THE DIAPASON MARCH 2013

Trinity Lutheran Church Sheboygan, Wisconsin Cover feature on pages 30–32 Christopher Houlihan

“Houlihan is an eloquent musician. His rhythmic sense is clear-cut American. His feet elegantly tap dance on the pedals. Everything he plays is sharply and smartly delineated... In fact, more than four hours’ worth of punishingly gnomic organ writing proved in Houlihan’s hands ever graceful of shape and full of life.” -Los Angeles Times

“The registrations were expert: silky-smooth crescendi and decrescendi, complete mastery of the swell-boxes. The mutual chemistry of organist, composer, and instrument was apparent from the start.” -The Diapason

“His deft footwork on the pedals throughout the concerts prompted one listener to dub him ‘the Fred Astaire of the pipe organ.’” -Wall Street Journal www.concertartists.com www.ChristopherHoulihan.com [email protected] THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fourth Year: No. 3, In this issue Whole No. 1240 Among the offerings in this issue of The Diapason, Frank MARCH 2013 Rippl offers an in-depth report on the 2012 national conven- Established in 1909 tion of the Organ Historical Society, which took place July 8–13 Jerome Butera ISSN 0012-2378 in Chicago. Frank’s refl ections and musings bring you right 847/391-1045; [email protected] along on the convention schedule—one can almost hear each www.TheDiapason.com An International Monthly Devoted to the Organ, program, especially the vigorous hymn singing. Thanks to Bill the Harpsichord, Carillon, and Church Music Van Pelt for providing photos of the convention. This is in addition to our regular departments of news, Marijim Thoene and Gale Kramer provide a detailed report reviews, new organs, an international calendar, organ recital on the 52nd annual Conference on Organ Music at the Uni- programs, and more. CONTENTS versity of Michigan. The conference took place September 30– October 3, 2012, in Ann Arbor, and featured lectures, recitals, In preparation FEATURES and an improvisation competition. In the coming months, we will be publishing articles on Organ Historical Society National Convention Martin Goldray reports on the second annual Ascension Franz Liszt and Johann Gottlob Töpfer, organs in Poland, the Chicago, July 8–13, 2012 Organ Academy, which took place June 11–15, 2012 at the medieval organ and related conferences in Europe that took by Frank Rippl 20 Church of the Ascension in New York City. The large new place in 2012, the organ music of Karg-Elert, an interview with The University of Michigan organ by Pascal Quoirin was featured on the cover of The Robert Clark, fugal improvisation, and much more. 52nd Conference on Organ Music by Marijim Thoene and Gale Kramer 26 Diapason in November 2011. The cover feature is the new Buzard pipe organ at Trinity Newsletters Ascension Organ Academy June 11–15, 2012 Lutheran Church in Sheboygan, Wisconsin. In addition to our print journal, The Diapason publishes Church of the Ascension, New York In his column “In the wind . . .”, John Bishop muses on the three e-mail newsletters each month: classifi ed advertising on by Martin Goldray 29 topic of color in music, especially organ music, and discusses the second Tuesday, Artist Spotlights on the third Tuesday, and NEWS & DEPARTMENTS the families of tone color available on the pipe organ. He general news on the fourth Tuesday of the month. If you are not Editor’s Notebook 3 challenges us to listen to the colors we choose, warns against already receiving these free newsletters, it’s easy to subscribe. Letters to the Editor 3 following convention without discrimination, and offers some Go to our website, www.TheDiapason.com, and near the top Here & There 3 unusual suggestions. of the screen, under the white search box, click on “newslet- Appointments 6 Gavin Black offers part six of his organ method, continuing ters.” You will need your Diapason subscriber number, which Nunc Dimittis 11 the section on pedal playing: pedal scales, alternating feet, is found above your name on the label of your copy of The In the wind . . . by John Bishop 12 larger intervals, and repeated notes. Diapason. Contact me with any questions. Q On Teaching by Gavin Black 14 REVIEWS Letters to the Editor Music for Voices and Organ 16 New Recordings 16 New Organ Music 17 BWV 565 Mr. Hall states some dissimilarities other powerful Bach pedal re-entries, as New Handbell Music 19 Congratulations to Jonathan B. Hall between 565 and other Bach works. What in m. 54 of the G-minor fugue (542) and on his excellent article, “BWV 565: Com- about the similarities? Consider the open- in m. 61 of BWV 544 (B-minor fugue). NEW ORGANS 32 poser Found?” (The Diapason, January ing scalar descents, dominant to tonic, of I wonder if Dretzel’s known fugues can CALENDAR 33 2013), which appears to solve in elegant the E-fl at Prelude (552) with the Toccata. demonstrate a similar inspiration. ORGAN RECITALS 37 manner this vexing and important ques- And the same descent in the fugue, com- I admit these are nontechnical obser- CLASSIFIED ADVERTISING 38 tion. I can’t wait to see more of Cornelius pared with Bach’s G-minor Fugue (542) vations by an amateur organist. Still, Heinrich Dretzel’s Divertimento. (see examples). It seems to me that this is I suspect, unless an autograph not in David Hatt an opening phrase with particular appeal Bach’s hand is found, we will still fi nd San Francisco, California for Bach. Although a dominant to tonic this old d-minor warhorse remaining beginning is not earthshaking, the struc- in Bach’s stable. Since Mr. Hall holds I enjoyed reading Jonathan Hall’s pro- tural similarities are noteworthy. Dretzel in such high regard, I certainly vocative article on the possible author- One of the striking features of the 565 need to get more familiar with his music. ship of BWV 565 by C. H. Dretzel. fugue occurs at the conclusion of the I cannot fi nd any recordings; I wonder if He’s certainly keeping an open mind, central episode, where the pedal unex- Mr. Hall knows of any. that the most well-known organ work pectedly and dramatically returns with James Torrey in the world may be written by a totally the theme in c minor (m. 86). This, to Tucson, Arizona unknown composer. me, is a master stroke. It reminds me of [email protected] Here & There COVER Buzard Pipe Organ Builders, Champaign, Events Bryn Mawr Presbyterian Church, Suzanne Tiemstra; April 2, Barbara Illinois; Trinity Lutheran Church, St. John’s Cathedral, Denver, Colo- Bryn Mawr, Pennsylvania, continues its Dulmage; 4/16, Chris Dekker; 4/30, Ian Sheboygan, Wisconsin 30 rado, continues its music series: March 1, music series: March 3 and 10, Lenten Sadler; May 14, James R. Metzler. For Boulder Bach Festival, St. John Passion; Choral Evensong series; 3/24, Keenan information: 616/459-3203 x24; 3/8, Christian Lane; 3/17, Fritz Anders; Boswell; 3/29, Arvo Pärt, Passio; April www.parkchurchgr.org. Editor & Publisher JEROME BUTERA 3/22, Harvard Glee Club with Ars Nova 21, Morten Lauridsen, Lux Aeterna, and [email protected] Singers; April 12, Gerald Holbrook; 4/21, Ola Gjeilo, Sunrise Mass. For informa- Peachtree Road United Method- 847/391-1045 Frank Nowell; 4/26, Wartburg College tion: 610/525-2821 x8836; ist Church, Atlanta, Georgia, contin- Associate Editor JOYCE ROBINSON Choir; May 3, Ensemble Pearl; 5/17, Jeb www.bmpcfi nearts.org. ues its music series: March 5, Georgia [email protected] Barrett; June 7, St. Martin’s Chamber State University Singers and University 847/391-1044 Choir. For information: Shadyside Presbyterian Church, of Georgia Hodgson Singers; April 14, Contributing Editors LARRY PALMER http://sjcathedral.org. Pittsburgh, Pennsylvania, continues the South City Winds; 4/21, Benjamin Roll- Harpsichord 20th anniversary season of its music ings; 4/23, Pavel Kohout; May 5, Scott St. Thomas Church Fifth Avenue, series: March 3, Evensong; May 5, Four Atchison 30th-anniversary concert; JAMES MCCRAY Choral Music New York, continues its series of organ Choirs Festival. For information: 5/19, spring concert; July 24, Olivier recitals, Sundays at 5:15 pm: March 3, www.shadysidepres.org. Latry. For information: BRIAN SWAGER Sergio Militello; 3/10, Harold Stover; www.prumc.org. Carillon 3/17, Kenneth Miller; April 7, Phillip St. Peter in Chains Cathedral, JOHN BISHOP Kloeckner; 4/14, Giampaolo di Rosa; Cincinnati, Ohio, presents its Great Camp Hill Presbyterian Church, In the wind . . . 4/21, Ulrike Wegele-Kefer; 4/28, Robert Music in a Great Space series: March 3, Camp Hill, Pennsylvania, continues its Knupp; May 5, John Scott; 5/12, Mark choral concert; 3/27, Offi ce of Tenebrae; music series: March 6, Anthony Ciucci; GAVIN BLACK On Teaching McClellan; 5/19, Ian Tomesch. April 12, Chanticleer. For information: April 3, Deborah Dillane. For informa- The St. Thomas concert series con- 513/421-2222; tion: 717/737-0488; www.thechpc.org. Reviewers James M. Reed tinues: March 21, Bach, St. Matthew www.stpeterinchainscathedral.org. John Collins Passion; 3/25, Benjamin Sheen, Dupré: Christ Church, Bradenton, Florida, Jay Zoller Le Chemin de la Croix; April 27, Bach, Park Congregational Church, continues its music series: March David Herman Mass in B Minor; May 16, music of Bach, Grand Rapids, Michigan, continues its 7, Carol Hawkinson; 3/14, Matthew Leon Nelson Tallis, and Vaughan Williams. For infor- fall concert series on Tuesdays at 12:15 Woods; 3/17, Jonathan Dimmock; 3/21, mation: www.saintthomaschurch.org. pm: March 5, Rhonda Edgington; 3/19, ³ page 4

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1045. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2013. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 3 Here & There

³ page 3 M. Kennedy; April 19, Red Mountain Ann Stephenson-Moe. For information: Theatre Company; 4/21, Choral Even- www.christchurchswfl a.org. song. For information: 205/226-3505; www.adventbirmingham.org. California Lutheran University, Thousand Oaks, California, continues Presbyterian Homes, Evanston, Illi- the Orvil and Gloria Franzen 2012–13 nois, continues its Elliott Chapel Organ organ program series: March 8, Eric Recitals: March 18, Katie Minion; April Kinsley and Kyle Johnson, organ duets 22, Simone Gheller; May 20, Wolfgang and works for two organs. For informa- Rübsam; June 24, Margaret Martin. For tion: 805/493-3332; information: 847/733-7390; www.callutheran.edu. www.presbyterianhomes.org.

Crescent Avenue Presbyterian Campbellsville University, Camp- Church, Plainfi eld, New Jersey, contin- bellsville, Kentucky, continues its organ ues its music series: March 10, Joseph recital series: March 19, Clif Cason; Arndt, Vincent Carr, Preston Dibble, April 16, Wesley Roberts. For informa- and Mark Pacoe; 3/29, Good Friday tion: 270/789-5287; Tenebrae; April 13, Crescent Choral [email protected]; Society; May 19, Crescent Singers. For www.campbellsville.edu. information: www.crescentonline.org. St. Andrew Lutheran Church Rosary Cathedral, Toledo, Ohio, (ELCA), Mundelein, Illinois, continues continues its music series: March 10, its music series: March 24, Michael Bur- Toledo Symphony Orchestra; 3/27, khardt, hymn festival; April 21, Dennis Paul Jacobs recital at St. Elizabeth Ann Seton Parish, Carnegie, Pennsylvania Tenebrae; May 6, World Organ Day Koletsos; May 19, Jeffrey Schleff; June Concert, 850th anniversary of Notre 2, Waukegan Swedish Glee Club and St. Elizabeth Ann Seton Parish, Carnegie, Pennsylvania, presented a concert by Dame Cathedral, Paris. For information: Women’s Chorus. For information: Paul Jacobs on January 4, continuing the dedicatory series of the new III/28 Opus 419/244-9575; www.rosarycathedral.org. www.standrewmundelein.com. 59 organ by Patrick J. Murphy & Associates. Jacobs’ program featured music by Bach, Stanley, Boulanger, Elgar, Mozart, and Guilmant. Members of Paul Jacobs’ First Presbyterian Church, Arling- Christ Church, Grosse Pointe family who live nearby attended the concert. The encore was the Sinfonia from Bach’s ton Heights, Illinois, continues its music Farms, Michigan, continues its music Cantata 29. Pictured with Paul Jacobs are Patrick Murphy (president), Nicholas Will series: March 10, Barrington Children’s series: March 29, Bach, St. John Pas- (director of music), Fredrick Bahr (tonal director), and Fr. David Poecking (pastor). Choir; April 21, spring choral concert. sion; April 21, Easter Lessons & Carols; Further information about the church and organ can be found at www.seascarnegie. For information: www.fpcah.org. 4/28, afternoon at the opera; May 19, org and www.pjmorgans.com. choral and orchestral music of Handel. Second Presbyterian Church, For information: St. Louis, Missouri, continues its 2013 www.christchurchgp.org. Couts Music Series: March 10, Andrew Peters with tenor Derek Dahlke; April First Church of Christ, Wethers- 21, Earth Day hymn festival, featur- fi eld, Connecticut, continues its music ing brass from the St. Louis Symphony series: March 29, Bach, St. Mark Pas- Orchestra and organist Andrew Peters. sion; April 21, David Spicer, hymn festi- For information: 314/367-0367; val and recital; June 9, Albert Schweitzer www.secondchurch.net. Organ Festival winners’ concert; June 23, Raleigh Ringers. For information: St. Mary’s Cathedral, San Francisco, 860/529-1575, x209; continues its organ recital series: March www.fi rstchurch.org. 10, Sergio Militello; 3/17, Jan-A Lee; 3/24, James Warren; April 7, Robert Rockefeller Memorial Chapel, Gurney; 4/14, Simon Berry, with trum- Chicago, continues its music series: pet; 4/21, John Cannon; 4/28, Massimo March 29, Thomas Weisfl og, Dupré: Nosetti. For information: Stations of the Cross; May 12, Christo- www.stmarycathedralsf.org. pher Houlihan. For information: rockefeller.uchicago.edu. Reading Town Hall (U.K.) con- tinues its series of lunchtime concerts The Cathedral of the Holy Angels, on Wednesdays: March 13, William Gary, Indiana, concludes the 20th sea- McVicker; May 15, Christopher Nickol; son of its Cathedral Arts Concert Series: July 3, student player from Eton Col- April 7, James Clouser. For further lege. The series of celebrity organ information: www.garycluster.org/hac. recitals takes place at 7:30 pm: May 2, Robert Quinney. For information: The Chicago Chamber Choir con- www.readingarts.com. cludes its season: April 7, Unity Lutheran Church, Chicago; 4/13, St. Mark’s Epis- The Cathedral Church of the copal Church, Evanston. For informa- Advent, Birmingham, Alabama, contin- tion: www.ChicagoChamberChoir.org. ues its music series: March 17, Charles ³ page 6 52nd annual Montréal Boys Choir Course

The 52nd annual Montréal Boys Choir Course took place July 29–August 5, 2012, at the Bishop’s College School, Lennoxville, QC, Canada. The director of the course was Malcolm Archer, director of music at Winchester College, U.K. The fi nal services were held at Christ Church Cathedral, Montréal. The course was made up of 72 boy/teen/adult participants from choirs across the United States and Canada. Music performed by the choir included the Cantus Missae by Joseph Rheinberger and Lo, the full, fi nal sacrifi ce by Gerald Finzi. After 52 years in Canada, MBCC will move to the United States this summer, and will be held at the Lawrenceville School outside Princeton, New Jersey. The course will be directed by Simon Lole, former director of music at Salisbury Cathedral and now a freelance composer and conductor for the BBC, and will take place from July 28 through August 4, 2013. Further information about this opportunity for gifted boy and teen singers is available by contacting Larry Tremsky, the executive director of the course, at [email protected].

AUSTINORGANS.COM 
t

8PPEMBOE
4U
)BSUGPSE
$5


4 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Paul Cienniwa Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Concert Harpsichordist Indiana University Montevideo, Uruguay Battipaglia, Italy Paris, France Ann Arbor, Michigan Boston, Massachusetts

Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Milwaukee, Wisconsin Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama

Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Professor of Organ Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California Yonsei University, Korea

David K. Lamb Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Conductor Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana New York City SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois

Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Organist/Harpsichordist University of Kansas Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Spartanburg, South Carolina

Timothy Tikker Michael Unger Elke Voelker Eugeniusz Wawrzyniak Jeffrey Cohan Duo Majoya Organist/Composer/Improviser Organist/Harpsichordist Organist/Musicologist Organist Concert Flutist Organ/Piano/Harpsichord Kalamazoo College, Michigan Rochester, New York Mannheim, Germany Charleroi, Belgium Seattle, Washington U of Alberta, King's UC www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Assistant Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 25th year of operation Here & There

Appointments

David Hill has been appointed Professor (Adj.) of Choral Conducting at the Yale Insti- tute of Sacred Music. The three-year term begins July 1, 2013. Hill will serve as principal conductor of Yale Schola Cantorum, as well as participate in the training of choral conducting majors with Professors Marguerite L. Brooks and Jeffrey Douma, and with Masaaki Suzuki, who will remain affi liated with Schola Cantorum as Principal Guest Conductor. David Hill has served as chief conductor of the BBC Singers, musical director of the Bach Choir, chief conductor of the Southern Sinfonia, music director of Leeds Philharmonic Society, David Hill and associate guest conductor of the Bour- nemouth Symphony Orchestra. Previously, Hill was Master of the Music at Winchester and Westminster cathedrals, music director of the Waynfl ete Sing- ers, artistic director of the Philharmonia Chorus, and director of music at St. John’s College, Cambridge. He also maintains an active career as organist and Skinner Opus 327 celebration, St. Luke’s Episcopal Church, Evanston, Illinois pianist in recitals worldwide. With over seventy recordings to his credit, Hill has performed virtually every St. Luke’s Episcopal Church in Evanston, Illinois, celebrated the 90th birth- style and period in the choral repertoire, from Gregorian chant to modern day of its Ernest Skinner Opus 327 organ in October 2012. Ten organists from the works for chorus and orchestra. He has commissioned dozens of works from Evanston Deanery parishes played a celebratory concert and hymn sing on Octo- such composers as Judith Bingham, Francis Pott, Patrick Gowers, Sir John ber 21; the dedication recital series took place October 15–18, 1922. Opus 327 was Tavener, and Philip Wilby. Q restored in the 1990s by A. Thompson-Allen of New Haven, Connecticut. Pictured are (back row, l to r) Derek Nickels (Holy Comforter, Kenilworth), James Janssen (St. Matthew’s, Evanston), John Wesche (St. James the Less, Northfi eld), James Russell jury will be chaired by Gilles Cantagrel that they were completely unaffected by Brown (St. Giles, Northbrook), Jay Peterson (Christ Church, Winnetka); middle row: of France. The program, rules and Hurricane Sandy. Some water made it Julia Brueck (St. David’s, Glenview), Chris Roe (St. Elisabeth’s, Glencoe), Thomas regulations may be obtained from Ralph into the basement car park and blower Alm (St. Augustine’s, Wilmette), Christine Kraemer (St. Luke’s, Evanston); fore- Tilden (910/256-5139). rooms, but it was only a few inches deep ground: Robert Horton (St. Mark’s, Evanston). and did not reach any part of the blow- Application forms are now available ers. For information: for participation in the 2013 National http://boardwalkpipes.com/news.php. ³ page 4 Study and playing time in Lyon, Bur- Organ-playing Competition spon- gundy, and the French Alps will take sored by the Ruth and Clarence Mader People place at the organs of Saint-François- Memorial Scholarship Fund. Final- Pamela Decker is featured on a new de-Sales (Lyon), Conservatoire de ists will compete for prizes of $6,000, recording, Suite Dreams and Fantasies, Lyon, Chambery Cathedral, Collégiale $4,000, and $2,000, plus transporta- Decker Plays Decker, Volume 3, on the de Dole, Annecy Cathedral, Dijon tion and lodging. The competition is Loft label. Recorded on the Flentrop Cathedral and others. In Reims and organized in two phases: a recorded organ at St. Mark’s Cathedral, Seattle, Paris participants will study and play the (CD) preliminary competition from the program includes On This Day, organs of Reims Cathedral, Saint-Remi, which three fi nalists will be selected, Earth Shall Ring (2009, fi ve hymn-based Saint-Sulpice, Notre-Dame (Paris), and a fi nal event presented as a concert works for Advent and Christmas), El Saint-Augustin, Ste-Clotilde, La Trinité, open to the public. The competition Tigre (2007), La Pantera (2009), Litur- Notre-Dame-des-Champs, Versailles is open to all United States residents gical Suite (2005, for right hand and Castle, and the Versailles Conservatoire. who will be under the age of 35 on pedal), Ave maris stella (2004), Jesu, dul- Instructors include Louis Robilliard, November 9, 2013. Repertoire (30 to cis memoria (2010), and Golden Gates Daniel Roth, François Espinasse, Jean- 45 minutes playing time) must include (2010). For information: Baptiste Robin, Thibaut Duret, Didier one required work: Fanfare Prelude by www.gothic-catalog.com. French Organ Music Seminar, Rouen, Matry, Beatrice Piertot, Yannick Merlin, Clarence Mader. 2012 and Benjamin Steens. For information: Application forms and CD recordings www.bfoms.com. are due by August 1, and fi nalists will International Organ Music Semi- be selected and notifi ed by September nars has announced the 18th French The eleventh international organ com- 1. The fi nal competition will be held on Organ Music Seminar in England and petition of Biarritz, France, Prix André November 9, 2013, at the Claremont France July 25–August 7. The schedule Marchal (this year in memory of Jac- United Church of Christ, Congrega- features the organs of Trinity College, queline Englert-Marchal) will be held tional, in Claremont, California. The Ely Cathedral, Westminster Cathedral, October 22–26, 2013. A grand prize of organ is a three-manual, 77-rank instru- and Peterborough Cathedral, with semi- €3000 will be awarded the winner in each ment built in 1998 by Glatter-Götz/ nars on Anglican service playing, anthem discipline—interpretation and improvi- Rosales. Application forms and addi- accompanying, liturgical improvisation, sation, as well as several special prizes tional information may be obtained from and the history of the English organ. of €1000 each and two audience prizes. Dr. Frances Nobert, 900 E. Harrison Instructors include Gillian Weir, Colin The competition is open to organists of Avenue, #B-26/27, Pomona, CA 91767; Simone Gheller Walsh, and John Hosking. any age or nationality. An international e-mail: [email protected]. The Ruth and Clarence Mader Memo- Simone Gheller, director of music rial Scholarship Fund was established in and organist at St. Joseph Catholic Saving organs throughout 1971 to honor the memory of the two Church, Wilmette, Illinois, played the Southern California artists. In addition to complete organ works of Percy Whitlock sponsoring organ-playing competitions, in two concerts. The fi rst concert took America....affordably! the fund has engaged in various projects place at St. Joseph Catholic Church, related to the pipe organ, including com- Wilmette, on December 9; the program missioning organ compositions and fund- included two fantasie chorals and the ing organ-related research. complete Shorter Organ Music Book, consisting of Seven Sketches on Verses Boardwalk Hall, Atlantic City, New from the Psalms, Refl ections—Three Jersey, has posted news regarding the Quiet Pieces, Five Short Pieces, Four aftereffects of Hurricane Sandy. Carl Extemporizations and Six Hymn- Loeser and Eric Dolch have inspected Preludes. The second recital was played the organs at Boardwalk Hall and report ³ page 8 CLAYTON ACOUSTICS GROUP 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] 1-800-621-2624 www.claytonacoustics.com foleybaker.com CLAYTON ACOUSTICS AND SOUND SYSTEM ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP

6 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM “15 years ago, at Southwestern Seminary, we chose a large, four- –Š—žŠ•ȱ••Ž—ȱ˜›ȱ›žŽĴȱž’˜›’ž–ǯȱȱ ȱ‘ŠŸŽȱ‹ŽŽ—ȱ›ŽŠ•¢ȱ™•ŽŠœŽȱ ’‘ȱ ‘’œȱ’—œ›ž–Ž—ȱŠ—ȱ’œȱŸŽ›œŠ’•’¢ȱ’—ȱ ‹˜‘ȱ›Š’’˜—Š•ȱŠ—ȱŒ˜—Ž–™˜›Š›¢ȱ œ¢•Žœȱ˜ȱ ˜›œ‘’™ǯȱȱ‘Žȱ—Ž ȱřǰśŖŖȬœŽŠȱ MacGorman Chapel features a larger ••Ž—ȱŠž–Ž—Žȱ‹¢ȱřŖȱ›Š—”œȱ˜ȱ™’™Žœǯȱȱ ȱ•˜˜”ȱ˜› Š›ȱ˜ȱ™•Š¢’—ȱ‘’œȱ‘›’••’—ȱ ’—œ›ž–Ž—ȱ˜›ȱ¢ŽŠ›œȱ˜ȱŒ˜–Žǯȱ

At the First Baptist Church of Dallas, it has also been my pleasure to oversee the selection of a three-manual Allen ˜›ȱ‘ŽȱŒ‘Š™Ž•ǯȱȱȱ—ǰȱ˜—ȱŠœŽ›ȱž—Š¢ȱ ˜ȱŘŖŗřǰȱ˜ž›ȱ—Ž ȱ꟎Ȭ–Š—žŠ•ȱ••Ž—ȱ ’••ȱ –Š”Žȱ’œȱŽ‹žȱ’—ȱ‘ŽȱŠ‹ž•˜žœȱ—Ž ȱ MacGorman Chapel console worship center nearing completion in ˜ —˜ —ȱŠ••Šœǯ

‘ŽœŽȱ’—œ›ž–Ž—œȱ‘ŠŸŽȱ‘Ž•™Žȱ the organ retain its rightful place ’—ȱ ˜›œ‘’™ȱŠ—ȱ’—ȱ‘ŽȱŽžŒŠ’˜—ȱ˜ȱ church musicians at both Southwestern Ž–’—Š›¢ȱŠ—ȱŠȱ’›œȱŠ™’œȱ‘ž›Œ‘ǯȱ ȱŠ–ȱ‘Š—”ž•ȱ˜ȱ‘Žȱ•ŽŠŽ›œ‘’™ȱ˜ȱ‹˜‘ȱ MADE IN AMERICA. ’—œ’ž’˜—œȱ˜›ȱ‘Žȱ ’œ˜–ȱœ‘˜ —ȱ’—ȱ PREFERRED THROUGHOUT THE WORLD. ‘ŽœŽȱŽŒ’œ’˜—œȱŠ—ȱ˜›ȱ‘ŽȱŒ˜—œž––ŠŽȱ ”—˜ •ŽŽǰȱŽ¡™Ž›’œŽȱŠ—ȱ™Šœœ’˜—ȱ˜ȱ the Dallas/Fort Worth Allen Organ ˜–™Š—¢ȱ›Ž™›ŽœŽ—Š’ŸŽœǯȄ

Dr. H. Gerald “Jerry” Aultman Professor of Music Theory and Chapel Organist Dick Baker Chair of Music Missions and Evangelism Southwestern Baptist Theological Seminary, Fort Worth, Texas First Baptist Church, Dallas console

Allen Organ Company, LLC, 150 Locust Street, Macungie, PA 18062 t (610) 966-2202 [email protected] t www.allenorgan.com Here & There

³ page 6 at Woodfords Congregational Church, and Paraclete presses, and are recorded on December 16 at Loyola University in United Church of Christ, in Portland, on the Albany, ACA Digital, and Gloriae Chicago, featuring the Organ Sonata in Maine, on January 15, the 21st anniver- Dei Cantores labels. His articles on organ C Minor and the Plymouth Suite. sary of his appointment. He will con- and choral music have appeared in The Simone Gheller was born in Padua, tinue as director of Renaissance Voices, Diapason, The American Organist, The Italy. He received master’s degrees from a Portland-based a cappella chorus, as Tracker, and Worship, Music, & Minis- the Pedrollo Conservatory in Vicenza, instructor in organ, music theory, and try, the journal of the United Church of Italy, in piano, organ performance, music history at the Portland Conserva- Christ Musicians Association. He served music education, and choral music and tory of Music, and as a composer and as the editor of Worship, Music, & Minis- conducting. He also received a doctor- organ recitalist. He previously served try from 2008 until 2012. ate in organ and composition from the as organist and choirmaster at Second Stover has served as dean of both the Venezze Conservatory in Rovigo, Italy. Presbyterian Church in New York City New York City and Portland, Maine He has studied at Vienna University for 24 years. While in New York, he was AGO chapters, and has been featured with Michael Radulescu and Roman Eric Plutz also director of music at the Alexander as composer, organist, and workshop Summereder. In 2008 he received Robertson School and organist of the leader at regional and national conven- the “Medaille d’Or en Superieur Eric Plutz is featured on a new record- St. Andrew’s Society of the State of New tions. He sits on the Advisory Board of d’Interpretation” with Eric Lebrun at ing on the Pro Organo label, Denver Jubi- York. He is a graduate of the Juilliard the Friends of the Kotzschmar Organ, the Conservatoire National de Paris. lee, which is the premiere recording of the School, where he studied with Vernon Inc., and served as the organization’s Gheller studied at Oberlin College newly restored four-manual W. W. Kim- de Tar. Previous study was with Robert president from 2003 until 2006. In 2007, with James David Christie and Olivier ball organ at St. John’s Episcopal Cathe- Ivey, Charles A. H. Pearson, Donald G. the Mayor of Portland presented him Latry, where he completed the artist dral, Denver. The restoration was done by Wilkins, and John R. Lively. with the Key to the City in recognition diploma in 2011. He was also the organ- Joseph Rotella and Spencer Organ Com- Stover’s recital credits include concerts of his contribution to the city’s cultural ist at First Church in Oberlin from 2009 pany, Inc. The program includes works by on most major series in New York, at the life. Stover has made seven appearances to 2011. He has recorded the Fiori Musi- Sowerby, Reger, Dupré, Bach, Whitlock, National Cathedral in Washington, West- as composer and organist on American cali by Frescobaldi, the complete choral Gigout, Mendelssohn, Near, and Smart. minster Abbey in London, Harvard and Public Media’s Pipedreams and was works with organ by Alessandro Scarlatti For information: ProOrgano.com. Princeton universities, and many other named an Anniversary Associate of the for the Tactus label, and a selection of venues. His compositions are published by Albert Schweitzer Fellowship in 1989. organ music by Reubke and Liszt for the Augsburg-Fortress, ECS, MorningStar, ³ page 10 Onclassical label.

Andrew Scanlon

Andrew Scanlon continues recit- Christophe Mantoux als this spring: March 10, Holy Trinity Lutheran Church, Greenville, Pennsyl- French organist Christophe Man- vania; April 19, Westminster Presbyte- toux will make his third tour to the rian Church, Charlottesville, Virginia; United States under the auspices of and May 5, Cathedral of St. John the Penny Lorenz Artist Management in Divine, New York City. February 2014. Mantoux is professor of organ and improvisation at the Con- Dennis Janzer and bagpipers at the Irish Heritage Center of Wisconsin servatoire Régional de Paris and titular organist at the church of St. Séverin Dennis Janzer performed the premiere of his arrangement of Amazing Grace in Paris. Winner of the Grand Prix de for choir, bagpipes, and organ in a November concert at the Irish Heritage Center of Chartres, he has performed in North Wisconsin (Milwaukee), using the Milwaukee Scottish Pipes and Drums Band. Rob and South America, Japan, South Korea, McWilliams, Pipe Sergeant, was the featured soloist in organ and bagpipe selections, and Europe. Recent concerts have taken and then joined with the choir on Janzer’s arrangement of Be Thou My Vision, pub- him to Geneva, Switzerland, Bécon and lished by Colla Voce Music. Janzer performed organ solos, including original com- Montauban, France, and Stuttgart, Ger- positions, arrangements, and standard repertoire. Other concerts were presented in many. In August he led the HOST tour November at the Scottish Rite Cathedral, Memphis, Tennessee, and in February of 40 participants from the U.S. and Aus- 2013 at Bethesda-by-the-Sea, Palm Beach, Florida. tralia on a tour of more than 30 historic Janzer was commissioned by the Mark Thallander Foundation to compose an organs from Paris to Poitiers. The tenta- organ, brass, and percussion piece for Thallander to perform on two concerts this fall. tive dates for his next concert tour to the It was decided to use the hymn tune Regent Square, refl ecting the multiple texts U.S. will be February 15–March 3, 2014. Harold Stover associated with the tune—“Christ Is Made the Sure Foundation” and “Angels from For availability and further information, the Realms of Glory”—because one concert was presented at a Festival of Thanksgiv- contact Penny Lorenz at 425/745-1316 Harold Stover retired from the posi- ing at Hadwen Park Congregational Church, UCC, Worcester, Massachusetts, and or [email protected]. tion of organist and director of music another at a Christmas concert at St. Paul’s Presbyterian Church, Ottawa, Canada. Recent honors include a 2012 ASCAP Plus award from the American Society of Composers and Publishers in recognition of the quality of Janzer’s works and of their performances in unsurveyed media/venues such as churches and student recit- als; 2011 Composer of the Year award from the Greater Memphis Music Teachers Association; and 2012 Ostrander Award Nominee for Best Musical Theater Director. More information about Dr. Janzer and his performances and compositions can be found at www.djanzer.com.   035DWKNH,QF 3LSH2UJDQ%XLOGHUV   3RVW2IILFH%R[ 6SLFHODQG,QGLDQD86$ 7HO)D[ ZZZUDWKNHSLSHRUJDQVFRP

8 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM The sound of the organ rouses the emotions, quiets the mind and ele- vates the soul. The organist knows it, feels it, hears it. In churches, audito- riums and concert halls Monarke organs create the same effect as a full pipe organ.

But above all it is the sound that is utterly convin- cing. The quality of the sound is the key - the sound of the organ in all of its fullness. Monarke organs are the ultimate alternative to the classic pipe organ.

Keplerlaan 2, 6716 BS Ede, The Netherlands, telephone: 011 31 318 63 74 03 www.johannus.com Here & There

³ page 8 awarded the Prix d’Excellence in 1977. carrying the melody. Aria from the Opera Meditations for Organ (moderately easy, He was organist of the Nicolaïkerk in “Ptolemy,” arranged by Edwin Arthur MSM 10-785, $9.00). For information: Utrecht for more than 20 years and is Kraft (1883–1962), is from Handel’s www.morningstarmusic.com. active as a soloist and continuo player opera Tolomeo; it has been sung at wed- and as an author and translator. His dings as “Father in Heav’n Abiding” or in Recordings translation of Ton de Leeuw’s Music of the version known as “Silent Worship.” Regent Records announces new the Twentieth Century was published by Processional Grand March, by Samuel releases: An Ebor Epiphany features Amsterdam University Press. In 2006 he B. Whitney (1842–1914), contains such the Choir of York Minster directed by was awarded the St. Martin Medal of the novelties as a Crescendo Pedal and Robert Sharpe in selections for Eucha- city of Utrecht for his contribution to the rapid alternation of hands on different rist, Matins, and Evensong for Epiphany cultural life of the city. manuals. It was his fi rst published organ Sunday (REGCD391). Awake My Soul work (Opus 25) from Arthur P. Schmidt features the Girl Choristers and Lay- Publishers in 1877. Also available is a free booklet, Clerks of Southwark Cathedral Choir GIA Publications, Inc. announces Pipe Organs of Rock Hill, by Billy White. directed by Stephen Disley in works by new volumes of psalmody, chant, songs, White’s comments cover organs other Parry, Farrant, Byrd, Morgan, Chilcott, and instrumental music. The Lyric Psal- than the famous Aeolian-Skinner at Win- Tallis, Bingham, Leighton, and others ter: Solemnities, Feasts, and Other Occa- throp. For information: http://michaels (REGCD387). In Dublin’s Fair City sions, by Marty Haugen and Tony Alonso musicservice.com. features the Choristers of St. Patrick’s (G-8350, $20.00), uses texts from The Cathedral, Dublin, directed by Stuart Revised Grail Psalms; the fi rst in a series MorningStar Music Publishers Nicholson, in works by Parry, Burgon, of four volumes, it covers such feasts as announces new organ music titles. Warlock, Britten, Vaughan Williams, Ash Wednesday, Easter Vigil, and All Michael Burkhardt’s book Creative Rutter, and others (REGCD396). For Stephen Taylor Saints. The volume for lectionary year Hymn Playing focuses on improvisation, information: www.regentrecords.com. C (G-8353, $25.00) includes such feasts and includes sequentially structured Stephen Taylor is the author of a as the fi rst Sundays in Advent and Lent, improvisation exercises as well as 30 Organ Builders new book, The Lost Chord, a three-part Most Holy Trinity, and selected Sundays written-down hymn-tune improvisa- Austin Organs, Inc., is completing tutor for those who wish to learn key- in Ordinary Time. tions that can be used as hymn intro- the installation of a new 100-rank organ board harmony, particularly designed Canticum Novum by Anthony Ruff, ductions and voluntaries in worship at First Baptist Church, Washington, for organists. Previous experience in OSB presents Gregorian chant for (MSM 10-380, $29.95). Also available is D.C. The fi ve-manual console of red oak harmony is unnecessary, but a reason- today’s choirs (G-7559, $16.95). The Burkhardt’s Ah, Holy Jesus, six moder- features bone/walnut keyboards and a ably developed keyboard technique is book contains 100 hymns and antiphons ately easy Lenten hymn improvisations 100-level combination action. The com- required so that four-part harmoniza- with psalm verses for every season and (MSM 10-348, $12.00). Other new pleted console was featured at the AGO tions can be read and played with ease. occasion; psalm verses are in Latin and works are Aaron David Miller’s Fan- national convention in Nashville in July. The level of diffi culty increases gradu- English, with pointing to match the tasy on Lobe den Herren (moderately Other projects include a mechanical ally. Each new step is accompanied by psalm tones. Song collections include diffi cult; MSM 10-375, $14.00); Janet rebuild, tonal additions, and a new black the appropriate music theory. The con- With Great Love, by Chris de Silva Linker’s Variations for Organ on Lift walnut four-manual drawknob console cise text is extensively illustrated with (G-8305, $26.50), In Beauty We Walk, High the Cross (medium, MSM 10-333, for Opus 1215 at St. Matthew Lutheran music examples; many of these are taken by Ian Callanan (G-8230, $22.00), and $12.00); Robert J. Powell’s Prayer- Church, Hanover, Pennsylvania; a from hymn tunes, and certain historical God Is Love, by Paul Melley (G-8229, ful Preludes (moderately easy, MSM new four-manual console, mechanical developments are also clarifi ed. $17.00). One in Love and Peace, by 10-645, $9.00), and Ryan Patten’s Three rebuilding, and tonal enhancement of The fi rst part of The Lost Chord deals Bob Moore and Kelly Dobbs Mickus with scales and keys, intervals and triads, (G-8246, $39.95), is a comprehensive and offers the fi rst exercises in the har- collection of twenty-three frequently monization of cadences and melodies. requested wedding preludes, proces- The second part introduces the fi rst sionals, and recessionals, arranged for inversion of the triad and subjects such both organ and piano. For information: as dissonance and consonance, synco- www.giamusic.com. pation, and modulation. In addition to melodies, basses are harmonized. In the Jazzmuze, Inc. announces the release third part, attention turns to the second of a new organ work by Joe Utterback, inversion of the triad, the chord of the Joshua Fit the Battle of Jericho, which seventh and its inversions, passing notes, explores jazz idioms. It was composed and auxiliary notes. for Tyler Canonico, who won an AGO The Lost Chord equips the player to regional competition and played the harmonize a wide range of melodies, composer’s This Little Light at the 2012 and also covers all the chords required AGO convention in Nashville. Canonico’s to realize the fi gured basses of Baroque performance of This Little Light can be music. The English translation com- heard at www.jazzmuze.com. prises all three volumes (340 pages) and is available from Boeijenga Music Michael’s Music Service announces Publications, www.boeijengamusic.com. new sheet music. Forest Vesper, by ISBN 978-94-91559-01-3; Boeijenga Edward W. Johnston (1879–1919), Edition no. BE 1120. published in 1914 by J. Fischer, is suit- Stephen Taylor was a chorister at Bris- able for an orchestral organ or theatre Patrick J. Murphy & Associates open house tol Cathedral and organ scholar of Jesus organ. Rimembranza (“Remembrance”), College, Oxford. In the Netherlands he by Pietro Yon (1886–1943), subtitled Patrick J. Murphy & Associates marked the culmination of their 25th anniver- studied with Ewald Kooiman, Nico van “Melody for Oboe,” dedicated to Roland sary year by hosting a holiday open house for more than 200 guests on December 30. den Hooven, and Jan Welmers, and was Diggle, calls for simple stops with an oboe The new III/47 organ built for Trinity Lutheran Church, Reading, Pennsylvania, was set up in the erecting room and playable from the console. Pastor Fred Opalinski and director of music Karen Eddinger gathered many of their parishioners around and sang familiar Christmas carols with the new instrument. The afternoon also included shop tours, opportunity to chat with the craftsmen, voicing demonstrations, and a sumptuous spread of delicious food catered by PJM Service Manager Mathew Newcome’s daughter, Christiana. More photos of the event as well as further information on Patrick J. Murphy & Associates can be found at , . pjmorgans.com and on Facebook. PIPEOE ORGANCN CURATORSS, CONONSERS RVATORSORS & CONNSUSULS TANANA TS THE WANAMAKER ORGAN Specialists in Restoration, Conservation, Voicing Listen to it worldwide & Tonal Finishing of over the Internet! High-Pressure Pipe Organs Hourlong streamcasts are featured at 5pm ET 1845 South Michigan Avenue #1905 the first Sunday of Chicago, Illinois 60616 each month at wrti.org 312-842-7475 | [email protected] | www.jlweiler.com

10 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM Here & There

Opus 1576 at Church of the Savior, Cleveland Heights, Ohio; a new four- Nunc Dimittis manual console, mechanical rebuild, and tonal enhancement for Opus 1702 at Old St. Mary’s Church, Cincinnati, Ohio; William C. Hain, 89 years until his retirement in 1991. He was simultaneously uni- tonal revision of Opus 2344 at St. Mark’s old, died on December 29, versity organist, director of music at Marsh Chapel, direc- Episcopal Church, New Canaan, Con- 2012 in West Miffl in, Pennsyl- tor of the Master of Sacred Music program, conductor of necticut; and a new four-manual console vania. Born January 13, 1923 the Seminary Singers (which he took on tour every year), and tonal improvements for Opus 2536 at in Pittsburgh, he worked for and professor of organ in the School of Music. In 1983 he Trinity College, Hartford, Connecticut. the Samuel Bowman Organ composed the tune Marsh Chapel for use with the text Austin has also launched a new web- Company before serving in “Awake, O sleeper, rise from death.” site. For information: the Army during World War Miller was the guiding spirit in the founding of The www.austinorgans.com. II. He returned in 1944, and Organ Library, located in the Boston University School of continued his work with the Theology; it has grown to be one of the largest collections Casavant Frères reports on projects Bowman Company. In 1950, of organ music in the world, accessible though a searchable completed in 2012: new organs for St. he and Joseph Kibler started database. The Organ Library awards the biennial Max B. John’s Evangelical Lutheran Church, Organcraft, which they con- Miller prize to outstanding books devoted to organ litera- Sinking Spring, Pennsylvania (II/24); tinued together until Kibler’s ture and performance. Max Burdorf Miller is survived by Immanuel Baptist Church, Paducah, retirement in 1977. They William C. Hain his wife of 52 years, Elizabeth (Hyde) Miller, three sons, and Kentucky (III/38); St. John’s Episcopal both served as sales and ser- fi ve grandchildren. Contributions in memory of Dr. Max B. Church, Georgetown Parish, Washing- vice representatives for Casavant Organs during the 1950s Miller may be made to the Organ Library in the School of ton, D.C. (III/39); St. John’s Episcopal and ’60s. Hain’s son William joined Organcraft in 1977, at Theology at Boston University, 745 Commonwealth Ave., Church, Cold Spring Harbor, Long which time both were appointed as service representatives Boston, MA 02215. Island, New York (III/43); the Kauffman for the Austin Organ Company. Center for the Performing Arts, Kansas Hain continued working with his son until age 85; he William “Bill” Brant Mills, 68, died February 18, 2012, City, Missouri (IV/102); and the John had worked on most of the organs in the Pittsburgh area. in Florence, South Carolina. He earned a BMus degree in F. Kennedy Center for the Performing Known for his expertise as well as his kind and gentle organ from Florida State University, and MMus in organ Arts, Washington, D.C. (IV/85). nature, William Hain dedicated his life to the pipe organ from the University of South Carolina, and did postgradu- Restoration projects include the Casa- profession, even playing the organ for residents at his ate work at Indiana, Southern Methodist, and Stanford vant organs at Madison Avenue Presby- retirement home. Predeceased in 2012 by his wife, Anna universities, and Columbia College. Mills was a diaconal terian Church, New York City (III/73, Marie, William C. Hain is survived by his son, William C. minister in the United Methodist church and director of 1961); St. Mary’s Seminary, Baltimore, Hain II, his daughter, Patricia Ann Witt, six grandchildren, music-organist at Central United Methodist Church in Maryland (III/33, 1954); and Covenant and three great grandchildren. Florence, South Carolina for more than 42 years. A well- Presbyterian Church, Tuscaloosa, Ala- —Edgar Highberger known pianist and accompanist, he was founder and direc- bama (III/45, 1971), after being severely tor of the Masterworks Choir in Florence in 1979; in 1995, damaged by the tornados of June 2011. Max Burdorf Miller, the choir, along with the Central United Methodist Church Projects for 2013 include new organs age 85, died January 5 in Choir, toured Austria and Germany; they also participated for the Maison symphonique, Montreal Marlborough, Massachu- in the Festival of Churches programs as part of the Piccolo (IV/117); Palais Montcalm, Quebec City setts. Born in 1927, Miller Spoleto festival. The Masterworks Choir was selected to (III/51); First Presbyterian Church, began his study of the sing choral works of Robert Powell upon Powell’s retire- Kirkwood, Missouri (III/76); rebuild and organ in his native Califor- ment. William “Bill” Brant Mills is survived by a son, a restoration projects include a 1926 Casa- nia; while studying Arnold daughter, and four grandchildren. vant organ (IV/54) to be installed at St. Schoenberg’s Variations on John Cantius Church, Chicago, Illinois; a Recitative, he received David D. Sly died October 20, 2012. He was 64 years and a 1958 Casavant organ (III/42), to coaching from the com- old. Born in Saginaw, Michigan, he earned his BMusEd be installed in First United Methodist poser. He and his wife Betty degree from Olivet College, and a master’s and doctor- Church, Hurst, Texas. For information: lived in Vienna for several ate in counseling from Michigan State University. Sly www.casavant.ca. years in the 1950s, while was organist and directed the chancel choir at Marshall Max studied with Anton United Methodist Church for more than 35 years, and Lewtak Pipe Organ Builders will Heiller. Miller received his directed many high school and community theater musi- hold an open house and shop recital on Ph.D. from Boston Univer- Max Burdorf Miller cals. He received a Lifetime Achievement Award from March 23 at 3 pm, featuring the new sity, and was a Fellow of the the Marshall Civic Theatre and an Outstanding Alumnus organ for Østerhåb Kirke in Denmark. American Guild of Organists; for many years he wrote the Award from Olivet College; he served twice as dean of the The instrument will be the fi rst ever “Ask Uncle Max” column for The American Organist. Southwest Michigan AGO chapter. David D. Sly is sur- American-built organ in Denmark. The Miller served on the faculties of the School of Music and vived by his sisters, fi ve nephews, and eight grand nieces recital will be performed by Ulrik Spang- the School of Theology at Boston University for 42 years and nephews. Q Hanssen, professor of organ at the Royal Danish Music Conservatory in Aarhus. The new organ is a two-manual tracker of 26 stops and 35 ranks. Stop action is electric with 2,000 memory levels. The façade complementing the modern inte- KOBE ANGLICAN CATHEDRAL, JAPAN rior of the sanctuary was designed by the Danish fi rm of Birch and Svenning of Horsens, Denmark. The open house and recital will take place in the rented space The Anglican Cathedral of St Michael in Kobe has commissioned a new of the Stokes County Yarn Company in two manual and pedal organ with 18 stops. The organ is to be built at the Cooleemee, North Carolina. For infor- liturgical west end of the building in a space, which was reserved for the mation: 336/749-3829; www.lewtak.com. organ when the cathedral church was built. Quimby Pipe Organs is completing the restoration of the E. M. Skinner and Delivery is anticipated for the middle of 2013 and when completed, it will Aeolian-Skinner organs at the Cathedral be the eighth instrument Mander Organs has built in Japan. The key and of St. Paul in St. Paul, Minnesota. The pedal action will be mechanical with electric stop action. The asymmetrical fi rm began reinstallation in January. The instruments will be heard for the fi rst case is to be of European oak. time at the Easter Vigil on March 30. The project included complete tonal Kobe is situated in an active earthquake area, which means measures have refurbishing of both organs; replace- to be taken to protect the instrument and any people standing near it at the ment of the electrical switching system with solid state; releathering the 1963 time of an earthquake. Aeolian-Skinner; two new identical four-manual consoles; tonal regulation; additional stops to the Great organ in the ³ St Peter’s Square - London E 2 7AF - England ³[t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 ³[e] [email protected] gallery; structural improvements to the gallery; and ornamental casework for the gallery organ. Vespers and rededication of the MANDER ORGANS organs takes place April 21 at 7 pm. For information: www.cathedralsaintpaul.org www.mander-organs.com and www.quimbypipeorgans.com.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 11 In the wind...

Color my world you get black.) The website I visited says expressive musical instrument because the bathroom, takes one look, and says, artists still prefer the additive system the basic unit of musical tone—one organ “You’re not wearing that, are you?” We that uses red, yellow, and blue.1 That’s pipe playing one note—cannot be altered all think we know when colors clash, but a relief! Seems to me that the world of in volume or timbre. That fact is true while there are some basic rules, you art would be a different place if Rubens, enough, but it’s like saying yellow is a bor- have to judge each comparison sepa- Rembrandt, Monet, and Picasso had ing color because all it can do is be yellow. rately. Otherwise, it would be impossible cyan, magenta, and yellow on their pal- Pratt & Lambert shows me Old Linen, for two shades of red to clash. I have ettes as primary colors. Buttery, Golden Glimmer, Bay Rum, and a pairing of red shirt and red tie that I Colorado Sand as complementary shades think looks great, but there are also a Colors in music of yellow, and I haven’t touched the blues, couple doozies of possible combinations I’m a devoted fan of Captain John reds, or greens. It’s ridiculous and ignorant of red hanging in my closet that Wendy Aubrey, the principal character in Patrick to say that a pipe organ is not expressive. would question, rightly. O’Brian’s series of novels about the Brit- When we register a piece of music ish Navy during the Napoleonic Wars. on a particular organ, we have to judge In the fi rst scene of the fi rst novel, Jack each combination separately. It’s not meets Stephen Maturin (a physician, safe to assume that because it sounded Paint color swatches drug addict, and elite member of Naval good on one organ, that it will also sound Intelligence) at a concert by a string quar- good on another. Twenty years ago I was serving a New tet. They are as different as two men can In his wonderfully researched book, England Congregational church as music be, but after their introductory dispute The Language of the Classical French director, bringing the glories of the Eng- they become fi rm and fast friends, and Organ (Yale University Press, 1969), lish cathedrals to the land of the Puritans. they share a love for music. Jack plays the Fenner Douglass presents detailed It was a dirty job, but someone had to do violin (his “on land” violin is a Guarneri), information about the various “stan- it. The moderator of the parish council Stephen plays the cello, and through the dard” registrations in seventeenth- and was a curmudgeonly attorney who lived in twenty-year span of the war, they spend eighteenth-century French organ music. an attractive house sited prominently on a thousands of evenings playing together Stop knobs He opens Chapter 5 (Registration in the corner lot along my route to the church. in the captain’s cabin while enjoying their Classical Period) by citing the prefaces The Sunday after contractors fi nished customary toasted cheese and Marsala. Let’s consider an eight-foot fl ute stop, a to various famous “books” of organ painting his house, I teased that he had In the second novel, Jack is promoted simple enough subset of organ tone. But music, the Livres d’orgue of Corrette, his house painted pink. He responded from the rank of Master and Com- is it a Flauto Dolce, Gedeckt, Melodia, Nivers, Lebègue, Boyvin, and many in his usual gruff way, “It’s Chippendale mander (remember the Russell Crowe Harmonic Flute, Rohrfl ute, Spitzfl ute, others. He boils all that data down into Rose.” Ha! My point. It was pink. movie?) to Post Captain. That night, in Koppelfl ute, Hohlfl ute, or Flûte Triangu- charts that compare the registrations When placing organs in church build- his happiness, he dreamed about a paint- laire? Nine different fl ute stops, each with for Le Grand Jeu, Fugue, Le Duo, etc. ings, we often leaf through the “swatch ing owned by his old nanny, now wife of a unique tone color, and each comprising by all these composers. It’s terrifi c mate- fans” provided by paint companies, and the First Lord of the Admiralty, the man pipes of different shape and construction. rial for informing our playing today, but I always wonder who invents the names who had promoted him: Could you discern between them in a does it have any real meaning if we don’t of paint colors. The website of the paint hearing test? Could you name each one if hear those registrations on the specifi c Some exquisite dreams: the Magdalene company Pratt & Lambert shows a cozy- in Queenie’s picture saying, “Why do not shown photographs of the various pipes? organs? One chart shows that in 1676, looking room featuring the colors Pearl you tune your fi ddle to orange-tawny, yel- Or do you just draw an eight-foot fl ute Nicolas Lebègue uses Grand Jeu de Tint, Toasted Wheat, Dusk Sky, and low, green, and this blue, instead of those because you always use an eight-foot fl ute Tierce for the left hand of Le Duo, while Gloaming. The P&L color experts deem old common notes?” It was so obvious: he in this piece as if you were painting a wall Dom Bedos suggests sixteen-foot foun- and Stephen set to their tuning, the cello this to be a winning combination. The fi rst brown and full crimson, and they dashed yellow instead of Golden Glimmer? dations. Who is right? And what organs three names give clues as what the colors away in colour alone—such colour!2 Pratt & Lambert says: were they using? might be, but “gloaming?” What’s gloam- Assuming the Möller organ in your - The color of the sun, yellow is associated ing? Its root, glom, is an Old English word When I fi rst read that passage I with laughter, happiness and good times. church has all the correct names and of Germanic origin that means “twilight,” immediately compared it to playing the It can cause the brain to release more se- pitches on the knobs as cited by Fenner and is related to “glow.” So gloaming organ. We accept the traditional system rotonin, which makes people feel optimis- Douglass, does the historically correctly refers to the glow of twilight. I would of notes, harmonies, and tuning as com- tic. It even has the power to speedup [sic} drawn Grand Plein Jeu sound anything metabolism and drive creativity. However, describe the color in the photo as a sort mon with all other instruments, but the yellow can be overpowering if it’s not used like what Lebègue was hearing? Simply of dark ecru—“twilight” and “glow” mean organ is unique because of its range of sparingly in just the right places. Use it to and defi nitively, no. Douglass has given something else to me than dark ecru. color. A pianist or fl autist can conjure up add zest to a cool palette of blues or grays. us a great gift by collecting this informa- It can also work well with orange, red, olive The printer on my desk spoke to me contrasting tone colors by varying the 3 tion, but you still need to use your ears. the other day. A cute little chime rang and physical forces involved in playing their green or brown. the screen informed me that I needed to instruments, but if you sit at an organ It would be easy to paraphrase this Shutter bugs replace the cyan cartridge. Cyan? It’s a console and compare a Cromorne to a when discussing organ stops: Besides choices of colors, many mod- sort of light blue. My printer has three Diapason, a Trombone to a Rohrfl ute, or ern organs have an additional dimension A Cornet can be overpowering if it’s not color cartridges: cyan, magenta, and yel- an Open Wood to a Tierce, you realize used sparingly in just the right places. Use of expression. Enclosing a group of stops, low. I think of primary colors as red, yel- that the organ is a collection of instru- it to add zest to an Oboe, Cromorne, or usually all the stops of one keyboard, in low, and blue, so I googled to learn that ments that contrast and complement Trompette. It can also work well with Prin- a tightly and heavily constructed “box” there are now at least three basic systems each other, and like the painter’s palette cipals at eight and four-foot. with movable shutters on one or more of of blending colors, each based on three of colors, the organ’s drawknobs allow the faces, allows the organist to simulate “primary” colors. the musician to blend a fi nite number Is your imagination strong enough to control over the volume of a single organ The standard for photography, televi- of basic timbres into a seemingly infi nite fi nd ways to use that Cornet that will pipe. This does not literally answer the sion, and video screens is an “additive” number of color combinations. make people feel optimistic? conductor’s ignorant criticism because system that uses red, green, and blue. the pipe is still only speaking one pitch The standard for printing is a “subtrac- Express yourself in color Clashing or harmony? at one timbre at one volume level. tive” system that uses cyan, magenta, and I’ve heard that some symphony con- You and your partner are getting But it increases the organist’s palette of yellow. (Combine those three colors and ductors consider the organ to be the least dressed for a party. She comes out of colors exponentially.

AHIGHER L EVEL of E XCELLENCE

Great musicians need extraordinary instruments to deliver magnificent performances.

P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com

12 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM By John Bishop

When I was a teenager, a mentor not listening as we register pieces, why listening to my preparations for a recital should we expect the audience to listen? commented that if everyone used the Once when a colleague was demon- Swell Pedal like I was, they’d have called strating the organ in his church to me, it a crush. I was closing the box at the end he drew a huge combination of stops and of a phrase, and popping it open before told me that was his typical registration starting the next phrase, using only half for postludes. Yikes. Easter I? Advent I? of the device’s possibilities—but I was Pentecost XVIII? Bach? Widor? Stanley? still too green to realize that the expres- You go to a restaurant and order sion is about more than volume. It’s also a chicken breast with lemon, butter, an important tool for the creation and capers, and parsley. Delicious. Next manipulation of tone color. week you go a different restaurant and When two or more manuals are order chicken breast with lemon, butter, coupled together, moving the expression Stop tabs capers, and parsley. And the next week, pedals changes the emphasis from one and the next. Different chef, different tone color to another, taking the organ’s especially in a spacious acoustic. Would cooking temperature, different weather, color spectrum from the fi nite number the Buxtehude cops storm into the but same ingredients. Can we think of a If you’re listening when you draw stops, of possible combinations of stops to church if I played that opening pedal different way to cook a chicken breast? there aren’t many wrong answers. You’ll the infi nite. Here’s a simple example. solo on a four-foot Koppelfl ute? Would How many different colors can you know if the tie clashes with the shirt. Have You might play the opening verse of a the fi rst-time listener be disappointed? paint a front door and still be correct? a blast. Put it on my tab. But hold the hymn on Great Principals with a Swell If you, as an educated and experienced If we say Swell instead of crush, why do capers. They’re not my favorite. Q Trumpet coupled in, saving the more organist, went to an organ recital and we call them stops? That seems limiting. Notes powerful Great Trumpet for later. Add the performer had the nerve to do that, Why don’t we start calling them Go’s? No 1. http://hyperphysics.phy-astr.gsu.edu/ to that registration the dimension of would you be offended or disappointed? matter how many of you agree with me, hbase/vision/pricol2.html starting the verse with the Swell Box Are you just as happy to hear the same we’re probably stuck with stops. It would 2. Patrick O’Brian, Post Captain. William closed, and open it gradually as the choir piece played with the same registration sound ridiculous for a politician to say, Collins Sons & Co., Ltd, London, 1972, page 421. comes down the aisle. The sound of the by every organist on every organ? Or are “We’re pulling out all the go’s.” But in your 3. http://www.prattandlambert.com/color- Trumpet is subtle at fi rst, and blooms you excited when someone offers a fresh mind’s eye—and ear—think of them as and-inspiration/learn-about-color/moods-of- into being the principal ingredient of the approach to an old warhorse? If we’re opportunities, possibilities, or ingredients. color/yellow/ aggregate color. Think of an “Old Master” painting. When Meindert Hobbema takes your eyes from the green of a tree canopy to the blue of the sky, he takes you through an infi nite spectrum of colors. Compare that to the results of a color-by-number kit in which the boundary between one color and another is defi ned by a stark Get Real black line. And think of the artist making a drawing with charcoal or pastel, using her fi ngers to smudge the lines to create shading. Smudge is no better a descrip- tion for the use of the expression pedals than crush, but the creative colorist at the organ can use the expression pedals to enhance the transitions from one color to another. That’s painting with sound, like Are you purchasing real sounds, Captain Aubrey’s colorful violin strings.

Stop, look, and listen or recorded sounds? In these pages, I’ve often mentioned ...real pipes last for centuries. formulaic organ registration. You play the opening of a baroque Prelude and Fugue on Organo Pleno—Principals eight, four, and two, plus Mixture. You’ve always done it that way. Fair enough. That implies that the opening of Bach’s B-Minor Prelude (a high and screechy B) should be registered the same as his Dorian Toccata (middle of the keyboard canonic counterpoint). We are free to choose registrations that refl ect the response of the specifi c instru- ment playing the specifi c notes in the specifi c acoustic. I think of my own performances of Bach’s B-Minor, how in the boop-da-da- da-da-da, boop-boop-da-da-da-da-da, boop-boop episode of the fugue I always reduced the registration to fl utes at eight and two. Always. As I think about the opening of that great piece, I wince at the high B. What about starting on a smaller registration (that hymn registration I described ear- lier?) so the opening high B is less jar- ring. And here’s a radical thought. I know organs that simply don’t have stops that can be combined to give an impressive and dignifi ed sound on that high B, so maybe I won’t play that piece on one of those organs—the ultimate registration discretion. There are other pieces. NORTH Have you ever heard an organist AMERICA’S play the opening pedal solo of Buxte- hude’s Prelude, Fugue, and Chaconne PREMIER on anything other than pretty-much full ORGAN BUILDING organ, including reeds and mixtures, & SERVICE FIRMS and manuals coupled to the pedals? Me neither. Why doesn’t someone play it APOBA.COM 800-473-5270 on a four-foot fl ute? One of my favorite organ tones is a good clear Koppelfl ute,

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 13 On Teaching

Organ Method VI the next in the kind of small, smooth arc As usual, this month’s excerpt follows that you have already practiced. directly from the end of last month’s. It Playing this scale this ways adds one includes the most important practical new element: in the middle of the scale, parts of the beginning of work on pedal going from d to e, you follow a note in playing. It covers similar ground to the one foot with a note in the other foot. columns on pedal playing that I wrote Many students initially fail to move the several years ago, but in a way that is right foot in close enough—that is, far addressed to the student directly. In pre- enough left—and accidentally play an f paring this excerpt I have been reminded instead of the e. If this happens to you, Example 1 of the importance of explaining every- then be conscious of the need to move thing to the student in as thorough a way the right foot a bit farther left when it is as possible—not simply saying “play time for that foot’s fi rst note. Again, it is this exercise because I tell you to: you’ll not important, and in fact not fruitful, to learn why later on.” This is especially be too calculating about this. Just move true for a Method that will mostly be the foot closer to where the correct note used by highly motivated adult students, should be. and that may be used without a teacher. You will notice that as the right foot However, I also want to be sure that this moves in to play the e, the two feet need thorough explanation is not cumbersome to avoid bumping into each other. This and does not make for heavy reading. I can be accomplished in a number of would appreciate reader feedback about ways: tilting the feet enough; releasing this, as well as about anything else. one note early enough to allow the next This stage—the introductory prac- note to be played cleanly; or playing the Example 2 ticing described above—is extremely two notes at different places along the important, and you should spend enough length of their pedal keys—one closer are playing both feet off the big toe side, side of the keyboard than it did with time with it so that it becomes easy and to the sharps and fl ats, one closer to they are less inclined to bump into each the fi rst exercise. The fi rst of these dif- natural, as if you had been doing it your you on the bench. This is (like choices other than if you are playing them off ferences is one that requires only good whole life. Though it is simple—just two about whether and which way to tilt the the little toe side). concentration. The second also requires or three notes at a time, slow, unmea- feet) an individual matter: each player After you have practiced this scale that you plan properly for the turning of sured—it is actually the most signifi cant has to devise a method that is effective going up, try it also going down. The each foot and for the positioning of the step in learning to play pedals. Stay with and correct for him or her, since it can technical issues are exactly the same. feet with respect to each other as you it long enough to master it: if that occu- vary with the individual physique of the To recap, in playing this A-natural- move up and down the keyboard. As you pies several hours of practice time, or if player. For example, the larger your feet minor scale you are continuing to work on go up the keyboard, the left knee, leg, it spreads out over days or weeks, that is are, the more you will have to work con- moving each foot over the distance that and foot naturally move away from the fi ne. This will save you time later on. sciously to keep them clear of each other takes you from one natural note to the bench; as you go down, the right knee, when they are playing notes that are next, but through more of the keyboard, leg, and foot do so. Pay attention to this Playing pedal scales close together. In general, separating and you are beginning to experience the in making choices about tilting and other When you are comfortable with this the feet along the length of the keys— feeling of playing two adjacent notes positioning of the feet. playing of small groups of adjacent notes, one forward, one back—is the approach with your two feet in succession. You are An absolutely secure sense of what then you are ready for the next pedal that is the most certain to be effective. also continuing to notice carefully the the distance between two adjacent exercise—longer groups of adjacent In the case of the two middle notes of position of each foot in all aspects. All of notes feels like—for the toes of one notes: those that we call scales. Or, really, this scale, try that separation both ways: the distances between notes are, so far, foot travelling from one note to the next one set of scales in particular. left foot forward/right foot back, and the same. The next step, however, is to through a small arc in the air above the Find the note “A” nearest to where right foot forward/left foot back. Is one begin to introduce different distances, keys—is the foundation of confi dent, your left foot rests naturally. This is the of them more comfortable than the by changing the minor scale to a major accurate pedal playing. It is extremely lowest A on the pedal keyboard. Now other? (Here in the middle of the pedal one. Both of these scales/exercises are important that you stick with the exer- play—slowly, lightly, and steadily—an keyboard it is quite likely that both will encapsulated in Example 1. (Note: cises that I have outlined thus far until A-natural-minor scale starting on that be comfortable. This is not always the The key signature in parenthesis means they have become utterly well learned, note. That is, the natural keys from that case elsewhere on the keyboard or in that the exercise should be played both easy, comfortable, natural, and auto- A up to the next A. Play the fi rst four more complicated passages of music. with and without that key signature. For matic. As always, keep everything slow notes (A,B,c,d) with the left-foot toes, Later on I will discuss approaches to fi g- most exercises that I notate this way it and relaxed, and don’t look. the next four notes (e,f,g,a) with the right uring this out under various conditions.) is best to start with all-naturals, since toes. Observe all that you have already How far do you have to separate them any sharps or fl ats change distances and Larger intervals on the pedals learned and practiced about foot posi- to feel sure about the feet not bumping introduce irregularities, which are bet- The next step is, of course, to begin to tion—make appropriate decisions about into each other? How does it change the ter dealt with after the regular pattern move each foot over a distance greater which way to tilt each foot, and how situation if you tilt the feet more or less, has been learned.) than that from one note to the next. much to tilt it. Move from one note to or to the other side? (In general if you It is important to stay with this set of The fi rst exercise for this is shown in scales until they all feel really solid— Example 3. Here each foot takes a turn minor, major, up, down. It is also impor- moving the distance of a third: the left 4A?RRCPCBJC?TCQDPMKMSP4AP?N@MMI tant not to allow this exercise to become foot on the way up, the right foot on particularly fast. The awareness of dis- the way down. Meanwhile, the other tance on the pedal keyboard that this sort foot continues to practice what we have “There are some CDs Special mention of practicing is meant to develop will be already learned. The correct way to imprinted on the brain more effi ciently begin to learn and internalize the feel- that engage from the must be made of the and more lastingly the more slowly you ing of moving the foot from one note to very start: this is one Rachmaninoff, for carry out the physical gestures. The half the note a third higher is this: simply tell of them (Bravo Dolce this is orchestral notes in this exercise should probably yourself that you must move that foot a Pro Organo CD7219). organ playing of a never get any faster than 60 per minute, little bit farther than you moved it to go John Cummins is high standard where and should certainly start much slower to the adjacent note. If this doesn’t work a player of prodi- the music sounds than that: as slow as necessary to allow the fi rst time—if you move your foot too gious technique and as if written for accuracy and comfort. little and only play the next note, or over- the organ a giant. organ rather than shoot to the third note or beyond—then Cummins shows orchestra and the Alternating feet correct the motion the next time by The next exercise is shown in Example moving farther or less far. This way of sensitive use of stops, composer’s original 2. Each foot is in fact doing exactly the thinking about it works. It is not neces- swell boxes and intentions are faith- same thing that you have already been sary to try to analyze the distances more phrasing in a fine fully reproduced.” working on: moving up or down by step. precisely than this: that will happen at a performance. The The new elements are these: that the not-quite-conscious level, and trying to organ seems to have The Organ feet are interpolated with each other—so be conscious about it is distracting. It is limitless versatility! that you have to keep track of both feet necessary to avoid looking, and to avoid at more or less the same time—and each bumping the feet along the keys count- foot moves farther away from its natural ing notes or otherwise trying to rely on

Fruhauff Mussiic Publliicattiionss Music of Ed Nowak Schoenstein & Co. Compositions, Historical Transcriptions, Choral, hymn concertatos, psalm Hymn Tune Settings & Liturgical Music  Scores for Organ, Voices, Carillon & Ensembles  settings, organ, piano, orchestral Established in San Francisco 1877 www.frumuspub.net and chamber ensembles š D P.O. Box 22043 E www.schoenstein.com e (707) 747-5858 Santa Barbara, CA 93121-2043 http://ednowakmusic.com

14 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM By Gavin Black

Example 3a

Once you have practiced these exer- cises until they feel easy and reliable, you are ready both to go on to a selec- tion of pedal parts from pieces—ones that are appropriate to play with toes alone—and to begin to work on a few simple exercises for heel playing. I can- not stress enough that it is important to become fully comfortable with the exercises above before moving in these two other directions. In most pedal enjoy, or one which is part of a piece that parts in the organ repertoire—includ- you would like to learn in full later on: ing in hymns and other accompaniment J. S. Bach, Pedal Exercitium situations—almost all of the notes are J. S. Bach, Toccata and Fugue in F accounted for by each foot moving no Major, long pedal solos more than the distance of a third. Of Johann Pachelbel, Praeludium in D course there are larger intervals between Minor (Perreault listing 207), opening feet. But something like eighty percent pedal solo Example 3 of the time, or a bit more, each foot Dietrich Buxtehude, almost any pedal moves by step, or by a third, or repeats passage, especially from free (non- physical cues. Simply move the feet from with different feet, will be detached, the note that it just played. The comfort chorale based) works one note to the next. as repeated notes always are. Try vary- with moving each foot over these dis- Georg Böhm, Praeludium in C Major, Example 4 is a similar exercise with ing the degree of detachment for the tances that these exercises develop is the opening pedal solo the roles of the feet reversed. As you repeated notes—everything from as foundation for learning pedal parts from Vincent Lübeck, pedal solos from any practice each of these exercises, notice smooth as they can be while still repeat- the repertoire and in general for playing praeludium, especially those in C major everything that you can about the align- ing on time to as short as they can be pedals securely. and D minor. ment and positioning of the feet. For while still allowing the pipes to speak. You the student can fi nd appropri- Next month’s excerpt will discuss how a example, do you want to tilt either foot Also try various articulations for the ate pedal parts to work on as material beginning pedal player should approach differently depending not just on what notes that are not repeated. They can be for continuing to learn pedal playing. pedal passages such as these, and go on to note it is playing, but on what note it slurred, which creates pairs of slurred Almost any pedal line from a pre-1750 the beginnings of heel playing. Q is going to play next? On whether it is notes, divided by the repeated notes, piece can be played by toes alone, and moving up or down? How is this (or any- or they can be articulated in a way that therefore can work as practice material Gavin Black is Director of the Prince- thing else about posture or foot position) exactly matches what you are doing with at this stage. Here are a few suggestions ton Early Keyboard Center in Princeton, different between the “all natural” and the repeated notes, or they can be played to start you off—though the best pas- New Jersey. He can be reached by e-mail the “three sharps” versions? Notice that in any number of other ways. sage to work on is one that you like and at [email protected]. in any exercise (or passage) in which the feet move across the body (left foot high, right foot low) it can be necessary to turn your body. At this stage it is a good idea to use your arms on the bench to brace yourself while turning, to the extent that this feels necessary or helpful. Later on, when putting hands and feet together in pieces of music, this is of course impos- sible. That will not turn out to be a prob- lem: the need to do it will largely melt away with practice and familiarity. Each of these last two exercises, and all similar pedal passages whether exercises or pieces of music, can be practiced with separate feet. In fact this Example 4 Example 5 can be quite important. It is physically analogous to practicing manual parts (or piano or harpsichord pieces) with separate hands. It differs from that yale institute of sacred music musically in that the separate foot parts are less likely to make sense on their announces new appointments in 2013 own. However, separate foot practice is an extremely effi cient technique for learning pedal parts, and following the sometimes bewilderingly abstract separate parts is good listening practice, and good practice at concentrating. For Exercise III, for example, the separate david hill left foot part starts like this: Each of the quarter notes is to be played principal conductor detached—more or less as eighth notes, but precise counting is not necessary. Yale Schola Cantorum Just make them as detached as physical comfort suggests. You can extract other single-foot parts from these and all joining other exercises and from pedal passages in the repertoire. masaaki suzuki Practicing repeated pedal notes Example 5 is an exercise for practic- principal guest conductor ing repeated notes on the pedal key- board. Notice that each foot separately Yale Schola Cantorum is doing similar things to what it does in Exercises III and IV. The feet are moving in thirds and by step. However, the way Appointed jointly with Yale School of Music in which the two feet are interpolated with each other is different, in such a Yale Institute of Sacred Music New Haven, CT • www.yale.edu/ism • 203.432.5180 way that it creates a repeated note pat- tern. The repeated notes, always played

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 15 Reviews

Music for Voices and Organ are fi xed according to the Roman solar and Isaiah 26. There are some mild dis- Holy Spirit, Chris de Silva. Three- by James McCray year; the dates of Easter and Pentecost sonances, which add color but are not part treble, assembly, keyboard, vary, because of their connection with the diffi cult. Very well-crafted music. guitar, with C instrument, cello, Choral music for spring: Jewish liturgical calendar, which is lunar. and handbells, GIA Publications, Post-Easter and Pentecost The Easter season varies in length but Rise, O Church, Like Christ Arisen, G-7678, $2.05 (M-). generally lasts about seven weeks. Pen- David Cherwien. SATB, brass quar- While the essence of the piece is sim- Look! Look! The Spring is come: O feel the gentle air, tecost, also a signifi cant day in the life of tet, and organ, with optional congre- plicity, there are several options for per- That wanders thro’ the bough to burst the Church, occurs fi fty days after Good gation, MorningStar Music Publish- formance. The music has a refrain and a The thick buds everywhere! Friday; in some churches it is referred ers, MSM-60-4030, $1.85 (M-). verse response, which are printed on the The birds are glad to see to as Whitsunday. Easter music may be A stately brass and organ introduction back cover for duplication. The maca- The high unclouded sun: Winter is fl ed away, they sing, used in services during these post-Easter opens the work. There are four verses, ronic setting (Latin and English) has The gay time is begun. weeks, which explains the combination with the congregation joining on the fi rst three vocal lines, which may be used in a Robert Bridges of this month’s musical reviews. and last; the other two are for choir, one variety of ways, including with soloists. A (1844–1930) Church choir directors may have to of them for optional unaccompanied full score and parts are available (G 7679 be clever in sustaining interest from the choir. The introductory material returns INST). This is an interesting work based With Easter in March, spring will singers as spring unfolds. This year, the before the fi nal verse. Much of the cho- on the four verses of St. Thomas Aquinas have an extended feel to it this year. The offi cial beginning of summer is June ral singing is in unison or two parts. The (1225–1273). American poet E. E. Cummings graphi- 21. However, many churches end their congregation’s music is on the back cover cally described spring as when the world weekly singing with Pentecost (May 19, for duplication. The Spirit of the Lord, Philip Stop- is “mudluscious and puddle wonderful.” 2013), which is weeks before the end of ford. SATB and organ with optional The church does not offi cially celebrate school and the happy arrival of summer Gaelic Alleluia, arr. Craig Courtney. fl ute, violin, brass quintet, and tim- spring as a holy period, but the congre- vacations. So, with scintillating rhetoric SATB, four-hand piano, and tambou- pani, MorningStar Music Publishers, gation embraces it with smiling faces. It and tweaking such events as the Festival rine, Beckenhorst Press, Inc., BP MSM-50-2525, $1.65 (M). may be a stretch for many readers, but of the Christian Home, Mother’s Day, 1974, $1.95 (M-). The choral parts are not diffi cult, consider a comparison of the poetry of and Ascension Sunday, directors may be This happy setting has two texts— although there are brief moments of Cummings with the Biblical description able to maintain attendance during those one for Easter, one for Advent—so its divisi. The organ part is on three staves of Pentecost. For example, in another puddle wonderful days of spring. preparation will be a special bargain. and has a certain degree of indepen- poem, Cummings observes that “spring The music this month is divided by the The piano part, on two separate staves, dence. The music moves through is like a perhaps Hand in a window (care- two liturgical bookends of spring: Post- provides a rhythmic accompaniment for various key and tempo changes to create fully to and fro moving New and Old Easter and Pentecost. Directors may need the easy choral parts. The various verses diverse moods and styles. The text is things, while people stare carefully . . .). adamantine strength of perseverance as always close with celebrative alleluias. from Isaiah 61. Compare that with the Biblical descrip- warmer weather and the weariness of the Highly recommended and certain to be tion of Pentecost in Acts 2:1-4: choir challenge the liturgical calendar. a hit with singers and congregations. Holy, Holy, Holy Is the Lord, Healey Willan. SATB and organ, Concor- When the day of Pentecost had come they were all together in one place. And Post-Easter Pentecost dia Publishing House, 98-1553, suddenly from heaven there came a sound I Am the Light of the World, David Come, Holy Spirit, Denice Rippen- $1.50 (M-). like the rush of a violent wind and it fi lled Mennicke. SSAATBB, MorningStar trop. SATB and piano, Beautiful Star This pragmatic setting features an the entire house where they were sitting. Music Publishers, MSM-50-3250, Publishing, BSP-248, $1.60 (E). organ part on two staves; its music is a Divided tongues of fi re appeared among them, and a tongue rested on each of them. $1.85 (M). Much of the choral music moves in fl owing background for the choir. The All of them were fi lled with the Holy Spirit The actual divisi is limited, especially prayer-like half notes. The keyboard part fi rst half is somewhat serene, but the and began to speak in other languages, as in the bass. The music dances in 6/8 is easy, with left-hand arpeggios to sup- fi nal section is loud, majestic, and pri- the Spirit gave them ability. time, and has a folk-song quality. This port the right-hand chords that double marily in a choral unison. is a joyful celebration that draws on the choral lines. Very easy music. It could be suggested that Pentecost was scriptural texts from John, Matthew, and O Holy Spirit, Lord of Grace, Mar- a “Hand carefully to and fro moving New Isaiah in combination with music/text Spiritus Sanctus viridians vita, tin How. SATB and organ, RSCM and Old things.” Admittedly, Cummings from the early 17th century. Frank Ferko. SATB unaccompanied, (distributed by GIA Publications, probably was not making the connection, E.C. Schirmer, 7679, $3.25 (D). G4814), $1.90 (M-). but each spring I seem to think of both Rejoice (An Easter Psalm), Kirke The text is from Hildegard von Bingen Only the fi rst section is in four parts, writings at the same time. Mechem. SATB unaccompanied, (1098–1179). There are two primary sec- and it is doubled in the organ; most of As a follow-up to last month’s com- G. Schirmer (Hal Leonard) HL tions. The fi rst draws on static, dissonant the setting is in unison. The organ part, ments regarding the date of Easter, it 50483243, $1.40 (M). chords to refl ect color; the second half is on two staves, provides a gentle back- should be noted that in the West the Alleluias fi ll this setting, as part of the fi lled with legato contrapuntal lines that ground that is mostly chordal, with some Christian liturgical year begins on the main response to the text and in one depict the swirling movements of the moving parts to sustain the feeling of 3/2. fi rst Sunday in Advent and follows the section as a four-part women’s response Holy Spirit. This will be a challenging medieval practice of recalling in its cal- above a four-part textual statement by work for most choirs (it was composed New Recordings endar the events of Christ’s earthly life. the men. The text is adapted by the for a professional choir). Very sophisti- Grand Choeur: French Organ Music The dates of Christmas and Epiphany composer from Psalms 33, 96, 104, 115, cated music. from Paisley Abbey. George McPhee. Regent Records, REGCD371; PIPE-DIGITAL COMBINATIONS • DIGITAL VOICE EXPANSIONS • SOLUTIONS FOR OLD PIPE ORGANS www.regentrecords.com. There can surely be no better instru- ments for recording French organ music It seemed like an impossible task - the aging pipe organ than the fi ne Cavaillé-Coll organs of had fallen silent at St. Peter’s Church in Nottingham, France. Paris, Versailles, and Rouen England, and there was no way to get sound out of spring readily to mind. Well, put on this disc, crank up the volume, close your the organ chamber using pipes alone without major eyes and imagine yourself in an historic structural changes to the 12th century building. But the church—but this will be no French church followed the advice of the prominent British gothic cathedral, for the thrilling sounds on this recording emanate from one organist Paul Hale, who recommended a combination of the UK’s fi nest instruments: Paisley organ, and today the church has the versatility and color Abbey, Scotland. The nucleus of the of a cathedral organ thanks to the blend of Rodgers instrument is indeed Cavaillé-Coll, with later work by Hill, Norman & Beard; digital organ technology, six new pipe stops and three J. W. Walker & Sons; and latterly a sensi- restored and re-voiced ranks from the existing instru- tive restoration by Harrison & Harrison, ment. The compactness of the pipe unit and speaker who have preserved the incredible sound of this organ, along with the magnifi cent combinations means that the new organ speaks directly Lorimer case in which it is clothed. into the church. Professor George McPhee, organist and master of the choristers at the abbey For more information, please contact (and Scotland’s longest serving church Rodgers Marketing at 503-648-4181. musician), treats the listener to a thrill- ing tour around this glorious instrument, utilizing popular, as well as lesser-known, French organ music of the nineteenth and twentieth centuries. Beginning with Eugène Gigout’s majestic Grand Choeur Dialogué, McPhee immediately introduces us to www.rodgersinstruments.com the dramatic, fi ery reeds for which the original builder was famous; this is a

16 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM Reviews measured and stately performance of a performance of Healey Willan’s grand No. 2 in G Major, RV383 (Allegro - Rost arrangements, you might consider seasoned favorite. The Choral No. 2 in Epilogue (Willan was a Brit who moved Largo - Allegro) this disc as a demonstration of this mag- B Minor by César Franck (a fi ne work to live and work in Canada; Henderson No. 3 in A Minor, RV580 (Allegro - nifi cent organ. that is, regrettably, the least performed is a Canadian who moved to England to Largo - Allegro) —James M. Reed of the Trois Chorals) is beautifully per- study at Cambridge) before the perform- No. 4 in F Major, RV310 (Allegro - Bergen, Norway formed with great feeling and sympathy; er’s own arrangement of G. F. Handel’s Largo - Allegro) unhurried and controlled, the tempi Organ Concerto in F, HWV 292 (op. No. 5 in D Minor, RV565 (Allegro - New Organ Music fi t the acoustics of the abbey perfectly 4, no. 4). The playing is good, and very Grave - Fuga - Largo e spiccato - Allegro) Johann Pachelbel: Complete Works and give a great feeling of grandeur and musical, but somehow the arrangement No. 6 in C Major, RV208 (Allegro - for Keyboard Instruments, volumes majesty to this wonderful piece. Hymne is slightly less convincing than the readily Rezitativ: Adagio - Allegro). VII ($31) and VIII ($24), edited by d’action de grâces ‘Te Deum’ (from Trois available standard Dupré. The great Hildebrandt organ in St. Michael Belotti. Wayne Leupold Paraphrases Gregoriennes) by Jean Lan- John Bull’s Why Aske Yee follows, in a Wenzel’s Church, Naumburg (contained Editions; www.wayneleupold.com. glais, Louis Vierne’s Berceuse and Mad- crisp, concise performance, with some of inside the gorgeous Thayssner case) is The two volumes under review here of rigal (from 24 Pièces en style libre, op. the solo registrations of the instrument arguably one of the best instruments for the new edition of Pachelbel’s complete 31), and Ave maris stella, Te lucis ante well demonstrated, both here and in the the performance of J. S. Bach’s music, keyboard works contain the chorale par- terminum, and Placare Christe servulis Samuel Barber Wondrous Love Varia- because of his presumed involvement titas (vol. VII) and the arias with varia- (from Le Tombeau de Titelouze, op. 28) tions. Sandwiched between the two is in the instrument’s original design, and tions (vol. VIII). The chorale partitas by Marcel Dupré provide interesting an astonishingly convincing performance so it is exciting to see these six concerti comprise the four sets now considered fi ller material, before a splendid perfor- of Herbert Howells’ great work, Mas- arranged for the organ performed here. to have been published in Erfurt in 1683 mance of Jehan Alain’s Variations sur ter Tallis’ Testament. For such a small Nos. 1, 5, and 6 are Bach arrangements, under the title of Musicalische Sterbens- Lucis Creator, which deserves a far more instrument, Henderson works wonders, while Nos. 2, 3, and 4 are arranged by Gedancken (Christus der ist mein prolifi c place in concert repertoire, and producing some lovely soft sounds, as the performer himself. Leben with 12 partite or variations, Alle serves well to wrap up the middle section well as the magnifi cent pleno, which The disc is well presented with an Menschen müssen sterben with eight, of the disc with its focus on plainchant can be expected of an instrument that informative 16-page booklet in both Herzlich tut mich verlangen with seven, hymn melodies. embodies a romantic Casavant. German and English—it is a pity and Was Gott tut, das ist wohlgetan The Adagio and Allegro from Vierne’s Two chorale preludes from J. S. Bach’s that the front page is wasted on what with nine), three further sets taken from Third Symphony in F-sharp Minor Clavierübung III (Christ unser Herr looks like stock clipart of various manuscript sources (Ach was soll ich demonstrate both the fantastic dynamic zum Jordan kam, BWV 684, and Wir colored squares, and the only color Sünder machen with six, Freu dich sehr range of the instrument and McPhee’s glauben all’ an einen Gott, BWV 680) photographs of the magnifi cent case or Treuer Gott, ich muss dir klagen with fantastic technique. The only regret I smooth the way towards the two con- and the performer are tiny thumbnail four, and Werde munter, mein Gemüte have here is that more of the symphony is temporary organ works featured on the photographs on an otherwise blank with four), plus a set of fi ve variations not included; the performer clearly loves disc: H. Barrie Cabena’s new suite for page! So purchasers wishing to know on Gleich wie ein Hirsch begehret that and understands this music, and at a short organ, Eine kleine Morgenmusik (Just more about the instrument will need to is anonymous in the unique source (the 64′02′′ duration there’s plenty of spare before dawn - The morning breaks - A engage in a little online research (www. Plauen Organ Book) and a further set of recording time. A sensitive performance morning stroll - A mid-morning nap - hildebrandtorgel-naumburg.de/). 12 variations on Freu dich sehr which, of the Méditation by Maurice Durufl é Celebrating the morning), dedicated to Rost has an enviable technique, albeit although attributed to Pachelbel in the draws the listener towards the climactic Henderson; and Ester Mägi’s Dialog: the tempi are somewhat variable, to be Gerber manuscript, is considered to be Dieu parmi nous (from La Nativité du Prelude with Chorale. The Cabena honest, and will not sit well with those of dubious authenticity. Seigneur) by Olivier Messiaen (without bears absolutely no resemblance to the who prefer a more measured perfor- While some of the pieces included whose music no French sampler CD Mozart with which it shares a name—it mance, such as the recent Margaret Phil- in the two volumes have been available would be complete), and, again, McPhee is a slightly peculiar blend of cheeky, lips recordings. The Naumburg organ is for some years in editions from Peters handles the work with such style and quasi-Victorian humoresque (A morning both a great and historically important and Bärenreiter, others were included maturity that one would think he wrote it! stroll) and jarring Messiaen (Celebrating instrument, so as well as justifying this in Sieffert’s original Denkmäler editions, As is customary with Regent the morning), and will be of interest to CD purchase for the three interesting ³ page 18 Records discs, the presentation is fi rst- afi cionados of modern music. Mägi’s class, with an informative and accurate piece makes for an interesting contrast: eight-page booklet featuring a color quite typical of her distinctive harmonic THE SIXTEENTH ANNUAL photograph of Sir Robert Lorimer’s voice, quite haunting in places, utilizing magnifi cent case and the intricate a variety of tonal colors and textures, and woodwork detail, and one of McPhee heavily infl uenced by the folk music of Albert Schweitzer at the four-manual Walker console that her native Estonia, it is an intriguing controls this magnifi cent beast. Regent work, which draws the listener further has captured the truly magical qual- inside itself with each playing. Organ Festival ity of this instrument, and once again To close, we are treated to a boisterous A Weekend in Celebration of Excellence in Organ Music: proved to us that they have every right performance of George Martin’s tran- to claim themselves among the best of scription of the Elgar Imperial March, A Gala Concert, ORGAN COMPETITION, Services, and Masterclass the organ music labels. and again the clearly romantic voice The excellent programming of this of this organ shines forth—but for the High School Division First Prize: $2,000 disc will appeal to almost any organ presence of a high-pressure Tuba, this Other prizes also awarded music enthusiast, and combines the rendition compares favorably with the well-known war horses of the French late Carlo Curley’s great performance on Romantic repertoire with some won- the Harrison organ in St. Mary Redcliffe College/Young Professional First Prize: $3,500 derful music that deserves to be better Church in Bristol; and through judicious Through age 26 Other prizes also awarded known, as well as some of the more use of octave and sub-octave coupling, This includes an appearance on our approachable French twentieth-century Henderson gives the impression of a 2013 – 2014 Concert Series repertoire. McPhee’s skilled perfor- giant romantic warhorse of an organ 2013 JUDGES mance is confi dent, elegant, stately, and (although I could, perhaps, have lived sensitive, revealing to the listener the without the addition of the Zimbelstern AUDITION CDS: Diane many fi ne aspects of this magnifi cent in the last four measures!). Meredith Belcher organ, which could only have been dis- This is an interesting recording and Due on June 10, 2013 covered through a lengthy tenure on this features an eclectic mix of music: tried particular bench. It is perhaps the fi nest and tested organ favorites, such as the THE COMPETITION: recording of French organ music since pieces by Willan, Howells, Bach, and September 6 – 8, 2013 David Patrick’s ASV recordings from Elgar, juxtaposed with some lesser- Gloucester and Coventry Cathedrals, known repertoire, particularly the works and an absolute must-have for any organ by Cabena and Mägi. The registrations For Information & David Hurd enthusiast—the perfect gift for any are solid, the playing time generous Application: musician on your Christmas card list! (76′16′′), and the musicianship abun- dant; it makes for an interesting aural Andrew Henderson at St. John’s, tour around this little jewel of an instru- First Church Elora. St. John’s Church (SJ101), ment. The entire album and individual P.O. Box 192, Elora, Ontario NOB tracks are also available for download on of Christ 1SO Canada; CDBaby.com, Amazon.com and iTunes. 250 Main Street www.andrewhenderson.net. Wethersfield, CT 06109 Cherry Don’t let the relatively small specifi - Antonio Vivaldi: Six Concertos. Rhodes cation of this 1899 Barn-Warren/1937 Gunther Rost plays the organ of St. firstchurch.org/asof Casavant organ (II/24) in St. John’s Wenzel, Naumburg. Oehms Classics Church fool you, for it gives a mighty (OC642), www.oehmsclassics.de. 860.529.1575 good account of itself under the nimble Six Concertos (arranged for organ): Ext. 209 fi ngers of Dr. Andrew Henderson! The No. 1 in A Minor, RV522 (Allegro - music@firstchurch.org disc begins, appropriately, with a rousing Adagio - Allegro)

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 17 Reviews

³ page 17 The very brief introduction to this vol- American composer and organist Capriccio, written for the 40th birthday which are not easy to locate; more ume contains information on the source Robert Powell has written a considerable of Peter Backhouse. recently discovered manuscripts have in The Hague; the player is expected to amount of music related to the church: My Harvard Dictionary of Music been examined and variant readings purchase volume VII as well for the full anthems, service music, hymn concer- defi nes capriccio as a short piano piece have been evaluated. Several pieces have discussion of the sources and technical tatos, organ music, handbell music, and of a humorous or capricious character. been newly edited and are published in a analysis. This volume contains its own larger scale oratorios. His moderate, Excepting the fact that this music is modern edition for the fi rst time. critical commentary of different readings neo-romantic approach to composition written for organ rather than piano, The extensive introduction to volume from various sources. Both volumes con- is a practical one for most churches and the description fi ts the music to a “T”. VII provides a valuable comprehensive tain several facsimiles. All of the arias are gives his music an acceptance even in Jackson has written ten pages of tightly and detailed overview of Pachelbel’s in binary form, with both sections being conservative congregations. packed, exciting adventure! activity in the fi eld of variations both repeated, offering much scope for added This collection contains settings of six In a 6/8 meter, a sprightly rising sacred and secular, and provides a full embellishments. The only ornament sign hymns, not all of which were familiar to eighth-note motive dominates the piece. commentary on the sources used for this found in the authentic works is the letter me. Powell’s approach usually consists of Appearing in all parts, it wends its way volume. A comparison of Pachelbel’s t; some editorial guidance on its possible a brief related introduction that sets the through various keys and transforma- variation style with that of his Vien- performance would have been helpful to mood for each tune. Christ is Risen! Alle- tions. The music begins and ends in nese predecessors Wolfgang Ebner and the player who is inexperienced in 17th- luia! opens with a fanfare followed by the B-fl at major and has a middle section in A Froberger is particularly illuminating. century practice. The inclusion of the melody in the tenor part. I Received the major, although the music doesn’t stay in The four opening sets comprise some specifi cation of one or two contemporary Living God is a soft meditation. Arise, either for very long. Rhythmic syncopa- 36 variations, which display a multitude central-German organs would also have My Soul, Arise presents the melody right tions add drive to the whole and guaran- of techniques; only Herzlich tut mich been helpful for guiding the player in away. A middle section on a secondary tee that the performer will stay on his or verlangen is in triple time. Each set, apart selecting registration. manual, written in two parts, lays out the her toes. The music is diffi cult, but would from the manuscript set on Freu dich A cursory glance will reveal that many outlines of the melody in triplets and is make a great concert piece, perhaps a sehr or Treuer Gott ich muss dich klagen variations, both sacred and secular, utilize completely different from anything else lighthearted encore! I recommend it. (the only other piece in triple time in this identical compositional techniques, and in the volume. This was my favorite sec- —Jay Zoller volume), is preceded by the harmonized apart from the very few that require ped- tion, after which the beginning material Newcastle, Maine chorale. Pedals are required for only the als, they sound as effective on stringed returns. He Who Would Valiant Be is the fi nal variation of both Ach was soll ich keyboard instruments as on the organ. longest piece and has a dreamy, gently The Wedding Organist, compiled and Sünder machen and Freu dich sehr or The chromatic variations (that appear fl owing feel to it. My Soul Cries Out is edited by Jane Holstein. Hope Pub- Treuer Gott, although they can be used in only in the chorale-based works) are par- another gentle, softly progressing piece lishing Company, no. 8472, 2010, other places if the player so wishes—for ticularly expressive. The printing is of the with a short introduction. And fi nally, O $39.95; www.hopepublishing.com. example, where the melody is in the tenor, customary clarity, with fi ve or six systems Living Breath of God is, again, soft with Another wedding collection? Yes, but or in the bass in a two-part setting. The per page for the authenticated works, the feel of a communion extemporiza- the 50 pieces in this collection are well critical commentary listing all variants is with the opera dubia relegated to a some- tion to it. composed/arranged and cover many of great value. Apart from Christus der ist what smaller, but still quite readable, font. The music is well written. The bases (aisles?). With few exceptions, they mein Leben and Ach was soll ich Sünder Although not all of them are of the melodies are well set off. None of the are within the canon of music appropri- machen, which are through-composed, highest standard, the great majority of pieces are diffi cult—defi nitely useful ate to Christian rites. The editor, director the chorales and variations are in two sec- these variations are attractive pieces church music. One might wish for more of music ministries at First Presbyterian tions, with just the fi rst being repeated. that are quite accessible to a player of a harmonic excitement, and the constant Church in River Forest, Illinois, has gath- The volume devoted to the secular more modest technical attainment, with steadiness of the eighth notes is stultify- ered settings from a dozen or so compos- arias includes not only the well-known the customary proviso that attention be ing after a while. But, that said, no one ers/arrangers with ties to Hope Publish- set of six published in 1699 as Hexachor- paid to performance practice; they will in the congregation is going to get upset ing to form a comprehensive collection dum Apollinis (the printed version in The delight audiences and congregations with the “wildness” of the music. It is a of pieces. The music is printed clearly, on Hague adds a manuscript fascicle with today with their freshness. In addition to very useful volume for church work and good paper, with a sturdy spiral binding. an introductory prelude and an extra the remaining volumes (6, 9–12) of the I recommend it for those times when a The pieces are of moderate diffi culty; all variation to the sixth and last, known as complete keyboard works of Pachelbel, recognizable tune setting is needed. but one are written on three staves. Aria Sebaldina, here published for the it is very much to be hoped that Michael The volume is progressively orga- fi rst time) but also brings together in one Belotti will be able to prepare modern Capriccio for Organ, by Francis nized, from music for the prelude, seat- readily accessible volume the Arietta in editions of the remaining arias in the Jackson. Banks Music Publications ing of the special guests, and then for F with nine variations, the arias in D (six Mylau Manuscript that have not hitherto 14014, £4.50; www.banksmusic the entering and retiring processions, variations), A (three variations), and A received attention. publications.co.uk. concluding with postludes. (Pieces in minor (four variations) as well as the fi rst —John Collins Dr. Francis Alan Jackson, now in his these categories often, of course, can modern edition of an aria in G found in Sussex, England nineties, is still active as a composer be interchanged.) The Contents page three sources with differing numbers of and recitalist. He is virtually a legend in helpfully provides the timings for each variations up to seven, and two arias, in My Spirit Sings Our Sovereign England as he has an extensive output piece (assuming the player adheres to C minor and A minor respectively, from Lord, by Robert J. Powell. Para- of sacred and secular music including the metronomic indications). the Mylau Tablature that are considered clete Press PPM01042, $14.00; canticles, anthems, hymn tunes, organ The 50 pieces can be divided into of dubious authenticity. www.paracletepress.com. sonatas, and other organ pieces such as these categories: • Settings for organ of contemporary Christian songs (such as “On Eagles’ Wings,” “One Bread, One Body”). • Organ settings of traditional tunes Thousands of titles, top-tier publishers... (hymns, as well as such pieces as “Panis Angelicus,” “Bist du bei mir,” “Jesu, Joy;” and “Ave Maria,” both Schubert and Bach/Gounod, the latter in G Major— Yikes! (Some other traditional pieces appear here in changed keys as well.) • “Free” (non-hymn-based) pieces for processionals, including the usual by Pachelbel, Wagner, Mendelssohn, Widor (abridged), and Dubois; and the OneLicense.net unusual: the processional from “The Sound of Music!” • “Trumpet tunes” old (Clarke, Pur- forSUNDAY ANNUAL and ONE-TIME cell, Stanley) and new, by well-known BULLETINS, composers such as Hal Hopson and CHURCH COPYRIGHT Douglas Wagner. WEDDINGandFUNERAL Recommended, particularly for those PROGRAMS, just starting to build an organ library. PERMISSIONS Organworks!, ed. David Titter- PROJECTION, ington. United Music Publishers, SPECIALSERVICE £16.99; www.ump.co.uk. These eight new works, for teaching BOOKLETS, and recital, were commissioned and Log on and take the tour today! edited by David Titterington, Head of PRACTICE TRACKS, Organ Studies at London’s Royal Acad- and PODCASTS emy of Music. It’s a bit diffi cult to know when the collection was published (no 800.663.1501 date is given), but a little web sleuthing suggests 2009, though some of the pieces

18 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM Reviews were written in 2004. In any case, it is Tarik O’Regan explores various and Lancashire. Here is a solid, cel- Here is a collection of nine set- very “new” music indeed, and exception- Textures in his quite subtle work that ebrative arrangement creatively weaving tings for 2–3 octave choirs; it includes ally interesting. The volume is an inter- “requires very delicate playing.” Thor- these tunes into a festive seasonal com- arrangements by Barbara Kinyon, national effort, with composers from oughly tonal, and calling upon many position. Highly recommended. Cynthia Dobrinski, Susan E. Geschke, Germany, Switzerland, England, and the chordal 4ths and 5ths, the work gener- and F. Thomas Simpson. Pieces are USA represented. Biographies are given ates a gossamer-like and evocative musi- Keep It Simple 4, arranged by Lloyd arranged for Advent, Christmas, secular for the composers, who also provided cal fabric. Diana Burrell, in Tempera (“a Larson, for two octaves of handbells Christmas, Palm Sunday, Easter, and explanatory notes on their pieces. form of paint in which the pigments are or handchimes. Agape (a division of general occasions. All of the music is A trio (Tritune) by the indefatigable mixed in a particular way”), calls upon Hope Publishing Company), Code reproducible—a great bargain for your Francis Jackson seeks to “encourage the organist to create unique sounds with No. 2633, $10.95, Level 1 (E). bell budget and program. independence of hands and feet.” It is her instructions for registrations: “Palest The Keep It Simple series was created solidly tonal, with colorful contrapuntal grey; Warm copper and rose; Add fi ery with beginning ringers in mind. These Lift High the Cross, arranged for fl avorings. A toccata by Dan Locklair orange.” The composer suggests, “This accessible arrangements of eight hymn 3–5 octaves of handbells by Cyn- (Dance the Joy!) is the American contri- approach to registration will produce tunes are creatively written and can be thia Dobrinski. Agape (a division of bution to the volume and, at 13 pages, is highly individual readings of the music.” quickly learned. Ideal for worship or Hope Publishing Company), Code the longest: 264 bars of energetic danc- Brilliant, and defi nitely not for the color concert, titles include All Hail the Power No. 1491, $4.50, Level 3 (M+). ing within constantly shifting meters. blind. Toccata Improvisation by Paul of Jesus’ Name; For the Beauty of the This commanding arrangement of (Although, as with some music by Patterson is likely the most technically Earth; How Firm a Foundation; It Is the powerful Easter hymn, Crucifer, Stravinsky, the phenomenon of a differ- diffi cult of the set and, with abundant Well with My Soul; Joyful, Joyful, We expertly captures the stately tune and ent meter signature in every bar is more use of chord clusters, the most dissonant. Adore Thee; O Worship the King; Savior, text. The verses of the hymn are given conspicuous to the eye than to the ear.) In this aleatoric piece the composer has Like a Shepherd Lead Us; and To God Be special harmonic treatment, each time Alas, I don’t have the requested ffff on supplied the ingredients for the music the Glory. A three-octave edition is also bringing the triumphant chorus to a new my organ, but if you’ve got it, fl aunt it! and calls upon the player to be part of its available, Code No. 2485. level of Easter joy! And then begins a unique explora- realization. Clear guidelines and frame- tion of the resources, challenges, and works are provided, yet, as with Tempera, Carillon and Bell Jubilee, arranged The Prayer, by Carole Bayer Sager opportunities afforded by the organ. Jon every performance will be different. by Margaret R. Tucker, for 3, 4, or and David Foster, arranged by Joel Laukvik’s clever Monody with Variations Although some of this music is not 5 octaves of handbells, with optional Raney for 3–5 octaves of handbells explores, with great attention to musical for the faint of heart, much is not overly handchimes. Choristers Guild, with 3–5 octaves of handchimes detail, the use of various touches, while diffi cult—another reason for applause. CGB779, $4.95, Level 3 (M+). and synth strings (included). Agape referring to treatises on the subject by Highly recommended, and a “must” This original composition has several (a division of Hope Publishing composers such as C.P.E. Bach, Tour- for those interested in imaginative and layers to it, with an opening introduc- Company), Code No. 2628, $5.25, nemire, Widor, and Dupré—fascinating! beautifully constructed new music. tion, followed by carillon-type melodic Level 3 (D). The highly contrapuntal Duo by Lionel —David Herman material for several pages before a grand The Prayer, made famous by singers Rogg is quite detailed in articulation and The University of Delaware fi nale featuring an elaborate verse of the Celine Dion and Andrea Bocelli, has calls for frequent changes in registration. Cwm Rhondda hymn tune. This is an become increasingly popular as solo/ In Pedals, Matthew Martin explores, New Handbell Music expertly written piece that should be a duet material for weddings. It is great well, the pedals—a workout for the feet, Christ Is Risen Indeed!, by Lee J. big hit not only with the players, but also to see this hauntingly beautiful melody reminiscent of the similar movement in Afdahl, for 3–5 octaves of handbells, with the listeners. in the handbell arena. This arrangement William Albright’s The King of Instru- with optional handchimes. Morning- requires ringers who can masterfully ments. They are called upon to play Star Music Publishers, MSM-30-410, 2–3 Octave Classics, compiled by capture the beauty of this powerful bal- two- and three-note groups, for which $4.75, Level 3 (M+). David L. Weck, for 2–3 octaves of lad. The addition of synth strings will the composer supplied helpful pedal Beginning with a very effective Holly- handbells. Agape (a division of Hope create an even more stunning quality. markings. Unlike many such pedal stud- wood-type fanfare, this setting is a med- Publishing Company), Code No. —Leon Nelson ies, this one begins quietly and freely. ley of hymn tunes: St. Kevin, Victory 2625, $39.95, Level 2 (E+). Vernon Hills, Illinois

New Organ for Østerhåb Kirke, Denmark

Open House & Shop Recital March 23, 2013

Shop Recital

Prof. Ulrik Spang-Hanssen

The Royal Danish Music Conservatory

www.LEWTAK.com Aarhus, Denmark Custom made, NOT factory built

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 19 Convention Report

the instrument. It stands at the back of the church resplendent in a beautiful oak case and painted façade; the 16′ Bourdon pipes form the sides of the case. One Organ Historical Society of our Biggs Fellows hand-pumped the organ for the recital. Brown began with Handel’s Arrival of the Queen of Sheba (from Solomon). The organ’s sound was clear and warm. In Bach’s Allein Gott in National Convention der Höh sei Ehr, BWV 662, the Melodia accompanied the (partially new) 16′ Contra Fagotto played one octave lower, Chicago, July 8–13, 2012 along with (I think) the 4′ Violina, a lovely sound. Brown played with great sensitiv- By Frank Rippl of phenomenally fast notes in the fl utes Principal with tremolo, a lovely pastel; ity and sweetness. Sur “La, mi, re,” by an fl ew out over sustained pedal notes, then Walcha’s Ein feste Burg ist unser Gott anonymous 16th-century English com- hicago? Again? A third OHS suddenly ended, fl itting off to the upper offered wonderful counterpoint against poser, was played on an 8′ fl ute. Cnational convention in the reaches. A few chuckles were heard. a sturdy pedal cantus fi rmus. Walcha Chorale Variations on ST. ELIZABETH Windy City? What else was Herbert Howells’ Rhapsody in (1907–91) was Rübsam’s teacher; Rüb- (Crusader’s Hymn), from Frank Ferko’s there to see and hear in the way of the C-sharp Minor, op. 17, no. 3, started big sam is recording Walcha’s complete (b. 1950) Music for Elizabeth Chapel pipe organ? There was a great deal—and and then presented typical Howellsian organ works on the Naxos label. We then (2001), is charming and would please splendidly presented with grace, good dynamic and tonal variations. I liked sang the hymn “A mighty fortress is our your congregation. I was eager to see how humor, brilliant scholarship, and mid- the Hautbois 8′ as a chorus reed. The God.” Our singing that night was some of Brown would bring off the late-romantic western charm. Chicago has world-class Great Prestant 16′ in the tenor range the week’s best! Elgar Nimrod from “Enigma” Variations museums, architecture, shopping, din- was grand. Ryan had a very fi ne sense of Walcha’s Ich ruf zu dir, Herr Jesu (op. 36), arranged by William H. Harris, ing, magnifi cent Lake Michigan—and this piece’s architecture. Christ presented effective combina- on a small tracker organ without stop stunning churches and pipe organs! In No. 4 in A-Flat Major from Robert tions of 8′ and 4′ fl utes, Cornet with pullers. He did reasonably well, using Schumann’s Six Canonic Etudes, op. 56, tremolo, and a pedal-reed cantus fi rmus. the piano and forte ventil-like toe studs, Sunday, July 8 Ryan showed the rich foundations, end- Rübsam’s own O Heiland, reiß die Him- but it was ultimately awkward. Parry’s Jonathan Ryan played the opening ing with Viole de gambe 8′; No. 5 in B mel auf: Entrée opened with a grand ff; hymn “O praise ye the Lord!” (Laudate recital at St. Chrysostom’s Episcopal Minor offered pluck and life. George Communio was a continually moving Dominum) was a good follow-up, in a Church on Chicago’s North Side, on Baker’s Berceuse Paraphrase (1992) was trio followed by a lush passage on strings fi ne demonstration of a very beautiful the fi ne 2m Fisk Op. 123 (2005) that a lovely combination of Vierne’s Berceuse and fl utes; a lively Toccata followed, 19th-century organ. stands on the fl oor in the rear nave’s left with Away in a Manger—easy on the ear including the pedal 32′ Bombarde. This A pleasant walk through a park-like corner. Things got off to a lively start with celestes, solo fl ute, and soft pedal. thrilling and joyful piece is a fi rst-rate setting complete with pond and fountain Jonathan Ryan closed with Dupré’s addition to the repertoire. took us to First Presbyterian Church Prelude and Fugue in B Major, op. 7, no. More Walcha followed: an introspec- for our choice of lectures, one on the 1—its lively toccata and angular fugue tive Der Tag ist hin, mein Jesu, bei mir restoration of a 1926 Casavant that will formed a test for hands and feet that he bleibe. Usually I’m pretty good at iden- be moved to Chicago’s St. John Cantius passed well! This excellent recital was a tifying registrations, but not with this Church, about which we had received great start to our convention. organ and organist. Rübsam drew forth a DVD. I attended the other, “Issues Buses took us downtown, where we a fantastic variety of color—the Dutch in Restoration,” by Keith Williams of had our choice of restaurants, then reeds were so subtle. Buzard Pipe Organ Builders, a fascinat- walked to Holy Name Cathedral for a Rübsam closed this perfect recital ing consideration of “Why do we do recital by Wolfgang Rübsam on the with Bach’s Passacaglia and Fugue in C what we do the way we do it,” that also 1989 4m, 117-rank Flentrop. With Minor. Dynamics began softly but built explored the words “conservation” and quickly; tempo was langsam at fi rst, “restoration”—entertaining and enlight- but built momentum and energy. The ening, with plenty of photos. fugue’s familiar melodies were given their due in perfect balance. I’ve never heard it played better. Rübsam’s wife, Jan, told me that he had had rotator cuff surgery on his shoulder in April. Only three weeks prior to the convention did he know he could play for us! The audience’s roar called him back to the Fisk, 2005, St. Chrysostom’s balcony railing countless times. This was Episcopal Church a memorable OHS evening. with Dupré’s transcription of Bach’s Monday, July 9 Sinfonia from Cantata 29. This robust Monday dawned bright and sunny. Casavant, 1963, Cathedral of the Fisk has strong, dark, full-bodied reeds; Cooler temperatures followed weeks of Holy Angels clean, striking mixtures; singing fl utes horrendous heat. With perfect weather, and strings, warm foundations, and a we were eager to get started. We then drove to Gary, Indiana, once powerful fortissimo. Ryan’s playing had We divided into two groups. Mine home to U.S. Steel. It has stunning views great drive; he saved the mighty reed went to St. Andrew’s Episcopal Church in of Lake Michigan, and an attractive Eng- sounds for a dramatic conclusion. In Valparaiso, Indiana to hear James Rus- lish Gothic-style Catholic cathedral, built Sweelinck’s Balletto del Granduca, I Flentrop, 1989, Holy Name Cathedral sell Brown play the 2m Hook & Hast- and dedicated in 1950 to the Holy Angels. liked hearing the full-bodied Trompette, ings Op. 1417 (1889). The Atlas contains The 2m, 33-rank Phelps Casavant, Op. fl utes accompanying a Cornet and a jolly mechanical stop action and very deep 2769, installed in 1963, stands in the rear Zimbelstern, and a nice organo pleno to mechanical key action, it is not for the gallery on either side of a large window, close. Fine playing. faint of heart. Following a recent fi re, and speaks clearly down the nave in a Francis Jackson’s Prelude on East the cathedral was closed for a time. The grand acoustic. This was a much-antic- Acklam featured some very British organ suffered only minor damage, to the ipated recital—word was out that this sounds: celestes accompanied the 8′ Positief; building repairs, with a new ter- organ was exceptional (it was), and we all Octave in the tenor register; I believe we razzo fl oor, improved the acoustics. The love Derek Nickels’ playing (he did not heard the 4′ Open Flute. The organ more organ stands proudly in the rear gallery: disappoint!). Bach’s Prelude and Fugue than held its own in the hymn “For the its elaborate casework, in light-colored in C Minor, BWV 549, sounded clean fruit of all creation.” How I love hearing French quarter-sawn oak, starkly con- and polished. The fugue began on the 8′ OHS hymn singing! I was seated next to trasts with the dramatic dark wooden ceil- Krummhorn—an unexpected surprise— Stephen Schnurr and Dennis Northway, ing. Herr Rübsam’s all-German program and built to a blazing full-organ fi nale. leaders of the convention. Their faces began with Bach’s partita Sei gegrüßet, We were all smitten with this instrument; expressed great pleasure. That fi rst Jesu gütig. Registrations were perfectly music by Ernst Pepping perfectly suited hymn is always a wonderful affi rmation proportioned: cornets sang with grace it: Wie soll ich dich empfangen (Grosses for convention committee members—a and conviction, beautifully supported by Orgelbuch, 1941), Vorspiel I, Andante moment of satisfaction after years of hard foundations; the full plenum was rich and Hook & Hastings, 1889, St. Andrew’s cantabile showed the beautiful 8′ and work. I was happy for them, and all who clear. Elegant playing throughout. Episcopal Church 4′. Vorspiel II, Allegro Scherzando leapt made this moment possible. This was Chorale preludes followed: Helmut about; a fi ne reed carried the tune. Wil- indeed “the fruit of their creation.” Walcha’s Jesu, deine Passion (canon at Stephen Schnurr’s two-page essay about liam Albright’s ever-charming Sweet Six- In György Ligeti’s (1923–2006) Étude the sixth) in trio texture; Rübsam’s own this organ and Scot Huntington’s 16-page teenths—A Concert Rag for Organ (1975) coulée 1969 a busy, repetitive pattern Wie soll ich dich empfangen used an 8′ description of his fi rm’s work restoring was very well played with loads of wit. As

20 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM it was about 90 degrees outside, and we uchicago.edu/webcast/nathan-laube-live- played it beautifully, announcing the ff were packed in the church without A/C, 2012-ohs-chicago-convention), an OHS section on a powerful reed, then slowly who knows how warm the church was, fi rst. The chapel is vast: long, wide, and drifted back to quiet strings. nor how warm Derek was up in the loft, high, with the main organ in front and a In Funérailles (d’après Lamartine) but it never showed in his playing! substantial gallery organ in the rear. The from Laube’s transcription of Liszt’s Har- After “Father, we praise thee” front 4m console plays both organs; a 2m monies poétiques et religieuses, S. 173, (Christe Sanctorum)—brilliantly gallery console controls just that organ. no. 7 (1849), thunder-like pedal rumbles played and vigorously sung—Nickels The room’s windows were never properly gave an ominous start, followed by a closed with Dupré’s Variations sur un fi nished, so it lacks color, but is still quite smashing fanfare played on the gallery Noël, op. 20 (1922), a dazzling perfor- impressive. The 132-rank Skinner Organ organ’s horizontal trumpet. This piece is mance that lifted us out of the pews roar- Company Op. 634 was built in 1928—a full of foreboding darkness, and Laube ing our approval for this superb recital. period in which Ernest Skinner built his summoned forth remarkable color. A (Derek was also in charge of the buses, magnum opus at Yale University’s Wool- riotous pedal solo accompanied the active and did his work very well, indeed!) sey Hall, and huge organs at the Uni- manual work, which featured a few blasts Next was Christ Temple Cathedral— versity of Michigan and Princeton. This from a strong reed, and then gave way to Church of Christ (Holiness) U.S.A. in a single fl ute. In two Brahms settings of O the Roseland neighborhood. The present Welt, ich muß dich lassen, no. 3 employed building was dedicated in 1926. Originally a quiet 8′ Diapason on the choir, and a Dutch Reformed church, in the 1960s Carillon, Rockefeller Chapel no. 11 drew especially gorgeous founda- and ’70s it and the neighborhood became tions. Laube’s tempo was a bit restless, as largely African-American. The church is church’s new handsome 2m tracker built though the soul longed to leave the body a well-maintained part of the community. by Wahl Organbuilders of Appleton, Wis- and journey heavenward. Its 3m, 39-stop electro-pneumatic 1926 consin. We took quite a shine to its clear The world premiere of Laube’s tran- Hinners—the largest surviving Hinners voicing. Wahl reused pipework from an scription of Brahms’s Academic Festi- in the Chicago area—stands in the front old Lyon & Healy organ as well as newly val Overture, op. 80 (1880), featured of the church in chambers on either side made pipes—a very successful blend. melodic lines and rhythmic passages of the seated choir. Chicago organist On to the First Unitarian Church, carefully delineated, and blended into completed in 1931 in the English Per- a musically rich and full whole. The pendicular Gothic style, to hear three concert concluded with Gaudeamus historic organs from Stephen Schnurr’s Igitur, so fun to sing in this full chapel, collection. There was also a Hammond ending a wonderful day. player organ performing: another treat! Who knew there was such a thing? Tuesday, July 10 Gregory Crowell, making his ninth In the suburb of Downers Grove we vis- appearance at an OHS convention, began ited the charming Tivoli Theatre, where on a Henry Willis “Scudamore” organ house organist David Rhodes played (ca. 1857–1860) with Gottlieb Muffat’s its 3m, 10-rank Wurlitzer, Op. 942. The Overture, Suite 1 in C Major. The one- third organ to grace this theatre (it was manual, 54-note organ had two ranks: preceded by a Barton and a Wurlitzer), Open Diapason 8′ and Principal 4′, with this instrument is owned and maintained a permanently coupled 25-note pedal. Skinner, 1928, Rockefeller Chapel by Chicago Area Theatre Organ Enthusi- The pleasing sounds graced the early asts (CATOE). We munched on popcorn evening. Crowell then moved to a sweet- organ suffered some rebuilding efforts in as Rhodes entertained us with Richard A. toned little George Jardine & Sons (ca. the 1970s and later; several ranks were Whiting’s Hooray for Hollywood (1937), 1850s) (“the oldest American-built pipe dispersed. In 2005 the Schantz Organ and Charles Chaplin’s Smile, then accom- organ in the Chicago metropolitan area,” Company returned old ranks, replicated panied a hilarious 1915 Chaplin short according to the Atlas). He gracefully others, and replaced some with vintage fi lm, In the Park (possibly fi lmed in the Hinners, 1926, Christ Temple Cathedral Skinner pipework. Rededicated on June Chicago area). Rhodes seemingly caught 7, 2008, the organ, while not exactly as every nuance. In a hot dog-eating scene, and composer Clarence Eddy played Skinner left it, is once again a major part he slipped in the “Oscar Mayer Wiener the dedication recital. In 1954 Austin of the Chicago organ scene. Song”—very clever playing and a fun replaced the console. The organ fell silent OHS executive director Jim Weaver start to the day. in recent years, but was brought back to welcomed the audience, including those Our next stop was very sentimental for life by the Chicago-Midwest OHS chap- on the World Wide Web, then Nathan me: the beautiful Noack organ, Op. 44 ter especially for our convention. Recital- Laube opened with Allegro vivace from (1969) at the Convent of the Sisters of ist Mark Sudeith began with Wilhelm Widor’s Symphonie, op. 42, no. 5 (1878). St. Joseph in La Grange Park. Installed Middelschulte’s (1863–1943) Canon in This familiar music moved over us gently F Major, dedicated to Clarence Eddy— at fi rst, followed by a good deal of aggres- cheery music using the foundation sion. Laube kept things in proportion, stops. Schubert’s Am Meer, arranged by Jardine, 1850s, at First Unitarian Church giving each melodic line its due, ending Eddy, showed the beautiful soft strings on full organ with those fabulous reeds. and Vox Humana; the tone is warm and played Handel’s Voluntary in C Major, Laube spoke about growing up in Chi- luxurious. Sudeith then played (from movements III and VI from Ernest cago; as a young boy he was taken to hear the original manuscript) Variations on a Chausson’s Vêpres des Vierges, op. 31 (I the E. M. Skinner organ at St. Luke’s, Folksong, “Peter, Go Ring Dem Bells,” by enjoyed the fl ute in movement VI), and Evanston, and to Rockefeller Chapel, Florence B. Price (1887–1953), which his own transcription of Mendelssohn’s where he heard Wolfgang Rübsam play. displayed the solo reeds and ended with Lieder ohne Wörte, op. 67, V. Moderato. He fell in love with these instruments a lively toccata. The hymn “I’m happy A two-rank (no pedal) Hilborne L. and knew that playing the organ would with Jesus alone,” by Charles P. Jones Sr. Roosevelt, Op. 297 (1885) looked like be his career. (1865–1949), founder of the Church of an upright piano, having a reed organ’s Mendelssohn’s Sonata in A, op. 65, no. Christ (Holiness) U.S.A., was a rouser in foot-pumping pedals. It was meant to 3 (1845), fi rst movement ended in a blaze the best sense—we loved it. The playing be portable. We heard Voluntary by of glory, followed by the lovely Andante was fi rst rate, and our voices fi lled the Samuel Jackson (1818–1885), then some tranquillo. Laube’s transcription of 1,150-seat church with joy. elegant Elgar: Vesper Voluntaries, op. 14, Mendelssohn’s Variations serieuses, op. Noack, 1969, Convent of the Sisters of Our buses took us to Rockefeller I. Andante and IV. Allegretto piacevole, 54 (1841), with passages of great wit and St. Joseph Memorial Chapel, on the University with an effective Stopped Diapason. virtuosity, wonderfully displayed this of Chicago campus, to hear the mas- Praeludium in F-sharp Minor by Ernst huge organ’s colors. Though young (he the summer I graduated from college, sive 72-bell carillon, the world’s second Friedrich Richter (1808–1879) was inter- turned 25 the day before this recital), this organ became a place of pilgrim- largest (the largest, also a gift of the esting and well suited to the Roosevelt. Laube is a master of the art of transcrip- age for us “Tracker Backers” on our Rockefeller family, is at New York City’s Crowell concluded on the Willis, with tion. He reached deeply into the vast visits to Chicago. It stands in a balcony Riverside Church, with 74 bells). John Eric Thiman’s Postlude on “Nun danket Skinner tonal palette, and brought us to in the rear of the nave of this handsome Gouwens played a stunning program as alle Gott” and I. Allegro from Sonatine for places we might not have gone before— modern chapel. Originally the room had we sat in the grass beneath the chapel’s Organ by Eberhart Egermann (b. 1933), a brilliant performance. all hard surfaces, but now carpet covers soaring tower: Dave Grusin’s On Golden good demonstration pieces, well played. After intermission, he played Saint- the concrete fl oor, and padded chairs Pond (1981); John Courter’s Suite No. 4 We were grateful to Stephen Schnurr for Saëns’ Fantaisie in D-fl at, op. 101 (1895). have replaced wooden seats. Though the (2009); an improvisation on a submitted making these instruments available (and Its quiet opening showed beautiful acoustic is not as beautiful as it once was, hymn tune; and Roy Hamlin Johnson’s to those who helped transport them!). strings and a solo fl ute that was to die the organ still sounds great. Victimae Paschali Laudes (1986). We returned to Rockefeller Memo- for. A gentle reed chorus punctuated the Thomas Wikman began with Bux- My group had dinner at Augustana rial Chapel to hear Nathan Laube; fl utes and strings, then stronger reeds tehude’s Partita on “Vater unser im Lutheran Church; organist Daniel the performance was broadcast over were in dialogue with the foundations. Himmelreich”; I especially enjoyed Schwandt allowed us access to the the Internet (available at: http://news. A swelling crescendo then arose. Laube the 4′ fl utes with tremolo. In Antonio

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 21 Convention Report

Cabezón’s Tiento del quinto tono, Wik- choice for this outstanding exemplar and a Skinner French Horn, played with played. The instrument has an English man’s well-chosen registration—reeds of the Organ Reform Movement. This his usual sensitivity. town hall organ’s power and grandeur. and Sesquialtera II—led the way. This organ has a lot of oomph, and Dr. The hymn was “When the morning In Edward Bairstow’s Elegy, gorgeous organ’s Italian accent spoke in Girolamo Schnurr used it to good effect, playing stars together” (Weisse Flaggen). Ken strings and fl utes were played with just Cavazzoni’s Canzona sopra ‘Il e bel e with marvelous style and color. Cowan’s hymn playing, like everything enough rubato. The pedal part rumbled bon’, played with good style. The sounds La Grange’s First Presbyterian else, is done with great art and grace. quietly as though it were a creature of were as beautiful as I remembered. The Church was organized in 1890. The pres- John Ireland’s beautiful Elegiac the deep ocean. music was cleanly and sensitively played. ent church was built in 1962. Its 1962 Romance began with a sweet Oboe solo In “Music Heard Aboard the Titanic,” After the hymn “Alleluia! Sing to 3m, 46-rank Aeolian-Skinner stands in followed by a wonderful section with John Philip Sousa’s rousing and enter- Jesus” (Hyfrydol), Wikman gave us a gallery at the rear of the long, narrow celestes—perfect for a summer evening. taining El Capitan was followed by a sweet performance of Robert Lind’s nave. David Jonies and Jay Peterson It included the French Horn, and then Edwin H. Lemare’s transcription of Prelude on ‘Love Unknown’, then Bach’s shared the concert. Peterson opened built to a mighty roar; the plaintive Oboe Barcarolle, from Offenbach’s The Tales Pièce d’Orgue, BWV 572, which worked with Rheinberger’s Sonata No. 8 in E returned, and it ended with quiet strings. of Hoffmann, said to have been played quite well. The brilliant closing section Minor, op. 132, Introduction and Pas- Cowan closed the fi rst half with a blaz- one hour before the ship sank. Next brought this outstanding concert to a sacaglia, which sounded very good, with ing performance of Dupré’s Prelude and came Irving Berlin’s Alexander’s Ragtime fi ne conclusion. clear sounds in every dynamic range. Fugue in G Minor, op. 7, no. 3. I liked Band, which was played as the ship sank. Emmanuel Episcopal Church in La They then joined forces for Handel’s the Clarinet’s clear, round sound. The Sherer played it very well. Grange is the city’s oldest congregation, Organ Concerto in F Major, op. 4, no. 4. playing was precise and yet supple, with “Music to Honor the Titanic Victims” founded in 1874. The present French Jay Peterson played the four-stop 1981 the musical line clearly shaped. That began with Joseph Bonnet’s touching In Gothic-style church was built in 1926. Brunzema Op. 3 portative organ from fantastic fugue really galloped along. Memoriam. The organ gave us deeply (Our Atlas noted that it was featured in the front, while David Jonies played the This organ had been restored but not moving sounds of sadness, grief, and hor- the 1995 fi lm While You Were Sleeping.) orchestra bits on the main organ in the modernized: it lacks levels of memory. ror, and images of the deep, cold ocean. The 1970 electro-pneumatic Phelps gallery. The organs were well matched, So, as in the good old days, Cowan had The piece ended with a quiet farewell to Casavant, Op. 3062, 3m, 46 stops, 63 and the performance spirited. to come out during intermission and the victims of this tragedy. ranks, stands in a chamber to the right Jonies then played Andantino from reset his pistons. He chuckled about it, This beautiful organ is in need and of the chancel. Stephen Schnurr, Vierne’s Pièces de fantaisie, op. 51, no. but went about his work good-naturedly. most worthy of a complete restora- 2, showing the beautiful strings, and Cowan then returned to his perch tion, but was made to sound quite fi ne Naïades, op. 55, no. 4. Next, both played high above us to perform Rachel Lau- this day. Sherer closed with The Navy the Skinner: John Rutter’s Variations on rin’s Étude Héroïque, demonstrating the Hymn, “Eternal Father strong to save.” an Easter Theme (O sons and daugh- assertive Gamba Celestes on the Solo Here the too-brisk, march-like tempo ters), featuring a fi ne solo on the Oboe. division, and a sweet 2′ in a French Tam- seemed to not match the words. An The hymn was: “O sons and daughters bourin section of this piece. He closed over-busy accompaniment threw us off let us sing!” (O filii et filiae). with Guilmant’s Sonata No. 1 in D Minor, the pulse, and twice Sherer modulated On to Oak Park, to the beautiful St. op. 42, giving this well-known work a new up. The rest of the concert, however, was Catherine of Siena–St. Lucy Catholic sheen through his musical creativity. The lovely and inspiring. Church, a Tudor Gothic-style building Pastorale showed the Clarinet again, the We then went to Glencoe and the dedicated in 1934. Casavant Op. 1467, beautiful Vox Humana, and the Chimes. beautiful North Shore Congregation built in 1932, stands in the rear gallery in The Finale swept us along for a gleeful Israel. It was a thrill to enter this holy two chambers that frame a large Tudor- ride, with our pilot Ken Cowan giving the space, designed by architect Minoru style window. A modest 3m instrument, it OHS another brilliant and memorable Yamasaki (who designed the Oberlin has everything you’d need to be its happy concert! We returned to our hotel fi red Conservatory of Music). A peaceful study player. The lucky person playing for us was up for the instrument we love, having in white overlooking Lake Michigan, the Rhonda Sider Edgington, who opened just heard one its fi nest champions. sanctuary is shaped like praying hands. with Percy Whitlock. In Pastorale, Psalm Narrow windows start just above the fl oor 23:1 from Seven Sketches on Verses from Wednesday, July 11 and rise to form ceiling arches, allowing the Psalms, a solo on the Clarinet was We began at Chicago’s Carl Schurz light to fi ll the space. The 3m, 46-rank Casavant, 1970, Emmanuel Episcopal accompanied by fl utes, a great choice that High School. The 1910 building is a electro-pneumatic Casavant, Op. 2768 Church slowly revealed the organ’s beauty. Folk masterpiece, incorporating elements (probably the largest untouched early Tune, from Five Short Pieces, used what of both Chicago and Prairie School Phelps Casavant in the Chicago area), author of the OHS Organ Atlas 2012, I believe was the Cornopean in the tenor styles. The 1925 Waveland Avenue perches on a free-standing rear balcony. began with the hymn “Lo, he comes range. The beautiful strings crept in—still wing included an auditorium seating with clouds descending” (Helmsley), fresh after 80 years. nearly 1,800 and boasting three seconds followed by Buxtehude’s Praeludium in The hymn Picardy (“Let all mortal of reverberation. The 4m Richard O. A Minor, BuxWV 153. Schnurr used the fl esh keep silent”) was a joy to sing in Whitelegg Möller proved to be one of Krummhorn to good effect. Flutes led this resonant room. We then heard our the favorite instruments heard at this to the fi nal fugue and a fantasia present- fi rst music by Chicago composer Leo convention. The console abuts the front- ing the full plenum and pedal reeds—a Sowerby: Picardy from Meditations on left of the stage on the auditorium fl oor; wonderful sound, in a fi ne performance. Communion Hymns. Edgington knew pipes stand on a wide shelf at the back of Next came the premiere of Variations just how to express Sowerby’s marvelous the stage. We were told that this organ on HYFRYDOL, written by convention chair harmonic sense. Her closing selection was delivered seven weeks after the Dennis Northway. At one point the tune displayed this organ’s strong foundation contract was signed; the high quality of appeared in the tenor with imaginatively tone: August Gottfried Ritter’s (1811–85) the work tells a great deal about Möller’s placed fast notes up top. Another move- Sonate Nr. 2 in E Minor, op. 19. vast resources. (See Dennis Northway, ment used a canon between a trumpet We went to Oak Park’s Grace Epis- “A new four-manual pipe organ in seven and pedal foundations. After a beautiful copal Church for our Annual Meeting, weeks: Möller Opus 6373 at Chicago’s movement with sweet strings and soft followed by dinner; some explored the Carl Schurz High School,” The Dia- foundations, a fugue brought this very neighborhood, with its historic and pason, May 2012, pp. 26–29; audio fi le good new piece to a close. Well done! architectural sites. available at www.thediapason.com.) A hallmark of Stephen Schnurr’s OHS At nearby First United Methodist Casavant, 1963, North Shore recitals is the showcasing of young musi- Church, Ken Cowan played the splen- Congregation Israel cians and friends. This recital featured a did 4m 1926 Skinner. The console stands mother and her children. Tenor Willson in a front balcony behind and above the The recitalist was H. Ricardo Oppedahl, a junior at Lawrence Univer- altar, with pipes in chambers on either Ramirez, director of music/organist at sity Conservatory of Music in Appleton, side of the chancel; a two-rank Echo Chicago’s Holy Name Cathedral. Jehan Wisconsin, movingly performed Thomas division is in the ceiling above the rear Alain’s Les Fêtes de l’Année Israelite, Matthews’ (1915–99) The Lord Is My gallery. A division of select stops from the AWV 85, in the style of Hebrew chant Shepherd, beautifully sung with sincere main organ speaks into the chapel, where and song, began quietly on the Krumm- conviction. Elegy for violin, harp, and the division has its own 2m console. horn and gradually grew to a Trumpet organ, by Harold Friedell (1908–58), Cowan began with Liszt’s arrange- fanfare. This very approachable music featured violinist Allison Alcorn, Will- ment of Otto Nicolai’s Festival Overture was so appropriate to the space, with son’s mother; her daughter Kiersten on the chorale “Ein feste Burg is unser clear and refi ned sounds. We sang the Oppedahl played harp. This enchanting Gott,” op. 31. This organ was completely hymn “God of might” (Adeer Hu) in piece, very well presented, cast a spell restored without alteration in 2005–6 both Hebrew and English. In Bach’s over all of us. by the Spencer Organ Company of Möller, 1935, Carl Schurz High School Trio Sonata in G Major, BWV 530, the Horatio Parker’s Allegretto, from Massachusetts and Jeff Weiler & Associ- third movement showed the organ’s Ses- Sonata in E-fl at, op. 65, was a good ates; except for an added stop in 1937, John Sherer, organist at Chicago’s quialtera. Ramirez closed with Durufl é’s contrast. The Phelps Krummhorn was it is as it was when Skinner delivered Fourth Presbyterian Church, pre- Suite, op. 5. The Fagott 16′ played one playful, especially in the lower register, it, producing powerful foundation tone sented a “Concert to Commemorate octave lower was a very fi ne sound. The while fl utes 8′ and 4′ scampered above. and fl oor-shaking pedal notes. Cowan’s the 100th Anniversary of the Sinking Toccata was thrillingly played. Stephen closed with the Allegro from arrangement of Liszt’s Consolation No. 3 of the Titanic.” “Music of 1912” began In the leafy suburb of Winnetka, we Widor’s Symphonie VI, op. 42, a fi ne in D-fl at featured lush strings and fl utes, with Elgar’s Imperial March, brilliantly visited Winnetka Congregational Church

22 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM and its landmark 3m Martin Pasi tracker, was Mary Baker Eddy’s 1896 “Saw ye my Luke’s Church and its magnifi cent E.M. Op. 18 (2008). Established in 1869, the Saviour?” (Laundon). We sang it well, Skinner. It was a grand, fun, free time. church’s present building, Colonial with and she played it with great sensitivity to The day concluded at the Music Insti- Art Deco and Egyptian touches in its the text, using the organ’s colors nicely. tute of Chicago. This building, a former lovely white interior, was built in 1936. Naegele then played fi ve of the “ver- Christian Science church, retained its The ornate North German-style case in sets” from Léon Boëllmann’s Heures 1914 E. M. Skinner organ, Op. 208 (the front commands the eye with the Great mystiques, ending with Entrée III. I par- oldest functioning Skinner in Illinois, in the middle, the Swell above the Great, ticularly liked the Oboe. Sonata II—III according to our Atlas), a modest 3m and the Positiv cantilevered in front of Seraphic Chant by Lily Wadhams Moline instrument whose pipes stand at the the Great with the keydesk below, simi- (1862–1966) was lovely music, beautifully back of the platform in front of the 900- lar to John Brombaugh’s Op. 33 organ at played. Naegele ended this fi ne and well- seat auditorium built in the Neoclassic Lawrence University in Appleton. The chosen program with Let Us Break Bread style favored by Mary Baker Eddy. The Pedal is in towers at the sides of the case; Together from Communion Hymns for console is on the stage. Recitalist Scott the 32′ Subbass is in the old chambers Organ, Vol. I, in a quite inventive setting Montgomery began with Saint-Saëns’ above and to the sides of the altar, where by Edwin T. Childs (b. 1945). Fantaisie in E-fl at. The forte sections the previous Austin once stood. Our next visit, to Techny’s Chapel of demonstrated the sturdy foundation Nicholas Bideler, a doctoral candi- the Holy Spirit, Society of the Divine stops echoed by the Cornopean—a date at the University of Kansas, began Word, was highly anticipated as we had great sound. Montgomery played Bach’s with Bruhns’s Praeludium in G Major, seen stunning photos of its interior. A transcription of Vivaldi’s Concerto in D which sounded wonderful on this organ. huge complex, its property adjoins St. Minor, BWV 596, in the Romantic tra- Bideler’s playing had clear direction and Joseph’s Technical School, whence the dition, with shades and all. I loved the he used the organ’s many colors very “Techny” nickname originates. The large ppp strings in the second movement. It well. Next was Bach’s Schmücke dich, Romanesque chapel, adorned with beau- worked surprisingly well. o liebe Seele, BWV 654. One tremulant tiful carvings, statues, chandeliers, and Wiener, 1927, Chapel of the Holy Spirit In the Choral of Widor’s Symphony affects the entire organ, and it was fi ne, sconces (forged in the Techny shops), No. 7, op. 42, no. 3, Montgomery cap- although it did create a bit of a stir on opened in 1923. The second-story gallery offered Blessed Are the Pure in Heart tured the mood nicely, alternating string, that low pedal E-fl at that starts the piece. runs the entire perimeter of the chapel, by Eric DeLamarter (1880–1953), a fl ute, and foundation tone. Scherzo from I think Bideler used the Vox Humana and our musicians took full advantage beautiful setting sung and conducted Vierne’s Symphony No. 2, op. 20, was with a 4′ fl ute as the solo line. His per- of it. Acoustics were generous and rich. with great sensitivity. Woodworth led the an audience favorite; Montgomery did formance was imbued with the inner joy The 4m Wiener organ, some of whose hymn, Leo Sowerby’s “Come risen Lord, a fi ne job, and so did the Skinner. Huge expressed in the chorale. ranks are reused from other instruments, and deign to be our guest” (Rosedale). fl ute sounds crowned the ensemble. In Karg-Elert’s Trois Impressions, stands in the rear gallery in an attractive The choir moved to different places Dudley Buck’s Variations on Home, Op. 72—I. Harmonies du soir, Bideler case. Its condition is not great, but it was along that perimeter gallery each time Sweet Home, op. 30, displayed the big, showed this versatile organ’s romantic shown to its best advantage. they sang, slowly making their way to the bold Cornopean, Vox Humana, Flügel voice. I enjoyed the Krummhorn and We heard The Madrigal Choir of organ loft—a magical effect. Northway Horn, and the Great Philomela. The strings. “Dear Lord and Father of Grace Episcopal Church, Oak Park, led these well-trained students beauti- Swell Aeoline and Unda Maris closed Mankind” (Repton) was followed by led by Dennis Northway, along with fully in Peter Lutkin’s The Lord Bless the piece—wonderful sounds that made Impromptu from Vierne’s 24 Pièces de young organists Madeleine Wood- You and Keep You. my mouth water. One young member fantaisie, 3ème Suite, which worked quite worth and Charlie Carpenter. Now A new setting of Ave Verum Corpus was heard to say, “I want an E. M. Skin- well. Bideler closed with Durufl é’s Pré- in its twelfth year, the choir, made up of was by a familiar fi gure: 20 year-old ner in my church!” In a beautiful calm lude, adagio et choral varié sur le theme mostly high school students, is dedicated Adam Gruber, an alumnus of this choir Calvin Hampton Lullaby, Montgomery di Veni Creator, Op. 4—III Choral varié. to singing music of the Renaissance. Mr. and organ student of Dennis Northway, summoned all of the organ’s softest The triumphant ending was riveting. Carpenter began, playing Vierne’s Caril- who has played for us many times and is sounds. The Swell Gedackt accompa- lon sur la sonnerie du carillon de la cha- now a student at Oberlin. The piece was nied the Clarinet in the tenor range; the pelle du Château de Longpont (Aisne) well constructed and showed that Gru- Vox Humana was heard again as a solo from 24 Pièces en style libre, op. 31, no. ber has a future in the art of composition. with a 4′ fl ute. Unda Maris and Aeoline 21, with skill and aplomb. Charlie Carpenter, a current Northway were a great combination. This is a piece The choir sang Kyrie Eleison from student, played the Widor Toccata. Great your congregation would love! William Byrd’s Mass for four voices very job, Charlie! Kudos to Dennis Northway In Guilmant’s Caprice in B-fl at, op. 20, well, in proper Anglican style. They for giving these young people a chance to no. 3 from Pièces dans différents styles, surprised us by singing not from the rear perform at the convention! Book VI, there was a good deal of playful gallery where the organ was, but from Buses then took us to Evanston, shifting of manuals—welcome after the the perimeter gallery above the high for dinner at the North Shore Hotel Hampton’s quiet gentility, and very well altar. After Madeleine Woodworth downtown, and then the treat of several played. This organ has no general pis- played Divertissement from Vierne’s neighborhood open consoles. Some tons, so Montgomery employed two very 24 Pièces en style libre, with plenty of of the young, fast-moving types, led skilled stop pullers. The hymn was Mary drive from this powerful organ, the choir by Nathan Laube, made it down to St. Baker Eddy’s “It matters not what be thy

Kimball, 1938, Grace Presbyterian Church

Grace Presbyterian Church in Winnetka had been First Church of Christ, Scientist, built in 1938—a white Colonial-style church, whose pewter and crystal lighting fi xtures were imported from Czechoslovakia prior to World War II. The church was sold to Grace Presby- terian Church in 2012. The 1938 tonally and mechanically unaltered 2m W. W. Kimball Co. organ, Op. 7238, stands at the front. Both Swell and Great are enclosed in separate chambers. The fi rst recital was given by William H. Barnes, of Evanston, on August 21, 1938. Our recitalist, Elizabeth Naegele, who, among other things, has the distinction of being Nathan Laube’s fi rst organ teacher, opened with Lefébure-Wély’s Sortie in B-fl at Major—jolly music, played with great spirit and fl ourish. In a salute to this building’s long history as a Christian Science Church, the hymn

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 23 Convention Report lot” (Gloaming). Montgomery closed his op. 53 by Carl Nielsen (1865–1931), we fi ne program with John Knowles Paine’s heard mixture tone for a very long time, sturdy Concert Variations on the Austrian which, right after the Bach, grew tire- Hymn, op. 3, no. 1—always a good tour of some. Finally, some fl ute sounds were an organ. We returned to the hotel tired heard, leading to contrasting dynamics in but exhilarated. another section. A fugue began—Schrad- er’s tempos were just fi ne. We then heard Thursday, July 12 what I believe was the lovely Gedeckt in Thursday dawned bright and sunny. At the Antiphonal division, located high in Chicago’s Evangelical Lutheran Church the rear balcony—imaginative and col- of St. Luke (ELCA) we heard Erik Wm. orful use of contrast. He used dramatic Suter play the large 1963 3m Schlicker. moments to good effect. The piece was OK, but it seemed to be longer than needed. Although Schrader played it well, my ears could have done with less mixture tone; at the end, he drew all of the high-pitched mixtures, bordering on Johnson, 1872, St. Josaphat’s Church painful after such a long piece. After intermission, the lovely hymn “O Johnson Organ Company Op. 386 in the blest Creator of the light” (Lucis Cre- nave on the right side. Our recitalist Ber- ator) was followed by Frank Ferko’s nadette Wagner earned her bachelor’s Möller, 1907, Wicker Park Evangelical Symphonie brève (1987). The opening degree from the Jacobs School of Music Lutheran Church Andante had a running bass line in the at Indiana University; she is now a gradu- pedals, with foundation stops and reeds ate student at Arizona State University. Millennium Park with its fantastic Frank in chords on the manuals. Attractive Wagner began with two Brahms settings Gehry-designed bandshell, and the fl ute sounds accompanied a Cornet. The of O Welt, ich muß dich lassen on the three-story Anish Kapoor “Cloud Gate” pedal motion returned with punctua- Kilgen; diapasons were warm and rich steel sculpture (known locally as “The tions from those singular A/S reeds. The in the reverberant space—nicely played. Bean”). The entire complex is brilliant. Toccata began on strings and fl utes with Schlicker, 1963, Evangelical Church of She then came downstairs to the Johnson A problem arose, beyond the con- fast fi gures. A bonny solo fl ute sounded St. Luke organ for the hymn “Creator spirit, by vention leaders’ control. The 1927 3m out a tune in the pedal’s tenor range. whose aid” (Surrey). Bernadette Wag- Estey at the John Murphy Auditorium We heard wonderful colors in this very The church’s long, high nave offers won- ner and the room-fi lling sound of this 14 of the American College of Surgeons appealing work. In the fi nal Chorale, the derful acoustics. The main organ stands stop-organ were quite up to the task of was unable to be played. So our brave use of mixtures and reeds was startling. in the rear gallery, with a Positiv mounted accompanying us. recitalist, Cathryn Wilkins, moved to The writing was fresh, sort of Messiaen on the railing. The clear, refi ned sound Movements II and III of Mendels- a quite different venue and organ—the or Langlais “lite”. includes marvelous mixtures that were sohn’s Sonata No. 4 in B-fl at, op. 65, fea- huge 4m Aeolian-Skinner in the Fourth Schrader closed with Reger’s Fantasia like cooling drops of water. A smaller tured the organ’s beautiful Clarinet, Oboe Presbyterian Church on Michigan and Fugue in D Minor, op. 135b. Plenty unit organ is in front of the church. Suter and Bassoon, and lovely fl utes—very Avenue, across the street from the 100- of contrast is called for and we got it, in opened with Bach’s Prelude and Fugue pleasing playing with a well-developed story John Hancock Center—and very a fi ne tour of this noble instrument’s fi ne in G, BWV 541; he has a fi ne and clean sense of musical line. Wagner closed her quickly adapted her program. Designed solo voices and choruses. It was all beau- technique, and tempos were perfect for fi ne recital with Daniel Pinkham’s The for a very different instrument, the pro- tifully played with great attention to the both music and room. Book of Hours, a nice demonstration of gram did not make full use of this organ’s rhythmic and thematic structure. Dale Wood’s gorgeous setting of In the various combinations on this well- range, but was nevertheless entertaining. Thee Is Gladness began with strings and made treasure from another century. Wilkins played some waltzes by Brahms Friday, July 13 a 4′ fl ute. We also heard lovely solo reeds. Chicago’s Wicker Park Evangelical for piano, Vierne’s Scherzetto from 24 The fi nal day, devoted to regional In “Come down, O love divine” (Down Lutheran Church, ELCA, was formally Pièces, and Le Cygne from Saint-Saëns’ organbuilders, began with Sebastian M. Ampney), Suter showed brilliant hymn organized in 1879; the present Roman- Carnival of the Animals. She ended with Glück’s lecture on “Innovation, Adapta- leadership. His time as organist at Wash- esque church was fi nished in 1907. The three movements from In Fairyland by tion, and Stagnation: The Tonal Trajectory ington National Cathedral was evident 1907 Möller tracker is still in use; sadly, Roy Spalding Stoughton (1884–1953)—a of the Roosevelt Organ.” Hilborne and in a grandiose and thrilling style of play- however, only part of the Swell division pleasant recital. Frank Roosevelt, aristocratic æsthetes as ing; his last verse reharmonization was a was operable, so much of the program Our buses took us to Navy Pier—a well as businessmen, were interested in thing of wonder. was compromised; at times it was diffi cult huge place with a highly charged carni- organbuilding. Glück discussed their life In Peter Eben’s Nedelní Hudba (Music to even hear the organ. Our players were val atmosphere. We boarded “The Spirit and work, people who infl uenced them, for Sunday), Finale, Suter put the blaz- Dennis Northway and Adam Gruber. of Chicago” for a late-afternoon harbor and how their work still infl uences Ameri- ing reeds on full display. After a quiet Northway opened with a very soft Clar- cruise and buffet dinner. The dramatic can organ building over a century after section with strings, solo fl utes, and quiet ence Eddy Prelude in A Minor, using Chicago skyline was very beautiful. We their deaths—most interesting. solo reeds, some growling and menacing the Möller’s beautiful strings very well, enjoyed each other’s company and the We then were bused to Grace Lutheran pedal sounds took us back to the louder, then played Harrison M. Wild’s ironically tasty food. Church in River Forest. Founded in livelier music. Organ and organist were named hymn “Softly fades the twilight As we were downtown at 6 pm, when 1902, the present English Gothic-style a fabulous combination; this fantastic ray.” Adam Gruber played two selections traffi c was busy (with numerous street building was dedicated in 1931. The concert was a great start to the day. from Bach’s Orgelbüchlein, and North- carnivals), our buses got snagged—the organ began as Skinner Organ Company, We proceeded to the huge and impos- way played Pachelbel’s Aria Sebaldina only bus problem all week. Our evening Op. 833, a 3m, 36-rank organ, rebuilt in ing St. Josaphat’s Church in Chicago, in from Hexachordum Apollinis (1699). I recital was at St. Pauls United Church 1956 by Schlicker. In 1987, it was rebuilt Romanesque style with massive stone felt sorry for these gentlemen having to of Christ, founded in 1843 to serve and enlarged to its present size by the walls, blessed in 1902. The fi rst organ play an instrument not up to convention German-speaking Protestants. In 1959 Berghaus Organ Company of Bellwood, in the rear gallery, built by the Wiscon- standards. We had to listen very carefully the present English Gothic-style build- Illinois. The pipes are in twin chambers sin Pipe Organ Factory in 1902, was to hear anything, but I must say that it ing was completed and the 4m Aeolian- on either side of the altar, the console in a replaced in 1924 by a 3m Kilgen, Op. was always worth the effort. Skinner, Op. 1328, installed. Its main balcony over the left transept. The church 3386, which used some pipes from the During free time downtown, we could pipe chambers are situated above and on has beautiful carvings and a live acoustic. previous instrument and retained its either visit the Chicago Cultural Center either side of the chancel. In 1998–2000 Organist Karen Schneider Kirner case. In 2004, the Bradford Organ Com- in the grand old former public library, or, the Berghaus Organ Company com- began with a hymn: “As daylight steals pany installed a “much traveled” 1872 2m as I did, cross Michigan Avenue and visit pleted the organ as originally planned, across the skies.” Kirner wrote the tune, updating some of the mechanical fea- Morning Hymn, which was quite good. tures of the console, located at the front. Eugène Gigout’s Grand Chœur dialogué Whole & Fast Our performer was well-known Chi- made good use of the reeds. I could have Half Sizes Shipping! cago organist David Schrader. It took done with less mixture tone. Kirner’s in 3 Widths about 40 minutes for everyone to arrive, steady playing gave this majestic piece and bless his heart, Schrader entertained its just due. After Gigout’s Scherzo, from Try our suede soles and experience us early arrivals with an impromptu Dix Pièces, we then heard Variations sur performance, from memory, of Bach’s un Noël bourguignon by André Fleury the perfect combination of Toccata, Adagio and Fugue in C Major. (1903–95), which showed some of the slide and grip It was delightful. organ’s softer stops as well as fuller on the pedals! When the audience was fi nally in sounds. The music was attractive—like place, Schrader began with Bach’s Pre- an updating of Dandrieu. Mens & Unisex lude and Fugue in E Minor, BWV 548 This is a very loud organ. Seated in the Women’s Mary Oxford $57.95* (“The Wedge”). Some of the playing front row, I wished that I had sat further Jane $49.95* *plus postage was rushed, which took away from the back because Kirner may have crossed a TOLL FREE: 1 (888) 773-0066 organmastershoes.com towering majesty of Bach’s music. The line with overuse of tutti. Mixtures and 44 Montague City Rd, Greenfield, MA 01301 USA organ was more than up to the style, and reeds together over a long stretch of time Schrader used it quite well. In Commotio, is tiring.

24 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM A Gigue for the Tuba Stop by Donald convention. The organ comes from “Earth and All Stars” (Dexter), one not Stuart Wright (b. 1940) was next—a many sources—some new, some vintage. exactly on my list of favorites. The text thrilling piece, but again loud. My ears There are four 32′ ranks; the massive 32′ is unintentionally humorous—I cannot longed for strings and fl utes played with Diaphone and Bombarde pipes line the get past “loud boiling test tubes” with a the shades closed. Chicago composer walls on either side of the stage, as do straight face. On this huge organ, Jona- Keith S. Kalemba’s (b. 1972) Toccata was the countless percussions, including a set than was able to illustrate each turn of also a loud piece. Kirner is a fi ne organ- of 32 Deagan Tower Bells, the largest of phrase in sound effects that were hilari- ist, but her programming choices were which we were told weighs 426 pounds! ous and a perfect end to the evening. not wise. We did not hear any of the Our multi-talented recitalist, Jona- This was a very good convention. soft solo reeds. Another hymn followed: than Ortloff (looking quite snappy in Instruments, recitals, performers, lec- “Sing the Lord a new song,” to a tune his bright red socks), presented a highly turers—the great variety never left us written by Ms. Kirner. One fi nal blaz- entertaining program of mostly familiar bored. Buses were agreeable, respectful ingly loud piece brought her program to music played with great style and good of our needs, on time, and quiet during a close: Marcel Dupré’s Carillon, from humor. We heard the theme from Family recitals. Food was fi lling and good, and Sept Pièces, op. 27. the publications (Atlas, Handbook, and OHS convention recitalists usually Hymnlet) were beautifully produced, take great pains to show the entire range with wonderful content. (Good compan- and color of the organs to which they are Buzard, 1999, Glenview Community ions to the above would be Pipe Organs assigned in thoughtfully and carefully Church of Chicago, Vols. 1 and 2, by Stephen chosen pieces. Sadly, this was not the case. Schnurr and Dennis Northway. Gor- On to Wilmette, and St. John’s Evan- Stephen Buzard in music for organ geous photographs, specifi cations, and gelical Lutheran Church ELCA, to hear and brass quintet. The organ was built histories of each building and instrument William Aylesworth, former organist by Stephen’s father’s company: John- will keep you entertained for hours.) at that church, long-time and well-loved Paul Buzard Pipe Organ Builders, This was the third OHS convention in performer at OHS conventions, and past Champaign, Illinois, Op. 21 (1999). In Chicago; we certainly saw and heard a OHS president. The church, founded in the Colonial-style church the organ is breadth and depth of pipe organ beauty 1903, built its present English Gothic red in three chambers behind the altar; a that other cities would be more than brick worship space in 1923. Aylesworth rank of Principal pipes provides façades Jonathan Ortloff at Place de la Musique pleased to have. We were treated with told us that he was approached in the late for each of them. The center chamber’s great humor and kindness all week long. 1980s by the Bradford Organ Company, façade is of polished tin, while the fl ank- Guy, some sweet salutes to the late Henry The committee did an outstanding job! offering to build an organ as an example ing chamber façades are fl amed copper. Mancini (Charade and Moon River), a bit Bravo, Chicago! “It’s my kind of town.” of what they could do with recycled The console is in the French style; the of nostalgia for those of us of a certain The 2013 convention is in beauti- materials from other organs. The result organ as a whole is highly eclectic, speak- age, “Puffi n’ Billy” (or as I remember ful Vermont: http://www.organsociety. was Bradford’s Op. 6 from 1990, a very ing with a sturdy sound and a wide range it, the theme from Captain Kangaroo). org/2013/. See you there! Q of color and tone on its 69 ranks. The Trolley Song used all manner of Bach’s Concerto in C Major after percussion sounds, which raised the roof! Frank Rippl is a graduate of Lawrence Uni- Johann Ernst, BWV 595, was a clean, Ortloff’s transcription of Stravinsky’s versity Conservatory of Music, where he stud- spirited performance with just the right L’Oiseaux de Feu (Tableau II) showed ied with Miriam Clapp Duncan and Wolfgang Rübsam, and the University of Denver. He is amount of rubato, followed by Buzard’s great skill. I really admire his generation co-founder of the Appleton Boychoir, coordi- own transcription of Schubert’s Du bist of organists who have become so adept nator of the Lunchtime Organ Recital Series die Ruh, D. 776, displaying strings and at the art of transcription. He ended with in the Appleton, Wisconsin area, and has been several beautiful solo stops (my favor- An American in Paris, which was great organist/choirmaster at All Saints’ Episcopal ite was the Great 4′ Open Flute with fun. But the part of the recital that left Church in Appleton since 1971. tremolo), played with sweet sensitivity. us all in pain with laughter was the hymn Photo credit: William T. Van Pelt, III Durufl é’s Scherzo, op. 2, showed more of this instrument’s variety and range. In Percy Whitlock’s Five Short Pieces, the Allegretto used the many fl ute stops. The Great Harmonic Flute was featured as a solo accompanied by the Choir strings. We also heard the Swell Trompette in the tenor range. Paean featured the Major Tuba 8′ stop (on 15 inches of wind), quite thrilling. We then WAYNE MARSHALL sang Stephen Buzard’s arrangement of the hymn “How shall I sing that majesty” GERSHWIN & BERNSTEIN (Coe Fen, a marvelous tune). The time IMPROVISED he spent in England was very much evi- Bradford, 1990, St. John’s Evangelical dent in his style of playing. Prelude, Elegy Lutheran Church and Scherzo by Carlyle Sharpe (b. 1965) This fresh new recording from Fugue State Films was commissioned for this convention features the music of GERSHWIN and BERNSTEIN successful 2m instrument. It stands in a by Rodney Holmes. Stephen used many small transept, with pipework in a cham- beautiful solo stops in Elegy, beginning improvised on the 83 stop SCHUKE ORGAN of ber to the left of the altar, using a space with a sad little song on the Choir’s Cor the Luxembourg Philharmonie. Organist Wayne formerly occupied by a Wangerin organ. Anglais, then a tiny Cornet, the Corno Marshall brings his conducting experience to draw Aylesworth began with “O God, our di Bassetto, and this organ’s beautiful help in ages past” (St. Anne). Bill was strings. The lively Scherzo for organ and on its rich orchestral timbres as he improvises on organist here for 38 years, and knows brass is a good addition to the repertoire. these famous tunes. Using styles varying from how to lead a hymn in this space. It was Stephen Buzard ended this superb that of a Vierne sortie en grand jeu to razzle- beautifully played. Bach’s Wir glauben recital with Jeanne Demessieux’s Te dazzle theatre organ tricks, Marshall captures all’ an einen Gott, BWV 680, wonder- Deum, op. 11, easily communicating the fully showed this organ’s great clarity. profound nature of this music, all very sweetly tender lines, and his rapid fire technique Ich ruf’ zu dir, Herr Jesu Christ, BWV splendid. We heard this fi ne organ play summons energy and excitement. Themes from 639, demonstrated the lovely Oboe with music from many different periods and West Side Story, Candide, Wonderful Town and tremolo. In Dandrieu’s Trio avec Pédale, national styles with ease—and Stephen Rhapsody in Blue. we heard the warm Clarinet, which came Buzard is someone to watch! from a Hutchings organ. The beautiful The grand fi nale of the convention was JOIN THE OHS TODAY! Great 4′ Gedeckt, and the Swell 4′ Flute a visit to the Place de la Musique in Bar- d’Amour (from a Johnson & Son organ, rington Hills, Illinois. It has the world’s www.organsociety.org Op. 389) worked very well. Dandrieu’s largest collection of restored automatic Duo en cors de chasse sur la trompette musical instruments, the largest theatre IN STOCK FOR IMMEDIATE SHIPMENT! used, I believe, the Great Trumpet, organ in the world (5m, 80 ranks), and is NOW CHOOSE FROM OVER 5,000 TITLES! which came from a 19th-century organ. also the private residence of Mr. and Mrs. It had a surprisingly robust sound. Jasper Sanfi lippo. The 46-acre complex ORDER ANY TIME ONLINE: www.ohscatalog.org Aylesworth ended his fi ne recital with includes an enormous shed that houses Guilmant: Three Nöels, op. 60, demon- most of the mechanical instruments and ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we strated more solo stops; Marche sur un a huge carousel. We ate a picnic supper P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. thème de Hændel, op. 15, no. 2 was very amidst this collection, then soon made Telephone: (804) 353-9226 Media Mail shipping is $5.00 for your entire well played and sent us out on a high! our way to the 44,000 square-foot house order. Shipping outside U.S. is $4.50, plus Monday-Friday 9:30am-5:00pm ET the cost of air postage, charged to your VISA At Glenview Community Church with its huge theatre organ in a massive E-mail: [email protected] SHIPPING or MasterCard. (UCC), we heard young organist auditorium big enough to hold the entire

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 25 Conference Report The University of Michigan 52nd Conference By Marijim Thoene on Organ Music and Gale Kramer Kipp Cortez

he University of Michigan 52nd Carillon by Leo Sowerby; Prelude, ada- music station WRCJ-FM in Detroit. He TConference on Organ Music took gio et choral varié sur le thème du ‘Veni opened and closed his recital with Wil- place September 30–October 3. Creator’, op. 4, by Maurice Durufl é liam Mathias’s Processional (1964) and The annual conference is organized by (the performance was enhanced by the Recessional—pieces that exploited the Marilyn Mason, who has brought world- singing of the Gregorian hymn by St. instrument’s broad and rich spectrum of class performers and scholars to Ann Andrew’s Episcopal Church compline colors. Dr. Dave “the artist” and Dr. Dave Arbor for some 51 years. The conference ensemble, directed by Deborah Fri- “the raconteur” delighted the crowd offered a feast of sounds, from the 16th- auff); Les Corps Glorieux (Le mystère with four centuries of organ music and century organ Mass Missa Kyrie fons de la Sainte Trinité, VII) by Olivier Mes- commentary, explaining the connection bonitatis, to the world premiere of Three siaen; Rhapsody in D-fl at Major, op. 17, between these disparate works: Versets on Pieces for Organ by Czech composer Jirí no. 1, by Herbert Howells; and Varia- Veni Creator Spiritus by Nicolas de Gri- Teml; performers ranged in age from tions sur un vieux Noël by Marcel Dupré. gny; Passacaglia and Fugue in C Minor, “twenty-somethings” to seasoned veter- The latter was a tour de force. The crowd BWV 582, by J. S. Bach; and Sonata Michael Barone ans. This year’s conference inaugurated stood and cheered his playing. No. 1, op. 42, by Alexandre Guilmant. a new event—an improvisation competi- These composers are linked together by tion. The fi ve contestants dazzled the 8 PM, Hill Auditorium fortuitous events. Wagner pointed out audience with their ingenuity, creativity, Almut Roessler, the renowned inter- that while no autograph copies from de and ability to transform a simple melody preter of Messiaen’s organ works, was Grigny exist, we have J. S. Bach’s hand- into new music. As Michael Barone scheduled to perform; however, due to copied manuscript of de Grigny. He also commented, “The organ is a magnifi cent circumstances beyond her control, she related that in 1908 Guilmant directed creation, but it only comes alive when had to cancel her U.S. tour only two the fi rst publication of de Grigny’s organ people play it.” weeks before the conference. David works and that Guilmant played the basis Wagner was chosen to play the concert in of his Symphony No. 1 on the organ built Sunday, September 30 her place. He was a great choice: a native by the Farrand & Votey Company in 1893 4 PM, Hill Auditorium Michigander, born and raised in Detroit, a for the World’s Columbian Exposition The opening event, Kipp Cortez’s sought-after recitalist, a well-known radio in Chicago, which was purchased by the master’s degree recital, signaled the personality, and professor of music and University of Michigan in 1894 and has excellence and vitality that were to mark university organist at Madonna University since been named the Frieze Memorial the entire conference. His formidable in Livonia, Michigan. He is the program Organ. It was rebuilt and reconditioned technique was apparent in his program: director and music host of the classical by the Aeolian-Skinner Organ Company Steven Ball and Barton theater organ of Boston and resides in Hill Auditorium. To illustrate the pulsing life of organ Tuesday, October 2 music today, Barone played many Michael Barone, host of Pipe- recordings of live improvisations as well dreams, presented a fascinating pastiche as new music. This list includes only a of recordings culled from his vast library few of the recordings presented: Gunnar in his lecture, “Imagining the Future, Idenstam, Folkjule: A Swedish Folk Song Celebrating the Past.” He presented Christmas and Songs for Jukksjarvi: organ music by contemporary compos- Swedish Folk Songs; Matt Curlee/Neos ers who are stretching the boundaries Ensemble of jazz-styled arrangements of old forms, combining other instru- for organ, violin, vibraphone, and drums; ments with the organ, and implementing Barbara Dennerlein playing jazz on the Danish and Norwegian folk songs, jazz, pipe organ; and Monte Mason, Psalm and blues in new ways. Barone played 139 for choir, organ and electronics. numerous examples of intriguing new Barone continued by pointing out Opus 116 music for the organ that fi nds inspiration that Paul Winter in his Winter Solstice in J. S. Bach and old hymn tunes. concerts at the Cathedral of St. John the The fi rst composer on his list of “cut- Divine uses the organ as the bedrock ting edge” composers was Henry Martin, of his composition, and that Cameron who teaches composition at Rutgers Uni- Carpenter, playing in the Royal Albert versity; he received the 1991 National Hall in London at end of the Olympics, Composers Competition and the Barlow stretched the boundaries of organ com- St. Paul’s Episcopal Church International Composition Competition position and made us feel as uncomfort- M U R F R E E S B O R O , T E N N E S S E E in 1998 for his Preludes and Fugues for able as Bach’s contemporaries were with Piano. Barone commissioned him to him. Barone admonished us to fi nd new The Létourneau pipe organ at St. Paul’s Episcopal compose organ preludes and fugues in audiences for the organ, to go beyond Church was completed in July 2012 and offers 26 ranks G major and E minor for the 25th anni- all the wonderful pieces we know, and over two manuals and pedals. With a superbly flexible versary concert of Pipedreams that took explore the huge amount of repertoire place at the 2008 AGO convention in that’s not played and can be adapted “if specification, the organ boasts five 16’ ranks and is Minneapolis; Ken Cowan premiered the you push the right crescendo pedal.” housed within a solidOpus oak 118 case displaying tin pipes. works. Since then Barone has commis- One of the most enlightening and For details about this organ and others, please contact sioned preludes and fugues in D major entertaining events of the conference us or visit our website. and B minor, which Cowan premiered in was Steven Ball’s lecture/recital, “Intro- 2009; Prelude and Fugue in E Major, pre- duction to the Theater Organ,” given at miered by Isabelle Demers in 2012; and the Michigan Theater, which proudly LÉTOURNEAU PIPE ORGANS Stephen Tharp has agreed to premiere houses a 1927 Barton theater organ, the the next set of preludes and fugues. oldest unaltered organ in Ann Arbor. UNITED STATES CANADA Henry Martin’s “new music” interjects Steven Ball wears several hats—organist 1220 L Street NW 16355 avenue Savoie jazz, burly elements of dissonance, kalei- at the Michigan Theater, University of Suite 100, Box 200 St-Hyacinthe, Québec doscopic colors, and shifting textures Michigan carillonneur, and manager of Washington, DC J2T 3N1 into the constructs of the preludes and the Stearns Collection of Musical Instru- 20005 Tel: 450-774-2698 fugues of Bach’s Well Tempered Clavier. ments, as well as director of music at the Tel: 800-625-PIPE Fax: 450-774-3008 In his Prelude and Fugue in G Major the Catholic Cathedral of the Most Blessed Fax: 202-737-1818 [email protected] virtuosic demands are apparent in the Sacrament in Detroit. [email protected] www.letourneauorgans.com perpetual motion of the prelude and the Ball began his presentation with a driving intensity of the fugue. quiz. We were given the specifi cations

26 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM Judges of improvisation competition: Karel Paukert, Competition winners: Matthew Samelak and Steven Hoffman (runner-ups), Bálint Karosi, 1st prize winner of impro- Pamela Ruiter-Feenstra, and William Jean Randall Naki Sung Kripfgans (3rd place), Bálint Karosi (1st), Timothy Tikker (2nd) visation competition of four pipe organs and asked to identify 1994 Létourneau Opus 38, provided a the country of origin, location, builder, perfect venue for the competition. The date, and whether it was a theater organ. fi ve fi nalists were chosen from a prelimi- The last question was diffi cult: how can nary round based on submitted record- you tell from the specifi cations if the ings. Judges of the preliminary round organ is a theater organ? The answer is, included Joanne Vollendorf Clark, you can’t! Dr. Ball’s lecture was fueled Gale Kramer, and Darlene Kuperus. by the criteria applied to the selection The judges for the fi nal round were of each of the 2,500 instruments in the Karel Paukert, William Jean Randall, Stearns Collection: i.e., each piece was and Pamela Ruiter-Feenstra. chosen to show how instruments evolve, The fi ve fi nalists were given 30 min- aid in the study of organology, and utes without an instrument to plan their promote the understanding of world improvisation, which was to combine cultures and music. a prelude, a toccata, or a fantasia with Ball explained what happens when a a fugue on the tune Picardy, and also Gale Kramer, Darlene Kuperus, Michele Johns, and Marcia Van Oyen musical instrument evolves, and pointed include a free improvisation on a given out there is a cultural relevance and pro- theme. Their complete performance well as pieces that embody the spirit of gression accompanying this evolution. time was to last no more that 15 minutes. improvisation. His program gave ample (1) There is a dialogue between builders It was intriguing to listen to each evidence that the repertoire for organ and composers. When the Barker Lever competitor’s treatment of the themes, is crossing new boundaries, using colors was introduced in 1837 to the organ at St. to hear music composed before us with and timbres in new ways. His playing of Denis, an envelope was being pushed, marvelous fl uidity and agility. We heard Frammenti by Karel Husa (b. 1921), Toc- facilitating the composition of new organ borrowings from the medieval ages to cata and Fugue in F Minor by Bedrich music. (2) Change is marked by acousti- the present. No one envied the judges. Antonín Wiedermann (1884–1951), and cal evolution: sound gets louder and the Bálint Karosi was awarded the Earl Adagio and Postludium from Glagolitic compass expands. He noted that the Moore fi rst prize of $3,000; Timothy Mass by Leos Janácek (1854–1951) was theater organ was specifi cally voiced and Tikker was awarded the Palmer Chris- infused with rare sensitivity and energy. designed to duplicate the sounds of an tian second prize of $2,000; Naki Sung He played cutting edge music by Jirí Teml orchestra, and using analog technology Kripfgans the Robert G. Glasgow third (b. 1963) and Greg D’Alessio (b. 1963) fi rst produced what we know as “sur- prize of $1,000; and Steven Hoffman with the same intensity. We were honored round sound.” (3) As instruments evolve, and Matthew Samelak the runner-up to hear Paukert play the world premiere they become more vocal in nature— prizes of $500. of Jirí Teml’s Three Pieces for Organ. organ students are constantly told to let The behind-the-scenes organizer, Paukert’s choice of “Albion II” from the music “breathe.” Michele Johns, and her committee of Albion by Greg D’Alessio was a shin- Karel Paukert Steven Ball offered a brief history Gale Kramer, Darlene Kuperus, and ing example of what can emerge in of the theater organ, commenting that Marcia Van Oyen did a superb job in organ repertoire when tapping into McMyler Organ by Holtkamp at the Robert Hope-Jones created more pat- planning this remarkable event. the resources made available in the Cleveland Museum of Art.” This piece ents for the theater organ than anyone. digital age. Paukert played a score for for organ and electronic accompaniment He invented the Tibia Clausa, stoptabs 8 PM, Hill Auditorium organ and electronic tape with sounds, is defi nitely New Age music; spellbind- instead of drawknobs, increased the It was a privilege to hear Karel he explained, “derived from the elec- ing magic resulted by combining digitally wind pressures (ranging from 10 to 50 Paukert perform Czech organ music as tronically processed tonal palette of the manipulated with acoustic sounds of the inches), and enclosed the pipes behind walls and thick swell shades for greater expression. The merger of his company with Wurlitzer in 1914 ended in disap- pointment and led to his suicide in 1915. In 1927 Wurlitzer cranked out an organ a day for a demanding market, and organ- ists were paid for playing in the theater. The Michigan Theater organ, opus 245, was built in 1927 by the Barton Company, which employed 150 people, taught students to play, and placed them in theaters throughout the Midwest. The instrument is only one of 40 that exists in its original home with its original operating system intact, which includes combination action and console lift. Steven Ball also proved to be the con- summate entertainer. For 30 minutes we watched “One Week,” a silent fi lm star- ring Buster Keaton, while he improvised on the Barton organ. What fun to watch and hear the misadventures of Buster Rieger builds classics for the future. Keaton in high style.

Improvisation competition For the fi rst time in the conference’s long history, an improvisation competi- tion was included. One could feel the Rieger-Orgelbau GesmbH excitement as the audience fi led into the A-6858 Schwarzach-Vbg., Hofsteigstraße 120 sanctuary of St. Francis of Assisi Church for the fi nal round. The sacred space, T +43 (0) 5572/58132-0, F +43(0) 5572/58132-6 with its live acoustic and three-manual, www.rieger-orgelbau.com, [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 27 Conference Report

Colin Knapp and Andrew Earhart Renate McLaughlin

on the topic is about to see its fruition James Kibbie’s students: Colin Knapp, Stephanie Yu, Andrew Lang, Matthew in his publication of the performance Dempsey, and Matthew Kim edition of Attaingnant’s Missa Kyrie fons bonitatis. Hyslop explained that it was a 8 PM, Hill Auditorium the topic of the image of the pipe organ in me- unique accomplishment for Attaingnant Timothy Tikker, a doctoral candi- dieval manuscripts. to be able to print three items (staff lines, date studying with Professor Marilyn notes, and text) simultaneously and that Mason, programmed an interesting Monday events in 1537 Attaingnant became the offi cial mix of well-known and lesser-known Guest lecturer Susanne Diedrich printer and book seller to King Francis repertoire. Well-known pieces included of Wupperthal, Germany described I of France. Unlike the popular Missa Mendelssohn’s Sonata in B-fl at Major, rhetorical/musical devices used in Cunctipotens, the Missa Kyrie fons boni- op. 65, no. 4; J. S. Bach’s Partite diverse Bach’s Orgelbüchlein, such as circula- tatis contains the Credo, which agrees sopra il Corale Sei gegrüsset, Jesu tio, suspiratio, katabasis, anabasis, and with Paris usage. The new edition will gütig, BWV 768; Max Reger’s Toccata exclamatio, which were illustrated in include an accessible essay on musica and Fugue in d/D, op. 59, nos. 5 and performances by U of M students Timo- fi cta written by Kimberly Marshall. 6; and Messiaen’s Dieu Parmi Nous thy Tikker, Renate McLaughlin, Josh from La Nativité du Seigneur. It was Boyd, and Kipp Cortez. 2 PM, Hill Auditorium, in the lesser-known pieces that Tikker Speaking on the history of organ Scott Hyslop lower lobby communicated what seemed to be the improvisation, Devon Howard of Chat- Renate McLaughlin, a graduate essence and soul of the music. He cap- tanooga, a graduate of the University of pipe organ. He concluded his concert student of Marilyn Mason, lectured tured the intensity and drama of Ross Arizona, outlined possible reasons for the with two well-known works, both of on “Karg-Elert: a musician at the Lee Finney’s The Leaves on the Trees decline of improvisation in this country, which are improvisatory in character and wrong place and the wrong time.” She Spoke. Tikker set the stage of Vincent as well as for its resurgence. He urged spirit: Jehan Alain’s Deuxième Fantaisie documented events in the life of the Persichetti’s Do Not Go Gentle for students to learn improvisation as a way and Franz Liszt’s Prelude and Fugue on composer that had a negative infl u- organ pedals alone, op. 132, by playing a to understand composed works more the Name of B.A.C.H. ence in keeping him from enjoying recording of Dylan Thomas reading his thoroughly. Howard’s model of imitation, the recognition he deserved during poem. Likewise, he seemed to revel in assimilation, and innovation presaged the Wednesday, October 3 his lifetime. She presented interesting the lyricism and quiet loveliness of Her- method described by the next speaker. 9:30 AM, Blanche Anderson biographical details that showed him to bert Howells’ Quasi lento, tranquillo Pamela Ruiter-Feenstra proposed Moore Hall be out of touch with reality and a man from Sonata for Organ. a model of construction, deconstruction, The 16th-century organ Mass, Missa lacking in common sense. Her question and reconstruction, by which one might Kyrie fons bonitatis, was performed by of why his dreams of fame and glory Conclusion create an improvisation by imitating students of Professor James Kibbie: were never realized was answered in We thank Marilyn Mason and all who extant compositions. In illustration of her Andrew Earhart and Colin Knapp, her lecture topic. participated in the 52nd Conference on book Bach and the Art of Improvisation, with chants sung by Joseph Balis- Organ Music. You offered us a sip of the she performed a recital of fi ve works by treri. The score will be published by 3 PM, Hill Auditorium elixir of life and we left refreshed. Bach, Pachelbel, and others, following Wayne Leupold in 2013 and is the The students of James Kibbie played —Marijim Thoene each with an improvisation derived from culmination of ten years of research by Symphonie No. 6 in G Minor, op. 42, no. some aspect of its model. She also high- Scott Hyslop. 2, by Charles-Marie Widor. His students Marijim Thoene received a D.M.A. in or- lighted some of the pedagogical resources The performance was followed by gave polished performances. The per- gan performance/church music from the Uni- available for teaching improvisation, Scott Hyslop’s lecture, “Pierre Attaing- formers and the movements they played versity of Michigan in 1984. She is an active distinguishing three different approaches nant: The Royal Printer and the Organ were: Colin Knapp (Allegro), Matthew recitalist and director of music at St. John Lu- and three levels of profi ciency. theran Church in Dundee, Michigan. Her two Masses of 1531.” Hyslop’s interest in Kim (Adagio), Matthew Dempsey CDs, Mystics and Spirits and Wind Song are Seven high school students from the classical French music was the basis for (Intermezzo), Stephanie Yu (Canta- available through Raven Recordings. She is a Interlochen Arts Academy, prepared by his doctoral thesis. His continued work bile), and Andrew Lang (Finale). frequent presenter at medieval conferences on their teacher Thomas Bara, performed a stunning program in the afternoon slot. Joseph Russell, Garrett Law, Hannah Loeffl er, Michael Caraher, Emily Blandon, David Heinze, and Bryan Dunnewald played with poise, spirit, maturity, and musicality. Professor James Kibbie and his colleague Professor David Jackson and the University of Michigan Trom- bone Ensemble (19 players) brought the evening to a high point. Kibbie and Jackson presented works for organ and trombone by Koetsier, Schiffmann, and Eben. The trombones (senza organo) made an impact in a canzona by Gabrieli and a transcription from Morten Laurid- sen. Kibbie’s solo performance of “Moto ostinato” and “Finale” from Eben’s Sun- day Music crowned the evening. —Gale Kramer

Gale Kramer, DMA, is organist emeritus of Metropolitan United Methodist Church in Detroit, Michigan, and a former assistant professor of organ at Wayne State Univer- sity. As a student and graduate of the Uni- versity of Michigan he has attended no fewer than 44 of the annual conferences on organ music. He is a regular reviewer and occa- sional contributor to THE DIAPASON. His ar- ticle, “Food References in the Short Chorales of Clavierübung III,” appeared in the April 1984 issue of THE DIAPASON.

Photo credit: Marijim Thoene

28 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM Masterclass Report Ascension Organ Academy June 11–15, 2012 Church of the Ascension, New York By Martin Goldray

Quoirin organ consoles Chancel, with 1888 mural “The Ascension” by John LaFarge

he second annual Ascension Organ our experiences, something made pos- appropriate to the various styles, with of Messiaen with the Livre du Saint TAcademy took place June 11–15, sible by the all-day format with dinner a range of timbre and texture that was Sacrement. Gillock is also in the process 2012, at the Church of the Ascen- breaks, and the small group made it pos- fresh, beautiful, and exciting. And a not of recording Messiaen on the Quoirin sion on Fifth Avenue and 10th Street sible to agree on restaurants and to fi nd insignifi cant aspect of the week and the organ, and these highly anticipated in New York City. This week of master- tables large enough to accommodate performances was the physical beauty of recordings will be available soon. classes was instituted in June of 2011 to all of us. The participants in the class, the organ and the church, with its 1888 celebrate the inauguration earlier that who came from all over the U.S., were LaFarge mural over the altar and its Tif- Martin Goldray is on the faculty at Sarah year of the Manton Memorial Organ, a Chris Dekker, Brian Glikes, Benjamin fany stained glass windows. Lawrence College, where he teaches music magnifi cent two-console organ built by Kolodziej, Chad Levitt, Ryan Murphy, The third Ascension Organ Academy history, theory, and piano, and has conducted Pascal Quoirin. (See The Diapason, Eva Sze, Will Thomas, and myself. is scheduled for June 10–14, 2013. In the orchestra. Milton Babbitt wrote “Tutte le Corde” for him, and his many piano record- November 2011.) This 95-stop, 111-rank Another benefi t of the small class and the meantime, the Manton Memorial ings include music by Babbitt, Elliott Carter, instrument was designed to play as much daily performances by each of us was that Organ can be heard every Sunday and and Philip Glass, in whose ensemble he of the repertory as possible, with its we could observe each other’s progress in concerts by distinguished guest artists. performed for 16 years. As an organist, he three-manual mechanical-action console from class to class. I’ve found that the fi rst On January 23, John Scott performed, has attended the Haarlem Summer Academy and four-manual electric-action console. encounter between student and teacher in and on March 5 Jon Gillock continues and has studied with Christopher Wells and A particular source for the timbral world a masterclass can be valuable, but it’s rela- his series of concerts of major works Kimberly Marshall. of the organ was Messiaen’s organ at the tively easy for the teacher to be impres- Église de Sainte-Trinité in Paris. sive and for the student to hear attractive The eight students in the masterclass new ideas without really changing; only worked with two teachers: Dennis in continuing to work together can you Keene, titular organist of the new really assess the responsiveness of the A Precious Gift instrument and the conductor for many student and the ability of the teacher to years of the Voices of Ascension Chorus transform the playing. It would be impos- and Orchestra, and Jon Gillock, one of sible to describe the range of ideas that from the Past the foremost interpreters of the music were presented in the classes throughout of Messiaen and author of the recently the week but in briefest summary. for the Present published book Performing Messiaen’s Dennis Keene’s experience as a cho- Organ Music: 66 Masterclasses. ral conductor was always evident in his The masterclasses were organized in attempts to get the performances to sing and the Future ideal fashion. Each of the eight students and breathe, and to more keenly refl ect Supremely beautiful and blendable played every day in one of the two classes, the dramatic shape of the music. The in either Gillock’s afternoon class on the sound he produced on the mechanical tonal color – a Gift from the Venetian electric console or Keene’s evening class action console was varied and beautiful, School of organbuilding, a monumental part of our on the mechanical console. Gillock’s class and almost piano-like in its range. Jon JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH focused on the 19th-century French Gillock’s attention to the emotional and SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN repertory and the music of Messiaen, transcendent content of the music, his Keene’s class on Bach and the French understanding of Messiaen’s composi- Baroque. A schedule was generated tional techniques and how to translate Intriguing? Let us build your dream. each day for the following day’s class, and them into effective performance, and his each student had almost an hour in the ability to enter into the musical world of morning to prepare for that day’s class on the student in an empathetic way were either of the two consoles. Just knowing wonderful. Having the two classes on what and when you were going to play the different consoles was a great way to in advance and having practice time each keep our ears fresh and to display the full day was a luxurious change from other capabilities of the Quoirin organ. masterclasses I’ve participated in. The repertory ranged from preludes The other advantage of such a mod- and fugues, trio sonatas, and organ Builders of Fine Pipe Organs to the World estly sized class was that we really got chorales by Bach to music by Couperin, to know each other and each other’s de Grigny, Mendelssohn, Franck, www.ruffatti.com playing. Part of the pleasure was getting Vierne, and Messiaen. All of this music Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 to know the other students and sharing was realized, to my ears, in ways entirely

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 29 Cover feature

The console Winding system showing stop action trundles above

Buzard Pipe Organ Builders, a synthesis of these colors into the well- Trinity Lutheran Church’s director of we draw upon an intimate knowledge Champaign, Illinois precedented framework of classic organ- music, Brian Heinlein. We were asked of many styles and schools of voicing, as Opus 41, Trinity Lutheran Church, building, not from a rejection of the to create the quintessential “Lutheran well as aspects of tonal design, for the Sheboygan, Wisconsin lessons the Organ Reform Movement organ” for Trinity parish’s expansive and particular musical contexts at hand. Add taught. An organ for Lutheran worship impressive music program, combining to that sensitivity for one’s individual From the artistic director must be classically conceived, with a the overall effect of our own “house style and you have the making of art. Sometimes great new organs result hierarchical ordering of the divisions style” with the specifi c items that dif- Ours is one of few modern commercial when materials from older instruments and the choruses within those divisions. ferentiate the two. The result of the full organbuilding fi rms that dares to believe are recrafted and repurposed. Many (Oh . . . but that’s also how we go about organ, and the ability to make seamless it can create a unique place in the pro- of the best builders throughout history designing an Anglican organ as well . . .) crescendos and diminuendos, is that fession and its history by developing an have reused former instruments to vary- The greatest artists throughout his- of a Buzard organ—one simply gets to individual artistic style. All of our visual ing degrees in their new work. Our Opus tory are those who have taken existing full organ a bit differently! Principals and tonal designs, the engineering and 41 began life as a Möller organ, rebuilt styles and stretched them to make their are light in nature, fl utes transparent. execution, are accomplished in-house by and enlarged several times during its his- own new style. So it is with styles of Strings are typically rich and warm, and our own artists and craftsmen. True, our tory. We happily agreed to reuse the best organbuilding. It is the classic discipline in one instance explore colors created style is inspired at its core by what some of the existing materials, all the while that we follow (which extends from the by tapered pipes. Reeds, while quite specifi c instruments have had to say to considering this project a commission pipe scaling and voicing through the use similar to those found in our other new me. But it is the timeless concepts of clas- to build a new organ. The façade’s case- of slider and pallet windchests), which work, are slightly adjusted to the nature sic organbuilding that provide the perfect work, for example, is the original Möller allows us to craft our sound to meet a of what was wanted. framework to allow our style to thrive woodwork, redesigned and renewed, wide variety of contexts. For example, The most recent previous rebuild on its own, or be molded, shaped, and now including speaking pipes of the an organ for Lutheran worship should had been undertaken by the former fi nessed to satisfy other contexts. When Great and Pedal 8′ Principals. not be exclusively thin, top-heavy, and Schlicker Organ Company. A signifi cant an organ bears the Buzard name, you We respect our clients’ musical and screechy (as are many examples of Organ amount of the pipework added during know that the Art is never “outsourced!” liturgical needs, and the good work of Reform organs); on the other hand, its this rebuilding was new. The Schlicker —John-Paul Buzard, President & those builders who preceded us. In this Principals probably shouldn’t be Diapa- organ used low wind pressures and Artistic Director case, Trinity Lutheran Church wanted us sons because its music places a greater therefore low cut-ups in the fl ue pipes. to build them an organ that would meet importance on transparency of tone. A Thus it was economically and artistically From the tonal director the rich musical and liturgical needs of successful organ—style, denomination, responsible to reuse them, altering the The project for Trinity Lutheran traditional Lutheran worship, honor the and musical use notwithstanding—needs scales as appropriate, and cutting the Church in Sheboygan was full of tonal gifts of past donors of the existing organ, to be able to text-paint the words being mouths higher to meet the new tonal challenges from the very beginning. We and respect the deep German heritage sung or the mood being communicated context. The original Pedal 16′ open were commissioned to build an organ of the congregation and the wider com- by the composition. A signifi cant part of wood Diapason was retained, modifi ed for the parish that would meet the munity. They loved the tonal depth of Lutheran hymnody expresses profound with new beards and proper tuning pan- needs of the Lutheran liturgy as well our organs, but wondered if we could darkness alongside the joyous light of els. The original Swell/Pedal 16′ Lieblich as perform the huge treasury of music perhaps stretch our “Anglo-American” redemption. Therefore, ought not its Gedeckt was too small of scale to do its written for the church. On top of that, style and thereby create a unique work organ also be able to portray darkness as job, so we made four new pipes, which this instrument also needed to be able of art—just for them. well as light? Shouldn’t the organ be able are mitered and bolted to the ceiling of to convincingly play more modern and My organ-playing roots go deep into to thunder and shake the fl oor—even the Swell expression box. romantic repertoire. The old instrument the performance of the great works of when playing softly? Our tonal director, Brian Davis, cre- had been redone several times by various Bach, and the exciting “turning of the We were blessed to receive a strong ated this magical synthesis. Even before fi rms and was leaning in the direction of tables” that the Organ Reform Move- endorsement of our work by Kantor tonal fi nishing began, we could all tell bright and thin. Some stops individually ment brought to our profession at the Rev. Richard Resch from Concordia that this was going to be a very special sounded pretty, but had nothing else in time I was just beginning organ study. Theological Seminary in Fort Wayne, organ for everyone concerned. Each of the organ with which to blend. Herein My love for romantic textures and sym- Indiana, and gratefully accepted an our organs is a custom-designed and cus- was the largest problem of the old phonic registrational colors developed as invitation to build this organ from tom-built musical instrument, because instrument. It did not meet the fi rst and

Buzard Pipe Organ Builders, Opus 41 Trinity Lutheran Church, Sheboygan, Wisconsin

GREAT SWELL POSITIV PEDAL 16′ Lieblich Gedeckt (Sw) 16′ Lieblich Gedeckt (wood) 8′ Harfenpfeife 32′ Untersatz (digital) 8′ Prinzipal (polished tin in façade) 8′ Spitzfl öte 8′ Metal Gedeckt 16′ Holz Prinzipal 8′ Rohrfl öte 8′ Holz Gedeckt (from 16′) 4′ Prinzipal 16′ Subbass 4′ Oktav 8′ Salizional 4′ Blockfl öte 16′ Lieblich Gedeckt (Sw) 4′ Flöte 8′ Schwebung (TC) Kornet II 8′ Oktavbass (polished tin in façade) 2 2⁄3′ Quint 4′ Prinzipal 2′ Oktav 8′ Gedeckt (ext 16′ Subbass) 2′ Oktav 4′ Kleinfl öte 2′ Pfeife 8′ Lieblich Gedeckt (Sw) 2 1 Mixtur IV 2⁄3′ Nasat 1⁄3′ Larigot 4′ Choralbass (ext 8′) 16′ Englisch Horn 2′ Flachfl öte Zimbel III 4′ Nachthorn 3 8′ Trompete 1⁄5′ Terz 8′ Dulzian Mixtur IV Tremulant Groß Mixtur IV Tremulant 32′ Kontra Posaune (digital) Zimbelstern (digital) 16′ Fagott 16′ Festliche Trompete (Gt) 16′ Posaune Chimes (25 notes, digital) 8′ Trompete 8′ Festliche Trompete (Gt) 16′ Fagott (Sw) 8′ Festliche Trompete 8′ Oboe 4′ Festliche Trompete (Gt) 8′ Trompete (ext 16′) (horizontal inside case) 4′ Klarine (from 16′) 8′ Schalmei Tremulant 8′ Festliche Trompete (Gt) * Festliche Trompete stops are not affected by 8′ Festliche Trompete (Gt) any couplers in any division, nor by couplers 40 independent speaking stops, 52 ranks between divisions. across three manuals and pedal

30 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM New trumpet resonators ready for installation

Swell pipework

The center of the façade foremost requirement in organs that I much a concept from the Organ Reform voice, which is that the stops must blend, Movement. Many organs in Europe that blend, blend! A copy of a set of pipes inspired the Organ Reform Movement from “Saint So and So” doesn’t automati- are like this and perform as such in their cally mean that it will be successful in own environment. That is the key! We Swell 16′ Gedeckt showing new basses, bolted to the ceiling a coherent instrument! You can scale do not copy what we see and hear in things properly so that they will blend, older organs but rather strive to recreate then use them to create unique and truly From the director of music and still capture the essence of the sound the essence of this sound in our rooms, beautiful voices for the organ, which The organ at Trinity Lutheran Church you are seeking. changing what is necessary about pipe make the instrument so versatile. Only was fi rst installed by the Möller Organ And so we set forth on conceiving a construction in order to achieve this. one old reed was of use in the new instru- Company in 1927. Over the next 85 years tonal design that would blend well, fi ll The reeds in the organ are what give ment. The old swell Oboe 4′ had a new the instrument was rebuilt or revoiced the sanctuary with sound, and satisfy the the instrument its special character. bottom octave made for it. The stop was three different times by three different musical needs of the congregation. Scales Overall they are brighter than what we originally too soft to be useful, but the organ companies. The tonal scheme needed for the job were drawn up. When normally would use, as the instrument scale and lengths of the pipes were good. changed dramatically during that time old pipes could be fi t into the scheme as a whole is also this way. Stops more The shallots were therefore milled open period as the organ increased in size they were reused. Several were liberally traditional to what one would fi nd in a here at our shop and new tongues were from 20 to 39 ranks. In the late 1990s, we rescaled to make them work in the new Lutheran organ are also employed in cut so that the revoiced Oboe would sing realized something needed to be done to sound scheme. Where there were gaps the instrument. The Schalmei, Dulzian, at an appropriate volume. break the cycle of organ alterations that in the scaling concept, new pipes were and Fagott are all present in the organ as Reusing old pipework in a rebuild of were being made once every decade. ordered to fi ll these in. In this way, a pool well as a variety of trumpets. Following an organ is infi nitely more diffi cult than Plans were made to install a completely of properly scaled pipework was ready to the concept of creating what is needed, simply starting from scratch with a totally new instrument, but the project never be voiced, with the intention of having a rather than just copying what was done new instrument. I am honored by the trust moved forward. bit brighter sound than what we would in an organ of the past, led to new sounds placed in us by Kantor Richard Resch and Ten years later we contacted John- do otherwise. Nicking is light, and the coming out of a Buzard organ. Many the music director at Trinity Lutheran, Paul Buzard Pipe Organ Builders and pipes have a light speech to them, which hours of consulting with our pipe maker, Brian Heinlein. The support of the entire asked them for a proposal for an exten- is charming but never dominates the tone Christoph Ulmer at Killinger Pfeifen congregation was wonderful! You will not sive organ renovation that would use the itself. The result is an organ in which the Freiberg, went into developing these fi nd better people to work with anywhere. best components of the old organ to craft fl ues are warm and singing and crowned reeds. He would look at the scale and It is my hope that our creation will serve a new instrument. We desired an instru- by upperwork that is bright, but does not shallot suggestions I proposed, shake God and them as well for years to come! ment that was similar to the neo-baroque overshadow the lower pitches. It is very his head and call me a crazy Texan, and —Brian K. Davis, Tonal Director sound to which we were accustomed,

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 31 Cover feature New Organs but with more warmth and foundational pitches than were present in the existing instrument. We also wanted an organ that would last for 100 years without a need for major repairs or modifi cations. The Buzard Company identifi ed exactly what we were looking for and built us an instrument that exceeded our expecta- tions in every aspect. Most of the principal chorus and mixtures were reused from the previous instrument. Under the skillful hand of tonal director Brian Davis, the mixtures were voiced to maintain the brilliance we desired, but without being as harsh and strident as they were previously. Many of the existing fl utes were also rescaled and revoiced. Prior to renovation, the instrument contained three 8′ fl utes that were almost indistinguishable from one another. Today we now have four 8′ fl utes with unique timbres and varying dynamic levels. All new strings were also added to the instrument. When the Swell Salizional and fl utes are played together, Nightingale they blend so perfectly that one would think it was a Stopped Diapason. Mander Organs, London, England The Mansion House Organ Although initially for the Mansion House, this instrument is destined to replace the Snetzler organ in the Lady Chapel at Westminster Abbey. It will move there towards the end of 2013. The organ is a gift to Her Majesty the Queen in celebration of her Diamond Jubilee from the Lord Mayor and the Corpora- tion of London. The case design is based loosely on case designs of 18th-century English chamber organs, but that is where any similarity to such instruments ceases. The dimensions Mansion House Organ of the organ were dictated by where it will reside in the Mansion House and Green. It is built on a steel chassis (also of the instrument has taken six months Westminster Abbey. With exception of made in the works), which has been and almost 5,000 man hours to construct. the blower, keys, and small action parts, fi tted with four casters provided with The front pipes are gilded using French Constructing new wood pipes in the shop the organ was constructed entirely in the suspension to make the instrument Red gold leaf. Mander Organs workshops in Bethnal moveable. The design and manufacture —John Mander The most noticeable tonal improve- ments were made in the reeds. Aside from a reused Oboe, all of the reeds in this instrument are new. The Swell reeds have a fi ery brilliance that contrasts nicely with the darker timbre of the reeds in the Great division. Where the previ- ous instrument had all half-length reeds, we now have new full-length 16′ reeds that provide a solid foundation to the new organ sound. While the Festliche Trompete is absolutely thrilling to hear, the new Dulzian is equally as impressive. Its tone is a cross between a Krummhorn and a Clarinet and possesses the best Revolving birds characteristics of each stop. All of these improvements result in an instrument that looks and sounds as it Mander Organs never has before. Parishioners have com- mented on how much easier it is to sing The Mansion House Organ, with the new organ than with the previ- London, England ous instrument. The sound is clearer and the pitches are in the proper proportions MANUAL I between high and low registers. Through 8′ Open Diapason the skillful engineering of Chuck Eames, 8′ Stopped Diapason all 52 ranks of the instrument fi t in the 4′ Principal same space as the previous instrument, 2′ Fifteenth 1′ Mixture II and yet the pipes are more accessible for 8′ Trumpet tuning and maintenance. Manual II to Manual I As Lutherans, our weekly time together in the Divine Service is fi lled MANUAL II 8′ Gedackt with sung liturgy and hymns. We have 4′ Chimney Flute identifi ed the pipe organ as the best 2′ Recorder 2 instrument to lead congregational sing- 2⁄3′ Sesquialtera II ing, as it is able to “text-paint” the hymns 8′ Trumpet in meaningful and varied ways. This PEDAL project has preserved the best pipework 16′ Bourdon given to us by our predecessors and Manual I to Pedal blended it seamlessly into a new instru- Manual II to Pedal ment that will serve many generations in Drum or Thunder Pedal the years to come. Soli Deo Gloria. Nightingale with revolving birds —Brian Heinlein Kellner temperament Director of Music Mansion House Organ installed

32 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 20 MARCH Park Ridge Presbyterian Church This calendar runs from the 15th of the month Fauré, Requiem; Cathedral Church of St. Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline John the Divine, New York, NY 7:30 pm Pickle Piano & Church Organs is the fi rst of the preceding month (Jan. 1 for NEW YORK Charles Stanley; First Presbyterian, Bloomingdale, IL Feb. issue). All events are assumed to be organ Pompano Beach, FL 12 noon recitals unless otherwise indicated and are grouped Ed Bruenjes; Asbury United Methodist, within each date north-south and east-west. •=AGO Columbus, IN 12 noon chapter event, • •=RCCO centre event, +=new organ dedication, ++= OHS event. 21 MARCH Christopher Babcock Information cannot be accepted unless it Bach, St. Matthew Passion; St. Thomas specifi es artist name, date, location, and hour in Church Fifth Avenue, New York, NY 7:30 pm writing. Multiple listings should be in chronological Ann Stephenson-Moe; Christ Church, St. Andrew’s by the Sea, order; please do not send duplicate listings. Bradenton, FL 12:15 pm Hyannis Port THE DIAPASON regrets that it cannot assume responsibility for the accuracy of calendar entries. 22 MARCH Jacob Reed; Trinity Church, Copley UNITED STATES Square, Boston, MA 12:15 pm East of the Mississippi Douglas Wimer; Holy Trinity Lutheran, Dean W. Billmeyer GAVIN BLACK Lancaster, PA 12:30 pm Princeton Early Keyboard Center 15 MARCH Theresa Bauer; St. John Presbyterian, University of Minnesota Jonathan Ortloff; Trinity Church, Copley New Albany, IN 12 noon 732/599-0392 Square, Boston, MA 12:15 pm Olivier Latry, Saint-Saëns, Symphony 23 MARCH Minneapolis 55455 • [email protected] www.pekc.org No. 3; Symphony Hall, Boston, MA 1:30 pm Wesley Roberts, Bach marathon; Max- Stephen Hamilton, Dupré, Le Chemin well Street Presbyterian, Lexington, KY de la Croix; St. Ignatius of Antioch, New 8 pm York, NY 8 pm David Briggs; Overture Hall, Madison, Byron L. Blackmore THOMAS BROWN Peter Brown & Timothy Mentzer ; Holy WI 7:30 pm UNIVERSITY Trinity Lutheran, Lancaster, PA 12:30 pm Lutheran Choir of Chicago; Glenview Crown of Life Lutheran Church Felix Hell, with Baltimore Symphony; Community Church, Glenview, IL 7 pm PRESBYTERIAN CHURCH Strathmore Music Center, Washington, DC Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA 8:15 pm 24 MARCH 623/214-4903 ThomasBrownMusic.com Neil Harmon; Emmanuel Church, Ches- Stainer, The Crucifi xion; King’s Chapel, tertown, MD 7:30 pm Boston, MA 5 pm Gail Archer; St. Helena Episcopal, Bach, St. Matthew Passion; Madison Av- Beaufort, SC 12 noon enue Presbyterian, New York, NY 3 pm Nathan Laube; St. Petersburg College, Keenan Boswell; Bryn Mawr Presbyte- David Chalmers DELBERT DISSELHORST Gibbs Campus, St. Petersburg, FL 7:30 pm rian, Bryn Mawr, PA 4 pm Concert Organist Janette Fishell & Colin Andrews; Trin- Robert Parkins; Duke University Cha- Professor Emeritus ity Lutheran, Akron, OH 8 pm pel, Durham, NC 5 pm GLORIÆ DEI CANTORES Judith Miller; First Presbyterian, Jeffer- Mark Jones, with choir and orchestra; Orleans, MA University of Iowa–Iowa City sonville, IN 12 noon First Presbyterian, Pompano Beach, FL Tom Trenney; Second Presbyterian, 4 pm Louisville, KY 7:30 pm Michael Burkhardt, hymn festival; St. Andrew Lutheran, Mundelein, IL 8:30 am JAMES DORROH, AAGO, PhD STEVEN EGLER 16 MARCH Central Michigan University Olivier Latry, Saint-Saëns, Symphony 25 MARCH Saint Luke’s Episcopal Church Mt. Pleasant, Michigan No. 3; Symphony Hall, Boston, MA 8 pm Benjamin Sheen, Dupré, Le Chemin de Samford University Artist in Residence Felix Hell, with Baltimore Symphony; la Croix; St. Thomas Church Fifth Avenue, Birmingham, Alabama First Congregational Church Meyerhoff Symphony Hall, Baltimore, MD New York, NY 6:30 pm Saginaw, Michigan 7 pm Organ Consultant Organ Recitals [email protected] Christopher Houlihan; St. Norbert Ab- 26 MARCH bey, De Pere, WI 2 pm Peter Sykes; The Memorial Church, Jonathan Ryan; St. James Cathedral, Cambridge, MA 7:30 pm A Professional Card in Chicago, IL 7 pm Couperin, Leçons de Ténèbres; St. JOHN FENSTERMAKER Thomas Church Fifth Avenue, New York, The Diapason 17 MARCH NY 6:30 pm For rates and digital specifi cations, Aaron David Miller, hymn festival; First TRINITY-BY-THE-COVE Richard Webb, with readers, Tour- contact Jerome Butera United Methodist, Schenectady, NY 3 pm nemire, Sept Chorals-Poèmes; Cathedral 847/391-1045 Jason Wright; Cathedral Church of St. NAPLES, FLORIDA [email protected] John the Divine, New York, NY 5 pm of St. Joseph, Baton Rouge, LA 7:30 pm Charpentier, Leçons de Ténèbres pour 27 MARCH Vendredi; Trinity Wall Street, New York, NY Victoria, Lamentations of Jeremiah; 5 pm Trinity Wall Street, New York, NY 6 pm Kenneth Miller; St. Thomas Church Fifth Tenebrae; Our Lady, Queen of the STEPHEN HAMILTON WILL HEADLEE Avenue, New York, NY 5:15 pm 1650 James Street Nathan Laube; Holy Trinity Lutheran, Most Holy Rosary Cathedral, Toledo, OH recitalist–clinician–educator Lancaster, PA 4 pm 7:30 pm Syracuse, NY 13203-2816 Ancient Office of Tenebrae; St. Peter in Marek Kudlicki; Washington National www.stephenjonhamilton.com (315) 471-8451 Cathedral, Washington, DC 5:15 pm Chains Cathedral, Cincinnati, OH 7:30 pm Felix Hell, with Baltimore Symphony; Meyerhoff Symphony Hall, Baltimore, MD 28 MARCH 3 pm Bach, St. Matthew Passion; Carnegie Hall, New York, NY 8 pm Gary L. Jenkins Basilica Choir, with Emerald String Quar- ANDREW HENDERSON, DMA Central Presbyterian Church tet; Basilica of the National Shrine of Mary, Dubois, Seven Last Words of Christ; First United Methodist, Columbus, IN 7 pm Madison Avenue Presbyterian Church Director, Schmidt Concert Series Queen of the Universe, Orlando, FL 3 pm Carmelite Monastery Jonathan Dimmock; Christ Church, New York, NY 29 MARCH Curator of Organs Bradenton, FL 4 pm www.andrewhenderson.net C. Ralph Mills; St. Andrew United Meth- Good Friday Concert; Trinity Church, Co- Rose-Hulman Institute of Technology odist, St. Albans, WV 4 pm pley Square, Boston, MA 5:30 pm Terre Haute, Indiana Jeremy Filsell; First Congregational Bach, The Passion According to St. Church UCC, Columbus, OH 4 pm Mark; First Church of Christ, Wethersfi eld, Alma College Choir; St. Lorenz Lutheran, CT 7 pm Frankenmuth, MI 4 pm Choral Meditations on the Passion of Choral Evensong; Christ Church Grosse Our Redeemer; Christ & St. Stephen’s David Herman Pointe, Grosse Pointe Farms, MI 4:30 pm Episcopal, New York, NY 7 pm Trustees Distinguished Professor Emeritus of Music and University Organist Bruce Neswick, hymn festival; Pilgrim Crescent Singers, Good Friday Tene- Lutheran, Carmel, IN 7 pm brae; Crescent Avenue Presbyterian, Plain- The University of Delaware Q [email protected] Kimberly Marshall; Christ Church Ca- fi eld, NJ 7:30 pm thedral, Indianapolis, IN 4:30 pm Arvo Pärt, Passio; Bryn Mawr Presbyte- Charles Kennedy; Cathedral Church of rian, Bryn Mawr, PA 8 pm the Advent, Birmingham, AL 4 pm Bach, St. John Passion; Christ Church LORRAINE BRUGH, Ph.D. Lutheran Choir of Chicago; Lutheran Grosse Pointe, Grosse Pointe Farms, MI School of Theology, Chicago, IL 4 pm 4:30 pm Michel Bouvard; University of St. Thom- Associate Professor as Chapel, St. Paul, MN 3 pm 31 MARCH University Organist Jeremy Filsell; Washington National Ca- 18 MARCH thedral, Washington, DC 5:15 pm Valparaiso University Katie Minion; Elliott Chapel, Presbyte- Valparaiso, IN rian Homes, Evanston, IL 1:30 pm 1 APRIL Karen Beaumont; St. John’s on the www.valpo.edu 19 MARCH Lake, Milwaukee, WI 4 pm Suzanne Tiemstra; Park Congregation- 219-464-5084 al, Grand Rapids, MI 12:15 pm 2 APRIL Clif Cason; Campbellsville University, Barbara Dulmage; Park Congregation- [email protected] Campbellsville, KY 12:20 pm al, Grand Rapids, MI 12:15 pm

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 33 CALIFORNIA LUTHERAN UNIVERSITY Calendar Visit The Diapason Kyle Johnson, DMA 3 APRIL 14 APRIL website: University Organist Deborah Dillane; Camp Hill Presbyte- Barry Turley; St. Anthony of Padua 

r
LFKPIOT!DBMMVUIFSBOFEV rian, Camp Hill, PA 12:15 pm Church, New Bedford, MA 3 pm www.TheDiapason.com Karen Beaumont; Cathedral of St. John Peter Planyavsky; St. John’s Lutheran, www.callutheran.edu the Evangelist, Milwaukee, WI 12:15 pm Stamford, CT 4 pm Christopher Urban, with trombone; First Charles Callahan; Zion Lutheran, Sche- Presbyterian, Arlington Heights, IL 12:10 pm nectady, NY 3 pm David Briggs; Cathedral Church of St. Brian Jones KIM R. KASLING 4 APRIL John the Divine, New York, NY 5 pm D.M.A. Choir of King’s College, Cambridge; Ca- Giampaolo di Rosa; St. Thomas Church Director of Music Emeritus thedral of St. Paul, St. Paul, MN 7:30 pm Fifth Avenue, New York, NY 5:15 pm St. John’s University TRINITY CHURCH Peter Brown, with choir and harp; Holy Collegeville, MN 56321 5 APRIL Trinity Lutheran, Lancaster, PA 8:30 am, BOSTON Ross Wood; Trinity Church, Copley 11 am Square, Boston, MA 12:15 pm Benjamin Sheen; Washington National •Marilyn Keiser; Cathedral Church of St. Cathedral, Washington, DC 5:15 pm John the Divine, New York, NY 7:30 pm Nigel Potts, with Jeremy Filsell, piano, JAMES KIBBIE Rachmaninov’s Piano Concerto No. 2; The University of Michigan 6 APRIL Greene Memorial United Methodist, Roa- Michel Bouvard, masterclass; St. Da- noke, VA 4 pm Ann Arbor, MI 48109-2085 ORGAN CONSULTANT vid’s Episcopal, Wayne, PA 10 am Mark Jones, with piano; First Presbyte- 734-764-1591 FAX: 734-763-5097 Scott Elsholz; St. Mary’s Episcopal Ca- rian, Pompano Beach, FL 4 pm www.gabrielkney.com email: [email protected] thedral, Memphis, TN 7 pm Janette Fishell; Hyde Park Community Northwest Choral Society, Brahms, A United Methodist, Cincinnati, OH 4 pm German Requiem; Southminster Presbyte- Isabelle Demers; Piedmont College, rian, Arlington Heights, IL 7:30 pm Demorest, GA 4 pm David K. Lamb, D.Mus. A Professional Card in The South City Winds; Peachtree Road 7 APRIL United Methodist, Atlanta, GA 5 pm Director of Music/Organist The Diapason For rates and digital specifi cations, Gail Archer; Park Avenue Christian ++Stephen Schnurr; United Church of First United Methodist Church contact Jerome Butera Church, New York, NY 3 pm Hyde Park, Chicago, IL 3 pm Columbus, Indiana 847/391-1045 Alvin Blount; St. Thomas Church Fifth John Gouwens; Memorial Chapel, Cul- 812/372-2851 [email protected] Avenue, New York, NY 5:15 pm ver Academies, Culver, IN 4 pm Michel Bouvard; St. David’s Episcopal, Wesley Roberts; Christ Church Cathe- Wayne, PA 3 pm dral, Louisville, KY 5 pm James Hicks; Washington National Ca- Gail Archer; St. Patrick R.C. Church, thedral, Washington, DC 5:15 pm New Orleans, LA 4 pm •Joby Bell; Porter Center, Brevard Col- Gospel concert; Lutheran School of The- lege, Brevard, NC 3 pm ology, Chicago, IL 4 pm Ken Cowan; Stambaugh Auditorium, Youngstown, OH 4 pm 16 APRIL Todd Wilson, with Warren Philharmon- Nigel Potts; First Presbyterian, Spartan- ic Orchestra, Poulenc, Organ Concerto; burg, SC 7:30 pm Christ Episcopal, Warren, OH 3 pm Wesley Roberts; Campbellsville Univer- James Clouser; Cathedral of the Holy sity, Campbellsville, KY 12:20 pm Angels, Gary, IN 3 pm Chris Dekker; Park Congregational, Clive Driskill-Smith; Cathedral Church Grand Rapids, MI 12:15 pm ANDREW PAUL MOORE of All Saints, Milwaukee, WI 3 pm A.S.C.A.P. Chicago Chamber Choir; Unity Lutheran, 17 APRIL FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Chicago, IL 3 pm Wesley Roberts; Sisters of Loretto, Ner- 345 SADDLE LAKE DRIVE inx, KY 7 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS 10 APRIL (770) 594-0949 Monteverdi, Vespers of 1610; Cathedral 18 APRIL Church of St. John the Divine, New York, Clive Driskill-Smith; Asbury United NY 7:30 pm Methodist, Delaware, OH 7:30 pm Marijim Thoene; School of Public 19 APRIL DOUGLAS O’NEILL Health, University of Michigan, Ann Arbor, LEON NELSON Jerome Faucheur; Trinity Church, Cop- MI 12:15 pm Director of Traditional Music Cathedral of the Madeleine ley Square, Boston, MA 12:15 pm Southminster Presbyterian Church Salt Lake City, Utah 12 APRIL Andrew Scanlon; Westminster Presby- [email protected] Patrick Pope; Trinity Church, Copley terian, Charlottesville, VA 8 pm Arlington Heights, IL 60005 Dorothy Papadakos, silent fi lm accom- 801/671-8657 Square, Boston, MA 12:15 pm Tom Trenney; Cathedral of St. Joseph, paniment; Holy Trinity Lutheran, Akron, OH 8 pm Hartford, CT 8 pm Christopher Houlihan; Fairmount Pres- MARILYN MASON Bruce Neswick; Westminster Presbyte- byterian, Cleveland Heights, OH 7:30 pm rian, Albany, NY 7:30 pm CHAIRMAN, DEPARTMENT OF ORGAN Douglas Cleveland; Cathedral of the David Briggs, with chorus, Mahler, Sym- UNIVERSITY OF MICHIGAN Assumption, Louisville, KY 7:30 pm phony No. 2; Cathedral Church of St. John ANN ARBOR David Baskeyfi eld; Shryock Auditorium, the Divine, New York, NY 7:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Carbondale, IL 7:30 pm with awesome technique and a thrilling command of its daring writing.” Ken Cowan; Pine Street Presbyterian, The American Organist, 1980 Harrisburg, PA 7:30 pm 20 APRIL Brian Harlow; Emmanuel Church, Ches- David Higgs; St. Malachy’s–The Actors’ tertown, MD 7:30 pm Chapel, New York, NY 7:30 pm Isabelle Demers; River Road Baptist, Michael Hey; St. Norbert Abbey, De SYLVIE POIRIER Richmond, VA 7:30 pm Pere, WI 2 pm LARRY PALMER Gail Archer; St. Paul’s Episcopal, Green- PHILIP CROZIER ville, NC 7:30 pm 21 APRIL Professor of Nigel Potts, with Jeremy Filsell, piano, David Spicer, hymn festival; First ORGAN DUO Rachmaninov’s Piano Concerto No. 2; St. Church, Wethersfi eld, CT 4 pm Harpsichord and Organ Boniface Episcopal, Siesta Key, FL 7 pm Christopher Houlihan; Rye Presbyte- 3355 Queen Mary Road, Apt 424 Todd Wilson, silent fi lm accompaniment; rian, Rye, NY 4 pm Meadows School of the Arts Montreal, H3V 1A5, P. Quebec St. Mark’s United Methodist, Charleston, Raymond Nagem; Cathedral Church of WV 7 pm St. John the Divine, New York, NY 5 pm SOUTHERN METHODIST UNIVERSITY Canada Chanticleer; St. Peter in Chains Cathe- Ulrike Wegele-Kefer; St. Thomas Church (514) 739-8696 dral, Cincinnati, OH 7:30 pm Fifth Avenue, New York, NY 5:15 pm Dallas, Texas 75275 Marsha Foxgrover; Wheaton Bible Lauridsen, Lux Aeterna, Gjeilo, Sun- Fax: (514) 739-4752 Church, West Chicago, IL 7 pm rise Mass; Bryn Mawr Presbyterian, Bryn Musical Heritage Society recordings [email protected] Christopher Houlihan; St. Paul United Mawr, PA 4 pm Church of Christ, Belleville, IL 7:30 pm Pavel Kohout; Washington National Ca- Christian Lane; St. Mary’s Cathedral, thedral, Washington, DC 5:15 pm Peoria, IL 7:30 pm Benjamin Rollings; Peachtree Road United Methodist, Atlanta, GA 5 pm 13 APRIL Easter Lessons & Carols; Christ Church David Enlow, with l’Orchestre des Grosse Pointe, Grosse Pointe Farms, MI A four-inch Professional Card Portes Rouges; Church of the Resurrec- 4:30 pm in THE DIAPASON tion, New York, NY 8 pm Choral Evensong; Cathedral Church of Crescent Choral Society, Haydn works; the Advent, Birmingham, AL 4 pm Crescent Ave. Presbyterian, Plainfi eld, NJ Craig Cramer; St. Jude’s Catholic Par- For rates and specifi cations 8 pm ish, Wauwatosa, WI 3 pm contact Jerome Butera Karen Beaumont; St. Agnes Roman Choral concert; First Presbyterian, Ar- Catholic Church, Milwaukee, WI 4:30 pm lington Heights, IL 4 pm 847/391-1045 Chicago Chamber Choir; St. Mark’s Dennis Koletsos; St. Andrew Lutheran, Episcopal, Evanston, IL 7:30 pm Mundelein, IL 3 pm [email protected] Sing to Live Community Chorus; Glen- Bruce Neswick, hymn festival; Glenview view Community Church, Glenview, IL 8 pm Community Church, Glenview, IL 5 pm Bach Society of Minnesota; Sundin Music +Organ dedication concert; Cathedral of Hall, Hamline University, Hamline, MN 8 pm St. Paul, St. Paul, MN 7 pm

34 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer Recitals – Consultations +Lawrence Lawyer, with choir and brass; The Philadelphia Singers, Russian sacred Cathedral of St. Paul, St. Paul, MN 7 pm choral works; Cathedral Basilica of Saints Cathedral Church of the Advent Peter and Paul, Philadelphia, PA 3 pm Birmingham, Alabama 22 APRIL Heritage Chorale of Lancaster; Holy Trin- www.AdventBirmingham.org Oratorio Society of New York, Britten, ity Lutheran, Lancaster, PA 4 pm War Requiem; Carnegie Hall, New York, Christopher Dekker; Washington Na- NY 8 pm tional Cathedral, Washington, DC 5:15 pm Simone Gheller; Elliott Chapel, Presby- Central Florida Master Choir; First United ROBERT L. terian Homes, Evanston, IL 1:30 pm Methodist, Ocala, FL 3 pm Nicholas E. Schmelter Choral Evensong; St. Paul’s Episcopal, Director of Music and Organist 23 APRIL Greenville, NC 5 pm SIMPSON Pavel Kohout; Peachtree Road United Peter Richard Conte; Stambaugh Audi- First Congregational Church Christ Church Cathedral Methodist, Atlanta, GA 7 pm torium, Youngstown, OH 4 pm Saginaw, Michigan 1117 Texas Avenue Houston, Texas 77002 24 APRIL Choral Evensong; Cathedral Church of David Jonies; Cathedral of St. John, Mil- St. Paul, Detroit, MI 4 pm waukee, WI 12:10 pm Marcia Van Oyen; Cathedral Church of St. Paul, Detroit, MI 5 pm Stephen Tappe ORGAN MUSIC OF THE SPANISH BAROQUE 25 APRIL Daniel Brondel; Trinity United Method- Organist and Director of Music Choir of St. Luke in the Fields, Allegri, ist, New Albany, IN 7 pm David Troiano Missa Christus resurgens; Church of St. Choral concert; Independent Presbyte- Saint John's Cathedral DMA MAPM Luke in the Fields, New York, NY 8 pm rian, Birmingham, AL 4 pm Denver, Colorado 586.778.8035 Bill Chouinard, with University of Min- Gail Archer; First Congregational, Crys- www.sjcathedral.org nesota Wind Ensemble; St. Andrew’s Lu- tal Lake, IL 4 pm [email protected] theran, Mahtomedi, MN 7:30 pm Kirsten Falc Uhlenberg, with marimba; House of Hope Presbyterian, St. Paul, MN 26 APRIL 4 pm Melanie Barney; Trinity Church, Copley Marcia Van Oyen Square, Boston, MA 12:15 pm 30 APRIL Joe Utterback Gail Archer, Verdi, Requiem; Union First United Methodist Church Ian Sadler; Park Congregational, Grand COMMISSIONS & CONCERTS Theological Seminary, New York, NY 8 pm Rapids, MI 12:15 pm Plymouth, Michigan The Philadelphia Singers, Russian sacred 732 . 747 . 5227 choral works; Cathedral Basilica of Saints mvanoyen.com Peter and Paul, Philadelphia, PA 8 pm UNITED STATES Daniel Brondel; First United Methodist, West of the Mississippi Columbus, IN 8 pm Christopher Houlihan; Cathedral of 15 MARCH David Wagner St. Joseph the Workman, La Crosse, WI Tafelmusik Baroque Orchestra; Cathedral DMA Kevin Walters 7:30 pm Basilica of St. Louis, St. Louis, MO 8 pm Madonna University Thomas Murray; First Presbyterian, Lit- M.A., F.A.G.O. 27 APRIL tle Rock, AR 8 pm Livonia, Michigan Choir of Christ & St. Stephen’s, Corona- James Kibbie; Christ Church Episcopal, [email protected] Rye, New York tion Music; Christ & St. Stephen’s Episco- Las Vegas, NV 7:30 pm pal, New York, NY 5 pm Todd Wilson, with string quartet; St. 17 MARCH Turibius Chapel, Pontifi cal College Jo- Lee Afdahl, with instruments; First Lu- sephinum, Columbus, OH 5:30 pm theran, Rochester, MN 4 pm KARL WATSON Davis Wortman John Gouwens, carillon; Memorial Cha- Gail Archer; St. Mark’s Episcopal, St. pel, Culver Academies, Culver, IN 4 pm Louis, MO 3 pm SAINT LUKE’S St. James’ Church Ken Cowan; Chapel Hill United Method- 28 APRIL New York Wesley Hall; Trinity Evangelical Luther- ist, Oklahoma City, OK 7 pm METUCHEN an, Worcester, MA 3 pm Fritz Anders; St. John’s Cathedral, Den- Christopher King, with violin and voic- ver, CO 3 pm, followed by Evensong at es; Emmanuel Episcopal, Killingworth, CT 3:30 pm 4 pm Paul Jacobs; Our Lady of Lourdes Paulette Fry, with choirs and visual art, Church, Sun City West, AZ 3 pm RONALD WYATT RUDOLF ZUIDERVELD Psalm 139 interpretation; United Presbyte- John Grew; Kane Hall, University of rian, Cortland, NY 3 pm Washington, Seattle, WA 3 pm Trinity Church Illinois College, Jacksonville Russian Chamber Chorus of New York; Choral Evensong; Christ Episcopal, Ta- Galveston First Presbyterian Church, Madison Avenue Presbyterian, New York, coma, WA 5 pm Springfi eld NY 3 pm Jun-A Lee; St. Mary’s Cathedral, San Kent Tritle, Scott Warren, Nancianne Francisco, CA 3:30 pm Parrella, Andrew Henderson; Church of Diane Meredith Belcher; All Saints St. Ignatius Loyola, New York, NY 4 pm Episcopal, Beverly Hills, CA 5 pm Charles Dodsley Walker, FAGO John Alexander; Cathedral Church of Artist-in-Residence Founder/Conductor St. John the Divine, New York, NY 5 pm 20 MARCH Saint Luke’s Parish Canterbury Choral Society Robert Knupp; St. Thomas Church Fifth Michael Olson; First Lutheran, Fargo, 1864 Post Road 2 East 90th Street Avenue, New York, NY 5:15 pm ND 12:45 pm Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

William Webber, C.A.G.O. Organist, First Christian Church, Danville, KY Instructor of Music & Religious Studies, Maysville Community College Contact Bill at 4 ±,QWKH1HZV«SHUIRUPDQFHVRQUHFHQWO\LQDXJXUDWHG ( LQVWUXPHQWVLQ1DVKYLOOH&KLFDJR6KUHYHSRUW3DUN5DSLGV 9 01 9LFWRULD %& DQG7DPSD A two-inch Professional Card in The Diapason * ±0D[LPXP5HJHU)LQHVVHDQGWKH)XU\«WKRXJK KLVSDJHVRIWHQFRQWDLQDWXPXOWRIQRWHV0D[5HJHU¶V For information on rates and specifi cations, contact Jerome Butera: / FRPSRVLWLRQVDOVRHQFRPSDVVPDJLFDOPRPHQWVRI [email protected] 847/391-1045 UHÀHFWLRQDQGFRPSDVVLRQ  ±%DFK2OGDQG1HZ«WKHJUHDWPDVWHU-RKDQQ 6HEDVWLDQSURYRNHVRXUXQGHUVWDQGLQJRIKLVWRULFWUDGLWLRQ DAVID SPICER  DVZHOODVRXUVHQVHRIDGYHQWXUH First Church of Christ  ±/HWWKH5RXQG(DUWK5HMRLFH«ZLWKK\PQVFKRUDOHV Wethersfi eld, Connecticut FKDQWVDQGRUJDQVRORVZHUHÀHFWRQVSULQJ¶VUHELUWKDW  (DVWHU

7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZŽHWVIHJVT House Organist The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 35 Calendar

Robert Tewes; First Presbyterian, Roch- Joan Lippincott, masterclass; First 14 APRIL 26 APRIL ester, MN 12:15 pm Presbyterian, Lawrence, KS 10 am David Tryggestad; Sacred Heart Music VocalEssence; Ted Mann Concert Hall, Gail Archer; First United Methodist, Center, Duluth, MN 3 pm Minneapolis, MN 8 pm Casper, WY 12:15 pm 7 APRIL David Cherwien, with brass; Mount Ol- Daryl Robinson; First Baptist, Abilene, Minnesota Chorale, Bach works; Wayza- ive Lutheran, Minneapolis, MN 4 pm TX 8 pm 21 MARCH ta Community Church, Wayzata, MN 3 pm Stephen Hamilton; Central Presbyte- Wartburg College Choir; St. John’s Ca- Larry Palmer; Meadows Museum, Christopher Houlihan; Zion United rian, Des Moines, IA 4 pm thedral, Denver, CO 7:30 pm Southern Methodist University, Dallas, TX Church of Christ, St. Joseph, MO 3 pm Paul Jacobs; Highland Park United 5:30 pm Joan Lippincott; First Presbyterian, Methodist, Dallas, TX 6 pm 27 APRIL Lawrence, KS 7 pm Organized Rhythm (Clive Driskill-Smith, VocalEssence; Ted Mann Concert Hall, 22 MARCH Choir of New College, Oxford; Church of organ, Joseph Gramley, percussion); St. Minneapolis, MN 8 pm Harvard Glee Club with Ars Nova Singers; the Incarnation, Dallas, TX 4 pm Andrew’s Episcopal, Amarillo, TX 7 pm St. John’s Cathedral, Denver, CO 7:30 pm Choral Evensong; Our Lady of the Norma Aamodt-Nelson, with baroque 28 APRIL Gail Archer; First United Methodist, Atonement Catholic Church, San Antonio, oboe; St. Mark’s Cathedral, Seattle, WA 2 pm Stephen Hamilton, with Masterworks Casper, WY 7:30 pm TX 4 pm Simon Berry, with trumpet; St. Mary’s Chorale; Shepherd of the Valley Lutheran, Rutter, Requiem; Cathedral of St. John, Daryl Robinson; First Baptist, Abilene, Cathedral, San Francisco, CA 3:30 pm Minneapolis, MN 8 pm Albuquerque, NM 7 pm TX 4 pm Christopher Houlihan; First Presbyte- 16 APRIL Greg Crowell rian, Wichita, KS 3 pm ; Lagerquist Hall, Pacifi c Organized Rhythm (Clive Driskill- 24 MARCH Catherine Rodland Lutheran University, Tacoma, WA 3 pm Smith, organ, Joseph Gramley, percus- ; Lagerquist Hall, Pa- Stephen Hamilton, Dupré, Le Chemin Robert Gurney; St. Mary’s Cathedral, sion); Trinity Episcopal, Tulsa, OK 7:30 pm cifi c Lutheran University, Tacoma, WA 3 pm de la Croix; St. Mark’s Episcopal Cathe- San Francisco, CA 3:30 pm Massimo Nosetti; St. Mary’s Cathedral, dral, Minneapolis, MN 5 pm 17 APRIL San Francisco, CA 3:30 pm Nathan Laube; Boston Avenue United 9 APRIL Michael Olson; First Lutheran, Fargo, Methodist, Tulsa, OK 5 pm Organized Rhythm (Clive Driskill- ND 12:45 pm James Warren; St. Mary’s Cathedral, Smith, organ, Joseph Gramley, percus- INTERNATIONAL San Francisco, CA 3:30 pm sion); Wiedemann Hall, Wichita State Uni- 18 APRIL David Gell, with vocalists; Trinity Episco- versity, Wichita, KS 7:30 pm Stephen Hamilton; Park Cities Baptist, 15 MARCH pal, Santa Barbara, CA 3:30 pm Dallas, TX 7 pm Valerie Hall; Holy Rosary Cathedral, 10 APRIL Vancouver, BC, Canada 8 pm 27 MARCH Michael Olson; First Lutheran, Fargo, 19 APRIL Michael Olson; First Lutheran, Fargo, ND 12:45 pm John Scott; St. Mark’s Episcopal Cathe- 17 MARCH ND 12:45 pm Caroline Robinson; Kauffman Center, dral, Minneapolis, MN 7:30 pm Ronny Krippner; Methodist Central Hall, Kansas City, MO 7 pm Dongho Lee; Christ Church Episcopal, Westminster, London, UK 3 pm 3 APRIL Las Vegas, NV 7:30 pm Michael Olson; First Lutheran, Fargo, 11 APRIL 23 MARCH ND 12:45 pm Larry Palmer and students; Meadows 20 APRIL Matthew Martin; St. Albans Cathedral, Museum, Southern Methodist University, •John Scott, masterclass; Cathedral of St. Albans, UK 5:30 pm 5 APRIL Dallas, TX 5:30 pm St. Mark, Minneapolis, MN 9 am Katie Burk; St. Olaf College, Northfi eld, Loralee Culbert; St. Olaf Catholic 7 APRIL MN 7 pm 12 APRIL Church, Minneapolis, MN 1:30 pm Monica Melcová; Reduta Concert Hall, Choir of New College, Oxford; Boston Gerald Holbrook; St. John’s Cathedral, Margaret Burk; St. Olaf College, North- Bratislava, Slovakia 4 pm Avenue United Methodist, Tulsa, OK 7 pm Denver, CO 7:30 pm fi eld, MN 7 pm Julia Brown; Christ Episcopal, Tacoma, Tenebrae: Allegri, Miserere mei, Deus; St. 13 APRIL 6 APRIL WA 7:30 pm John’s Cathedral, Denver, CO 7 pm Catherine Ennis; St. Albans Cathedral, Regensburg Cathedral Choir; Cathedral St. Albans, UK 5:30 pm 21 APRIL Basilica of St. Louis, St. Louis, MO 8 pm 13 APRIL Frederick Hohman Stephen Hamilton, church music rep- ; First Lutheran, Du- 14 APRIL Christopher Houlihan, masterclass; luth, MN 4 pm ertoire class; Central Presbyterian, Des David Baskeyfi eld; Metropolitan United Zion United Church of Christ, St. Joseph, Gunnar Idenstam; Central Lutheran, MO 10 am Moines, IA 10 am Minneapolis, MN 4 pm Church, London, ON, Canada 3 pm Andrew Peters, with brass, hymn festival; 21 APRIL ORGAN BUILDERS Second Presbyterian, St. Louis, MO 4 pm Carole Terry; St. Cecilia Cathedral, Stephen Tharp; Prämonstratenser-Ab- Omaha, NE 3 pm tei, Duisburg-Hamborn, Germany 4:30 pm Frank Nowell; St. John’s Cathedral, Den- John Mitchell; Ryerson United Church, L. W. BLACKINTON THE NOACK ORGAN CO., INC. Vancouver, BC, Canada 8 pm and associates, inc. MAIN AND SCHOOL STREETS ver, CO 3 pm, Evensong at 3:30 pm GEORGETOWN, MA 01833 Isabelle Demers; American Evangelical www.noackorgan.com Lutheran Church, Prescott, AZ 2:30 pm 23 APRIL 380 FRONT ST. Ken Cowan; St. Francis Xavier Church, EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America John Cannon; St. Mary’s Cathedral, San Francisco, CA 3:30 pm Brockville, ON, Canada 7 pm Cameron Carpenter; Walt Disney Con- Member Firm: The Associated Pipe Organ Builders of America 24 APRIL martin ott pipe cert Hall, Los Angeles, CA 7:30 pm organ Aaron David Miller; All Souls Episcopal, Stephen Tharp; Auferstehungskirche, RANDALL DYER company San Diego, CA 4 pm Düsseldorf-Oberkassel, Germany 6:30 pm & ASSOCIATES, INC. inc. 28 APRIL PIPE ORGANS OF QUALITY AND DISTINCTION 7408 Somerset Ave. 24 APRIL St. Louis, MO 63105 Michael Olson Isabelle Demers; Westminster United BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 314-504-0366 Phone ; First Lutheran, Fargo, Martin Ott [email protected] ND 12:45 pm Church, Winnipeg, MB, Canada 7:30 pm [email protected] ◆ www.rdyerorgans.com Orgelbaumeister www.ottpipeorgan.com

TUNING • MAINTENANCE REBUILDING • RELEATHERING RELOCATIONS UNIQUE CUSTOM WOOD CREATIONS P.O. BOX 601 ANTIOCH, ILLINOIS 60002 847-395-1919 ATOS FAX 847-395-1991 ExperienceAmerican Theatre Organ Society www.fabryinc.com Preserving a unique art form. Concerts, education, silent film, preservation, fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838

sound INSPIRATION

Acoustical Design & Testing • Organ Consultation & Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training

www.riedelassociates.com • (414) 771-8966 email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202

A. David Moore, Inc. Visit_ The Diapason TRACKER ORGAN DESIGNERS & BUILDERS website: HC 69 Box 6, North Pomfret, Vermont 05053 www.TheDiapason.com 802/457-3914

36 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM Organ Recitals

JULIAN BEWIG, Presbyterian Homes, STEPHEN HAMILTON, National City CHRISTA RAKICH, organ and harp- GABRIELLE TESSIER, St. James United Evanston, IL, September 24: Concerto No. 2 Christian Church, Washington, DC, Septem- sichord, with Andrea LeBlanc, fl ute, El- Church, Montreal, QC, Canada, August 21: in a (after Vivaldi), BWV 593, Trio in E-fl at, ber 14: Sonata de 1° tono para clave I para len Lovelace and Larry Blaine, violin, Chris Allegro, Adagio (6e symphonie pour orgue, BWV 597, Bach; Sonata IV in B-fl at, Men- órgano con trompete real, Lidón; Prelude and Nourse, viola, Charles Lang, cello, and Carl op. 42), Widor; 4. Verset, 7. Communion, delssohn; Choral No. 3 in a, Franck. Fugue in c, BWV 546, Bach; Benedictus, Re- Ferré-Lang, contrabass, St. Kieran Cul- 8. Verset, 10. Offertoire (Vade-Mecum de ger; Toccata, Villancico y Fuga (BACH), op. tural Arts Center, Berlin, NH, September 1: l’organiste: Suite 1), Lefébure-Wély; Premier JOHN COLLINS, St. John’s, Meads, East- 18, Ginastera. Komm, heiliger Geist, Herre Gott, BWV 651, Choral en Mi majeur, Franck. bourne, UK, September 1: Toccata 2nd Tone, Schmücke dich, o liebe Seele, BWV 654, Nun Ricercar 10th Tone, G. Gabrieli; Voluntary DAVID C. JONIES, Cathedral of St. Hel- danket alle Gott, BWV 657, Von Gott will ich MARIJIM THOENE, St. Teresa Church, op. 5 no. 3 in G (Cornet), Voluntary op.7 no. ena, Helena, MT, August 19: Prelude and nicht lassen, BWV 658, Jesus Christus, unser Bialowieza, Poland, July 15: Pièce d’Orgue, 5 in D (Trumpet), Stanley; Voluntary no. 1 in Fugue in G, BWV 541, Bach; Tiento partido Heiland, BWV 665, An Wasserfl üssen Baby- BWV 572, Bach; Pastorale, Zipoli; Ave Maris G (Flute), Goodwin; Tiento 4 de Falsas de 4 de mano derecho de 1o Tono, Cabanilles; lon, BWV 653, O Lamm Gotttes, unschuldig, Stella (Faenza Codex); Ave Maris Stella: So Tono, Tiento 45 Partido de mano derecha de Requiescat in Pace, Fantasy for Flute Stops, BWV 656, Brandenburg Concerto No. 5 in D, now as we journey, aid our weak endeavor 5 Tono, Cabanilles; Overture, Hornpipe and Toccata, Sowerby; Amazing Grace, I Love BWV 1050, Bach. (Fifteen Pieces for Organ Founded on Anti- Minuet (Water Musick in D), Handel. Thee, My Lord, Once More, My Soul (Sa- phons, op. 18), Dupré; Prelude, Tiento (Suite cred Sounds for Organ), Shearing; Andantino DAVID SCHRADER, Lutheran School Médiévale), Langlais. PHILIP CROZIER, Bovenkerk, Kampen, (Pièces de Fantaisie, op. 51), Vierne; Allegro of Theology, Chicago, IL, September 4: Holland, July 19: Cantilena Anglica Fortunae, vivace (Fifth Symphony, op. 42), Widor. Chaconne en trio, Morel; Tiento del noveno KENT TRITLE, with Yulia Van Doren, SSWV 134, Scheidt; Praeludium in e, Bruhns; tono, Correa de Arauxo; Toccata (Symphonie soprano, and Jonathan Spitz, cello, Bard Col- Fantasia chromatica, Sweelinck; Trio Sonata JEANNINE JORDAN, Stadtkirche, Wit- Breve), Ferko; Fantasia and Fugue in g, BWV lege, Annandale-on-Hudson, NY, August 12: No.1 in Es-Dur, BWV 525, Bach; Nun freut tenberg, Germany, August 17: Nun freut euch, 542, Bach. euch lieben Christen g’mein, BuxWV 210, lieben Christen gmein, Bach; Vater unser im Toccata in b-fl at (Pièces de fantaisie), Vierne; Buxtehude; Sonata No. 4 in B-Dur, op. 65, Himmelreich, Scheidt; Gott sei gelobt und Ave Maria, Gounod, Fantaisie for Organ in no. 4, Mendelssohn. gebenedeiet, Scheidemann; Jesus Christus STEPHEN A. STEELY, Sinsinawa E-fl at, Saint-Saëns; Cantique de Noël, Adam; Skt. Knuds Kirke, Odense, Denmark, under Heiland, der von uns den Gotteszorn Mound, Sinsinawa, WI, August 29: Dia- Choral No. 3 in a, Franck; Prière, op. 158, July 24: Cantilena Anglica Fortunae, SSWV wand, Tunder; Waere Gott nicht mit uns logue, Muzète (Premier Livre d’Orgue), Saint-Saëns; Symphony No. 6 for Organ in g, 134, Scheidt; Trio Sonata No. 1 in E-fl at, diese Zeit, Hanff; Nun bitten wir den Heiligen Dandrieu; Prelude, Largo, and Fugue in C, op. 42, no. 2, Widor. BWV 525, Bach; Sonata No. 4 in B-fl at, Geist, Buxtehude; Wir glauben all’ an einen BWV 545b, Bach; Lo Ballo dell’Intorcia, Va- op. 65, no. 4, Mendelssohn; Scherzo, op. 2, Gott, Pachelbel; Christ lag in Todesbanden, lente; Concerto del Signor Tomaso Albinoni, RUDOLF ZUIDERVELD, with Ann Durufl é; Praeludium in e, BuxWV 142, Bux- Telemann; Fantasie super Komm, Heiliger Walther; Adagio (Organ Symphony No. 6, Marie Stahel, fl ute and recorders, and John tehude; Pastorale, Fricker; Finale (Sunday Geist, Bach. op. 42), Widor; Variations sur ‘Lasst uns er- Hume, trumpet, Illinois College, Jackson- Music), Eben. freuen’, Bédard. ville, IL, September 8: Daphne, Van Eyck, WILLIAM MADDOX, St. James United Anonymous; Concerto in d, BWV 596, So- KEVIN FAULKNER, Campbellsville Uni- Church, Montreal, QC, Canada, August CHARLES SUNDQUIST, St. Charles nata II in E-fl at, BWV 1031; Sonata V in C, versity, Campbellsville, KY, September 18: 28: Toccata in d, Renaud; Organ Concerto Church, Monte Carlo, Monaco, August 19: BWV 529; Bach; Introduction and Toccata Choral No. 2 in b, Franck; IV. Communion, in B-fl at, op. 4, no. 2, Handel, arr. Peas- Prelude and Fugue in G, BWV 541, Bach; Un- in G, Walond, arr. Biggs; Concerto in F, Al- V. Fantaisie (Epiphania Domini, op. 55, from good; Dalby’s Fancy, Howells; A Fancy, ter der Linden grüne, Sweelinck; Trio Sonata binoni; Tres glosas sobre el canto llano de la L’Orgue Mystique), Tournemire; Angelus Hurford; Prière, op. 37, no. 3, Jongen; Der in e, BWV 528, Bach; Elegy, Thalben-Ball; Immaculada Concepcion, Correa de Arauxo; (Huit Chants de Bretagne), Hymne d’action Ritt der Walküren (Die Walküre), Wagner, Fantasia in E-fl at, Saint-Säens; Aria, Final Batalha de 6. Tom, Anonymous; Twelve He- de grace, ‘Te Deum’, Langlais. arr. Lemare. (Symphonie VI), Vierne. roic Marches, Telemann.

Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045, [email protected]

Advertise in Visit The Diapason The Diapason For rates and digital specifi cations, website: contact Jerome Butera www.TheDiapason.com 847/391-1045 [email protected]

CLASSIFIED ADVERTISING • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES THE DIAPASON 847/391-1044 • [email protected]

Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type.

Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition ❑ of a ruled box (border) surrounding the Place on website advertisement. Regular Classifi ed, per word $ 1.00 Ad Copy ______Regular Classifi ed minimum 23.00 Display Classifi ed, per word 1.35 ______Display Classifi ed minimum 27.00 ______Additional to above charges: Box Service (mail forwarding) 8.00 ______Website placement (includes photo) 17.00 ($30 if not ordering print ad) ______NOTE: Orders for classifi ed advertising ______must be accompanied by payment in full for the month(s) specifi ed. ______

Non-subscribers wanting single copies ______of the issue in which their advertisement appears should include $5.00 per issue ______desired with their payment. Name ______Phone ______The Diapason reserves the right to designate appropriate classifi cation to Address ______Total Enclosed ______advertisements, and to reject the insertion of advertising deemed inappropriate to this City/State ______Zip ______E-mail ______magazine.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 37 Classifi ed Advertising

PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Scherzo in G Minor by René Becker, the famous Newtown Requiem by Joe Utterback, dedicated Nigel Williams is pleased to offer a limited Dom Bedos de Celles: The Organ-Builder. Alsatian-American composer, is his lesser-known to “the loved ones of Sandy Hook Elementary selection of his organ and choral music free of Damaged, unbound, 2-volume sets of the scherzo from 1926 that is both playful and sinister. School” consists of “Balm in Gilead” for bari- charge. E-mail nigel@nigelwilliamscomposernz. beautifully printed English translation by Charles michaelsmusicservice.com; 704/567-1066. tone, SATB, fl ute, piano; “We Are Not Alone”, a com or visit www.nigelwilliamscomposernz.com. Ferguson available in very limited quantity. Origi- gospel setting for tenor, choir ensemble, piano, nally published 1776–78 in four installments, it and possible guitar; “Requiem Aeternam” for includes information on geometry, mechanics, The OHS Catalog is online at www.ohscatalog. Pipe Organs of the Keweenaw by Anita soprano, alto, SATB, fl ute, piano; and “Dona Eis and tools; detailed instructions for making all org. More than 5,000 organ and theatre organ Pacem” for young soprano and fl ute. Sample Campbell and Jan Dalquist, contains his- the parts of an organ; voicing, tuning, enlarging, CDs, books, sheet music, DVDs and VHS vid- pages may be viewed on http://www.jazzmuze. tories, stoplists, and photos of some of and maintaining a fi nished instrument; models of eos are listed for browsing and easy ordering. com/catalog_newtown.html. Price for two bound the historic organs of the Keweenaw Pen- Use a link for adding your address to the OHS copies and fl at sheets for local duplication is $50 insula, the northernmost tip of Michigan’s stoplists and a specimen contract for having an Catalog mailing list. Organ Historical Society, Box + $6 postage (+NJ sales tax if applicable) from Upper Peninsula. Organs include an 1899 organ built; how to test an organ; registration sug- 26811, Richmond, VA 23261. E-mail: catalog@ Jazzmuze, Inc., 80 Rumson Place, Little Silver, Barckhoff and an 1882 Felgemaker. The booklet gestions. The instructions for translating printed organsociety.org. NJ 07739. Phone orders accepted: 732/747-5227 ($8.00 per copy, which includes postage) is music into mechanical organ form give insights Questions? [email protected]. available from the Isle Royale and Keweenaw into mid-18th century French performance Parks Association, 49445 US Hwy 41, Hancock, practices. With minor damage (minimal stains on Pro Organo announces new recordings in Michigan 49930. For information: 800/678-6925. some pages, a few creased pages) $250 per set. progress. Daryl Robinson was fi rst prize winner Brahms—“How Lovely Are Thy Dwellings” With moderate damage (more staining) $175 per (“Wie lieblich sind deine Wohnungen”), chorus of the 2012 NYACOP (National Young Artists set. With severe damage (major ugly staining, from A German Requiem, Op. 45—organ score Competition in Organ Performance). His record- An archival recording of Heinrich Fleischer creases, perhaps a minor tear at a page edge) for accompaniment, 7 pages, no vocal texts, ing will feature the Fisk organ at Rice University, playing the E. M. Skinner organ in Chicago’s but still usable, especially the drawings and 3-stave layout, available from Fruhauf Music Rockefeller Chapel during the 1950s is now Houston, where he is studying with Ken Cowan. scaling sheets from volume 2 to be used in the Publications in printed booklet format, or as available in a recently released 2-CD set. The Isabelle Demers recorded a new album on the workshop, $95. Shipping costs are extra. Contact Patrick J. Murphy & Associates organ at St. Pat- a complimentary PDF download posted on recording, issued by the H. Fleischer Archive Bill Van Pelt 804/355-6386 or [email protected] rick’s Catholic Church, New Orleans, Louisiana. www.frumuspub.net’s Organ Music listings at: at Martin Luther College, New Ulm, Minnesota, to order the damaged volumes, which will be The program includes Raymond Daveluy’s Toc- www.frumuspub.net/frumuspub.organmus.html. celebrates the 100th anniversary of Fleischer’s shipped by OHS. Undamaged and hardbound, cata, Reger’s transcription of Bach’s Chromatic birth. The program includes works by Bach, the 2-volume set sells directly from OHS for $550 Fantasy and Fugue, and other works by Thalben- Franck, Bruhns, Reger, Langlais, Messiaen, Raven, America’s leading label for organ record- to OHS members and $650 to non-members Ball, Reger, Bull, and Mendelssohn. For informa- and Lenel. Information about the recording, ings since 1978, offers one hundred CDs and (join OHS for $60 or less and buy the book for tion: www.ProOrgano.com. videos at RavenCD.com. Titles include the 5-disc together with an order form, is available at www. $550) + $30 shipping in the U. S. (more outside DVD/CD set about Cavaillé-Coll, the acclaimed agosiouxtrails.org. U. S.) at 804/353-9226; www.ohscatalog.org. Bach Art of Fugue DVD/CD set with George Free Harmonizations of Familiar Hymn Tunes, Ritchie, Ritchie’s 11-CD set of the complete for Lent, Easter and the church year, from Fru- Pamela Decker is featured on a new record- organ works of Bach, and recent CDs recorded Ed Nowak, Chicago-area composer, arranger, hauf Music Publications: Volume 1 ~ 40 Harmo- by Jeremy Filsell (National Cathedral), Scott ing, Suite Dreams and Fantasies, Decker Plays and church musician, announces his new web- nizations of 24 Tunes (Aberystwyth to Kremser, Montgomery (new 90-rank Reuter), Jonathan Decker, Volume 3, on the Loft label. Recorded on site, featuring Nowak’s original choral works, 34 pages); Volume 2 ~ 39 Harmonizations of 26 Ryan (new Parkey 3m organ, Shreveport Cathe- the Flentrop organ at St. Mark’s Cathedral, Seat- Tunes (Land of Rest to Woodbird, 36 pages). dral), Barbara Raedeke (new Juget-Sinclair tle, the program includes On This Day, Earth Shall hymn concertatos, chamber and orchestral Visit frumuspub.net to view organ music listings: organ, St. Louis), Jack Mitchener, Adam Brakel, Ring (2009, fi ve hymn-based works for Advent works, organ hymn accompaniments, organ www.frumuspub.net/frumuspub.organmus.html, Maxine Thévenot, Harry Huff, Christina Harmon, and Christmas), El Tigre (2007), La Pantera and piano pieces, electronic music, and psalm or e-mail: [email protected]; phone: 805/682- Carla Edwards, Damin Spritzer, Andrus Madsen, (2009), Liturgical Suite (2005, for right hand settings. The website offers scores and recorded 5727, M–F mornings, Pacifi c time; or by USPS: Jonathan Dimmock, James Hammann, Ken and pedal), Ave maris stella (2004), Jesu, dulcis examples that are easy to sample and can be Fruhauf Music Publications, P.O. Box 22043, Cowan, Daniel Sullivan, John Brock, many more. memoria (2010), and Golden Gates (2010). For purchased in downloaded (PDF and MP3) or Santa Barbara, CA, USA 93121-2043. www.RavenCD.com. information: www.gothic-catalog.com. printed form. Visit ednowakmusic.com.

TOTAL PIPE ORGAN RESOURCES

2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com

Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, For advertising information contact: contact editor Jerome Butera, The Diapason 847/391-1045 847/391-1045 voice [email protected]

847/390-0408 fax Send a copy of THE DIAPASON to a friend: Editor, The Diapason, 847/391-1045; [email protected] e-mail e-mail: [email protected]

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215

PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com

3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

38 Q THE DIAPASON Q MARCH 2013 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found on page 37.

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

Certifi ed appraisals—Collections of organ 1910 Felgemaker pipe organ, Opus 1067. Consoles, pipes and numerous miscellaneous Aeolian/Robert Morton-style maroon books, recordings, and music, for divorce, Eleven ranks in excellent condition. Removed parts. Let us know what you are looking for. leather is now available from Columbia Organ estate, gift, and tax purposes. Stephen L. Pinel, from St. Agnes Roman Catholic Cathedral, E-mail [email protected] (not comcast), Leathers! Highest quality. 800/423-7003, Appraiser. [email protected]; 609/448-8427. Springfi eld, MO. Call for details. Price nego- phone 215/353-0286 or 215/788-3423. www.columbiaorgan.com. tiable. 763/670-4771. PIPE ORGANS FOR SALE SERVICES / SUPPLIES ANNOUNCEMENTS Two-manual, 9-rank Reuter pipe organ, 1869 E. & G.G. Hook organ—Measures 14 Opus 1052, a fully operational pipe organ, is for ft. wide, 10 ft. deep (with pedal), and 20 ft. tall. sale. For specifi cations and more details, visit Need help with your re-leathering project? French Organ Music Seminar 2013 featur- Mechanical action; Great, Swell, Pedal divisions, www.Levsenpipeorgan.com. All pneumatics including Austin. Over 45 ing organs in England, Lyon, the French two combination pedals, 15 ranks; available years experience (on the job assistance Alps, Burgundy, Reims, and Paris; July immediately. $95,000, negotiable. Please contact available). 615/274-6400. 25–August 7. www.bfoms.com. Stephen Tappe at Saint John’s Cathedral in Den- 1959 Moller Artiste #9458: 3 ranks, detached ver for more information: [email protected]. rocker tab console, walnut case, electric switches, good playable condition; $5,000 The National Catholic Youth Choir seeks high Releathering all types of pipe organ actions or best offer. Steve Beddia 609/432-7876; school students to audition for the 2013 camp 1978 Reuter pipe organ, 15 stops in excellent [email protected]. and mechanisms. Highest quality materi- and multi-state concert tour June 17–July 2, at condition tonally and great working condition. als and workmanship. Reasonable rates. St. John’s Abbey and University, Collegeville, For specifi cations or more information, visit Columbia Organ Leathers 800/423-7003. MN. $900 cost includes meals, lodging, tour www.milnarorgan.com. 1938 Kimball studio/practice organ, 4 ranks, www.columbiaorgan.com/col. expenses; scholarships available. Applications 21 stops, excellent condition, 91″ H, 85″ W, due March 18; www.CatholicYouthChoir.org. 56″ D (+pedalboard). Organ Clearing House, 1986 Rudolph von Beckerath, 2/15 (20 Highest quality organ control systems since ″ ″ ″ 617/688-9290, [email protected]. ranks) 162 H, 146 W, 114 D. $150,000, 1989. Whether just a pipe relay, combination Lewtak Pipe Organ Builders will hold an open Organ Clearing House, 617/688-9290, john@ action or complete control system, all parts house and shop recital March 23 at 3 pm in the organclearinghouse.com. Wicks organ, 2 manuals, 4 ranks, ca. 1990. are compatible. Intelligent design, competitive Stokes County Yarn Company in Cooleemee, 16′ Rohrfl ute 97 pipes, ′8 Principal 85 pipes, pricing, custom software to meet all of your North Carolina, featuring the new two-manual, 26-stop, 35-rank tracker organ for Østerhåb Kirke 2001 Rieger house organ—Located in Dallas; 8 4′ Gemshorn 73 pipes, 8′ Trumpet 61 pipes. requirements. For more information call Westa- cott Organ Systems, 215/353-0286, or e-mail in Denmark. Performer is Ulrik Spang-Hanssen of stops (GT Holzgedeckt 8, Principal 4, Doublette Excellent condition. Oak casework and console. the Royal Danish Music Conservatory in Aarhus. [email protected]. 2, POS Nachthorn 8, Blockfl öte 4, Flachfl öte 2, Lauck Pipe Organ Co. 269/694/4500; e-mail: Information: 336/749-3829; www.lewtak.com. Dulcian 8, PED Subbass 16). $80,000, which [email protected]. includes Rieger dismantling, shipping, and ATTENTION CHOIR DIRECTORS: Is your reconstructing the instrument in a new space. volunteer choir less than devoted in their The GRAMMY Foundation and Recording Ideal for a home or chapel, or as a practice MISCELLANEOUS FOR SALE attendance at rehearsals? Are you looking Academy is accepting nominations for their organ. Phone 212/289-0615; e-mail s.hamilton@ for a better way to hold those midweek Music Educator Award, recognizing contributions prodigy.net. to our musical landscape and positive infl uence Atlantic City Pipe Organ Company—3-rank practices? We have the answer! Our new on students’. Open to current U.S. music teachers: exposed oak DE chest with 4′ Principal, package, Chype (pronounced “kype”) lets you use tablet computers connected via K–college, public or private schools. Deadline: 1928 Casavant pipe organ, completely restored 4′ Gedeckt and 2′ Block Flute; very attrac- Cho-IP (choir over IP), so that your choir April 15. Visit www.grammymusicteacher.com. with fi ve new stops by Létourneau in 1987. Two tive—$2,200. 16′ Double Open, 16′ Metal Dulci- can dial in to your location, and you can manuals and pedals, 24 ranks. Organ is in excel- ana. 609/641-9422, [email protected]. rehearse them from the comfort of your lent condition and is a good candidate for solid- Postal regulations require that mail to The living room. Package pricing is based Diapason include a suite number to assure state conversion. Asking $65,000 “as is” or can on number of tablets needed; tablets are delivery. Please send all correspondence be rebuilt with modifi cations. For more informa- Wood pipes. Missing pipes made to match. available in liturgical colors. Box Chype- to: The Diapason, 3030 W. Salt Creek Lane, tion, contact Létourneau Pipe Organs at mail@ Damaged pipes in any condition repaired. Over con, [email protected]. Suite 201, Arlington Heights, IL 60005. letourneauorgans.com or 888/774-5105. 25 years experience. Filip Cerny, 814/342-0975.

Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859

GUZOWSKI & STEPPE Advertise in The Diapason H.W. DEMARSE ORGANBUILDERS INC For rates and digital specifi cations TRACKER ORGANS NEW INSTRUMENTS REBUILDS - ADDITIONS contact Jerome Butera TUNING & SERVICE 518-761-0239 1070 N.E. 48th Court 847/391-1045 2 Zenus Dr., Queensbury, NY 12804-1930 FT. LAUDERDALE, FL 33334 (954) 491-6852 [email protected]

HAGERSTOWN ORGAN COMPANY, INC. New • Rebuilding • Solid-State Updating Own a piece of history! 301/797-4309 The cover of the 100th Anniversary Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. Patrick j. Murphy The historic cover image in full color & associates, inc. is bordered in gold-colored metal, and organbuilders the high-quality plaque has a marble- ized black fi nish; a slot on the back 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 makes it easy to hang for wall display. 610-970-9817 • 610-970-9297 fax Made in the USA, The Diapason [email protected] • www.pjmorgans.com 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Jacques Stinkens The Organ Clearing House members of the 50-Year Subscribers PO Box 290786 Organpipes - since 1914 Club. Order yours today: Charlestown, MA 02129 [email protected] Flues - Reeds Ph: 617.688.9290 847/391-1045 Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2013 Q 39 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Diane Meredith Belcher Michel Bouvard* Guy Bovet* Chelsea Chen Douglas Cleveland Daryl Robinson 2012 AGO National Competition Winner Available 2012-2014

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

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

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

Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012

Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney

Celebrating Our 91st Season!

*=Artists based outside the U.S.A. Thomas Trotter* Todd Wilson Christopher Young