THE DIAPASON MARCH, 2009
Schermerhorn Symphony Center Nashville, Tennessee Cover feature on pages 29–31
Mar 09 Cover.indd 1 2/11/09 8:13:22 AM
THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundredth Year: No. 3, Whole No. 1192 MARCH, 2009 THE DIAPASON E-News Sometimes the [devil’s advocate and] Established in 1909 ISSN 0012-2378 Enjoyed The Diapason E-News. excluded organ grinder, I am sincerely An International Monthly Devoted to the Organ, I do have one criticism. In the open- yours, the Harpsichord, Carillon, and Church Music ing “From the editor” of the December Jayson Rodovsky-Engquist issue, mention was made of the “church New York City musicians and organ technicians” and the “Advent and Christmas” services. In the wind . . . CONTENTS Editor & Publisher JEROME BUTERA [email protected] That always strikes me being EXclusive I can relate to John Bishop’s men- 847/391-1045 since there are plenty of pipe organs in tion of free association between mel- FEATURES synagogues, municipal halls, colleges, odies, in his column in the January 53rd OHS National Convention homes, even some high schools, etc., 2009 issue of The Diapason (“In Seattle, Tacoma, Olympia Associate Editor JOYCE ROBINSON and yet many assume ALL organists, and the wind . . . ,” pp. 14–16). When my July 13–18, 2008 [email protected] those that care for the instruments, only niece asked me to play the organ at by Frank Rippl 20 847/391-1044 work in churches/celebrate Christmas. her wedding, she of course requested Kilgen Opus 5163 AGO members often do the same thing, the Wagner “Bridal March” for her Our Lady of Refuge, Brooklyn, New York Contributing Editors LARRY PALMER by the way. I would suggest it could read: procession up the aisle. by Joe Vitacco 26 Harpsichord “busiest time of year for many organists Instead of the fi rst four notes of the and organ technicians.” And, as the end- march, I played the fi rst four notes of Organs for Use with JAMES MCCRAY ing reads, the “holiday services” (that “Send in the Clowns.” So far as I know, Symphony Orchestra Choral Music could even include Chanukah, Kwanzaa, no one noticed! by Calvin Hampton 27 [secular] New Year, etc.) might be a bet- Graham R. Briggs BRIAN SWAGER ter choice of wording. Needham, Massachusetts NEWS & DEPARTMENTS Carillon Editor’s Notebook 3 HERBERT L. HUESTIS Letters to the Editor 3 OrganNet Forum Here & There 3, 4, 5, 6, 8, 10, 12 Osiris Organ Archive Appointments 6 www.wu-wien.ac.at/earlym-l/organs/local.html Here & There Nunc Dimittis 8 e-mail: [email protected] Looking Back 12 Duke University, Durham, North 3/29, Durufl é, Requiem; May 3, Jeremy In the wind . . . by John Bishop 12 Prepress Operations DAN SOLTIS Carolina, continues its series of organ McElroy with Jonathan Easter; 5/7, Mi- On Teaching by Gavin Black 14 recitals on Sundays at 5 pm: March 1, chael Shake; 5/10, Christian Lane; 5/17, Daniel Roth; 3/29, Iain Quinn. For in- Atlanta Baroque Orchestra; July 29, REVIEWS THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt formation:
3030 W. Salt Creek Lane, Suite 201, THE DIAPASON accepts no responsibility or liability Arlington Heights, IL 60005. for the validity of information supplied by contributors, vendors, advertisers or advertising agencies.
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses or for the same course offered subsequently.
Editor’s Notebook
THE DIAPASON website Call or e-mail me if you have any trou- Aeolian-Skinner Opus #1091 façade, Grinnell College www.TheDiapason.com ble logging on. We continue to enlarge and improve The Aeolian-Skinner organ at our website, in part responding to THE DIAPASON E-News Grinnell College has been restored and helpful suggestions from readers who Last month in this column, I men- will be rededicated with three concerts visit the website. If you have not visited tioned our new electronic newslet- the weekend of April 3–4. The organ is the website recently, I encourage you ter, The Diapason E-News. Let me Aeolian-Skinner’s Opus #1091, built in to take a look. The website includes again promote this additional benefi t 1948 at a cost of $40,000. It has 59 ranks, a comprehensive calendar, which in- to subscribers. The newsletter is sent 48 speaking stops, in fi ve divisions played cludes items submitted too late for our free to subscribers of The Diapason from a three-manual console. It also had print calendar, a searchable archive who have registered on our website. two electronic 32′ stops, which were un- of previous news items and feature This simply requires that you visit the derdeveloped and have been replaced articles, classifi ed advertising (com- website and click on “subscribe to our by modern electronics; otherwise, the plete with photos), and breaking news. newsletter,” or you can also click on instrument is completely intact. It also In addition, the current issue of The “Newsletter” at the top of the screen. has what is believed to be the last Harp Aeolian-Skinner Opus #1091 console, Diapason is posted on the website, You will be asked to provide identify- stop Skinner installed. Grinnell College available either as text or as PDFs of ing information. This will make sure There are some throwbacks to 1920s the print version. Visitors to the web- that you receive the newsletter. Skinner instruments such as the 4′ Tri- yer presents a recital of contemporary site can submit calendar dates, classi- The newsletter also represents a new angle Flute, Clarinet, English Horn, organ music including the premier per- fi ed ads, and enter new subscriptions, opportunity for our advertisers. Each Flute Celeste, and Diapason Chorus formance of a work commissioned from and companies can log in (“Supplier issue of the newsletter is available for on the Great. There are also some new composer John Zorn for this event. Sat- Login”) to make sure their information sponsorship. Sponsors receive both elements such as the fl oating Positiv urday, April 4, is the dedication recital by will appear in our annual Resource Di- “skyscraper” and “banner” ads, complete and the independent Pedal with Prin- Paul Jacobs at 3 pm. This will include the rectory and to update that information with links to their own websites. Call or cipals 8′, 4′ and Mixture. It was origi- presentation of an OHS Historic Organ when needed. e-mail me for more information. nally dedicated in May, 1949, with Virgil Citation for the organ. Saturday, April The website is a benefi t of being a —Jerome Butera Fox playing the dedicatory recital. The 4, will feature a silent fi lm accompanied subscriber to The Diapason, and thus 847/391-1045 organ has undergone a complete resto- by Davis Folkerts at 8 pm. All concerts much of it is restricted to subscribers [email protected] ration by the A. Thompson-Allen Com- will be in Herrick Chapel, 7th and Park, only. To access the full contents you will pany of New Haven, Connecticut, with Grinnell, Iowa, and are free and open need your subscriber number. That is Joe Dzeda and Nick Thompson-Allen to the public. Linda Bryant is college found on the mailing label of the print www.TheDiapason.com doing the restoration. organist at Grinnell. For information: issue—the seven digits after “DPP”. On Friday, April 3 (8 pm), Kevin Bow-
MARCH, 2009 3
Mar 09 pp. 2-19.indd 3 2/11/09 8:14:45 AM ■ Carissimi; April 1, Bach, St. Matthew First Presbyterian Church, Arling- chestra present works of Bach on March Passion; May 13, Britten, Rejoice in the ton Heights, Illinois, continues its music 22 at Immanuel Congregational Church, he sense Lamb; Vaughan Williams, Mass in g; series: March 15, Fauré, Requiem; April Hartford. The program will include Mo- Handel, Dixit Dominus. The Mander 19, music of John Rutter. For informa- tet IV, Fürchte dich nicht (BWV 228), T organ recital series continues: March tion:
4 THE DIAPASON
Mar 09 pp. 2-19.indd 4 2/11/09 8:15:13 AM ing Sleep, Lux Aurumque, Cloudburst, St. Norbert Abbey, De Pere, Wis- Rodgers Instruments LLC invites a scholarship application, please write to: Water Night, and A Boy and a Girl, as consin, continues to celebrate the golden young musicians with piano skills to en- IMC Scholarship Fund, Rodgers Instru- well as the world premiere of a new work jubilee of the dedication of the abbey and ter its scholarship competition to attend ments, 1300 NE 25th Ave., Hillsboro, commissioned by VocalEssence. For in- its Casavant organ with the Canon John a week of intensive organ study at the OR 97124; or send a request via e-mail formation:
David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Mary Mozelle Organist/Choral Conductor/ Organist/Pianist/ Organist Organist/Pianist/Harpsichordist Organist/Recording Artist Oratorio Accompanist Recording Artist 2004 NYACOP Winner Associate Professor of Organ Assistant Director of Music Director of Music/Organist Senior Lecturer, Organ Faculty Director of Music Grieg Academy of Music Associate Organist First United Methodist Church Oulu Polytechnic Fairlawn Presbyterian Church Bergen, Norway The Falls Church Columbus, Indiana Organ and Violin Columbus, Indiana Falls Church, Virginia with Manfred Grasbeck “The Sights & Sounds Helsinki, Finland of the Pipe Organ”
David F. Oliver Larry Palmer Gregory Peterson Stephen Roberts Clair Rozier Organist/Lecturer/Recording Artist Harpsichordist/Organist Organist Organist/Harpsichordist/Lecturer Organist/Lecturer College Organist Professor of Harpsichord and Organ College Organist and Instructor of Organ Director of Music Director of Music Ministries Meadows School of the Arts Assistant Professor of Music Western CT State University St. David's Episcopal Church Dr. Martin Luther King Jr. Southern Methodist University Luther College Director of Music Wayne, Pennsylvania International Chapel Dallas, Texas Decorah, Iowa St. Peter Church Morehouse College Danbury, Connecticut Atlanta, Georgia
Lisa Scrivani-Tidd Michael Stefanek Brennan Szafron Elke Voelker Duo Majoya Organist/Lecturer Organist Organist/Harpsichordist/ Organist/Recording Artist/ Organ and Piano Associate Professor of Music Director of Music Accompanist Lecturer/Conductor/Composer Recording Artists SUNY at Jefferson Aldersgate United Organist and Choirmaster Music Associate Marnie Giesbrecht and Watertown, New York Methodist Church Episcopal Church of the Advent Choir Organist Joachim Segger Redford, Michigan Spartanburg, South Carolina The UNESCO Heritage Professors of Music Imperial Cathedral of St. Mary University of Alberta Speyer, Germany The King’s University College Edmonton, Alberta, Canada
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
MARCH, 2009 5
Mar 09 pp. 2-19.indd 5 2/11/09 8:15:51 AM featuring organ, orchestra, and soloists at the current president, Katie Adelman, First Unitarian Church (Worcester). The Appointments completes her term. Dr. Brugh, Kruse concert also featured the debut of the organ fellow and director of Valparaiso Worcester Children’s Chorus. The In- University’s Institute of Liturgical Stud- ternational Year of the Organ has a local ies, is a charter member of ALCM. She connection. Worcester chapter member served as program chair for the organiza- Will Sherwood, music director at First tion’s 2007 biennial conference, as well as Unitarian Church, designed the offi cial on its fi rst publications committee and the Organ Spectacular/International Year of planning committee for its 1997 biennial the Organ logo being used by the AGO. conference. As president, she will chair —Tom Ingrassia the meetings of the association’s board, attend regional and national conferences, represent ALCM at ecclesial gatherings such as churchwide assemblies, and write articles for the journal CrossAccent. Brugh serves as director of music at Val- paraiso University’s Chapel of the Resur- rection and is conductor of the Kantorei. Since 2004, she has directed Valparaiso’s Institute for Liturgical Studies. She com- pleted her doctorate in religious studies at Garrett Evangelical Theological Semi- Jonathan B. Hall nary and Northwestern University. chapter, gave a keynote address, after Jesse Eschbach recently performed which he played a short recital dem- on the Visser-Rowland organ at the Sar- 1889 Roosevelt Opus 421 onstrating the functioning part of the ah and Ernest Butler School of Music organ. Afterwards, OHS president Lau- Barbara Harbach Bates Recital Hall on the campus of the On October 13, 2008, the 1889 Frank rence Libin presented an Historic Organ University of Texas at Austin. Eschbach Roosevelt organ, opus 421 (3/36), was Citation to Tali Mahanor, organist of the Barbara Harbach has been named played works of Couperin, J. S. Bach, the focus of a celebration at St. James church. It is hoped that funds will be- Director of Women in the Arts at the Vierne, and Dupré. The recital conclud- Catholic Church, New York City. Jona- come available to implement a restora- University of Missouri–St. Louis. In ed the fi fth Mid-Winter Sacred Music than B. Hall, dean of the Brooklyn AGO tion project in the future. August 2008, the College of Fine Arts Workshop held by the UT Butler School and Communication at the University of Music. of Missouri–St. Louis announced the es- tablishment of a new, ongoing program in the College of Fine Arts and Com- munication, called the Women in the Arts Initiative. The initiative started as Women in the Arts 2005, created and co- ordinated by Dr. Harbach, included over 850 events, dozens of community arts organizations, and culminated in a three- day conference on the University of Mis- souri–St. Louis campus. The mission of the new Women in the Arts Initiative is to promote educational, creative, and ar- chival support for the work of women in the arts, both in historical and contempo- rary contexts. This includes support for performances, publications, educational events and activities, promotion of stu- dents and young artists and scholars, and creation of a resource library for women’s contributions to the arts. For informa- tion:
6 THE DIAPASON
Mar 09 pp. 2-19.indd 6 2/11/09 8:16:11 AM Quantum console in loft
The Roman Catholic Church of Saint James the Greater CHARLES TOWN, WEST VIRGINIA The largest Catholic church building in the state of West Virginia has installed a Quantum™ Four-Manual/136 Stop instrument built by Allen Organ Company, Macungie, Pennsylvania. The Allen console is situated in the Choir Gallery in the west end of the 1,000-seat nave. It speaks from five different locations throughout the room. The main organ is fronted by two custom-designed pipe façades. A twelve-channel Antiphonal division supports cantors and soloists at the lectern, three hundred feet from the console. This division also supports congregational singing at large festival services. An eight-stop floating String Division speaks from an ingenious “shadow box” chamber atop the south transept entrance, producing a spine-tingling dimension of soft, ethereal voices. This comprehensive instrument was chosen by parish leaders to support an expansive and excellent music program that boasts eight vocal choirs and two handbell choirs. A Pastoral Associate for Liturgy and Music is assisted by five choir directors and a Sacred Music Intern. The Music Department offers a series of bi-monthly Abendmusik Concerts following Saturday evening Mass.
Nave viewed from loft
Web site: www.allenorgan.com E-mail: [email protected]
150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 USA / Ph: 610-966-2202 / Fax: 610-965-3098 Florence Mustric
Florence Mustric is featured on a new recording, The Thrill of the Chase, on the MSR Classics label (MS1271). Re- corded on the Beckerath organ at Trinity Tjeerd van der Ploeg Jeannine Jordan and David Jordan Lutheran Church, Cleveland, Ohio, the program includes works by Bach: BWV Godwin Sadoh fall 2008 in celebration of the Interna- 565, 532, 582, 564, and 542. For infor- tional Year of the Organ. Performances mation:
English Organ Romantics by Tjeerd van der Ploeg
Tjeerd van der Ploeg is featured on a new recording, English Organ Romantics, on the Prestare label. Recorded on the Nicholson organ at St. Christoforuskerk, Schagen, the Netherlands, the program includes works by Parry, Stanford, Thal- ben-Ball, and Harwood. For information: Thomas Ekundayo Phillips: The Doyen
Atlanta First United Methodist Church A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church are pleased to announce the recent com- pletion and dedication of their new pipe organ.
This instrument features a 5-manual console and 93 ranks of pipes in 9 divisions. The complete specification is available at www.pipe-organ.com for this and other pro- jects. A.E. Schlueter Pipe Organ Co.
P.O. Box 838, Lithonia, GA 30058 800-836-2726 www.pipe-organ.com
8 THE DIAPASON
Mar 09 pp. 2-19.indd 8 2/11/09 8:16:46 AM The love of music in its finest expression
the JOHANNUS revolution www.johannus.com poser, died during the First World War at editor of E. C. Schirmer Music, where of Hans Steketee, who in turn had suc- Chalaines par Vaucouleurs (Meuse). Mi- he worked to bring the catalog of compo- ceeded D. A. Flentrop in 1976. chel Boulnois studied music at the Paris sitions up to modern editorial standards. Under Cees’s leadership, the fi rm Conservatory (notably with Noël Gallon, He taught at many universities and mu- completed projects as diverse as the res- Georges Caussade, Marcel Dupré and sic schools, including Peabody, Ithaca toration of the 1511 van Covelens organ Henri Busser) and was awarded a First College, Stanford, Westminster Choir in Alkmaar (2000); the reconstruction of Prize in Organ in 1937. He also studied College, Boston University, and Indi- the 1875 Cavaillé-Coll organ in Haarlem composition and harmonic analysis with ana University. His work as a conductor (2005); and the restoration of the 1762 Nadia Boulanger. can be heard on the Decca, Deutsche Bätz organ in The Hague (2007). In Inspector of Music Education for the Grammophon, and Sine Qua Non labels. 2008 alone, Flentrop built a new organ City of Paris, he served as titular of the Thomas Dunn is survived by his partner, (II/28) in a Romantic idiom in Foldnes, Grand Orgue at Saint-Philippe-du-Roule David Manuel Villanueva, a nephew, and Norway; moved a typical Neo-Baroque Church in Paris from 1937 to 1990. His three nieces. Flentrop (1962, II/9) from Ijmuiden, wife, Suzanne Sohet, also taught music the Netherlands, to Wellington, New harmony at the Cours Normal of the city Ruth Milliken, age 86, died October Zealand; and all but completed the fi rst of Paris and directed the choir at the 19 in Wilton, Connecticut. She began phase—a Rückpositiv with 13 stops—of French Radio. She also wrote several piano studies at age three and was a grad- what would have been Cees’s magnum educational methods. uate of the Juilliard School in New York opus: the restoration/reconstruction of Among his works for organ, Michel City, with degrees in choral conducting. the large organ (IV/58) in the St. Kath- Boulnois composed a Symphony in 1944 She also studied choral conducting with arinenkirche in Hamburg, Germany. (published in Paris by Lemoine in 1949), Nadia Boulanger at the American Con- The Hamburg organ will be a recon- Variations and Fugue on the “Veni Cre- servatory in Fontainebleau, France, and struction based on the specifi cation of ator” (1974, Orgue et Liturgie), Three organ with Vernon deTar. Milliken served Mattheson (1720). Pieces for the Feast of the Blessed Sacra- Wilton Congregational Church from Cees played organ, but enjoyed play- ment (1952, published by Schola Canto- 1960 to 1987, as organist-choir director ing the piano more. He played both in- History of the Organ, Volume 4 rum in 1953), a Mass for the Feast of the and later as director of music; there she struments in church services and was Annunciation (1959–63, Orgue et Litur- developed a graded choir program and a proud of a compliment he earned for Gherardeschi, Max Reger, César Franck, gie nos. 48, 52, 57, 62), and an Elegie for choral concert series with orchestra and his qualities as piano accompanist from Jehan Alain and Olivier Messiaen, per- violin and organ (1976, Lemoine) as well soloists. She taught organ, piano, voice, a well-known professional singer he had formed by Marie-Claire Alain, Louis Ro- as several piano pieces (Aria, Lullaby and choirs for over 65 years, and served as the privilege to play for. He quietly en- billiard, and René Saorgin. For informa- of the Young Negro, Lemoine). He also a substitute organist while in retirement. joyed smoking his pipe and had a nice, tion:
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
10 THE DIAPASON
Mar 09 pp. 2-19.indd 10 2/11/09 8:17:16 AM ssurance — it is what every church and organist wants when making a Adecision to purchase a new organ. At Rodgers Instruments, we are proud to celebrate 50 years of leadership in the classical organ business and 20 years as part of the Roland Corporation. Thousands of churches, homes, educational institutions and concert halls have chosen Rodgers. Why? Sound quality, trust in our local dealers, and the knowledge that Rodgers is a solid company with unparalleled À nancial strength. At Rodgers, assurance means: • We’ll be here in the future for whatever you may need. The partnership of Rodgers and Roland provides an incomparable level of security for your investment. • You won’t be left with outdated software when the next innovation comes along. Our Trillium Masterpiece Series organs can be updated in the À eld. • You’ll get exactly what you want when you design your instrument. Rodgers offers access to complete organ customization via Rodgers Organ Architect. • You never need to worry about access to parts from another country or third-party supplier. Rodgers inventories over $1.5 million in parts. • Rodgers organs have been selected by the world’s leading concert halls, universities, cathedrals, churches and private homes. When you choose Rodgers, you can Gold Level Corporate Sponsor be assured that AGO International Year of the Organ you’re in excellent Rodgers Instruments LLC A Member of the Roland Corporation company. 1300 NE 25th Avenue • Hillsboro, Oregon 97124 503.648.4181 • 503.681.0444 fax www.rodgersinstruments.com somewhat out of the mainstream, and a towards a Church Music Skills Award. G. G. Hook Opus 472 (1868) was origi- Peeters, Graham Steed, Richard Warner free download of In a Monastery Garden Alternatively, there is a fl exible study nally built for Grace Episcopal Church, Organs by Aeolian-Skinner, Austin, from James Flood’s new CD, What Used scheme for those church musicians pur- Chicago. Andover completed the reno- Flentrop, William Hill and Son and to Be Played. For information: suing their own personal goals and at vation of the three-manual, 37-stop, Norman and Beard, Holtkamp, Möller,
12 THE DIAPASON
Mar 09 pp. 2-19.indd 12 2/11/09 8:17:42 AM
passage from I am a Conductor, the au- sore is like Roger Clemens with a hang- ments before an important performance. cover the shuffl ing of the ushers as they tobiography of Charles Munch (Oxford nail. Neither can go to work that day. Or worse yet, what if the treasured in- take up the offering, or is the anthem a University Press, 1955): And singers? Let’s not even get started strument is lost or destroyed in a fi re? I true part of the experience of worship? with singers! suppose more than one musical career (If so, why don’t they take up the collec- The organ was my fi rst orchestra. If No matter what instrument you’re has ended simply because the musician tion during a scripture reading, or dur- you have never played the organ, you have playing, once you’ve mastered the physi- couldn’t face starting over with a new ing the sermon? Why all this tramping never known the joy of feeling yourself cal technique you can get down to mak- instrument. Yo-Yo Ma famously left a around while the music is playing? But music’s master, sovereign of all the gamut of sounds and sonorities. Before those key- ing music. As I get older, I notice that on treasure of a cello in a New York taxi- that’s a rant for another month!) boards and pedals and the palette of stops, the printed page I can track the develop- cab. It was later recovered because he The organ, that instrument that makes I felt almost like a demigod, holding in my ment of my technique. I still play some of had bothered to save his receipt and the us “music’s master, sovereign of all the hands the reins that controlled the musical my favorite pieces from the same scores cab could be tracked down. When you gamut of sounds and sonorities,” stands universe. Walking [to work], opening the I had when I was a student, hopelessly get into a New York cab you hear a gim- in our churches declaring our devotion. little door to the organ with a big old key, marked up with teachers’ comments micky automatic recording—the voice of The pipe organ is testament to the wide looking over the day’s hymns lest I forget and registrations for dozens of differ- a celebrity giving safety tips. Along with range of the skills with which we humans the repeats, fi nding a prelude in a good key ent organs. Each time I get reminded of Jessye Norman reminding you to fasten have been blessed. We’ve been given the in order to avoid a diffi cult modulation, choosing a gay piece for a wedding or a sad the physical crises of 30 or 35 years ago your seat belt, there’s one with Yo-Yo Ma earth’s materials and learned to make one for a funeral, not falling asleep during as I play past those passages that I just advising you to keep your receipts! beautiful things from them. And for cen- the sermon, sometimes improvising a little couldn’t get at 20 years old. You might The organist is at the mercy of who- turies the pipe organ has been part of in the pastor’s favorite style, not playing a say it’s the reward of a lifetime to be able ever hires him. How many of us have ar- our worship, monument to our faith, and long recessional because it would annoy to breeze past those danger zones—a rived in town to prepare a recital, only to symbol of the power of the Church. the sexton—all this fi lled me with pride. lifetime of practice, that is. sit down at a mediocre instrument in ter- But with the advance of technology Learning to drive a musical instru- rible condition? You can refuse to play, we are deluded by dilution. We settle “ . . . a certain reserve built into the rela- ment is a barrier between you and artis- or you can recognize that it’s the only in- for plastic fl owers. We buy cheap pro- tionship . . .” Funny, I think some of my tic expression. Whether you’re learning strument the local audience knows and duction hardware for the doors of our best moments on an organ bench have the “pat your head and rub your tummy” accept the challenge of doing something worship spaces. We substitute artifi cial been when I was free of reserve. thing about playing the organ, devel- special with it. “I’ve never heard this or- sound enhancement for real acoustics. oping the fi nger strength and control gan sound like that!” And we substitute arrays of circuits for Anything you can do, I can do better to pluck harp strings, or the incredible § those majestic organ pipes. What’s really going on between Arnold muscle control of the mouth of the obo- Walk through a museum and look at Steinhardt and Charles Munch? Is it like ist, all you’re doing is teaching your body Busy organists might be playing on sculpture made of gold, jade, or ivory. a playground spat that winds up with the physical tricks necessary for it to be- dozens of instruments each year, but Don’t tell me you can’t tell it’s special. did-not, did-too? Or is it the childish come a conductor between your mind there are also many examples of life- When we experience something special, idea that one instrument is more diffi cult and the sonorities of the music. long relationships between players and we know it’s special. Walk through a jew- to play than another? I’ve certainly heard It’s the actual music that’s so diffi cult their “home base” organs. Marcel Dupré elry store and try to tell the difference people admire the complexity of playing to do right. Shaping notes and phrases, played hundreds of recitals all over the between the expensive stuff and the fake the organ—all that dexterity with hands placing the notes in time and tempo, and world, but he was Organiste Titulaire costume stuff without looking at price and feet. But can’t you also argue that following your instincts to express the at Saint-Sulpice in Paris from 1934 un- tags. You will never be wrong. Of course the organist is only pushing buttons? architecture of the music form the es- til 1971. He succeeded Charles-Marie we know the difference. If your fi ancée The violinist has to create an even and sence of the art of music. And you get a Widor, who had held the position since is not a jeweler, don’t bother with a real convincing tone through the manipula- whiff of that essence when the physical 1870. So for more than a century that diamond. She won’t know the difference. tion of the bow against the strings while act of operating the machine that is your great Cavaillé-Coll organ was played (Oh boy, are you in trouble.) making the notes happen at the same instrument doesn’t distract you. principally by only two brilliant musi- And buy a digital instrument to replace time. And, while the organ produces § cians. What a glorious heritage. Daniel the pipe organ. “After all, I’m not a musi- notes that are in tune or not in tune no Roth has been on that same well-worn cian. I can’t tell the difference.” Baloney. matter what the organist does (as long as There is an aspect of the art of organ bench since 1985. I fi rst attended wor- Of course we can tell the difference. And he’s hitting the right notes), the violinist playing that most other musicians don’t ship in that church in 1998 and vividly our churches and we deserve the best. Q has to put the fi nger on the fi ngerboard necessarily experience. A clarinetist remember noticing elderly members of in exactly the right place. (No worries. might own the same instrument for most the congregation who would remember They leave the fretting to the guitarist.) of his career, seldom playing on anoth- the days when Dupré was their parish The fl autist adds breath control to all er. That is a very personal relationship organist. I suppose there still may be a the complexities of manual dexterity. The that like any intimacy includes inherent few. I wonder if any of them cornered On Teaching trumpeter has a fi nicky relationship with danger. Imagine the master player who Dupré after church to complain that the by Gavin Black a mouthpiece. A trumpeter with a cold discovers a crack in his instrument mo- organ was too loud! § The Twelfth Annual It’s the real thing, baby My work with the Organ Clearing Albert Schweitzer Organ Festival House often takes me to big cities where I get the thrill of hearing important or- A Weekend in Celebration of Excellence in Organ Music: ganists playing on mighty instruments. A Gala Concert, ORGAN COMPETITION, Services, and Masterclass Both the organist and the organ have a relationship with the church building— the sound rings and rolls around the High School Division Panel of Judges place, the organist has the knack of tim- ing the echo, and the effect is dazzling. But most of our organists are playing First Prize: $2,000 Other prizes awarded on instruments of modest size in “nor- mal” church buildings. The effect of the College/Young Professional* beautiful pipe organ in a small country church is just as dazzling as that of the 200-rank job roaring away in a room with First Prize: $3,500 Other prizes awarded Wilma a 150-foot ceiling. There’s such magic to Jensen the combination of the sound of wind- This includes an appearance on blown organ pipes and human voices, even in the setting of a small country our 2009-2010 Concert Series church. The sounds meld together, excit- Practicing II ing the collective air that is the room’s at- Last month I wrote that the “con- *Through age 26 mosphere. The organ has a physical pres- cept of ‘slowly enough’ is the key to ence in the room, letting us know before the whole matter of practicing organ a note is played that there’s something and harpsichord.” This month I want to AUDITION TAPES/CDS: special coming. We decorate church explore that concept further. I will also John buildings with symbols of our faith. The discuss a couple of other aspects of the Due on June 5, 2009 Weaver organ joins pictorial windows, banners, art of practicing. and steeples as one of those symbols. In urging that students practice their THE COMPETITION: We plan a dinner party. On the way pieces slowly, I want to avoid giving par- home from the supermarket we stop at ticular, specifi c practice-tempo sugges- September 11-13, 2009 the fl orist to get something pretty to put tions, and I also want to advocate that on the table. Likewise, we place fl ower teachers not expect, by and large, to give arrangements on the altar on Sunday their students such specifi c suggestions. For Information & morning. In church, do we do that sim- One of the keys to really effi cient prac- Application: ply for decoration, or are those fl owers ticing is to develop a feeling for what the a celebration of God’s creation—of the right practice tempo is. That is, literally, Frederick First Church of Christ beauty of nature? Are there candles on a feeling, since the right tempo at which Hohman the altar for atmosphere like that dining to practice a given passage at a given mo- 250 Main Street room table, or is there another loftier ment is the tempo at which that passage Wethersfield, CT 06109 reason? Does a choir sing an anthem to feels a certain way. The way to guide a PAST JUDGES: Colin Andrews, Diane Meredith Belcher, Benjamin RONALD CAMERON BISHOP www.firstchurch.org/asof Doby, Paul Fejko, Janette Fishell, Consultant Gerre Hancock, Paul Jacobs, Pipe Organs 860.529.1575 Ex. 209 Marilyn Mason, Katharine Pardee, Digital Enhancements All-digital Instruments Cherry Rhodes, Catherine PIPE ORGAN COMPANY music@firstchurch.org 8608 RTE 20, Westfield, NY 14787-9728 Rodland, John Rose & John Walker 800.382.4225/Bedientorgan.com Tel 716/326-6500 Fax 716/326-6595
14 THE DIAPASON
Mar 09 pp. 2-19.indd 14 2/11/09 8:18:12 AM East Liberty Presbyterian Church Pittsburgh, Pennsylvania Aeolian-Skinner Opus 884
you want to recently performed “If be moved by “I in concert on the the sound of an organ, newly restored Aeolian- come listen to the sound Skinner pipe organ at East of this organ! It will Liberty Presbyterian Church change your mind about in Pittsburgh. Only rarely organs and organ music. have I found such a sensitive It will create something and authentic refurbishment, new and unexpected for by any company, as is the case your appreciation. This there. In its present form, the is the organ that allows East Liberty organ is a true music to be music, with American masterpiece. The sounds that reach out music world at large owes an to the listener and immense debt of gratitude to encourage participation the Goulding & Wood Àrm in the music.” for work only possible from experienced builders at the J. Richard Szeremany very height of their artistic Director of Worship, Music, powers.” and the Arts Stephen Tharp International Performing and Recording Artist
In October of 2007, Goulding & Wood completed a restoration project on Aeolian-Skinner Opus 884 from 1935 at East Liberty Presbyterian Church of Pittsburgh, Pennsylvania. The process began nearly a decade before with comprehensive study of both the organ and the acoustical environment. In January of 2006, the entire organ was carefully removed, meticulously packed, and brought back to our Indianapolis shop for renovation. Where pipework had been damaged, new replica pipes were created to original specifications. Extensive research, including reference of the Aeolian-Skinner voicer notes, ensured fidelity to the original instrument’s tonal character and musical effect. A new four-manual console designed and built in the style of the other Depression-era furnishings in the church allows for 21st-century solid state control of the 120-rank organ. This testament to the genius of Ernest M. Skinner and G. Donald Harrison is ready to welcome a new generation of performers, composers, and enthusiasts.
823 Massachusetts Avenue Indianapolis, Indiana 46204 Voice: 800.814.9690 or 317.637.5222 www.gouldingandwood.com student towards being able to practice to know how to recognize, while play- down. A recurring wrong note usually I have known students to stop abruptly well—and to know how to go on practic- ing, specifi c signs that a passage is in this is. Clusters of wrong notes are. But the upon hearing themselves play a particu- ing well for the rest of his or her playing “high-wire” state. This can be tricky both scrambling, uncomfortable feeling de- lar right note. Either they had already career—is to help the student learn to for beginning students and for anyone scribed here is the most compelling rea- programmed themselves to stop, assum- recognize that feeling. else who has never been in the habit of son to try a slower tempo.) ing that the note would be wrong, or, When a student (or anyone) plays looking out for this problem. Some of the If a teacher guides a student towards again expecting a wrong note, they were through a passage, whether it is a few phenomena to watch out for include: recognizing that a passage or piece is be- astonished into stopping by the unex- notes or an entire long piece, and wheth- 1) Very slight hesitations, especial- ing practiced at too fast a tempo—with- pected sound of the correct note! In any er it is the whole texture or separate ly—but not exclusively—before strong out specifi cally suggesting a practice case, it is just a distraction. Also, often hands or feet, one of a number of things beats. This is an outward, audible sign, tempo, but instead inviting the student to a student will hear a wrong note, stop, can happen. If the playing is clearly but a subtle one that a listener can easily try it more slowly and to be on the look- and play the correct note and go on. This wrong—wrong notes, missing notes, miss. It can be confused with interpre- out for all of the signs described above, does not even constitute actually practic- wrong rhythm—then that is easy to no- tive infl ections that might even be musi- negative and positive—then the teacher ing that note effectively, since practicing tice and easy to describe. A student who cally effective. Only the player can know will be helping that student to develop a particular moment in a piece actually is very inexperienced indeed, or, more for sure. a lifelong ability to guide his or her own consists of practicing getting to that mo- commonly, a student who is scared or 2) Signifi cant departures from worked- practicing effectively. ment from whatever came before it. self-conscious, or who has been trained out fi ngering, especially lots of substitu- It is important for students to know If a student has trouble bringing to leave all matters of judgment to the tion that wasn’t part of the plan. that when you play though a passage in a him- or herself to keep playing through teacher, might not notice such things 3) Tension: in the hands for manual way that has an element of scrambling to wrong notes in lessons, this often comes at fi rst. But he or she will not have any parts, probably in the legs and back for it—the “high-wire” or emergency feel- from a desire to signal to the teacher trouble noticing them if they are pointed pedal parts, but possibly also in the feet. ing—you are actually not practicing the that he or she knew that the note was out, and can be taught and reminded to 4) Playing certain notes with more passage at all. Practicing a physical ges- wrong. It can feel humiliating to make a notice them directly. They are there for physical force than others: banging. When ture, or set of physical gestures, of the wrong note without, in a sense, atoning the taking. If a passage being practiced a particular note takes the player by sur- sort we are talking about here is a matter for it right away. It is worth reminding shows such problems, beyond just a few, prise and is only achieved by dint of great of repeating that gesture until it becomes students that there is plenty of time to then it should be practiced more slowly. last-minute concentration, then that note second nature. (I believe—from conver- discuss what was good or bad about a That is clear. will often be banged down hard. sations I’ve had with people who have particular time through a passage when However, it is extremely common for 5) Breathing problems or frequent studied the subject—that this is at least that passage has ended, and that the a student—especially a student with catching of the breath. in part a matter of imprinting something teacher will think more rather than less good powers of analysis and of concen- (Some of the items on this list are hard on the cerebellum as opposed to the ce- of a student for waiting! tration—to be able to play a passage for the student to notice unless he or she rebrum. In any case, it is something quite It is, I believe, quite important not to correctly, perhaps even many times in is otherwise playing in a relaxed manner, real and specifi c neurologically.) When look at the hands or feet while practicing, a row, but to have that correctness be a both physically and psychologically. This you play a passage wrongly you are ac- and it is worth trying to learn not to, or sort of high-wire act: that is, for there to is one of the most compelling practical tually making the wrong gestures second trying to get into the habit of not doing be some or many “near misses” in which reasons both for cultivating a relaxed, nature: you are imprinting (on your cer- so. But it is also important not to become the student comes very close to getting friendly atmosphere in the teaching stu- ebellum?) the acts of scrambling, getting so preoccupied with not looking that that a wrong note, but manages to remem- dio and for encouraging a light, tension- the wrong notes, hesitating, hitting keys becomes a distraction in itself. It is, in ber and play the right note at the very free physical approach to playing.) too hard, using unnecessarily complicat- the end, OK to glance down a little bit, last second. Playing a passage this way is To put the same thing the other way ed fi ngerings, having trouble breathing, while bearing in mind the reasons to try emphatically not good practicing. (I will around—accentuating the positive—the etc. In the end you will have learned to not to do so very much. discuss this more below.) As I wrote last playing should seem calm and serene, the do those things. The problems with looking at the hands month, it takes honesty with one’s self hands and feet should be able to move On the other hand, if you start off at an or feet during practicing are several: to admit that a passage that sounded at from one spot in the music to the next at appropriate tempo, then you can prac- 1) If you fi nd a note, or several notes, least “OK” to the listening world was in a fairly even pace, the player should be tice, as I put it last month, “a genuine or a chord—or whatever—by looking for fact not OK. We are all motivated not able to remain relaxed and keep a light slow-motion version of the fi nal desired that note (those notes) and then putting to admit this, fi rst of all because it is al- touch. In fact, the whole thing should result.” Then, following the procedure the fi ngers or feet in the right place and ways more friendly to our self-esteem to feel easy. Performing is not easy; having that I outlined last month, you can work pushing, you have essentially not prac- believe that something we just did was the patience to practice well is not easy; it up to any desired tempo. ticed the act of fi nding and playing those done well, not badly, and second be- the act of practicing should be easy. There are two other issues about notes at all. The physical gesture that you cause this admission seems to let us in (It is also important to note that an practicing that are important to discuss are trying to imprint has not happened, for more work! occasional or rare wrong note that hap- alongside the basic procedure proposed or, at least, your mind has not focused on In addition to honesty or self-aware- pens while practicing a passage is not in these two columns: 1) keeping it go- it and followed it. The brain has used an ness, however, it is necessary for a student necessarily a problem or a reason to slow ing, and 2) (not) looking. alternate, visual, route to the ostensibly It is always a good idea to keep what- correct note. Practicing that involves a ever bit of music you are playing going signifi cant amount of looking is ineffi - The Cathedral of Christ the Light steadily, in tempo (plus or minus any cient: it will probably get you there even- The Cathedral of Christ the Light purposeful interpretive rubato), without tually, but it will take longer. O A K L A N D, C A L I F O R N I A letting anything distract you or derail 2) Whenever you take your eyes away your playing. In the context of practic- from the page, you run the risk of not We are pleased to announce ing a passage, however short or long, fi nding your place again. the completion of the first it is important to know where you plan 3) If you are playing a passage and you phase of our organ project to stop—in order to go back and play it are (even subconsciously) expecting to with the Cathedral of Christ again—and both to keep it going until fi nd a fair number of the notes by look- the Light in time for the that point and in fact to stop there and ing, then there will almost certainly be go back and repeat the passage as many a large amount of hesitation in the play- Mass of Dedication held on times as you have planned. If you allow ing. Even when your hands or feet have September 25, 2008. The yourself to be distracted by anything—a in fact traveled correctly, and on time, to remainder of the instrument noise outside, your teacher’s cell phone, the next note, you may well hesitate to will be constructed in our a light fl ickering—then you are in part play it until you have checked it out vi- workshops over the practicing letting yourself be distracted. sually. There is often an overall jerkiness This is the last thing that you want to and lack of convincing pulse to playing coming six months and prepare yourself to do in performance. that involves a lot of looking. This will will be installed during However, if you allow yourself specifi - usually go away immediately if the player the late summer of cally to be distracted by hearing a wrong quits looking so much. 2009. The completed note, that is even worse. If you are plan- 4) The vast majority of wrong notes hap- instrument will feature ning to stop, or allow yourself the possi- pen not because the player does not know bility of stopping, when you hear yourself where the notes are on the keyboard (and four manuals, 75 make a wrong note, then as you play you thus needs to look for them), but because independent stops will inevitably divert some of your con- the player does not honestly know what (excluding borrows), 90 centration onto monitoring each note for the next note is supposed to be. ranks and 5,335 pipes. “wrongness” and to deciding whether or This last point is one of the most im- The design of the organ’s not something that you have just heard portant about the act of practicing and justifi es stopping. All of your focus, how- about learning to play. The keyboard twin façades was developed in collaboration with ever—all of it—should be on what comes is basically very simple, and it stays in the Cathedral’s architect, Craig Hartman of next. As soon as your fi ngers or feet are place. Anyone who has played a little Skidmore, Owings & Merrill, and will suggest a committed to playing a given note, your bit has, even if unknowingly, developed natural forest with numerous wooden pipes. mind should be on to the next note. a strong instinct for where the keys are. We are honoured to have been selected by the Cathedral of Christ the Light’s Organ Committee to design and build this significant new pipe organ for Oakland’s resonant new Cathedral. For more information, visit our website at the address below or the Cathedral’s website at www.ctlcathedral.org. ORGUES LÉTOURNEAU LIMITÉE
United States Canada 1220 L Street NW 16355 avenue Savoie Suite 100 – No. 200 Saint-Hyacinthe, Québec Washington, DC J2T 3N1 20005-4018 Tel: (450) 774-2698 Tel: (800) 625-PIPE Fax: (450) 774-3008 Fax: (202) 737-1818 [email protected] [email protected] www.letourneauorgans.com
16 THE DIAPASON
Mar 09 pp. 2-19.indd 16 2/11/09 8:18:48 AM Many players, including most students epilepsy, and a sciatic gout,” more recent available. The music rarely is extremely able players and publications are numer- and almost all beginners, do not believe and accurate evaluations suggest that its diffi cult, and one short rehearsal may be ous, so consider enhancing a future an- this. They assume that wrong notes and tone is soothing, compassionate, and ten- all that is needed. The fl ute music often them with its addition. It should be noted insecurity come about because they don’t der-hearted, unless played in a very high is an obbligato line that quietly soars that The Enlarged Devil’s Dictionary, know where the next note is. The wrong range with the intent of cutting through above the choir, which means that not published in 1967, reports that the fl ute note count in a passage, if it is at all high, the texture. Its music can be busy with having it played while the choir is learn- “is a variously perforated hollow stick in- will almost always go down immediately fl owing, fast phrases, but more often, ing their part causes no impediment to tended for the punishment of sin.” upon the player’s starting to keep his or seems to add a line of calm tone color that the process. Also, unlike brass instru- her eyes (by and large) on the music. In has gentle beauty. This makes it a perfect ments where overbearing loudness of- Prayer of St. Francis, Michael Bed- working on helping a student to practice addition to choral singing, especially in ten is a factor, the fl ute when added to ford. SATB, fl ute, and organ, Coro- effectively, this should be taken into ac- volunteer church choirs where the voices the texture does not cover the choir and net Press of Theodore Presser Co., count before choices are made about may have had little serious training. dominate the sound with harshness. 392-42357, $1.50 (M-). what practice tempos are appropriate. Young musicians most often start with An examination of current anthems Set to St. Francis’s familiar text, the Specifi cally, if there is a fairly per- piano lessons; however, when training fi nds that many call for optional C instru- choral parts are on two staves in a unison sistent wrong note in a passage being begins in school bands and orchestras, ments. Unlike instruments such as the or homophonic chordal arrangement. practiced, but that passage feels gener- the fl ute receives considerable atten- clarinet, the fl ute is pitched in C, which The organ part, also on two staves, is a ally secure enough that the tempo does tion. Its small size and relative simplic- means that it does not have to be trans- gently pulsating background accompani- not need be slowed down, a student will ity to learn makes it attractive to those posed for use with choir/organ. Perform- ment with occasional brief moments of want to start correcting that wrong note in beginning situations where practicing ers can read directly from a choral score silence. The fl ute part is included sepa- by looking, or will assume that look- at home is expected. School ensembles where the fl ute line is printed with the rately on the back cover; its music, which ing is the only technique for getting the often have an abundance of fl ute play- choir. Transposing instruments require occurs throughout the anthem, is lyrical note right. Instead of looking, however, ers, especially girls, who fi nd their sweet a separate part that may or may not be and very easy. Sweet music. the student should try this: fi rst notice sound to be attractive. included with the publication. This also in which direction the note is wrong. The fl ute has been around since prim- means that a performer may read direct- By Gracious Powers, John Fergu- A wrong note can only come about be- itive times. There are numerous refer- ly from a hymnal to double the melody of son. SATB, organ, fl ute, and optional cause of moving a fi nger, hand, or foot ences to it in the Bible. For example, in congregational hymns. congregation, Augsburg Fortress, 0- either too far or not far enough. Once it First Kings the scripture says: “And the The range of the fl ute is wide, and 8006-7549-5, $1.90 (M). is clear which of these has happened, the people piped with pipes, and rejoiced common techniques such as trills, fl ut- Both the fl ute part and a vocal part student should, on the next time through with great joy, so that the earth rent ter-tonguing, and even note-bending will for the congregation are included at the the passage, simply think “all right, I’ve with the sound of them.” Using fl utes in expand the fl avor of the music. Typically, end of the choral score. The organ part is been moving too far, so I’ll move a little church seems a natural opportunity. the fl ute part provides brief fl ourishes on three staves with registration sugges- bit less,” or the opposite, as needed. This There are numerous church anthems between choral phrases, or it is merely tions. Its music is primarily block chords simple thought—mechanical rather than that include fl ute or the option of fl ute. an additional line whose omission does in quarter notes. The chorus part, on two musical in nature—will almost always With the large number of players in not destroy the music. staves, has some short passages that are work. Coupled with this, the student a community, it usually is easy to fi nd In conclusion, using fl ute with the unaccompanied and brief divisi. There should keep his or her eyes on the mu- someone in the congregation who is church choir is practical and easy. Avail- are fi ve stanzas in various settings, with sic and not lose the information that is found there. One fi nal thought. These two columns ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
have been intended to outline a rigorous DOBSON CASAVANT FRERES and effi cient approach to practicing. It is certainly a good idea for students to fol- low this approach, or one that incorpo- rates some of its ideas, a good deal of the time. Practicing every piece this way—in small increments, always starting slowly enough, speeding up only gradually,
keeping the eyes on the music—will lead BOODY TAYLOR to the most effi cient learning of pieces and the quickest and most secure devel- opment of a player’s ability. This kind of practicing is satisfying since it gives such prompt and evident results. It should also be just plain fun for people who love the repertoire and the instruments. Howev- er, it is important to remember that not every minute at the keyboard has to be
spent doing the most disciplined work. DYER R. It is a very good idea for any player, stu- dent or not, to have some out-and-out frivolous fun at the keyboard as well: play pieces you already know too fast and see how well you can keep them going; sight read pieces that are too hard, just
slow enough that it’s plausible, and don’t GARLAND FISK worry too much about wrong notes; play easy pieces on all sorts of different regis- trations, including outlandish ones. Every player—and every student,
perhaps with input from a teacher—can FRITTS decide how great a proportion of time spent at the keyboard should be spent on well-designed rigorous practicing and how much on other kinds of playing. An awareness that you are doing enough of the former should permit you to relax and enjoy the latter! Q
Gavin Black is director of the Princeton GOULDING & WOOD Early Keyboard Center in Princeton, New Jersey. He can be reached at
Choir with fl ute HENDRICKSON To receive information about pipe organs I want to know a butcher paints. A baker rhymes for his pursuit. and recognized pipe organ builders Candlestick-maker much acquaints write or call toll free 1-800-473-5270 His soul with song or haply mute AP Blows out his brains upon the fl ute. or on the web @ www.apoba.com —Robert Browning, SHOP PASIBO Associated RICHARDS-FOWKES Pipe Organ Builders of America The fl ute, one of the world’s oldest A P.O. Box 155 • Chicago Ridge, Illinois 60415 musical instruments, is both popular and widely used. It is often added to choral scores, especially in church anthems. OTT PARSONS Although Theophrastus (370–287 B.C.) NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP said that “The sound of the fl ute will cure
MARCH, 2009 17
Mar 09 pp. 2-19.indd 17 2/11/09 8:19:17 AM the congregation singing on the last verse. ticulated with diverse rhythms, the part playable; hence, the fi rst four tracks of The fl ute plays in a high range to soar is included separately at the end. The New Recordings the fi rst CD were recorded live during above the choir; its music is not diffi cult. music has a dance feel with some unison a Mass on February 2, 2007 and include passages. The keyboard part also is very brief and intelligent remarks by Craig If Anyone Thirsts, Daniel Kean. SATB, busy with contrasting syncopations. This Schweizerische Hausorgeln—Eine Whitney. Cleaning and voicing of the en- piano, and two fl utes, GIA Publica- fast, happy setting is not diffi cult for the musikalische Reise mit Annerös Hul- tire organ is yet to be done. The follow- tions Inc., G-6859, $1.60 (M). singers, but will make them sound very liger und 21 klingenden Gesichten ing six tracks were recorded in Our Lady Based on John 7:37–38, the choral good. Highly recommended and useful aus 350-jähriger Tradition. Annerös of Refuge by Stephen Tharp, and give a music is on two staves and is simple. The for small choirs. Hulliger, organ. Musiques Suisses 3- teasing account of the noble sounds that fl utes do not enter until later, and their CD set MGB CD 6260; will be available in this place. music consists of contrapuntal lines, of- Baptized in Water, Jane Holstein.
18 THE DIAPASON
Mar 09 pp. 2-19.indd 18 2/11/09 8:19:42 AM church where signifi cant and dignifi ed leads into a set of 36 variations in E-fl at being present throughout in different there is not, so care must be exercised to music is wanted, ideas for suitable music that conclude the work. octaves; this is the only piece in which select stops suitable for the whole piece. abound here. The next piece, a ciaccona, is in four the pedals are indicated. In several sec- These splendid examples of the art of the Here I must mention that Ed High- parts, the outer two being in the expected tions, the piece has suffi cient variety to southern Italians provide much material berger is a friend and colleague, who 3/2, the middle two in 9/8. There are long prevent it falling into tedium. that is most worthy of revival and is suit- has served the above-mentioned church written-out trills for the right hand in the This print is the fi rst complete mod- able for recitals; the amazing harmonic since 1965 and is also Associate Profes- fi nal variation, which closes with a coda ern edition to reproduce the original bar daring will surely surprise audiences sor of Music and University Organist at in C time with more virtuoso fi guration lengths and coloration of the notes—for even today. Seton Hill University in Greensburg. In in each hand. Next is a set of six variations example, the white eighth and 16th notes —John Collins the late 1970s and early 80s he occasion- in C minor entitled Balletto, followed by in several variations of the passagagli Sussex, England ally taped recitals he was preparing and a Ballo della battaglia in binary form with (in the American Institute of Musicol- asked me to listen and offer advice. Mr. lots of trumpety writing. The two correnti ogy edition of 1965 these are printed Highberger was a fi ne organist then, and in G minor and E minor are each full of as blackened notes and the bar lengths Four Advent Pieces for Flute and Or- remains so today, representing the thou- more passagework than one may expect regularized into half notes, although the gan, Robert J. Powell. MorningStar sands of organists here and in Canada from this dance, and the two toccatas original is shown by means of dotted Music Publishers MSM-20-061, $10.00, who rarely toot their own horn, but play that follow are each concluded by a more lines). These may not be as easy to read
New Organ Music
Bernardo Storace, Selva di Varie Compositioni d’intavolatura per cim- balo ed organo, Venezia 1664. Arme- lin Musica Padova AMM250, €62,
MARCH, 2009 19
Mar 09 pp. 2-19.indd 19 2/11/09 8:20:01 AM 53rd OHS National Convention Seattle, Tacoma, Olympia, July 13–18, 2008 Frank Rippl
2 n the day before I was to leave for “Bydlo,” the ever-nearing ox cart thun- 32′, and Grosse Quinte 10 ⁄3′. The room hymn we had just sung. I especially liked Othe Organ Historical Society’s 53rd dering past us with its great weight, and is notorious for its poor bass response #4: “Watchman, Tell Us of the Night.” National Convention, I was eating a then disappearing over the hill; the snarl- and generally dry acoustic, so all that 32′ He used the reeds to great effect. I sandwich and reading the paper. I never ing reeds were very effective. The humor tone proved to be necessary to fi ll out the recommend these pieces! Marks, a fi ne read my horoscope, but for some reason in “The Ballet of the Unhatched Chicks” bottom of the range. player, gave us a great OHS recital with I happened to glance at mine (Cancer) was most engaging. The organ sparkled David Dahl introduced Ms. Terry as well-chosen literature to demonstrate and was startled to read: “You’re being as tiny beaks struggled to break through “Seattle’s First Lady of the Organ.” She the many lovely sounds of this organ. taken to beautiful places where there is their encasing shells. The majesty of “The began her program with Dahl’s fi ne Fan- Our fl eet of buses took us to the at- great attention to detail and where you Great Gate of Kiev” brought the piece to fare Introduction: The National Anthem, tractive Trinity Lutheran Church in are enveloped in someone else’s grand an end. The sweeping acoustics of this which we then sang. She continued with Lynnwood, Washington, where we vision. Sit back and enjoy the unfolding great church and the underpinning of three chorale preludes by Bach, putting were served a tasty box lunch. At 1:00, spectacle.” That got my attention. I had the mighty and blazing reeds and the 32′ various solo voices on display: the reeds, the tireless convention chairman David been to Seattle many times before and stops lifted us from from our pews. It was the cornet, and the fl utes. Next was Wil- Dahl gave a fascinating address: “Track- knew many of the instruments we were a brilliant performance. liam Bolcom’s Sweet Hour of Prayer, in er Organbuilding in the Pacifi c North- to hear, but OHS conventions always put There was a 40-minute intermission which we heard the Fisk’s strings and west.” He traced the arrival of American a different spin on things and shine a of sorts between concert and Compline. foundation stops. Then three pieces tracker organs from the East Coast in the spotlight on the instruments themselves. Halfway through this interval, David from François Couperin’s Messe pour late 19th and early 20th centuries. In the I couldn’t wait to experience “someone Dahl invited us to enter into a spirit of les Convents: Plein Jeu, Premier Couplet mid-20th century, European tracker or- else’s grand vision” of those instruments silence prior to the beautiful and famous du Gloria; Duo sur les Tierces, Troisième gans were brought in. The famous Flen- and the buildings in which they stand, Compline service, sung each Sunday eve- Couplet; and Chromorne sur la Taille, trop at St. Mark’s Cathedral in Seattle is and, of course, the many outstand- ning since 1955 at St. Mark’s by a volun- Cinquième Couplet, which showed that a good example. There were others, too: ing players and builders in the Pacifi c teer choir of about fi fteen men. It usually this versatile organ can speak French St. Thomas Episcopal Church in Medina Northwest. It is, as our handbook stated: attracts anywhere from 500–1000 young quite well. Sowerby’s beautiful Air with has a Metzler from 1971. But late in the “A Young Yet Vibrant History.” Each people who stretch out on the fl oor or Variations showed off the Swell strings, 20th century, the Pacifi c Northwest be- registrant had received the OHS Seattle the pews, some bringing bedrolls. They the Solo Clarinet, and later the Flauto Mi- gan to get its own voice from builders 2008 Organ Atlas in the mail before we absorb the simple beauty of the chants rabilis. These were full-throated and won- such as John Brombaugh, Paul Fritts, left on our respective journeys to the and the readings. It is broadcast live derful pipes! Carole Terry’s last piece was and Martin Pasi. West Coast: 174 lavishly illustrated and over KING-FM radio, and can be heard the opening Allegro Vivace from Widor’s painstakingly researched pages on the worldwide via the Internet. Symphonie No. 5. This heavily land-mined venues and instruments we would visit. We became silent as the hundreds of piece caused her to stumble slightly a few The team that put this colorful docu- young people joined us. The sun set, the times, but she managed to bring it off. Her ment together is to be congratulated. So, lights dimmed, candles were lit. There melodic lines were nicely delineated. She thus armed, we were ready and eager to were no “praise” bands, no guitars, no chose her literature and registrations well. get started. drums. The choir entered wearing black None of us could come away from this re- cassocks and long white surplices. They cital complaining that we didn’t hear a fi ne Sunday, July 13 stood in the back of the church in a cor- demonstration of this important instru- We began with some pre-convention ner. They were led by Peter Hallock, ment—part of a new generation of Ameri- activities on Sunday night. The weather Canon Precentor Emeritus, who found- can concert hall organs. was perfect: a clear sky and tempera- ed the choir and is composer of much of tures in the low 70s as our buses climbed the music they sing. The chanting was through the Capitol Hill neighborhood elegant and refi ned but never precious. to St. Mark’s Episcopal Cathedral over- The tuning in the homophonic sections looking Puget Sound. St. Mark’s was to was perfect. The beautiful anthem was have been a grand Gothic structure, but Canon Hallock’s If We Could Shut the the stock market crash of the late 1920s Gate, scored for male voices, violin, and brought those dreams to a halt. They organ. It was a tranquil and quietly spiri- were left with what is now lovingly called tual end to the fi rst day. “The Holy Box.” But it is still grand in its own way and with great acoustics. Monday, July 14 Once inside, convention chair David Our hotel was the Holiday Inn at the Dahl welcomed us, calling it “a gather- airport, standing in a cluster of airport ing of the family.” There were 310 of us hotels, including one called “The Clari- greeting old friends and meeting new on Hotel.” My room had a great view of ones from all over the world with a com- Mount Rainier rising majestically over the Pasi Organbuilders, Opus 4, Trinity mon interest: love of the organ. “Clarion.” We had a great rate of $82.00 1887 Geo. Kilgen & Son, Holy Rosary Lutheran Church, Lynnwood (photo: per night, which included a lavish break- Catholic Church, Edmonds (photo: William William Van Pelt) fast. Trouble was, we always had an 8:00 Van Pelt) a.m. departure. So, if we wished to dine We would hear many fi ne instruments in what was a rather small dining area, we We then crossed Lake Washington on by these gentlemen and others. In fact, had to be down there by 6:00! the Pontoon Bridge and climbed quite one of them stood to Dahl’s right: Martin high above Puget Sound through well- Pasi’s beautiful Opus 4 from 1995. This manicured properties to Holy Rosary 2-m, 30-stop, mechanical action organ is Catholic Church in Edmonds, Washing- in a freestanding black walnut case, with ton, to hear the church’s 1887 Geo. Kil- eight Italianate arches serving to frame gen & Son organ, the only surviving 3-m the façade pipes. It was demonstrated by Kilgen tracker. Christopher Marks, Julia Brown, who was born in Rio de assistant professor of organ at the Uni- Janeiro, Brazil, and received her gradu- versity of Nebraska, was our soloist. Holy ate-level training in organ at Northwest- Rosary is a modern church built in the ern University studying with Wolfgang round, with the organ standing to the Rübsam. She opened with a jolly Noël by right of the altar. The organ came from Jean-Francois Dandrieu, then two fanta- the First Baptist Church in Los Angeles, sias by Louis Couperin. A charming cho- and was relocated to Holy Rosary in 1980 rale prelude by Scheidemann was then via the Organ Clearing House. played on the clear 4′ fl utes. Next was a Marks opened with a toccata from Pre- beautiful chorale prelude on Wie schön mière Suite pour Grand-Orgue (1900) leuchet der Morgenstern by Niels Gade by Felix Borowski (1872–1956, a son of (1817–1890), leading into the hymn by Polish immigrants), which began on the the same name, which she and the organ Swell with shades closed, and built to a led with great ease and grace. Another fortissimo. Another piece by Borowski Noël followed, this one by José Jesus Es- 1965 Flentrop, St. Mark’s Episcopal followed: Allegretto-Allegro leggiero trada (1817–1890): Noel en estilo fran- Cathedral, Seattle (photo: William Van Pelt) C. B. Fisk, Opus 114, Benaroya Concert from his Third Sonata (1924), which ces del siglo XVIII, which demonstrated Hall, Seattle (photo: William Van Pelt) demonstrated some of the soft sounds of more of this wonderful organ’s stops in- We came this night, of course, to hear this lovely organ. Two andantes by Amer- cluding the Zimbelstern. Brown closed the landmark 4-m 1965 Flentrop organ, Monday morning took us into down- ican-trained organist George F. Bristow her recital with Buxtehude’s Praeludium with its spectacular and breathtaking 32′ town Seattle to Benaroya Concert Hall (1829–1898) from his Six Pieces for the in F, BuxWV, in which we heard the fi ne copper façade, in a concert by Thomas to hear Carole Terry demonstrate the Organ (1883) were followed by a hymn infl uence of Professor Rübsam. This was Joyce, the assistant organist at St. Mark’s, large 3-m concert hall organ by C. B. by Thomas Hastings: “Hail to the Bright- another outstanding recital. followed by Compline. Joyce played Pic- Fisk. The simple façade of this organ in- ness of Zion’s Glad Morning” to the tune Our buses took us back on the road tures at an Exhibition by Modest Mus- cludes some of the open wood pipes of Wesley by Lowell Mason. He closed for a visit to Blessed Sacrament Church sorgsky (1870–1937) as transcribed by the 32′ Prestant. I’m not normally a big with four selections from Seth Bingham’s in Seattle. The huge building, with gor- Keith Johns. He managed to make this fan of wooden façade pipes, but these Seven Preludes or Postludes on Lowell geous gardens and a school across the very romantic score work quite well on this blended well with the browns and tans of Mason Hymns (1945), which sounded street, loomed large in the neighbor- beautiful mid-20th century organ with all the Benaroya complex; also in the 32′ de- just dandy on this organ. He played Nos. hood. The organ stood in the left tran- its neo-baroque accents. My favorite was partment: Untersatz 32′, Tuba Profunda 1, 2, 4, & 5; the fi rst was based on the sept. It came from St. Dominic’s Ro-
20 THE DIAPASON
Mar 09 pp. 20-25.indd 20 2/11/09 8:21:35 AM man Catholic Church in San Francisco, on an organ that never fails to thrill. tation for the 2-m, 12-stop instrument— and was installed in Blessed Sacrament The second half began with Fanfare the 368th such citation the society has in 2005. The organ began life as an in- for Organ by Richard Proulx, which ran given to instruments of historic interest. strument by Henry Erben for a church a good circuit through the many trum- The organ’s fi rst home was in Philadel- in Nyack, New York, and was rebuilt by pet stops, vertical and horizontal. It was phia, then in Camden, New Jersey. St. Francis J. N. Tallman (1860–1950), who followed by In Quiet Joy from a com- Matthew’s acquired it from the Organ essentially made it a new instrument. It poser new to me: Mark Winges, b. 1951. Clearing House. was rebuilt again in 1914 by Michael A. Lovely fl utes and deep-water pedal 16′ Carol Foster, a woman with a long and Clark, and then moved to San Francisco. stops supported the occasional soft solo distinguished career, is currently parish St. Dominic’s decided after remodeling reed, then turned to quiet strings briefl y, musician at St. Augustine’s Episcopal that the organ no longer met their needs, and went on as before. The strings re- Church on Whidbey Island, Washington. so it ended up at Blessed Sacrament. turned supporting a solo fl ute. It is an Her fi rst piece this day was a charm- We had arrived early, so Scott Hun- exquisite piece. The hymn “When in our ing Andante & Gavotte from a sonata tington gave us an impromptu introduc- music God is glorifi ed,” sung to the tune by Thomas Arne. That was followed tion to the history of this fascinating in- Kaytlyn by Joseph Downing (1982), by Craig Phillips’s (b. 1960) Prelude on strument as only he can. That, plus the was followed by Canon Butler’s Fantasy “Divinum mysterium.” The room-fi lling fi rst-rate account of this organ written in on “Kaytlyn,” a fi ne piece with moments sound of even the fl ute stops on this little the convention atlas by Stephen Pinel, of quiet and introspection, ending gently organ let us know that this was indeed a provided us with unusually thorough with two rings from a chime. Hook organ. preparation for the concert. Butler rounded off his program with Next up was the early American tune Our performer was OHS favorite two pieces by the great 20th-century “Restoration” from Sacred Sounds by 1905 Jesse Woodberry & Co., Opus 225, George Bozeman. He began his dem- American organist and composer Leo George Shearing (b. 1919), in which Spanaway Lutheran Church, Spanaway onstration of this 2-m, 15-stop organ with Sowerby: Arioso and Toccata. Arioso, Foster gave us a good hearing of the (photo: William Van Pelt) C. P. E. Bach’s Sonate in G Minor, Wq with its plaintive call from a quiet reed foundation stops. That was followed by 70/6, perfectly suited to this fi ne organ. stop, gave us a sense of serenity tinged Song of Happiness (1914), by Roland Our next stop was Spanaway Lutheran The hymn was “Love Divine, All Loves Ex- with longing. It is a masterpiece, and Diggle: a sweet, sentimental piece that Church in Spanaway, Washington, and its celling” (tune Beecher). He then played Butler brought out each poignant nu- brought many a smile. Then came Theo- attractive 1905 Jesse Woodberry & Co. his own transcription of Four Sketches, ance. By way of contrast, Sowerby’s fi ery dore Dubois’ Cantilène religieuse. Fos- Opus 225 organ. Built in Boston, it was ac- op. 15, by Amy Beach (1867–1944), quite Toccata drew the evening and fi rst full ter joked about the tremolo, which was quired by the Organ Clearing House. Its intoxicating and evocative: “In Autumn,” day to a rousing and blazing close. But- a force unto itself. She used the Oboe walnut case and white façade pipes with “Phantoms,” “Dreaming,” and “Fire-fl ies.” ler’s fl eet fi ngers sent the notes fl itting (the organ’s only reed), but it sounded gold mouths make for a striking appear- George, if you haven’t published these from pillar to pillar in this great “Holy like there was a fl ute with the oboe. She ance, and its two manuals and 18 ranks pieces, please do! The music and your Box.” We cheered! ended with an energetic and jolly perfor- work very well in this appealing space, performance were both great! mance of Jacques Lemmens’s Fanfare. standing as it does to the right of the altar. Tuesday, June 15 The hymn “Come, We That Love the Much of the restoration work was lovingly Tuesday morning found us high atop Lord” (tune Vineyard Haven) closed done by members of the congregation our hotel in a circular ballroom with a this fi ne recital. under the leadership of organbuilder Ste- splendid vista of Mt. Rainier. We had We drove to Olympia, paying a brief phen Cook. Carpeting was pulled up and come to hear a loving tribute by Mark visit to handsome government buildings, a hardwood fl oor was installed. Brombaugh to his brother John, a semi- then went downtown to eat lunch in We began with the presentation of nal fi gure in American organ building. the lobby of the Washington Center for the Historic Organ Citation by Stephen The lecture was entitled “Singing Pipes: the Performing Arts. After lunch, Andy Schnurr. The recital was played by Kev- The Artistic Legacy of Organbuilder Crow performed for us on the theater’s in Birch from Bangor, Maine, where John Brombaugh.” Mark explained how mighty Wurlitzer. He has several silent he teaches organ and harpsichord at John’s early training with Fritz Noack, fi lm scores to his credit. We were treated the University of Maine’s School of the Charles Fisk and Rudolph von Becker- to his accompaniment to the Laurel and Performing Arts. He began with Arthur ath infl uenced him. He then proceeded Hardy silent fi lm “Double Whoopee,” Foote’s Festival March, op. 29, no. 1 to trace John Brombaugh’s own ideas of which was hysterical. His expert accom- (1893), which demonstrated the founda- voicing: the vocale style of sound—mak- paniment kept pace with craziness on tion stops nicely—a good solid forte. An ing pipes sing in a beautiful vocal man- the screen. He used the organ’s resourc- additional Foote piece followed: Alle- ner. He went through each of John’s es very well, and also played a number gretto, op. 29, no. 2 (1893), which walked instruments, giving well-thought-out de- of classic American songs. It was a fun us through this fi ne organ’s softer sounds. scriptions of each. I was especially inter- midday break. The Great Flute d’Amour 4′, played one ested in his Opus 33, which stands four blocks from my house, on the campus of Lawrence University in Appleton, Wis- consin. It was also fascinating to hear the Paul Fritts & Co., Opus 22, Thomsen list of men who had worked with John Chapel (photo: William Van Pelt) over the years and who have now gone on to be fi ne organ builders in their own Our next stop was a happy return to right. The list reads like a who’s who of St. Mark’s Episcopal Cathedral back on American organ building, and includes Capitol Hill. We had time to peruse the Fritts, Taylor & Boody, Pasi, Richards & fi ne cathedral shop, where we were given Fowkes. Not bad! It was a most enter- FIVE HOURS of exciting live a 10% discount. We also had a cocktail taining and informative summing up of performances from the 2007 OHS National party with delicious snacks on the cathe- a great career. JUST RELEASED! dral grounds, followed by a fi ne Bastille 2007 CONVENTION HIGHLIGHTS Convention in Central Indiana. Ken Cowan, Day French meal in Bloedel Hall. We Thomas Murray, Bruce Stevens, Carol took turns entering the beautiful Thom- Historic Organs of Indiana sen Chapel, the only part of the cathedral Williams, and many others play 31 pipe that was fi nished in Gothic style (one can organs by Aeolian-Skinner, E.M. Skinner, only imagine what the whole building would have looked like had it been fi n- Erben, Felgemaker, Hook & Hastings, ished), which now contains a jewel of Kilgen, Kimball, and more. The 4-CD set an organ by Paul Fritts & Co., Opus 22, 2003. This 2-m and pedal, 18-stop organ also includes OHS-trademark hymn-singing, sits in the west balcony and fi lls the room plus deluxe 40-page booklet with photos, with its beauty. Thomas Joyce, assistant organist at the cathedral, played brief stoplists, and historical information. demonstrations for us. He is a charming young man with a great future. OHS-07 4-CD Set $34.95 But the major event of the evening PLUS SHIPPING was in the cathedral itself: a brilliant OHS Members $31.95 concert by J. Melvin Butler (who, I’m Join today! www.organsociety.org told, is also a superb violist!), canon or- ganist and choirmaster of St. Mark’s. He opened with a dazzling performance of IN STOCK FOR IMMEDIATE SHIPMENT! Bach’s Prelude and Fugue in G Minor, BWV 535. Mel Butler’s talented fi ngers and toes and the marvelous clarity of the NOW CHOOSE FROM OVER 5,000 TITLES! Flentrop organ made the music sing. Two selections from Bach’s Leipzig Chorales ORDER ONLINE: www.ohscatalog.org followed: Nun komm, der Heiden Hei- E. & G. G. Hook & Hastings, Opus UPS shipping to U.S. addresses, which we recommend, is $7.75 for your entire order. land, BWV 661, in which we heard the 591, St. Matthew’s Episcopal Church, solo line on a small cornet with a gentle Auburn (photo: Stephen Schnurr) Media Mail shipping is $4.50 for your entire order. tremolo; and O Lamm Gottes unschuldig, Shipping outside the U.S. is $4.50, plus the cost of air postage, charged to your Visa or MasterCard. BWV 656. In the middle section, the up- Our fi rst concert of the day was at perwork glimmered like light glancing off St. Matthew’s Episcopal Church in Au- faceted gemstones. The majestic fi nale burn, Washington, by Carol Foster on ORGAN HISTORICAL SOCIETY (with the cantus fi rmus in the pedal) was the church’s E. & G. G. Hook & Hast- P.O. Box 26811 Richmond, VA 23261 pure muscularity. The fi rst half of the ings organ, Opus 591 from 1871. Its program ended with Buxtehude’s chorale caramel-colored pipes and honey-like Open Monday-Friday 9:30am-5:00pm ET fantasia on Nun freut euch, lieben Chris- case gleamed in the modern, light-fi lled Telephone: (804) 353-9226 ten g’mein, BuxWV 210. It was fi rst-rate room. The program began with the pre- [email protected] playing by one of Seattle’s best organists sentation of the OHS Historic Organ Ci-
MARCH, 2009 21
Mar 09 pp. 20-25.indd 21 2/11/09 8:23:13 AM octave lower, was particularly effective. on this organ. The Vox Humana buzzed Newcastle, Australia, was our performer. The Swell shades created an incred- along nicely with the 32′ humming be- He also serves as director of chapel mu- ible pp. The hymn was “Abide with Me” low. Tegels made the Finale burst forth sic at St. Andrew’s College within the (Eventide). In a masterful bit of accom- like fi reworks, timing it just right to catch University of Sydney. He has concertized panying, he never dominated, he led. us off guard. From start to fi nish, it was a all over the world, and had just turned The closing piece was Dudley Buck’s virtuoso performance by builder, player 27 when we heard him—a charming Variations on “The Last Rose of Sum- and architect. We had ended a long day, young man with a quick and ready smile. mer.” Among other fi ne things, we got to but our spirits were quite high! He opened his program with J. S. Bach’s hear the gentle Swell strings. I also liked Now Thank We All Our God as arranged the Swell Violin Diapason in its rich ten- Wednesday July 16 by Virgil Fox, which featured the foun- or range. I was struck thus far this week For the most part, this would be “Epis- dation stops and reeds. This is an intact by the number of recitals that ended copal Day.” Our fi rst stop on this bright organ—unchanged; it possesses a warm pianissimo. This was one of them. The and sunny morning was Seattle’s St. but somewhat brooding sound. Next up magic swell shades on this organ really Paul’s Episcopal Church, in the Space was from Bach’s Orgelbüchlein: Christ did their job! Needle area, nestled among several in- ist erstanden, BWV 627, which had plen- viting Asian restaurants. The churchyard ty of energy. Then came a piece by Gra- featured a labyrinth and imaginative ham Koehne (b. 1956), “The Morning landscaping. The organ we were about to Star” from his suite To his servant Bach, God grants a fi nal glimpse, which uses the chorale tune “How brightly shines the morning star.” It was written in a Mendelssohnian style, and Guy played Paul Fritts & Co., Opus 18, Pacifi c it with great sensitivity. I’d like to hear Lutheran University, Tacoma (photo: more music by this composer. William Van Pelt) Edouard Batiste (1820–1876) pro- vided the next piece, Andante in G “Pil- cious dinner in the University Center: grim’s Song of Hope”—a character piece roast pork with lingonberry sauce! God of its era, to feature many of the softer bless those Swedish Lutherans! We then sounds of this instrument. Then came a walked through the beautiful campus to favorite of mine, Rorate Caeli by Jeanne Lagerquist Concert Hall. The building’s Demessieux, played with great sensitiv- entrance windows were decorated in ity. Peter Guy then played Samuel Se- glass fl ower blossoms by the world-re- bastian Wesley’s Andante in E-fl at, which nowned Tacoma artist Dale Chihuly. came off quite well on this organ, which Upon entering the hall, our eyes beheld is in need of a thorough restoration. The the jaw-droppingly gorgeous Paul Fritts hymn was another favorite of mine, “O organ, Opus 18 from 1998, surely one Thou Who Camest from Above,” to the of the most beautiful organs in North tune Hereford by S. S. Wesley. Our America. The high tin content of the tenors had a grand time! He closed with façade pipes and the 250 square feet of Louis Vierne’s Hymne au soleil, played Geo. Kilgen & Son, 1890, Trinity basswood pipeshades and fanciful fi gures with lots of grandeur. If I had anything Lutheran Church, Tacoma (Parkland) all done by Jude Fritts, Paul Fritts’s sis- critical to say about this fi ne recital, it (photo: William Van Pelt) ter, made for a visual feast. The tall, hon- would be that we seemed to hear too ey-colored case is made of old-growth much of the same tone quality: rarely a We then went to the Chapel of Trinity Douglas fi r logs, which came from local solo reed, for example. I suspect that the Lutheran Church in Tacoma (Parkland). forests including Mount Rainier Na- condition of the instrument had much to A brass trumpet bedecked with blue tional Park. The hall itself has adjustable Gebr. Späth, Opus 753, St. Paul’s do with that. ribbons was suspended from a wrought acoustics from one to over four seconds Episcopal Church, Seattle (photo: Stephen iron stand outside the church’s door to of reverberation. Schnurr) greet us. We came to hear the Geo. Kil- The recitalist was Paul Tegels, uni- gen & Son organ from 1890. Now in its versity organist at PLU, who opened his hear is quite a remarkable instrument. It fi fth home (!), this well-traveled 2-m and recital with a Toccata in G by Scheide- hangs by cables from the trusses of this 12-stop organ seems quite happy in its mann. He gave it a grand sweeping sound A-frame structure—even the balcony is present surroundings. Even though its that seemed to invite us into the world of suspended. Marie-Claire Alain called it “a façade pipes are new, it was given a well- this instrument. Next we heard two se- fl ying organ.” On paper, the organ, built deserved OHS Historic Organ Citation. lections from the Netherlands of 1599: by Gebr. Späth (Opus 753, 1963, 2-m, 15 Our recitalists were husband and wife from the Susanne van Soldt Manuscript, stops), seems rather sparse. The only 8′ on Tim and Cheryl Drewes. This would Branle Champagne and Almande Brun the Great is a Koppelfl oete. So we were be a recital of duet and solo literature, Smeedelyn. Then it was on to four ver- curious to hear how it would do. Walter and they jumped right in with Horatio sions of the tune Von Gott will ich nicht E. Krueger, from Portland, Oregon, was Parker’s Quick March (for two organists). lassen, the fi rst a four-part harmonization our performer. He opened with Buxtehu- It was played with plenty of brio! Next by J. S. Bach, then three fantasies on Une de’s Praeludium in D Minor, Bux WV 140, was Humoresque for organ and piano by Jeune Fillette by Eustache du Caurroy which he played with great fl ourish. It was Widor—that was new to me. If you are in (1549–1609), which showed some of the immediately clear that this little organ was the market for a good piano/organ duet, reed stops; the next version of the cho- not afraid to speak up for itself. Next were I can recommend this one. rale came from Johann Ludwig Krebs’s two of Bach’s Schübler Chorales. Wachet Tim Drewes then played Sortie (from Clavierübung, showing us the beautiful auf used the Great fl utes 8′ and 2′, with L’Organiste Moderne) by Louis James Al- fl ute stops; and the last was a Fantaisie the Swell Trumpet 8′. The pedal seemed fred Lefébure-Wély, which sounded like sopra “Une Jeune Fillette” by Bert Matter to be Subbass 16′ and the Choralbass 4′. theatre music—spirited with plenty of (b. 1936), which had a variety of sounds It worked well. Kommst du nun showed contrast. Ah, how different early 19th-cen- rhythmic and pulsating. By the end it off the twinkle in the eye of this neo-ba- tury Parisian church music was from what receded to quiet fl utes, which restated roque organ. Krueger followed that with it would become! He then led us in the the chorale. Tegels closed the fi rst half a gentle reading of Krebs’s Herzlich lieb’ Bond Organ Builders, Opus 23, St. hymn “All my hope on God is founded” of his program with the Praeludium in D hab ich dich, o Herr, with the ornamented Stephen’s Episcopal Church, Seattle to the tune Michael, written by Herbert Minor (originally E minor) by Nicolaus chorale melody on the Swell Cornet with (photo: William Van Pelt) Howells and dedicated to his young son Bruhns. The small arpeggiated fi gures a sweet tremolo. The hymn was “At the Michael, who died of polio. I never fail to on the Positive were delicious. When he Lamb’s High Feast We Sing,” which was St. Stephen’s Episcopal Church in Se- be moved by this hymn and tune. brought on the 32′s at the end we were sung in alternatim with Pachelbel’s Partita attle was next, with a recital on its fi ne Cheryl then played Rooster Rag by transported. Thrilling playing! on “Alle Menschen.” It gave us a fi ne tour 2-m, 47-rank Bond organ, Opus 23 from Muriel Pollock (1895–1971), a humor- After intermission, we sang the hymn of this instrument. Full organ, complete 1994. Leslie Martin, organist and di- ous little piece that would make a good “Ye Watchers and Ye Holy Ones” (Lasst with zimbelstern, was surprisingly hearty. rector of music at the church, was the encore. Hopping back on the bench, Tim uns erfreuen) with a fi ne introduction It was a good demonstration recital. performer. The church is an A-frame Drewes played a cheerful Bergamasca composed by David Dahl. Tegels then On a very high bridge, we crossed the structure, and the organ stands behind by Samuel Scheidt, showing this organ’s treated us to Bach’s Prelude and Fugue ship canal that connects Lake Washing- the altar. Its mainly copper façade pipes versatility. Cheryl Drewes then ended in G Major, BWV 541. The boastful, ton with Puget Sound and entered the are surrounded by a wall of panels that this engaging concert with a fi ne reading chest-thumping music bounced along University District in bright sunshine. have lace-like carvings through which of Mendelssohn’s Sonata in D Major (op. with a sense of self satisfaction, the wind We parked in front of our next venue, we could glimpse a chapel behind the 65, no. 5). system giving us a lovely crescendo on University Christian Church, a fi ne struc- organ. The church also owns a portative Sometimes you can tell a great deal the fi nal chord. Next was a Suite, op. 34, ture in English Gothic style. The interior organ by John Brombaugh. It has carved about an organ builder just by visiting his no. 1, by Widor for organ and fl ute, in is dark, with a horseshoe balcony. Great fi gures on three sides of people playing or her shop. The Paul Fritts & Co. or- which Tegels was joined by fl utist Jenni- swaths of peach and white fabric were instruments. Brombaugh himself ex- gan shop in Tacoma (Parkland) is a thing fer Rhyne. It was very pretty music that hung from the side balconies to the rear plained many of the details. It came from of great beauty. The wooden building is seemed highly agreeable and accessible, balcony to help relieve the darkness. The a group of six instruments built in 1979 stained with an almost amber color. The although the Scherzo has challenges. windows were attractive, and the ceil- in his Eugene, Oregon shop. large main door rises twelve feet or so to a For his fi nal work, Tegels chose Alex- ing was painted in rosettes of deep blue, Martin began his program with Toc- curved arch with faceted wooden insets. andre Guilmant’s Sonata I in D Minor. pale blue, light green and a rich red. This cata Quinta by Frescobaldi, followed We were served wine and snacks and got He invested a great deal of vitality into would be our fi rst electro-pneumatic or- by Ricercar Quinto Giovanni, by Paolo to look at upcoming projects and parts of the Introduction and Allegro, followed gan: a large Casavant Frères, Ltée., Opus Cima (1570–1612). Next, Pange Lingua an early 19th-century case they are re- by just the right amount of letting up be- 1302, from 1929, 4-m, 60 stops. It was by Nicolas de Grigny: Plein Jeu en taille storing. It was all very inspirational. fore the da capo. I am so glad that in the dedicated by Marcel Dupré on October à 4, Fugue à 5, in which we heard the We then drove a few blocks to the last 25 years or so we are hearing Guil- 29, 1929, and stands in the front of the powerful Great Cornet V and the Swell campus of Pacifi c Lutheran University. mant’s music once again. The wonderful church, with the pipes in two chambers Trompette, and fi nally, Récit du Chant Huge old growth Douglas fi r trees tow- Pastorale, which I like to use during com- on either side of the chancel. de l’Hymne précédent, giving a good air- ered over rich green lawns and beauti- munion or as a prelude, was very nicely Peter Guy, organist and master of the ing of the fi ne Swell Cornet in the tenor ful landscaping. We were served a deli- played. There are so many fi ne 8′ sounds choristers at Christ Church Cathedral, register with tremblant.
22 THE DIAPASON
Mar 09 pp. 20-25.indd 22 2/11/09 8:23:34 AM Next was Brahms’s O Gott, du from- The fi rst variation used what sounded ia. He is also adjunct instructor in organ mer Gott, demonstrating the versatility like the Doppelfl ute 8′ on the Swell—a at the University of Richmond, and leads of this organ’s foundation stops. He then full, rich sound; 8′ and 4′ fl utes were up OHS organ tours of Europe. I truly ad- played Messiaen’s Apparition de l’Eglise next. He arched the phrases nicely. The mire and respect his playing. He began éternelle. I visited Messiaen’s church in strings repeated the opening theme. with J. S. Bach’s Canonic Variations on Paris, Eglise de la Sainte-Trinité, one Next were two pieces by Schumann: “Vom Himmel hoch, da komm’ ich her,” year ago. Even though I did not hear the Sketch in D-fl at Major and Canon in B BWV 769. After three variations, we organ, this music was in my head, and I Minor, in which he made the most of the sang the hymn “From Heaven Above to wondered at all the glorious improvisa- resources of this organ. The jolliness of Earth I Come” (Vom Himmel hoch). tions he must have created in that col- the D-fl at gave way to the jingle bell ef- The organ led us very well. Stevens then orful space. Leslie Martin’s tempo and fect of the B-Minor. He brought his fi ne played the fi nal two variations, delineat- approach were faster and more robust program to an end with Mendelssohn’s ing the parts of the canons with clarity than I would prefer, but in a room lack- Fugue in E Minor, giving it a spirited and grace. ing reverberation like this one, it may performance. Organ and organist were There followed yet another canonic have been a wise choice. He closed with well matched. He managed the wild ride piece: Schumann’s Piece in Canonic the Adagio from Widor’s Symphony No. that is the pedal part of this piece with Form, op. 56, no. 5; again we had a 2 in D Major, op. 13, no. 2. We heard the great élan. His clean playing gave life to clear idea of where the music was go- strings and the Great Harmonic Flute to the music. A superb performance! ing. He ended with Schumann’s Fugue which was added the Great Montre 8′. It on the Name of B-A-C-H, op. 60, no. 6. was a good, rich sound! The hymn was Stevens used this wonderful organ very “O Day of Peace That Dimly Shines” to well, letting us hear its fi ne colors and Parry’s distinguished tune, Jerusalem. refi ned voicing. The glorious ff fi nale I like a more majestic pace for this tune, was spine-tingling! but it was good to hear it sung by the Our next event was a dinner cruise Kenneth Coulter, Opus 6, Calvary great voices of the OHS! aboard the elegant “Spirit of Seattle.” Lutheran Church, Federal Way (photo: We were served a nice box lunch in The relaxing evening took us on a cruise Stephen Schnurr) the parish hall. On the way to the buses of the beautiful waters of Puget Sound. many of us were taking pictures of the The food was bountiful, the conversa- Böhm, which would be the hymn we beautiful fl ower gardens around the tion was friendly and stimulating, and would sing at the end of the program. church and in the neighborhood—blue the scenery was magnifi cent. The huge We moved forward to the end of the hydrangeas and giant roses of all colors! skyscrapers of downtown Seattle and the 19th century for Brahms’s O Welt, ich graceful Space Needle slowly began to muss dich lassen, and then heard Bach’s shrink as the natural landscape took cen- Herr Gott, nun schleuss den Himmel auf, ter stage. A full moon appeared as mist BWV 617. The ornamented chorale tune clung to the shores of islands and pen- was played on the organ’s Schalmei 8′, insulas, while the Cascade Mountains but it did not seem to be alone. She then rose behind. Dominating all was Mount played a gentle little Trio in C by Krebs, Rainier, gazing down like an Old Testa- followed by Bach’s Liebster Jesu, wir ment prophet. We began the cruise in sind hier, BWV 751, for which she used the bright sunshine of the late afternoon, the Rückpositive Cornet with tremolo. returning to shore at dusk just as the We heard the Trumpet on Bach’s Der lights of the downtown buildings and the Tag, der ist so freudenreich, BWV 605, Space Needle were beginning to twinkle and she closed with Fuga in C (“The magically. It was a perfect evening. Fanfare”) attributed to Bach. Shull gave Metzler Söhne, 1971, St. Thomas it a wonderful sense of momentum and Episcopal Church, Medina (photo: William Thursday, July 17 joy—fi ne playing all around! Van Pelt) Thursday began at Calvary Lutheran Our last stop of the morning was Church in Federal Way, Washington, Kilworth Chapel at the University of I was keen to get to our next church with a recital by Sharon Porter Shull, Puget Sound in Tacoma, with its elegant because I always enjoy Bruce Stevens’s minister of music at Agnus Dei Lutheran Paul Fritts & Co. organ, Opus 8, from concerts, but also because the church, St. Church in Gig Harbor, Washington, on 1989. We had gotten ahead of schedule, Thomas Episcopal Church, Medina, has the church’s Kenneth Coulter organ, however, so they gave us a brief tour of a 2-m and pedal, 22-stop Metzler Söhne Opus 6, built in Eugene, Oregon. Its two downtown Tacoma’s invitingly attractive organ, built in Dietekon, Switzerland in manuals, pedal, and 19 stops stand in the area. Dale Chihuly’s glass workshop is 1971. This would be my fi rst Metzler, rear balcony. Roger Meers’s essay in the there, as well as three grand old theaters and I’m told it is the only Metzler in the Atlas points out that the church’s low that have been mercifully spared the in- United States. I have many recordings of ceiling necessitated a Rückpositive. As dignities of the wrecking ball. Metzler organs, usually played by Ste- the church’s music program expanded, We soon arrived at the University 1892 Cole & Woodberry, Opus 225, vens’s teacher, Anton Heiller, so I am fa- the balcony was enlarged, bringing it for- of Puget Sound’s campus and its New St. John’s Episcopal Church, Kirkland miliar with their outstanding quality. The ward on each side of the Rückpositive. England-style chapel. The Fritts organ (photo: William Van Pelt) church is a cruciform pattern with tran- Shull opened with the Allegro from stands on the stage. Its case is white with septs, and the altar stands at the crossing Vivaldi’s Concerto del Sigr. Meck (sic) as accents of gold leaf and panels of pale We then crossed the attractive Lake beneath a lantern tower. The organ and arranged by Johann Gottfried Walther— green. Elaborate gold pipe shades stand Washington again and climbed up the choir are behind the altar. a most engaging piece, which she played guard above and below the dark façade steep bluff to St. John’s Episcopal Church Bruce Stevens, a well-known and in a most entertaining way. The organ pipes, heavy with lead. The organ is es- in Kirkland to hear Derek Nickels, di- distinguished fi gure at OHS conventions, has very sweet tones that were evident sentially North German, but the Swell rector of music at the Church of the Holy serves as organist at Second Presbyterian in the next piece, Partita on “Wer nur Oboe 8′ is a copy of a Cavaillé-Coll stop. Comforter (Episcopal) in Kenilworth, Il- Church in downtown Richmond, Virgin- den lieben Gott lässt walten” by Georg It was the fi rst Fritts organ to have a linois. I recalled hearing him at the 2006 convention and was eager to hear him again. He did not disappoint—secure, solid rhythm and sensitive musicianship again were the order of the day. The or- gan was a 2-m, 17-stop Cole & Woodber- ry, Opus 225, built in Boston in 1892. The OHS Seattle 2008 Organ Atlas has two articles about this fascinating instrument. Tom Foster tells of its original home in Highland Congregational Church, Westford Street, Lowell, Massachusetts. When the church closed, the organ was put in storage, and St. John’s acquired it in 1974. Glenn White of Olympic Or- gan Builders, Seattle, installed it in St. John’s, and later on Richard Bond Organ Builders did major work on the action. Stephen Pinel also wrote a fascinating essay for the Atlas on William B. Good- win, who designed the organ. The façade has three large false wood pipes followed by a row of some 27 pipes in a wide fl at. Its appearance is unique! Scott Hamil- ton described some of the other unique features of this instrument—it really was designed to play transcriptions. Nickels did just that. He made great use of the organ throughout the pro- gram, playing expressively in pieces like Meyerbeer’s “Coronation March” (Le Prophète) in an arrangement by Bryan Hesford, which showed contrasting sounds, and he built up to a wonderful ff. Next was John Knowles Paine’s Andante con Variazioni, op. 17. He began on a sin- gle string stop that fi lled the room nicely.
MARCH, 2009 23
Mar 09 pp. 20-25.indd 23 2/11/09 8:23:55 AM vorite of mine) began Hugo Distler’s Variations on “Frisch auf, gut Gsell, laß rummer gahn” from 30 Spielstücke. It was well played and demonstrated many more of the beautiful sounds of this landmark instrument. Gehrke’s fi nal selection was Bach’s Partita on “Sei gegrüsset, Jesu Gütig.” The chorale, played on the Great 8′ Principal, was a thing of beauty. Each variation revealed more of this truly great organ. The fi nal variation, with full organ, was powerful, intense, and moving.
Paul Fritts & Co., Opus 8, Kilworth Chapel, University of Puget Sound, Tacoma (photo: William Van Pelt)
Swell division, and Paul Fritts is a gradu- ate of this school. Fritts-Richards, Opus 4, St. Alphonsus Our recitalist was Paul Thornock, an John Brombaugh & Associates, Opus Roman Catholic Church, Seattle (photo: alumnus currently serving as director of 22, Christ Church, Episcopal, Tacoma William Van Pelt) music at St. Joseph’s Cathedral, Colum- (photo: William Van Pelt) bus, Ohio, where he presides over a large Reuter, Opus 138, First Presbyterian fantastic organ by Fritts-Richards, Opus 4 and magnifi cently red 2006 Fritts organ. California, Berkeley. He had the good Church, Tacoma (photo: William Van Pelt) from 1985. With 2-m, 33 stops in a fabu- His personality and his playing can best fortune to be assigned the organ by John lous acoustic, and a drop-dead gorgeous be described as ebullient. Thornock Brombaugh & Associates, Opus 22, 1979 Our next stop was the First Presby- case in the rear gallery featuring a Rück- opened with Buxtehude’s Praeludium (2-m, 23 stops) in the modern and strik- terian Church, Tacoma, for a recital by positive, it is a thing to behold. The case is in E Minor, BuxWV 142. This organ has ingly beautiful Christ Church, Episcopal, Lorenz Maycher. Whenever I see that of painted poplar. The carved and gilded power and a rich tone, and his playing Tacoma. David Dahl has been organist Maycher is playing for the OHS, I know pipe shades were made by David Dahl’s possessed the power and richness to there for 38 years and told us that while I’m in for a treat, especially when he is late father. This very German organ was match it. Next, in a partita by Walther the style is affectionately called “Brutal- seated at a big romantic organ like this built by two young men still in their twen- on Jesu, meine Freude, we heard a good ism” because it is all concrete and heavy large Reuter, Opus 138 from 1925 (4-m, ties who had never been to Europe. variety of the tonal features of this fi ne wood, the acoustics are great and people six divisions, 80 stops, 55 ranks, 121 reg- Our recitalist was Dana Robinson, 2-m, 34-stop organ. The Great Rohrfl öte can hear each other pray and sing. The isters). He led off with the hymn “Over who is on the faculty of the School of Mu- was very pleasing. The Swell 8′ Principal organ resounds nicely, too! the Chaos” to a tune by Russell Jackson sic at the University of Illinois. Those of with tremulant accompaniment by that The sun had just come out after a (b. 1962). Next was a piece by Richard us fortunate enough to have been at the Great Rohrfl öte was a truly beautiful cloudy morning, so it was appropriate Purvis, “Supplication” from Four Poems OHS convention in 2006 heard him give effect. Next, the Cantabile from Louis that we sang as our hymn “Now that in Tone. It was inclusive of all manner the closing recital on the amazing 19th- Vierne’s Symphonie No. 2 demonstrated the Daylight fi lls the skies” (Herr Jesu of supplication from quiet to intense. century organ in the Troy Savings Bank this organ’s romantic possibilities, includ- Christ, dich zu uns wend). Living as Then a work by Jaromir Weinberger Auditorium, and will not soon forget his ing its Cavaillé-Coll-style Oboe. I do just four blocks from John Brom- (1896–1994), The Way to Emmaus (A brilliant concert that warm night. So we More romantic literature followed: baugh’s Opus 33 (49 ranks) in the cha- Solo Cantata for High Voice with Organ) looked forward to hearing him again— the brilliant Toccata and Fugue in D Mi- pel at Lawrence University in Appleton, for which he was joined by gifted so- this time on a bright cool morning and nor, op. 59, nos. 5 and 6 by Max Reger. Wisconsin, I heard many familiar sounds prano Anneliese von Goerken, who sang on another amazing organ. Robinson Thornock’s keen sense of proportion and in Gehrke’s fi rst selection, Magnifi cat marvelously. Maycher made great use began his program with Modus ludendi architecture was evident, and he has a on the Third Tone by Lebègue. Brom- of the instrument’s many gorgeous solo pro organo pleno by Samuel Scheidt. He huge technique. The hymn was “Lo, baugh’s vocale voicing of the principals stops. If you have such an organ and a used the full plenum, which has a sur- He Comes with Clouds Descending” and fl utes, and the rich and full-throated good soprano, you might fi nd this a use- prisingly powerful sound. Next up were (Helmsley). This was another out- reeds were his trademarks on display. ful piece. two verses of Durch Adams Fall ist ganz standing recital at this outstanding con- The recently added Erzähler 8′ and I was glad to see that Maycher was verderbt by Heinrich Scheidemann. The vention. And we weren’t done yet! For Celeste 8′ made for a wondrous sound playing Sowerby. He is a Sowerby expert, fi rst featured the warm Principal and a lunch, we were treated to a midsummer in Langlais’ “Chant de Paix” from Neuf as anyone will tell you after listening to quiet reed. The second utilized a 4′ fl ute, cookout on the grounds of the campus Pièces. Written at the end of WWII, we his recordings. Today’s offering, ending beautifully and expressively played. He beneath the Douglas fi r trees that tow- can only wonder at the relief the French the program, was Sowerby’s Prelude on then went back for more Scheidemann: ered over an incredibly lush green lawn. felt in those days. This music takes us “Non Nobis, Domine,” which was played Es ist das Heil uns kommen her (two Our fi rst recital of the afternoon was there, and Messrs. Gehrke, Langlais and with great expression and strength. verses)—well played and using more of given by Rodney Gehrke, director of Brombaugh transported us to that eter- The evening event began with a bliss- the instrument. music and liturgy at St. Mark’s Lutheran nal song of peace with their gifts of skill, ful late afternoon non-scheduled free Up next was Buxtehude’s setting of Church, San Francisco, and at the city’s art, and grace. hour in downtown Seattle, followed by Nun bitten wir den heiligen Geist, Bux- Temple Emanu-El. He also teaches un- The Harfenregal 8′ on the Great a delicious meal in Hildebrandt Hall of WV 209. I believe we heard the Rück- dergraduate organ at the University of (a stop also on the LU organ and a fa- Plymouth Congregational Church. We positiv Sesquialtera II playing the orna- then made our way upstairs to the oval- mented chorale tune against the Great shaped church with its white/ivory walls Violdigamba 8′ (sic)—gorgeous, clear and small stained glass windows to attend sounds. That was also the hymn, which Choral Evensong as sung by the Choir followed immediately. It was quite an ex- of St. Paul’s Episcopal Church, Seattle, perience to sing this hymn with this very Gary James, choirmaster. Thomas North German organ in the resonant Foster was the conductor, and Craig space of St. Alphonsus Church. Then Phillips was the organist. The Rev. came Buxtehude’s Ciacona in E Minor, Ralph Carskadden, from St. Mark’s Ca- BuxWV 160. Robinson began with the thedral, was the offi ciant. It was a beauti- 8′ Principal and built from there. Or- ful service. The choir did very well, the gan, organist, literature and room were music was well chosen and conducted superb. Finally, we came to Buxtehude’s with grace. Craig Phillips played very great setting of Te Deum Laudamus, well on the church’s 3-m Schlicker, with BuxWV 218. I especially enjoyed the 53 stops and 63 ranks. All the pipes are Great Trommet 8′. This organ has big- behind a screen that stands in back of the scaled pedal reeds, which he used well, altar. Phillips wrote quite a bit of the mu- including a full-length 32′ Posaunen. sic performed at this service, including a We were given a most thoughtful dem- very nice Prelude from Triptych for Or- onstration of this instrument by one of gan, and Serenade for Horn and Organ, America’s fi nest players. for which he was ably joined by Maxwell After a windy ride through the city, we Burdick. Psalm 150 was sung to an An- found ourselves in the beautiful “First glican chant by Charles Fisk (Menlo Hill” neighborhood overlooking down- Park)—a nice touch! Phillips also sup- town Seattle. We arrived at First Baptist plied the anthem, Teach Me, My God Church and its newly acquired 3-m, 35- and King, that I liked quite a lot, and the rank Aeolian-Skinner from 1953, which postlude, Toccata on “Hyfrydol,” which came from First Methodist Church in Ta- is a terrifi c piece. coma, and was meticulously restored by Bond Organ Builders. Stephen Schnurr Friday, July 18 presented the OHS Historic Organ Ci- The last day of the convention—some tation. The organ is in two chambers on really fi ne events were coming our way, either side of the altar and baptistry. and we were eager to plunge right in. We Our recitalist was Douglas Cleveland, began at the large St. Alphonsus Roman who opened his program with Handel’s Catholic Church in Seattle, which has a Concerto in B-fl at Major, a piece played
24 THE DIAPASON
Mar 09 pp. 20-25.indd 24 2/11/09 8:24:14 AM on this organ 50 years ago by David Craig- ly, he knows and understands these re- head. The middle section featured what markable organs completely. I believe was the English Horn, a lovely The great and fi endishly diffi cult Toc- stop. Next was Virgil Fox’s famous ar- cata brought the Suite and convention rangement of Bach’s Come Sweet Death. to a dramatic conclusion. Adam’s perfor- Cleveland played it with great tender- mance was as magnifi cent as the organs ness and expressivity. The hymn, “O for a he was playing. We were all swept away Thousand Tongues” to the tune Azmon, by his powerful strength and energy. The was followed by a charming Scherzetto by air above and around us was charged with Joseph Jongen and the lovely Woodland his utter mastery of this music. With the Flute Call by Fannie Dillon (1881–1897), huge 32′ stops giving us ground, it was at which I believe was soloed on the Great Rosales Organ Builders, Opus 30, St. times almost gloriously terrifying—a fan- 4′ Flute Harmonique. James Roman Catholic Cathedral, Seattle tastic experience! There was an encore: Cleveland closed his program with (photo: Stephen Schnurr) Dupre’s Prelude in G Minor, a somewhat the brilliant and dashing Four Concert Hutchings-Votey, Opus 1623, St. James palate-cleansing feeling to calm and give Etudes by David Briggs (b. 1964). Fol- Roman Catholic Cathedral, Seattle Solemn Meditation by Timothy Tikker (b. rest to our spirits. I did not want to leave lowing an introduction, it charged into (photo: William Van Pelt) 1958). It is a lovely work, very quiet at fi rst, this building. It was a transforming recital, the toccata-like “Octaves.” The next almost brooding, the music leading into a one none of us will forget anytime soon. movement, “Chordes Alternées,” fea- fl oor ballroom. Then it was off to St. surrender to faith. It soon brightened, the tured the Choir fl utes alternating chords James Roman Catholic Cathedral, which manuals refl ecting the stepwise melody Closing thoughts in various octaves with a melody in the is perched dramatically on First Hill in fast notes while the pedal sounded out This was an unusual OHS convention. pedal. Then a “Sarabande,” featuring the overlooking the southern end of down- the theme in long notes. All the while a While we heard plenty of old instru- lush Aeolian-Skinner strings. The fi nal town Seattle, with its mixture of indus- crescendo grew. It is a fi ne piece and a ments, they were transplants from the movement entitled “Tierces” uses many trial loading cranes for the ships of Puget good addition to the repertoire. east or elsewhere. We were witness to a of the motives of the earlier movements: Sound, offi ce towers, and huge sports After intermission, Adam appeared at new, more youthful voice on the national octaves, alternating chords, etc. Cleve- venues. We were at St. James for the clos- the east end of the cathedral, and played and international stage, the emerging in- land gave a fi rst-rate performance. ing event of the convention: a recital by the Rosales organ. He began with an- fl uence of the modern organ world in the We then enjoyed a tasty box lunch in the cathedral’s organist, Joseph Adam. other piece by Timothy Tikker, Varia- Pacifi c Northwest. Two names came up the labyrinthian but cozy basement of This magnifi cent Romanesque church tions sur un vieux Noël. The Rosales again and again: John Brombaugh and the First Baptist Church. After lunch, we has been remodeled/restored so that organ makes sounds that complement David Dahl. These two gentlemen have returned to the sanctuary for the OHS the altar stands at the crossing. There is rather than compete with the room’s led this movement and deserve our ad- annual meeting. Orpha Ochse was fet- a large oculus above the altar, which, in elder statesman in the west end gallery. miration. Martin Pasi, Paul Fritts, Rich- ed for all her work on behalf of the organ photographs I’ve seen, sends a dramatic We heard bell sounds against strings, ards & Fowlkes, Taylor & Boody, and and the OHS. Joseph McCabe, chairman shaft of light into the building from the reeds creating open fi fths, tierces sound- others got their start here. of the 2009 convention in Cleveland, sun above—like the hand of God reach- ing against trumpets. A fugue broke out I had a great time at this well-organized gave us a tantalizing peek at all the good ing in. At the west end, in a beautiful that was quite lively and grew to full or- convention, seeing old friends, making things it promises. case, stands the historic musical treasure gan. I really liked this piece, and I like new ones, eating good food, and getting Following the meeting, we had a we had come to hear: the great Hutch- this organ. We then sang “Come Down, to know the organ world in this part of choice of spending some free time at the ings-Votey organ of 1906. It had escaped O Love Divine” (Down Ampney) to his the country. Much more will come from Seattle Center, which includes the Space unharmed when the great dome of the marvelous accompaniment. this school of organ building. Let us enjoy Needle, or attending a recital by Gregory cathedral collapsed under the weight of Joseph Adam closed this fantastic watching it unfold. The Organ Historical Crowell at German United Church of a massive snowstorm in 1916. In 1926 a recital (the cathedral, by the way, was Society will be observing it all with great Christ in Seattle. Since I had been to the Casavant sanctuary organ was installed in packed—we OHSers only occupied the curiosity, and interest. See you next sum- Seattle Center before, I chose the recit- the east apse. While it had only 21 stops, transepts!) with Maurice Durufl é’s Suite, mer in Cleveland, July 5–10! Oh, and my al. True to form, we were early by about it had a 4-m console that connected the op. 5. The Prelude used both organs, horoscope was dead on! Q a half hour. The little church, in a quiet two organs. The 4-m Hutchings-Votey creating a sonic spectacle that is pos- neighborhood and with a small congre- organ has 48 stops. In 2000, the Casavant sible in only a handful of buildings. The Frank Rippl is a graduate of Lawrence gation, has a rare treasure in these parts: was replaced by a new organ by Rosales Sicilienne featured a solo reed that fi lled University Conservatory of Music, where he studied with Miriam Clapp Duncan and Wolf- a 1917 Hinners organ, Opus 2324. It Organ Builders, retaining fi ve ranks from the church. Sweet strings and a bubbling gang Rübsam. He is co-founder of the Appleton was built in 1917 for St. Jakobi Lutheran the Casavant. It totals 48 ranks on four fl ute lightly danced for us. Adam is an Boychoir, coordinator of the Lunchtime Organ Church in Allison, Iowa, and, after a few manuals. The Rosales pedal includes a alert and wise musician—able to address Recital Series in the Appleton, Wisconsin area, moves, it wound up in the safe hands of Bombarde 64′, which is unlabeled. Only composers’ thoughts and bring them to and has been organist/choirmaster at All Saints’ the Organ Clearing House. Legendary the BBBB sounds, but it is most impres- us in an astonishing array of color. Clear- Episcopal Church in Appleton since 1971. OHSer Randall Jay McCarty, organist of sive. The Rosales case wraps around the this church, installed the organ in 1976, wall of the apse in a series of Roman- replacing an electronic substitute. It has esque arches. Like the Casavant, its con- one divided keyboard and pedal and is a sole can play both organs. sweet charmer. Since we were so early, An ancestor of the cathedral’s fi rst our distinguished recitalist Gregory organist, Franklin Sawyer Palmer, was Crowell, a favorite OHS performer (this introduced to the audience. The direc- Eloquence and Artistry would be his sixth convention appear- tor of music, Clint Kraus, spoke of the ance), agreed to begin 30 minutes early. last visit by the OHS to the cathedral It was amazing how much he man- in 1982, when an historic citation was in Organ Building aged to get out of this six-rank instru- presented. Kraus said that that presen- ment. He began with Huit Fugues pour tation was the impetus to restore the le Clavecin ou l’Orgue by Johann Philipp Hutchings-Votey organ. Kirnberger: Preludium I & Fuga [1], Joseph Adam opened his program which worked quite well. The organ was on the Hutchings-Votey organ playing hand pumped. Then, using the electric Bach’s Chaconne in D Minor as tran- blower, Crowell played Contrapunctus scribed by Wilhelm Middelschulte. I from Kunst der Fuga, BWV 1080, by We were all transfi xed by the amazing Bach—something I never thought I’d fl utes on this magnifi cent organ. Then hear on a 1917 Hinners. But the organ came the foundation stops, which were held its own, and Crowell played it very followed by the trumpets. The kaleido- well. Next came music by Max Drisch- scope of tones being fl ung into the vast ner (1891–1971): Choralvorspiele für reverberant space was quite wonderful. Dorforganisten; “Wie schön leuchtet der It calmed down to a pp with rapid repeat- Morgenstern” was played on the pleas- ed notes on the fl utes. A big crescendo ing little 4′ fl ute; “Die Sonn’ hat sich mit briefl y included the 32′ reeds, followed ihrem Glanz gewendet” used the strings; by a lessening of tone as we heard more and “In dir ist Freude” employed the full and more of this instrument. sound. These are very nice and acces- The oculus let in the last light of day as sible pieces. we awaited the next selections, three well- Next was the hymn In dir ist Freude, known and loved pieces by Louis Vierne: which we sang in German. Again the or- Naïades, op. 55, no. 4; Claire de lune, op. gan was hand pumped. The next piece 53, no. 5; and Carillon de Westminster, was a bonbon: Träumerei, op. 15, no. 7 op. 54, no. 6. In Naïades, his fi ngers fl ew by Robert Schumann, in an arrangement over the keys, fl utes and strings seeming by Clarence Eddy. Then came a Pasto- to race up and down the Romanesque rale by Bossi, which seemed to use every arches of the cathedral. Claire de lune register on the organ—an amazing array was all tranquility—our thoughts could of sound and color. Next up was a Ca- wander slowly as they do in moonlight. Saint Andrew’s Episcopal Church, Denver, CO priccio by one A. Pedro Zuazo (fl . 1890) This was heartfelt organ playing. Who Timothy Krueger, Music Director, Frank Nowell, Organist that he played in a cheerfully agreeable could not love the organ hearing such a manner. Crowell closed his program with beautiful solo fl ute singing to us—lost in Church Sonata I, III. Allegro, by James beauty, awe and wonder. He played the Woodman (b. 1957). I never cease to en- Carillon de Westminster brilliantly: con- Member, Associated Pipe Organ joy hearing music by composers of our trolling and holding the reins together John-Paul time on old instruments. These instru- until just the right moment when he al- Builders of America ments are never out of date. This one lowed the music to explode. I’ve never Buzard 112 West Hill Street played music from a wide spectrum and heard it played better. Pipe Organ Builders Champaign, Illinois 61820 handled all of it with ease. Good organ We then sang the hymn: “Of the Fa- building is timeless. ther’s Love Begotten” (Divinum Myste- 800.397.3103 • www.Buzardorgans.com We then returned to the hotel for rium), followed by a piece commissioned our elegant buffet dinner in the twelfth for this convention, Divinum Mysterium:
MAARCH, 2009 25
Mar 09 pp. 20-25.indd 25 2/11/09 8:24:36 AM Kilgen Opus 5163 Our Lady of Refuge, Brooklyn, New York Joe Vitacco
Console
The Kilgen pipe organ at Our Lady but more work remains to be done before of Refuge Church was built in 1933 by the complete restoration of the organ will George Kilgen & Son of St. Louis, Mis- be possible. To assist the parish in this souri, as the fi rm’s Opus 5163, designed effort, several world-renowned organists by Charles Courboin, then organist of have joined JAV Recordings in order to St. Patrick’s Cathedral in New York City. create a benefi t CD. This includes re- The organ was delivered to the church cordings of the Kilgen organ at Our Lady early in 1934, and the work of installing, of Refuge made prior to its removal, and voicing, and fi nishing was completed in also of recordings made on some famous An overview of the church while the Organ Clearing House was removing the time for the church’s dedication in June. organs in the United States, France and organ The organ is located beneath the side Germany—13 organists and 12 historic tower of the church and speaks from two organs. All funds from this CD, less bank concrete chambers into the choir loft fees, will go directly to the restoration and then into the church. The pipes are project. Performers include Léon Ber- totally hidden from sight. The console ben, David Briggs, Peter Conte, Ken can be seen in the organ loft on the left- Cowan, Craig Cramer, Christoph From- hand side of the nave. men, Olivier Latry, Philippe Lefebvre, In 2006 an effort was undertaken to Jean-Pierre Leguay, Thomas Murray, get the historic pipe organ of the parish Daniel Roth, John Scott, Stephen Tharp, working after nearly a decade of silence. Maîtrise Notre-Dame de Paris, and the Inspection of the organ revealed that the University of Notre Dame Women’s Li- fi rst priority was to rebuild the bellows, turgical Choir. and by January 2007 the organ was play- The recordings form a two-CD set, ing again for the fi rst time in ten years. In accompanied by an extensive booklet de- spite of being badly in need of a full res- scribing the parish’s organ and the other toration, the organ impressed both the featured organs. The booklet also con- parish and the local community, many of tains a refl ection from each of the organ- whom were hearing it for the fi rst time. ists on their fi rst encounter with a pipe While the initial repairs were being organ as well as informative notes on the carried out, a more serious problem music. (See review, page 18.) came to light. The exterior pointing of Online resources include the website the church was leaking, allowing water
26 THE DIAPASON
Mar 09 pp. 26-28.indd 26 2/11/09 8:25:21 AM Organs for Use with Symphony Orchestra Calvin Hampton
This article was originally published in third category—antiphonal-solo, where to a listener that anything besides the or- registrations (sometimes even inclusive the February 1982 issue of THE DIAPASON. its tutti does not have to achieve any abso- chestral instruments is present. Another of mixtures), just for “noticeability.” This It is reprinted here at the suggestion of lute decibel capability. In the second and famous example of failure to do its job condition severely limits the charm and Jack M. Bethards because of its connec- fourth categories, however, augmentative is at the end of “The Magician” in The variety of sound which will emanate tion with the new Schoenstein organ at and ensemble-solo, something approach- Planets. According to all the record lin- from an organ during the course of a Schermerhorn Symphony Center, Nash- ing absolutes is required, and it is in these ers, the march, which builds to a fever given work, unless that work provides ville, Tennessee (see pages 1, 29–31.) two categories that instruments built in pitch with brass and percussion, is to be opportunities for the organ to be left en- the last few decades have failed us. “wiped away” by a fortissimo glissando tirely to itself. There exists in the orchestra repertoire Orchestral instruments can adjust on the organ. Again, only in some turn- Durufl é and Poulenc, working together a bulk of works which include the use of their dynamics to achieve balance, and of-the-century music halls is this suppos- on the latter’s organ concerto, were wise an organ. I am speaking not of baroque instrumental composers have an intimate edly overwhelming effect even audible. to allow the organ to be alone so much of works which call for a continuo organ, but knowledge of their capabilities; there- In most situations, the march seems to the time. Of course, there is the added of post-romantic and contemporary or- fore, their dynamic range is suffi cient end of its own accord; there is noth- advantage of only having to contend with chestral or choral/orchestral works which for what is asked of them. The organ, on ing present, as the composer intended, strings and timpani. Single-stop solo lines call for a modern organ of vast dynamic the other hand, has been radically dif- which interrupts its progress. (such as one passage for the hautbois) en- resources. The list of composers includes ferent things at different times, and for About these two examples of augmen- counter only the most spartan string ac- such diverse fi gures as Berlioz, Holst, different purposes. In an orchestra hall, tation, it could be said that the compos- companiment; even so, many of the reg- Saint-Saëns, Khachaturian, Poulenc, Cop- however, should not the principles of ers overestimated the power of organs. It istrations in the work have to be boosted land, JanaɄek, Barber, Respighi, William- construction of an organ be determined happens, however, that these composers beyond what is indicated to maintain a son, Strauss, Jongen, Mahler, Durufl é, through a close study of organ parts in knew particular instruments and particu- proper balance through the course of Elgar, Hindemith, Rheinberger, Britten. orchestral scores, and perhaps a visit lar halls, and when performed there, the even slight dynamic changes in the ac- A close examination of these works to an orchestra rehearsal armed with a effects work. But we are talking about a companiment. The harmonic fl ute solo in reveals four basic categories of organ decibel meter? The problem is this sim- style of organ built between 1880 and the fi nal section of the Durufl é Requiem use: accompanimental, augmentative, ple: organbuilders don’t know what they 1930. Nowadays, most organs consid- is heard adequately only until the cho- antiphonal-solo, and ensemble-solo. A should be trying to build. ered to be big actually do not exceed 80 rus begins to ascend, at which point it is simple defi nition for each: accompani- Let us cite a few examples of “organ db., whereas post-romantic orchestra cli- buried until the chorus dies away again. mental—when the organ alone plays the failure.” In the second movement of the maxes (during which the organ is often Years ago, I once used a live fl autist for chords over which orchestral instruments Pines of Rome, the fullest possible bass called upon to enter and be noticed) can this section; with no noticeable crescendo play solo material; augmentative—when orchestration, inclusive of trombones easily approach and exceed 100 db. on his part, the solo was completely au- the organ is used for additional weight or and tubas, asks to be further augmented There are more inadequacies, howev- dible throughout. The fl ute on my organ color, and essentially doubles orchestra by the full bass of the organ (I believe er, than just at the highest decibel levels. was dynamically as loud as the live fl ute. parts; antiphonal-solo—when the organ the marking is triple-forte). In such a The organ’s display of solo fl utes, oboes, What made the difference? and orchestra play one after the other, passage, the orchestra plays as loudly as krummhorns, cornets, etc., are also fairly Transients and casework have been the as in the opening of the last movement is its custom, and the organ will either useless as solo stops. Their builders, ac- traditional organbuilders method of pro- of the Saint-Saëns Third Symphony; add to it or not add to it. If we were to customed to thinking of the organ as a jecting organ sound. But, next to a “live” ensemble-solo—when a melody or im- consider that the orchestra should play self-contained entity, voiced them to be instrument, such a sound still remains portant voice is given to the organ, to be softer so that the organ might be heard, accompanied by a traditional comple- in a comparative background, for all its heard above orchestra accompaniment. we would, of course, be defeating the ment of other organ stops according to clarity and harmonic development. The Most new organs in symphony halls purpose for which the organ was added the practices of solo organ music. Be- secret ingredient behind “presence” and succeed without diffi culty in the fi rst cat- in the fi rst place. The truth is that only cause those solo stops cannot project “projection” in orchestral instruments is egory—accompanimental. If the organ in places like Albert Hall in London, as well as their orchestra counterparts, pressure; a solo line always is played with is of reasonable size and power, and in a Woolsey Hall at Yale, or the St. Cecilia thematic material given to an organ solo more pressure than that of the accom- good location, it will at least pass in the Academy in Rome is it even noticeable stop must often be played on ensemble panying material. Instrumentalists have
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MARCH, 2009 27
Mar 09 pp. 26-28.indd 27 2/11/09 8:25:42 AM two techniques: accompaniment-ensem- mantic organbuilding. What has not yet 8′ Violon (Gt) How do we test this organ to deter- ble playing, and solo playing. It translates been recognized is that the musical re- 8′ Flute Conique (Sw) mine whether it is successful? I think 4′ Open Wood either into bow pressure, wind pressure, quirements for an organ in the orchestral ′ the organ should be adequate for the or muscle behind a drum stick. That is situation are different from those of even 4Octave fullest passages of the Saint-Saëns Third 4′ Flute Harmonique (Gt or indepen- how one violin is heard in a concerto the romantic organ in its solo setting. Be- dent) Symphony and the Rheinberger con- above fi fty others. Decibels are involved cause these musical requirements have 2 certi without touching the Solo division 2⁄3′ Mixture IV to a degree, but the rest of the battle is been only sporadically or accidentally 32′ Tromba (Gt ext) (let us decide that the word “adequate” one of authority or assertive power. met, they are not codifi ed, so as yet have 16′ Tuba Profunda (Solo ext) means that one can always tell the or- In terms of the pipe organ, this means not been translated into a distinct organ- 16′ Tromba (Gt) gan is playing!). It should be “adequate” wind pressure and scale. Organ sounds building procedure. 16′ Bombarde (Sw) (same criteria) for the Mahler Resurrec- 8′ Tuba (Solo) produced by high pressure are not only I would design an instrument modest ′ tion Symphony by including the fl ues of louder, they create more of a sonic “dis- in number of ranks, both to keep the or- 8Tromba (Gt) the Solo. Our test of the Pedal would 8′ Bombarde (Sw) turbance” in the room, even at relatively gan from burying itself, and to allow for 4′ Tuba Clarion (Solo) be the second movement of The Foun- low dynamic levels. The use of closed-toe the outsize scaling which will be needed. 4′ Tromba (Gt) tains of Rome, or the second movement voicing with high wind pressure results in For quiet passages and for accompani- of Church Windows, both by Respighi. the ability to increase the pressure as the mental purposes, we need a Swell divi- (All mixtures on this organ are chorus mixtures Our test of the full Solo division is cer- stop ascends the scale, which is in keep- sion. For ensemble “backbone,” we must and should be voiced with equidistant breaks) tainly “The Magician” from The Planets ing with the instrumental phenomenon. have a solid Great division. The most of Hoist (a recent recording of this close- Such a style of voicing also permits far extravagant sonic resources need to be These are raw materials. They must miked an organ to achieve the ideal ef- more latitude for dynamic readjustment controllable, so they should go into an now be related to specifi c contingencies. fectiveness for that climax. Wouldn’t it when necessary (as it usually is). enclosed Solo division. Underneath all of Sitting in the tenth row, the organbuilder be nice if the concert-goer could have The most important goal of using high this, naturally, we need an heroic Pedal. should obtain the decibel level of all the the same pleasure?). Malcolm William- wind pressure, however, is the achieve- The following specifi cation should be orchestra strings playing a Bach cho- son wrote an organ concerto with a Tuba ment of actual force. When organs were regarded as a generalization; it contains, rale. The decibel level of all the 8′ and Mirabilis solo in the last movement, pumped by hand, the use of high-pitched however, all the specifi c sounds required 4′ manual fl ues should equal that. (The which needs to project above full orches- compound stops helped to suggest a kind by the repertoire. accompanimental stops on the Swell and tra. We have to hope our Tuba Mirabilis of illusion of force. But the species of or- Great can be voiced for usefulness in the can do that! gan which found its way into turn-of-the- SWELL traditional organ sense.) Ideally, the or- The number of accompanimental stops century orchestra halls defi nitely refl ects (4–6 inches of wind) ganbuilder should experiment next with on the Swell and Great should enable any 16′ Flute Conique the application of a turbine blower to 8′ Diapason a clarinet player, an oboe player, a trum- kind of choral accompaniment or church organbuilding and all the experiments 8′ Viole pet player, and a fl ute player standing on service playing, in halls where the audito- in voicing made possible by an unlimited 8′ Viole Celeste the stage and playing some passage of rium is rented out on Sunday mornings, supply of wind. Because this kind of or- 8′ Flute Celeste II music in which those instruments play as and I dare say an exciting organ recital gan can produce real force rather than 8′ Rohr Flute loudly as is required of them in any or- could be played on this instrument if there illusory force, it is the only kind capable 4′ Octave chestral context. Those stops on the or- were anyone who could draw enough of of being an intruder above orchestra in- 4′ Flute gan should equate dynamically when the a crowd to pay the rent! One important 2′ Fifteenth struments which are themselves produc- 1 boxes are open. (The Great Tromba is item needed on the console of this organ: 1⁄3′ Quint ing a heavy wall of sound. Although the 1′ Mixture IV the reed which should be tested with the a crescendo pedal which goes all the way pejorative term “opaque” was coined to 16′ Bombarde trumpet player.) The brass choir playing to full organ (I once played a piece with describe this kind of voicing at the begin- 8′ Trumpet a Bach chorale mezzo-forte should equal orchestra where I had to set all ten gener- ning of the trend back towards low-pres- 8′ Oboe the Swell reed chorus; playing forte, they als just for one decrescendo). Perhaps the sure, it is indeed that very ingredient 8′ Vox Humana should equal the Great reed chorus. magic of solid-state controls could give us which is the desired quality for project- 4′ Clarion The 4′ and 2′ stops on this organ a selection of programs for the crescendo ing organ tone among ensembles of or- should be particularly powerful, because pedal: one without mixtures, one without chestra instruments. GREAT they will often need to be an alternative reeds, etc. (7–10 inches of wind) The desire for transparency of organ (scales should be 3–4 notes larger to mixtures. Conductors generally do not Few organbuilders would be willing to tone derives from the tendency of organ than that of a normal organ design like the sound of mixtures, so they should create such an instrument. We could split sounds to obscure one another when for the same space) not be necessary until the dynamic level the reason half and half between being several voices are being played on one 16′ Violon is loud enough for such harmonic devel- unequipped and being philosophically keyboard. Though I do not believe that 8′ Diapason opment to seem natural. Cymbal mix- too predisposed to the organ of another high pressure voicing a priori renders 8′ Gamba tures are entirely a baroque organ music era. Few builders I have spoken to could 8′ Gross Flute polyphony impossible, it is a question ′ apparatus and are inappropriate here be- really understand that I was not being of degree, and everyone will admit that 8Flute Harmonique cause they interfere with the coloration over-dramatic in my description of the 8′ Bourdon polyphony demands a transparency of 4′ Gross Octave of the upper strings. problem. One builder insisted that three tone which favors the use of low wind 4′ Spitzfl ute The bass department can be a source inches of wind would be adequate if he pressure. The situation at hand, how- 2′ Super Octave of great frustration. If a room is too ab- could use mechanical key action to proj- ever, is a need to produce entities in an Cornet V sorbent of bass frequencies, achieving ect the sound, and locate the pipework in organ which will meet a list of demands 2′ Mixture VI an absolute is next to impossible. Our front of the orchestra (somehow!). Some in which polyphony is a low priority, and 16′ Tromba only hope is to presume the need for of my colleagues who have had experi- 8′ Tromba where enormous quantities of driven ′ “overkill” and our only consolation is ence playing with orchestra insist that fundamental tone are essential. 4Tromba in knowing that the orchestra will suf- conductors do not want to hear the or- The fact that a recent movement has SOLO fer the same set-back. The independent gan. On this point, I both agree and dis- made an important priority of transpar- (15-20 inches of wind) Open Wood and Bourdon units should agree. Because organists have always had ent voicing in organbuilding for the sake (pipe metals need to be exception- be as large and heavy of construction as to resort to stops inappropriate in color of baroque polyphony is not at issue ally thick; pipes should be voiced so is physically possible. The Violon and to obtain dynamic balance, I insist that here. The dilemma does not rest on a that the principal and reed chorus- Flute Conique should be adequate al- the conductor’s rejection of the organ is controversy between baroque versus ro- es together will produce 100 deci- ternatives for passages where heaviness based on sonic inappropriateness rather bels in the tenth row on a six-note is inappropriate. When heavy bass is than volume. If simple foundation stops C-major chord) needed, everything imaginable is still could really be heard, there would be no 8′ Stentorphone 8′ Flauto Mirabilis barely enough. (I remember so well need to use mixtures or reeds in a place 8′ Gross Gamba an occasion in which I was prepared to where that kind of organ tone would 8′ Gamba Celeste make an impressive showing with the seem too “angry” against the sound of 4′ Stentorphone Octave pedal division of an organ of consider- the orchestra. When reeds and mixtures 2 2⁄3′ Tierce Mixture VIII able size. The music in question was are desired, if they have been boosted by 8′ Tuba Magna The Fountains of Rome. Simply because voicers beyond what they are scaled for, 8′ Clarinet ′ the timpani was playing, I could not we again have the problem of an “unwar- 4Tuba Clarion hear the organ at all. Twice in rehearsal, ranted tenseness” from the organ, which PEDAL I stopped in mid-stream to see if I could distracts from the music. This is very of- (8–10 inches of wind) tell the difference. I could not, and ap- ten the case. 32′ Bourdon parently neither could the conductor.) Not to seem too uncharitable towards 16′ Open Wood The 16′ and 32′ Tromba unit on our or- recently-built orchestra hall organs, I 16′ Violon (Gt) gan should be voiced more for weight want to say that I don’t know of any that 16′ Bourdon than brilliance, leaving the Tuba exten- are not at least moderately successful for 16′ Flute Conique (Sw) sion in the Solo as our extra resource some things. What I am trying to devel- 2 ′ 10 ⁄3 Quint for “unreasonable demands.” The Tuba op is a comprehensive idea for an organ 8′ Open Wood 8′ Octave resonators need to be both large and which is cognizant of the full range of 8′ Bourdon heavy, so that this stop can be voiced for expectations. Recent recordings prove everything available. to me that conductors are fascinated by the dramatic possibilities of the organ. If they were not, they would not have taken the trouble to have microphones hung all over the organ to achieve it. Sooner or later some organbuilder has got to accept the challenge, and be allowed the oppor- tunity to continue experimentation until ATOS we fi nally have our fi rst totally successful ExperienceAmerican Theatre Organ Society “orchestra organ.” I hope it is soon. Q The late Calvin Hampton, who played wide- Preserving a unique art form. ly as a recitalist and as an organist with or- Concerts, education, silent film, preservation, chestra, was director of music for the Parish of fellowship and more. www.atos.org Calvary, Holy Communion, and St. George’s in New York City. His article is a revised ver- Jim Merry, Executive Secretary, [email protected] sion of an address he delivered to the eighth P.O. Box 5327, Fullerton, CA 92838 national convention of the American Institute of Organbuilders in Boston, October 1979.
28 THE DIAPASON
Mar 09 pp. 26-28.indd 28 2/11/09 8:26:05 AM Cover feature
Schoenstein & Co., with orchestra. As a solo instrument, it Benicia, California might be used on occasion for choral ac- Schermerhorn Symphony Center, companiment, silent movies as part of Nashville, Tennessee a pops series, and some special events. The solo organ recital has turned out to Music City’s New Symphony Hall be a rarity in symphony halls. This is also Organ true of other instrumental or vocal recit- In its February 1982 issue, The Diapa- als. The reasons are simple: economics son published an article that challenged and scheduling. conventional wisdom. (See reprint of the If this musical job description is accu- article on pages 27–28 of this issue.) In rate, then an instrument in the size range it, Calvin Hampton made a convincing proposed by Calvin Hampton (46 voices) argument that an organ designed to be would be ideal. Certainly any well-de- an instrument of the symphony orches- signed instrument of that size should tra must be radically different in many also be able to render a very convincing respects from a church organ or even a recital program when needed. The key concert organ intended for solo use. A to a great performance is great tone, not “normal” organ, even a fi ne one, could great size. not pass his audition for symphony hall If client and builder have the disci- use. This really caught my attention. pline to follow this Multum in Parvo plan Since my background had included play- rigorously, the question of tonal design ing in and managing symphony orches- becomes a matter of selecting stops that tras, I was keenly aware of the uneasy re- are absolutely essential and living with- lationship between orchestras and pipe out those that would be nice to have. Sev- organs. To managements, the organ was eral classes of stops can be excluded with a headache. It used up too much space ease because they are duplicated in the and too much money. Stagehands didn’t symphony orchestra. Certainly there is like the extra hassle of set-ups and work- no need for multiple strings and celestes ing out quiet time for maintenance. Mu- or for orchestral reeds such as French sicians didn’t like tuning to the organ or Horn, English Horn, and Orchestral listening to its quinty mixtures and other Oboe. The organ does not need items thin, shrill sounds. Conductors never that would be considered necessities in seemed satisfi ed with either the tone a comprehensive church organ or in one color or volume produced. Comments specialized for some branch of the organ heard over and over again were: “I like solo repertoire or for transcriptions. that tone, can it be louder?” “Good bal- What, then, are the elements that a ance, but I’d like a fuller, darker tone.” symphony hall organ must have? Under- “Please(!)—keep with my beat!” The standing what musical value the organ organist’s answers usually provoked frus- can add to the orchestra leads us to the trated and sometimes colorful comments answer. There are three characteristics about the infl exibility of the organ. The of the organ that differentiate it very poor organist had even more problems clearly from the orchestra. First, its fre- than these: scarce rehearsal time, balance quency range is far greater. It can extend problems if the console was attached to octaves below and above the orchestra. the organ, poor sightlines if the console Extending the bass range has been the was on stage but too large or placed off feature most appreciated by composers in a corner. Schoenstein & Co., Schermerhorn Symphony Center, Nashville, Tennessee (photo and orchestrators; however, increasing The biggest problem of all was disap- credit: Louis Patterson) the treble range can be attractive, pro- pointment for the audience. The power vided that it doesn’t get too loud! The of a modern symphony orchestra is so second special characteristic of the organ immense that most concert hall organs is its unique tone—the diapason. This is could not add to the drama of a fortis- a tone that cannot be produced by the simo tutti. Against the gravity of the full orchestra and should, therefore, be the orchestra, an ordinary organ can sound backbone of the organ when heard with pathetically thin and upside down in bal- the orchestra. The third element that ance, with trebles screaming out over the should be most intriguing to composers is top of the ensemble. I had wondered for the organ’s ability to sustain indefi nitely. a long time why no one had attempted This feature is most artistically displayed to solve all of these problems with an in- in connection with good expression box- novative approach. Calvin Hampton’s ar- es. A long, continuous diminuendo or ticle gave me hope that someone would. crescendo can be most effective. About ten years later the tide began to turn. The musical issues were being ad- Four vital design points dressed and many of them quite success- Since there is a general understanding fully. However, as a former instrumental- of basic organ tonal elements common ist and symphony manager, I thought that to composers who write for orchestra as a more radical approach was needed. well as for the organ, a good symphony hall organ must include the minimum Solving problems architecture of a normal three-manual Most of the behind-the-footlights traditional Romantic organ: diapason practical problems can be solved by choruses and chorus reeds on each man- adopting an obvious, but, in some quar- ual, representatives of stopped, open and ters, unpopular guideline: employ the harmonic fl utes, a string with celeste, fewest stops necessary to get the fl ute mutations, and the most common musical job done. This means an in- color reeds (Oboe, Clarinet, and Vox strument that takes up less space, is less Humana). To make the organ capable costly to purchase and more effi cient to of working in partnership with a modern maintain. The case or chamber can be symphony orchestra, the following tonal shallow for best tonal egress. Layout can elements must be incorporated into this be arranged for temperature—and thus traditional scheme: tuning—stability; for example, all cho- Console (photo credit: Louis Patterson) 1. Profound Pedal. This is the most rus work on one level, all reeds on one important element an organ can add to level. The console can be more compact, a symphony orchestra—bass one or two promoting sightlines and ease in setting octaves below the double basses, bass and striking. The concept is easy enough tuba and contra bassoon. There must be to adopt, but what is that magic number at least one stop of such immense power of stops? What is the musical job to be that it will literally shake the fl oor. Stops done? How can we produce adequate of varying colors and dynamics with power that will satisfy the audience? some under expressive control complete First, it should be established that we the Pedal. are considering an instrument primar- 2. Solo stops unique to the organ. ily for the Romantic and Modern rep- These may be tones not found in the or- ertoire. A properly equipped symphony chestra such as a diapason, stopped fl ute, hall should have one or two mechanical and cornet or imitative stops that can be action stage organs to take care of the voiced at a power level not possible from earlier repertoire. Previous experiments their orchestral counterparts, such as solo to include a “baroque” division with a harmonic fl utes, strings, clarinets, and small console as part of a large instru- high pressure trumpets and trombas. ment have not been successful. 3. One soft stop capable of fading The primary use of the organ will be Mounted Cornet directly behind the display pipes (photo credit: Louis Patterson) away to a whisper. Perhaps best in
MARCH, 2009 29
Mar 09 pp. 29-32.indd 29 2/11/09 8:26:53 AM this role is a strongly tapered hybrid (or muted) stop. 4. An ensemble of exception- ally high power under expression. This cannot be raw power. It must be power with beauty, centered in the 8′ and 4′ range to give a sense of solidity and grandeur. Since symphony halls are generally drier acoustically than the typi- cal organ and choral environment, it is even more important that this power be concentrated in the mid-frequency range and be of warm tonal character. The false sense of power created by ex- cessive emphasis in high-pitched tones should be avoided. Orchestras don’t rely on a battery of piccolos for power, why should the organ? Piccolos can dominate an orchestra and so can mixtures, but that doesn’t make either effect beautiful. The kind of power needed comes from moderate to high wind pressures and stops voiced with rich harmonic content for good projection. Upperwork should be for tonal color rather than power. At least one diapason chorus should include a very high pitched mixture, a tone color unique to the organ, but it must not be Keyboards (photo credit: Louis Patterson) loud. Eight-foot diapasons, chorus reeds, open fl utes and strings should work to- gether to create an ensemble capable of standing up to a full symphony orchestra. As someone who has sat in the midst of a symphonic brass section, I have a clear idea of the kind of power that is generat- Diaphone set up in factory erecting ed by trumpets, trombones and horns at room (photo credit: Louis Patterson) fff. To compete without sounding shrill and forced requires high pressure diapa- sons and reeds, including a 32′ stop—all under expression to fi t any situation. Good tonal design must be supported by a mechanism that helps the organ- ist solve all the performance problems mentioned above—an instrument that is as easy as possible to manage. The organ builder should employ every device at his command to give the organ musical fl exibility so that it can take its place as an equal among the other instruments of the orchestra. The Nashville project We were given an opportunity to dem- onstrate the effectiveness of these ideas in our project for the Schermerhorn Diaphone staged for installation (photo credit: Louis Patterson) Symphony Center in Nashville. This was one of those projects that went smoothly tra seating section can be converted to keeping the organ at constant humidity from beginning to end, with everything a fl at open fl oor for pops concerts and and temperature. The blower room in falling into place and no road blocks in special events. Most of the transfor- the basement has its own cooling system Violone and Open Wood pipes stacked the way. Of the greatest importance to mation is accomplished automatically to neutralize the effects of blower heat in position on the roof of the organ the success of this job was the client’s through a labyrinth of gigantic machin- build-up. Intake air is fi ltered. (photo credit: Louis Patterson) clear musical goal and realization that a ery in the basement. The huge expanse The instrument employs our expan- really great organ can’t be all things to all of polished wood fl ooring adds signifi - sion cell windchests and electric-pneu- smaller scale double. The Solo (Manual people. We had a well-defi ned mission: cant reverberation. This feature also, in- matic action. This allows uniform, fast I) has the largest scale and most power- to build an instrument that is a member terestingly enough, increases the usage and silent action for all pipes no matter ful chorus, all under expression and at of the orchestra. To this end we worked of the organ. The hall is often rented for their pressure as well as easy console 10″ pressure. Its mixture can be drawn from the beginning with Andrew Rising- weddings. This is perhaps the only sym- mobility and the borrowing of stops for with and without a tierce. The trumpets er, organ curator and symphony organ- phony hall organ in the world that has maximum fl exibility. Obviously borrow- range from closed, tapered shallots on ist and also organist/associate director a reason to play the Mendelssohn and ing is employed heavily in the Pedal, but 10″ wind in the Swell to open parallel of music at West End United Methodist Wagner marches! it is also used on the Great, where the shallots on 5″ wind in the Great to open Church in Nashville. The organ is in an ideal position just high pressure diapasons 8′ and 4′, string, parallel shallots on 15″ wind in the Solo, We were appointed, at the very begin- above the choral risers at the rear of the stopped fl ute, Cornet and Solo reeds where tromba-type tone is added by the ning of the project, to the design team that stage. The casework was designed in are all available independently. It also Tubas and Trombone. Built around these included acoustician Paul Scarbrough of close cooperation with the architectural makes practical the extension of Pedal pillars is an ensemble of stops with color, Akustiks in Norwalk, Connecticut and team and Paul Fetzer whose company, stops into the Solo and facilitates an in- defi nition and sinew that project well design architects David M. Schwarz, Ar- Fetzer Architectural Woodwork of Salt teresting effect, the Tuben stop, which to produce power in a manner similar chitectural Services of Washington, D.C. Lake City, built the façade along with borrows the Swell reeds onto the Solo at to the orchestral instruments and cen- I had worked with both as organ consul- the other woodwork of the hall. It affords unison pitch (Posaune up an octave at 8′ tered at the orchestra’s pitch. Note that tant for the Cleveland Orchestra in the full tonal egress from the open front and Clarion down an octave at 8′ along 64% of the stops are at 8′ and 4′ pitch. A renovation of Severance Hall and its chamber behind it, which is shallow for with the 8′ Trumpet). most rewarding comment on this subject E. M. Skinner organ. The design team, accurate unforced projection. The organ The console has the usual playing aids, came after the opening concert in Nash- under the skillful management of Mer- is arrayed on three levels. Most fl ues are but has been kept as simple and straight- ville from the visiting executive director cedes Jones, produced a hall that could on the fi rst level. Reeds, celestes, some forward as possible to facilitate effi cient of one of the world’s leading orchestras, not be more perfect from our point of fl utes and offsets are on the second, and rehearsals. There is a record-playback who remarked that he didn’t know that it view. Seating 1,872, it is beautiful in its Pedal on the third, with the exception of system—helpful for rehearsals and also was possible for an organ to be so power- traditional design, excellent proportions, the Trombone and Diaphone, which oc- for house tours; the playback mecha- ful and at the same time so beautiful. and fi ne materials. It is of the traditional cupy a space extending all three levels. nism can be remotely controlled by tour There are several special tonal features “shoebox” shape that everyone knows is The bass octave of the 32′ Sub Bass is in a guides. With the press of a button they including a newly developed stop—the perfect but that few architects are will- most unusual spot—located horizontally can start the blower and select a dem- Diplophone. We wanted to include solo ing to employ. Since, under the direction underneath the patron’s boxes to the left onstration piece to be played for public stops of heroic power from each family of of Paul Scarbrough, all of the traditional and right of the stage apron! These large tours, which are a popular attraction in tone. Our usual solo Gambas, Symphonic acoustical rules were followed, the result scale pipes produce a soft 32′ tone that Music City. Flute (which employs fi ve different types is, indeed, perfect. is felt as well as heard throughout the of pipe construction throughout its com- Reverberation time is controlled by entire auditorium. The 32′ Trombone is Tonal design pass including double mouth and double dampening material that may be added in its own expression box, and the Swell The two pillars of tone are diapasons harmonic pipes), Tibia Clausa, Corno di or subtracted at will. There is excellent includes our double-expression system, and trumpets. The manual diapason cho- Bassetto and Tuba Magna represented balance, clarity, and pleasing resonance wherein the softest and most powerful ruses contrast in tonal color and power. the string, open fl ute, stopped fl ute, col- even in the lowest reverberation setting. voices are in a separate enclosure at the The Swell chorus (Manual III) is based or reed, and chorus reed families, but we With all dampening material lifted out rear of the Swell with shades speaking on a slotted 8′ Diapason of moderate needed a solo diapason of equal power. of the way at the press of a button, the into the Swell. The Vox Humana is in its power with a slightly tapered 4′ Principal We tested normal stentorphone pipes hall is ideal for most organ and choral own expression box inside the double ex- and a 2′ Mixture, which is under double and then double-languid pipes without repertoire. In addition, there is one very pressive division of the Swell and so is, expression. The Great (Manual II) has achieving the character of tone and pow- unusual and practical feature that has an in effect, under triple expression. Accu- a large scale 8′ Diapason with upper- er we were after. We then tried a double- 1 added impact for the organ. The orches- rate climate control has been provided, work through ⁄3′ Mixture and a slotted, mouth diapason. Mouths on either side
30 THE DIAPASON
Mar 09 pp. 29-32.indd 30 2/11/09 8:27:18 AM 16′ Diapason (Great) 16′ Cor Seraphique (Swell) 16′ Sub Bass 32 pipes 16′ Bourdon (Swell) 8′ Open Wood 12 pipes 8′ Open Diapason (Swell) 8′ Principal 32 pipes 8′ Violone 12 pipes 8′ Gamba (Solo) 8′ Flute (Great) 8′ Sub Bass 12 pipes 8′ Bourdon (Swell) 4′ Fifteenth 32 pipes 4′ Flute (Great) 8′ Pizzicato Bass† 32′ Trombone†† 12 pipes 16′ Trombone†† 32 pipes 16′ Posaune (Swell) 8′ Tuba Magna (Solo) 8′ Trombone†† 12 pipes 8′ Posaune (Swell) 4′ Trombone†† 12 pipes 4′ Corno di Bassetto (Solo) †8′ Sub Bass with Pizzicato Relay ††Enclosed in its own expression box
Couplers Intramanual Swell 16, Unison Off, 4 Solo 16, Unison Off, 4 Intermanual Great to Pedal 8 Swell to Pedal 8, 4 Orchestra rehearsal (photo credit: Bill Steber) Solo to Pedal 8, 4 Swell to Great 16, 8, 4 of the pipe allow a greater mouth width The organ was presented to the public 8′ Second Open Diapason 12 pipes Solo to Great 16, 8, 4 than is possible with a single opening. at the opening night gala of the 2007–08 8′ Gamba (Solo) Swell to Solo 16, 8, 4 This, combined with high pressure, pro- season with Leonard Slatkin, conduc- 8′ Tibia Clausa (Solo) Solo to Swell 8 8′ Harmonic Flute 61 pipes duces tremendous power with smooth- tor, and Andrew Risinger, organist. The ′ ness and beauty. Finally, we included a program included the Bach Toccata and 8 Salicional (Swell) Special 8′ Bourdon (metal) 61 pipes Pedal Tutti to Solo powerful mounted Cornet (unusual for Fugue in D minor, Durufl é Prelude and 8′ Lieblich Gedeckt Solo to Great Sforzando us) because it is a tone color completely Fugue on the Name Alain, Barber Toc- (borrow with Bourdon bass) All Swells to Swell outside the range of the orchestra and cata Festiva, and the Saint-Saëns Sym- 8′ Cor Celeste II (Swell) Manual I/II transfer piston with indicator should offer interesting possibilities to phony No. 3. It was recorded for broad- 4′ Octave (Solo) 4′ Principal 61 pipes contemporary composers. cast on SymphonyCast. The exceptionally Mechanicals For a stop that can fade away to noth- active Nashville chapter of the AGO has 4′ Lieblich Gedeckt 61 pipes 2′ Fifteenth 61 pipes Peterson ICS-4000 system with: ing, we added our Cor Seraphique and co-sponsored events starting with a lec- 1 256 memory levels 1⁄3′ Mixture IV 200 pipes Vox Angelique. These are very strongly ture-demonstration evening and includ- 1 62 pistons and toe studs ⁄3′ Mixture III 146 pipes tapered stops of the muted (or hybrid) ing the “International Year of the Organ 8′ Trumpet 61 pipes programmable piston range for each mem- variety. They are neither strings nor Spectacular” recital featuring Vincent 4′ Clarion 61 pipes ory level fl utes and have a mysterious quality that Dubois. The orchestra has presented sev- 8′ Cornet V (Solo) Piston Sequencer is very attractive, with a harmonic struc- eral programs including a “Meet the Or- 8′ Tuba Magna (Solo) 10 reversible controls including Full Organ ture that promotes projection when the gan” demonstration for students, a “Day 8′ Tuba (Solo) Four balanced pedals with selector for expres- 8′ Corno di Bassetto (Solo) sion and Crescendo Swell boxes are open, but is soft enough of Music” free to the community, a series Record/Playback system with remote control to disappear with both boxes closed. of noontime recitals, and Thomas Tren- Adjustable bench ′ SWELL – III (enclosed, 5″ wind) This stop is extended to 16 to provide ney playing accompaniments to the silent 16′ Lieblich Bourdon (wood) 12 pipes the same effect in the Pedal. fi lms Phantom of the Opera at a Hal- 8′ Open Diapason 61 pipes Mixture Compositions The Pedal includes all classes of tone at loween program in 2007 and The Mark 8′ Stopped Diapason (wood) 61 pipes Great IV 16′ pitch: open wood, open metal, string, of Zorro in 2008. The organ has been 8′ Echo Gamba 61 pipes C1 A10 D15 A#35 G#45 hybrid, stopped wood, and two different used to accompany the symphony chorus 8′ Vox Celeste 61 pipes 19 15 12 weights of chorus reed tone, both under in concert and also in several additional 8′ Salicional 49 pipes 22 19 15 12 (Stopped Diapason bass) 26 22 19 15 12 expression. One of the most important orchestra subscription concerts including ′ 16′ voices is the Violone, which gives a works by Elgar and Respighi. The 2008– 4 Principal 61 pipes 29 26 22 19 15 ′ 4′ Harmonic Flute 61 pipes prompt clear 16 line to double and am- 09 season has already presented Andrew 2 2⁄3′ Nazard 61 pipes Great III plify the basses of the orchestra. The Risinger in the Copland Symphony for 2′ Harmonic Piccolo 61 pipes C1 A10 D15 C25 A#35 G#45 B48 F#55 3 most unusual, and in some ways most Organ and Orchestra with new music 1⁄5′ Tierce 54 pipes 33 29 26 important, stop of the organ is the 32′ director Giancarlo Guerrero conduct- 8′ Oboe 61 pipes 36 33 29 26 22 19 15 12 Diaphone. Diaphones have a tone qual- ing, the noon recital series continues, and Tremulant 40 36 33 29 26 22 19 15 ity that ranges from a very dark, almost more programs are on the way. Stops under Double Expression† pure fundamental to a slightly reedy The instrument has been greeted with 16′ Cor Seraphique 12 pipes Swell III–V 8′ Cor Seraphique 61 pipes C1 C#14 B24 A#47 D#52 quality. Since this organ is equipped with enthusiasm from the artistic staff of the ′ a 32′ Trombone under expression, the orchestra and the musicians. The public 8 Voix Angelique (TC) 49 pipes 15 8 8 2′ Mixture III–V 244 pipes 19 15 12 8 Diaphone is voiced for pure fundamen- has embraced it warmly and we look for- 16′ Posaune 61 pipes 22 19 15 12 8 tal tone of magnifi cent power. It pro- ward to the 2012 AGO convention, where 8′ Trumpet 61 pipes 22 19 15 12 duces more solid fundamental bass than it will be one of the featured instruments. 4′ Clarion 61 pipes 22 19 15 a large open wood diapason and it speaks —Jack M. Bethards 8′ Vox Humana†† 61 pipes Solo V and releases promptly. President and Tonal Director †Flues and Vox 6″ wind; Reeds 11½″ C1 A46 C#50 F#55 Our Pizzicato Bass stop, which gives Schoenstein & Co. ††Separate Tremulant; separate expression box 12 15 12 a clean pointed bass line when added to ″ other stops playing legato, is included On behalf of Louis Patterson, V.P. and SOLO – I (enclosed, 10 wind) 17 15 12 8′ Grand Open Diapason 61 pipes 19 17 15 12 because of its value in choral accompani- Plant Superintendent; Robert Rhoads, 8′ Symphonic Flute† 61 pipes 22 19 17 15 ment. There is a special Sforzando coupler V.P. and Technical Director (retired); 8′ Gamba 61 pipes that is engaged only when the Sforzando Chuck Primich, Design Director; Mark 8′ Gamba Celeste 61 pipes Solo IV derived from Solo V, without tierce lever, located above the swell shoes, is Hotsenpiller, Head Voicer; 4′ Octave 61 pipes touched. It allows Solo stops to be mo- department heads Chet Spencer, 2′ Quint Mixture IV 2′ Tierce Mixture V 270 pipes Tonal Families mentarily added to the Great for accent. Chris Hansford and Mark Harter; ′ Diapason† 17 36% The Solo has a variable speed tremulant. and technicians David Beck, Filib- 8 Tuba† 61 pipes 8′ Harmonic Trumpet† 61 pipes Open Flutes 7 15% erto Borbon, Peter Botto, Dan Fishbein, 8′ Tuben III†† Stopped Flutes 4 9% Installation and debut Oliver Jaggi, George Morten, Humberto 8′ Corno di Bassetto† 61 pipes Strings 5 11% The organ was installed in several Palma, Tom Roberts, Dan Schneringer, Tremulant Hybrids 2 4% phases, which went very smoothly due to Patricia Schneringer, Donald Toney, Tremulant (variable) Chorus Reeds 9 19% the outstanding cooperation and support William Vaughan and William Visscher. Unenclosed Stops Color Reeds 3 6% of the symphony staff, led by president 8′ Diplophone 29 pipes 47 100% (ext Pedal Open Wood) and CEO Alan D. Valentine and general Cover photo by Louis Patterson ′ †Includes Diaphone and Salicional manager Mark F. Blakeman, as well as the 8 Tibia Clausa 29 pipes (ext Pedal Sub Bass) excellent building contractors, American Schoenstein & Co. 8′ Cornet V (TG, 5″ wind) 185 pipes Pitch Summary Constructors, Inc. The atmosphere was 16′ Trombone 5 pipes Sub collegial and, yes, there is such a thing as The Martin Foundation Organ (ext Pedal Trombone) 32′ 3 6% southern hospitality. The casework, dis- The Nashville Symphony Orchestra 8′ Tuba Magna† 61 pipes 16′ 6 13% 19% play pipes, blowers and large pedal pipes Schermerhorn Symphony Center †15″ wind were installed in February–May 2006. Nashville, Tennessee ††Swell Posaune, Trumpet and Clarion at 8′ Unison 47 voices, 64 ranks pitch 8′ 22 47% We completed the mechanical instal- ′ lation of the organ during the summer Electric-pneumatic action 4 8 17% 64% PEDAL (4½″, 5″, 7½″, 10″, 15″ wind) of 2006. Tonal fi nishing was carried out GREAT – II (5″ wind) 32′ Diaphone 12 pipes Super during the summer of 2007. The leisure- 2 16′ Double Open Diapason 61 pipes 32′ Sub Bass 12 pipes 2⁄3′ 1 2% ly and well-spaced schedule avoided the 8′ Diplophone (Solo) 16′ Diaphone 32 pipes 2′ 4 9% confl icts and last minute scrambles that 8′ Grand Open Diapason (Solo) 16′ Open Wood 32 pipes Above 3 6% 17% usually cut tonal fi nishing time. 8′ First Open Diapason 61 pipes 16′ Violone 32 pipes 47 100% 100%
MARCH, 2009 31
Mar 09 pp. 29-32.indd 31 2/11/09 8:27:49 AM New Organs
CHOIR 8′ Holz Gedeckt 61 pipes 8′ Flauto Dolce 61 pipes 8′ Unda Maris TC 49 pipes 4′ Koppelfl ute 61 pipes 2′ Blockfl ute 61 pipes 1′ Cymbal III 183 pipes+ moved from Swell, on new chest 8′ Krummhorn 61 pipes Tremolo 16′ Choir to Choir 8′ Choir Unison Off 4′ Choir to Choir ANTIPHONAL 8′ Melodia 61 pipes Trompette en Chamade 8′ Dulciana 61 pipes 8′ Unda Maris TC 49 pipes+ organs, and new rectifi ers provided. rebuilt, on rebuilt windchest 4′ Octave 61 pipes 3. The organ console would be to- 2′ Super Octave 61 pipes+ tally rebuilt with solid-state action, and rebuilt, on rebuilt windchest 1 be placed on a new, rolling platform, so 1⁄3′ Mixture III 183 pipes+ that it could be located anywhere in the rebuilt, on rebuilt windchest chancel area. 8′ Trompette en Chamade 61 pipes+ 4. New and rebuilt pipework would be new, on new chest added to complete the specifi cation, and 8′ Trompette Harmonique 61 pipes 16′ Antiphonal Bourdon 32 pipes some of the existing pipework moved to ′ a more appropriate location. 8 Antiphonal Bourdon (ext) 12 pipes 5. A new Trompette en Chamade would PEDAL Console be added to the Antiphonal division. 32′ Untersatz (prepared as electronic The completed instrument now to- extension, resultant at installation)+ Lewis & Hitchcock, Inc., for additional stops, and knobs were pre- tals 47 ranks. The organ is very versatile 16′ Subbass 32 pipes Beltsville, Maryland pared on the console. and able to provide support for soloists, 16′ Quintaton (Great) 16′ Lieblich Gedeckt 32 pipes Hughes United Methodist Church, In 1983 the Newcomer fi rm was pur- choirs, and congregation. The new solid- ′ Wheaton, Maryland chased by Lewis & Hitchcock, and the state equipment occupies less space than 8 Geigen Principal 32 pipes 8′ Bass Flute (ext Subbass) 12 pipes The Newcomer brothers, Harold and two fi rms eventually merged. When the previous system, so a storage space 8′ Lieblich Flute (ext 16 Lieb) 12 pipes Ed, were masters at “remanufacturing” some repairs due to age were required, for music and shoes was created in the 4′ Geigen Octave (ext) 12 pipes organs. The Newcomer Organ Com- discussions began about improving the left side of the console. The new oak 4′ Flute (ext Subbass) 12 pipes 1 pany of Washington, D.C., produced chancel area and completing the organ. parquet platform may be easily moved 5⁄3′ Mixture II 44 pipes & 8′ Geigen Pr a number of these instruments, one of The fi nal outline was: throughout the chancel area. The new 32′ Bombarde (ext, 12 electronic notes)+ the fi nest of which they built for Hughes 1. The church would remodel the systems include a transposer and mul- 16′ Bombarde 32 pipes+ new, on new chest United Methodist Church of Wheaton, chancel, removing all carpet and install- tiple-memory combination action with ′ Maryland, in 1966. The windchests and ing hardwood fl oors. The choir pews settable crescendos, and a MIDI system 16 Fagott (Swell)+ 8′ Bombarde (ext) 12 pipes+ pipes were mainly from E. M. Skin- would be removed and be replaced with with sequencer to record and play back new, on new chest ner and Möller organs, with new pipes chairs. The chamber grille cloth would performances. The remodeled chan- 4′ Clarion (ext) 12 pipes+ by Möller and Trivo, and a new Möller be replaced, and the chamber ceilings cel has improved the acoustics and has new, on new chest three-manual drawknob console. The and walls repaired where required. proved very useful for the wide variety of organ had 35 ranks in two chambers up 2. The organ would be physically re- services held there. Couplers front and an antiphonal above the rear newed as required. New blowers would The late Randy Skinner was chair of 8′ Great to Pedal 4′ Great to Pedal+ balcony. Space was left in the chambers be provided for the main and Antiphonal the organ committee that selected the ′ Newcomer fi rm to provide the organ. 8 Swell to Pedal 4′ Swell to Pedal Sharon Skinner, his daughter, was the 8′ Choir to Pedal chair of the trustees in charge of the 4′ Choir to Pedal rebuilding work. Organist Van Knauss 8′ Antiphonal to Pedal Early Keyboard Journal worked with Gerald Piercey to plan the 4′ Antiphonal to Pedal tonal changes and additions. MIDI on Pedal+ Many pictures of the work in progress 16′ Antiphonal to Swell+ 8′ Antiphonal to Swell+ in the factory and in the church may be ′ found in the Rebuilt Organs section of 4 Antiphonal to Swell+ DEVOTED TO THE ORGANOLOGY, MIDI on Swell+ the Lewis & Hitchcock website:
32 THE DIAPASON
Mar 09 pp. 29-32.indd 32 2/11/09 8:28:07 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH CONCORA, with Hartford Symphony, works Pickle Piano & Church Organs This calendar runs from the 15th of the month of of Bach; Immanuel Congregational, Hartford, NEW YORK issue through the following month. The deadline is CT 4 pm Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. Christa Rakich; St. John’s Lutheran, Stam- issue). All events are assumed to be organ recitals ford, CT 4 pm unless otherwise indicated and are grouped within Choir of St. John’s College Cambridge; Christ each date north-south and east-west. •=AGO chap- and Holy Trinity Episcopal, Westport, CT 5 pm Christopher Babcock ter event, • •=RCCO centre event, +=new organ Bach, Cantata 78, Pergolesi, Stabat Mater; WILLIAM AYLESWORTH dedication, ++= OHS event. Church of St. Vincent Ferrer, New York, NY St. Andrew’s by the Sea, Information cannot be accepted unless it speci- 3 pm D. M. fi es artist name, date, location, and hour in writ- Renée Anne Louprette, Couperin, Messe Hyannis Port ing. Multiple listings should be in chronological order; pour les Couvents; St. Ignatius Loyola, New EVANSTON, ILLINOIS please do not send duplicate listings. THE DIAPA- York, NY 4 pm St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for Richard Pilliner; St. Thomas Church Fifth Av- the accuracy of calendar entries. enue, New York, NY 5:15 pm Johannes Unger; First United Church of Christ, Reading, PA 3 pm Singing Boys of Pennsylvania; Peace Luther- UNITED STATES an, Scranton, PA 4 pm East of the Mississippi Nathan Laube; Holy Trinity Lutheran, Lan- caster, PA 4 pm 15 MARCH Harald Vogel; St. Paul R.C. Cathedral, Pitts- Ray Cornils, Poulenc, Concerto for Organ, burgh, PA 4 pm Strings and Tympani; Merrill Auditorium, Port- Christopher Jacobson; Washington National land, ME 2:30 pm Cathedral, Washington, DC 5 pm Fred Jodry; All Saints Church, Worcester, MA Howells, Requiem; Cathedral of Mary Our 5 pm Queen, Baltimore, MD 5:30 pm KAREN BEAUMONT Cj Sambach; Central Baptist, Norwich, CT Ken Cowan; Covenant Presbyterian, Char- 3 pm lotte, NC 3 pm ORGAN RECITALIST Jane Parker-Smith; South Congregational, William Whitehead; Church of the Good www.geocities.com/karen.beaumont/ New Britain, CT 4 pm Shepherd, Jacksonville, FL 3 pm organist.html David Spicer; First Church of Christ, Wethers- Andrew Peters; Christ Church, Pensacola, fi eld, CT 7 pm FL 3 pm [email protected] The New Amsterdam Singers; Church of the Atlanta Baroque Orchestra; Peachtree Road Holy Trinity, New York, NY 4 pm United Methodist, Atlanta, GA 3 pm Marek Kudlicki; St. Thomas Church Fifth Av- Durufl é, Requiem; Westminster Presbyterian, enue, New York, NY 5:15 pm Dayton, OH 4 pm Choral concert, with instruments; St. Peter’s Pamela Ruiter-Feenstra; Reyes Organ and Dean W. Billmeyer Choral Hall, University of Notre Dame, South THOMAS BROWN Church, Morristown, NJ 3 pm UNIVERSITY Singing Boys of Pennsylvania; Second Pres- Bend, IN 2:30 pm, 5 pm University of Minnesota byterian, Carlisle, PA 3 pm Daniel Roth; Christ Church Cathedral, Nash- PRESBYTERIAN CHURCH ville, TN 4 pm Alan Morrison; St. John the Baptist Catholic CHAPEL HILL, NORTH CAROLINA Church, Canton, OH 3 pm Newberry Consort; Lutkin Hall, Northwestern Minneapolis 55455 • [email protected] John Ferguson, hymn festival; First Presbyte- University, Evanston, IL 3 pm rian, Birmingham, MI 10 am Bach, Cantatas 46 and 38; St. Luke Church, Choral Evensong; Christ Church Grosse Chicago, IL 4 pm Pointe, Grosse Pointe Farms, MI 4:30 pm Fauré, Requiem; First Presbyterian, Arlington 23 MARCH David Chalmers Heights, IL 4 pm Todd Wilson; Princeton University Chapel, DELBERT DISSELHORST Evensong and Fauré, Requiem; St. Giles Princeton, NJ 8 pm Concert Organist Episcopal, Northbrook, IL 3 pm GLORIÆ DEI CANTORES Professor Emeritus Wolfgang Rübsam; Rockefeller Memorial 24 MARCH University of Iowa–Iowa City Chapel, University of Chicago, Chicago, IL 5 pm Noah Wynne-Morton; Trinity Wall Street, Orleans, MA New York, NY 1 pm 17 MARCH Todd Wilson, masterclass; Bristol Chapel, Tony Furnivall; Trinity Wall Street, New York, Westminster Choir College, Princeton, NJ 3:20 pm NY 1 pm Daniel Roth; River Road Baptist, Richmond, STEVEN EGLER VA 7:30 pm OHN ENSTERMAKER William Whitehead; Peachtree Road United Central Michigan University J F Methodist, Atlanta, GA 8 pm 25 MARCH First Presbyterian Church TRINITY-BY-THE-COVE 18 MARCH John Matthews, Jr.; Grace Lutheran, Colum- Mt. Pleasant, Michigan 48858 bus, IN 12 noon Boyd Jones; Morrison United Methodist, SOLO Shelly-Egler Tedd King; Cathedral of St. John the Evange- Leesburg, FL 12 noon RECITALS Flute and Organ Duo NAPLES, FLORIDA John Simpson; Sandy Hook United Method- list, Milwaukee, WI 12:15 pm ist, Columbus, IN 12 noon Pius XI High School Madrigals; Cathedral of St. 26 MARCH John the Evangelist, Milwaukee, WI 12:15 pm David Shuler; Church of St. Luke in the Fields, Organist / Pianist James Russell Brown; Music Institute of Chi- New York, NY 8 pm CHRISTOPHER cago, Evanston, IL 12:15 pm Don Baber; Christ Church, Bradenton, FL 12:15 pm Michael Gailit www.gailit.at GARVEN 19 MARCH offi [email protected] Organist & Music Director Robert Edwards; Christ Church, Bradenton, 27 MARCH Church of the Good Samaritan FL 12:15 pm Jacob Street; Trinity Church, Boston, MA Konservatorium Wien University Paoli, Pennsylvania James David Christie; RiverCenter for the 12:15 pm University of Music, Vienna Mark Jones, with orchestra, Guilmant, Sym- Performing Arts, Columbus, GA 7:30 pm phony #1; First Presbyterian, Pompano Beach, FL 8 pm 20 MARCH Janette Fishell; Christ Church, Savannah, GA Michael Kleinschmidt; Trinity Church, Bos- John M. Gearhart III 12:30 pm ton, MA 12:15 pm B.A., M.Mus. Robert Glasgow Marek Kudlicki; St. Petersburg College, St. 28 MARCH St. John the Divine (Episcopal) Petersburg, FL 7:30 pm In Memoriam Frederick Hohman, masterclass; Court Street Daniel Roth; Church of the Redeemer, Sara- 2450 River Oaks Blvd. United Methodist, Lynchburg, VA 10:30 am Houston, TX 77019 May 30, 1925–Sept. 10, 2008 sota, FL 7:30 pm Quicksilver; Harkness Chapel, Case Western Johannes Unger; Holy Trinity Lutheran, Ak- Reserve University, Cleveland, OH 7:30 pm ron, OH 8 pm Ken Cowan, masterclass; Cathedral of the Choir of St. Thomas Church Fifth Avenue; Assumption, Louisville, KY 10 am A Professional Card in St. Peter in Chains Cathedral, Cincinnati, OH Alan Morrison; St. Norbert Abbey, DePere, 7:30 pm WI 2 pm The Diapason JAMES HAMMANN Newberry Consort; Newberry Library, Chi- Northwest Choral Society; Edison Park Lu- DMA-AAGO cago, IL 8 pm theran, Chicago, IL 7:30 pm For rates and digital specifi cations, Cornell Women’s Chorus; Rockefeller Memo- Marilyn Keiser; Evelyn Chapel, Illinois Wes- contact Jerome Butera University of New Orleans rial Chapel, University of Chicago, Chicago, IL leyan University, Bloomington, IL 7 pm 847/391-1045 8 pm [email protected] Chapel of the Holy Comforter 29 MARCH 21 MARCH Bach Birthday Celebration, with choir and or- •Cj Sambach, Pipe Organ INformance; chestra; King’s Chapel, Boston, MA 5 pm United Congregational Church, Bridgeport, CT Peter Stoltzfus Berton; All Saints Church, LORRAINE BRUGH, Ph.D. 10:30 am Worcester, MA 5 pm A two-inch Choir of St. Thomas Church Fifth Avenue; Cal- CONCORA, works of Mendelssohn; St. John’s vary Episcopal, Pittsburgh, PA 7:30 pm Episcopal, West Hartford, CT 4 pm Associate Professor Professional Card Peter Richard Conte; St. Mark’s Lutheran, Meredith Baker; Cadet Chapel, U.S. Military University Organist Baltimore, MD 8 pm Academy, West Point, NY 3 pm Ken Cowan, masterclass; Covenant Presby- in The Diapason Kevin Kwan; St. Thomas Church Fifth Av- Valparaiso University terian, Charlotte, NC 9 am enue, New York, NY 5:15 pm •Bach Birthday Bash marathon concert; Trinity Richard Pilliner; Christ Church, New Bruns- Valparaiso, IN For information on rates and United Methodist, New Albany, IN 10 am wick, NJ 6:30 pm, following 6 pm Vespers www.valpo.edu specifi cations, contact: Newberry Consort; Oriental Institute, Chicago, The Trinity Choir; Holy Trinity Lutheran, Lan- IL 8 pm caster, PA 8:30 am, 11 am Jerome Butera Nathan Laube; Bryn Mawr Presbyterian, Bryn 219-464-5084 [email protected] 22 MARCH Mawr, PA 4 pm [email protected] Michael Kaminski; All Saints Church, Worces- Singing Boys of Pennsylvania; Augustus Lu- 847/391-1045 ter, MA 5 pm theran, Trappe, PA 4 pm
MARCH, 2009 33
Mar 09 pp. 33-37.indd 33 2/11/09 8:28:49 AM Frederick Hohman; Court Street United Meth- Scott Dettra & Christopher Jacobson; odist, Lynchburg, VA 4 pm Washington National Cathedral, Washington, WILL HEADLEE Harry H. Huber Tom Trenney; First Presbyterian, Washing- DC 5 pm D. Mus. ton, NC 4 pm 1650 James Street Iain Quinn, Tournemire, Sept Chorale- 14 APRIL Kansas Wesleyan University, Emeritus Poèmes; Duke University Chapel, Durham, NC Ray Cornils, with string quartet; Merrill Audito- Syracuse, NY 13203-2816 University Methodist Church 5 pm rium, Portland, ME 2 pm, 7:30 pm (315) 471-8451 Paul Jacobs; Roswell United Methodist, Ros- Wesley Roberts; Ransdell Chapel, Campbells- SALINA, KANSAS well, GA 4 pm ville University, Campbellsville, KY 12:20 pm Durufl é, Requiem; Peachtree Road United Canterbury Cathedral Choir of Men and Boys; Methodist, Atlanta, GA 7 pm Fourth Presbyterian, Chicago, IL 7:30 pm MICHELE JOHNS Bach Society of Dayton; Kettering Seventh- Brian Jones day Adventist Church, Dayton, OH 4 pm 15 APRIL A.Mus.D Ken Cowan; Cathedral of the Assumption, Olivier Latry; Church of St. Ignatius Loyola, Director of Music Emeritus Louisville, KY 7:30 pm New York, NY 7:30 pm Organ — Harpsichord Charles Kennedy; Cathedral Church of the Stephen Gourley; Old Salem Visitor Center, The University of Michigan TRINITY CHURCH Advent, Birmingham, AL 4 pm Winston-Salem, NC 12 noon Wyatt Smith; Cathedral of St. John the Evan- School of Music OSTON Theresa Bauer; Madison Presbyterian, Madi- B son, IN 3 pm gelist, Milwaukee, WI 12:15 pm Felix Hell; First Congregational, Peru, IL 2 pm Margaret Kemper; Music Institute of Chicago, University of Minnesota Choirs; Cathedral of Evanston, IL 12:15 pm St. Paul, St. Paul, MN 2:30 pm KIM R. KASLING JAMES KIBBIE 16 APRIL 30 MARCH Iain Quinn; Adolphus Busch Hall, Harvard D.M.A. The University of Michigan David Lornson; Elliott Chapel, Presbyterian University, Cambridge, MA 12:15 pm St. John’s Univeristy Ann Arbor, MI 48109-2085 Homes, Evanston, IL 1:30 pm Peter Richard Conte; Village Church, Fort 734-764-1591 FAX: 734-763-5097 Michael Unger; St. Thomas University Cha- Myers, FL 7:30 pm Collegeville, MN 56321 pel, St. Paul, MN 8:15 pm email: [email protected] 17 APRIL 31 MARCH John Bostron; Trinity Church, Boston, MA Robert Ridgell; Trinity Wall Street, New York, 12:15 pm NY 1 pm William Weisser; Edenton Street United David K. Lamb, D.Mus. Methodist, Raleigh, NC 7:30 pm Richard Litterst 1 APRIL S. Wayne Foster; Parish Church of St. Hel- Director of Music/Organist Gail Archer; Temple Emanu-El, New York, ena, Beaufort, SC 12 noon First United Methodist Church First Church of Christ, Scientist NY 7:30 pm Tom Trenney; First Presbyterian, Birming- Columbus, Indiana Bach, St. Matthew Passion; Church of St. Ig- ham, MI 7:30 pm 812/372-2851 Rockford, Illinois natius Loyola, New York, NY 8 pm The Alabama Boychoir and Alabama Girls Weil Sawyer; Old Salem Visitor Center, Win- Chorus; Cathedral Church of the Advent, Bir- ston-Salem, NC 12 noon mingham, AL 12:30 pm Marijim Thoene; School of Public Health, Uni- Arlene Moulder, with saxophone; Fourth versity of Michigan, Ann Arbor, MI 12:15 pm Presbyterian, Chicago, IL 12 noon BETTY LOUISE LUMBY David Lamb; First United Methodist, Colum- Olivier Latry; Holy Name Cathedral, Chicago, David Lowry bus, IN 12 noon IL 8 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO 1512 BLANDING STREET, COLUMBIA, SC 29201 2 APRIL 18 APRIL DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO Virginia Koepkey; Christ Church, Bradenton, Boston Gay Men’s Chorus; All Saints, Worces- FL 12:15 pm ter, MA 7:30 pm ROCK HILL, SC 29733 MONTEVALLO, AL 35115 Felix Hell; St. Joseph’s Church, Orlando, FL Iain Quinn; St. Peter’s Lutheran, New York, 8 pm NY 8 pm Ray Cornils; Macy’s Department Store, Phila- 3 APRIL delphia, PA 2:30 pm Harold Stover; Trinity Church, Boston, MA Aaron David Miller; St. John’s Episcopal, 12:15 pm Chevy Chase, MD 7 pm James R. Metzler University of Michigan Men’s Glee Club; St. Kammerchor; Concordia University Wisconsin, Lorenz Lutheran, Frankenmuth, MI 8 pm Mequon, WI 2 pm PARK CONGREGATIONAL CHURCH Judith Miller; First Presbyterian, Jefferson- RAND APIDS ICHIGAN ville, IN 12 noon 19 APRIL G R , M James David Christie; First Evangelical Lu- 4 APRIL theran, Brockton, MA 3 pm Choral Festival; St. Peter’s Church, Morris- Eric Plutz; Cadet Chapel, U.S. Military Acad- town, NJ 3 pm emy, West Point, NY 3 pm Pavel Kohout; St. Thomas Church Fifth Av- William H. Murray 5 APRIL enue, New York, NY 5:15 pm A.S.C.A.P. Yale Camerata; Woolsey Hall, Yale University, Stephen Price; St. Peter’s Church, Morris- FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. New Haven, CT 3 pm town, NJ 4:30 pm Octet of MAPC; Madison Avenue Presbyte- The Practitioners of Musick; Christ Church, 345 SADDLE LAKE DRIVE rian, New York, NY 3 pm New Brunswick, NJ 6:30 pm, following 6 pm ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas Vespers (770) 594-0949 Cantori New York; Church of the Holy Trinity, New York, NY 4 pm Singing Boys of Pennsylvania; Friedens Lu- Passion Vespers; St. Peter’s Church, Morris- theran, Bernville, PA 4 pm town, NJ 4:30 pm Mark Laubach; Camp Hill Presbyterian, Camp MARILYN MASON Choristers of Christ Church; Christ Church, Hill, PA 4 pm CHAIRMAN, DEPARTMENT OF ORGAN New Brunswick, NJ 6:30 pm, following 6 pm Olivier Latry; Basilica of the National Shrine UNIVERSITY OF MICHIGAN Vespers of the Immaculate Conception, Washington, DC 6 pm ANN ARBOR Harold Pysher; Episcopal Church of Bethes- da-by-the-Sea, Palm Beach, FL 3:30 pm, Choral Felix Hell; Harmony United Methodist, Ham- “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Evensong at 4 pm ilton, VA 3 pm with awesome technique and a thrilling command of its daring writing.” Karel Paukert, with choir and soloists; St. Messiah Sing; St. Luke Church, McLean, VA The American Organist, 1980 Paul’s Episcopal, Cleveland Heights, OH 2 pm 4 pm Ken Cowan, Dupré, Stations of the Cross; Alan Morrison; Jacoby Hall, Jacksonville, FL First Trinity Presbyterian, Laurel, MI 4 pm 3 pm Choral Evensong; Christ Church, Grosse Stephen Schnurr; Cathedral of the Holy An- Pointe, Grosse Pointe Farms, MI 4:30 pm gels, Gary, IN 4 pm A two-inch LARRY PALMER S. Wayne Foster; Second Presbyterian, India- 8 APRIL napolis, IN 3 pm Professional Card Professor of Phillip Lamb; Old Salem Visitor Center, Win- LSTC Gospel Choir; Lutheran School of Theol- ston-Salem, NC 12 noon ogy, Chicago, IL 4 pm Rutter, Feel the Spirit; First Presbyterian, Ar- in The Diapason Harpsichord and Organ Offi ce of Tenebrae; St. Peter in Chains Cathe- lington Heights, IL 4 pm dral, Cincinnati, OH 7:30 pm For information on rates and Bach, Christ lag in Todesbanden; Presbyte- Meadows School of the Arts rian Church of Barrington, Barrington, IL 4 pm 9 APRIL specifi cations, contact: Christopher Houlihan; Shryock Auditorium, Good Friday Lessons & Carols; All Saints, SOUTHERN METHODIST UNIVERSITY Carbondale, IL 3 pm Jerome Butera Worcester, MA 7:30 pm Dallas, Texas 75275 Stainer, The Crucifixion; First United Method- 20 APRIL [email protected] ist, Columbus, IN 7 pm 847/391-1045 Zach Klobnak, Brandon McBath, Xavier Rich- Musical Heritage Society recordings ardson, Stephanie Smith, & Erica Wessling; 10 APRIL Morrison United Methodist, Leesburg, FL 7:30 pm Good Friday Memorial Concert; First Church Peter Richard Conte; Cincinnati Museum of Christ, Wethersfi eld, CT 7 pm Center, Cincinnati, OH 7:30 pm Fauré, Requiem; Church of the Holy Trinity, Organ & instruments concert; Music Institute New York, NY 12 noon of Chicago, Evanston, IL 7:30 pm Arthur LaMirande Stainer, The Crucifixion; St. James’ Church, LaMirande must be complimented upon investi- Madison Ave., New York, NY 7:30 pm 21 APRIL gating music that few of his fellow organists have Terry Charles; Kirk of Dunedin, Dunedin, FL Isabelle Demers; Trinity Wall Street, New had the foresight to examine and to bring before the 8 pm York, NY 1 pm public.—American Record Guide Fauré, Requiem; Christ Church Grosse Pointe, James Wetzel; Church of St. Vincent Ferrer, Grosse Pointe Farms, MI 7 pm New York, NY 7 pm L’organiste traversa son programme entier avec Gary Pope; Old Capitol United Methodist, Clive Driskill-Smith; St. John the Evangelist une authorité, une solidité technique et une fraîcheur Corydon, IN 12 noon Episcopal, St. Paul, MN 7:30 pm de registration qui, loin de faiblir en fi n d’exercice, accompagnèrent les deux rappels d’ailleurs accordé 11 APRIL 22 APRIL sans la moindre hésitation.—La Presse, Montréal Terry Charles; Kirk of Dunedin, Dunedin, FL Christin Baker; Old Salem Visitor Center, 2 pm Winston-Salem, NC 12 noon 461 Fort Washington Avenue, Suite 33 New York, NY 10033 12 APRIL 23 APRIL 212/928-1050 [email protected] Frederick Teardo & Kevin Kwan; St. Thomas Scott Lamlein; Adolphus Busch Hall, Harvard Church Fifth Avenue, New York, NY 2:30 pm University, Cambridge, MA 12:15 pm
34 THE DIAPASON
Mar 09 pp. 33-37.indd 34 2/11/09 8:29:10 AM Carolyn & John Skelton; First Presbyterian, 29 APRIL Pittsburgh, PA 12:10 pm Peter Richard Conte; Highland Presbyterian, Lancaster, PA 7:30 pm DOUGLAS O’NEILL 24 APRIL Erica Johnson; Old Salem Visitor Center, LEON NELSON Eric Dombrowski; Trinity Church, Boston, MA Winston-Salem, NC 12 noon University Organist Cathedral of the Madeleine 12:15 pm North Park University Salt Lake City, Utah David Jonies; Cathedral of St. Joseph, Hart- 30 APRIL [email protected] ford, CT 7:30 pm Bach, Six Motets; Church of St. Luke in the Chicago, Illinois Nathan Laube; Emmanuel Church, Chester- Fields, New York, NY 8 pm 801/323-9850 town, MD 7:30 pm Michael Smith; First Presbyterian, Pittsburgh, Barbara MacGregor, with University of Akron PA 12:10 pm Brass Choir; Holy Trinity Lutheran, Akron, OH Stephen G. Schaeffer 8 pm DOUGLAS REED Organized Rhythm (Clive Driskill-Smith, or- UNITED STATES Recitals – Consultations gan and Joseph Gramley, percussion); First West of the Mississippi Presbyterian, Saginaw, MI 8 pm UNIVERSITY OF EVANSVILLE Cathedral Church of the Advent David Lamb, with piano; St. John United Pres- 15 MARCH EVANSVILLE, INDIANA Birmingham, Alabama byterian, New Albany, IN 8 pm Paul Jacobs; First United Methodist, St. www.AdventBirmingham.org Todd Wilson, with Trinity University Orches- Charles, MO 3 pm tra; Arnold T. Olson Chapel, Trinity International Piffaro; Christ the King Lutheran, Houston, TX University, Deerfi eld, IL 7:30 pm 6 pm Thomas Weisfl og, with Millar Brass Ensem- Felix Hell; Faith Presbyterian, Sun City, AZ 3 Stephen Tappe ble; Rockefeller Memorial Chapel, University of pm ROBERT L. Chicago, Chicago, IL 8 pm Frederick Swann; Gold Canyon United Meth- Organist and Director of Music odist, Gold Canyon, AZ 3 pm SIMPSON Saint John's Cathedral 25 APRIL Jonathan Young; Lagerquist Hall, Pacifi c Lu- Christ Church Cathedral David Higgs, masterclass; Thomson Alum- theran University, Tacoma, WA 3 pm Denver, Colorado 1117 Texas Avenue nae Chapel, Wilson College, Chambersburg, PA Christoph Tietze; St. Mary’s Cathedral, San Houston, Texas 77002 www.sjcathedral.org 10 am Francisco, CA 3:30 pm J. S. Bach Birthday Bash; Trinity Episcopal, 26 APRIL Santa Barbara, CA 3:30 pm Choral Evensong; All Saints, Worcester, MA Ken Cowan; St. Margaret’s Episcopal, Palm 5 pm Desert, CA 4 pm Marcia Van Oyen Louis Perazza; St. Thomas Church Fifth Av- Gillian Weir, works of Messiaen; Walt Disney Joe Utterback enue, New York, NY 5:15 pm Concert Hall, Los Angeles, CA 7:30 pm First United Methodist Church, The Genevans; First Presbyterian, Pittsburgh, COMMISSIONS & CONCERTS Biola University Chorale; Rancho Bernardo Plymouth, Michigan PA 2 pm Presbyterian, Rancho Bernardo, CA 4 pm 732 . 747 . 5227 David Higgs; Thomson Alumnae Chapel, Wil- mvanoyen.com son College, Chambersburg, PA 3 pm 16 MARCH Bruce Neswick; Calvary Episcopal, Pitts- Daniel Roth; Plymouth Congregational, Min- burgh, PA 4 pm neapolis, MN 7:30 pm Choirs of St. Thomas Church New York City, Washington National Cathedral, and Canterbury 18 MARCH David Wagner Cathedral Choir, UK; Washington National Ca- Iain Quinn; Cathedral Church of St. John, Al- DMA Kevin Walters thedral, Washington, DC 4 pm buquerque, NM 12:30 pm Madonna University Tom Trenney; Immaculate Heart of Mary, Maxine Thevenot, Poulenc, Concerto for Or- M.A., F.A.G.O. Towson, MD 4 pm gan, Strings and Tympani; Memorial Church, Livonia, Michigan Choral Vespers; Cathedral of Mary Our Queen, Stanford University, Stanford, CA 8 pm [email protected] Rye, New York Baltimore, MD 5:30 pm Maurice Clerc; First United Methodist, Ocala, 20 MARCH FL 3 pm Anthony & Beard (Ryan Anthony, trumpet Isabelle Demers & Daniel Sullivan; Christ and Gary Beard, organ); First United Methodist, Church, Pensacola, FL 3 pm Jonesboro, AR 7:30 pm Clive Driskill-Smith; First United Methodist, Dana Robinson; Christ Church, Episcopal, KARL WATSON Cherie Wescott Cordele, GA 4 pm Tacoma, WA 12:10 pm Concerts • Masterclasses • Coaching Choral concert with orchestra; Cathedral SAINT LUKE’S Church of the Advent, Birmingham, AL 4 pm 21 MARCH 405/942-3958 Olivier Latry; St. Norbert Abbey, DePere, WI Felix Hell, masterclass; Heine Recital Hall, METUCHEN e-mail: [email protected] 2 pm Concordia University, Seward, NE 10 am Todd Wilson; Arnold T. Olson Chapel, Trinity +Felix Hell; Heine Recital Hall, Concordia Uni- International University, Deerfi eld, IL 3 pm versity, Seward, NE 3 pm, 7 pm Paul Nicholson, harpsichord, with viole de Jonathan Wohlers & Naomi Shiga; Christ gambe; St. Chrysostom’s, Chicago, IL 7 pm Church, Episcopal, Tacoma, WA 7:30 pm Davis Wortman +David Gell; Santa Ynez Valley Presbyterian, RONALD WYATT 27 APRIL Ballard, CA 4 pm Bruce Neswick, masterclass; Calvary Episco- St. James’ Church Trinity Church pal, Pittsburgh, PA 7:30 pm 22 MARCH David Lamb; Elliott Chapel, Presbyterian Vocalessence; Orchestra Hall, Minneapolis, New York Galveston Homes, Evanston, IL 1:30 pm MN 4 pm Stephen Tharp; Cathedral Basilica of St. Lou- 28 APRIL is, St. Louis, MO 2:30 pm Paul Skevington, hymn festival; St. Luke +Felix Hell; Heine Recital Hall, Concordia Uni- Charles Dodsley Walker, FAGO Church, McLean, VA 7:30 pm versity, Seward, NE 3 pm Clive Driskill-Smith; Peachtree Presbyterian, J. Melvin Butler, with violin; St. Mark’s Cathe- Artist-in-Residence Founder/Conductor Atlanta, GA 7 pm dral, Seattle, WA 2 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral of St. John SYLVIE POIRIER Albuquerque, New Mexico (YHKPVWYVNYHTMVY[OLRPUNVMPUZ[Y\TLU[Z www.stjohnsabq.org PHILIP CROZIER 505-247-1581 #0909 - In Concert…organists and their music are everywhere ORGAN DUO around us, as this program of live and lively performances… 3355 Queen Mary Road, Apt 424 from Wisconsin, Minnesota, Ohio, North Carolina, M Montreal, H3V 1A5, P. Quebec Pennsylvania and Connecticut…demonstrates. A Canada #0910 - March On!…from Gounod to Gershwin, (514) 739-8696 R we offer a collection of melodious, mobile music C guaranteed to keep you on your toes. Fax: (514) 739-4752 Iain Quinn Maxine Thevenot Director of Cathedral Associate Organist- [email protected] Music & Organist H #0911 - Surprise Bachs!…in recently discovered scores, unusual Choir Director arrangements, or pieces forgotten in dark corners, the genius 2 of Johann Sebastian Bach always delights (b. 3/21/1685). DAVID SPICER #0912 - Organ Plus…the King of Instruments speaks clearly, 0 whether in consort with a single additional instrument, First Church of Christ 0 or roaring in chorus with a full symphony orchestra. Wethersfi eld, Connecticut Carol Williams 9 #0913 - From Palms to Passiontide…musical portraits of the progressive pomp and impending peril that San Diego Civic Organist comprise the dramatic narration of Holy Week.
From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford
MARCH, 2009 35
Mar 09 pp. 33-37.indd 35 2/11/09 8:29:35 AM David Phillips; St. Mary’s Cathedral, San Tallis, Lamentations of Jeremiah; All Saints’, Janelle Maes; Mount St. Scholastica Chapel, Daniel Cook; St. Bride’s Fleet Street, London, Francisco, CA 3:30 pm Beverly Hills, CA 7:30 pm Atchison, KS 2 pm UK 7:30 pm Bach, St. John Passion; St. Alban’s, West- Richard Pare, with Los Angeles Philharmonic; Bradley Hunter Welch; Church of the Holy wood, CA 4 pm Walt Disney Concert Hall, Los Angeles, CA 8 pm Communion at Frankford, Dallas, TX 4 pm 20 MARCH Bachanalia organ marathon; Lutheran Church Ken Cowan; American Lutheran Church, Sun Daniel Cook; Manchester Cathedral, Man- of Honolulu, Honolulu, HI 2 pm, Vespers at 4 pm 4 APRIL City, AZ 3 pm chester, UK 7:30 pm +Paul Jacobs; Herrick Chapel, Grinnell Col- Bruce Neswick; Lagerquist Hall, Pacifi c Lu- 24 MARCH lege, Grinnell, IA 3 pm theran University, Tacoma, WA 3 pm 21 MARCH David Pickering, lecture-recital, organ music +Davis Folkerts, silent fi lm accompaniment; Michael Unger; First Presbyterian, Medford, Bine Katrine Bryndorf, masterclass; St. Sav- iour’s Church, St. Albans, UK 10:30 am, recital of Daniel Gawthrop; Plymouth Congregational, Herrick Chapel, Grinnell College, Grinnell, IA OR 3 pm 5:30 pm Des Moines, IA 7:30 pm 8 pm David Pickering; St. Mary’s Cathedral, San Graham Davies; All Saints Parish Church, Dong-ill Shin, masterclass; University of Tex- Francisco, CA 3:30 pm Stephen Hamilton, Dupré: Le Chemin de la High Wycombe, UK 12 noon Croix; Wiedemann Hall, Wichita State University, as, Austin, TX 2 pm Cameron Carpenter; Plummer Auditorium, Fullerton, CA 2:30 pm Carol Williams; St. Mary’s Church, Andover, Wichita, KS 7:30 pm Richard Pare, with Los Angeles Philharmonic; Frederick Swann UK 7:50 pm Walt Disney Concert Hall, Los Angeles, CA 8 pm ; St. Margaret’s Episcopal, Palm Desert, CA 4 pm 25 MARCH 22 MARCH Frederick Frahm; Cathedral Church of St. 5 APRIL 22 APRIL James Grainger; Old Royal Naval College John, Albuquerque, NM 12:30 pm Dong-ill Shin; Bates Recital Hall, University of Lynne Davis, children’s concert; Wiedemann Chapel, Greenwich, UK 3 pm Texas, Austin, TX 4 pm Hall, Wichita State University, Wichita, KS 10:30 Robert Smith; Westminster Abbey, London, 27 MARCH Handel, Brockes Passion; Christ the King Lu- am UK 5:45 pm Nathan Jensen; Spanaway Lutheran, Span- theran, Houston, TX 6 pm Paul Jacobs, with San Francisco Symphony; away, WA 12 noon Scarlatti, Passion According to St. John; Cathe- Davies Hall, San Francisco, CA 8 pm 24 MARCH Frederick Swann; Central United Methodist, dral Church of St. John, Albuquerque, NM 3 pm Constantin Alex; Russian Gnessins’ Acad- emy of Music, Moscow, Russia 7 pm Stockton, CA 7 pm Richard Pare, with Los Angeles Philharmonic; 23 APRIL Walt Disney Concert Hall, Los Angeles, CA 2 pm Olivier Latry; St. Andrew’s Episcopal, Ama- 25 MARCH 28 MARCH Christoph Bull & Friends: organica X; Royce rillo, TX 7 pm Jürgen Essl; Catholic Cathedral, Moscow, Thierry Escaich, with Pacifi c Chorale; Seger- Hall, UCLA, Los Angeles, CA 7 pm Paul Jacobs, with San Francisco Symphony; Russia 7:30 pm strom Concert Hall, Orange County PAC, Costa Bach, St. Matthew Passion; First United Meth- Davies Hall, San Francisco, CA 2 pm Mesa, CA 4 pm odist, Santa Monica, CA 7 pm Dennis James, silent fi lm accompaniment, 26 MARCH with orchestra; Orange County Performing Arts Jeremy Josef; Russian Gnessins’ Academy 29 MARCH 6 APRIL Center, Costa Mesa, CA 8 pm of Music, Moscow, Russia 7 pm Fauré, Requiem; All Saints’ Episcopal, Las Joseph Adam; Benaroya Hall, Seattle, WA Vegas, NV 5:30 pm 12:30 pm 24 APRIL 27 MARCH Peter Sykes; Trinity Lutheran, Lynnwood, WA Paul Jacobs, with San Francisco Symphony; Alexander Fiseisky; Russian Gnessins’ Davies Hall, San Francisco, CA 8 pm 7 pm 10 APRIL Academy of Music, Moscow, Russia 7 pm Garrett Collins; St. Mary’s Cathedral, San Handel, Brockes Passion; Christ the King Lu- Dennis James, silent fi lm accompaniment, Francisco, CA 3:30 pm theran, Houston, TX 3 pm with orchestra; Orange County Performing Arts 28 MARCH Hymn festival; Trinity Episcopal, Santa Bar- Cathedral Choir and Orchestra; Cathedral Center, Costa Mesa, CA 8 pm Dmitry Bondarenko; Russian Gnessins’ bara, CA 3:30 pm Church of St. John, Albuquerque, NM 3 pm Academy of Music, Moscow, Russia 7 pm Anglican Chorale; Community United Method- 25 APRIL ist, Huntington Beach, CA 4 pm 12 APRIL Paul Jacobs, with San Francisco Symphony; 29 MARCH Choral Evensong; All Saints, Pasadena, CA Angela Kraft Cross; St. Mary’s Cathedral, Davies Hall, San Francisco, CA 8 pm Tatyana Zenaishvili, organ and harpsichord; 5 pm San Francisco, CA 3:30 pm Gerre Hancock, improvisation workshop; State M. Glinka Museum of Music Culture, Mos- Frederick Swann, choral festival; Central Concert Hall, Fresno State University, Fresno, cow, Russia 4 pm United Methodist, Stockton, CA 7 pm 17 APRIL CA 10 am Jens Christensen, with violin; Catholic Cathe- John Scott; St. John’s Cathedral, Denver, CO Dennis James, silent fi lm accompaniment, dral, Moscow, Russia 7:30 pm 1 APRIL 7:30 pm with orchestra; Orange County Performing Arts William Whitehead; Old Royal Naval College Lynne Davis; Wiedemann Hall, Wichita State Center, Costa Mesa, CA 8 pm Chapel, Greenwich, UK 3 pm University, Wichita, KS 5:30 pm 18 APRIL James McVinnie; Westminster Abbey, Lon- 26 APRIL Maxine Thevenot; Cathedral Church of St. +David Rothe; St. Andrew’s Episcopal, Ante- don, UK 5:45 pm Bach Vespers; Christ the King Lutheran, Hous- John, Albuquerque, NM 12:30 pm lope, CA 7 pm ton, TX 6 pm 2 APRIL Iain Quinn & Maxine Thevenot; Cathedral 3 APRIL 19 APRIL Hans-Georg Reinertz; St. Margaret Lothbury, Church of St. John, Albuquerque, NM 3 pm +Kevin Bowyer London, UK 1:10 pm ; Herrick Chapel, Grinnell Col- Haydn, Lord Nelson Mass; Second Presbyte- Paul Tegels, with violin; Grace Lutheran, Ta- lege, Grinnell, IA 8 pm rian, St. Louis, MO 4 pm Ray Cornils, with brass; La Compagnia de coma, WA 3 pm Jesus, Quito, Ecuador 7:30 pm Paul Jacobs; Davies Hall, San Francisco, CA 2 pm 3 APRIL ORGAN BUILDERS Louis Perazza; St. Mary’s Cathedral, San Geoffrey Tuson; Parish Church of SS. Peter Francisco, CA 3:30 pm and Paul, Godalming, UK 1 pm Frederick Swann; Lutheran Church of the L. W. BLACKINTON Master, Corona del Mar, CA 4 pm 4 APRIL THE NOACK ORGAN CO., INC. Gerre Hancock and associates, inc. MAIN AND SCHOOL STREETS ; Fresno State University Con- Ray Cornils; Catedral, Puertoviejo, Ecuador GEORGETOWN, MA 01833 cert Hall, Fresno, CA 3 pm 7 pm www.noackorgan.com Herndon Spillman; Fist Congregational, Los 380 FRONT ST. Angeles, CA 4 pm EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America 5 APRIL Anglican Chorale; First United Methodist, Daniel Hyde; Westminster Abbey, London, Whittier, CA 4 pm UK 5:45 pm martin ott pipe organ company 29 APRIL 6 APRIL inc. Lynne Davis; Wiedemann Hall, Wichita State Ray Cornils; Catedral Metropolitana, Quito, University, Wichita, KS 5:30 pm Ecuador 6 pm 1353 Baur Boulevard St. Louis, MO 63132-1903 314-569-0366 Phone 30 APRIL 8 APRIL 314-504-0366 Cell Paul Jacobs, with Phoenix Symphony; Sym- Steven Grahl; St. Marylebone Parish Church, Martin Ott 314-569-3879 Fax ofÄ[email protected] phony Hall, Phoenix, AZ 7:30 pm London, UK 7 pm Orgelbaumeister www.ottpipeorgan.com 11 APRIL NEW INSTRUMENTS INTERNATIONAL Huw Morgan; St. Laurence Catford, Catford, MAINTENANCE UK 11 am RESTORATIONS Parkey 15 MARCH 12 APRIL 974 AUTUMN DRIVE OrganBuilders Sean Farrell; Old Royal Naval College Cha- Robert Quinney; Westminster Abbey, Lon- ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs pel, Greenwich, UK 3 pm don, UK 5:45 pm ABR 847-395-1919 F INCY James O’Donnell; Westminster Abbey, Lon- 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 Suite 150-285 Fax 770-368-3209 don, UK 5:45 pm 17 APRIL www.fabryinc.com Duluth, Georgia 30096 www.parkeyorgans.com Ruaraich Sutherland; St. Stephen Walbrook, 18 MARCH London, UK 12:30 pm Gavin Roberts; St. Marylebone Parish Paul Jacobs; Holy Rosary Cathedral, Van- Church, London, UK 7 pm couver, BC, Canada 8 pm Pipe Organ Craftsmen & Builders Hupalo GF 19 MARCH 18 APRIL 1785 Timothy Drive, Unit 4 Carol Williams; St. Leonards Church, Sher- Joseph Sentance; All Saints Parish Church, & San Leandro, CA 94577 fi eld-On-Loddon, Hampshire, UK 7:30 pm High Wycombe, UK 12 noon Repasky Tel: 510 483 6905 www.hupalorepasky.com
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36 THE DIAPASON
Mar 09 pp. 33-37.indd 36 2/11/09 8:30:20 AM Freddie James; St. John the Evangelist, Up- Oar, Last Judgment, Bates; Final (Hommage arr. Dixon; Give Me Jesus, Down by the River- Messiaen; Rosace (Esquisses Byzantines), per Norwood, UK 6:30 pm à Igor Stravinsky), Hakim. side, I’ve Got Shoes, Church in the Wildwood, Mulet; Toccata, Fugue and Hymn on Ave Over in the Glory Land, Just a Closer Walk Maris Stella, Peeters; Toccata, Slonimsky; 23 APRIL PAUL CIENNIWA, St. Thomas Church with Thee, When the Saints Go Marching in, Toccata, Mushel. Travis Baker; St. Matthew’s Westminster, Fifth Avenue, New York, NY, October 12, Dixon. London, UK 1:05 pm L’ouverture d’Isis, Geoffroy; Chaconne grave, JAMES WELCH, Christ Episcopal Henri Pourtau; St. Margaret Lothbury, Lon- Chaumont; Pièces d’orgue en ré, Lanes; DAVID HATT, St. Mary’s Cathedral, San Church, Eureka, CA, October 19: Toccata on don, UK 1:10 pm Chaconne en la, Chaumont; Fugue I, Fugue Francisco, CA, October 12: Variations and Amazing Grace, Pardini; Toccata in d, Fugue III, Fugue V (Journal d’orgue), Beauvarlet- Fugue on Heil dir im Siegerkranz, Seven Piec- in G, Bach; Allegro e spiritoso per fl auti, Ga- 25 APRIL Charpentier; Magnifi cat en A mila 3#, très es, op. 145, Reger. luppi; Introduction and Passacaglia, Reger; Robert Quinney; St. Peter’s Church, St. Al- utile aux Dames Religieuses, Corrette. Cadence, Berveiller; Variations de Concert, bans, UK 5:30 pm NAOMI ROWLEY, with Mary Bell, fl ute, Bonnet; Come, Come, Ye Saints, Diemer; Gillian Weir; St. John the Evangelist, Isling- PHILIP CROZIER, St. Nicolai, Flens- Shepherd of the Bay Lutheran Church, Elli- The Ash Grove, Wood; Boléro de Concert, ton, London, UK 7:30 pm burg, Germany, July 26: Air and Gavotte, son Bay, WI, October 26: Psalm 46: A Mighty Lefébure-Wély; Toccatina, Noble; Andante Wesley; Sonata No. 6, op. 65, Mendelssohn; Fortress Is Our God, Zwart; Prelude and cantabile (Symphony No. 5), Tchaikovsky; 26 APRIL Wie schön leuchtet der Morgenstern, op. 68, Fugue in d, C. Schumann, arr. Dorfmüller; The Squirrel, Weaver; Toccata (Symphony Ken Cowan; Westminster United Church, no. 7, Peeters; Voluntary in A, Stanley; Pre- Sonata in F for Flute and Organ, Marcello; No. 5), Widor. Winnipeg, MB, Canada 7:30 pm lude and Fugue in E, Lübeck; Desseins éter- Allegro (Concerto in g), Graun; Andante nels (La Nativité du Seigneur), Messiaen; Trio sostenuto (Symphonie gothique, op. 70), ANITA EGGERT WERLING, First Pres- 28 APRIL in G, BWV 1027a, Bach; Fantaisie, Bédard. Widor; Psalm 100: All People That on Earth byterian Church, Macomb, IL, October 19: Philip Crozier; Cathedral Church of St. James, Do Dwell, Jones; Psalm 104: O Worship the Apparition de l’Eglise Éternelle, Verset pour Toronto, ON, Canada 1 pm ISABELLE DEMERS, St. Mary’s Cathe- King, Stirling; Ornament of Grace, Sanders; la Fête de la Dédicace, Messiaen; Prelude and dral, San Francisco, CA, September 28: Alle Petit Prélude, Jongen; Melodia for Flute and Fugue in E-fl at, BWV 552, Vom Himmel hoch, Menschen müssen sterben, op. 52, no. 1, Wa- Organ, Bédard; March upon a Theme by da komm’ ich her, BWV 769, Bach; Médita- chet auf, ruft uns die Stimme, op. 52, no. 2, Handel, op. 15, Guilmant. tion VIII (Méditations sur le Mystère de la Organ Recitals Hallelujah! Gott zu loben, op. 52, no. 3, Reger. Sainte Trinité), Dieu parmi nous (La Nativité MAXINE THÉVENOT, with Lindabeth du Seigneur), Messiaen. HENRY DI CRISTOFANO, Our Lady of Binkley, oboe, University of Arizona, Tucson, BR. BENJAMIN BASILE, C.PP.S., Sorrows Basilica, Chicago, IL, October 26: AZ, October 19: Ornament of Grace, Sand- ROBERT E. WOODWORTH, JR., Loyola with Br. Hugh Henderson, C.PP.S., narra- Ave Maria, Arcadelt, arr. Liszt; Praeludium, ers; Allegro vivace (Symphonie I in d, op. 15), University, Chicago, IL, October 20: Fanfare, tor, St. Henry Catholic Church, St. Henry, Bruhns; Toccata per l’Elevazione, Fresco- Stèle pour un enfant défunt (Triptyque, op. Hewitt-Jones; Voluntary in G, Goodwin; The OH, July 10: Prelude on Lux Eoi, Stras- baldi; Allegro moderato e serioso (Sonata I), 58), Sûr le Rhin (Pièces de Fantaisie, op. 54), Shepherds (La Nativité du Seigneur), Mes- zeski; Balletto del Granduca, Sweelinck; Mendelssohn; Panis Angelicus, Franck, arr. Vierne; Continuum (Notre Dame), Quinn; siaen; Magnifi cat on the First Tone, Tritant; The Modal Trumpet, Karam; The Musical Geehl; Praeludium in G, BWV 541a, Bach; Five Liturgical Inventions, Togni; Alleluyas, March in C, Thompson. Clocks (Flötenuhr), Haydn, arr. Biggs; Clair Elevation (Mass for the Convents), Couperin; Preston; Hesychia, Landry; Hommage à Mes- de lune (Suite bergamasque), Debussy, arr. Allegro (Fantaisie in E-fl at), Saint-Saëns. siaen, Robinson; At the Ballet (Five Danc- RUDOLF ZUIDERVELD, First Presby- Richter; The Battle of Trenton, Hewitt; Lar- es), Hampton; Totentanz (Hommage à Petr terian Church, Decatur, IL, October 26: Toc- go (Xerxes), Handel, transcr. Shelley; Festi- JOAN DeVEE DIXON, Resurrection Eben), Stacey. cata and Fugue in d, Liebster Jesu, wir sind val March, Mosenthal. Parish, Santa Rosa, CA, October 19: Three hier, Nun freut euch, lieben Christen gmein, Blind Mice, Thompson; Fantasy and Faith at GILLIAN WEIR, Cathedral of St. John, Bach; Canon in D, Pachelbel, arr. Wolff; ROBERT BATES, Metropolitan United Oxford, Diemer; Ornament of Grace, Sand- Albuquerque, NM, October 26: Variations Adagio, Fiocco; Tarantella (Concerto II), van Methodist Church, Detroit, MI, September ers; Blithely Breezing Along, Paulus; Preludio on a Hymn Tune (Braint), op. 20, Mathias; Wassenaer, arr. Tamminga; Fantasy on the 21: Prelude in E-fl at, BWV 552/I, Allein Gott Cromatico, HavlíĀek; Nocturne, Wiedermann; Sonata in C, K. 255, Scarlatti; Worcester Luther-song A Mighty Fortress Is Our God, in der Höh’ sei Ehr’, BWV 676, Duetto No. 1 Concert Etude in C-sharp, Strejc; Stoptime Braules, Tomkins; Voluntary in d, Purcell; Zwart; Toccata and Chorale on Psalm 98, in e, BWV 802, Duetto No. 2 in F, BWV 803, Rag, Joplin, arr. Dixon; Congregational Psalm Introduction, Passacaglia, and Fugue, Willan; van Twillert; Elegy, Thalben-Ball; Trumpet Duetto No. 3 in G, BWV 804, Duetto No. 4 (Mass for Spillville), Dixon; Polka (Zlonice), Joie et clarté des Corps Glorieux (Les Corps Minuet, Hollins; Lotus Blossom, Strayhorn, in a, BWV 805, Fugue in E-fl at, BWV 552/ Humoreske, Goblin’s Dance, Largo “from the Glorieux), Les Oiseaux et les Sources (Messe arr. Wyton; William the Conqueror, Duncan; II, Bach; Annum per annum, Pärt; Charon’s New World,” Slavonic Dance No. 1, Dvorák, de la Pentecôte), Les Anges (La Nativité), Toccata (Symphony No. 5), Widor.
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Mar 09 pp. 33-37.indd 37 2/11/09 8:30:39 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS PIPE ORGANS RECORDINGS RECORDINGS FOR SALE FOR SALE
Alec Wyton’s Lotus is back in print. Restored The practical choice! Touch and perfor- Pipe organ located in Grace Bible Church of A college in Nashville closed its music pro- one year before his death, our exclusive edition mance practice through musical exam- Oshkosh, Wisconsin; 2-keyboard console; built gram in 1988 and is offering a two-manual and includes photos and the full story behind Billy ples. Harpsichord Technique: A Guide to by Barton Organ Co. between 1920 and 1932; pedal Zimmer and Sons practice organ. Excel- Strayhorn’s haunting melody played at Duke Expressivity, 2nd Ed. w/ CDs, by Nancy $2500 or best offer. 920/731-5092; mratsch@ lent condition with new long cable installed. Ellington’s funeral. michaelsmusicservice.com; Metzger. www.rcip.com/musicadulce. sbcglobal.net. Cost reduced to $10,000 + shipping/handling. 704/567-1066. Contact Milnar Organ Co. 615/274-6400 or www.milnarorgan.com for details. Portative organ: Designed for small choral or Organ-isms: Anecdotes from the World of the CD Recording, “In memoriam Mark Buxton ′ ′, ′, King of Instruments. Hilarious stories from 120 baroque ensembles. Four stops: 8 , 4 2 and 1940s vintage 8-rank Wangerin pipe organ for (1961–1996).” Recorded at Église Notre-Dame 1-1/3′, with the last two divided into bass and organists worldwide. Price: US$24 postpaid. de France in Leicester Square, London, between sale. Organ is currently playing in a private resi- Orders: www.pipeorgan.co.nz. treble registers and an adjustable point of di- dence in the Detroit metro area. Asking $5,000 1987 and 1996. Works of Callahan, Widor, vision (b24/c25 or c25/c#26). Adjustable pitch OBO. Buyer to remove. Please call before 10 pm Grunewald, Salome, Ropartz, and Boëllmann, between A=440 Hz and A=415 Hz. Quarter- EST. 248/356-0896; [email protected]. The OHS Catalog is online at www.ohscata- along with Buxton’s improvisations. $15 post- sawn white oak case. Available immediately. log.org. More than 5,000 organ and theatre paid: Sandy Buxton, 10 Beachview Crescent, To- For more information, contact Létourneau Pipe organ CDs, books, sheet music, DVDs and ronto ON M4E 2L3 Canada. 416/699-5387, FAX Organs at [email protected] or 1976 Schantz—19 ranks, 2 manuals and pedal. VHS videos are listed for browsing and easy 416/964-2492; e-mail [email protected]. 888/774-5105. Pristine condition; playable. Asking $185,000 + ordering. Use a link for adding your address cost of removal. For details contact Pastor Judy to the OHS Catalog mailing list. Organ Histori- Anderson at [email protected]. cal Society, Box 26811, Richmond, VA 23261. Historic Organ Surveys on CD: recorded during 1972 two-manual, 14-rank electro-pneumatic national conventions of the Organ Historical So- E-mail: [email protected]. unit organ. Built by Burger of Minneapolis; sup- ciety. Each set includes photographs, stoplists, ply-house parts. Unifi ed to 44 stops. Subbass, 60 year-old Wicks pipe organ. Dismantled; and histories. As many organists as organs and pipes in wood trays. Purchaser to remove from Refl ections: 1947–1997, The Organ Depart- repertoire from the usual to the unknown, Arne Gedeckt, and chimes NOT for sale. Make offer. the church. $3,800 cash. 586/202-9960. ment, School of Music, The University of Michi- to Zundel, often in exceptional performances on Buyer to remove during July–August 2009. St. gan, edited by Marilyn Mason & Margarete beautiful organs. Each set includes many hymns John’s Lutheran Church, 803 First Street West, Thomsen; dedicated to the memory of Albert sung by 200–400 musicians. Historic Organs of Park Rapids, MN 56470, 218/732-9783. 1960s Walcker (German) 14-rank tracker Stanley, Earl V. Moore, and Palmer Christian. Louisville (western Kentucky/eastern Indiana) organ. Open toe voicing on 2″ wind pressure. ′ Includes an informal history-memoir of the organ 32 organs on 4 CDs, $29.95. Historic Organs of Reverse console built into case. Footprint is 6 department with papers by 12 current and former Casavant opus 2086. A spendid 2-manual with wide by 11′6″ deep (including console and pedal Maine 39 organs on 4 CDs, $29.95. Historic Or- ′ ″ ′ faculty and students; 11 scholarly articles; remi- gans of Baltimore 30 organs on 4 CDs, $29.95. drawknob console in good playing condition. stops), 9 10 tall. All encased with 4 Principal niscences and testimonials by graduates of the The instrument is free-standing with two Swell façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- Historic Organs of Milwaukee 25 organs in Wis- ′ ′ department; 12 appendices, and a CD record- consin on 2 CDs, $19.98. Historic Organs of New boxes (partially enclosed Great). Four 16 stops quialtera, II–III Mixture. Manual II—8 Gemshorn, ing, “Marilyn Mason in Recital,” recorded at the in the pedal, including an Open Metal. Shipping 4′ Rohrfl ote, 2′ Principal, 1-1/3′ Quinte. Pedal— Orleans 17 organs in the Bayous to Natchez on ′ ′ ′ National Shrine of the Immaculate Conception boxes included. 603/529-0870. 16 Bourdon, 8 Flute, 4 Choralbass. Playing and in Washington, DC. $50 from The University of 2 CDs, $19.98. Historic Organs of San Francisco in use regularly. Asking $24,500. For recordings Michigan, Prof. Marilyn Mason, School of Music, 20 organs on 2 CDs, $19.98. Add $4.50 shipping and pictures contact [email protected]. Ann Arbor, MI 48109-2085. in U.S. per entire order from OHS, Box 26811, Richmond, VA 23261, by telephone with Visa or 1964 M.P. Möller pipe organ. 36-rank American Classic specifi cation including two célestes, two MasterCard 804/353-9226; FAX 804/353-9266. Continuo organ, 8′, 4′, 2′; 8′ principal c1–g3 enclosed divisions and 32′ reed. Three-manual Aging of Organ Leather by Harley Piltingsrud playable at A-440 or A-415; portable. $39,000. tells how to test and select organ leathers for lon- console. No casework or façades; instrument is A. David Moore Inc., telephone: 802/457-3914. gevity of 60 years or more. Treats other aspects Request a free sample issue of The Diapason in good condition but will need releathering. Ask- of leather production and the history of testing for for a student, friend, or colleague. Write to the ing $50,000 “as is” or can be rebuilt with some longevity. New 48-page edition in 1994, $9.95 + Editor, The Diapason, 3030 W. Salt Creek Lane, modifi cations. Available immediately. For more Send recital programs to THE DIAPASON, 3030 W. $4.50 shipping for entire order (within USA). Or- Suite 201, Arlington Heights, IL 60005; or e-mail: information, contact Létourneau Pipe Organs at Salt Creek Lane, Suite 201, Arlington Heights, IL der online at www.ohscatalog.org. [email protected]. [email protected] or 888/774-5105. 60005; e-mail: [email protected]. glück newyork orgaNbuilders
170 Park Row, Suite 20A TOTAL PIPE ORGAN RESOURCES New York, NY 10038
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38 THE DIAPASON
Mar 09 pp. 38-39.indd 38 2/11/09 8:31:17 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
ELECTRONIC ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Allen organ. 36 stops, two manuals and pedal, Solid State Logic single memory combination Aeolian/Robert Morton-style maroon leather Top Quality Releathering. Pouch rails, pri- completely self-contained. Excellent condition. action, 16 Great, 16 Swell, 12 Pedal, 5 General, is now available from Columbia Organ maries, reservoirs and any other pneumatic $2000 or best offer. 413/268-3172. 5 Swell, 5 Great, 4 Pedal, Gt to Pedal, Set, GC Leathers! Highest quality. 800/423-7003, action. Removal and installation service avail- and Tutti, $450. Consoles, pipes and numer- www.columbiaorgan.com. able. Full warranty. Skinner, Casavant and ous miscellaneous parts. Let us know what Kimball specialty. Spencer Organ Company, REED ORGANS you are looking for. E-mail orgnbldr@comcat. Inc. Call, Fax or visit our website for quota- FOR SALE com (not comcast), phone 215/353-0286 or Austin actions: Come to the source. Fast de- tion and information. 781/893-7624 Voice/Fax, 215/788-3423. livery. Guaranteed. 860/522-8293; www.austin- www.spencerorgan.com. organs.com. Mason and Hamlin, three manual and pedal. $9,500, including blower. Rare. A.D. Moore Inc., ANNOUNCEMENTS Releathering all types of pipe organ actions 802/457-3914. Highest quality organ control systems since and mechanisms. Highest quality materials and 1989. Whether just a pipe relay, combination workmanship. Reasonable rates. Columbia If your company was not listed in THE DIA- action or complete control system, all parts Organ Leathers 800/423-7003. www.columbia- MISCELLANEOUS PASON 2009 Resource Directory, be sure to be are compatible. Intelligent design, competitive organ.com/col. part of the 2010 issue! Visit our website
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS W. Zimmer & Sons, inc. City ______❑ $55.00—2 YEARS Jacques Stinkens ❑ $35.00—1 YEAR pipe organ builders Organpipes - since 1914 State ______Zip ______FOREIGN SUBSCRIPTIONS 429 Marvin Road Fort Mill, SC 29707 ❑ $85.00—3 YEARS Flues - Reeds Phone/Fax: 803-547-2073 Please allow four weeks for delivery of fi rst issue ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" wzimmerandsons.com ❑ E-1 $45.00—1 YEAR Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] on new subscriptions. NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
MARCH, 2009 39
Mar 09 pp. 38-39.indd 39 2/11/09 8:31:47 AM KKararenen McFMcFarlanearlane ArArtististsts 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Michael Unger AGO National Competition Winner Available 2008-2010
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* CHOIRS AVAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director March 16-23, 2009 Spring 2010
The Choir of New College Oxford, UK Edward Higginbot tom, Director Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith* April 10-25, 2010 The Choir of St. John’s College Cambridge, UK Andrew Nethsingha, Director Spring 2011 European artists available 2008-2009 and 2009-2010
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney
WEB SITE: www.concertorganists.com
ThomasGillian Trotter*Weir* GillianTodd Wilson Weir* ChristopherTodd Wilson Young Christopher Young