THE DIAPASON JANUARY, 2009
First Congregational Church Sioux Falls, South Dakota Cover feature on pages 28–29
Jan 08 Cover_original.indd 1 12/10/08 12:30:56 PM
available from the Iceland Music Infor- also features themes for the mass. The mation Centre (www.mis.is/eng). Moto Preghiera has also been recorded at THE DIAPASON di Gioia by Leslie Howard is available the Cathedral Church of St. John, Al- A Scranton Gillette Publication directly from the composer (www.les buquerque by Raven CD [OAR 880] One Hundredth Year: No. 1, Whole No. 1190 JANUARY, 2009 liehowardpianist.com). Since the time (www.ravencd.com). of its composition as a Postludium to Iain Quinn Established in 1909 ISSN 0012-2378 his Missa Sancti Petri (written for St. Director of cathedral music and organist An International Monthly Devoted to the Organ, Peter’s Eaton Square), Mr. Howard has Cathedral Church of St. John the Harpsichord, Carillon, and Church Music also written a Prelude, Preghiera, which Albuquerque, New Mexico
CONTENTS Editor & Publisher JEROME BUTERA [email protected] FEATURES 847/391-1045 Here & There 2008 Albert Schweitzer Organ Festival September 5–7, 2008 Associate Editor JOYCE ROBINSON The Cathedral of the Incarnation, Laird; April 15, Elena Gascho, harpsi- by Frederick Hohman 21 [email protected] Garden City, New York, continues its chord; May 20, Paul Skevington. For in- 847/391-1044 music series: January 11, Choral Even- formation:
Walter Guzowski “The Principal needs to give a broad full I was sorry to read in the November warm singing sound,” he said. “It is not 2008 issue of the death of Walter A. Gu- quite there.” Later, Wally asked me what zowski. In the years around 1970, we I thought, and I agreed with the organist. were both at Schlicker Organ Co., and “I guess you will have to learn from ex- about the same age. I was a well-educat- perience,” he said. “We will broaden out ed [master’s degree in music] but naive the Principal a bit as far as the scale will apprentice with no street smarts whatev- allow.” And we did. When we were done, er. Wally had considerable street smarts, I played the opening of the E-major was a master organ builder, and a superb Choral. “He is going to love it,” I said. voicer. His instruments were bright, bold When the organist returned, this time and full of life. When the environmental he did not play the Franck, but instead conditions were good for organ music, the Buxtehude Gigue Fugue. “Oh no, it he could create an artistic masterpiece. has to be light, bright and articulate,” he I worked with him fi nishing a medium- said. Wally looked at me with an “I told sized instrument in Pennsylvania. The you so” look, and I learned this lesson, church organist was very good, though one of many. not famous, and a professor of music at I was glad to be able to reconnect the local university. He would stop by with Wally at the 2002 AIO convention nearly every day to check on our prog- in Los Angeles. The organ world has ress. Wally told me that “Organists think benefi ted from his contributions, and Isabelle Demers and David Hatt they know a lot about organ building, those who learned the voicer’s art from voicing and fi nishing. They know noth- his guidance. The 2008 Bay Area Max Reger Fantasias of Max Reger in two concerts, ing! What you do when they offer you Joseph E. Robinson Festival consisted of eight concerts at and Mr. Hatt’s performance of the com- advice or tell you what they want you to Mission Viejo, California three venues by two performers, Isabelle plete op. 63 Monologues (Twelve Pieces) do is listen politely, smile, and nod your Demers and David Hatt. Five concerts in a single concert. Isabelle Demers is head as if in agreement. Then when they Quinn/Methuen CD took place at St. Mary’s Cathedral, San currently completing doctoral studies at are gone, forget everything they said.” I am happy to write in response to Francisco, with additional concerts at Juilliard and is the organ scholar at Trinity We had just fi nished working through Charles Huddleston Heaton’s very gra- Trinity Episcopal Church, Reno, and at Church, Wall Street. These were her fi rst the 8′ Principal stop, and told the organ- cious review of my Methuen recording the First Presbyterian Church, Oakland. appearances in a West Coast venue. Da- ist he could try it out. He played the (The Diapason, November 2008, pp. Highlights included the performances vid Hatt is the assistant cathedral organist opening of Franck’s Choral in E Major. 21–22). Askell Masson’s Meditation is by Ms. Demers of the complete Chorale of St. Mary’s Cathedral in San Francisco.
JANUARY, 2009 3
Jan 09 pp. 2-20.indd 3 12/10/08 12:32:20 PM E Second Presbyterian Church, St. Quire Cleveland continues its debut have had a great impact on worship in Louis, Missouri, continues its music season: February 8, Christ Church Epis- North America. series on Sundays at 4 pm: January 25, copal, Hudson, Ohio; March 14, Hark- Presenters include Martin E. Marty, concert with a small ensemble from the ness Chapel, Cleveland. For informa- Marva Dawn, Quentin Faulkner, Robert e is the greatest St. Louis Symphony Orchestra; Febru- tion:
Carol Muehlig Walt Disney Concert Hall, Los An- First Presbyterian Church geles, continues its organ recital series, Ann Arbor, Michigan featuring the Glatter-Götz/Rosales or- gan: February 1, Kevin Bowyer; March H 15, Gillian Weir; May 24, Naji Hakim. For information: 323/850-2000;
Nelson C. Huber, Steve Hodson, Julia Neufeld, Mahlon E. Balderston, David Gell, Emma Lou Diemer, and Carol Schaeffer (photo by Doug Fossek)
On November 8, 2008, seven members of his own recent Suite ’08. Balderston, of the Santa Barbara AGO chapter who was also celebrating his 85th birth- presented a recital in honor of Mahlon day, has had a rich and productive life E. Balderston, Jr.’s career dedicated to as teacher and church organist over the teaching, composing, and performing past sixty years. Pictured at the console music. The program, performed at Santa of the 74-rank 1974 Casavant are Nelson Barbara’s First Presbyterian Church C. Huber, Steve Hodson, Julia Neufeld, and consisting of thirteen pieces, most Mahlon E. Balderston, David Gell based on Christian and Jewish themes, (chapter dean), Emma Lou Diemer, and included Apparition de l’Eglise eter- Carol Schaeffer (photo by Doug Fossek, nelle in honor of Messiaen’s centenary chapter treasurer). and Balderston’s premiere performance
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Jan 09 pp. 2-20.indd 4 12/10/08 12:32:45 PM Naji Hakim. Churches include Canter- Hilliard (Roslyn, Pennsylvania). In ad- rimack AGO chapter on September bury Cathedral, King’s College, Westmin- dition to having their works premiered 14 at St. Augustine Center of Education ster Abbey, Westminster Cathedral, St. at the 2008 Welcome Christmas! con- and Ministry in Andover, Massachusetts. Paul’s, St. Sulpice, St. Severin, Versailles certs, each composer received a prize of Chapter dean, Patrick Kabanda, intro- Cathedral, and the Cathedral of Orleans. $1,000. Scott Ethier’s A Mother’s Carol duced the guests; the panel discussion The British seminar also features a is a setting of a poem by Clay Zambo. was moderated by Barbara Owen and Bank District Competition for Organ- Peter Hilliard’s Christ’s Nativity is based included the organbuilding fi rms of An- ists under 30. This takes place in Lon- on a text by Henry Vaughan. For infor- dover Organ Co., represented by Don don, England June 23–26. The fi rst prize mation:
David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Mary Mozelle Organist/Choral Conductor/ Organist/Pianist/ Organist Organist/Pianist/Harpsichordist Organist/Recording Artist Oratorio Accompanist Recording Artist 2004 NYACOP Winner Associate Professor of Organ Assistant Director of Music Director of Music/Organist Senior Lecturer, Organ Faculty Director of Music Grieg Academy of Music Associate Organist First United Methodist Church Oulu Polytechnic Fairlawn Presbyterian Church Bergen, Norway The Falls Church Columbus, Indiana Organ and Violin Columbus, Indiana Falls Church, Virginia with Manfred Grasbeck “The Sights & Sounds Helsinki, Finland of the Pipe Organ”
David F. Oliver Larry Palmer Gregory Peterson Stephen Roberts Clair Rozier Organist/Lecturer/Recording Artist Harpsichordist/Organist Organist Organist/Harpsichordist/Lecturer Organist/Lecturer College Organist Professor of Harpsichord and Organ College Organist and Instructor of Organ Director of Music Director of Music Ministries Meadows School of the Arts Assistant Professor of Music Western CT State University St. David's Episcopal Church Dr. Martin Luther King Jr. Southern Methodist University Luther College Director of Music Wayne, Pennsylvania International Chapel Dallas, Texas Decorah, Iowa St. Peter Church Morehouse College Danbury, Connecticut Atlanta, Georgia
Lisa Scrivani-Tidd Michael Stefanek Brennan Szafron Elke Voelker Duo Majoya Organist/Lecturer Organist Organist/Harpsichordist/ Organist/Recording Artist/ Organ and Piano Associate Professor of Music Director of Music Accompanist Lecturer/Conductor/Composer Recording Artists SUNY at Jefferson Aldersgate United Organist and Choirmaster Music Associate Marnie Giesbrecht and Watertown, New York Methodist Church Episcopal Church of the Advent Choir Organist Joachim Segger Redford, Michigan Spartanburg, South Carolina The UNESCO Heritage Professors of Music Imperial Cathedral of St. Mary University of Alberta Speyer, Germany The King’s University College 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
JANUARY, 2009 5
Jan 09 pp. 2-20.indd 5 12/10/08 12:33:05 PM sohn, Bach, Langlais, Kerll, Gigout and ters, vocalists, pianists, and organists. On posium. Gell and Balderston presented an improvisation on a submitted theme. Here & There this occasion, the Chenaults returned on a hands-on demonstration of the four- The group then traveled to Kenwood behalf of all of Mr. Abmyer’s students to manual, 5000-pipe Abbot and Sieker or- UMC (Austin/Buzard IV/59) for music bring honor to their teacher and mentor. gan at Trinity Episcopal Church in Santa by Bach, Sowerby, Howells, Franck and Playing the newly installed Reuter/ Barbara, where Gell is minister of music a commissioned work by Stephen Pau- Colby digital/pipe organ (71 ranks, three and organ outreach. The organ, rede- lus. This was followed by tea served by manuals), Mr. Chenault played fi ve solo signed by Balderston in 1965, contains the United Methodist Women. The per- works by Cook, Andriessen, Bach, Row- some historic 1905 wooden pipework formers were Ingrid Pierson, Thomas ley and Benoit. The Chenault team then from Murray Harris. The students posed Koester, and Larry Wheelock. played four organ duets—Toccata on Sine questions, played the organ, and toured Nomine and The Emerald Isle by Charles the organ chambers. Callahan, Nicholas White’s Shenandoah, and the Chenaults’ arrangement of The Stars & Stripes Forever. For an encore, Mr. Chenault played Abmyer’s only writ- ten organ composition, Pastorale. The Chenaults have been the organists Cameron Carpenter and choirmasters of All Saints’ Episcopal Church in Atlanta since 1975. They were Cameron Carpenter was selected the choral directors of the Lovett School to be on the December 2008 cover of in Atlanta 1976–2007. The organ duo the U.S. edition of MUSO, a British and team is managed by Phillip Truckenbrod American print and Internet publica- Concert Artists. They have commis- tion (www.musolife.com) that features sioned over 40 organ duets. classical music in an up-to-date man- ner. The selection was made during the summer preparations for the September release of Carpenter’s Telarc CD/DVD album, “Revolutionary.” Norma Pettijohn and Felix Hell On October 26, 2008, Carpenter was featured on National Public Radio’s The Topeka, Kansas AGO chapter “Weekend Edition Sunday.” Recorded presented Felix Hell in concert at First at Middle Collegiate Church on the Barbara Harbach Presbyterian Church, Topeka, as part of Marshall & Ogletree four-manual or- the Organ Spectacular and the Interna- gan, he performed Jeanne Demessieux’s Barbara Harbach played organ re- tional Year of the Organ. The program “Octaves” from Six Etudes, op. 5; his citals in Szeged, Hungary and Timisoara, included works by Bach, Durufl é, Willan, own composition, Love Song No. 1; his Romania in November. Harbach per- Barber, and Liszt, and was co-sponsored arrangement of Dmitri Shostakovich’s Due Solisti formed a program entitled “A Celebra- by the Topeka AGO and Arts at First con- Festive Overture; and—using M&O tion of Hymns” on November 21 at the cert series of First Presbyterian Church. activated sine waves ranging from 8- The fl ute and organ duo Due Solisti Votive Church of Our Lady of Hungary foot to 128-foot pitches (64′ and 128′ will be represented by Phillip Truckenbrod Cathedral (Magyarok Nagyasszony) in pitches audible from a pair of Thigpen Concert Artists. The duo brings together Szeged, Hungary and on November 24 rotary woofers), thereby emulating a the talents of Zofi e Vokálková, fl utist with at St. George’s Catholic Cathedral in Appointments Hammond B3 organ—he improvised the Czech Chamber Philharmonic and a Piata Unirii in the heart of Timisoara, jazz. These four works can be heard at faculty member at the Prague Conserva- Romania. In addition to her own compo-
THE DIAPASON’s website is a benefi t of your subscription! It offers . . . • Up-to-date news and calendar items (including those too late to publish in print) • Classifi ed ads, with photos (ads on our website appear even earlier than in print) • Feature articles, with links to related articles and websites, and PDF fi les David A. Gell, Mahlon E. Balderston David A. Gell and Mahlon E. Charles Huddleston Heaton Balderston hosted an Organ Encounter Make a habit of checking out what’s new on for Santa Barbara Providence Hall High Charles Huddleston Heaton cele- School students and music teacher Sara brated his 80th birthday, which occurred
6 THE DIAPASON
Jan 09 pp. 2-20.indd 6 12/10/08 12:33:28 PM There’s always something exciting happening at www.allenorgan.com www.allenorgan.com/organoftheweek/go (for example)
Allen’s “Organ of the Week” web site feature ALLEN has been getting a lot of attention lately. Custom It isn’t hard to figure out why… Each week we show a new organ being built. ORGANS Whether it is a feature-packed custom Five-Manual, or a classy, unique Two-Manual, or an M. P. Möller English-style Three-Manual beauty, we are creating an online buzz.
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150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 Phone: 610-966-2202 Fax: 610-965-3098 E-mail: [email protected] Web site: www.allenorgan.com the time of its conclusion, he had reached can Folk Tune (Shenandoah); Rondò- his milestone birthday. Since coming to Scherzo; and Toccata. £8 plus shipping; Pittsburgh in 1972, Heaton has played 15 for information:
Michael Quimby, founder, presi- Frederick Swann Exquisite dent, and tonal director of Quimby Pipe Continuo Organs Organs, Inc., Warrensburg, Missouri, Frederick Swann continues a busy St. Peter’s Square received the 2008 Distinguished Alumni recital schedule in his “retirement.” His Award from the University of Central schedule includes January 16, Central London E 2 7AF • England Missouri. The son of a UCM professor, Union Church, Honolulu, HI; 1/18, cho- [t] 011 44 20 7739 4747 Quimby earned bachelor’s and master’s ral festival, Central Union Church, Ho- [f] 011 44 20 7729 4718 degrees from Central Missouri in 1973 nolulu, HI; February 15, choral festival, [email protected] and 1975. He received the Department Cathedral of Our Lady of the Angels, Los of Music’s Distinguished Alumni Award Angeles; February 22, Forrest Burdette www.mander-organs.com in 1989, and he has served as president Memorial United Methodist Church, Imaginative Reconstructions of the Associated Pipe Organ Builders Hurricane, WV; 2/27, Venice Presbyte- of America. The Quimby fi rm recently rian Church, Venice, FL; March 7 and
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Jan 09 pp. 2-20.indd 8 12/10/08 12:33:55 PM The love of music in its finest expression
the JOHANNUS revolution www.johannus.com 8, with orchestra, Redlands University, Music at Union Theological Seminary Francis Adams. He maintained a wide thony Ruff, OSB. The book is a study Redlands, CA; 3/15, Gold Canyon Unit- in New York City. Ms. Miller was music circle of friends and acquaintances, es- of liturgical music in the reforms of the ed Methodist Church, Gold Canyon, AZ; director-organist of B’nai Israel Temple pecially those who shared his interest Second Vatican Council. The focus is on 3/27, Central United Methodist Church, of Bridgeport, and Minister of Music in theatre organs. He often worked as preservation and renewal, arising from Stockton, CA; 3/29, choral festival, Cen- Emerita of First Congregational Church an unpaid consultant for theatre organ the Council’s decrees mandating, on the tral United Methodist Church, Stockton, in Stratford, where she served for 45 installations. Rodney is survived by his one hand, the preservation of the inher- CA; April 19, St. Margaret’s Episcopal years and had established the Stratford cousins: Bonnie O’Dell of Celina, Texas; ited treasury of sacred music, and, on the Church, Palm Desert, CA; 4/26, Lu- Oratorio Society, which presented con- LaVerne Rose of Van, Texas; Dorothy other hand, the adaptation and expansion theran Church of the Master, Corona certs annually. She was a charter member Cason and Sur Paddock of Ft. Worth, of this treasury to meet the changed re- del Mar, CA; May 17, Brown Memorial and former dean of the Bridgeport AGO Texas. His ashes were placed at Cottage quirements of the reformed liturgy. Ruff Presbyterian Church, Baltimore, MD. chapter, which honored her in 1998 with Hill Cemetery in Celina, Texas Novem- also explores controversies surrounding the establishment of the M. Louise Mill- ber 21, 2008. liturgical music and provides historical er Scholarship Award; she herself had —George Bozeman context for the musical changes in the established the AGO’s Clarence Dickin- church. Hardcover, 704 pp., $95; Litur- son Scholarship in 2001. Louise Miller is gy Training Publications, 1800 N. Her- survived by two nieces and several grand mitage Ave., Chicago, IL 60622-1101; nieces and nephews. Here & There 773/486-8970;
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Jan 09 pp. 2-20.indd 10 12/10/08 12:34:19 PM ou know what you want from a new organ in your worship services — a new breath of inspiration Yfor both the congregation and the organist. But do you know what to ask to make sure your choice is an inspired one? Before purchasing a new organ, consider these questions: • Can the tonal design be customized at a • Is the digital organ builder’s technology reasonable cost? based on substantial experience with building • Does the organ offer the Á exibility needed real pipe organs? to play all types of repertoire? • Can the organ be updated affordably to • If our new digital organ will also play wind- meet our needs in the future? blown pipes, how many other churches have • Will the company be around in the future trusted this company with their pipe-digital when we need them? combinations?
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Gold Level Corporate Sponsor AGO International Year of the Organ A Member of the Roland Group 1300 NE 25th Avenue • Hillsboro, Oregon 97124 503.648.4181 • 503.681.0444 fax Email: [email protected] www.rodgersinstruments.com City concerning his search on their be- “The Rock Church”—for its fortress-like 16′ Sub Bass 50 pipes largest annual gathering of Infor custom- half for an organ for the cathedral. façade of rustic white limestone and tow- 16′ Violone 44 pipes ers, partners and experts who want to Apparently sometime after renova- ering steeples—St. Alphonsus Church 16′ Lieblichgedeckt (Sw) connect, learn and maximize the value of 2 ′ tions to the cathedral were completed has stood for over a century. Nearly de- 10 ⁄3 Quint (Sw Bourdon) their Infor solutions. The nine winners 8′ Octave (ext 16′ Open Diapason) in 1744, the canons in Quebec sought stroyed by a disastrous fi re in 2007, the 8′ Cello (ext 16′ Violone) were selected from more than 60 nomi- to purchase a new organ of exceptional old church sustained considerable dam- 8′ Flute (ext 16′ Sub Bass) nations provided by Infor customers, quality from a Parisian builder. In 1753, age—but the decision was made to re- 8′ Flauto Dolce (Sw) employees and channel partners. 1 they asked Canon La Corne—who was main in the neighborhood and rebuild 5⁄3′ Quint (from Sub Bass) Rodgers received the Innovation already residing in Paris—to negotiate this landmark structure, along with the 16′ Trombone (Gt) Award for its use of Infor ERP Baan, In- the purchase. Having been alerted to 1934 Wicks organ. for PLM 8 and Infor CRM software to Gallat-Morin’s discovery, French musi- The entire instrument was dismantled Rodgers Instruments LLC was fuel a complete business model transfor- cologist Pierre Hardouin found a 1753 and returned to the Wicks shop in High- among the companies honored for in- mation as part of the creation of Rodgers contract for an organ ordered by the land, Illinois, where it will undergo a novation at the annual Infor Excellence Organ Architect (ROA). By introducing canons from the Parisian builder, Robert complete restoration and refurbishment. in Action Awards, which recognize cus- ROA, Rodgers was able to begin offering Richard. A contract having been signed While the organ sustained some smoke tomers for the use of technology to en- fully customized products at the same in early March 1753, the completed one- and water damage, the vast majority of hance business agility, drive innovation, price and lead times as their competi- manual instrument with pull-down ped- the historic instrument is salvageable, streamline performance, and grow prof- tors’ standard models. For information: als and fewer than a dozen stops arrived right down to much of the original horse- itability. The event, Inforum 2008, is the
Atlanta First United Methodist Church A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church are pleased to announce the recent com- pletion and dedication of their new pipe organ.
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Jan 09 pp. 2-20.indd 12 12/10/08 12:34:45 PM
technology. (The American Heritage Looking Back Dictionary, Houghton Miffl in Company, 2000) evolution: n. 1. A gradual process in 10 years ago in the January 1999 which something changes into a differ- issue of THE DIAPASON ent and usually more complex or better Christopher Marks wins the Arthur form. 2a. The process of developing. Poister Competition b. Gradual development . . . Frederick Swann plays his last service word-play: n. 1. Witty or clever ver- at the Crystal Cathedral, before begin- bal exchange; repartee. 2. The act or an ning as organist at First Congregational, instance of such exchange. Los Angeles Stephen Tharp completes his 11th I can name that tune in four notes. European tour In 1964 the comedian and parodist Articles by Carl Sloane (Francesco Allen Sherman (1924–1973) performed Gasparini’s Twenty-one Keys) and R. E. a concert with Arthur Fiedler and the Coleberd (The Economics of Pipe Or- Boston Pops Orchestra. The program gan Building) included Sherman’s reading of Peter and Hendrickson builds op. 92 for Wayzata the Commissar, a parody on Prokofi ev’s Community Church, Wayzata, MN Peter and the Wolf with Cold War over- tones (when discussing the effectiveness 25 years ago, January 1984 of an imaginary Politburo, Sherman Articles by Timothy J. Tikker (On a quipped: “A camel is a horse that was de- Successful Organ in a Dry Acoustic) and signed by a committee.”), and a hilarious Susan Ferré (The Organ Works of Ot- orchestral medley, Variations on “How torino Respighi) Dry I Am,” which opens with a state- New organs by Abbott & Sieker, Brun- ment of the original and familiar melody zema, Peter Collins, McNeil & Camp- (sol-do-re-mi) and continues with the be- bell, Roche ginnings of a series of familiar composi- tions and songs that start with the same 50 years ago, January 1959 four notes, ranging from You are my sun- Austin builds 133-rank organ for St. shine to the 1812 Overture. There’s even Joseph’s Roman Catholic Cathedral, an inversion moment quoting one of the Hartford, CT variations of Rachmaninoff’s Rhapsody Aeolian-Skinner builds 4-manual for on a theme of Paganini. Westminster Presbyterian, Buffalo, NY I think most musicians have had the Holtkamp builds 3-manual for Gen- experience of freely associating a few eral Theological Seminary, NYC notes from one melody with another. I Articles by E. Power Biggs and Robert know it’s happened to me many times— Sutherland Lord I’m sitting all dressed up at Symphony Alexander Schreiner on 10-day tour of Hall surrounded by serious music lovers Southern states (and a few old men snoring), when one Martin Shaw dead at 82 of those associations hits me—I chuckle Gerhard Krapf appointed at Univer- and receive my wife’s elbow. And I know sity of Wyoming I amused the choir at church countless News of Claire Coci, David Pizarro, times (at least I thought so) by interrupt- Carlton Young ing a rehearsal to turn a phrase from an Organs by Audet, Estey, Kuhn, Möller, anthem by Vaughan Williams into a Rod- Pels, Reuter, Wicks gers and Hart song. As a budding contin- uo player while a student at Oberlin, we 75 years ago, January 1934 roared one night in rehearsal turning the Obituaries of Joseph Claver Casavant second trio from the last movement of and Everett Truette Bach’s fi rst Brandenburg Concerto into Dr. William C. Carl elected president “The Lonely Goatherd” from The Sound Walt Disney Concert Hall of National Association of Organists of Music. You can’t tell me Richard Rod- News of Garth Edmundson, Donald gers never heard Bach. commented, “their ideals were those of a lished etymological connection between Kettring, Frederick Maxson, Adolph Word-play is same sort of thing. You vaudeville actor, one who is extremely ‘in the two words, but I can’t avoid the sound Steuterman, Leon Verrees hear a word that reminds you of another, the know’ and inordinately trashy.” association leading to a more meaningful Organs by Aeolian-Skinner, Austin, swap them in context, and you have a One session included a contest—each connection—is a revolution a re-evolu- Frazee, Hillgreen, Lane & Co., Kilgen, pun—that high form of humor that in- member was given a word around which tion? The evolution of musical theater Kimball, La Marche, Möller, Pilcher vites such frequent elbows. It’s a matter to construct a pun. Ms. Parker was given includes several revolutionary moments of sound association—does that make horticulture. Her response, “You can like Monteverdi’s opera, The Coronation musicians naturally inclined as punsters lead a whore to culture but you can’t of Poppea (1642), which stands out as a (otherwise known as pundits)? make her think.” breathtaking and groundbreaking com- I’ll give you a couple classics for free: Science-fi ction writer Isaac Asimov position with a raft of soloists, a chorus, In the wind . . . Dorothy Parker (1893–1967) was a presented his favorite pun, which in- lots of orchestral music and dancing—a by John Bishop writer and poet, perhaps best known for volved the story of an old cattle rancher mid-17th-century foreshadowing of the her humorous commentary on urban life whose offspring inherited the ranch, tradition of romantic Grand Opera. in America published in The New Yorker. renamed “The Focus Ranch” as a stip- Yesterday we attended a live-by-sat- revolution: n. 1a. Orbital motion She was a founding member of the Algon- ulation of the will. The source of the ellite broadcast from the Metropolitan about a point, especially as distinguished quin Round Table, a group of writers, crit- name—“Where the sun’s rays meet.” Get Opera of Hector Berlioz’s La Damnation from axial rotation: the planetary revolu- ics, and other literary folk who gathered it—focus, sun’s rays?1 de Faust. The revolutionary brainchild tion around the sun. b. A turning or ro- each day for lunch at the Algonquin Ho- of Peter Gelb, general manager of the tational motion about an axis. c. A single tel (West 44th Street near Fifth Avenue) An evolutionary revolution Met since 2006, these performances are complete cycle of such orbital or axial from 1919 to about 1929. Harpo Marx, In the last several days I’ve experi- broadcast to nearly 800 venues, includ- motion. 2. The overthrow of one govern- Tallulah Bankhead, and Edna Ferber enced two artistic revolutions and as I ing movie theaters and concert halls, ex- ment and its replacement with another. were among other participants. Speak- refl ected about them, the word evolution ponentially expanding the Met’s paying 3. A sudden or momentous change in ing about the Round Table years later, joined the fun. I couldn’t fi nd any pub- audience. The audiences are treated not a situation: the revolution in computer writer and curmudgeon H. L. Mencken
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14 THE DIAPASON
Jan 09 pp. 2-20.indd 14 12/10/08 12:35:14 PM only to huge-format excellent-quality a sleep aid, trying to keep the old woman chestral technique is far ahead of its time. middle of the 19th century (200 years broadcasts of the great operas, complete out of the way so she could encounter His sense of the dramatique is unique— after the fi rst performance of Corona- with “see every hair” close-ups so well Faust. In the original Faustian Deal, Dr. the evil villain’s actions oblique, and the tion of Poppea), would have loved how known from televised sports, but also to Faust signs a pact with the Devil com- outlook for Faust’s soul is blique. the Metropolitan Opera, ostensibly but backstage tours and interviews that give mitting his soul to the underworld in The evolution of stagecraft has been no longer that most stodgy of institu- a great sense of the bustle that goes on return for freeing his lover for ascension forever changed by electronics. The set tions, would present his music in such an behind the scenes. You see grand stage- into heaven. (After all, it wasn’t her fault for the Met’s production of Faust is a imaginative and revolutionary way. sweeping shots and intimate close-ups. that Satan made her fall in love!) three-tiered skeleton on which the cast of The other evolution of my week of When the on-stage lovers are embrac- Hector Berlioz (1803–1869) was a rev- characters carries on, and onto which vir- revolutions was my second visit to the ing, noses fi ve inches apart and singing olutionary composer. His skill and insight tual scenery is projected. The grid chang- Walt Disney Concert Hall in Los Ange- at the top of their gargantuan voices, as an orchestrator was such that his trea- es from a crucifi xion scene to a bustling les. I have yet to hear the extraordinary, one wonders if there is any hearing left tise on orchestration is still used in formal boozy inn to a stately mansion—from a revolutionary Rosales/Glatter-Götz or- when the afternoon is over. (Makes me musical educations. He was a pioneer of creepy and spooky forest to the under- gan in a live performance, but I have think of the cheek-fl apping fi lms from the use of huge musical forces, on several world and fi nally to heaven, all controlled now had two opportunities to be with the early G-force experiments.) occasions conducting more than a thou- by the proverbial fl icking of switches. The organ in the company of Manuel Rosales Johann Wolfgang von Goethe (1749– sand musicians in performance. Berlioz concept is as revolutionary as the media. in an otherwise empty hall. The visual 1832) created the character of Doctor originally called La Damnation de Faust And I’ll tell you, watching such a pro- design is fanciful enough in photographs, Faust, a melancholy aging scholar who a “légende dramatique”—as such it has gressive production in a quaint little tin- more so when viewing the organ from is contemplating suicide until he hears most frequently been performed as an ceilinged second-story theater in a small the hall. But the most fanciful is stand- church bells and an Easter celebration. oratorio, only gradually evolving into a town in Maine is surreal. Damnation and ing amongst the curved 32-foot Violone As he changes his mind, he is approached recognized part of opera repertoire. ascension complete, we walk out onto pipes that comprise the essence of the by Satan (Mephistopheles), who under- Berlioz’s score is fantastique, contribut- Main Street greeted by a wintery wind unique design. It’s a little like looking in takes to win his soul. After several twists ing to the evolution of the symphonique and the familiar sights and sounds of our a curvy fun-house mirror—the familiar is and turns, Satan provides Faust with the tone poem, his interest in the form hav- little town. Revolution complete. lost, and you feel a little disoriented. Af- vision of a lover who ironically kills her ing been piqued by such masterworks as I think Hector Berlioz, whose imagi- ter all, the façade pipes of most organs sit mother using Faust’s bottle of poison as Beethoven’s Sonata Pathetique. His or- nation stunned the French public in the obediently on an impost above the fray.
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JANUARY, 2009 15
Jan 09 pp. 2-20.indd 15 12/10/08 12:35:31 PM To get to the “tracker console” of the the entire chorus should only be used for in situations that rule out the use of the above may occur in succession.) Repeat- Disney organ, you walk between a for- the Dies Irae, the Tuba Mirum, and the damper pedal. It is not true with plucked ed notes can be fast or slow. est of façade pipes. Their toes are on the Lacrymosa, the rest of the movements string instruments. In singing, the re- In all of these circumstances the same stage fl oor around the console—wind being restricted to 400 voices.” peated note phenomenon is only rarely underlying fact applies: it is necessary to coming from who-knows-where through The score calls for 4 fl utes, 2 oboes, an issue in itself. With bowed string in- release the fi rst note before playing the the fl oor. 2 English horns, 4 clarinets, 8 bassoons, struments and most wind instruments, next one. It is certainly possible, and of- Looking at the façade from inside the 12 horns, 4 cornets and 4 tubas (in the the relationships among articulation, ten necessary or a good idea, for a stu- organ is a little like getting a backstage orchestra), 4 brass choirs [Choir 1 to the technique, and pitch are complicated, dent or other player to think analytically glimpse at the Met—you can see the north: 4 cornets, 4 trombones, 2 tubas; with repeated notes as such only some- about how long or short to make any note clever structure that supports the façade: Choir 2 to the east: 4 trumpets, 4 trom- times being a special concern. that is about to be repeated and to think each pipe is curved, each pipe faces in bones; Choir 3 to the west: 4 trumpets, One way to describe the situation with about how the articulation and timing al- a different direction, and there’s no ap- 4 trombones; Choir 4 to the south: 4 repeated notes at the organ or harpsi- lows it to fi t in to the rest of the music. parent order to them that can be derived trumpets, 4 trombones, 4 ophicleides chord is this: in general, any pattern of This has been the subject of extensive from musical scales, tuning systems, or (usually substituted by tubas)], a battery notes that doesn’t involve repeated notes discussion, analysis, and debate by teach- chest order, as with virtually every other of percussionists, 16 timpani played by can be played legato (though of course it ers and players over many years. For ex- organ with an architectural presence. So 10 timpanists, 2 bass drums, 4 tamtams, doesn’t have to be), but repeated notes ample, David N. Johnson has a detailed much for obedience. (Notice that I didn’t 10 pairs of cymbals, 25 fi rst violins, 25 actually cannot be played legato. There- and interesting discussion in his Instruc- bother to mention symmetry!) second violins, 20 violas, 20 violoncel- fore, patterns of non-repeated notes have, tion Book for Beginning Organists. Mar- In one sense this mighty organ repre- los, 18 double basses, 80 women’s voices in theory, the full range of articulation cel Dupré is famous for having described sents a logical evolutionary step. In the (divided between sopranos and altos), 60 available to them, from “as short as physi- a very clear-cut system for counting out past couple decades we’ve celebrated the tenors, 70 basses, and tenor soloist. cally possible” to a full overlapping legato. the amount by which notes should be re- design and construction of quite a few tre- Alas, no organ. And he thought it Repeated notes have most but not all of duced prior to being repeated. (Perhaps mendous new concert hall organs. Each would be a grand performance. that range of articulations available. I should say “infamous” since his system one has design features that build on its But the nearly equally ambitious Since repeated notes cannot be (fully) is widely considered to be too cut-and- predecessors. A terrifi c amount of work (minus the four spatial brass choirs) Te legato, the more legato the overall style dried to be artistically valid. However, has been devoted to understanding how Deum is scored for 4 fl utes, 4 oboes (one of a given performance is—whether it is worth remembering that he almost to move enough air through an organ to doubling on cor anglais), 4 clarinets (one because of the performer’s preference, certainly intended his guidelines to be a produce pleasing and musical tones that doubling on bass clarinet), 4 bassoons, or because of something that is known stage in learning, not an end result.) can take a listener from whisper to volca- 4 horns, 2 trumpets, 2 cornets, 6 trom- about the composer’s own style—the Rather than suggesting specifi c mu- no. It’s a grand achievement for a pipe or- bones, 2 ophicleides/tubas, timpani, 4 more any repeated notes are in danger of sical answers to repeated note issues, gan to “stand up to” a modern symphony tenor drums, bass drum, cymbals, tenor standing out, of sounding different at the I would prefer to begin by helping stu- orchestra, which is capable of bewildering solo, 2 large 3-part (STB) mixed choirs, 1 very least and maybe stylistically wrong, dents to do two things: fi rst, to develop volumes of sound. To achieve that with large unison children’s choir, strings, and and in any case amounting to a problem the greatest, most comfortable, and most modest wind pressures and slider chests (yes, Virginia) organ. to be solved. reliable technical control over the physi- is especially impressive. I’d love to hear that piece performed This, in turn, may be one reason that cal act of playing repeated notes; and There’s nothing quite like the bass in Disney Hall. Given available space, repeated notes have often been consid- second, to develop the habit of listening response of a symphony orchestra. No they’d probably have to settle for about ered a problem—or again at least a partic- closely to every part of any repeated note great conductor is willing to wait a nano- 300 singers, but that’d do. In the hall’s ular issue that needs to be addressed—in transaction—the articulation prior to the second for a bass note to develop. The spectacular acoustics I’m sure I’d be able hymn playing, since there is a strong tra- fi rst note, the beginning, middle, and end bottom notes from the orchestra’s tuba, to hear every “K”, every “T”—and while dition of playing hymns legato. Repeated of the fi rst note, the space between the trombone, contrabassoon, cellos and most vowels would be clear, I’m afraid notes are sometimes seen as a source of notes, the beginning, middle, and end of basses, and timpani are in the listener’s barely “O’s.” (Sorry, Hector.) Q a disruptive choppiness in hymns, and the second note, and so on. Once a stu- ears right now. Having spent a lifetime thus, for some players in some circum- dent has made good progress on these working to make organs sound their Notes stances, are considered worthy of being things, then he or she will be able to best, I can remember myriad struggles 1. ps. Where the sons raise meat. eliminated through tying. make choices about how to play repeated with bass response. Think of that low In addition to obvious repeated notes in various different contexts, and note in the Pedal Bourdon that yodels notes—instances of the same note occur- these choices will be able to refl ect the a little around the second partial before ring two or more times in a row in one whole range of possibilities. it settles on its pitch, or the note in the melody or one voice—there are various There is, I believe, a simple key to Contra Bombarde that offers a half-sec- On Teaching kinds of hidden repeated notes. These developing the greatest possible techni- ond of pfffff before you hear a note. No by Gavin Black arise from voices crossing or from one cal command of the playing of repeated way. The organs that play with modern voice playing a note that was just played notes: play them with different fi ngers, orchestras have to perform with their or- by another voice or that is being held by one from the other. That is, if you have chestral neighbors. On the Disney organ Repeated notes another voice. They can also arise be- played the fi rst note with fi nger x and it’s possible to draw a dozen or stops at The playing of repeated notes on or- cause of ornaments—when there is no are holding it with fi nger x, then it is ap- 32- and 16-foot pitch and play staccato gan and harpsichord has always been an repeated note printed on the page, but propriate to play the second note (that notes in the bottom octaves—surreal. issue unto itself. If two notes in a row one arises from the notes implied by the is, the repetition) with any fi nger other § are the same, they cannot be treated like ornament sign. than x. It is not OK to play it with x. This On the score of his massive Grande two notes in a row that are not the same. Of course, repeated notes occur in all means that a note repeated more than Messe des morts (Requiem), Berlioz The reason for this is simple: in order to sorts of rhythmic contexts. Sometimes once can be played with fi ngers x-y-x-y notes, “The number [of performers] in- repeat a note that you are holding, you the fi rst note is an upbeat and the second etc., or with fi ngers x-y-z-a-b-c etc., until dicated is only relative. If space permits, must fi rst release it. This seems so obvi- a downbeat, sometimes the other way the fi ngers run out, but not, again, x-x- the chorus may be doubled or tripled, ous to those of us who play only these in- around; sometimes they are two succes- x-x etc. and the orchestra be proportionally in- struments that it is worth noting that this sive weak or light beats, sometimes two When a player repeats a note with the creased. But in the event of an exception- is not true in all kinds of musical perfor- successive downbeats. (Of course there same fi nger that is holding it, that fi n- ally large chorus, say 700 to 800 voices, mance. It is not true at the piano, except are chains of more than two repeated ger must travel both up, off the key, and notes in which more than one of the back down, to play the note again, in the
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Dedication - 8 February 2009 www.ruffatti.com
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16 THE DIAPASON
Jan 09 pp. 2-20.indd 16 12/10/08 12:35:49 PM time that makes up the space between ent from the fi ngering groups, such as a the two notes. This sets up a confl ict be- triple grouping with a paired fi ngering. tween making that space short—playing In this case, the downbeat of each group the notes close to legato, at least—and shifts a fi nger from one time to the next. executing the gesture comfortably. If the It is very important to remember Example 3 Example 4 physical gesture involved is not comfort- that repeating a note with a new fi nger able, then the musical gesture will almost does not mean slipping the new fi nger notes legato, and the repeated notes as certainly sound awkward; playing a re- onto the note silently while still holding smooth as possible; or making everything peated note with the same fi nger greatly it and then repeating it with that (new) lightly detached so that the repeated reduces the extent to which the gesture fi nger, which is now holding the note. notes are not articulated any differently can come across as musically continuous. This is a temptation—probably subcon- from the rest of the line. Example 5 That is, either the repetition will have a scious—that many students experience. A chord pattern such as that in Ex- large enough space between the notes to Of course this is identical to repeating ample 3 can be tried with various fi n- that the trill starts on C). A prudent way sound signifi cantly disconnected, or it will the note with the same fi nger: the sup- gerings, such as RH: 1,3,5/2,3,5, or LH: to work out a fi ngering here is to decide have an awkward “hiccup” quality caused posedly new fi nger has become the in- 5,3,1/4,2,1, and, for comparison, RH: fi rst of all which fi ngers should play the by an effort to push the two notes as close cumbent fi nger. 1,2,3/2,3,5, and LH: 5,3,2/3,2,1. trill—say 3/2—and then to make sure together as possible. The part of the “stac- In Example 4 there is a hidden repeat- that the note immediately before the cato to legato” spectrum that is unavail- ed note. If the two middle-Ds are played trill is played with a different fi nger, say able to repeated notes intrinsically—be- with the same fi nger, it will be diffi cult 4 or 2. Many problems that students (and cause of the nature of the instrument, or impossible to make the two voices others!) have playing ornaments are in as discussed above—is made artifi cially Example 2 clear. The fi nal quarter-note of the fi rst fact problems with setting the ornaments greater by playing the notes with the same measure will sound like a released and up correctly. If, in this example, the stu- fi nger, and the range of possible, success- Further exercises can put the experi- repeated note in the lower voice. A fi n- dent plays the C with the third fi nger and ful, articulations is narrowed. ence into a musical context. These can gering such as 5,2/3/1//4,2 or 5,1/3/2//5,3 then repeats the C with that same fi nger It is also true that the act of moving begin with something simple, such as Ex- will make it possible for the middle-D to as the fi rst note of the trill, the attempt one fi nger up and then back down is, ample 2. This can be fi ngered in a num- sound like it arises from the upper voice. to play the trill will be undermined by among all of the gestures we make at the ber of ways, such as 2-3-4-5-4-3-4-3-2-3, This comes about because the neces- tension before it has even begun. If the keyboard, one of the ones that is most or 3-4-5-4-3-2-3-2-3-4, or (again, for com- sary early release of the whole-note D eighth-note C is played with 2, and the likely to create tension in the hand. The parison) 2-3-4-4-3-2-2-1-1-2. The student can be smooth and unobtrusive. In this C that begins the trill is played with 3, “u-turn” that the fi nger makes at the top should remember to keep everything as example, it would also work well for the then the trill will get off to a lighter, more of that arc is a motion that is prone to light, relaxed, and supple as possible. (It left hand—any fi nger—to play the whole fl uent start. tension. If it is not dealt with in some is possible to lose the advantages of us- note, and for the right hand to play all of Students and teachers can invent ex- way, this tension can build up and, since ing different fi ngers on repeated notes by the other notes. ercises to try different repeated-note essentially every passage of music has playing with stiffness or tension.) The stu- In many ornament situations such as fi ngerings, and can extract repeated- some repeated notes in it, this can lead dent should try different articulations: for this common one in Example 5, there note situations from repertoire to use as to tense playing overall, even for a player example, making all of the non-repeated are hidden repeated notes (assuming exercises, before going on to fi nger and who is consciously trying to play in a re- laxed, light way. In repeating a note with a different ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
fi nger, the player can prepare the new DOBSON CASAVANT FRERES fi nger in advance, and then release the initial fi nger smoothly while bringing the new fi nger into position to play the note and then playing the note. This is an intrinsically smooth, relaxed gesture, and it can actually serve to reduce ten- sion that might have begun to accumu-
late in the hand. BOODY TAYLOR François Couperin wrote in his L’Art de Toucher le Claveçin that he could tell by ear alone the difference between a note repeated with the same fi nger and one repeated with different fi ngers. (This was in the context of the playing of ornaments, which I will discuss brief- ly below.) When I fi rst read that claim, years ago, I thought it was more or less
impossible: that it was probably an exag- DYER R. gerated boast by someone whose emi- nence was great enough to permit him to get away with it. I would now make that same claim: I believe that, except in rare circumstances, I can detect that differ- ence just by listening.
Once any teacher, student, or other GARLAND FISK player begins to be able to hear that dif- ference, the motivation to work on play- ing repeated notes with different fi ngers follows automatically. Fortunately, it is an
extremely easy thing to do. It is no harder, FRITTS by and large, than playing those notes with the same fi nger. In fact, once it be- comes second nature, then the fact that it is easier—that is, smoother, more natu- ral—physiologically, makes it seem easier as a practical (and psychological) matter. Thinking of Purchasing a Pipe Organ? GOULDING & WOOD Example 1 APOBA Can Help! For a student to get accustomed to the feel and sound of repeated notes From information for your architect through fund-raising, APOBA has helpful played this way, the best exercises are publications concerning every aspect of an organbuilding project. simple enough that they scarcely need to be written out (see Example 1). In this example, the student can play the notes at a variety of different tempos and with And, they’re FREE for the asking! a variety of different fi ngerings: all the
notes with any one fi nger (for compari- QUIMBY REDMAN SCHANTZ SCHOENSTEIN & son); pairs such as 2-3, 3-2, 3-4, 4-3, 3-1, HENDRICKSON or any others; or chains of fi ngers such as To receive information about pipe organs 2-3-4-5, 1-3-4-3, etc. The student should also experiment with repeating the same and recognized pipe organ builders note but changing the rhythmic group- A write or call toll free 1-800-473-5270 ing. This can be done such that rhyth- P or on the web @ www.apoba.com
mic groupings correspond to fi ngering PASI RICHARDS-FOWKES patterns (that is, a duple grouping with BO Associated Pipe Organ Builders of America a paired fi ngering such as 3-2, or a four- A P.O. Box 155 • Chicago Ridge, Illinois 60415 fi nger pattern such as 2-3-4-5; and a triple grouping with a three-fi nger pat- tern such as 4-3-2 or a six-fi nger pattern OTT PARSONS such as 2-3-4-5-4-3). Or it can be done NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP with rhythmic groupings that are differ-
JANUARY, 2009 17
Jan 09 pp. 2-20.indd 17 12/10/08 12:36:06 PM practice such passages in their original and month-long drive toward basketball’s Boethius (480?–524?) observed, “Music will be needed for performance since contexts. It is important to try different Final Four offers great contrasts. is a part of us, and either ennobles or it is not included with the score (BP fi ngering, including those same-note fi n- Yet, the weather may be the greatest degrades our behavior.” 1823A, $2.50). gerings that I would not recommend, in infl uence on singers’ attitudes toward order to learn what the differences are weekly attendance at rehearsals and Jesus Walked This Lonesome Valley, Ave Verum Corpus, Francis Jackson. between them. After a while, if a student services; although it is said that “March arr. Ken Berg. SATB unaccompa- SATB unaccompanied, Paraclete fi nds the approach described here con- comes in like a lion and goes out like nied, Choristers Guild, CMA 979, Press, PPM 00848, $1.60 (M). vincing it, becomes second nature, and, a lamb,” that is not universally true in $1.60 (M+). Only a Latin text is provided for this if anything, extra thought is required to many areas of the country, especially This traditional spiritual begins with contrapuntal motet. The work is well play a repeated note with the same fi n- during Holy Week (April 5–12). During a long vocal solo (male or female) above crafted with interesting developments of ger. (I sometimes need to do this as a this time of the year, poor weather may sustained choral humming. The familiar ideas. Sensitive, beautiful music on a text demonstration, and I often fail to do so, bring disappointments for church choir melody continues in the soprano section for Good Friday. Highly recommended. out of habit!) directors. Let’s all hope for a mild early above syllabic choral chords. Later the Sometimes a note pattern is such that it spring in 2009. melody shifts to the bass section and the Were You There?, Joel Raney. SATB is actually impossible to change fi ngers on In many churches, the weeks leading humming returns. There is some divisi with optional prepared rhythm, repeated notes. This is because the relevant to Easter involve the performance of a in the loud dramatic fi nal section, which Hope Publishing Co., C 5503, $1.90 fi ngers are doing something else. When cantata. Traditional churches often use a builds to a climax that is followed by a (M). this happens, then a student can draw on Baroque work, perhaps by Bach or Bux- quiet coda in a return of the soloist above There are two optional items for what he or she has learned through prac- tehude; with careful planning in choos- the choir. purchase with this setting. There is a ticing the technique described here to be ing a work with an appropriate text for rehearsal/performance CD (5503C, aware of what the goal is—in both feel- the day, integrating this into a weekly I See His Blood upon the Rose, Mi- $24.95), plus one for additional rhythm ing and sound—for those repeated notes. service retains liturgical cohesiveness. chael Bedford. SATB unaccompa- parts (C 5503R, $20.00), which brings a That awareness gives the student the best More common, however, is the use of a nied, GIA Publications, G-6420, new dimension to this African-American chance of coming close to achieving that generic contemporary work, and gener- $1.50 (M). spiritual. The mood indicated is “Slow sound or feeling even when the best tech- ally the congregation is more receptive Using the poetry of late 19th-century Gospel Groove,” and the accompaniment nique for achieving it is not available. This to this music. The music has a more fa- Irish poet Joseph Plunkett, Bedford’s is fi lled with jazzy chords in syncopation. can involve fi rst isolating the repeated notes miliar style, often with very memorable setting is in an ABA format for the three The choral parts are on two staves. Af- from the rest of the texture and practicing melodies and simple harmonies; for choir verses. The middle verse is faster and ter an extended introduction with short them separately with a good different-fi n- directors this usually is safer and prob- more contrapuntal. The general mood of choral statements, the familiar melody is gered fi ngering. After this, with all of the ably results in more external support. this anthem, however, is calm and quiet. sung by the men with gospel responses notes back in place, the memory of what Typical choir members are even more from the women. Although not everyone the repeated notes would ideally sound comfortable with this less sophisticated O the Deep, Deep Love of Jesus, arr. may like the style of the setting, it has an like—and a generally very relaxed, smooth music, so it is easy to see why publish- Jack Schrader. SATB and piano, interesting character and contrasts with touch—will enable the student to get the ers produce such extensive numbers of Hope Publishing Co., C 5508, $1.70 the usual version of this melody. best results under the circumstances. Q publications each season. As Sir Ernest (M-). Newman (1868-1959) pointed out in A Based on the tune Bunessan, Schrad- My Song Is Love Unknown, John Gavin Black is director of the Prince- Music Critic’s Holiday, “A man responds er’s arrangement has a fl owing accompa- Leavitt. SATB, SA soli, 2 fl utes, string ton Early Keyboard Center in Princeton, or fails to respond to certain music by niment for most of the four verses. The quintet and organ or organ alone, New Jersey. He can be reached by e-mail at virtue not only of what the music is, but fi rst verse is in unison and could be sung Augsburg Fortress, 9780800649852,
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18 THE DIAPASON
Jan 09 pp. 2-20.indd 18 12/10/08 12:36:22 PM that individual movements could be per- The book concludes with an analysis with a twelve-measure “recitative” idea. completely. The challenge for any organ- formed separately throughout the Lent- of a 17th-century pipe, attempting to These two themes weave themselves to- ist is to make all fi ve movements, different en season, then combined for a complete characterize the paint layer applied to gether on and off throughout the entire in character yet with the same explosive performance. Outstanding music and the pipe and to elemental composition movement and give the work its structur- and almost violent energy, come togeth- highly recommended. of the pipe itself. The fi nal few pages al unity and its sense of forward musical er as one continuous work that unfolds cover how Goetze and Gwynn became motion. Houlihan’s playing is striking in movement after movement. Christopher None Other Lamb, Larry Peterson. involved in and undertook the restora- its rhythmic vitality, crispness of articu- Houlihan does this admirably, taking the SATB divisi with organ, Curtis Mu- tion of this instrument, including some lation, and solid and fl awless technique listener on a journey through the valleys sic Press of Neil Kjos Company, ED very amusing anecdotes. that is put to use in the service of the mu- and peaks of this highly personal and C9307, $1.60 (M-). The book will be of greatest interest sic and never employed for simply empty complex music, from the opening power- The organ part, on three staves, in- and value to readers of Spanish because technical display. ful Allegro through the opposing ideas of cludes registrations, but is very simple. of the highly detailed information on the With the Andante Sostenuto from the the second movement marked Chorale; Choral parts are on two staves with half Echevarría school (and by extension on Gothic Symphony (Widor’s ninth sym- the third movement, Scherzo, is in clas- of the setting in unison. The text is by the history of the development of the or- phony and a work of his third style pe- sic sonata-allegro form, and is the lightest Christina Rossetti; it and the music are gan in Spain in the 17th century), but the riod), Widor shows both his ability as an and most elegant of the movements; the very sensitive. This quiet anthem would beautifully illustrated restoration report improviser and his increased interest in Cantabile fourth movement is a dialogue be useful during Lent. will make the book worth the purchase Gregorian chant during the later part of between the ideas of tonality and modal- to non-Spanish speakers, the analytical his creative life. The Gothic Symphony ity; and the Final is much more intense tables being of the greatest value es- dates from 1895, and—unlike the “Ro- and explosive than the last movement of pecially to organ builders. Goetze and mane” symphony (his symphony no. 10 the First Symphony. Book Reviews Gwynn have performed a great service of 1900)—the plainchant melody is only The listener soon forgets that he is lis- in restoring this historical instrument heard in the third movement, the An- tening to a 19-year-old American organ- and documenting their work so minute- dante Sostenuto, which is presented in ist who has yet to fi nish his undergradu- El órgano del Real Monasterio de ly, and a great vote of thanks must go to this recording. Widor quotes the Grego- ate degree, and is swept away with the Santa Clara in Santiago. Available the Spanish sponsors of this book for en- rian hymn Puer natus est nobis (Unto us various moods and emotions that accom- from the Organ Historical Society; abling it to be seen into print. Perhaps an a child is born), the Introit for Christmas pany this almost 40-minute exposition of
JANUARY, 2009 19
Jan 09 pp. 2-20.indd 19 12/10/08 12:36:40 PM you stop thinking about the actor himself of Hunter rebuilt it in 1896, and the fi rm An organ that was both tonally and vi- for use in church and recital. The three and focus all of your attention on the char- of Bishop & Son (John Budgen) rebuilt it sually an offspring of the Organ Reform movements—Prelude, Air with variation, acter and the story that is told through the again in 1970. Nevertheless, a substantial Movement is that built by Cedric Ar- and March—bear the distinct marks of performance. After a while you become amount of the 17th-century pipework nold, Williamson & Hyatt at St. Mary’s Near’s lyrical style and solid writing. so engaged emotionally and intellectually survives, and it is heard on this recording Church, Little Walsingham, in 1964. The fi rst movement, cast in sonata that you become one with the story. Lis- in a Trumpet Voluntary by Henry Heron The Vivaldi-Bach Concerto in A minor form, presents two contrasting thematic tening to this recording, one becomes ab- and in Buxtehude’s Chorale Prelude on sounds a little top-heavy on this instru- ideas that make full use of the organ’s sorbed in the music, forgetting about the “Vater Unser.” ment, but the organ was very much a sonorities. The changes in dynamics and particular organist or the particular organ Another historic organ featured on the product of its time, and is by now, in its tempo clearly refl ect the formal struc- (we organists love to think about the in- recording is the four-manual instrument way, a historic instrument. ture, while creating moments of beauti- strument, don’t we?) and just simply let at the Parish Church of SS. Peter & Paul The Parish Church of St. Mary Mag- ful lyricism as well as intense emotion. the music absorb us totally. in Cromer on the Norfolk coast. John dalene in Sandringham is the church The expansive wide-ranging melody It is hoped that this recording will be Smith, Jr., of Bristol originally construct- frequently attended by the Royal Fam- of the second movement contrasts the the fi rst of many from Christopher Hou- ed this organ for Bath Abbey in 1836. ily when staying at Sandringham House. organ’s solo fl ute with strings. As the lihan, and you will no doubt become a William Hill subsequently rebuilt it in The three-manual Walker organ was the movement progresses, the rhythmic mo- “Houli Fan” after just a few minutes of Bath Abbey in 1868, before being relo- gift of King Edward VII in 1909 and was tion increases from quarters to eighths listening to this recording. cated to Cromer by Norman & Beard in the best instrument that money could buy and fi nally sixteenths to provide forward —David Wagner 1897. The successor fi rm of Hill, Norman at that time. It is heard in Parry’s Chorale momentum. The lack of a 16-foot pitch Madonna University & Beard rebuilt the instrument again in Prelude on “St. Cross” on this recording. in the pedal gives the movement a more Detroit, Michigan 1961. It has a very warm and pleasant Another organ on the recording worth chamber music-like quality; only at the sound. Bath Abbey, incidentally, has had mentioning is the instrument in St. Nicho- very last note is the double bass (or 16- two subsequent instruments—one built las Church, Great Yarmouth. This church foot stop) added to provide more breadth Twelve East Anglian Organs. Geof- by Norman & Beard in 1895, rebuilt in had a beautiful 18th-century organ that and depth to the tonal range. frey Hannant, organ. Priory Records 1914, 1930 and 1972, and the latest one was sadly destroyed by bombing in World The fi nal movement, March, pays Ltd., 2-CD set, PRCD 6011,
20 THE DIAPASON
Jan 09 pp. 2-20.indd 20 12/10/08 12:37:02 PM 2008 Albert Schweitzer Organ Festival September 5–7, 2008 Frederick Hohman
ny organ professor who speaks hon- Aestly would not deny that, when teachers and students engage, it is in fact the teacher who learns as much as the student, whether that engagement is by regular weekly lessons or by way of a jury-contestant relationship. It has been my privilege to serve in each of the past eleven years as a “constant” juror for the Albert Schweitzer Organ Festival. So that means, with the other two jurors chang- ing year to year, I’m the one who has had the opportunity to learn the most! And yes, I’ve grown in many good ways from the experience. This year, as we’ve seen in so many of the previous competitions, the level of playing keeps getting better. This indi- cates two things, both of which I believe Marilyn Mason to be true: (1) the overall level of achieve- ment in our young organists is higher and higher at an earlier and earlier age; and (2) the news about the Albert Schweitzer Organ Festival being a very worthwhile Back row: ASOF co-founder David Spicer; judges Gerre Hancock and Frederick event for young organists is beginning to Hohman; fi nalists Caroline Robinson and Chelsea Barton; and ASOF intern Yea travel far and wide. The ASOF is unique Eun Park; front row: fi nalists Gregory Zelek, Nathan Davy, James Kennerley, and in many ways. The remainder of my re- Christopher Houlihan port shall illustrate this. One of the immediately obvious ele- morning services. This “giving back” of icsburg, Pennsylvania, student of Shelly ments that contribute to the fame of the one’s gifts, and sharing the gift of musi- Moorman-Stahlman at Lebanon Valley ASOF is the fi ne reception and hosting cal leadership with God’s people, calls to College. Third place: Gregory Zelek of that is given by the staff and congregation mind the spiritual axioms so eloquently Coral Gables, Florida, student of Thom- of First Church of Christ, Wethersfi eld. expressed by the words and writings of as M. Schuster, organist and director of As in each of the past eleven years, I’ve Albert Schweitzer. music, Church of the Epiphany, Miami. seen this exceptional, yes, even unique Lastly and perhaps most importantly, Young Professional Division—First hospitality extended liberally to every- the ASOF is unique in that it stresses the place: Nathan Davy of Rochester, New one involved in the competition. art of hymn-playing and hymn leadership York, student of David Higgs at Eastman September 5–7, 2008, I had the fabu- as a key part of the curriculum. During School of Music. Second place: James lous company on the jury of two of the the Saturday competition, which is an Kennerley of Greenwich, Connecticut, Frederick Hohman best-known and long-established organ all-day event, hymn playing counts for former student of Thomas Trotter at the talents: Gerre Hancock, recognized as about 40% of each contestant’s score. Royal College of Music (London), and Frederick Hohman is a concert organist America’s foremost organ improvisateur, The points discussed in our Sunday David Sanger, teacher of organ at Ox- and an audio producer/engineer, the pro- and whose name comes to mind as a liv- afternoon masterclass were applicable ford and Cambridge Universities. Third ducer/host of an organ music television series, ing icon when one thinks of the vocation to hymn-playing. The competition and place: Christopher Houlihan of Hart- and a composer. He earned the Performer’s Certifi cate, Mus.B., M.M. and D.M.A. degrees of “church musician,” and Marilyn Ma- class allowed the sharing of ideas that ford, Connecticut, student of John Rose while in the organ class of David Craighead at son, whose reputation as an organist and may well take root with both the jurors at Trinity College. the Eastman School of Music. In 1984, he won as a teacher at the University of Michi- and the contestants as we continue to The 2008 fi rst-place winners, Nathan First Prize in both the Mader and Poister na- gan spans so long, that her career alone grow into our maturity. Davy and Caroline Robinson, will per- tional organ-playing competitions. His origi- is like the glue and stitching that holds I expect the 2009 ASOF and its com- form in recital on Sunday, June 14, 2009, nal compositions and organ transcriptions are together the 20th-century organ music petition to be no less unique, and I do at 7:00 pm at the First Church of Christ, published by Wayne Leupold Editions and by history book. very much look forward to it. Wethersfi eld, Connecticut. Zarex Scores. His concert tours have taken Per our tradition, the Festival Concert Information about the Albert Schweit- him throughout the USA, the Caribbean and Australia, and to the UK and Finland. His mu- in 2008 offered fi ne singing—the fi n- The judges’ decisions zer Organ Festival and current require- sic studio and audio/video facility, Zarex HD, est singing yet that I’ve heard from the High School Division—fi rst place: ments for the competition are available is located in South Bend, Indiana. Further choir—led and accompanied by First Caroline Robinson of Greenville, South by telephone at 860/529-1575 ext. 209, information at these websites:
JANUARY, 2009 21
Jan 09 pp. 21-22.indd 21 12/10/08 12:37:45 PM William Dowd (February 28, 1922–November 25, 2008) An Appreciation Larry Palmer
William Dowd (moving one of his Dowd caricature by Jane Johnson Gustav Leonhardt and William Dowd at the Smithsonian Institution, May 15, 1983 harpsichords) and Larry Palmer; Boston (1992) (Photograph courtesy of the Smithsonian Institution) Early Music Festival 1983
merican harpsichord maker William material, leather, was used until 1958, In 1972 Dowd, in collaboration with While bolts and bars my days ARichmond Dowd and his business after which Delrin, found to have Reinhard von Nagel, established a sec- control[ed] partner Frank Hubbard set new direc- sound-producing qualities similar to ond shop in Paris, maintaining control (The last two letters added by the editor tions for the modern harpsichord revival quill, was the material of choice. In of this operation until 1983. With the make comment superfl uous) with their gradual return to the historic 1959 Dowd established his own inde- resulting availability on two continents, construction principles of fi ne harpsi- pendent shop in Cambridge, Massachu- his harpsichords, highly regarded for From silent night chord making. English majors at Har- setts. Continuing his study of antique their tone, touch, and reliability, were (Only since acquiring a telephone an- vard University, each apprenticed with instruments, he brought the designs of played by many professional harpsi- swering machine) a noted 20th-century revivalist: Hub- his own harpsichords ever closer to his- chordists. At the time of his retirement bard worked with Arnold Dolmetsch toric specifi cations, eventually dispos- and the closing of his American shop, If my complaints could passions move in England, Dowd with John Challis in ing with register pedals and the 16-foot Dowd had produced 529 instruments in (Deliver them at No. 100 [Tremont Michigan. The two young men reunited stop. Keyboards were built to antique the United States and an additional 250 Street, address of the Dowd Shop]) in 1949 to set up their harpsichord work- measurements after 1965, and begin- in Paris. shop in Boston. ning in 1971 sliding keyboards were The Diapason celebrated William Shall I sue? In 1956 an instrument designed af- introduced that allowed a transposition Dowd’s 70th birthday in its issue of Here let my life ter the work of Pascal Taskin was in- from modern to “old” pitch by moving February 1992. The front cover dis- (Bostonia amata) troduced. The usual modern plectrum them laterally. played images of four Dowd harpsi- chords; inside (pages 12–20) were four- Now, o now I needs must part teen tributes and reminiscences, plus (Bostonia abandonata) SAINT PAUL R.C. CATHEDRAL OF PITTSBURGH photographs, Jane Johnson’s caricature ANNOUNCES RE-INAUGURAL EVENTS OF THE of the harpsichord maker posing as jazz Shall I strive with words to move? 1962 RUDOLF VON BECKERATH ORGAN great Earl “Fatha” Hines, and a com- (Well, it actually was done with a van) RESTORATION BY TAYLOR & BOODY ORGAN BUILDERS plete musical score of composer Glenn OF STAUNTON, VIRGINIA Spring’s William Dowd: His Bleu. The Welcome to all the pleasures short essays were written by Fenner (Of Alexandria’s feast [the Dowds’ re- Douglass, Frederick Hyde, Albert Full- tirement address]) TUESDAY, JANUARY 6, 2009 - 7:30PM er, David Fuller, Miles Morgan, Robin JAMES DAVID CHRISTIE Anderson, Donald Angle, Sheridan Love those beams OBERLIN CONSERVATORY, HOLY CROSS COLLEGE, THE BOSTON SYMPHONY Germann, John Fesperman, William (Oh, those joists and summers in the WEDNESDAY, JANUARY 7, 2009 - 7:30PM Christie, Dirk Flentrop, Arthur Haas, olden workshops) ORGAN AND CHOIR – ST. PAUL CATHEDRAL CHOIR Tom and Barbara Wolf, and Gustav Le- KENNETH DANCHIK, ORGANIST; DONALD FELLOWS, DIRECTOR onhardt—a distinguished group of con- Thou tunest this world tributors, indeed. I am indebted to Bill’s (Which is mean and needs a lot of tun- FRIDAY, FEBRUARY 13, 2009 – 7:30PM wife Pegram, who survives him, for the ing) ORGAN LECTURE/DEMO/CONCERT BY DONALD FELLOWS concept of this celebratory issue, as well ST. PAUL CATHEDRAL as for her considerable help in bringing If music be the food of love it to publication. (Eat on) SUNDAY, MARCH 22, 2009 – 4:00PM I invite each of our readers to seek HARALD VOGEL out this kaleidoscopic view of William Fine knacks for ladies BREMEN, GERMANY Dowd’s extraordinary contributions to (A man is never too old) MONDAY, MAY 18, 2009 – 8:00PM our shared history and to classical music JEREMY FILSELL culture both in the United States and in What if I never speed Europe. Such illuminating anecdotes (Keep your Chevrolet) ORGANIST OF THE BASILICA OF THE NATIONAL from those who knew him throughout SHRINE OF THE IMMACULATE CONCEPTION, WASHINGTON, D.C. his productive life are especially to be Flow my tears SUNDAY, JUNE 21, 2009 – 4:00PM treasured now that many of the writers (For good humidifi cation) CATHEDRAL ORGANISTS IN CONCERT are no longer with us. Also to be noted J.R. DANIELS, KENNETH DANCHIK, DONALD FELLOWS is Bill’s response to the various contri- Lachrimae ST. PAUL CATHEDRAL butions, his chance to “set the record (The same, for another kind of custom- straight” as it were, published one year er) THURSDAY, AUGUST 27, 2009 – 7:30PM later in The Diapason for February JOAN LIPPINCOTT 1993 (page 11). An old plebeian let me die PRINCETON, NEW JERSEY Especially endearing was the contri- (H.P. must have been confusing W.D. bution from the leading harpsichordist with another maker) WEDNESDAY, SEPTEMBER 30, 2009 – 7:30PM of the age, Gustav Leonhardt, whose DAME GILLIAN WEIR whimsical offering was an inevita- O lull me, couch’d in soft repose THE UNITED KINGDOM ble choice to conclude the words in (Bless you, but isn’t that a little early?) TUESDAY, OCTOBER 20, 2009 – 7:30PM Dowd’s honor. I place it here as trib- WILLIAM PORTER ute to both the master builder and Now the curtain has fallen and we say the master player who so often made THE EASTMAN SCHOOL OF MUSIC, AND MCGILL UNIVERSITY “rest well,” dear friend. Your legacy of Dowd instruments reveal their beau- nearly 800 instruments assures an honored SUNDAY, NOVEMBER 22, 2009 – 4:00PM ties in indelible performances. place in the history of the harpsichord. KENNETH DANCHIK ST. PAUL CATHEDRAL Dowland and Purcell Choosing their [Freely adapted from my entry “Dowd, Texts with William Dowd in Mind William (Richmond)” in The Harpsichord and No Admission Fees O how happy’s he, who from bus’ness Clavichord—An Encyclopedia (Igor Kipnis, For Details: Cathedral Music Office, 412-621-6082 free Editor). New York and London: Routledge [email protected] Music for a while (an imprint of the Taylor & Francis Group), (Yes, a very good while—since 1949) 2007).]
22 THE DIAPASON
Jan 09 pp. 21-22.indd 22 12/10/08 12:38:06 PM What a Time It Was: A Fond Remembrance Ronald Cameron Bishop
t the time that I joined the Möller ANew York City maintenance staff in 1955, the Rev. Dr. Hugh Giles concert series at Central Presbyterian Church (Park Avenue at 64th Street) was a ma- jor factor in the city’s music scene. Its centerpiece was the superb four-manual instrument (M. P. Möller opus 8000), which had been given to the church as memorial to Reginald Lindsey Sweet by his widow. Dr. Giles had worked with Möller’s tonal designer Ernest White to achieve this remarkable installation. My immediate superiors, Arthur Brady and Larry Horn, had headed the installation crew when the instrument was delivered and often spoke of what was involved during the placement process. The main body of Central’s organ in- stallation is placed in a large chamber to the right of the chancel and at gallery level. It speaks through a Möller-created Jean Langlais grille to the chancel and quite exquisite casework that faces the south gallery. a most delicate and beautiful perfor- The Antiphonal divisions are located in mance of this work followed. Although the tower to the northwest. The acoustic many consoles featured the automatic of the sanctuary is ideal for organ, choral Sforzando cancel at that point in time, work, and even the spoken word. many Möllers did not. When Mr. Brady Mr. Brady and I were assigned to the and I returned to set the console back in concert schedule at Central, which con- service position, I was provided with a sisted of tuning, moving the console to bottle of red nail polish and told to coat chancel center (done in the early morn- the Sforzando toe piston with it. ing the second scheduled day and quite a project), and later on standby for the Jean Langlais performance, and then returning the If I recall correctly, Jean Langlais next console to service position the following visited with opus 8000. This was my fi rst morning. I had the very special pleasure introduction to this wonderful artist and of covering these events, as only one ser- his amazing musical works. A few years vice person was required. A small pew later, his then student (later wife) Marie section in the west gallery was selected Louise stayed with Emmie and me twice for my use so that I could get to both the at our home in Maplewood, New Jersey, antiphonal and main organ chambers during her concert tours of the United with ease in the event of cipher prob- States. Along with our two sons we en- lems (which did not happen during my joyed these visits with this lovely lady. tenure, but I surely did have a wonderful Ron and Emmie Bishop check out the Radio City Music Hall Grand Organ for the Her recital at the Cathedral Basilica of musical experience). annual Christmas production (stage left console) the Sacred Heart in Newark was a truly grand event. writer is certain that this great man soon After their marriage, Prof. Langlais realized why I had entered the organ was engaged to play a recital for Lester maintenance fi eld (Mother did pay—or Berenbroick during his ministry of music my godmother did pay for six years of in the Presbyterian Church at Madison, piano, but it never did “take”). New Jersey. At Lester’s request, I assisted The fi rst composition on his program my foreman in the organ’s tuning. Lan- was Peeters’ own Aria. My apprecia- glais was involved in a press conference tion of this work remains to this day. In at the rear of the sanctuary. Hearing us preparation for our wedding in 1960, I in the chancel, he fi nished his comments asked my Emma Elizabeth to play it for and came to the console. He wanted to her pleasure, and we both felt it should be sure to convey his thanks to Emmie be the fi rst composition to be played and me for taking such good care of his in the service prelude. Needless to say, Marie during her past visits to this coun- Flor Peeters’ recital was played to a full try. We ended up chatting for about a house that autumn evening and was half hour. As he left, I was tuning the top very well received. octave of the 8′ Clarinet, just arriving at top C. The good professor shouted from André Marchal the aisle “do not bother with that *@&+ The next guest on Dr. Giles’ schedule note—I do not use it in MY music.” was the blind organist André Marchal. Brady and I got everything ready, and I Hugh Giles Flor Peeters was amazed after just about a half hour At this point, I believe some thoughts with his associate as a guide, Marchal on Dr. Giles might be appropriate. To Flor Peeters was quite familiar with the four-manual my knowledge, he was the fi rst ordained Our fi rst artist during the 1955 season console and most every stop and cou- Fernando Germani Presbyterian clergyman to be appointed was Flor Peeters. The console moving pler location. He asked us just how the as full-time minister of music. He was session also included our remaining for capture combination system functioned much during his preparation time. also called as the associate pastor of Cen- the organist’s rehearsal period (at least and grasped what this equipment was all During the evening’s program that joy tral Church at that time. Hugh had a re- until 5:00 pm; we started work at 8:00 am about in a matter of minutes, including continued with a wonderful performance markable and engaging personality, and in those days). Obviously the preparation all piston and reversible locations. of Dupré’s Variations sur en Noël. At its in addition to his superb musical talent time went on through the evening hours. This gifted artist played an impeccable conclusion, a well-deserved ovation took was a gifted preacher as well. Mr. Brady had gone out to lunch with program at his evening performance— place, which Germani turned to acknowl- In addition to the concert series a friend, and I settled down in Dr. Giles’ again to a packed church. I remember edge, pushing the general cancel in the (which was second to none in talent and study to consume what I had brought being so impressed with his gift for regis- process, not realizing that the Sforzando presentation), Dr. Giles directed a mu- from home. Almost one half hour passed tration and keyboard ability. A number of did not cancel on this particular combi- sic ministry, which included professional by, and then I heard a voice calling from encores were indeed in order that night, nation action system. singers. He was also responsible for the the sanctuary. It was Flor Peeters. In his as they had been for Flor Peeters. The next selection was one of my very organ’s care and had a wonderful work- cadenced English he said, “Ronald you favorites, Vierne’s Clair de Lune, and ing relationship with the Möller techni- vil play zee organ for me, pleeze.” Now, Fernando Germani you guessed it: Germani prepared his cal staff. All of us on the New York/metro on a good day my skills of improvisation The schedule continued with the very registration not giving any notice to that crew enjoyed working with and for Hugh might just get by—maybe (just ask John wonderful and quite charming Fernando RED indicator light on the nameboard. at Central. Weaver). Here was this eighteen-year- Germani. It was a joy to be in his com- I was trying to send mental signals from The inspired creation of opus 8000 old being asked by a world class artist pany. (Later I had the pleasure of hear- my seat in the gallery, but he placed his was a joint effort between Ernest White to “play zee organ pleeze.” I advised the ing Germani play the complete works of hand on the manuals with a full organ re- and Hugh Giles. It was the Möller show- gentleman of what he might expect, and Bach in a series at St. Thomas Church.) sult. Of course, this most gracious man piece in New York City for a number he indicated that I was to play through Mr. Germani’s rehearsal went on without stopped at once, turning on the bench of years and was a major feature of that his piston settings as he called them out incident. He was at one with this superb and saying to the audience, “Excusa.” decade’s AGO national convention. To from various locations in the church. The Möller creation and enjoyed himself very With the full-organ control reversed, Messrs. White and Giles’ credit, the scal-
JANUARY, 2009 23
Jan 09 pp. 23-27.indd 23 12/10/08 12:38:58 PM John Davis at the West Point console, where he served as chapel organist for many Virgil Fox sent Ron Bishop this photo when they prepared a magazine article years. When he was employed by M. P. Möller at age 19, Ron Bishop fi rst met Dr. together and discussed a future performance at Radio City Music Hall. Fox died Davis. One of Ron’s last projects for the Schantz fi rm was for the First Reformed before the event could take place. Church in Poughkeepsie, where Dr. Davis now serves as organist and choirmaster. instrument. In fact, Arthur Brady in- resulting comedy (for lack of anything ing of this instrument was perfect for to make adjustments himself. Dur- stalled the original Möller organ and did else to call it) vocal plus visual effects. I that beautiful sanctuary on Park Avenue. ing lunch I would sit in the organ loft extensive tonal regulation work for Fred- should note here that this “team” had a The edifi ce was fi rst built as the Park Av- or choir room while he played Franck. erick Mayer in the cadet chapel. favorite word that contained four letters enue Baptist Church, but was deemed What an experience. This gentleman In 1929 Mr. Brady had continued his and began with the letter “F.” It was al- not large enough for the preaching gifts taught me a great deal about the art of association with Mr. Mayer when he ways an experience to go into a church of Harry Emerson Fosdick. The gracious organ building. His associate, Edward was called upon to install a smaller ver- with them and hold one’s breath dur- Riverside Church was constructed to fi ll Linzel, also became a good friend. I still sion of the West Point design (49 ranks) ing any initial discussions with the as- this need, and the original building be- have the recordings made by these two for the Church of the Holy Communion sembled clergy and members on hand. It came Central Presbyterian. men at St. Mary’s. at South Orange, New Jersey. Here was amazing how they “cleaned up their M. P. Möller built another gem, which act” until out of earshot (at least we all Ernest White West Point was given to the parish by the Vanston hoped so). Just a word about Ernest White. Theodore Gyler Speers was the senior family. During my time working with Then there was one George Siska, a During one of my fi rst weeks work- pastor of Central Church and gave his Dr. Giles, he suggested that I visit West very kindly Hungarian gentleman who ing for Möller, I was sent to work with full gracious support to his associate and Point, and I then had the opportunity stated constantly that he was in reality a Mr. White at the Church of St. Mary the ministry of music. Dr. Speers later to meet Jack Davis, the chapel organ- “Woycer” and did not belong on a regu- the Virgin. The company maintained moved on to that glorious chapel above ist and choirmaster. What a wonder- lar pipe organ maintenance crew. Many the beautiful Aeolian-Skinner in the the plain at West Point, New York. The ful visit that was, and in recent years I times I was paired with George (when church, the choir room Möller, and the Möller New York/metro crew had been had the pleasure to work with Dr. Da- Mr. Brady was on a releathering job or Aeolian-Skinner in the organist’s study. involved with the installation of the su- vis in the design and installation of the whatever) as it seemed that our boss I tuned for Ernest (he held keys) and perb console at the Military Academy Schantz organ at the Reformed Church (one John Byer) thought that I was pa- sometimes he went into the instruments along with earlier portions of this grand in Poughkeepsie, New York, where he tient and understanding and would put continues his work in a truly dedicated up with Mr. Siska’s constant complaining and loving manner as has always been about not being assigned to the appro- this fi ne gentleman’s custom. priate tasks befi tting his talents. professional There were indeed very bright lights Jeanne Demessieux in this group, including of course Mr. A major happening in the concert se- Brady, who was a mechanical wonder ries that year (and believe me, all the person and tuner, with a special abil- musiciansicianiician performances were quite special) was the ity for tonal regulation. Ernest Lucas is appearance of Jeanne Demessieux. Her one of the best people ever to be in the pastoral theological performance was to include the Ad Nos pipe organ fi eld, along with his brother along with many other audience favorites. Harold, who left our merry band to I recall that the New York press had done work with Aeolian-Skinner in Chicago. a fi ne job of pre-recital coverage. George Eisell had joined our group from Knowing of my interest in the instru- Aeolian-Skinner and was expert in just Master of ment and the artists who played it, Dr. about anything. George had recently Giles had arranged for a private meet- installed the fi ve-manual console with ing for Ms. Demessieux and myself in its some seventeen remote combination his study between her preparation time machines for Virgil Fox at the Riverside Sacred Music and the performance. We had a lovely Church. George told me of his wonder- visit, with Hugh the ever-proper host. ful experience in working with Virgil, as www.luthersem.edu/msm This lady did indeed play the organ did all who had the special opportunity in those high-high-heels (and never of working for and with this great man. I missed a note). She was just a lovely know full well that Dr. Fox was well re- person and this showed in her music. spected by all of us in the industry and “We seek to give musical and theological What a night—encore and after encore that feeling was returned tenfold. followed (I cannot recall how many), For many years M. P. Möller kept of- flesh and bone to those who are called with a mystical silence as the audience fi ces in a suite at the Waldorf-Astoria to serve the church as leaders of the fi led out. hotel, which included a pipe organ that people’s song.” was later moved to a church in Harlem. Möller New York City/metro crew In addition, the Grand Ballroom con- – Dr. Paul Westermeyer, Director While all these wonderful happenings tained a very large twin-consoled four- did so much for the New York City con- manual installation. (One console was cert season, I must not lose sight of the of the English drawknob type and the many projects the M. P. Möller metro other a theatre-style unit—both with service crew was attending to. Aside plug-in connectors.) from the contracted maintenance of As time passed, the Möller offi ce relo- some 600-plus Möller instruments, the cated to Yonkers, New York. The Grand eight of us were quite often called upon Ballroom instrument was placed in stor- to assist the Hagerstown road crew in- age and, after a factory rebuild plus new stallation folks. console, sold to the State University of The metro crew was a group of char- New Jersey for their Montclair campus. acters unto itself, headed by our senior They had built a quite lovely auditorium members. Larry Horn spoke with the with chambers at stage right and left, all right side of his mouth lowered for a ready for the organ’s installation. The very dramatic accent (and related visual new four-manual console was placed in effect). Larry’s partner at the directorial the orchestra pit at stage right. level was one Rudy Lung (that is right, Our entire group was assigned to as- LUNG), who spoke with the left side of sist that factory installation crew for this his mouth lowered (also a most interest- project. This led to a very interesting Armstrong Aspaas Ferguson Rodland Westermeyer ing effect when those two stood side by situation with Larry Horn (mouth list- side on the job site). Larry and Rudy were ing to the right) having so-called equal almost always teamed together, with the “bossing” responsibility with “Wild” Bill
24 THE DIAPASON
Jan 09 pp. 23-27.indd 24 12/10/08 12:39:23 PM John A. Schantz and Ronald Bishop meet in the reception room of the Schantz factory in Orrville, Ohio
Slaughterback (loud mouth—period) of a table in the middle of the room, laid out the Hagerstown group. for all to see and work from at his direc- The university campus is set on a tion. We started hauling parts up ladders hillside in northern New Jersey, with a to the chambers as ordered and soon haunting view of New York City to the found out that nothing, I mean nothing, east. As we began our installation pro- fi t. Larry insisted he was giving the right cess, major construction was in progress directions and ordered baseboards and all over the area. The Möller trucks ar- other materials that he thought in the rived so our gang could unload, with way, removed from the organ loft loca- everything placed in and around the tions. Eighteen-year-old me suggested John Weaver at the original console of the Madison Avenue Presbyterian large scene dock entrance for the stage that HE look at the drawings again and Church, New York City. Ronald Bishop had the honor of serving as Dr. Weaver’s complex. We got everything placed for was TOLD IN NO FEW WORDS TO maintenance technician for more than three decades. Weaver often performed at proper installation sequence, including MIND MY OWN BUSINESS AND Central Presbyterian Church under the late Richard Westenburg’s baton. the large two-stage wooden-cased organ THAT I WAS JUST A HELPER (plus a blower (original to the instrument). few other choice words). This all went on getting a wonderful balance of tone. silica) of the Sacred Heart in Newark, Within the hour it was discovered that until it was time to go to lunch; there was On the other hand, John Schantz was New Jersey, and John’s wonderful work this large wind machine belonged two a wonderful diner down the road and and is a superb organist and knew only there. Little did I know that about a de- fl oors down. I should mention that the we all wanted to get there FAST. By this too well how he could obtain exquisite cade or so later Mr. Schantz would ask building sat on the gentle slope of the time, organ parts were all over the place, musical results from the organs he de- me to represent his fi rm. hillside. This is when the fun started. jammed into the chamber and what not. signed and voiced. “Wild” Bill and Larry decided to appro- Progress was non-existent. Over the years, John A. Schantz has Life after Möller priate a front end loader that was just sit- I made certain I was the last one out been a valued mentor, teaching me many I left M. P. Möller (and sadly Mr. ting there at idle in the parking lot. of the room to head for that diner. I had valued lessons about the instrument we Brady) to attend college in the fall of The gentlemen both decided they hours ago fi gured out that Larry had laid both admire so much. I can recall during 1957. Later that year, I was hired as as- knew how to operate this unit, but be- out the prints wrong, and he was trying a backstage visit at Radio City Music Hall sociate organ technician for Radio City fore all hell broke loose they were “ob- to have us place the Swell organ in the in 1958, both Dr. William Barnes and Dr. Music Hall, upon the recommendation served” by the rightful operator. Then Great/Choir chamber and vice versa. Mr. Charles Courboin telling me of the great of another Möller employee who was money matters for the use of the ma- Bullhead would not think any other way. Schantz organ at the Cathedral (now Ba- working the night shift there. I still hold chine ensued. This involved much loud (Bright me reset the prints as I went out talking (Larry trying to outdo Wild Bill the door.) to NO avail)—thank goodness for the When we all returned from lunch, coffee truck (where the rest of us fl ed) Larry said, “oh, here is the problem”: that was on site. At last the money mat- THEY had laid the drawings wrong and ters were settled, and the sight of our he had fi gured out THEIR mistake. fearless leaders riding in the bucket of Once we had switched everything around the loader was a vision to behold. They (no easy job) all was now right with the got the loader up to the scene dock, and world. What brain power and an ego this we started to shove the blower toward it man had. Please remember I was just a (Möller did not provide dollies in those helper. In the end the organ turned out days). At last the machine fell into the to be a very fi ne little three-manual, and bucket and began its trip to the lower- the client was well pleased. level blower room with Bill and Larry Again in retrospect, maybe this is why yelling at each other—I never did fi gure the boss always sent Mr. Brady and me out about what—for the duration of the to assist Dr. Giles with the concert series trip, brief as it was. needs. (Larry and Rudy had worked the Once the auditorium installation was crew on Opus 8000 and done an excel- completed and the tonal regulation done, lent installation, but Hugh did say to us the university arranged to have Virgil one day that he recalled them as an “in- Fox dedicate the instrument. It was al- teresting” pair to say the very least.) ways a pleasure for us to work with and Returning to the university campus in for Dr. Fox, a true professional and a re- New Jersey, the blower was, at last, put ally nice person. Mr. Brady and I were to in place and we all got to work on the be on call should the organ require any actual chamber(s) installation process. last-minute attention. Well, Dr. Fox got After some back and forth, it was decid- into one of his beautiful full registrations ed that the factory crew would attend to and we soon discovered that nobody had the stage left chamber and we New York/ thought to rebuild the curtain valve in metro boys could take care of the stage the blower static air reservoir. Obviously right location. Please remember after the organ just stopped in its tracks. We all the fun up in New England and the soon got the problem repaired, and one give and take on this New Jersey project beautiful recital played to another full and despite all the carrying on discussed house was the end result. I am certain above, the Möller company always did that Virgil had played the organ more excellent work, and I very much enjoyed than once in its original location and my time and learning experience with he enjoyed very much making “friends” this fi ne fi rm. with it once again. Our combined crew soon completed the transplant of the Waldorf instru- Further adventures ment, and Larry stayed on to assist John Looking back, I think that all this Schiegh, Möller’s head tonal fi nisher, as fun and games stuff began with the they spent several weeks going through New York/metro crew itself when we the organ pipe by pipe. did one of our fi rst solo installations in a very conservative college up in South John Schiegh and John Schantz Lancaster, Massachusetts. It was a small The two tonal fi nishers I worked with three-manual in a chapel/auditorium- were both named John—the afore- type setup, with chambers to the left and mentioned Mr. Schiegh and for thirty- right of the platform area. Larry was in two-plus years beginning in 1973, John charge, with Rudy and his ever-available A. Schantz. Although our friend from comments and “assistance.” Larry had Möller did not know how to play the placed the organ installation drawings on instrument too well, he had a knack for
JANUARY, 2009 25
Jan 09 pp. 23-27.indd 25 12/10/08 12:39:40 PM Ron Bishop and Robert MacDonald share a fun time shortly after Bob’s appointment as director of music at the Cathedral Basilica of the Sacred Heart, Newark, New Jersey, and the start of MacDonald’s ten-year tenure at Radio City Music Hall, New York City.
Head organist Richard Liebert and associate organist Raymond Bohr at the stage right Radio City Music Hall console. The two played the solo parts in Raymond Paige’s many organ and orchestra overtures. Ron Bishop had the pleasure of working with these gentlemen, attending to the care of the great organ with Louis Ferrara, who installed the instrument in 1932.
The late Dr. Leon Thompson, music director of the Abyssinian Baptist Church, New York City, and Ron Bishop share a moment at the noon meal following the service of dedication of the fi ve-manual Schantz installation. Several performances with the New York Philharmonic followed in the years to come.
an Emeritus title at the theater to this installation, and tonal fi nishing of this Claire Coci gave Ron and Emmie this photo one evening during a dinner at her home day. Soon after joining the Music Hall fi ve-manual instrument, which contained (she cooked). Ron tuned for many of her concert dates along with maintaining the staff, I met a beautiful young lady named some pipework from the previous instal- organ in her studio at “the Academy.” Emma Stiffl er, who was then a Rockette. lation there that preceded opus 8000 by We were married in September of 1960 a few years. Frederick Swann had served Winston-Salem, North Carolina area. and through God’s blessing share a love the congregation as consultant, and the John A. Schantz joined me in doing the that grows deeper as each day goes by. organ’s opening performance included tonal fi nishing of the Binghamton organ. About eight years after our marriage, I the full New York Philharmonic, Zubin One of the major donors came to me and met up with opus 8000 once again when Mehta conducting, with the late Leon- said it is just perfect and thank you and Richard Westenburg asked me to take ard Raver at the console and Leontyne Mr. Schantz. charge of the instrument as it continued Price a vocal soloist. New York City con- to play an important role in his Musica certgoers did indeed enjoy the wonder- New York City installations Sacra series and the ministry of music ful concert seasons. In thinking about New York City’s two at Central Church. The late William Emmie and I became patrons of Dr. major concert halls, one does wonder Whitehead and the recently retired John Westenburg’s program at Central, which about the lack of organs in both of them. Weaver shared the continuo work with kept us in contact with our four-manual When I fi rst started at the Music Hall, Dick conducting the chorus, and in the Möller friend for several more years. my boss, Louis Ferrara, took me up to course of the season Dr. Weaver played That series was music-making of the Carnegie Hall to see the Kilgen installa- a stunning performance of the Poulenc highest order and later moved to Avery tion there. He would be asked to tune it organ concerto under Richard’s baton to Fisher Hall. In addition, Dick went on to from time to time, and our friend Claire a well-deserved standing ovation. Opus become music director of the Fifth Av- Coci was organist of the Philharmonic, 8000 really did its thing that evening. enue Presbyterian Church. Dan Locklair which resided there back then. I later Around 1978, I again had the honor of serviced the instrument in Claire’s home hearing this work on the Schantz organ at Dan Locklair fi ne Link organ at First Presbyterian until her unfortunate passing. The late Abyssinian Baptist Church, with the late In the summer of 1976, Emmie, our Church, Binghamton. My staff and I and quite wonderful George William Leon Thompson conducting members of sons, and I took a summer home on Hart had a wonderful time working with and Volkel also played the Kilgen for the Bell the New York Philharmonic, of which he Lake (Pennsylvania), in the mountains for Dan, and we have been dear friends Telephone Hour, which was broadcast in was an associate conductor—once again just below Binghamton, New York. Dan ever since. Later on, Dr. Locklair com- its radio days from the hall. George even a standing ovation from a full congrega- Locklair had contracted with Schantz posed an anthem in our honor entitled A played a half-hour recital for the audi- tion, 2,300 in this beautiful setting. I had (with me as project director) to do ex- Christmas Carol. Dan and his lovely wife ence prior to the program going on the assisted John A. Schantz in the design, tensive tonal work and additions to the Paula are doing wonderful things in the air “live.” Although buried, that instru-
26 THE DIAPASON
Jan 09 pp. 23-27.indd 26 12/10/08 12:39:59 PM Emmie and Ron have lunch with Liberace and his producer, Ray Arnet, along with three former Rockettes. Liberace and Arnet made use of the Music Hall Grand Organ in their New York productions, selecting Robert MacDonald as organist for their sold-out performances. Radio City Music Hall prior to opening day, December 27, 1932. The two independent consoles that control the Grand Organ are shown. The Music Hall’s conductor, ment could make itself known but was the regular organ intermissions on the Raymond Paige, made extensive use of the organ, having the Bach Festival later removed for whatever reason. opposite console. In later years, Robert Overture arranged for organ and orchestra, among many presentations. At the time Avery Fisher (then Philhar- MacDonald not only played the opening monic) Hall was completed, Louis, Ray for Liberace’s show, but also joined the Symphony concluded their program, installation crew at his family’s church that Bohr (Music Hall organist) and I were orchestra for the second act overture to with the orchestra at stage level bathed summer. He worked with the New York crew invited by the Aeolian-Skinner foreman the music of J. S. Bach. Needless to say, in the appropriate light and the organist through the fall of 1957, when he joined the to visit the organ installation, which had Robert and the organ were well received and console spotlighted in white, there organ maintenance staff at Radio City Mu- sic Hall. At that time he also formed his own just been rough tuned. The stage crew by all concerned. was of course a standing ovation and the pipe organ service fi rm. brought that very beautiful ebony con- A few years before his death, Virgil Fox magic had happened once again. He married Emma Stiffl er, who had been a sole to the stage on its elevator. Ray and called me to discuss a magazine article With the many recent concert hall or- Rockette at the Music Hall, on September 3, Lou went out into the house and asked we were preparing on the Music Hall gans now installed and being planned, I 1960, and they have two sons. In 1973, John me to PLAY. Now we already know of Grand Organ, its various uses and up- know that magic will happen again. In A. Schantz invited Ron to become a district my playing skills (?!), but that organ and keep. After about ten minutes’ discussion a way, Dr. Giles helped it all get started representative for the Schantz Organ Com- its gorgeous sound made even me sound of the article’s material, we spent another again after World War II. The music pany, where he remained for over 32 years. decent. In my opinion, it was just a sin hour going over the planning of an organ ministry at Abyssinian has helped to con- The Music Hall in-house maintenance staff to remove that instrument. At the time program Dr. Fox and I were working on tinue the adventure along with the late was eliminated in the late 1960s. In late 1975, of the Abyssinian Baptist Church instal- for a proposed New York appearance at Richard Westenburg’s ongoing contribu- Raymond F. Bohr, Music Hall head organist, lation and through Dr. Leon Thompson’s Radio City Music Hall. He wanted to do tions. Let us all continue to enjoy, sup- and John Henry Jackson, vice president and senior producer at the theater, invited Ronald kindness, Zubin Mehta asked me to the fi rst portion of his program on the port, and celebrate such ventures. Q Bishop to return and begin the much-needed come to the hall and see what could be stage right console, then move to his Al- restoration of the Grand Organ. He now done relative to a possible new Schantz len touring organ, which would be placed Ronald Cameron Bishop obtained a job serves in two emeritus positions and assists his installation. During my visit, I was told stage center, making full use of the eleva- with the New York M. P. Möller crew in wife in the operation of her dance studio, in by the stage manager that if the sliding tors and turntable equipment. The light the fall of 1955, after observing the Möller addition with his organ consultation services. steel door (à la the Kennedy Center Ae- show would have been included and at olian-Skinner installation in Washington, one point he would move to the stage left DC) had been installed, the original or- console for another portion of the pro- The Cathedral of Christ the Light gan would still be there. The powers that gram. The fi nale section and any encores The Cathedral of Christ the Light be would not, however, spend the money (Perpetual Motion for certain) would be O A K L A N D, C A L I F O R N I A for that installation. The organ chamber played on the touring organ, and we got was still there, walled over, and used for to wondering if the cabling on it would al- We are pleased to announce storage. The “acoustical” person granted low Dr. Fox to move down stage out onto the completion of the first such a limited space for any replacement the stage-level orchestra pit elevator so phase of our organ project organ that the project was just impossible that his pedal work could be spotlighted with the Cathedral of Christ to consider. Believe me, John Schantz to the greatest advantage. It is indeed un- the Light in time for the and I spent a great deal of time discuss- fortunate that this wonderful man never ing the matter to no avail. got to perform this program. I am certain Mass of Dedication held on Despite this lacking, the area churches that he would have sold out the vast the- September 25, 2008. The really provided some great concert ven- ater, and many standing ovations would remainder of the instrument ues, thinking of Dr. Giles and opus 8000 have taken place that evening. will be constructed in our and our wonderful friends at the Abyssini- It is obvious that the instrument we all workshops over the an Baptist Church, who have continued to care about has been featured in concert invite the New York Philharmonic to ap- venues by many talented people. Broad- coming six months and pear with their-fi ve manual instrument. way history alone tells me that Firmin will be installed during Even the Grand Organ at Radio City Swinnen did a pedal solo four times a day the late summer of Music Hall has taken its concert turn un- at the Rivoli Theater with his footwork 2009. The completed der the batons of Carmine Coppola and spotlighted from on high as he played instrument will feature James Levine, with Frederick Swann and The Flight of the Bumble Bee. Anthony Newman as guest organ solo- It was the happenings that I have four manuals, 75 ists. Even back in the presentation days, known and surely my discussion with Dr. independent stops the great Raymond Paige conducted Fox that led me and my son Richard to (excluding borrows), 90 the Music Hall Symphony Orchestra in include plug-in connectors and travel- ranks and 5,335 pipes. the Bach Festival Overture, with Rich- ing cable materials when we rebuilt both The design of the organ’s ard Leibert at the console. The superb Music Hall consoles. They can now re- arrangement for this presentation was main in their normal alcove settings or twin façades was developed in collaboration with made by Rayburn Wright. This format be placed anywhere on the stage, turn- the Cathedral’s architect, Craig Hartman of was further developed with the Richard table, or orchestra pit. Dr. Fox would Skidmore, Owings & Merrill, and will suggest a Rodgers Overture, again with Mr. Leib- have loved the possibilities. When Mr. natural forest with numerous wooden pipes. ert as featured artist. Ray Bohr played all Swann, Mr. Coppola and the American We are honoured to have been selected by the Cathedral of Christ the Light’s Organ Committee to design and build this significant new pipe organ for Oakland’s resonant new Cathedral. For more information, visit our website at the address below or the Cathedral’s website at www.ctlcathedral.org. ATOS ORGUES LÉTOURNEAU LIMITÉE ExperienceAmerican Theatre Organ Society United States Canada 1220 L Street NW 16355 avenue Savoie Preserving a unique art form. Suite 100 – No. 200 Saint-Hyacinthe, Québec Washington, DC J2T 3N1 Concerts, education, silent film, preservation, 20005-4018 Tel: (450) 774-2698 fellowship and more. www.atos.org Tel: (800) 625-PIPE Fax: (450) 774-3008 Jim Merry, Executive Secretary, [email protected] Fax: (202) 737-1818 [email protected] P.O. Box 5327, Fullerton, CA 92838 [email protected] www.letourneauorgans.com
JANUARY, 2009 27
Jan 09 pp. 23-27.indd 27 12/10/08 12:40:17 PM Cover feature
Bedient Pipe Organ Company, Roca, Nebraska, Opus 81 First Congregational Church, Sioux Falls, South Dakota As organbuilding and organ perfor- mance evolve in the beginning of the 21st century, as fi nancial resources of churches are often limited, there is renewed incen- tive to incorporate the good of past Amer- ican organbuilding into new instruments. That is what we have done at First Con- gregational Church, Sioux Falls. Although the practice of incorporating elements of former instruments into new ones has been perhaps shunned by some of our better builders in past decades and certainly by me, it was common in earlier times of organbuilding history for organbuilders to recycle functional com- ponents. Look at many stoplists of Arp Schnitger as reported by Gustav Foch and more often than not, some stops on Church exterior a new instrument will be attributed to an earlier builder, or simply “vor Schn.” This practice has certainly occurred in American organbuilding throughout our history and with varying degrees of suc- cess. The advisability and resulting suc- cess depends on the style of organ being built and the skills of the organbuilder. Based on our successful combination of new and old in our Opus 81, the prac- tice of “reuse and renew” continues to be Console a logical organbuilding technique. Our goals were: 1) To rebuild and en- hance the existing organ to make it reli- able and visually attractive; 2) To create an organ rich in fundamental sound that would generate a wide dynamic range for various accompanimental tasks as well as lead hymn singing; 3) To create a variety of beautiful sounds for playing organ lit- erature; 4) To integrate the old with the new in such a manner that the two work together seamlessly; and 5) To improve the internal layout of the organ to make Woodworker Ed Stibal fi ts molding to it an easy organ to tune and service. the impost The lack of a comprehensive approach to work that had been done over the past 40 years had left things in a state of dis- array. A new control system had been installed a few years before our involve- ment. The main control panel had been removed from its wooden packing crate, set on top of the crate, leaned against a windchest leg and wired in place! There was a nightmare of cables and individual wires running helter-skelter. Pipes were leaning to and fro. The layout of main windchests and offsets was illogical and View of sanctuary and organ before renovation used the space ineffi ciently. The Great windchest had serious defects and had erally very satisfactory sound. The new ing out and up a short distance. to be replaced. This allowed us to totally Great is an amalgamation of Germanic The Pedal division was enhanced by reconfi gure the Great and Pedal organs and French ideas from our varied tonal the addition of new reed stops as well and their related offset chests. Some palette at Bedient. The Great Trompete as a Pedal Mixture. There are always offset chests were retained, and a new is a dark German reed that blends well many judgment calls in organbuilding. Pedal windchest was made, allowing us with the ensemble. When used with The Pedal Bombarde, Trompette, and to clean up the Pedal division and orga- the Great principal chorus based on 16′ Clairon began life in our shop as typi- nize it in a meaningful way. The available pitch or 8′ pitch, it makes a grand but not cal French, parallel shallot reeds of the space behind the façade for the Great overwhelming sound and is very suitable French trompette tradition. It was ap- Woodworkers Ed Stibal and Todd and Pedal divisions was limited, but we for supporting hymn singing. The Flûte parent upon hearing them in the new, Znamenáþek prepare to install one of were able to make a very good and ser- harmonique, straight out of the Cavaillé- lively acoustic that they created too much Todd’s carvings viceable layout. Coll tradition, is a wonderful addition— sound. We took all of the lower registers What most people know about an or- especially in the renewed, live acoustic. back to the shop and put brass plates on gan is what they can see. We were able The Swell division was greatly en- the shallots to reduce the openings and to make a dramatic change in this instru- hanced by some revoicing and the ad- thus the amount of sound created. They ment by replacing the uninteresting fa- dition of a new Trompette 8′, Clairon 4′ are still very prominent reeds, but fi t the çade of non-speaking pipes with one of and a new Mixture. The Swell is now a ensemble and help create a very exciting dynamic appearance that also creates very effective division, and there is quite tutti. The bottom eight notes of the old inviting, living sounds. If an organ looks a dramatic difference between Swell Pedal Principal 16′ were retained as well beautiful, the viewer is more inclined to shades open and closed. The Choir divi- as treble pipes of the Pedal Principal 8′ want to hear the instrument. If it sounds sion, previously lacking in fundamental, and a Choral Bass 4′. great and looks beautiful, the viewer’s ex- was greatly improved by the addition of a The Möller console had been modern- pectation is realized and it sounds even new Principal 8′. Adding a Mixture gave ized at least two times before our involve- better than anticipated. the Choir a complete chorus. The com- ment in the project. We were able to make Besides the non-speaking façade, the pleted specifi cation includes a principal a good stopknob layout and add the stops organ we inherited was characterized chorus in each division. needed in a logical way. Piston slips were by a marked lack of harmonic interest. The original specifi cation called for replaced to make a better piston layout. Thankfully, there were individual stops a new solo trumpet stop. Well into the We added a “tracker touch” system to the with potential that served a meaningful design, it occurred to me that this stop keyboards to improve the feel. The entire place in our new tonal scheme. We were would be more usable and effective if it console was disassembled and the fi nish able to provide an almost totally new were placed en chamade instead of in the carefully restored to match the beautiful Great division, and that was an impor- Choir chamber as planned. For those of oak woodwork in the sanctuary. tant advantage—being able to present us who have spent much of our lives cling- The organ has three manuals and ped- the core of the organ as a new division of ing to ladders trying to reach and service als, 45 speaking stops, 57 ranks of pipes, beautiful sounds with a rich principal en- en chamade reeds, we offer relief in this totaling 3,138 individual pipes. The semble. Having said that, we did retain installation. Flats of pipes directly under wooden organ pipes are made of sugar the old Great Mixture. We were able to the en chamade reed hinge outward and pine, fi r, and poplar, and the metal pipes improve it by increasing the cut-ups and the stop can be tuned conveniently from are made of zinc as well as various alloys Woodworker Jon Taylor fi nishes making it a darker, less edgy, and gen- a walkboard behind the façade by reach- of tin and lead. With the exception of the capitals
28 THE DIAPASON
Jan 09 pp. 28-30.indd 28 12/10/08 12:41:26 PM façade pipes, the new pipework was fab- depth of care and concern for the art of vehicle of our song. ricated in the Bedient shop. organbuilding that impressed everyone. It is a great privilege to serve such a The organ façade is made of red oak Further discussions, as well as a visit to congregation, one in which traditional and employs decorative motifs found in the Bedient shop and several new and forms of worship and instruments of ar- the decoration of the nave and its fur- rebuilt instruments, convinced the com- tistic expression are deeply valued, and nishings. It is enhanced by pipe shades mittee that this was the builder we want- generosity is understood as a joyful mark carved of basswood, giving the organ a ed to work with. of Christian discipleship. The Bedient or- depth of artistic visual character. As we continued to work with Bedient, gan builders have given us an instrument The organbuilders who made the in- the project evolved further. The most no- crafted with the same sense of reverence strument: table suggestion that was enthusiastically and perfection that we bring to all aspects Arden Bock adopted by the committee was the re- of our community life The congregation Jasmine Beach placement of the existing “picket-fence” and the community will be blessed by this Gene Bedient non-speaking façade with fully function- gift for generations to come. Carving closeup Gwen Bedient al pipework arranged in a beautiful new —Rev. Kathryn Timpany Duane Grosse oak case that complemented perfectly Senior Pastor Chad Johnson the existing woodwork in our century-old Todd Lange sanctuary. This new feature brought the Paul Lytle organ into the mainstream of the larger Bedient Opus 81 Mark Miller sanctuary renovation project, providing First Congregational Church Eric Smith a striking visual element that appealed Sioux Falls, South Dakota Jason Smith to many who had not been particularly Edward Stibal invested in the organ before. GREAT Jonathan Taylor The specifi cation was fi nalized and the 16′ Principal 1–8 Reuter, Fred Zander contract signed, and on November 11, 9–61 new, 9–37 in façade 8′ Principal new, 1–25 in façade Todd Znamená«ek 2007, nearly 50 members of the congre- ′ gation gathered to help unload the truck 8Bourdon Reuter 8′ Flûte harmonique new The organ was dedicated on Febru- containing the new Bedient organ. The 4′ Octave new, 1–10 in façade ary 8, 2008 by Douglas Cleveland, who organ was dedicated with a weekend of 4′ Spitzfl ute new 2 played to a capacity audience. Special celebration February 8–10, 2008. Events 2⁄3′ Quinte new thanks is offered to Eric Grane of the included a concert by Douglas Cleveland, 2′ Fifteenth Reuter J. F. Nordlie Co., who worked with me in a Pedals, Pipes and Pizza event, and fes- IV Mixture Reuter the tuning and voicing of the instrument. tival worship services including a formal 8′ Trompete new It is our hope that this new instrument Rite of Dedication on Sunday morning. 8′ Solo Trumpet (Choir) will provide inspiration and worship The organ has inspired us in our wor- Carillon Zimbelstern enhancement to all who see and hear it ship and attracted a great deal of inter- Chimes over the coming generations. est in our developing Arts Ministry. The —Gene R. Bedient, Organbuilder combination of the open versatile chan- SWELL cel space, excellent acoustics, and the or- 16′ Gedackt Möller View of en chamade reed access Like so many downtown churches, gan located in the front of the room have 8′ Viole de Gambe Reuter First Congregational United Church of already attracted several area choral 8′ Voix céleste Reuter 8′ Gedackt Möller Christ has had to ask the question, “Who groups to perform here. We hope to con- ′ are we and what are we doing here?” tinue to reach out and encourage people 4Principal Reuter 4′ Harmonic Flute Möller Circumstances such as space for the to develop and share their creative ex- 2 2⁄3′ Nazard Reuter activities of ministry, adequate parking, pressions with us and each other. 2′ Blockfl ote Reuter 3 and maintenance of our historic building Finally, I want to express my deep- 1⁄5′ Tierce Reuter keep these from being just philosophical est gratitude to former Pastor Arlan IV Plein jeu new questions. During the past decade, sever- Fick, whose leadership encouraged and 16′ Contrafagott Reuter al groups of dedicated church members inspired us to dare to dream this big. 8′ Trompette new 8′ Fagott (ext) have again wrestled with these issues. Thanks also to former music associate ′ These discussions have brought together Brian Williams, who did a great deal of 8Oboe Reuter 4′ Clairon new and empowered a wide variety of special work in the early stages, to Rev. Norm 8′ Solo Trumpet (Choir) interests and focused them into a vision Shomper for his leadership throughout Tremulant that has guided us in addressing our chal- this project, to Dave Sellers and the Carillon lenges and facing our future. members of the organ committee, to Swell 16 Drawing on the historic traditions of Rev. Kathryn Timpany for her enthusi- Swell Unison the Congregationalists in America, we astic support, and to Gene Bedient, Paul Swell 4 seek to create an environment that en- Lytle and the rest of the Bedient crew for courages people to come together, not sharing their creative artistry with us. CHOIR 16′ Quintaton Reuter only for worship, but for learning, public —Jack Mohlenhoff 8′ Diapason new discourse and the sharing of ideas. We Minister of Music and Arts 8′ Holtzfl ote Reuter believe that it is in the honest exploration First Congregational Church 8′ Viole d’Amore Reuter and expression of our own creative gifts Sioux Falls, South Dakota 8′ Viole celeste Reuter that God still speaks in our world today. 4′ Spitzprincipal Reuter Our remodeled sanctuary is reminiscent When Washington High School 4′ Koppelfl ote Reuter 2 ′ View of reconfi gured Swell division of the early meeting houses in that it is closed its doors in downtown Sioux 2⁄3 Nazard new 2′ Octave Reuter a simple, versatile space. Yet, it also in- Falls in 1992, the citizens of this thriv- 3 1⁄5′ Tierce new spires and enables a creative spirit with ing Midwestern city recognized an op- 1 1⁄3′ Quinte Reuter colors in the walls and windows and the portunity they could not pass up “to IV Scharf new magnifi cent new façade of the Bedient contribute to the artistic and cultural 8′ Krummhorn Reuter pipe organ. well-being of our community and state.” 8′ Solo Trumpet new, Since this building was fi rst construct- The native quartzite stone building is 13–54 en chamade, 1–12 inside ed in 1907, the organ has always had a now the Washington Pavilion of Arts Harp central place in the sanctuary and a cen- and Sciences. It houses the Kirby Sci- Tremulant tral function in the things that happened ence Discovery Center, an Imax theater, Choir 16 Choir Unison there. The most recent organ was a 1932 a black box theater, a Visual Arts Center, Choir 4 Möller, rebuilt and enlarged in 1967 by Leonardo’s Cafe, and the Husby Per- Reuter. It seemed that about every 20 forming Arts Center, whose jewel in the PEDAL years some major maintenance and im- crown is the stunning Great Hall. 32′ Contrebourdon (from Bourdon 16) provement was undertaken, but the or- First Congregational United Church 16′ Principal (Gt) gan was never fully completed. It served of Christ sits directly across the street 16′ Bourdon mixed the congregation very well, but was miss- from the Pavilion. Made from the same 16′ Gedackt (Sw) 2 ′ ing some basic components including native quartzite, it is home to a visionary 10 ⁄3 Quinte (from Principal 16) 8′ Octave 1–12 new in façade a swell mixture and independent pedal congregation. For several years we have 8′ Bourdon (ext) reeds. The console controls needed up- been developing a mission that is refl ect- 8′ Gedackt (Sw) dating, as well. ed in our motto—“God’s hands at work 4′ Choral Bass Reuter An organ committee was formed to re- in the heart of the city”—that includes 4′ Bourdon (ext) view the situation and develop a proposal. offering our meeting house as a place IV Mixture new As the committee did its work, it became where people can experience the inter- 32′ Contrebombarde (prepared) 16′ Bombarde new clear that there was strong sentiment for a section of faith and the arts. Our recent ′ more involved project to not only address renovation of the sanctuary, including 16 Fagott (Sw) 8′ Trompette new the problems, but complete and expand the completion of the organ, symbolizes 8′ Fagott (Sw) the instrument as a signifi cant part of the our investment in that vision. 4′ Fagott (Sw) evolving sanctuary renovation that was Our weekly worship services are joy- 4′ Clairon new also being planned. A preliminary speci- ous occasions. The Bedient organ, un- fi cation was developed and builders were der the expert artistic direction of Jack Couplers contacted for their input. Mohlenhoff, our Minister of Music and Great/Pedal Upon the recommendation of Dr. Arts, sings us into praise and soothes our Swell/Pedal Larry Schou, Professor of Organ and anxieties with its rich arrays of sounds Choir/Pedal Great 16 Harpsichord at the University of South and moods. The visual panorama the or- Swell/Great 16, 8, 4 Dakota, the Bedient Organ Company gan provides, together with our vibrant Choir/Great 16, 8, 4 was on our list of builders contacted. Ini- stained glass windows, draws us out of Swell Unison Off, 16, 4 tially Gene Bedient was not interested ourselves and turns us toward transcen- Choir Unison Off, 16, 4 in the project as it had been presented. dent mystery. There is a creative spirit Swell/Choir 16, 8 When he was contacted for further dis- that is active in our midst, and our or- Reverse Choir/Great Gene Bedient voices the Swell Trumpet cussion, our conversations revealed a gan is the breath beneath our ribs, the
JANUARY, 2009 29
Jan 09 pp. 28-30.indd 29 12/10/08 12:41:52 PM New Organs
Façade (photo by Frederick Hohman)
Schoenstein & Co. Organ Builders, and Walter Kohler Trust and the Hays- Benicia, California sen Foundation. Grace Episcopal Church, In the intimate acoustical setting of Console (photo by Dennis Anderson) Sheboygan, Wisconsin a church that seats only 250, with a gal- Founded in 1847, Grace Episcopal lery where space was extremely limited, trasting keen-tone string celestes, two and a Schola Cantorum under the di- Church, an Anglo-Catholic parish, has Schoenstein & Co. built a 20-voice, 23- color reeds, a high pressure tuba, an en- rection of Wayne Wildman. This is the had a distinguished musical history for rank symphonic organ. Powerful pedal semble of principal scale mutations, and most recorded of all Schoenstein organs, over 130 years. The fi rst organ, a Roos- bass, keen string tone, a big solo fl ute, three contrasting fl utes—a French-style with three CDs by Dr. Dobey on the Pro evelt, served until 1929. Over the years, and an heroic chorus reed can elevate an Harmonic Flute of metal, an English- Organo Label: The Intimate Reger; In the second organ began failing mechani- instrument into the symphonic category style Claribel Flute of wood, and a Lieb- Sweetest Joy; and Magnifi cat. cally and was not up to the task of ac- provided it is under extremely effective lich Gedeckt stop based on the famous —William Vaughan companying all of the music required in expression control and has a precise, re- one by Willis at St. Dominic’s Priory in GREAT the Anglican choral tradition. The search sponsive action. This is the concept that London. The ’Cello/Double Bass exten- ′ for a new organ was initiated with gener- guided the design for Grace Church, sion of the Harmonic Flute follows the 16 Double Bass+ 12 pipes ′ 8′ First Open Diapason+ 61 pipes ous fi nancial support from the Charlotte which includes fi ve 16 stops, two con- scaling pattern of the Schoenstein Sym- 8′ Harmonic Flute+ 61 pipes phonic Flute, imitating the effect of the 8′ Second Open Diapason 61 pipes orchestral traverse fl ute. 8′ Aeoline 61 pipes Of these elements, perhaps the ex- 8′ Vox Angelica 37 pipes pression boxes are the most important. 8′ Lieblich Gedeckt (Swell) Russian Gnessins’ Academy of Music, Moscow Only the two Pedal stops and the two 4′ Principal 61 pipes 2′ Mixture IV 218 pipes main solo voices of the Great are unen- ′ 4. International Organ Symposium closed. The Great chorus and accompa- 8 Clarinet (TC) 42 pipes March 2009 niment stops are in one box. All of the + Unenclosed Swell stops are in another box next to the SWELL Great. The loudest voices of the Swell, 16′ Lieblich Gedeckt 12 pipes 24. March the powerful Gambas, and the Tuba Mi- 8′ Gamba* 61 pipes 19.00 – Russian Gnessins’ Academy of Music, Main Hall nor (all on 10″ of pressure) are in a sec- 8′ Gamba Celeste* 49 pipes Opening concert by Prof. Constantin Alex (Germany) ondary expression box, which speaks into 8′ Claribel Flute 49 pipes the Swell. This double expression con- 8′ Lieblich Gedeckt 61 pipes 4′ Gemshorn 61 pipes trol greatly increases the dynamic range 2 25. March 3′ of the Swell division. Thus, a crescendo 2⁄ Twelfth 12 pipes 19.30 – Catholic Cathedral 2′ Fifteenth 61 pipes from pp to fff is easily accomplished, an 3 1⁄5′ Seventeenth (TC) 42 pipes Organ recital by Prof. Jürgen Essl (Germany) 1 effect especially important to Benjamin 1⁄3′ Nineteenth 54 pipes Dobey, current organist and choirmas- 16′ Bass Tuba* 12 pipes 26. March ter. The organ is on three levels. The 8′ Tuba Minor* 61 pipes 10.00–18.00 – Russian Gnessins’ Academy of Music, Organ Hall double-enclosed Swell is at fl oor level 8′ Flügel Horn 61 pipes International organ conference speaking up through a tone chute into * Double enclosed the Swell division, which is on the sec- PEDAL 19.00 – Organ concert by Jeremy Josef (Austria) ond level along with the Great division. 32′ Resultant Pedal stops, many mounted horizontally, 16′ Open Wood 12 pipes 27. March are on the third level. 16′ Bourdon 32 pipes The organ façade complements the 16′ Double Bass (Great) 10.00–18.00 – Russian Gnessins’ Academy of Music, Organ Hall subtle Victorian Gothic interior of the 16′ Lieblich Gedeckt (Swell) International organ conference church. David Boysel, a prominent San 8′ Principal 32 pipes 8′ Octave (Great) Francisco decorative artist, and Chuck ′ 19.00 – Organ concert by Prof. Alexander Fiseisky (Russia) Primich, Schoenstein’s design engineer, 8 ’Cello (Great) 8′ Claribel Flute (Swell) created the façade with the objective of 4′ Fifteenth 12 pipes 28. March appearing as though it had been placed 4′ Flute (Great) 5.00 – Russian Gnessins’ Academy of Music, Main Hall there by the original architect. The or- 16′ Bass Tuba (Swell) 1 gan was dedicated to the memory of 8′ Tuba (Swell) Organ concert by students of the Academy Charlotte Kohler on Friday, January 11, 4′ Flügel Horn (Swell) Direction: Alexander Fiseisky 2002, featuring Dr. R. Benjamin Dobey 19.00 – State M. Glinka Museum of Music Culture Organ concert by Dmitry Bondarenko (Austria) THE DIAPASON’s website is a benefi t of your subscription! 29. March It offers . . . 16.00 – State M. Glinka Museum of Music Culture Harpsichord and Organ concert by Tatyana Zenaishvili (Russia) • Up-to-date news and calendar items (including those too late to publish in 19.30 – Catholic Cathedral print) Violin and Organ concert by Elena Denisova (Austria) • Classifi ed ads, with photos (ads on our website appear even earlier than in and Jens Christensen (Denmark) print) • Feature articles, with links to related articles and websites, and PDF fi les For information: [email protected] Check out what’s new on Tel. & Fax: 007-495-2901906
30 THE DIAPASON
Jan 09 pp. 28-30.indd 30 12/10/08 12:42:11 PM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH David Jonies; St. Mary of the Lake Catholic Pickle Piano & Church Organs This calendar runs from the 15th of the month of Church, Gary, IN 3 pm NEW YORK issue through the following month. The deadline is Stephen Schaeffer; Cathedral Church of the Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. Advent, Birmingham, AL 4 pm issue). All events are assumed to be organ recitals Choral Evensong; St. Chrysostom’s Church, unless otherwise indicated and are grouped within Chicago, IL 5:15 pm each date north-south and east-west. •=AGO chap- William Neil; Rockefeller Memorial Chapel, Christopher Babcock ter event, • •=RCCO centre event, +=new organ University of Chicago, Chicago, IL 5 pm WILLIAM AYLESWORTH dedication, ++= OHS event. Ken Cowan; Second Presbyterian, Blooming- St. Andrew’s by the Sea, Information cannot be accepted unless it speci- ton, IL 3 pm D. M. fi es artist name, date, location, and hour in writ- Hyannis Port ing. Multiple listings should be in chronological order; 26 JANUARY EVANSTON, ILLINOIS please do not send duplicate listings. THE DIAPA- Joe Utterback; Duquesne University, Pitts- St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for burgh, PA 3 pm the accuracy of calendar entries. •Joe Utterback; St. Andrew’s Episcopal, Pitts- burgh, PA 7:30 pm Aaron David Miller; Lutheran Church of the Redeemer, Atlanta, GA 7:30 pm UNITED STATES David Pickering; Elliott Chapel, Presbyterian East of the Mississippi Homes, Evanston, IL 1:30 pm Frank Rippl; The History Museum, Appleton, WI 6:30 pm 16 JANUARY Thomas Murray; St. Paul’s School, Concord, 28 JANUARY NH 7:30 pm Michael Hey; Cathedral of St. John the Evan- Stuart Forster; Trinity Church, Boston, MA gelist, Milwaukee, WI 12:15 pm 12:15 pm Paul Jacobs; St. Petersburg College, St. Pe- AREN EAUMONT 30 JANUARY K B tersburg, FL 7:30 pm Woo-sug Kang; Trinity Church, Boston, MA RGAN ECITALIST Bradley Hunter Welch; First Congregational, O R 12:15 pm Sarasota, FL 7:30 pm Jonathan Moyer; Emmanuel Church, Ches- www.geocities.com/karen.beaumont/ Christopher Urban, with soloists; First Pres- tertown, MD 7:30 pm organist.html byterian, Arlington Heights, IL 4 pm John Scott; Abingdon Episcopal, White [email protected] Marsh, VA 7:30 pm 17 JANUARY Aaron David Miller; Lutheran Church of the Yale Schola Cantorum; St. Mary’s Church, Redeemer, Atlanta, GA 7:30 pm New Haven, CT 8 pm Paul Weber; St. Norbert Abbey, DePere, WI 31 JANUARY 2 pm Handbell workshop; Concordia University Wis- Dean W. Billmeyer THOMAS BROWN consin, Mequon, WI 9 am UNIVERSITY 18 JANUARY University of Minnesota PRESBYTERIAN CHURCH Joan Lippincott; St. Joseph Memorial Cha- 1 FEBRUARY pel, College of the Holy Cross, Worcester, MA Choral Evensong for Candlemas; Cathedral of Minneapolis 55455 • [email protected] CHAPEL HILL, NORTH CAROLINA 3 pm the Incarnation, Garden City, NY 4 pm Brink Bush; Church of the Advent, Boston, Ernest Lehrer; St. Patrick’s Cathedral, New MA 4:30 pm, Evensong 5 pm York, NY 4:45 pm Christopher Houlihan; Church of St. Mary Jeffrey Brillhart; St. Thomas Church Fifth Av- the Virgin, New York, NY 4:40 pm enue, New York, NY 5:15 pm Donald Fellows; St. Thomas Church Fifth Av- Felix Hell, works of Mendelssohn; Church of David Chalmers DELBERT DISSELHORST enue, New York, NY 5:15 pm the Transfi guration, New York, NY 7:30 pm, also Concert Organist Singers of St. Petersburg; Holy Trinity Luther- 2/2 and 2/3 LORIÆ EI ANTORES Professor Emeritus an, Lancaster, PA 4 pm Choral Evensong; St. Peter’s Church, Morris- G D C Daniel Sullivan; St. Paul’s by-the-Sea Episco- town, NJ 4:30 pm Orleans, MA University of Iowa–Iowa City pal, Jacksonville Beach, FL 3:30 pm David Hurd; St. Andrew’s Episcopal, Rocky Nicholas Bowden; Our Lady of Hope Catholic Mount, NC 2 pm Church, Port Orange, FL 3:30 pm St. Lucie Chorale; Episcopal Church of •Bradley Hunter Welch; Christ Church, Bra- Bethesda-by-the-Sea, Palm Beach, FL 3:30 pm, denton, FL 4 pm Evensong 4 pm STEVEN EGLER OHN ENSTERMAKER Michael Unger; First Baptist Church of Great- Mark Jones, with piano; First Presbyterian, Central Michigan University J F er Cleveland, Shaker Heights, OH 3 pm Pompano Beach, FL 4 pm First Presbyterian Church RINITY BY THE OVE Choral concert; St. Mary’s Church of the An- Thiemo Janssen; Reyes Organ and Choral Hall, Mt. Pleasant, Michigan 48858 T - - -C nunciation, New Albany, IN 3 pm University of Notre Dame, South Bend, IN 4 pm SOLO Shelly-Egler Newberry Consort; Ruggles Hall, The New- John Behnke; Concordia University Wiscon- NAPLES, FLORIDA berry Library, Chicago, IL 3 pm sin, Mequon, WI 3:30 pm RECITALS Flute and Organ Duo
21 JANUARY 2 FEBRUARY Charles Miller; St. Luke Catholic Church, The Rose Ensemble; Harkness Chapel, Case Organist / Pianist McLean, VA 1 pm Western Reserve University, Cleveland, OH CHRISTOPHER 7:30 pm 22 JANUARY Michael Gailit Ken Cowan; Chapel of St. John the Divine, 3 FEBRUARY www.gailit.at GARVEN Champaign, IL 7:30 pm William Gudger; St. Luke’s Chapel, Medical offi [email protected] Organist & Music Director University of South Carolina, Charleston, SC Konservatorium Wien University Church of the Good Samaritan 23 JANUARY 12:15 pm University of Music, Vienna Paoli, Pennsylvania Peter Stoltzfus Berton; Trinity Church, Bos- Frederick Hohman; North Greenville Univer- ton, MA 12:15 pm sity, Tigerville, SC 7:30 pm Tom Trenney; Monroe Street United Method- Steven Egler, with violin; Staples Hall, Central ist, Toledo, OH 7:30 pm Michigan University, Mt. Pleasant, MI 3 pm John M. Gearhart III S. Wayne Foster; St. James Episcopal, Robert Glasgow Fairhope, AL 7:30 pm 5 FEBRUARY B.A., M.Mus. Ockeghem Masses and motets; St. Luke in the St. John the Divine (Episcopal) In Memoriam 24 JANUARY Fields, New York, NY 8 pm 2450 River Oaks Blvd. Joe Utterback; Fox Chapel Presbyterian, Houston, TX 77019 May 30, 1925–Sept. 10, 2008 Pittsburgh, PA 7:30 pm 6 FEBRUARY Craig Cramer; St. Patrick Catholic Parish, Richard Webster; Trinity Church, Boston, MA Ada, MI 7:30 pm 12:15 pm Choral concert; Church of the Advent; Boston, A Professional Card in 25 JANUARY MA 8 pm King’s Chapel Choir & soloists; King’s Chapel, Dong-ill Shin; Trinity College, Hartford, CT The Diapason JAMES HAMMANN Boston, MA 5 pm 7:30 pm DMA-AAGO Cherry Rhodes For rates and digital specifi cations, Choral Evensong; All Saints Church, Worces- ; First Presbyterian, Birming- ham, MI 7:30 pm contact Jerome Butera ter, MA 5 pm University of New Orleans Pomerium; Rockefeller Memorial Chapel, Uni- 847/391-1045 Super Bell XVII handbell concert; First Church versity of Chicago, Chicago, IL 7:30 pm [email protected] Chapel of the Holy Comforter of Christ, Wethersfi eld, CT 4 pm John Scott; St. Thomas Church Fifth Avenue, 8 FEBRUARY New York, NY 5:15 pm Rob Richards, family concert; Merrill Audito- Brian Harlow & Christopher Jennings; St. rium, Portland, ME 2 pm LORRAINE BRUGH, Ph.D. Peter’s Church, Morristown, NJ 4:30 pm Scott Lamlein; First Church of Nashua, Nash- A two-inch Choral concert; Christ Church, New Bruns- ua, NH 3 pm wick, NJ 6:30 pm, following 6 pm Vespers CONCORA; South Church, New Britain, CT Associate Professor Professional Card Joe Utterback; Beulah Presbyterian, Pitts- 4 pm University Organist burgh, PA 10:30 am Stephen Tharp; First Unitarian-Universalist Christopher Jacobson; Washington National in The Diapason Church, Shelter Rock, New York, NY 1 pm Valparaiso University Cathedral, Washington, DC 5 pm Stephen Tharp; St. Thomas Church Fifth Av- David Arcus; Duke University Chapel, Dur- enue, New York, NY 5:15 pm Valparaiso, IN For information on rates and ham, NC 5 pm Pat Maimone; Christ Church, New Brunswick, www.valpo.edu specifi cations, contact: David Higgs; Peachtree Road United Method- NJ 6:30 pm ist, Atlanta, GA 7:30 pm Joe Utterback, with trumpet; Duquesne Uni- Jerome Butera The Chenaults; Hyde Park Community United versity, Pittsburgh, PA 3 pm 219-464-5084 [email protected] Methodist, Cincinnati, OH 4 pm J. Christopher Pardini, works of Mendels- [email protected] Motor City Brass; St. Lorenz Lutheran, Fran- sohn; Shadyside Presbyterian, Pittsburgh, PA 847/391-1045 kenmuth, MI 4 pm 4 pm
JANUARY, 2009 31
Jan 09 pp. 31-35.indd 31 12/10/08 12:42:48 PM Ken Cowan; Bryn Mawr Presbyterian, Bryn 22 FEBRUARY Mawr, PA 4 pm Heinrich Christensen, with violin; King’s Cha- WILL HEADLEE Harry H. Huber Scott Atchison & Nicole Marane, with brass; pel, Boston, MA 5 pm D. Mus. Peachtree Road United Methodist, Atlanta, GA Donald Meineke; Church of the Advent, Bos- 1650 James Street 5 pm ton, MA 4:30 pm, Evensong follows at 5 pm Kansas Wesleyan University, Emeritus Quire Cleveland; Christ Church Episcopal, Kent Tritle; Church of St. Ignatius Loyola, Syracuse, NY 13203-2816 University Methodist Church Hudson, OH 4:15 pm, 5 pm Choral Evensong New York, NY 4 pm (315) 471-8451 Tom Trenney & Doris Hall, hymn festival; Frederick Teardo; St. Thomas Church Fifth SALINA, KANSAS First Presbyterian, Birmingham, MI 4 pm Avenue, New York, NY 5:15 pm Brian Harlow, with cello and piano; St. Peter’s 10 FEBRUARY Church, Morristown, NJ 3 pm MICHELE JOHNS Stephen Fraser; Church of the Holy Trinity, Singing Boys of Pennsylvania; White Horse Brian Jones New York, NY 8 pm Village, Newton Square, PA 3 pm A.Mus.D Lee Kohlenberg, with alto; St. Luke’s Chapel, Scott Dettra; Washington National Cathedral, Director of Music Emeritus Medical University of South Carolina, Charles- Washington, DC 5 pm Organ — Harpsichord Mozart, Missa brevis in C; Christ Church, Bra- ton, SC 12:15 pm The University of Michigan TRINITY CHURCH denton, FL 11 am Peter Richard Conte; Episcopal Church of School of Music BOSTON 11 FEBRUARY Bethesda-by-the-Sea, Palm Beach, FL 4 pm Renée Anne Louprette; Church of St. Igna- Paul Jacobs; Prince of Peace Lutheran, Lar- tius Loyola, New York, NY 7 pm go, FL 3 pm Choral concert; Church of St. Ignatius Loyola, Frederick Swann; Forrest Burdette Memorial New York, NY 8 pm United Methodist, Hurricane, WV 3 pm KIM R. KASLING JAMES KIBBIE Atlanta Baroque Orchestra; Peachtree Road D.M.A. The University of Michigan 13 FEBRUARY United Methodist, Atlanta, GA 3 pm Ann Arbor, MI 48109-2085 Karen Christianson; Trinity Church, Boston, Choral concert; St. Mark’s United Church of St. John’s Univeristy MA 12:15 pm Christ, New Albany, IN 3 pm 734-764-1591 FAX: 734-763-5097 Gerre Hancock Collegeville, MN 56321 Donald Fellows; St. Paul R.C. Cathedral, , conducting; Christ Church email: [email protected] Pittsburgh, PA 7:30 pm Cathedral, Lexington, KY 11 am and 5 pm Christopher Young; Edenton Street United David Jonies; Bethany Lutheran, Crystal Methodist, Raleigh, NC 7:30 pm Lake, IL 4 pm Bradley Hunter Welch; Christ Church Cran- Timothy Olsen; Kenilworth Union Church, David K. Lamb, D.Mus. brook, Bloomfi eld Hills, MI 7:30 pm Kenilworth, IL 5 pm Richard Litterst •Robert McDonald; Broadmoor United Meth- Director of Music/Organist 14 FEBRUARY odist, Shreveport, LA 6 pm First United Methodist Church Christopher Young, masterclass; Edenton First Church of Christ, Scientist Street United Methodist, Raleigh, NC 10 am 23 FEBRUARY Columbus, Indiana Jeannine Jordan, with media artist; Cadet Cha- 812/372-2851 Rockford, Illinois Mozart, Mass in c; Rockefeller Memorial Cha- pel, University of Chicago, Chicago, IL 8 pm pel, Coast Guard Academy, New London, CT 8 pm Timothy Olsen; Elliott Chapel, Presbyterian Homes, Evanston, IL 1:30 pm 15 FEBRUARY Mark Steinbach; College of the Holy Cross, 24 FEBRUARY BETTY LOUISE LUMBY Worcester, MA 3 pm David Lowry Lee Kohlenberg; St. Luke’s Chapel, Medi- Spirituals concert; First Church of Christ, THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD cal University of South Carolina, Charleston, SC DSM • FAGO Wethersfi eld, CT 4 pm 12:15 pm 1512 BLANDING STREET, COLUMBIA, SC 29201 Stephen Fraser; St. Patrick’s Cathedral, New DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO York, NY 4:45 pm Birger Marmvik; St. Thomas Church Fifth Av- 25 FEBRUARY ROCK HILL, SC 29733 MONTEVALLO, AL 35115 David Simms enue, New York, NY 5:15 pm ; North Christian Church, Co- lumbus, IN 12 noon Peter Brown, with Keystone Brass Quintet; Holy Trinity Lutheran, Lancaster, PA 4 pm Charles Huddleston Heaton; St. Bernard’s 27 FEBRUARY Catholic Church, Mt. Lebanon PA 5 pm Michael Smith; Trinity Church, Boston, MA David Pickering; St. James Church, Hender- 12:15 pm James R. Metzler sonville, NC 5 pm St. Thomas Choir of Men and Boys; St. Mary’s Jeannine Jordan, with media artist; First Unit- Episcopal, Tuxedo Park, NY 7 pm PARK CONGREGATIONAL CHURCH ed Methodist, Ocala, FL 3 pm Jean-Baptiste Robin; Christ United Method- ist, Greensboro, NC 7:30 pm GRAND RAPIDS, MICHIGAN Carol Williams; Rollins College, Winter Park, FL 3 pm Frederick Swann; Venice Presbyterian, Ven- Bradley Hunter Welch; Central College Pres- ice, FL 8 pm David Lamb; First United Methodist, Sellers- byterian, Westerville, OH 4 pm burg, IN 12 noon Choral concert, with orchestra; St. Peter in Aaron David Miller; First Congregational, Chains Cathedral, Cincinnati, OH 3 pm Crystal Lake, IL 7:30 pm William H. Murray Georgia State Chorus and Orchestra; Peachtree The Callipygian Players; St. Chrysostom’s A.S.C.A.P. Road United Methodist, Atlanta, GA 3 pm Church, Chicago, IL 7:30 pm FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. William Aylesworth, John Bryant, Christine Kraemer, Merlin Lehman, Kirstin Synnest- 345 SADDLE LAKE DRIVE vedt, & Christopher Urban; First Presbyterian, 28 FEBRUARY ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas Felix Hell; Church of the Abiding Presence, (770) 594-0949 Arlington Heights, IL 4 pm VocalEssence; Ordway Center for the Per- Gettysburg, PA 4 pm Ann Elise Smoot; Spivey Hall, Clayton State forming Arts, St. Paul, MN 4 pm University, Morrow, GA 3 pm MARILYN MASON Thomas Weisfl og, with chorus and soloists; CHAIRMAN, DEPARTMENT OF ORGAN 16 FEBRUARY Rockefeller Chapel, University of Chicago, Chi- Thomas Murray, lecture-presentation; cago, IL 8 pm UNIVERSITY OF MICHIGAN Church of the Holy Family, New York, NY 10:30 ANN ARBOR am and 2 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Alan Morrison, masterclass; Church of the UNITED STATES with awesome technique and a thrilling command of its daring writing.” Holy Family, New York, NY 4 pm West of the Mississippi The American Organist, 1980 Carol Williams; First Baptist, Fort Lauderdale, FL 8 pm 16 JANUARY David Hurd; St. Paul’s Episcopal, San Anto- 17 FEBRUARY nio, TX 7:30 pm Julia Harlow, Jordan Alexander, Jack Cleg- Erica Johnson; St. Mark’s Cathedral, Seattle, A two-inch LARRY PALMER horn, & Sam Sfi rri, harpsichord; St. Luke’s WA 7:30 pm Chapel, Medical University of South Carolina, Gabriel Arregui; First Church of Christ, Scien- Professional Card Professor of Charleston, SC 12:15 pm tist, La Mesa, CA 7:30 pm Harold Pysher, with orchestra; Episcopal Frederick Swann; Central Union Church, Ho- in The Diapason Harpsichord and Organ Church of Bethesda-by-the-Sea, Palm Beach, nolulu, HI 7 pm FL 7 pm 18 JANUARY For information on rates and Meadows School of the Arts John Scott; Emory University, Atlanta, GA 8 pm Janelle Maes; Mount St. Scholastica Chapel, specifi cations, contact: Atchison, KS 2 pm SOUTHERN METHODIST UNIVERSITY Jerome Butera 18 FEBRUARY Anthony & Beard (Ryan Anthony, trumpet Gail Archer; St. Paul’s Chapel, Columbia Uni- and Gary Beard, organ); Marvin United Method- Dallas, Texas 75275 ist, Tyler, TX 4 pm [email protected] versity, New York, NY 7:30 pm Aaron David Miller; Trinity Lutheran, Lynn- 847/391-1045 John Laird; St. Luke Catholic Church, wood, WA 7 pm Musical Heritage Society recordings McLean, VA 1 pm Ken Cowan & Lisa Shihoten, organ and vio- lin duo; Sunnyside Seventh-day Adventist, Port- 20 FEBRUARY land, OR 7:30 pm Douglas Bruce; Trinity Church, Boston, MA Carol Williams; Grace Cathedral, San Fran- 12:15 pm cisco, CA 4 pm Arthur LaMirande Scott Dettra; Church of the Advent, Boston, James Vail; St. Alban’s Episcopal, Westwood, MA 7:30 pm LaMirande must be complimented upon investi- CA 4 pm Peter Sykes & Victoria Wagner, Holst‚ The gating music that few of his fellow organists have Frederick Swann, choral festival; Central Planets; Holy Trinity Lutheran, Akron, OH 8 pm had the foresight to examine and to bring before the Union Church, Honolulu, HI 7 pm public.—American Record Guide Jeannine Jordan, with media artist; St. John’s Lutheran, Lincolnwood, IL 8 pm L’organiste traversa son programme entier avec 19 JANUARY une authorité, une solidité technique et une fraîcheur Tom Trenney, recital and masterclass; St. 21 FEBRUARY Andrew’s Episcopal, Kansas City, MO 7 pm de registration qui, loin de faiblir en fi n d’exercice, The King’s Singers; Cathedral Church of the accompagnèrent les deux rappels d’ailleurs accordé Advent, Birmingham, AL 7:30 pm sans la moindre hésitation.—La Presse, Montréal 23 JANUARY Tom Trenney, silent fi lm accompaniment; Hi- Paul Jacobs; Texas Christian University, Fort ram College, Hiram, OH 3 pm Worth, TX 7:30 pm 461 Fort Washington Avenue, Suite 33 Gerre Hancock, roundtable discussions; New York, NY 10033 Christ Church Cathedral, Lexington, KY 2 pm 24 JANUARY 212/928-1050 [email protected] Newberry Consort Singers; Rockefeller Cha- Jesse Eschbach; Bates Recital Hall, Univer- pel, University of Chicago, Chicago, IL 8 pm sity of Texas, Austin, TX 4 pm
32 THE DIAPASON
Jan 09 pp. 31-35.indd 32 12/10/08 12:43:08 PM •Iain Quinn & Maxine Thevenot, workshop Handel organ concertos; Unitarian Society of for children; Cathedral Church of St. John, Albu- Santa Barbara, Santa Barbara, CA 3 pm querque, NM 10 am David Cherwien, hymn festival; Trinity Luther- DOUGLAS O’NEILL an, Manhattan Beach, CA 4 pm LEON NELSON 25 JANUARY Choral Evensong; St. James Episcopal, Los University Organist Cathedral of the Madeleine Todd Wilson; Central Presbyterian, St. Louis, Angeles, CA 4:30 pm North Park University Salt Lake City, Utah MO 7 pm Choral Evensong; All Saints, Pasadena, CA Chicago, Illinois [email protected] Dong-ill Shin; First Congregational, Los An- 5 pm 801/323-9850 geles, CA 4 pm Paul Jacobs; St. James’ Episcopal, Los An- Eric Mellenbruch; Bates Recital Hall, Univer- geles, CA 6 pm sity of Texas, Austin, TX 4 pm Thiemo Janssen; Christ the King Lutheran, 10 FEBRUARY Stephen G. Schaeffer Houston, TX 6 pm George Baker; University Christian Church, DOUGLAS REED Bradley Hunter Welch; Episcopal Church of Fort Worth, TX 3 pm Recitals – Consultations the Holy Spirit, Waco, TX 6:30 pm Joseph Adam, Bach, Trio Sonatas; Kilworth 13 FEBRUARY UNIVERSITY OF EVANSVILLE Cathedral Church of the Advent Chapel, University of Puget Sound, Tacoma, WA Chad Winterfeldt, Messiaen, La Nativité du Birmingham, Alabama 2 pm Seigneur; Christ Chapel, Gustavus Adolphus EVANSVILLE, INDIANA Ian Pritchard, harpsichord, with soprano, vio- College, St. Peter, MN 7:30 pm www.AdventBirmingham.org lin, and cello; All Saints’, Beverly Hills, CA 5 pm John Scott; Westminster Presbyterian, Lin- Elizabeth Lenti; All Saints Episcopal, Pasa- coln, NE 7 pm dena, CA 5 pm Hans Hielscher; First Church of Christ, Scien- tist, La Mesa, CA 7:30 pm ROBERT L. Stephen Tappe 28 JANUARY Organist and Director of Music Lynne Davis; Wiedemann Hall, Wichita State 14 FEBRUARY SIMPSON Saint John's Cathedral University, Wichita, KS 5:30 pm Chorister Workshop; Christ Episcopal, Tyler, TX 10 am Christ Church Cathedral Denver, Colorado 31 JANUARY The American Boychoir; Marvin United Meth- 1117 Texas Avenue www.sjcathedral.org Tom Trenney, silent fi lm accompaniment; odist, Tyler, TX 7 pm Houston, Texas 77002 Royce Hall, UCLA, Los Angeles, CA 2 pm Robert MacDonald, silent fi lm accompani- 15 FEBRUARY ment; University of Redlands, Redlands, CA Ken Cowan; First Christian Church, Jefferson 7:30 pm City, MO 4 pm Marcia Van Oyen Andrew Peters; Second Presbyterian, St. Joe Utterback 1 FEBRUARY Louis, MO 4 pm First United Methodist Church, Bach Vespers; Christ the King Lutheran, Hous- COMMISSIONS & CONCERTS Bradley Hunter Welch; Texas A&M Interna- Plymouth, Michigan tional University, Laredo, TX 4 pm ton, TX 6 pm 732 . 747 . 5227 Martin Jean; Arizona State University, Tempe, Gerre Hancock; St. Mark’s Episcopal, San mvanoyen.com AZ 2:30 pm Antonio, TX 4 pm Yohei Endo, with harp and fl ute; St. Mark’s The American Boychoir; Highland Park Pres- Cathedral, Seattle, WA 2:30 pm byterian, Dallas, TX 7 pm Christoph Tietze; St. Mary’s Cathedral, San Tom Trenney; First Presbyterian, Las Cruces, Francisco, CA 3:30 pm NM 3 pm David Wagner Epiphany concert; Trinity Episcopal, Santa John Scott; Cathedral Church of St. John, Al- DMA Kevin Walters Barbara, CA 3:30 pm buquerque, NM 3 pm Madonna University Kevin Bowyer; Walt Disney Concert Hall, Los George Baker; Trinity Cathedral, Portland, M.A., F.A.G.O. Angeles, CA 7:30 pm OR 5 pm Livonia, Michigan Christoph Tietze; St. Mary’s Cathedral, San [email protected] Rye, New York 2 FEBRUARY Francisco, CA 3:30 pm Joseph Adam; Benaroya Hall, Seattle, WA Douglas Cleveland; Grace Cathedral, San 12:30 pm Francisco, CA 4 pm Frederick Swann, with choirs and orchestra; 3 FEBRUARY Cathedral of Our Lady of the Angels, Los Ange- Colin Andrews & Janette Fishell; Wiede- les, CA 7 pm KARL WATSON Cherie Wescott mann Hall, Wichita State University, Wichita, KS Concerts • Masterclasses • Coaching 7:30 pm 16 FEBRUARY SAINT LUKE’S The American Boychoir; St. Dunstan’s Episco- 405/942-3958 6 FEBRUARY pal, Houston, TX 7:30 pm METUCHEN e-mail: [email protected] Joseph Adam; Kilworth Chapel, University of Robert Bates; All Souls’ Episcopal, San Di- Puget Sound, Tacoma, WA 12:05 pm ego, CA 7:30 pm Choral Evensong; All Saints’, Beverly Hills, CA 7:30 pm 17 FEBRUARY The American Boychoir; First United Method- Davis Wortman 7 FEBRUARY ist, Beaumont, TX 7 pm RONALD WYATT Gerre Hancock; University Presbyterian, Aus- tin, TX 8 pm 18 FEBRUARY St. James’ Church Trinity Church Fauré, Requiem; Cathedral Church of St. Marijim Thoene; Cathedral of Our Lady of the John, Albuquerque, NM 6 pm Angels, Los Angeles, CA 12 noon New York Galveston
8 FEBRUARY 20 FEBRUARY The New York Piano-Organ Duo (Jason Cut- Janette Fishell; Bales Organ Recital Hall, more, piano and Daniel Sullivan, organ); First University of Kansas, Lawrence, KS 7:30 pm Charles Dodsley Walker, FAGO Presbyterian, Davenport, IA 4 pm The American Boychoir with Cathedral Youth Thomas Joyce; Grace Lutheran, Tacoma, Chorale and Choristers; Corpus Christi Cathe- Artist-in-Residence Founder/Conductor WA 3 pm dral, Corpus Christi, TX 7:30 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico A radio program for the king of instruments www.stjohnsabq.org PHILIP CROZIER 505-247-1581 ORGAN DUO J #0901 - Going On Record…begin a New Year with a multi- 3355 Queen Mary Road, Apt 424 A national survey of sonically beguiling recent organ recordings. Montreal, H3V 1A5, P. Quebec N Canada U #0902 - At Large in Austria…a prelude to the upcoming spring (514) 739-8696 Pipedreams Organ Tour in the land of Mozart, Haydn, A Fax: (514) 739-4752 Iain Quinn Maxine Thevenot Beethoven, Brahms and Bruckner. Director of Cathedral Associate Organist- R [email protected] Music & Organist Choir Director #0903 - Pipedreams Live! in Collegedale, Tennessee… Y instrument, artist, and audience participate in music improvised, played and sung. DAVID SPICER 2 #0904 - Mendelssohn the Musician…we celebrate composer, First Church of Christ 0 recitalist, promoter, and creator of the most important organ Wethersfi eld, Connecticut Carol Williams 0 works after Bach, on the occasion of his bicentennial: 9 Felix Mendelssohn (1809-1847). San Diego Civic Organist
From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford
JANUARY, 2009 33
Jan 09 pp. 31-35.indd 33 12/10/08 12:43:30 PM Daniel Sullivan; First United Methodist, 17 JANUARY Léon Charles; Westminster Abbey, London, Casper, WY 7:30 pm +Felix Hell; Christuskirche, Lüdenscheid/ UK 5:45 pm Martin Jean; St. Mark’s Cathedral, Seattle, North-Rhine Westfalia, Germany 7:30 pm Organ Recitals WA 7:30 pm Graham Davies; All Saints’, High Wycombe, 11 FEBRUARY UK 12 noon Mark Williams; St. Marylebone Parish Church, 21 FEBRUARY Robert Quinney; Westminster Abbey, Lon- London, UK 7 pm MAHLON E. BALDERSTON, DAVID A. Janette Fishell, lecture and masterclass; don, UK 5:45 pm GELL, CARL SWANSON, & JAN SWAN- Bales Organ Recital Hall, University of Kansas, 12 FEBRUARY SON, Trinity Episcopal Church, Santa Bar- Lawrence, KS 9:30 and 11 am 18 JANUARY Tim Harper; St. Matthew’s Westminster, Lon- bara, CA, October 19: Arrival of the Queen Robert Housart; Westminster Cathedral, Lon- don, UK 1:05 pm of Sheba, Handel; Grave (Aria), W. F. Bach; don, UK 4:45 pm 22 FEBRUARY Little Prelude and Fugue in a, BWV 559, Robert Quinney; Westminster Abbey, Lon- Ken Cowan 14 FEBRUARY Bach; Partita on Jesu meine Freude, Walther; ; Boston Avenue United Method- don, UK 5:45 pm ist, Tulsa, OK 6 pm David Pipe; St. Laurence Catford, London, Prelude and Fugue in g, BuxWV 149, Bux- UK 11 am tehude; Schmücke dich, O liebe Seele, BWV Bradley Hunter Welch; First United Method- 22 JANUARY ist, Richardson, TX 6:30 pm Ben van Oosten; St. Peter’s Church, St. Al- 654, Bach; Partita on Werde Munter, Pachel- Peter Wright; St. Mary-at-Hill, London, UK bans, UK 5:30 pm bel; Vater unser im Himmelreich, Krebs; Toc- The American Boychoir with Joyful Praise; 1:05 pm First Presbyterian, Austin, TX 4 pm cata on Amazing Grace, Pardini. 15 FEBRUARY Chanson; St. Michael’s Cathedral, Boise, ID 24 JANUARY David Aprahamian; Westminster Cathedral, 4 pm MARILYN PERKINS BIERY, First Pres- Susan Landale; St. Peter’s Church, St. Al- London, UK 4:45 pm Ann Elise Smoot; First Baptist, Abilene, TX byterian Church, Macomb, IL, September 26: bans, UK 5:30 pm Arnfi nn Tobiassen; Westminster Abbey, Lon- 4 pm Three Chorale Preludes, Thomas; Passacaglia don, UK 5:45 pm and Fugue in c, BWV 582, Bach; Be still, and Hans-Uwe Hielscher; St. Mary’s Cathedral, 25 JANUARY Stephen Disley; Westminster Cathedral, Lon- know that I am God (Meditations on the Love San Francisco, CA 3:30 pm 17 FEBRUARY of God), Fantasy on King’s Weston, M. Biery; don, UK 4:45 pm Christian Wilson; St. Lawrence Jewry, Lon- Philip Berg; Westminster Abbey, London, UK Miriam’s Dance, Martinson; Elegy, J. Biery; 23 FEBRUARY don, UK 1 pm 5:45 pm Rosace, In Paradisum (Esquisses Byzantines), The American Boychoir with Strickland Spe- Carillon-Sortie, Mulet. cial Choir; Strickland Christian School, Austin, 19 FEBRUARY 27 JANUARY TX 10 am José Suarez, with soprano and baroque The American Boychoir with Choristers from Tom Bell; St. Lawrence Jewry, London, UK 1 pm JOHN COLLINS, St. Mary de Haura, trumpet; Oaxaca Cathedral, Oaxaca, Mexico Shoreham, UK, August 19: Preambulum com St. Anthony’s; St. Anthony of Padua Roman 8:30 pm fuga Sexti Toni, Königsperger; Voluntary 10 Catholic Church, The Woodlands, TX 7:30 pm 30 JANUARY Michael Nicholas; St. Stephen, Walbrook, UK in G, Blow; Voluntary 5 in D, Voluntary 6 in 12:30 pm 20 FEBRUARY A, Travers; Obra de 5 Tono punto Alto, Gallès; 25 FEBRUARY Jonathan Oldengarm; Holy Rosary Cathe- Sonata in B-fl at, Spergher; Voluntary 4 in F, The American Boychoir; First United Method- 1 FEBRUARY dral, Vancouver, BC, Canada 8 pm Adams; Sonata in C, Baguer. ist, Midland, TX 7 pm Alexander Woodrow; Westminster Abbey, Choral concert; All Saints’, Beverly Hills, CA London, UK 5:45 pm 21 FEBRUARY 7:30 pm Tony Philpot; All Saints Parish Church, High PHILIP CROZIER, Lynaes Kirke, Hund- estad, Denmark, July 20: A Trumpet Minuet, 3 FEBRUARY Wycombe, UK 12 noon 26 FEBRUARY Jonathan Oldengarm, workshop; Holy Ro- Hollins; Voluntary in A, Stanley; Prelude and Anne Page; St. Giles-in-the-Fields, London, Fugue in E, Lübeck; Sonata No. 6, op. 65, The American Boychoir with El Paso Choral UK 1:10 pm sary Cathedral, Vancouver, BC, Canada 9 am Society Young Ladies Choir; Trinity-First United Mendelssohn; Trio Sonata No. 2 in c, BWV 526, Bach; Fantaisie, Bédard; Partite diverse Methodist, El Paso, TX 7 pm 4 FEBRUARY 22 FEBRUARY Benjamin Chewter; Westminster Abbey, Lon- sopra De Lofzang van Maria, op. 54, no. 6, Martin Setchell; Brisbane City Hall, Brisbane, Post. 27 FEBRUARY Australia 12:30 pm don, UK 5:45 pm Joseph Adam; Kilworth Chapel, University of Rachel Laurin; Westminster United Church, Aalborg Domkirke, Aalborg, Denmark, Puget Sound, Tacoma, WA 12:05 pm Winnipeg, MB, Canada 2:30 pm July 23: Partite diverse sopra De Lofzang 5 FEBRUARY van Maria, op. 54, no. 6, Post; Triosonate, c- Marcus Tors’n; St. Margaret Lothbury, Lon- Luigi Ferdinando Tagliavini; San Jerónimo, don, UK 1:10 pm Tlacochahuaya, Mexico 6 pm mol, BWV 526, Bach; Epigrammer, Kodály; INTERNATIONAL Praeludium og fuga, E-dur, Lübeck; Wie 6 FEBRUARY 27 FEBRUARY schön leuchtet der Morgenstern, op. 68, no. 7, Anthony Hill; Parish Church of SS. Peter and Thomas Trotter; Lawrence Park Community Peeters; Suite, Bédard. 15 JANUARY Paul, Godalming, UK 1 pm Church, Toronto, ON, Canada 8 pm Edward Kemp-Luck; St. Matthew’s Westmin- PHILIP CROZIER & SYLVIE POIRIER, ster, London, UK 1:05 pm 8 FEBRUARY 28 FEBRUARY Chalmers-Wesley United Church, Montreal, Takeshi Kondo; Suntory Hall, Tokyo, Japan Adrian Gunning; Westminster Cathedral, Thomas Trotter, masterclass; Lawrence Park QC, Canada, August 17: Duet for Organ, 12:15 pm London, UK 4:45 pm Community Church, Toronto, ON, Canada 10 am Wesley; A Fancy for Two to Play, Tomkins;
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34 THE DIAPASON
Jan 09 pp. 31-35.indd 34 12/10/08 12:43:46 PM Dance Suite for Organ Duet, Kloppers; Sin- Come, Holy Ghost, Lord God, Tunder; Kyrie, WILLIAM NESS, First Presbyterian FREDERICK SWANN, Music Institute fonietta, Bédard; Double Fantaisie, Langlais; God the Holy Ghost, BWV 671, Bach; Fughet- Church, Springfi eld, IL, October 10: Sonata of Chicago, Evanston, IL, September 28: Fi- Ach Gott, wie manches Herzeleid, op. 19, no. ta in D, Telemann; Sonata in a, H. 85, C.P.E. VI, op. 65, Mendelssohn; Symphonie pour nale (Symphonie, op. 13, no. 4), Widor; Sym- 3, Höpner; Sonata in d, op. 30, Merkel. Bach; Keyboard pieces, K. 1a–d, Andante in orgue no. 6, op. 42, no. 2, Widor; Präludium in phonischer Choral—Jesu, geh voran, Karg- F, K. 616, Mozart; Andante in G, S.S. Wesley; E-moll (Zwölf Stücke, op. 80), Reger; Phan- Elert; Fugue on B-A-C-H, no. 3, Schumann; ISABELLE DEMERS, St. Mary’s Cathe- Voluntary in d, op. 6, no. 1, Wesley. tasie und Fuge über den Choral: Ad nos, ad Präludien et Fuga in C, BWV 545, Bach; So- dral, San Francisco, CA, September 21: Ein salutarem undam, Liszt. nata, op. 65, no. 2, Mendelssohn; Fantaisie in feste Burg, op. 27, Freu dich sehr, o meine NAJI HAKIM, St. Thomas the Apostle A, Franck; Toccata, Erismann; Chant de paix, Seele, op. 30, Wie schön leuchtet der Morgen- Church, Ann Arbor, MI, October 5: Prelude BEDE JAMES McK. PARRY, Grace Langlais; Fantasia and Fugue in G, Parry. stern, op. 40, no. 1, Straf mich nicht in deinem and Fugue in e, BWV 548, Bach; Glenalmond Cathedral, San Francisco, CA, October 5: Zorn, op. 40, no. 2, Reger. Suite, Hakim; Prière, op. 20, Franck; Sortie: Supplication (Four Prayers in Tone), Purvis; J. RICHARD SZEREMANY, with Denise Le Vent de l’Esprit (Messe de la Pentecôte), Pavane (Rhythmic Suite), Elmore; Capriccio Sheffey-Powell, soprano, and Randall K. Bush, STEVEN EGLER, First Presbyterian Messiaen; Sakskøbing Præludier, Hakim; im- on the Notes of the Cuckoo (Three Pieces piano, East Liberty Presbyterian Church, Church, Kalamazoo, MI, October 12: A Fes- provisation on submitted themes. for Organ), Purvis; Arioso (Five Classical Pittsburgh, PA, September 27: The Stars and tive Intrada, Pelz; Three Jazz Organ Preludes, Airs for Organ), Bach, arr. Purvis; Trumpet Stripes Forever, The Washington Post, Sousa; Michel; Elegy, Thalben-Ball; In Mystery and STEPHEN HAMILTON, Second Presby- Tune & Air (Five Classical Airs for Organ), Andantino, Lemare; Clair de lune, Debussy; Wonder, Locklair; Variations on Engelberg, terian Church, Indianapolis, IN, October 10: Purcell, arr. Purvis; Lied to the Ocean (Lied Toccata in d, Bach; Phantom Music, The Mu- M. Albrecht; Sonata No. 1 in f-sharp, Near. Choral Variations on Veni Creator, Durufl é; Symphony, op. 66, no. 1), Peeters; Magnifi cat sic of the Night, Lloyd Webber; My Favorite Prelude, Fugue, and Variation, Franck; Cho- V (Vespers of the Common of the BVM), Du- Things, Over the Rainbow, Arlen; Some Day JEREMY FILSELL, Forrest Burdette ral, op. 37, no. 4, Jongen; Passacaglia, BWV pré; Partita on the Easter Chorale Christ ist My Prince Will Come, Churchill; Hello, Dol- ly!, Herman; Toccata (Organ Symphony V), Memorial United Methodist Church, Hur- 582, Bach; Joie et Clarté des Corps Glorieux erstanden, Purvis. ricane, WV, September 28: Litanies, Deux (Les Corps Glorieux), Messiaen; Choral No. 2 Widor; Warsaw Concerto, Addinsell. Danses à Agni Yavishta, Alain; Variations on in b, Franck; Final (First Symphony, op. 14), a theme of Corelli, op. 42, Etude-Tableau, Vierne. ANDREW SCANLON, Drury Universi- STEPHEN THARP, Lincoln Cathedral, op. 39, no. 10, Rachmaninov, transcr. Fil- ty, Springfield, MO, September 30: March Lincoln, UK, July 14: Invocations, op. 35, sell; Toccata, Grison; Sonata Eroica, op. 94, DAVID HATT, St. Mary’s Cathedral, San in F upon a Theme of Handel, Guilmant; Mathias; Messe de la Pentecôte, Messiaen; So- Jongen; The Sorcerer’s Apprentice, Dukas, Francisco, CA, September 14: Komm, süßer Adagio in E, Bridge; Allein Gott, in der nata No. 5 in c, op. 80, Guilmant. transcr. Filsell. Tod, O Traurigkeit, o Herzeleid, Introduction, Höh sei Ehr, BWV 663, Prelude and Fugue Passacaglia, and Fugue, op. 127, Reger. in b, BWV 544, Bach; Master Tallis’s Tes- MAXINE THEVENOT, L’Oratoire de St. THOMAS FOSTER, St. Mark’s Episco- tament, Howells; Joie et Clarté des Corps Joseph, Montreal, QC, Canada, August 6: pal Church, Berkeley, CA, October 12: Plein AUDREY JACOBSEN, Westwood United Glorieux (Les Corps Glorieux), Messiaen; Ballo del Granduca, Sweelinck; Praeludium Jeu, Tierce en taille, Basse de Trompette, Methodist Church, Los Angeles, CA, July 20: Arioso (Six Pieces for Organ), Jenkins; Toc- in e, Bruhns; Praeludium in D, BuxWV 139, Récit, Grand Jeu (Livre d’Orgue), DuMage; Improvisation sur le Te Deum, Tournemire; cata, Lanquetuit. Buxtehude; Sonata I, Mendelssohn; Sonata, Schmücke dich, O liebe Seele, BWV 654, Bach; Prélude, Fugue et Variation, op. 18, Franck; Krenek; Hommage à Messiaen, Robinson; Morning Star, Pinkham; Materna, Hampton; Som Lynet er Kristi genkomst, BVN 341, RUDY SHACKELFORD, organ and Continuum (Notre Dame), Quinn; Alleluyas, Galilee, Diemer; Nettleton, Phillips; Prelude Langgaard; Méditation, Durufl é; Festival Fan- piano, with Clair Hillard, narrator, Betha- Preston; At the Ballet, Hampton; Allegro vi- and Fugue in c, op. 37, no. 1, Mendelssohn. fare, Leighton; Partite sopra la Aria della Folia ny United Methodist Church, Gloucester vace (Symphonie I in d, op. 14), Final (Sym- da Espagna, Pasquini; Fanfares to the Tongues Point, VA, October 5: The Joy and Radiance phonie III in f#, op. 28), Vierne. MICHAEL GAILIT, St. Augustin Church, of Fire, King; Le Jardin Suspendu, Alain; Prae- of Glorifi ed Bodies (Les Corps Glorieux), Vienna, Austria, October 3; Abbey, St. Flo- ludium und Fuge über B-A-C-H, Liszt. Birdsongs (Livre d’Orgue), Messiaen; A D’ARCY TRINKWON, Alfold Church, West rian, Austria, October 5: Sonata in a, C. P. E. Hermit Thrush at Morn, Beach; St. Francis Sussex, UK, September 12: Prelude and Fugue Bach; Prelude and Fugue in a, Czerny; Sonata THOMAS MURRAY, Rockefeller Memo- of Assisi: The Sermon to the Birds (Deux Lé- in C, BWV 545, Fugue in g, BWV 578, Bach; No. 6 in e, Merkel; Prelude and Fugue in E- rial Chapel, University of Chicago, Chicago, gendes), Liszt; Lauda: Ogne Homo, Shack- Variations (Concerto No. 1), Handel; Sonata in fl at, Schmidt. IL, October 19: Toccata in F, BWV 540, Bach; elford; Choral No. 3 in a, Franck; La Poule, B-fl at, op. 65, no. 4, Mendelssohn; Canon in Sonata in G, op. 28, Elgar; Pièce Héroïque, Rameau; Sonata in g, K. 30, Scarlatti; Con- b, Schumann; Toccata in F, BWV 540, Bach; WILLIAM D. GUDGER, St. Helena’s Franck; Sonata I, op. 65, no. 1, Mendelssohn; cert Set for Organ, Binkerd, arr. Shackel- Fiat Lux, Dubois; Impromptu, Vierne; Scherzo, Church, Beaufort, SC, October 3: Come, Holy Adagio for Strings, Barber, transcr. Strickland; ford; Carnival of the Animals, Saint-Saëns, Gigout; Rhosymedre, Vaughan Williams; Sinfo- Ghost, Lord God, BuxWV 199, Buxtehude; Carillon-Sortie, Mulet. arr. Melnikova. nia from Cantata No. 29, Bach, arr. Dupré.
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PUBLICATIONS/ PUBLICATIONS/ MISCELLANEOUS PIPE ORGANS RECORDINGS RECORDINGS FOR SALE
Think you know the harpsichord? Touch Progressive Bach—by Michael G. Cunning- Tours of the World’s Largest Pipe Organ in 1964 M.P. Möller pipe organ. 36-rank Ameri- and performance practice through histori- ham. Keyboard versions that help pursue Atlantic City’s Boardwalk Hall are now avail- can Classic specification including two cé- cal examples. Harpsichord Technique: A the elusive genius in the Bach Chorales. able by reservation. The two-hour docent tours lestes, two enclosed divisions and 32′ reed. Guide to Expressivity, 2nd Ed. by Nancy Website: AuthorHouse.com. include the ballroom Kimball organ and the Three-manual console. No casework or fa- Metzger. www.rcip.com/musicadulce. 33,000+ pipe Midmer-Losh organ, with its 7- çades; instrument is in good condition but manual console and 5-manual portable console. will need releathering. Asking $50,000 “as Tourgoers will see the 64′ pedal stop, the im- is” or can be rebuilt with some modifications. New Year’s Resolution for 2009. Join our free ′ mense 32 Diapasons, and areas of the organs Available immediately. For more information, The OHS Catalog is online at www.ohscata- e-mail list and receive announcements of new not open to the casual visitor. Tours cost $20, contact Létourneau Pipe Organs at mail@ log.org. More than 5,000 organ and theatre restorations of great organ music. Check our which goes directly to support the restoration of letourneauorgans.com or 888/774-5105. organ CDs, books, sheet music, DVDs and website for capsule biographies, sample music, these instruments; children under 12 are admit- VHS videos are listed for browsing and easy and recordings. “Making Old Music Live Again.” ted free. For reservations: acchostour@gmail. michaelsmusicservice.com; 704/567-1066. ordering. Use a link for adding your address com. For information: www.acchos.org. 1940s vintage 8-rank Wangerin pipe organ to the OHS Catalog mailing list. Organ Histori- for sale. Organ is currently playing in a private cal Society, Box 26811, Richmond, VA 23261. residence in the Detroit metro area. Asking E-mail: [email protected]. Aging of Organ Leather by Harley Pilting- srud tells how to test and select organ leath- PIPE ORGANS $5,000 OBO. Buyer to remove. Please call be- ers for longevity of 60 years or more. Treats FOR SALE fore 10 pm EST. 248/356-0896; mcclungave@ comcast.net. Reflections: 1947–1997, The Organ Depart- other aspects of leather production and the history of testing for longevity. New 48-page ment, School of Music, The University of Mich- Portative organ: Designed for small choral or edition in 1994, $9.95 + $4.50 shipping for en- ′ ′ ′ igan, edited by Marilyn Mason & Margarete baroque ensembles. Four stops: 8 , 4 , 2 , and 1976 Schantz—19 ranks, 2 manuals and pedal. tire order (within USA). Order online at www. 1-1/3′, with the last two divided into bass and Thomsen; dedicated to the memory of Albert ohscatalog.org. Pristine condition; playable. Asking $185,000 + Stanley, Earl V. Moore, and Palmer Christian. treble registers and an adjustable point of di- vision (b24/c25 or c25/c#26). Adjustable pitch cost of removal. For details contact Pastor Judy Includes an informal history-memoir of the Anderson at [email protected]. organ department with papers by 12 current between A=440 Hz and A=415 Hz. Quarter- Historic Organ Surveys on CD: recorded and former faculty and students; 11 scholarly sawn white oak case. Available immediately. during national conventions of the Organ His- articles; reminiscences and testimonials by For more information, contact Létourneau Pipe torical Society. Each set includes photographs, 1960s Walcker (German) 14-rank tracker graduates of the department; 12 appendices, Organs at [email protected] or ″ stoplists, and histories. As many organists as 888/774-5105. organ. Open toe voicing on 2 wind pressure. and a CD recording, “Marilyn Mason in Re- organs and repertoire from the usual to the Reverse console built into case. Footprint is 6′ cital,” recorded at the National Shrine of the unknown, Arne to Zundel, often in exceptional wide by 11′6″ deep (including console and pedal Immaculate Conception in Washington, DC. ′ ″ ′ performances on beautiful organs. Each set A college in Nashville closed its music pro- stops), 9 10 tall. All encased with 4 Principal $50 from The University of Michigan, Prof. includes many hymns sung by 200–400 mu- façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- Marilyn Mason, School of Music, Ann Arbor, gram in 1988 and is offering a two-manual and sicians. Historic Organs of Louisville (west- pedal Zimmer and Sons practice organ. Excel- quialtera, II–III Mixture. Manual II—8′ Gemshorn, MI 48109-2085. ern Kentucky/eastern Indiana) 32 organs on lent condition with new long cable installed. 4′ Rohrfl ote, 2′ Principal, 1-1/3′ Quinte. Pedal— 4 CDs, $29.95. Historic Organs of Maine 39 Cost reduced to $10,000 + shipping/handling. 16′ Bourdon, 8′ Flute, 4′ Choralbass. Playing and organs on 4 CDs, $29.95. Historic Organs of Contact Milnar Organ Co. 615/274-6400 or in use regularly. Asking $24,500. For recordings CD Recording, “In memoriam Mark Bux- Baltimore 30 organs on 4 CDs, $29.95. Historic www.milnarorgan.com for details. and pictures contact [email protected]. ton (1961–1996).” Recorded at Église Notre- Organs of Milwaukee 25 organs in Wisconsin Dame de France in Leicester Square, London, on 2 CDs, $19.98. Historic Organs of New Or- between 1987 and 1996. Works of Callahan, leans 17 organs in the Bayous to Natchez on 2 1999 Morel & Associates organ. Two man- Widor, Grunewald, Salome, Ropartz, and Boëll- CDs, $19.98. Historic Organs of San Francisco ual and pedal, 17 stops, 20 ranks. Originally Don’t forget to check out classifi ed ads— mann, along with Buxton’s improvisations. $15 20 organs on 2 CDs, $19.98. Add $4.50 ship- built for a chamber installation, organ has a with photos—on our website! Visit www. postpaid: Sandy Buxton, 10 Beachview Cres- ping in U.S. per entire order from OHS, Box handsome colonial-style case front. Excel- TheDiapason.com, look for SPOTLIGHTS cent, Toronto ON M4E 2L3 Canada. 416/699- 26811, Richmond, VA 23261, by telephone lent condition. Brochure and demonstration at upper left, and click on Classifi ed Ad- 5387, FAX 416/964-2492; e-mail hannibal@ with Visa or MasterCard 804/353-9226; FAX CD available. Call 303/355-3852, or e-mail vertisements. idirect.com. 804/353-9266. [email protected]. glück newyork orgaNbuilders
170 Park Row, Suite 20A TOTAL PIPE ORGAN RESOURCES New York, NY 10038
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36 THE DIAPASON
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REED ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Estey 2-manual reed organ, ca. 1915. White 1920s Gottfried French Horn, very good re- Aeolian/Robert Morton-style maroon Austin actions: Come to the source. Fast de- oak case; AGO pedalboard; electric blower. storable condition. $1,500 OBO; 1929/1930 leather is now available from Columbia Or- livery. Guaranteed. 860/522-8293; www.austin Completely restored 2006. Contact: hhigh@ Skinner Harp/Celesta unit, very good restorable gan Leathers! Highest quality. 800/423-7003, organs.com. together.net. condition $1,500 OBO. FOB Eagleville, Tenn. www.columbiaorgan.com. 615/274-6400 or www.milnarorgan.com. Top Quality Releathering. Pouch rails, pri- ELECTRONIC ORGANS Highest quality organ control systems since maries, reservoirs and any other pneumatic ANNOUNCEMENTS 1989. Whether just a pipe relay, combination action. Removal and installation service avail- FOR SALE action or complete control system, all parts able. Full warranty. Skinner, Casavant and are compatible. Intelligent design, competitive Kimball specialty. Spencer Organ Company, THE DIAPASON 2009 Resource Directory pricing, custom software to meet all of your Inc. Call, Fax or visit our website for quotation Allen organ. 36 stops, two manuals and pedal, was mailed to all subscribers with the January requirements. For more information call Westa- and information. 781/893-7624 Voice/Fax, completely self-contained. Excellent condition. 2009 issue. Additional copies are available at cott Organ Systems, 215/353-0286, or e-mail www.spencerorgan.com. $3500. 413/268-3172. a cost of $5.00 postpaid. Contact the editor, [email protected]. Jerome Butera, at 847/391-1045, jbutera@ sgcmail.com. If your company was not listed in THE DIA- MISCELLANEOUS Austin actions recovered. Over 40 years PASON 2009 Resource Directory, be sure to be experience. Units thoroughly tested and fully part of the 2010 issue! Visit our website, www. WANTED Classifi ed Ads must be prepaid and may be guaranteed. Please call or e-mail for quotes. TheDiapason.com, and from the left column ordered for 1, 2, 3, 4, 5, or 6 months. Contact Technical assistance available. Foley-Baker, select Supplier Login. For information, contact Wanted—Hymnals, religious songbooks, [email protected]; 847/391-1044. Inc., 42 N. River Road, Tolland, CT 06084. Joyce Robinson, 847/391-1044, e-mail: jrobin- Phone 1-800/621-2624. FAX 860/870-7571. tunebooks, sacred organ/choir/vocal/handbell [email protected]. [email protected]. music, ANY date, single copies for major semi- nary; worn OK; buy/trade. Pealing Chord, 8 El- Request a free sample issue of The Diapason for a student, friend, or colleague. Write to the . len Drive, Wyoming, PA 18644. 570/696-2218; Send recital programs HE IAPASON Editor, The Diapason, 3030 W. Salt Creek to T D , 3030 W. [email protected]. Salt Creek Lane, Suite 201, Arlington Heights, IL Postal regulations require that mail Lane, Suite 201, Arlington Heights, IL 60005; or 60005; e-mail: [email protected]. e-mail: [email protected]. to THE DIAPASON include a suite num- ber to assure delivery. Please send MISCELLANEOUS Need help with your re-leathering all correspondence to: THE DIAPASON, FOR SALE project? All pneumatics including 3030 W. Salt Creek Lane, Suite 201, ATTENTION ORGANISTS! Do you play an Austin. Over 45 years experience Arlington Heights, IL 60005. instrument with high-pressure reeds? And Atlantic City Pipe Organ Co.—Stinkens (on the job assistance available). 8′ Hautbois, 4″ wp, 54 reeds, $1200; Durst/ do you ever suffer from the cold or heat in 615/274-6400. OSI: 16′ Trumpet, 8′ Trumpet, 4′ Oboe, 16′ church while practicing? Our newest ac- Gemshorn with chests, 4′ Geigen, 4′ Koppel, cessory lets you put that high-pressure 8′ Metal Gedeckt, Twelfth, Harmonic Piccolo. wind to use. The EasyLuft Climatization System attaches to the larger reed pipes ALL REPLIES THE DIAPASON’s classified ads are 609/641-9422. http://mywebpages.comcast. now available on THE DIAPASON net/acorgan. in the organ and through the miracle of TO BOX NUMBERS ultra-high-tech black-box technology, website—including photographs and lets you direct the breeze and then cool that appear convenient e-mail links directly to the sellers! Visit www.TheDiapason.com Solid State Logic single memory combination or heat the result. Use the swell pedal to without an address adjust temperature modifi cation, and the and in the left-hand column, look for action, 16 Great, 16 Swell, 12 Pedal, 5 General, should be sent to: 5 Swell, 5 Great, 4 Pedal, Gt to Pedal, Set, GC crescendo pedal to increase air fl ow. Eas- SPOTLIGHTS, then click on Classified and Tutti, $450. Consoles, pipes and numer- ily installed with ordinary sacristy tools, THE DIAPASON Advertisements. Follow the links to the with little or no damage to reed resona- classifieds that interest you, and click ous miscellaneous parts. Let us know what 3030 W. Salt Creek Lane, Suite 201 you are looking for. E-mail orgnbldr@comcat. tors or shallots. Box Mitchell-Con, THE the e-mail button to contact the sell- com (not comcast), phone 215/353-0286 or DIAPASON; [email protected]. Arlington Heights, IL 60005 ers. What could be easier? 215/788-3423.
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
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
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Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS W. Zimmer & Sons, inc. City ______❑ $55.00—2 YEARS Jacques Stinkens ❑ $35.00—1 YEAR pipe organ builders Organpipes - since 1914 State ______Zip ______FOREIGN SUBSCRIPTIONS 429 Marvin Road Fort Mill, SC 29707 ❑ $85.00—3 YEARS Flues - Reeds Phone/Fax: 803-547-2073 Please allow four weeks for delivery of fi rst issue ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" wzimmerandsons.com ❑ E-1 $45.00—1 YEAR Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] on new subscriptions. NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
JANUARY, 2009 37
Jan 09 pp. 36-37.indd 37 12/10/08 12:45:29 PM *=picture +=musical examples 2008 In Review—An Index † =stoplist #=diagrams
Articles, Reports, and Reviews by author (boldface) and subject
Aeolian-Skinner. See Rapp. Goethe, Burkhard. A Concert Organ Palmer, Larry. 2008 AGO National Young, Steven. New Organ Music. Jan Akers, Diana L. The University of for the Béla Bartók Hall in Budapest. Convention in Minnesota: The Twin 19–20, March 20, Nov 22 Michigan 29th International Organ Oct 24–25*† Cities. Nov 23–27* and Church Music Institute. Dec ______.“Entartete” Music—Hugo 21* Harpsichord News. See Palmer. Distler and the Harpsichord. Aug Albert Schweitzer Organ Festival. See Heaton, Charles Huddleston. New 22–23* Appointments Spicer. Recordings. Jan 19, Feb 19, March 20, ______. Harpsichord News. Feb 12, American Guild of Organists National April 18–19, May 21, June 20–21, July 14, June 12* Convention. See Palmer. 20, Oct 20, Nov 21–22, Dec 19 Paris. See Fournier. Ball, Steven,* to Blessed Sacrament Hughes, Sarah Mahler. Book Reviews. Phillips, Thomas Ekundayo. See Sadoh. Cathedral (R.C.), Detroit, MI. Dec 5 Bach. See Kuznik. June 19–20 Pickering, David. New Recordings. Bauer, Jennifer, to director of market- Baggia, Aldo. The Pilgrims’ Chorus in ______. New Organ Music. Nov 22 July 18, Aug 18–19, Dec 16–17 ing and public relations, VocalEss- the Lower Rhine. May 22–26* ence. April 6 Biery, James and Marilyn. See Robin- In the wind . . . . See Bishop. Ragatz, Oswald. Celebrating a mile- Boruta, Connie L.,* to United Meth- son. Iowa fl oods. See Kelzenberg. stone birthday: “Guardian Angel.” odist Church, Lake Linden, MI. Oct Bishop, John. In the wind . . . Jan 12, April 22–25* 6 14, Feb 14–15, March 14, April 13– Jelsema, Jerry. 47th Conference on Rapp, Robert P. Historic Aeolian-Skin- Briggs, Tom, to director, The Wicks 14*, May 15–17*, June 14, 16*, July Organ Music. Jan 22–23* ner installed in Amarillo, Texas. Nov Company, Highland, IL. Feb 10 12, 14*, Aug 12, 14*, Sept 12, 14, Oct 28–29*† Burnett, Marty Wheeler, to Trin- 14, 16, Nov 12, 14*, Dec 12, 14* Kelzenberg, David C. Floods Damage Rhine River, Germany. See Baggia. ity Episcopal Cathedral, Omaha, NE. Black, Gavin. On Teaching. Jan 14, 16+, Organs in Eastern Iowa. Oct 21–23* Rippl, Frank. OHS 52nd Annual Na- Sept 6 Feb 15–16+, March 16, April 15–16, Kibbie, James. See Robinson. tional Convention: July 11–17, 2007, Carpenter, Cameron,* to artist-in- May 17–18, June 16–18, July 14–16, Kramer, Gale. Book Reviews. July Central Indiana. Feb 24–29* residence, Middle Collegiate Church, Aug 14–16, Sept 14–16, Oct 17–18, 17–18 Robinson, Joyce Johnson. A conversa- New York, NY. March 5 Nov 14, 16, Dec 14–15 ______. New Recordings. Aug 19– tion with James Kibbie. Feb 21–23* Castro, Maury A., to First United Pres- Book Reviews. See Collins, Ferko, Fourni- 20 ______. He said, she said: A con- byterian Church, Troy, NY. Sept 6 er, Hughes, Kramer, McCray, Runnels, Kuznik, Joel. BWV 1128: A recently versation with James & Marilyn Biery. Crowell, Gregory,* to St. Mark’s Epis- Speller discovered Bach organ work. Dec June 22–25* copal Church, Grand Rapids, MI. Budapest. See Goethe. 22–23 +† Rockefeller Chapel, Chicago. April 12* Aug 5–6 ______. New DVDs. Sept 18–19 Rumsey, David and Christoph E. Ciampa, Leonardo,* to interim direc- Callahan, James. New Organ Music. ______. New Recordings. July 18– Hänggi. The Origins of Seewen’s tor of music and liturgy, St. Mary–St. Feb 20 19 Welte-Philharmonie. March 24–28*# Catherine Parish, Charlestown, MA. Carillon News. See Swager. Runnels, Rev. Dr. Douglas C. Book April 6 Cathedral Church of Christ Choir, La- Landrum, Mary Fisher. Sewanee Reviews. April 17–18 Davidson, Jerry F.,* to Christ Episcopal gos, Nigeria. See Sadoh. Church Music Conference. Jan 21* Russell, Henry. Marilyn Mason: Du- Church, Tyler, TX, and artistic director, Choral music. See McCray. Letters to the Editor. Jan 3, Feb 3, March pré, Le Chemin de la Croix. Aug 21* Choir School of East Texas. May 6 Coleberd, R. E. The Masonic Lodge 3, April 3, May 3, June 3, July 3, Aug 3, Dettra, Scott,* to organist and associ- Pipe Organ: Another neglected chap- Sept 3, Oct 3, Dec 3 Sadoh, Godwin. Celebrating the Ca- ate director of music, Washington ter in the history of pipe organ build- Looking Back. Dec 12 thedral Church of Christ Choir, Lagos, National Cathedral, Washington, DC. ing in America. Aug 24–29*†# Lower Rhine organs. See Baggia. Nigeria, at Ninety. Sept 25–29* April 6 Collins, John. Book Reviews. Feb 17– ______.Thomas Ekundayo Phillips: Fishell, Janette,* to professor of music, 18, May 19–20, Aug 17–18 Marigold, W. G. New Recordings. Jan Pioneer in Nigerian Church Hymn Indiana University Jacobs School of ______. New Organ Music. Jan 20, 18–19, Feb 18–19, March 19 Composition. March 29–33*+ Music, Bloomington, IN. May 6 March 20–21, April 19–20, June 21, Mason, Marilyn. See Russell. Sainte-Clotilde, Paris: See Fournier, Filsell, Jeremy,* to the Basilica of Oct 19–20, Dec 20 Masonic Lodge pipe organs. See Cole- Schauerte-Maubouet/Fournier. the National Shrine of the Immacu- ______. New Recordings. Dec berd. Sandresky, Margaret Vardell. Men- late Conception, Washington, DC. 17–18 Maycher, Lorenz. A Conversation with delssohn’s Sonata III: A Composer’s Aug 6 Conference of Roman Catholic Cathe- Robert Town. May 27–32* View. March 22–23+ Guenther, Eileen,* to president, Amer- dral Musicians. See DiCello. ______. From the Dickinson Col- Schauerte-Maubouet, Helga, trans- ican Guild of Organists. Nov 5–6 Couch, Leon W. III. New Recordings. lection: Reminiscences by Clarence lated by Carolyn Shuster Fournier. Haberer, Mary Wick, to president— March 18–19 Dickinson, Part 1: 1873–1898. July Théodore Dubois and César Franck custom woods, The Wicks Company, Craighead-Saunders Organ. See Davids- 22–24* at Sainte-Clotilde: A New Look at Highland, IL. Feb 10 son. ______. From the Dickinson Col- the Chronicle of the Years 1857–1863 Hangartner, Garth, to Central Pres- lection: Memorizing Controversy. through the Rediscovered Memoirs. byterian Church, Chambersburg, PA. Davidsson, Hans. Inaugurating the Sept 22–24* Jan 25–27*+ Aug 6 new Craighead-Saunders Organ at McCray, James. Book Reviews. Sept Seewen Museum. See Rumsey. Jacobson, Christopher,* to assistant the Eastman School of Music. Sept 17–18 Sewanee Church Music Conference. organist and assistant director of 21*† ______.Music for Voices and Or- See Landrum. music, Washington National Cathe- Demessieux, Jeanne. See Trinkwon. gan. Jan 16–17, Feb 16–17, March Speller, John. Book Reviews. March dral, Washington, DC. April 6 DiCello, Anthony. Conference of Ro- 16–18, April 16–17, May 18–19, June 18–19 Jennings, Christopher Barrett,* to man Catholic Cathedral Musicians— 18–19, July 16–17, Aug 16–17, Sept ______. New Recordings. Jan 17– associate organist-choirmaster, St. Conference XXIV. Jan 20 16–17, Oct 18–19, Nov 16, 18, Dec 18, Feb 18, April 18, May 20–21, June James’ Church Madison Avenue, New Dickinson, Clarence. See Maycher, Win- 15–16 20, July 19–20, Aug 20, Sept 19–20, York, NY. July 6 ters. McKinney, David L. Celebrating Hugo Nov 21, Dec 18–19 Jones, Brian,* to interim associate or- Dickinson, William. Delbert Dissel- Distler: 100 Year Anniversary of the Spicer, David. Albert Schweitzer Organ ganist, Memorial Church, Harvard horst retirement. July 21* Birth of a Genius. Oct 26–28† Festival Tenth Anniversary. Jan 24* University, Cambridge, MA. March 5 Disselhorst, Delbert. See Dickinson, Mendelssohn. See Sandresky. Swager, Brian. Carillon News. Jan 12, Lane, Christian,* to assistant univer- William. Messiaen, Olivier. See Palmer, David. Feb 12*, March 12, April 12–13, May sity organist and choirmaster, Harvard Distler, Hugo. See McKinney, Palmer. Music for Voices and Organ. See Mc- 14*, Oct 14*, Nov 12 University, Cambridge, MA. Sept 6 Dubois, Théodore. See Schauerte- Cray. Lehman, Phil,* to business manager, Maubouet. Mulet, Henri. See Walters. Town, Robert. See Maycher. Goulding & Wood, Indianapolis, IN. Dupré, Marcel. See Russell. Trinkwon, D’Arcy. The Legend of Oct 6 Nelson, Leon. New Handbell Music. Jeanne Demessieux: A Study. Nov Miller, Aaron David,* to House of Eastman School of Music. See Davids- Sept 20, Nov 22, Dec 20 30–33* Hope Presbyterian Church, St. Paul, son. New DVDs. See Kuznik. MN. Aug 6 Estonia. See Fiseisky. New Handbell Music. See Nelson. University of Iowa. See Kelzenberg. Mitchener, Jack,* to associate professor New Organ Music. See Callahan, Col- University of Michigan. See Akers, Jel- of organ, Oberlin Conservatory of Mu- Ferko, Frank. Book Reviews. Nov 18, lins, Fournier, Gell, Hughes, Wagner, sema. sic, Oberlin, OH. Oct 6 20 Young. Monaco, Michael,* to St. Stephen Fiseisky, Alexander. A History of the New Recordings. See Collins, Couch, Verdin, Joris. Aspects of French Sym- Lutheran Church, Williamsburg, VA. Organ in Estonia. July 25–29*+† Heaton, Kramer, Kuznik, Marigold, phonic Organ Music: L’Organiste Jan 5–6 Fournier, Carolyn Shuster. Book Re- Pickering, Speller, Wagner. Liturgique, L’Organiste Moderne, Moyer, Jonathan,* to Church of the views. Dec 16 Nigerian church music. See Sadoh. L’Organiste Pratique? June 26–29* Covenant, Cleveland, OH. Oct 6 ______. New Organ Music. Sept 20 Neswick, Bruce,* to the Cathedral ______. The Musical Tradition at On Teaching. See Black. Wagner, David. New Organ Music. Church of St. John the Divine, New the Sainte-Clotilde Basilica in Paris, Organ Historical Society. See Rippl. Aug 20, Sept 20, Dec 19–20 York, NY. Aug 6 France. April 26–28* Organ pedagogy. See Black. ______. New Recordings. Jan 18, Norton, Rev. Gregory, to Westwood Franck, César. See Schauerte-Maubou- Organ Recitals. Jan 34–35, Feb 37, July 20, Nov 20–21 United Methodist Church, Los Ange- et. March 41, April 36–37, May 40–41, Welte Organ Company. See Rumsey. les, CA. Sept 8 French symphonic organ music. See June 36–37, July 37, Aug 36–37, Sept Walters, Donna M. Henri Mulet— Pettit, Todd, to St. John Evangelical Verdin. 37, Oct 37, Nov 40–41, Dec 36–37 French organist composer. Dec United Church of Christ, Collinsville, 26–29* IL. Sept 8 Gell, David A. New Organ Music. Feb Palmer, David. Olivier Messiaen Winters, Gene. The Clarence Dickin- Smith, Domecq,* to St. John the Evan- 19–20, May 20, Aug 20 (1908–1992): 100th Year Anniversary. son Festival: William Carey University, gelist Roman Catholic Church, Or- German organs. See Baggia. Dec 24–25* Hattiesburg, Mississippi. April 21* ange, NJ. May 6
38 THE DIAPASON
Jan 09 pp. 38-39.indd 38 12/10/08 12:46:04 PM Troeger, Thomas H., to Chaplain, Houlihan, Christopher,* wins Prix de American Guild of Organists. Nov Perfectionnement, French National Obituaries 4–5 Conservatory, Versailles, France. Oct 8 Ward, Adam M., to Providence United Hutten, Christina,* awarded scholar- Methodist Church, Charlotte, NC. ship in honor of Barrie Cabena. July 6, 8 Argall, Martin.* April 8 Hitchcock, H. Wiley. Feb 8 Aug 6 Johns, Michele,* retires from Our Lady Baichi, Peter M., Jr. Oct 10 Johnson, Winston A.* May 12 Wick, Barbara, to chairman of the of Good Counsel (RC) Parish, Plym- Baker, William Ernest. March 10 Kann, Stan. Dec 10 board, The Wicks Company, High- outh, MI. March 6 Bearse, Leonard Edwin, Sr. Nov 8 Knoll, August E.* April 8, 10 land, IL. Feb 10 Karosi, Bálint,* wins first prize, Berryman, Edward D. Dec 8 Krapf, Gerhard. Nov 8 Wick, Mark, to president—organ, XVIth International Johann Sebas- Bonfi ls, Jean.* May 10 Leonard, Everett W. Feb 8 The Wicks Company, Highland, IL. tian Bach Competition, Leipzig, Bowman, David Straker.* Dec 8, 10 Marigold, W. Gordon.* Feb 8 Feb 10 Germany. Oct 8 Brittenham, William Robert “Bob”. McGuire, Robert V. May 12 Wick, Scott, to president—aircraft, Kemper, Margaret,* honored with July 10 Meier, Edith L. Wagner. June 8 The Wicks Company, Highland, IL. establishment of scholarship, Garrett- Cambon, Elise Murray.* Feb 6, 8 Nuechterlein, Herbert E.* Aug 8, 10 Feb 10 Evangelical Theological Seminary, Caskey, Mary Sherman. July 10 Nobles, Edward Lamond. May 12 Wilson, Todd,* to professor of music, Evanston, IL. Dec 6 Cast, Lloyd E., Jr. April 8 Peragallo, John S., Jr.* Nov 8 Indiana University Jacobs School of Kotylo, Andrew, awarded second place, Cavarra, Robert N.* May 10, 12 Pollock, May Josephine Moorer. Sept 10 Music, Bloomington, IN. May 6 NYACOP, Minneapolis/St. Paul, MN. Cohen, Michael. Nov 8 Pride, Glenn Edward.* May 12 Sept 5–6 Collins, Genevieve Cox. Dec 10 Ramsey, David. July 10 Kramer, Gale,* honored at retirement Corey, Raymond Canfi eld. Dec 10 Richner, Thomas.* Oct 10 from Metropolitan United Methodist Dinneen, William. March 10 Ruhl, Jack R. Jan 10 Honors and Church, Detroit, MI. March 6 Douglass, Fenner.* June 8 Schreiber, Joseph William. Jan 10 Kreeger, Patrick,* wins C. B. Fisk Eitzen, John W. Sept 10 Schuller, Johnette Eakin. Feb 8 Competitions Prize and Bach Prize at Second Annu- Ferris, John. Oct 10 Severtsen, Herbert A. March 10 al East Carolina University Pre-Col- Freeman, Russell Edward. June 8 Smith, Craig. March 10 lege Organ Competition, Greenville, Glasgow, Robert E.* Nov 8 Steijns, Mathieu.* May 14 Anderson, Bryan,* awarded third NC. Aug 3 Graves, Anita Jeanne Shifl ett. Feb 8 Stockhausen, Karlheinz. April 10 place, Perkins and Wells Prize, at Lane, Christian,* receives second Guzowski, Walter A.* Nov 8 Stuart, James Gary.* March 10 Second Annual East Carolina Univer- prize, Fourth Miami International Or- Haley, Kay Wood. Feb 8 Taylor, Susanne L. March 10 sity Pre-College Organ Competition, gan Competition, Miami, FL. May 3 Heinze, Noel E.* March 10 Tracy, Larry Lee. Sept 10 Greenville, NC. Aug 3 Laurin, Rachel,* honored with AGO Henderson, Ruth Lloyd. Jan 10 Vajda, Rev. Dr. Jaroslav J.* July 10 Ashdown, Franklin,* receives ASCA- Award in Organ Composition, Minne- Hennigan, Jack. May 12 Watkins, Lyndell P., Sr. April 10 PLUS award. Feb 4, Dec 5–6 apolis/St. Paul, MN. Aug 4 Herman, Gerald W., Sr. Feb 8 Westenburg, Richard. April 10 Ball, Stephen, receives second prize, Main, Stephen, named co-winner of Hicks, Paul Thomas. Dec 10 Wilson, John Howard. June 8 NCOI, Minneapolis/St. Paul, MN. Welcome Christmas! carol contest. Hieronymus, Bess. July 10 Witt, Jerry Ray. Aug 10 Sept 5–6 Jan 5 Betenbaugh, Barbara & Gordon,* Martin, Garrett F.,* receives Warren honored at retirement from First Hutton Fellowship, Tuscaloosa, AL. Presbyterian Church, Lynchburg, VA. Nov 4 Organ Stoplists March 6 Mourik, Gerben,* wins 47th Interna- Billmeyer, Dean,* honored at 25th an- tional Organ Improvisation Competi- niversary of appointment, University of tion, Haarlem, Netherlands. Sept 6 Andover Noack Minnesota, Minneapolis, MN. Oct 6 Oldengarm, Jonathan,* awarded sec- Church of the Nativity, Raleigh, NC. Shrine of Our Lady of Guadalupe, La Brooks, BJ,* wins second annual an- ond place, Dublin International Ogan 2/14*, May 36 Crosse, WI. 3/54*, Oct 1, 30–31 them competition of the First Baptist Competition, Dublin, Ireland. Sept 4 Hesston Mennonite Church, Hesston, Church, Worcester, MA. May 8 Ostermann, Jared,* awarded second KS. 2/19*, Dec 32 Odell Brown, Matthew, named co-winner place, Carlene Neihart International St. Ann’s Roman Catholic Church, Ny- of Welcome Christmas! carol contest. Pipe Organ Competition, Prairie Vil- Bedient ack, NY. 2/28*, March 1, 34–35 Jan 5 lage, KS. June 3 Residence of Elaine Mann, Chippewa Buffington, Herbert, receives third Paulus, Stephen,* presented with AGO Falls, WI. 2/2*, Nov 36 Ott and audience choice prizes, NCOI, Distinguished Composer Award, Min- Trinity Evangelical Lutheran Church, Minneapolis/St. Paul, MN. Sept neapolis/St. Paul, MN. Aug 4 Berghaus Spring, TX. 3/49*, Nov 1, 34–35 5–6 Petit, Christopher,* awarded third St. John’s Episcopal Church, Norwood Chenault, Beth & Ray,* honored by place, Dublin International Ogan Parish, Bethesda, Chevy Chase, MD. Redman Lovett School for their 31 years’ ser- Competition, Dublin, Ireland. Sept 4 3/63*, Sept 1, 30–31 St. Vincent’s Cathedral Church, Bedford, vice, Atlanta, GA. Jan 5 Petty, Bynum,* wins Otto Hofmann TX. 3/50*, April 1, 30–31 Coffey, Richard,* honored by CON- Memorial Literary Prize. Jan 8 Buzard CORA at 60th birthday, Farmington, Pyper, Timothy,* wins Arthur Poister First Presbyterian Church, Lexington, Ruffatti CT. April 6 Competition, Syracuse, NY. July 6 KY. 3/35*, Feb 1, 30–31 Wesley Chapel, Elkton, MD. 1/7*, Jan 1, Disselhorst, Delbert,* honored at re- Ripka, Joseph,* wins 2008 National Or- St. Peter’s Episcopal Church, Chicago, 28–29 tirement from 38 years of teaching, gan Playing Competition, Fort Wayne, IL. 3/50*, June 30 Iowa City, IA. July 21 IN. June 6 King Avenue United Methodist Church, Schlueter Dudley, Mr. & Mrs. Wesley C.,* hon- ______,* awarded fi rst prize, Dub- Columbus, OH. 3/47*, Oct 32 First United Methodist Church, Atlanta, ored with AGO President’s Award, lin International Organ Competition, GA. 5/93*, May 1, 33–35 Minneapolis/St. Paul, MN. Aug 4 Dublin, Ireland. Sept 4 Dobson Finster, Robert,* retires as parish mu- Roberts, Jason, wins fi rst prize, NCOI, The Chapel of the Cross (Episcopal), Schoenstein sician, St. Mark’s Episcopal Church, Minneapolis/St. Paul, MN. Sept 5–6 Chapel Hill, NC. 2/17*, Jan 30 Christ Church Episcopal, Cambridge, Evanston, IL. Feb 4–5 Robinson, Caroline,* awarded second The Lutheran Church of the Good MA. 3/57*, Feb 32 Franke, David,* receives audience place, Fishell Prize, at Second Annual Shepherd, Lancaster, PA. 2/27*, prize 47th International Organ Im- East Carolina University Pre-College July 32 Swanson provisation Competition, Haarlem, Organ Competition, Greenville, NC. St. David’s Episcopal Church, Wayne, Salem Lutheran Church, Owosso, MI. Netherlands. Sept 6 Aug 3 PA. 3/47*, Aug 32 2/21*, Nov 36 Fraser, Stephen R.,* honored with Russell, Robert J.,* honored as Organ- AGO/ECS Publishing Award in Cho- ist & Choirmaster Emeritus, Christ & Fabry Wahl ral Composition, Minneapolis/St. St. Stephen’s Episcopal Church, New Calvary Lutheran Church, New Wind- Private residence, New York, NY. 2/2*, Paul, MN. Aug 4 York, NY. Oct 10 sor, IL. 2/10*, Dec 32 March 36 Gaskin, Samuel,* receives third prize, Stover, Harold,* recognized for 40 Immanuel Presbyterian Church, Mil- Fourth Miami International Organ years’ work as composer, organist, and waukee, WI. 3/67*, Sept 32 Zamberlan and Rosales Competition, Miami, FL. May 3 conductor, Portland, ME. July 8 St. James’ Episcopal Church, Los Ange- ______,* receives third place award, Swann, Frederick, honored by Ameri- Glück les, CA. 1/3*, March 36 Carlene Neihart International Pipe can Guild of Organists. Los Angeles, Leon Lowenstein Memorial Auditorium, Organ Competition, Prairie Village, CA. Jan 4, Aug 8* Congregation Emanu-El, New York, Cornel Zimmer KS. June 3 Tan, Aaron,* awarded second place, NY. 3/44*, Sept 32 Media Presbyterian Church, Media, PA. Gheller, Simone, named co-winner of Arthur Poister Competition, Syracuse, 3/23*, Aug 1, 30–31 Prix André Marchal and winner of au- NY. July 6 Juget-Sinclair dience prize and interpretation prizes, Tappe, Daniel, named co-winner of Hatsudai Catholic Church, Tokyo, Japan. Biarritz, France. Jan 5 Prix André Marchal, Biarritz, France. 2/19*, April 29 Hamlin, Carolyn Gillespie, honored Jan 5 Second Presbyterian Church, Nashville, for 50 years as organist, First Baptist Unger, Michael, wins fi rst place and TN. 2/27*, Dec 1, 30–31 Church, Easley, SC. Sept 8 audience choice prizes, NYACOP, Han, Ahreum,* wins Carlene Neihart Minneapolis/St. Paul, MN. Sept 5–6 Lewis & Hitchcock/Aeolian-Skinner International Pipe Organ Competi- Vaughan, Robert J.,* retires from Patrick Allen residence, New York, NY. tion, Prairie Village, KS. June 3 Reuter Organ Company. June 8 2/8*, Jan 30 Harper, Monica, awarded second place, Weaver, John,* receives Distinguished NYACOP, Minneapolis/St. Paul, MN. Alumni Award, Union Theological Lewtak Sept 5–6 Seminary, New York, NY. Nov 6 West Baptist Church, Oswego, NY. Hathaway, Daniel,* honored for 31 Webb, Marianne,* honored with AGO 2/33*, July 1, 30–31 years of service, Trinity Cathedral, Edward A. Hansen Leadership Award, Cleveland, OH. Oct 8 Minneapolis/St. Paul, MN. Aug 4 Milnar (Wicks) Hawn, C. Michael, named a Fellow of Winpenny, Tom,* wins Fourth Miami James Dorroh residence, Eagleville, TN. the Hymn Society in the United States International Organ Competition, Mi- 2/6*, May 36 and Canada. Nov 6* ami, FL. May 3 Henderson, Sonata,* wins fi rst annual New England Organbuilders Lynnwood Farnam Scholarship com- Joseph Flummerfelt residence. 1/2*, petition. Jan 6 June 1, 31
JANUARY, 2009 39
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