbey Church, THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD 16 AUGUST St. Benedict, OR 6 pm DSM • FAGO Craig Williams; Old Dutch Church, Kingston, 1512 BLANDING STREET, COLUMBIA, SC 29201 UNIVERSITY OF MONTEVALLO NY 12:15 pm 29 JULY DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Joan DeVee Dixon; Union Sunday School, ROCK HILL, SC 29733 MONTEVALLO, AL 35115 18 AUGUST Clermont, IA 2:30 pm Paul Bisaccia, piano; Lakeridge (East Stephen Lind; Cathedral of St. Mary of the Lodge), Torrington, CT 8 pm Assumption, San Francisco, CA 3:30 pm Gordon Turk; Great Auditorium, Ocean Carol Williams; Balboa Park, San Diego, CA Grove, NJ 12 noon 2 pm JAMES R. METZLER 19 AUGUST 30 JULY Justus Parrotta; Basilica of the National John Scott; Balboa Park, San Diego, CA Shrine of the Immaculate Conception, Washing- 7:30 pm PARK CONGREGATIONAL CHURCH ton, DC 6 pm GRAND RAPIDS, MICHIGAN 4 AUGUST 20 AUGUST David Gell, with instruments; Trinity Episco- Jonathan Lehrer, carillon; Chicago Botanic pal, Santa Barbara, CA 3 pm Garden, Glencoe, IL 7 pm 5 AUGUST 21 AUGUST David Graham; Cathedral of St. Mary of the Jelani Eddington; Portland City Hall, Port- William H. Murray Assumption, San Francisco, CA 3:30 pm land, ME 7:30 pm A.S.C.A.P. William Usher; Westwood United Methodist, FELLOW, AMERICAN GUILD OF ORGANISTS Jonathan Lehrer, carillon; Naperville Millen- Mus.M., F.A.G.O. Los Angeles, CA 3 pm nium Carillon, Naperville, IL 7 pm 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas 6 AUGUST (770) 594-0949 22 AUGUST Lois Toeppner; Methuen Memorial Music Joseph Adam; Benaroya Hall, Seattle, WA Hall, Methuen, MA 8 pm 12:30 pm Gordon Turk; Great Auditorium, Ocean Ty Woodward; Balboa Park, San Diego, CA MARILYN MASON Grove, NJ 7:30 pm 7:30 pm CHAIRMAN, DEPARTMENT OF ORGAN Marillyn Freeman; St. Paul’s Lutheran, UNIVERSITY OF MICHIGAN Neenah, WI 12:15 pm 13 AUGUST Barbara Dennerlein; Balboa Park, San ANN ARBOR Steve Steely; Sinsinawa Mound, Sinsinawa, WI 7 pm Diego, CA 7:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it with awesome technique and a thrilling command of its daring writing.” 23 AUGUST 19 AUGUST The American Organist, 1980 Terry Earles; Old Dutch Church, Kingston, Emma Lou Diemer; Cathedral of St. Mary of NY 12:15 pm the Assumption, San Francisco, CA 3:30 pm Peter Fennema; Westwood United 25 AUGUST Methodist, Los Angeles, CA 3 pm Mary Mozelle Scott Lamlein; King’s Chapel, Boston, MA LARRY PALMER 12:15 pm 20 AUGUST Associate Organist Dennis James; Balboa Park, San Diego, CA Professor of 26 AUGUST 7:30 pm James Smith, carillon; Longwood Gardens, The National 21 AUGUST Harpsichord and Organ Kennett Square, PA 3 pm Presbyterian Church Giorgio Parolini; Basilica of the National Robert Bates; University of Houston Organ Washington, DC Shrine of the Immaculate Conception, Washing- Hall, Houston, TX 7:30 pm Meadows School of the Arts ton, DC 6 pm 703.898.9609 26 AUGUST SOUTHERN METHODIST UNIVERSITY Steve Story; Union Sunday School, Cler- www.PipeOrganPro.com 27 AUGUST Scott Lamlein; Methuen Memorial Music mont, IA 2:30 pm “The Sights and Sounds Dallas, Texas 75275 Hall, Methuen, MA 8 pm Abendmusik; Trinity Episcopal, Santa Bar- of the Pipe Organ” Christine Power, carillon; Chicago Botanic bara, CA 3:30 pm Musical Heritage Society recordings Garden, Glencoe, IL 7 pm 27 AUGUST 28 AUGUST Carol Williams, Clark Sterling, & guests; Raúl Ramírez; Portland City Hall, Portland, Balboa Park, San Diego, CA 7:30 pm ME 7:30 pm
A four-inch 29 AUGUST INTERNATIONAL Stephanie Liem, Nathan Laube, & Joshua Stafford; Great Auditorium, Ocean Grove, NJ Professional Card 7:30 pm 15 JULY Daniel Steinert; Zion Lutheran, Appleton, WI Guy Bovet; Abbaye, Romainmôtier, Switzer- in THE DIAPASON 12:15 pm land 5 pm Kirstin Synnestvedt; Sinsinawa Mound, Paul Jacobs; St. Albans Cathedral, St. Sinsinawa, WI 7 pm Albans, UK 4 pm No additional charge for photos Hartwig Barte-Hanssen; Westminster 30 AUGUST Abbey, London, UK 5:45 pm For information on rates and specifications, contact Kenneth Walsh; Old Dutch Church, Olivier Latry; Basilique Notre-Dame, Montre- al, QC, Canada 7 pm Jerome Butera, 847/391-1045 Kingston, NY 12:15 pm 31 AUGUST 16 JULY [email protected] Carol Williams; Essex Community Church, Sylvie Poirier & Philip Crozier; Chris- Essex, NY 7:30 pm tuskirche, Dresden, Germany 7:30 pm
30 THE DIAPASON Otto Kraemer; All Souls, Langham Place, Ian Harrison; St. Michael & All Angels, West London, UK 7:30 pm Croydon, UK 1:10 pm Martin Baker; Westminster Cathedral, Lon- LEON NELSON DOUGLAS REED 17 JULY don, UK 7:30 pm FIRST PRESBYTERIAN CHURCH David Briggs; St. Lawrence Jewry, London, ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE UK 1 pm 26 JULY Simon Preston; Westminster Abbey, Lon- Benjamin Righetti & Francis Jacob, with NORTH PARK UNIVERSITY EVANSVILLE, INDIANA don, UK 7 pm percussion; Church of Saessolsheim, Saessol- CHICAGO, IL 60625 Les Petits Chanteurs de Monaco; St. James sheim (Alsace), France 7 pm United Church, Montreal, QC, Canada 12:30 pm Paul Hale; Wells Cathedral, Wells, UK 7:30 pm 18 JULY STEPHEN G. SCHAEFFER Peter Planyavsky; Collégiale, Neuchâtel, 27 JULY ROBERT L. Switzerland 8 pm Przemyslaw Kapitula; Cathedral, Lausanne, D.M.A. Paul Stubbings; St. Michael & All Angels, Switzerland 8 pm The Cathedral Church SIMPSON West Croydon, UK 1:10 pm Luciano Zecca; Chiesa di Santa Maria Christ Church Cathedral Andrew Henderson; St. John’s Anglican Vergine Assunta, Viverone, Italy 9 pm of the Advent 1117 Texas Avenue Church, Elora, ON, Canada 5 pm Freddy Eichelberger, harpsichord; Church Birmingham, Alabama 35203 Houston, Texas 77002 of Saessolsheim, Saessolsheim (Alsace), 19 JULY France 7 pm Ann Elise Smoot; St. Matthew’s Westmin- ster, London, UK 1:05 pm 28 JULY Stephen Tappe István Ella, Hans-George Reinertz, Diego Nigel Potts; Klagenfurt Cathedral, Klagen- Cannizzaro, & Massimo Nosetti; St. Margaret furt, Austria 7 pm Organist and Director of Music Joe Utterback Lothbury, London, UK 1:10 pm Francis Jacob; St-Thomas Church, Stras- Saint John's Cathedral COMMISSIONS & CONCERTS bourg, France 9 pm 20 JULY Matteo Galli; Chiesa di S. Anna al Mon- Denver, Colorado 732 . 747 . 5227 Paul Stubbings; St. Peter’s Limpsfield, UK trigone, Borgosesia, Italy 9 pm www.sjcathedral.org 7:30 pm Philip Rushworth; Bridlington Priory, Paul Hale; Plumtree Parish Church, Bridlington, UK 6 pm Plumtree, UK 7:30 pm Sylvie Poirier & Philip Crozier; Hallgríms- kirkja, Reykjavik, Iceland 12 noon 21 JULY DAVID WAGNER Sylvie Poirier & Philip Crozier; St. Nikolai 29 JULY Marcia Van Oyen DMA Kirche, Flensburg, Germany 11 am Luigi Ferdinando Tagliavini; Abbaye, First United Methodist Church, Madonna University Richard Pilliner; St. George’s Cathedral Romainmôtier, Switzerland 5 pm Southwark, London, UK 1:05 pm Mario Duella; Chiesa di S. Lorenzo, Plymouth, Michigan Livonia, Michigan Ann Elise Smoot; Beverley Minster, Bever- Sostegno, Italy 9 pm mvanoyen.com [email protected] ley, UK 6 pm Ian Wicks; Westminster Abbey, London, UK Andrew Sampson; St. John the Evangelist 5:45 pm RC Church, Islington, UK 7:30 pm Sylvie Poirier & Philip Crozier; Hallgríms- kirkja, Reykjavik, Iceland 8 pm 22 JULY SALLY SLADE WARNER, AAGO, ChM Sylvie Poirier & Philip Crozier; St. 30 JULY KEVIN WALTERS Carillonneur Marienkirche, Rachtig, Germany 5 pm Johan Hermans; Lincoln Cathedral, Lincoln, Joris Verdun; Abbaye, Romainmôtier, UK 7 pm M.A., F.A.G.O. St. Stephen’s Church, Cohasset, MA Switzerland 5 pm • •Ken Cowan; Francis Winspear Centre for Phillips Academy, Andover, MA Christa Rakich; Cappella di S. Marta e Music, Edmonton, AB, Canada 8 pm Rye, New York Recitals Chiesa di S. Giacomo, Campertogno, Italy 9 pm Michael Bower; Westminster Abbey, Lon- 31 JULY don, UK 5:45 pm Robert Quinney; Westminster Abbey, Lon- Jennifer Chou; St. John’s Cathedral, Bris- don, UK 7 pm bane, Australia 3 pm 1 AUGUST KARL WATSON Cherie Wescott 23 JULY Simone Gheller; Chiesa di S. Bartolomeo, Concerts • Masterclasses • Coaching Mario Duella, with trumpet; Santuario Scopa, Italy 9 pm ST. RAYMOND’S CHURCH Madonna delle Grazie della Novareia, Portula, Michael Emerson; Chingford Parish Church, 405/942-3958 Italy 5 pm Chingford, UK 1:10 pm PARKCHESTER e-mail: [email protected] 24 JULY 2 AUGUST James O’Donnell; Westminster Abbey, Lon- Giulio Mercati; Chiesa dei SS. Giovanni e don, UK 7 pm Giuseppe, Mollia, Italy 9 pm Régis Rousseau; St. James United Church, • •Olivier Latry; Francis Winspear Centre for Montreal, QC, Canada 12:30 pm Music, Edmonton, AB, Canada 8 pm Davis Wortman RONALD WYATT 25 JULY 3 AUGUST ST. JAMES’ CHURCH Trinity Church Kumi Shibusawa; Minato Mirai Hall, Yoko- Erik Suter; Cathedrale de Lausanne, Lau- hama, Japan 12:10 pm sanne, Switzerland 8 pm NEW YORK Galveston Guy Bovet; Collégiale, Neuchâtel, Switzer- Hervé Desarbre; Chiesa della Beata Vergine land 8 pm Assunta, Scopello, Italy 9 pm Mario Duella, with soprano; Chiesa nuova, Faye Adamson; SS. Peter and Paul, Oropa, Italy 9 pm Godalming, UK 1 pm Benjamin Righetti; Church of Saessolsheim, CHARLES DODSLEY WALKER, FAGO Saessolsheim (Alsace), France 7 pm 4 AUGUST Samuel Bardsley; Chingford Parish Church, Hervé Desarbre; Chiesa di S. Giovanni Bat- TRINITY EPISCOPAL CHURCH Chingford, UK 1:10 pm tista, Alagna, Italy 9 pm BOX 400 SOUTHPORT, CT 06890
Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico www.stjohnsabq.org PHILIP CROZIER 505-247-1581 ORGAN DUO #0727 - What’s New?…a modest miscellany of recent compact discs, a J representative sampler of the incredible flood of current offerings. 3355 Queen Mary Road, Apt 424 Montreal, H3V 1A5, P. Quebec U #0728 - Alain On Alain (Part 1)…the famous French recitalist, Canada L recording artist and teacher Marie-Claire Alain talks about her life and shares her music. (514) 739-8696 Y Fax: (514) 739-4752 Iain Quinn #0729 - Alain On Alain (Part 2) Maxine Thevenot …the remarkable Marie-Claire [email protected] Director of Associate Organist- Alain talks about the unique power of the compositions by her Cathedral Music Choir Director older brother and first teacher, Jehan Alain (1911-1940). 2 #0730 - She’s Done It!…history has been slow to acknowledge the DAVID SPICER 0 evidence that women composers have accomplished plenty. 0 First Church of Christ #0731 - From British Cathedrals…grander than grand, these Wethersfield, Connecticut Carol Williams 7 impressive instruments resonate in some of England’s most famous ecclesiastical buildings. San Diego Civic Organist
Website: www.melcot.com House Organist E-mail: [email protected] The Bushnell Memorial Hartford
JULY, 2007 31 Gabriel Dessauer; Beverley Minster, Bever- 14 AUGUST 28 AUGUST Wondrous Cross, Faith of Our Fathers, ley, UK 6 pm Mark Steinbach; Chiesa di S. Lorenzo, Vincent Boucher; St. James United Church, McKinley; Chorale Prelude on Herzliebster Crevola, Italy 9 pm Montreal, QC, Canada 12:30 pm Jesu, Gell; Trumpet Tune in F, Rohlig; 5 AUGUST Alexander Fiseisky; Westminster Abbey, Sonata II in c, Mendelssohn. Sylvie Poirier & Philip Crozier; Evangelis- London, UK 7 pm 29 AUGUST che Stadtkirche, Hilchenbach, Germany 5 pm Dany Wiseman; St. James United Church, John Rippin; Chingford Parish Church, SARAH MAHLER HUGHES, Ripon Manuel Tomadin; Chiesa di S. Maria delle Montreal, QC, Canada 12:30 pm Chingford, UK 1:10 pm College, Ripon, WI, March 4: Ciacona in e, Grazie, Varallo, Italy 9 pm Gillian Weir; Westminster Cathedral, Lon- Bux WV 160, Fugue in G, Bux WV 174, Bux- Jérôme Faucheur; Farnborough Abbey, 15 AUGUST don, UK 7:30 pm tehude; Bergamasca, Frescobaldi; Basse de Farnborough, Hampshire, UK 3 pm Maxine Thevenot; Salisbury Cathedral, Sal- trompette, Chromhorne sur la taille, Dia- isbury, UK 7.30 pm logue sur les grands jeux (Messe pour les 6 AUGUST Rory Thorndyke; Chingford Parish Church, Couvents), Couperin; Nun komm, der Hei- Carlo Tunesi; Chiesa di S. Antonio Abate, Chingford, UK 1:10 pm Organ Recitals den Heiland, BWV 659, An Wasserflüßen Cravagliana, Italy 9 pm Babylon, BWV 653, Bach; Concerto del Sigr 16 AUGUST Meck, Walther; Passacaglia, Variations on 7 AUGUST GARY BEARD, with Ryan Anthony, Carolyn Shuster Fournier; Viborg Cathe- trumpet, Church of the Holy Spirit, Lake Amazing Grace, Hughes; Celebration of Elisa Teglia; Chiesa di S. Margherita, Bal- dral, Viborg, Denmark 7:30 pm Tranquility, Celebration for Song and Dance, muccia, Italy 9 pm Forest, IL, March 18: The Opening Fanfare Andrew Sampson; St. Matthew’s Westmin- and March, Concerto Saint-Marc, Albinoni; Pinkham; Toccata alla rumba, Strejc. Ashley Grote; Westminster Abbey, London, ster, London, UK 1:05 pm UK 7 pm Après un rêve, Fauré; Grand Russian Fanta- sy, Levy; Great Is Thy Faithfulness, arr. PAUL JACOBS, Rollins College, Winter David Carle; St. James United Church, Mon- 17 AUGUST Park, FL, March 3: Sonata No. 1 in f, op. 65, treal, QC, Canada 12:30 pm Miller; Amazing Grace, arr. Anthony/Beard; Carolyn Shuster Fournier; Haderslev Concerto in A-flat, Vivaldi; Dreams of Karen, Mendelssohn; Trio Sonata in G, BWV 530, Cathedral, Haderslev, Denmark 7:30 pm Bach; Fantasia and Fugue on BACH, op. 46, 8 AUGUST Milligan; Der Hölle Rache kocht in meinen Herzen (Die Zauberflöte), Mozart, transcr. Reger; Prelude and Fugue in a, BWV 543, Michel Colin; Chiesa di Maria Vergine 19 AUGUST Bach; Sonata on the 94th Psalm, Reubke. Assunta, Grignasco, Italy 9 pm Anthony/Beard; Someone to Watch Over Me, Michael Fulcher; St. John’s Cathedral, Bris- Gershwin, arr. Turrin; Carnival of Venice, Tom Primrose; Chingford Parish Church, bane, Australia 3 pm BOYD JONES, University of Notre Chingford, UK 1:10 pm Clarke. Mark Steinbach; Chiesa Parrocchiale Gries, Dame, South Bend, IN, March 25: Praeludi- Bolzano, Italy 9 pm um in e, Bruhns; Praeambulum in d, 9 AUGUST MICHEL BOUVARD, Church of St. Philip Crozier; Chalmers Wesley United Praeambulum in d, Jesus Christus, unser Giuseppe Ricardi; Chiesa di S. Stefano, Ignatius Loyola, New York, NY, March 14: Church, Quebec City, QC, Canada 6 pm Piode, Italy 9 pm Crucifixus (Mass in b, BWV 232), Bach, Heiland, Scheidemann; Prelude and Fugue transcr. Bouvard; Variations on Weinen, Kla- in d, BWV 539, O Lamm Gottes, unschuldig 21 AUGUST 10 AUGUST gen, Sorgen, Zagen, and the Crucifixus of the (3 versus), BWV 656, Bach; Three settings of Giovanni Galfetti, with ciaramella; Chiesa di Denis Gagné; St. James United Church, B-minor Mass, Liszt; Prelude and Fugue in e, O Traurigkeit, o Herzeleid, Pepping; Chorale Santa Croce, Rassa, Italy 9 pm Montreal, QC, Canada 12:30 pm op. 35, no. 1, Mendelssohn, transcr. Bouvard; Prelude and Fugue on O Traurigkeit, o Variations sérieuses, op. 54, Mendelssohn, Herzeleid, Brahms; Praeludium in F Major, 11 AUGUST 22 AUGUST transcr. Smits; Récit de Tierce en taille, Basse BuxWV 144, Mit Fried und Freud, BuxWV Silvio Celeghin, with horn; Chiesa di S. Miki Asai; Minato Mirai Hall, Yokohama, de Trompette ou de Cromorne, Fugue à 5, 76, Passacaglia in d, BuxWV 161, Praeludi- Michele Arcangelo, Rastiglione, Italy 9 pm Japan 7 pm Dialogue sur les grands jeux, de Grigny; um in a, BuxWV 163, Buxtehude. Jonathan Marten; Chingford Parish Church, Variations sur un vieux Noël français, Bou- 12 AUGUST Chingford, UK 1:10 pm vard; Trois Danses, Langlais. CHRISTOPHER MARKS, Wichita State Johannes Geffert; St. Joseph, Bonn-Beuel, University, Wichita, KS, February 6: Fanta- Germany 7 pm 25 AUGUST KEN COWAN, St. Martin’s Episcopal sia super Komm, heiliger Geist, BWV 651, Silvio Celeghin, with horn; Chiesa di S. Charles Wooler; All Saints Parish Church, Church, Houston, TX, March 18: Toccata in Bach; Nun freut euch, lieben Christen, Sebastiano, Trivero/Bulliana, Italy 9 pm High Wycombe, UK 12 noon E, BWV 566, Bach; Harmonies du Soir, op. g’mein, BuxWV 210, Buxtehude; Veni Cre- Hector Olivera; Notre Dame Cathedral, Marcus Huxley; Bridlington Priory, Bridling- 72, no. 1, Valse Mignonne, op. 142, no. 2, ator Spiritus, Ahrens; Fugue à la Gigue, Paris, France ton, UK 6 pm Karg-Elert; Sonata on the 94th Psalm, Johnson; Roulade (Baroques, op. 9, no. 3), Ben Saul; All Saints Church Blackheath, UK Reubke; Pastorale, Roger-Ducasse; Sala- Variation Studies, op. 54, Bingham. 5:30 pm 27 AUGUST manca, Bovet; Farewell to the Evening Star Maxine Thevenot; Westminster Abbey, Lon- Thomas Corns; Bromley Parish Church, (Tannhaüser), Prelude to Die Meistersinger, CARLENE NEIHART and DAVID don, UK 5:45 pm Bromley, UK 11:30 am Wagner, arr. Lemare. DIEBOLD, with Jesse Henkensiefker, cello, Alan Spedding; Beverley Minster, Beverley, Tom Atkin, piano, and New Reform Temple 13 AUGUST UK 6 pm ROBERT DELCAMP, with David Lan- Choir, Country Club Christian Church, Roland Muhr; Chiesa di S. Antonio, Borgo- Colin Walsh; Lincoln Cathedral, Lincoln, UK don, narrator, All Saints’ Chapel, University Kansas City, MO, March 19: Mo Tovu, sesia, Italy 9 pm 7 pm of the South, Sewanee, TN, March 8: Le Lewandowski; Esa Eynai, Janowski; Shalom Chemin de la Croix, op. 29, Dupré. Rav, Steinberg; Avinu Malkeynu, Janowski; Kol Nidrei, Bruch, arr. Janowski; Prelude for RONALD EBRECHT, Sant Kazimiero Rosh Hashana, Lewandowski; Shabuoth, ORGAN BUILDERS Basilica, Vilnius, Lithuania, March 18: Nigun, Berlinski; Allegro assai vivace (Sonata Sonata III, op. 25, van Eyken; Cod Piece I), Mendelssohn; No. 5, Meditation (Six (Fish Music), Albright; Prélude Religieux, Liturgical Pieces), Freed; Six Preludes for L. W. BLACKINTON THE NOACK ORGAN CO., INC. Jenkins; Passacaglia, BWV 582, Bach. Organ, Bloch; Sim Shalom, Janowski; Grant MAIN AND SCHOOL STREETS Peace, We Pray, Mendelssohn; Psalm 150, and associates, inc. GEORGETOWN, MA 01833 www.noackorgan.com JULIE VIDRICK EVANS, St. Thomas Lewandowski. 380 FRONT ST. Church Fifth Avenue, New York, NY, March EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America 4: Prelude and Fugue in C, BWV 547, Bach; BRUCE NESWICK, Covenant Presby- Sonata I in f, Mendelssohn; My Lord What a terian Church, Charlotte, NC, March 18: Morning, Haan; Final (Symphonie No. 1), Improvisation on a submitted theme; Prae- martin ott pipe Vierne. ludium und Fuge in E-Moll, Bach; Organ organ Sonata I, Howells; Variations on Ora labora, DAVID GELL, First United Methodist Hancock; Two Chorale-Preludes on O Welt, company Church, Santa Barbara, CA, March 28: Da ich muss dich lassen, Brahms; Prélude et inc. Jesus an dem Kreuze stund, Scheidt; Prelude Fugue in La Bémol Majeur, Dupré; improvi- 1353 Baur Boulevard and Fugue in e, Bruhns; When I Survey the sation on a submitted theme. St. Louis, Missouri 63132 (314) 569-0366
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32 THE DIAPASON DEREK E. NICKELS, First Presbyter- berger; Aquarius–Cancer (Tierkreis, op. 1 ian Church, Arlington Heights, IL, March 41 ⁄2), Stockhausen; My Lord! What a Morn- 21: Präludium in g, BuxWV 149, Ein feste ing, Were You There?, Somebody’s Knockin’ CLASSIFIED ADVERTISING Burg ist unser Gott, Bux WV 184, Buxte- at Your Door, Utterback; The Cuckoo, hude; Fantasia à gusto italiano, Ach Herr Daquin; The Swan, Saint-Saëns; Penguins’ mich armen Sünder, Krebs; Fugue in g, Playtime, Ogden; Praeludium C-Dur, BWV BWV 578, Von Gott will ich nicht lassen, 545a, Largo (Trio Sonata V, BWV 529), Fuga POSITIONS MISCELLANEOUS BWV 658, Bach; Sinfonia from Cantata 29, C-Dur, BWV 545b, Bach. AVAILABLE Bach, arr. Guilmant. ROGER STANLEY, St. Chrysostom’s KAREL PAUKERT, with Margi Church, Chicago, IL, March 4: Praeludium Griebling-Haigh, oboe and English horn, Full-time Associate Director/Organist, Cathe- und Fuga in G, Buxtehude; What Wondrous dral of Mary Our Queen, Baltimore, Maryland. ATTENTION ORGANISTS! Do you dread and Robert Walters, English horn, St. Paul’s Love Is This, Coe; Fantasia et Fuga in c, Musician to join the Cathedral Music Ministry to the coming of summer and the mere Episcopal Church, Cleveland Heights, OH, Bach; Psalm-Prelude (Set One, no. 3), How- assist with organ, choral and administrative thought of those sour-sounding reeds in March 11: Epigrams, Kodály; Crebus, ells; Ubi caritas, Biery; O Traurigkeit, o work as it pertains to the music ministry and your un-air conditioned sanctuary? Fret no Houghton; Pohádka léta, Suk; Adagio, Herzeleid, Schroeder, Held, Brahms; O Gott Cathedral Music Series, including accompany- more—we have the answer! The new ing the Cathedral Choirs, directing the Handbell “Coldpipes” system takes care of keeping Postludium (Glagolithic Mass), Janácek; du frommer Gott, Bach. one’s reeds at tuning pitch during a heat Odes for English Horn and Organ, Choir, assisting with the Cathedral Choristers, and Contemporary Choir, and playing for week- wave. Its secret fabric (developed by Pinkham; Duets, Bartók, arr. Griebling- SUE WALBY, First Presbyterian Church, end liturgies, rehearsals and concerts. NASA) contains special pitch-adjusting Haigh; With, Baker; Cortège d’antan, La Crosse, WI, March 4: Prelude and Fugue [email protected]; 410/464-4020. ions, wraps around the pipe, and through Griebling-Haigh. remote-controlled ultra-high-tech black- in g, Buxtehude; Sinfonia from Wir danken box technology, can calibrate the pipe’s dir, Gott, BWV 29, Bach, arr. Wolff; Jesu, Organist—St. Peter Community Church, pitch. You merely attach the pitch-adjust- CHRISTA RAKICH, with Wendy Rolfe, meine Freude, Walther; At the Lamb’s High Northbrook, Illinois. 2-manual Moller organ; ment wrap around the pipe with Velcro, flute, Cathedral of St. Joseph, Hartford, CT, Feast, Manz; I Know That My Redeemer one service. Adult and youth choirs. Contact and activate the radio-controlled Temp- March 9: Te Deum Laudamus, BuxWV 218, Lives, Ore; Land of Rest, Near; Sarabande the church at 847/272-2246 or Master module. Coldpipes will calm down Buxtehude; improvisation on the tune [email protected]. those cantankerous Krummhorns fast! No and Chorale (Music for Sunday Morning), sacristy tools needed. Does little or no per- Salzburg; Basilica Triptych, Woodman; Held; Song of Peace, Langlais; Everyone manent damage to pipes. Order yours Improvisation on the tune Llangloffan; Dance, Hampton. Experienced organist wanted—Monthly salary today! Box TJ Cold-Con, THE DIAPASON; improvisation on the tune Two Fishermen; range $900-980. Call 925/757-2135 or e-mail [email protected]. Concertino in D, op. 107, Chaminade, GEOFFREY WARD, St. Thomas Church [email protected] for auditions at the Chris- tian Science Church, Walnut Creek, California. transcr. Rakich. Fifth Avenue, New York, NY, March 18: The Organist Entertained! Organists visiting Praeludium in g, BuxWV 149, Buxtehude; England may stay at Sarum College, situated STEPHEN SCHNURR, St. Andrew Vater unser im Himmelreich, Böhm; Prelude QLF Custom Pipe Organ Components has inside the walled Cathedral Close, Salisbury, openings for qualified fine woodworkers to join and use two new organs with mechanical Episcopal Church, Valparaiso, IN, March 9: and Fugue in G, BWV 541, Bach; Hymne our staff in Rocky Mount, VA. Wages commen- Fantasia super Komm, Heiliger Geist, BWV d’action de grâce “Te Deum”, Langlais; Vari- actions for private study. Options for lessons, surate with experience. 540/484-1133, or time on the Cathedral Father Willis organ, visits 651, Bach; Preludes Founded on Welsh ations sur un thème de Clement Jannequin, e-mail [email protected]. to local sights. Excellent food, welcoming staff. Hymn Tunes, Vaughan Williams; Prelude AWV 99, Alain; Prelude et fugue sur le nom Website: www.sarum.ac.uk e-mail: and Fugue in a, Eddy; Con moto maestoso, d’Alain, op. 7, Duruflé. MISCELLANEOUS [email protected]. Tel: +44 1722 424805. Andante tranquillo (Sonata II in A, op. 65, no. 3), Mendelssohn; Andante cantabile MARK WILLIAMS, St. Thomas Church (Symhonie IV, op. 13, no. 4), Widor; Carillon Fifth Avenue, New York, NY, February 18: Visiting London? Bed and Breakfast accommo- PUBLICATIONS/ de Westminster (Pièces de Fantasie, op. 54, Prelude & Fugue in a, BWV 543, Bach; dation available in large parish house minutes RECORDINGS no. 6), Vierne. Pavan and Galliard ‘The Earl of Salisbury’, away from Westminster Abbey, the Thames, St. James’s Park and the Underground. Modern Request a free sample issue of The Diapason My Lady Nevell’s Ground, Byrd; Proces- kitchen and laundry available. For information write: for a student, friend, or colleague. Write to the ANDREW SHENTON, Pakachoag sional, Mathias, Naïades (Pièces de Fan- St. Matthew’s House, 20 Great Peter Street, West- Editor, The Diapason, 3030 W. Salt Creek Church, Auburn, MA, March 4: Alleluyas, taisie, op. 55), Vierne; Choral I in E Major, minster, London, SWIP 2BU. Tel. 0171 222 3704, Lane, Suite 201, Arlington Heights, IL 60005; or Preston; Sonata No. 4 in e, op. 98, Rhein- Franck. FAX 0171 233 0255, e-mail [email protected]. e-mail: [email protected].
Advertise in THE DIAPASON For information on rates and digital specifications contact Jerome Butera 847/391-1045,
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CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Insert the advertisement shown below (or enclosed) in the Classified Advertising section of THE DIAPASON for the following issue(s): Regular classified advertising is single para- January February March April May June July August September October November December graph “want ad” style. First line only of each ad in bold face type. Category ______ Regular Boldface PAYMENT MUST ACCOMPANY ORDER Display classified advertisements are set entirely in bold face type with the addition of a ruled box (border) surrounding the adver- Ad Copy ______tisement. ______Regular Classified, per word $ .90 Regular Classified minimum 18.00 ______Display Classified, per word 1.25 Display Classified minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 ______NOTE: Orders for classified advertising must be accompanied by payment in full ______for the month(s) specified. Orders will be accepted for one, two, three, four, five, or ______six months in advance. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $4.00 per issue desired with their payment. ______The Diapason reserves the right to desig- Name ______Phone ______nate appropriate classification to advertise- ments, and to reject the insertion of advertis- Address ______Total Enclosed ______ing deemed inappropriate to this magazine. City/State ______Zip ______Date Sent ______
JULY, 2007 33 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 33.
PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS RECORDINGS RECORDINGS RECORDINGS FOR SALE
Jesse Crawford arranged Gershwin’s Rhap- Historic Organ Surveys on CD: recorded dur- sody In Blue in 1928, and it’s now available ing national conventions of the Organ Historical Harpsichord Technique: A Guide to 48-rank, 3-manual and pedal pipe organ again! We have restored it, added biographical Society. Each set includes photographs, stop- Expressivity, 2nd edition with CDs, by installed in beautiful 4,200 square foot and musical notes, photos, and more. Craw- lists, and histories. As many organists as organs Nancy Metzger. Still available and still home in the Adirondack Mountains of New ford’s arrangement for theatre organ (full page of and repertoire from the usual to the unknown, the practical hands-on choice! York State overlooking the Great Sacan- his stops and combinations) was designed for a Arne to Zundel, often in exceptional perfor- www.rcip.com/musicadulce. daga Lake. Pipe organ is the heart of the two-manual organ. Challenge yourself to play mances on beautiful organs. Each set includes home, housed in and around a 20′ by 55′ many hymns sung by 200-400 musicians. His- the Rhapsody! www.michaelsmusicservice.com; great room; 60 stops, 3001 pipes, 99-level 704/567-1066. toric Organs of Louisville (western Kentucky/eastern Indiana) 32 organs on 4 CDs, HARPSICHORDS/ combination action, chimes. Four manual $29.95. Historic Organs of Maine 39 organs on divisions: Great, Swell, Positiv, Echo. Log CLAVICHORDS home has tongue and groove paneling The OHS Catalog is online at 4 CDs, $29.95. Historic Organs of Baltimore 30 organs on 4 CDs, $29.95. Historic Organs of throughout, and is situated on 50 acres of www.ohscatalog.org. More than 4,000 organ Harpsichords from the workshop of Knight and theatre organ CDs, books, sheet music, Milwaukee 25 organs in Wisconsin on 2 CDs, woodland in the Town of Day, has a brook $19.98. Historic Organs of New Orleans 17 Vernon. Authentic replicas of historic instru- running through it, 80 feet of sandy beach, DVDs and VHS videos are listed for browsing ments carefully made and elegantly decorated. and easy ordering. Use a link for adding your organs in the Bayous to Natchez on 2 CDs, a heated 2-bedroom guest cottage, and a $19.98. Historic Organs of San Francisco 20 8201 Keystone, Skokie, IL 60076. Telephone separate garage, workshop, and barn. address to the OHS Catalog mailing list. Organ 847/679-2809. Web site: Historical Society, Box 26811, Richmond, VA organs on 2 CDs, $19.98. Add $2.50 shipping in $1,699,900. For information: 518/696-2481 23261 E-mail: [email protected]. U S. per entire order from OHS, Box 26811, www.vernonharpsichords.mykeyboard.com. or e-mail [email protected]. Richmond, VA 23261, by telephone with Visa or MasterCard 804/353-9226; FAX 804/353-9266. PIANOFORTE FOR SALE Reflections: 1947-1997, The Organ Depart- Home organ for hobby builder—console 3- ment, School of Music, The University of Michi- manual/Pedal; 12 ranks; Bourdon 16/8′; gan, edited by Marilyn Mason & Margarete New classified advertising rates went into Brown and Allen/Boston square grand effect January 1, 2007. See page 33 for Gemshorn 8′; Rohrflute 4′; Voix Celeste 4′; Thomsen; dedicated to the memory of Albert pianoforte. 73 keys. Very good condition. information. Piccolo 2′; Tierce; Nazard; Larigot; Vox 8′; Stanley, Earl V. Moore, and Palmer Christian. Best offer. Nelson, 847/367-5102 or ′ ′ ′ Includes an informal history-memoir of the 312/304-5287. Oboe 8 ; Cor Anglais 8 ; 75% complete, 9 ceil- organ department with papers by 12 current ing. Also blowers, reservoirs, relay board, power supply, pine frame; many other parts— and former faculty and students; 11 scholarly Problem: Your company was articles; reminiscences and testimonials by PIPE ORGANS pipes, chests, valves, etc. Location: SW Que- graduates of the department; 12 appendices, not listed in THE DIAPASON bec, Canada. Buyer to remove and transport. and a CD recording, “Marilyn Mason in 2007 Resource Directory. FOR SALE Must sell due to illness. Terms: cash Recital,” recorded at the National Shrine of the $2000CAN, OBE. E-mail [email protected] Immaculate Conception in Washington, DC. Moller “Artiste” 2-manual pipe organ. or telephone 450/829-3153. Welcome to visit. $50 from The University of Michigan, Prof. Solution: Visit our website Eleven stops, 2 1/2 ranks, fits under 8' Marilyn Mason, School of Music, Ann Arbor, MI
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Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
For Pipe Organ Parts: Advertise in arndtorgansupply.com THE DIAPASON Muller Or send for our CD-ROM catalog For rates and digital specifications, Pipe Organ Company Arndt Organ Supply Company contact Jerome Butera P.O. Box 353 • Croton, Ohio 43013 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 847/391-1045 800-543-0167 Phone (515) 964-1274 Fax (515) 963-1215 [email protected] www.MullerPipeOrgan.com
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34 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 33.
PIPE ORGANS REED ORGANS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Three-manual, 47-rank organ for sale. Mostly Mason and Hamlin reed organ, 10 stops plus Austin actions: Come to the source. Fast Top Quality Releathering. Pouch rails, pri- Stinkens pipework from the 1970s plus some forte stop and octave coupler, with bench. delivery. Guaranteed. 860/522-8293; maries, reservoirs and any other pneumatic older ranks from Kimball (1912). Organ includes Excellent condition. Best offer. Nelson, www.austinorgans.com. action. Removal and installation service avail- Pedal 16′ Bombarde and metal 16′ Principal. 847/367-5102 or 312/304-5287. able. Full warranty. Skinner, Casavant and The three-manual console has been refitted The Whistle Shop repairs and rebuilds pipe Kimball specialty. Spencer Organ Company, with all solid-state components and new key- Inc. Call, Fax or visit our website for quotation boards and includes 58 drawknobs and 15 cou- MISCELLANEOUS organs. Southwestern U.S. Also, maintenance and tonal work. Finest materials, expert work- and information. 781/893-7624 Voice/Fax, pler tabs. Original blower and ventil chests will FOR SALE www.spencerorgan.com. need to be replaced. Organ scheduled to be manship. K.E.M. Pipe Organ Builders, Austin, TX. 800/792-8180. removed in July 2007. Specifications and details Atlantic City Pipe Organ Co.—72-rank, on our website: www.bondorgans.com. 4-manual and 3-manual drawknob consoles RELEATHERING: also Pipe Organ Rebuild- ing, Repair and Maintenance Service in New organ for sale. Encompasses a 1973 and 1940s Highest quality organ control systems since Moller with many upgrades and additions by England area. Years of experience, fine 1859 August Pomplitz and Henry Rodewald 1989. Whether just a pipe relay, combination workmanship. Reading Organ Works, one-manual tracker action instrument with pipe OSI. Trivo reeds installed in mid 1980s with action or complete control system, all parts are Peterson combination action. In playable condi- A. Richard Hunter, 29 Baker Road, work and action restored by Richard Howell. This compatible. Intelligent design, competitive pric- Springfield, VT 05156. 802/886-2304. E-mail 5-rank organ represents the typical country pipe tion—can be split into two organs. Visit http://mywebpages.comcast.net/acorgan. ing, custom software to meet all of your require- [email protected]. organ of its time as built by Pomplitz. $35,000 or ments. For more information call Westacott best offer. Specifications, dimensions, and pic- E-mail: [email protected]. Phone 609/641-9422. Organ Systems, 215/353-0286, or e-mail tures furnished upon request. For more informa- [email protected] (not comcast). Austin actions recovered. Over 30 years tion, please contact atimpane@stjohnsnor- experience. Units thoroughly tested and fully wood.org or 301/654-7767. Vintage consoles, pipes, relays, magnets and guaranteed. Please call or e-mail for quotes. numerous miscellaneous parts. Let us know Columbia Organ Leathers sells the finest Technical assistance available. Foley-Baker, Two manual and pedal 8-rank Wangerin pipe what you are looking for. E-mail orgnbldr@com- leathers available for organ use. We sell pre- Inc., 42 N. River Road, Tolland, CT 06084. organ for sale. In good condition in the Detroit cat.com (not comcast), phone 215/353-0286 or punched pouches and pre-assembled pouches, Phone 1-800/621-2624. FAX 860/870-7571. [email protected]. metro area. Currently located in a private resi- 215/788-3423. and we specialize in custom releathering ser- dence but originally from a small rural church. vices. Call today for a catalogue. 800/423-7003 Asking $5,000. Buyer to remove. Please Laptops, Pocket PCs and Tuning Software— or e-mail: [email protected]. call before 10 pm Eastern Standard Time. tune harpsichords and pianos. Herb Huestis, Flue pipes in metal and wood–Mixtures 248/356-0896; [email protected]. 1502–1574 Gulf Road, Point Roberts, WA Need help with your re-leathering and upperwork are available from stock or 98281. Phone 604/946-3952, e-mail: project? All pneumatics including specify custom orders to meet your exact [email protected]. Computer tuning software is Austin. Over 45 years experience requirements. Tuning Sleeves with ELECTRONIC ORGANS sensitive to 1/10 cent, much greater than dial (on the job assistance available). flare–Order complete sets ready to install FOR SALE tuners. Over 100 programmable temperaments. 615/274-6400. or bulk quantities in each diameter. These Check it out on www.tunelab-world.com. Pocket sleeves are guaranteed to fit and will not PC Ipaq 3650 with shareware tuning software, tarnish or corrode. For excellent quality, Rodgers Westminster 890 pipe augmented $150, includes stand, power supply and ship- great pricing and timely delivery contact: organ. Currently in use. Three-rank, antiphonal ping. 8x10x2 small Toshiba laptop used for ALL REPLIES International Organ Supply, P.O. Box 401, pipe augmentation. Separate subwoofer and shop tuning: $200 including shipping. Requires Riverside, IL 60546. 800/660-6360. FAX vectored horn assembly, six channels of ampli- external microphone which is included. Spread- TO BOX NUMBERS 708/447-0702. fication, and eight speakers. Recently upgraded sheets of historical tunings showing both aural that appear and ready for immediate installation. Serial and electronic tuning data, $18 including ship- without an address #89042. Price $35,000 or best offer. Contact ping. Improve your tuning skills! Postal regulations require that mail Duncan Foster 714/473-0143. should be sent to: to THE DIAPASON include a suite num- THE DIAPASON 2007 Resource Directory ber to assure delivery. Please send Ahlborn-Galanti organ, SL 250 Praeludium II. THE DIAPASON was mailed to all subscribers with the January all correspondence to: THE DIAPA- Excellent condition in professional home. Excel- 2007 issue. Additional copies are available at a 3030 W. Salt Creek Lane, Suite 201 lent sampling of pipes; wonderful instrument for cost of $5.00 postpaid. Contact the SON, 3030 W. Salt Creek Lane, Suite a church or school. $11,000. Contact Ron, editor, Jerome Butera, at 847/391-1045, Arlington Heights, IL 60005 201, Arlington Heights, IL 60005. 716/326-6500. [email protected].
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
J. H. & C. S. Odell Find the products H.W. DEMARSE East Hampton, Connecticut • web: www.odellorgans.com and services you’re TRACKER ORGANS voice: 860-365-0552 email: [email protected] looking for at 518-761-0239 PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 TheDiapason.com 2 Zenus Dr., Queensbury, NY 12804-1930 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
GUZOWSKI & STEPPE Norman A. Greenwood ORGANBUILDERS INC CHARLES W. M CMANIS NEW INSTRUMENTS “Three Generations at Organ Building” REBUILDS - ADDITIONS In Memoriam TUNING & SERVICE CHARLOTTE, NORTH CAROLINA 28218 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 March 17, 1913–December 3, 2004 P.O. Box 18254 • 704/334-3819 • fax 704/544-0856 (954) 491-6852
PATRICK J. MURPHY & ASSOCIATES, INC. THE DIAPASON ORGANBUILDERS 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 610-970-9817 • 610-970-9297 fax Name ______NEW SUBSCRIBER [email protected] • www.pjmorgans.com RENEWAL Street ______ENCLOSED IS $70.00—3 YEARS Jacques Stinkens City ______ $55.00—2 YEARS W. Zimmer & Sons $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS Flues - Reeds P.O. Box 520 $85.00—3 YEARS Please allow four weeks for delivery of first issue $65.00—2 YEARS Bedrijvenpark "Seyst" Pineville, NC 28134 Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl (803) 547-2073
JULY, 2007 35 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee ArAArArrtisttistiisststtstss 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of Saint Thomas Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Church, NYC John Scott, Director April 21-27, 2008
The Choir of St. John’s College Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2007-2008 Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Thomas Trotter*
WEBWEB SSITE:ITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com
John Weaver Gillian Weir* Todd Wilson Christopher Young