THE DIAPASON JANUARY 2019

First Presbyterian Church Oklahoma City, Oklahoma Cover feature on pages 20–22 PHILLIP TRUCKENBROD CONCERT ARTISTS

ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN

DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART

ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 1, New year, new website Whole No. 1310 The staff of The Diapason trusts that you had a pleasant JANUARY 2019 holiday season. We wish each of you a happy and prosperous Established in 1909 New Year! This issue commences our 110th year of bringing Stephen Schnurr ISSN 0012-2378 you news, features, events, and so much more. 847/954-7989; [email protected] Some of you have had the opportunity to experience our new www.TheDiapason.com An International Monthly Devoted to the Organ, website and its many expanded offerings. If you have not seen the Harpsichord, Carillon, and Church Music the new www.thediapason.com, you have no idea what you are In this issue missing! Expanded videos, improved picture quality and capa- Robert Parkins has provided an extensive review of Robert CONTENTS bilities are just starters. We are working on a project to digitize Bates’s fi ve-CD set of the complete organ works of Francisco FEATURES and upload many past issues of the journal for your perusing. Correa de Arauxo. This monumental recording project is wor- Celebrating the Centennial of the Cathedral Please spend some time introducing yourself to our website, thy of your consideration. Godwin Sadoh reports on the cen- Church of Christ Choir, Lagos, Nigeria, and come back to visit often! tennial celebration of the Cathedral Church of Christ Choir, 1918–2018 by Godwin Sadoh 14 Lagos, Nigeria. 2019 Resource Directory Larry Palmer celebrates his fi ftieth year as harpsichord edi- The Complete Organ Works of Francisco Correa de Arauxo: Correa in the New World, With this issue, you will receive your 2019 Resource Direc- tor for The Diapason in 2019, though he has been writing for Robert Bates performs tory. You will want to keep this booklet handy throughout the us for even longer. In “Harpsichord Notes,” he relates history by Robert Parkins 17 year as your source of information for businesses in the world of the early days of the appearance of the harpsichord in our NEWS & DEPARTMENTS of the organ, church music, harpsichord, and carillon. journal. In “In the Wind. . .,” John Bishop considers how the Editor’s Notebook 3 work of organists is in reality public art. You will also fi nd an Here & There 3 Summer conferences, workshops, conventions, etc. index for the 2018 year. Appointments 6 I spend much of this month and the next looking forward to sum- Our cover feature is the large organ of First Presbyterian Carillon News 8 mer, and I imagine many of you do, as well. In April, we will print Church, Oklahoma City, Oklahoma. This project of renova- Harpsichord Notes by Larry Palmer 8 our list of summer conventions, conferences, workshops, and other tion and expansion has transformed the instrument into a In the wind . . . by John Bishop 12 gatherings around the globe to enrich your continuing education. monumental instrument, a project carried out by Roger REVIEWS If your institution is sponsoring an event we should include in this Banks of Oklahoma City and the Reuter Organ Company of New Organ Music 10 list, please be certain to send me this information this month. Lawrence, Kansas. Q

ORGAN PROJECTS 22 CALENDAR 23 Special Bulletin RECITAL PROGRAMS 27 CLASSIFIED ADVERTISING 28 Nominations are open through February 1 for our “20 under own name, title, and 2018 In Review—An Index 30 30” Class of 2019. Submit nominations at www.thediapason. company/school/church com (click on “20 under 30”), by email (to sschnurr@sgcmail. if applicable, and your com), or through postal mail (The Diapason, 3030 W. Salt email address (or phone THE Creek Lane, Suite 201, Arlington Heights, IL 60005). number). DIAPASON DIAPASONJANUARY 2019 Nominees will be evaluated on how they have demonstrated Only persons who JANUARY 2019 such traits and accomplishments as leadership skills, creativity have been nominated and innovation, career advancement, technical skills, and com- can be considered for munity outreach. Evaluation of nominees will consider awards selection. Self-nominations are not allowed. Nominees can- and competition prizes, publications, recordings, and composi- not have reached their 30th birthday before January 31, 2019. tions, offi ces held, and signifi cant positions. Persons nominated in past years but not selected may be Nominations should include the nominee’s name, email, nominated again. birth date, employer or school, and a brief statement Evaluation of the nominations and selection of the members (300–600 words) detailing the nominee’s accomplishments of the Class of 2019 will take place in February; the winners and why he or she should be considered. Please include your will be announced in the May 2019 issue of The Diapason.

First Presbyterian Church Oklahoma City, Oklahoma CoverFirst feature Presbyterian on pages 20–22 Church Oklahoma City, Oklahoma Cover feature on pages 20–22 Here & There COVER Roger Banks, Oklahoma City, Oklahoma; First Presbyterian Church, Oklahoma City, People Macon, Georgia; April 7, St. Paul’s Epis- Oklahoma 20 copal Church, Cleveland Heights, Ohio; 4/14, Cathedral of the Immaculate Con- ception, Denver, Colorado; 4/20, Vassar Editorial Director STEPHEN SCHNURR and Publisher [email protected] College, Poughkeepsie, New York; 4/26, 847/954-7989 Barnard-Columbia Chorus, Haydn, The Creation, Church of the Ascension, New President RICK SCHWER York, New York; [email protected] 847/391-1048 May 5, Cathedral of St. Mary of the Assumption, San Francisco, California; Editor-at-Large ANDREW SCHAEFFER 5/10, Asbury United Methodist Church, [email protected] Gail Archer (photo credit: Stephanie Berger) Salisbury, Maryland; 5/19, St. Bede’s Franklin Ashdown Sales Director JEROME BUTERA Episcopal Church, Menlo Park, Califor- [email protected] Gail Archer announces recitals nia; June 2, Church of Santa Maria, San Holy Communion. Two new choral com- 608/634-6253 Circulation/ and other musical events: January 13, Sebastian, Spain; 6/9, Cathedral of All positions are Day Is Dying in the West Subscriptions ROSE GERITANO Reformed Church, Bronxville, NY; 1/19, Saints, Albany, New York; 6/18, Episco- (SATB and keyboard, for Lent/Ordinary [email protected] Organ Festival, Khanty-Mansijsk, Rus- pal Church of the Good Shepherd, Lake Time), available from Paraclete Press, 847/391-1030 sia; 1/27, Our Lady of Grace Catholic Charles, Louisiana. For information: and Hush, My Dear, Lie Still and Slum- Designer KIMBERLY PELLIKAN Church, St. Petersburg, Florida; Feb- www.gailarcher.com. ber (SATB and keyboard, for Christmas), [email protected] ruary 4, Grace & St. Luke’s Episcopal published by GIA. 847/391-1024 Church, Memphis, Tennessee; 2/10, Franklin Ashdown has had new Contributing Editors LARRY PALMER St. Mark’s Episcopal Church, Berkeley, organ collections and choral composi- David Jonies made his debut as Harpsichord California; 2/24, St. Paul’s United Meth- tions published. Pastoral Psalms for soloist with the Milwaukee Symphony odist Church, Louisville, Kentucky; Organ, a set of 11 free style and hymn- Orchestra playing the organ part in Sym- BRIAN SWAGER Carillon March 1, St. Peter’s Catholic Cathe- based compositions based on Psalm 23, phony III by Camille Saint-Saëns. He dral, Jackson, Mississippi; 3/10, Christ is published by Augsburg Fortress. Com- also performed recitals at the cathedrals JOHN BISHOP Episcopal Church, Bradenton, Florida; munion Canticles, published by Sacred in Albany, New York, and Milwaukee, In the wind . . . 3/17, Goshen College, Goshen, Indi- Music Press, is a collection of eight free Wisconsin, in Passau and Deggendorf, GAVIN BLACK ana; 3/31, St. Joseph Catholic Church, and hymn-based pieces for Eucharist/ ³ page 4 On Teaching

Reviewers Jay Zoller THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Jeffrey Schleff Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Subscriptions: 1 yr. $43; 2 yr. $77; 3 yr. $106 (United States and U.S. Possessions). Copyright ©2019. Printed in the U.S.A. Canada and Mexico: 1 yr. $43 + $10 shipping; 2 yr. $77 + $15 shipping; 3 yr. $106 + $18 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $43 + $30 shipping; 2 yr. $77 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 3 yr. $106 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2019 Q 3 Here & There

³ page 3 Engels at Southern Methodist Univer- sity. While in the United States, he also had two short residencies at Cornell University, Ithaca, New York, giving masterclasses and performing concerts. A third residency at Cornell is sched- uled for March. Professor of organ at the Conservatoire Régional de Paris and the Pôle supérieur de Paris/Boulogne- Billancourt and titular organist at the Church of St. Séverin in Paris, Man- toux is now making plans for his next tour of the United States, to take place in fall 2019. For information, contact Penny Lorenz at 425/745-1316, penny@ Chelsea Chen, Benjamin Straley, Renée Anne Louprette, Emily Amos, Bruce Xu, organists.net, or http://organists.net/. Reilly Xu, Eddie Zheng, and Justin Brueggeman (photo credit: Vaughn Mauren)

David Jonies The 22nd annual Albert Schweitzer Organ Festival Hartford competition was devoted to high school aged organists and took place September 28–29 at Trinity Germany, at Illinois College, Jackson- College, Hartford, Connecticut. First Prize in performance was awarded to Eddie ville, Illinois, and at the Basilica of St. Zheng of New York, New York, a student of Paul Jacobs at The Juilliard School. Adalbert, Grand Rapids, Michigan, for Second prize was presented to Bruce Xu of Sloatsburg, New York, also co-winner the Grand Rapids Chapter of the Ameri- of the Prize of the Audience. Emily Dawn Amos, a student at the Interlochen Arts can Guild of Organists. Academy, Interlochen, Michigan, took Third Prize in the performance competition, won First Prize in the David Spicer Hymn Playing Competition, and shared the Prize of the Audience. Other fi nalists in the competitions were Reilly Xu of New York and Justin Brueggeman of Tennessee. Competition judges were Chelsea Chen, Renée Anne Louprette, and Benja- min Straley. Vaughn Mauren is artistic director of the Albert Schweitzer Organ Festival Hartford. The festival opened with a concert featuring performances by the judges and by Christopher Houlihan as soloist with members of the Hartford Symphony Orchestra. The competition alternates years between high school aged organists and young professional organists, generally of university age. Judges for the September 2019 fes- tival will be Diane Meredith Belcher, Thomas Murray, and John Rose, with $29,000 in prizes to be awarded. This year’s festival will open with organ and the full Hartford William Heide and Jeannine Jordan Symphony Orchestra on September 20 at the Bushnell Center for the Performing Arts in Hartford. For information: www.asofhartford.org. St. John’s Lutheran Church, The Grumpy Duck Orange, California (William Heide, minister of worship and music) hosted Carol Williams announces new the organ and multimedia concert, From compositions. As a fundraiser for the Sea to Shining Sea, on September 9, Humane Society she wrote her fi rst performed by Jeannine and David Jor- opera, The Grumpy Duck, performed dan. The sanctuary of St. John’s houses by Andrew and Megan Rose Potter. a recently completed 5-manual organ by Her new organ symphony is due to be Ryan Ballantyne. For information: published in the spring and is dedicated www.fromseatoshiningsea.net. to the American Guild of Organists. For information: www.melcot.com.

Competitions The Syracuse Chapter of the American Guild of Organists, in cooperation with the Setnor School of Music, Syracuse University, announces the 2019 Arthur Poister Scholarship Competition in Organ Playing, with three fi nalists to be selected to compete April 26 at St. Paul’s Episcopal Church, Left to right: David Billings, Alan Lewis, Charles Huddleston Heaton, Edward Alan Syracuse. First prize is $3,500 and a Moore, and Peter Luley. recital engagement on the restored Holtkamp organ at Crouse College, On November 3, several organists gathered in St. Andrew’s Episcopal Church, Christophe Mantoux Syracuse University; second prize is Highland Park, Pennsylvania, to play a recital of music in honor of Charles Hud- $1,000; third prize and audience prize, dleston Heaton, who turned 90 on November 1. Heaton has led a life of music French organist Christophe Man- $500 each. Judges for the fi nal round will that started as a child, supporting his local church and funeral home in Centralia, toux spent this past fall in Dallas, Texas, be Michael Unger, Bruce Neswick, and Illinois. He earned his Bachelor of Music degree at DePauw University, Greencastle, as the sabbatical replacement for Stefan ³ page 6 Indiana, and his Doctor of Sacred Music degree from Union Theological Seminary, New York, New York, in 1957. He became organist/choirmaster for Second Presbyterian Church, St. Louis, Mis- souri, where he served until 1972. He then served as organist/director of music for East Liberty Presbyterian Church, Pittsburgh, Pennsylvania, for 21 years. He also was a lec- turer of music at Pittsburgh Theological Seminary. Since his retirement from East Lib- erty, he has served as an organist and choirmaster for churches in Pittsburgh, including Trinity Episcopal Church, Calvary Episcopal Church, and others. He is a Fellow of the American Guild of Organists, serving the AGO as both a national councilor and regional chairman. Heaton has authored and edited books such as The Hymnbook for Christian Worship; A Guidebook to Worship Services of Sacred Music; How to Build a Church Choir; and authored articles in The American Organist; Clavier; and The Diapason. Heaton donated to St. Andrew’s Church a fund to install a trumpet rank for the organ, which was featured in the recital. The performing organists are all friends of his and are serving in churches in Pittsburgh, including East Liberty and St. Andrew’s churches. A reception for the attendees was held after the recital.

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4 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM Colin Andrews R. Monty Bennett Elisa Bickers Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Charlotte, North Carolina Prairie Village, Kansas Ann Arbor, Michigan Austin, Texas Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Justin Hartz Sarah Hawbecker Organist Organ/Carillon Professor of Organ Organist/Recording Artist Pipe/Reed Organist Organist/Presenter Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Philadelphia, PA Atlanta, GA

James D. Hicks Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Organist Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Lecturer Califon, NJ Brooklyn, New York San Francisco, CA Clarksville, Indiana Wilkes-Barre, Pennsylvania Dallas/Fort Worth, TX

Wynford S. Lyddane Colin Lynch Philip Manwell Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Pianist/Instructor Organist/Conductor Organist Organist/Faculty Organist/Presenter Organist/Pianist Washington, D.C. Boston, Massachusetts University of Nevada, Reno Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Jason A. Wright Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Conductor/Clinician Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK Hilton Head, South Carolina

Beth Zucchino Clarion Duo Rodland Duo Christine Westhoff Organist/Harpsichordist/Pianist Keith Benjamin, trumpet Viola and Organ & Timothy Allen Sebastopol, California University of Missouri-Kansas City The Juilliard School/ Soprano and Organ Melody Steed, Elementary Music St. Olaf College Little Rock, Arkansas Specialist, Waterloo, Iowa www.ConcertArtist Cooperative.com

R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 31st- year of operation Here & There

³ page 4 Also newly available is the fi rst print Diane Meredith Belcher. Application of Charles Villiers Stanford’s Con- Appointments deadline is February 9. For information: cert Piece for Organ and Orchestra Steven Ball is appointed director of sacred mu- [email protected]. (BU2900). The one-movement work sic for the Oratory of St. Francis de Sales, St. Louis, from 1921 is Stanford’s only contribu- Missouri. The Oratory music program features a tion to this genre. For further informa- varied choral repertoire spanning several centuries Conferences tion and to place an order: performed by several ensembles. The liturgies are The University of Michigan, Ann www.butz-verlag.de. conducted in Latin using the Extraordinary Form of Arbor, invites proposals for events at its the Roman Rite. 59th Annual Organ Conference, Sep- Da Vinci Publishing announces a A native of Michigan, Ball studied at the Univer- tember 28–October 1, with the theme, new harpsichord publication: Domenico sity of Michigan where he later taught and served as “Building Bach: His Foundations and Cimarosa: Complete Keyboard Sonatas university carillonneur and director of the Stearns Futures.” Proposals must be received (DVAR 21099, €135.90). The volume is Collection of Musical Instruments. He received his by March 1. Requirements and further edited by Nick Rossi and contains 172 Doctor of Musical Arts degree in 2007 as a student details are available from James Kibbie: pages. For information: Steven Ball of Marilyn Mason. A former Fulbright Scholar to [email protected]. www.davinci-edition.com. the Netherlands, Ball has worked in the world of campanology (the study of bells), improvisation, as an organ consultant, for MorningStar Music Publishers silent fi lm accompaniment, and as a theater organist. He has performed in Publishers announces new choral publications: the United States and abroad including the Netherlands, Germany, Belgium, Augsburg Fortress announces new Surely He Has Borne Our Griefs, by France, Portugal, Ireland, England, Switzerland, and Italy. He was inducted as choral publications for Lent and Easter Kenneth T. Kosche (50-3105, $1.85), is a Knight of the Equestrian Order of the Holy Sepulchre of Jerusalem (a Papal seasons: When I Survey the Wondrous scored for SATB a cappella or SATB and Knighthood) in 2017. Cross, by John Carter (SATB and keyboard; Light of the World, by Karen He leaves New Jersey where he last served as organist and director of outreach piano, 9781506452531, $1.80); Lord, Marrolli (50-2620, $2.25), is composed (now emeritus) for the world’s largest pipe organ, located in Boardwalk Hall, Who Throughout These Forty Days, by for SATB, violin, and piano; Ave verum Atlantic City. His time there also included a position at the Cathedral Basilica Linda Cable Shute (SATB and piano, corpus, by Paul M. French (50-6850, of Sts. Peter and Paul in Philadelphia, Pennsylvania. While living in Michigan, 9781506452500, $1.80); Jesus, Lover $1.85), is set for SSA a cappella; and Cre- he served as cathedral organist at the Cathedral of the Blessed Sacrament in of My Soul, by David Greatrix (SAB ate in Me, by Michael Larkin (50-3486, Detroit and senior staff organist at the Michigan Theater, Ann Arbor. For infor- and piano, 9781506452487, $1.95); and $1.95), is scored for SATB and piano. mation: www.institute-christ-king.org/stlouis/ and www.stevenball.com. Alleluia, Alleluia! Hearts to Heaven, by For further information: Jason A. Heald (SAB, piano and trum- www.morningstarmusic.com. Liam Bonner is appointed executive director pet, 9781506452432, $1.95). For further of the Indianapolis Symphonic Choir, Indianapolis, information: www.augsburgfortress.org. Indiana. Bonner has served the Houston Symphony Recordings Orchestra as manager of the symphony’s annual Breitkopf & Härtel announces giving groups and fundraising specialist for the new choral publications: Drei Motetten symphony’s annual Ima Hogg Competition. Prior to (ChB 5343, €8.90), by Johann Kuh- his career in arts management, Bonner was active nau, edited David Erler, contains as a professional singer with solo performances “Ach Gott, wie läßt du mich verstar- at the Metropolitan Opera, Los Angeles Opera, ren,” “Gott hat uns nicht gesetzt English National Opera, Minnesota Opera, and zum Zorn,” and “Tristis est anima Liam Bonner Houston Grand Opera, as well as with the Dallas mea;” also by Kuhnau, Katate zum and St. Louis symphonies, and the Bard Summer Weihnachtsfest (PF32119, €24.90), a Music Festival. For information: www.indychoir.org. cantata for Christmas, also edited by David Erler; Per divina bellezza (Four Austin Organs, Inc., Hartford, Connecticut Chants for Vocal Sextet, ChB 5342, announces the appointment of Floyd Higgins as €4.90), includes settings of “Aspro Senior Design Engineer. Higgins rejoins the Austin core,” “Veni Sancte Spiritus,” “In qual team as the head of the design team. He graduated parte del ciel,” and “Alma Redemptoris from Trinity College where he studied organ with Mater.” For further information: John Rose, and from Yale University as a student www.breitkopf.com. Hampson Sisler: All Around the Year of Thomas Murray. He worked for Austin Organs from 1988–1996 directly with President Don Aus- MSR Music announces a new CD tin and Vice President Fred Mitchell. For informa- release: Hampson Sisler: All Around the Floyd Higgins tion: www.austinorgans.com/. Q Year, featuring organist Michael Koe- nig performing on 1930 Skinner Organ Company Opus 823, relocated in 2013 (1903–1961) was professor of music at Scott R. Riedel & Associates, by Orgelbau Klais to the Evangelische Southern Methodist University, and acoustic and organ consultants of Mil- Saarkirche, Ingelheim am Rhein, Ger- this live recording was made during her waukee, Wisconsin, announces the con- many. The works by Sisler receive world performance on the 1957 Reuter organ tract signing for two new instruments premiere recordings on this disc: Family at Park Cities Baptist Church, Dallas, under its consultancy. First Lutheran Days Suite and Popular Monastics Suite. in 1958. Works by Bach, Schumann, Church, Cedar Rapids, Iowa, has com- For information: www.msrcd.com. Jongen, Vierne, and others are included. missioned a new 50-rank organ from For information: Parsons Pipe Organ Builders of www.easttexaspipeorganfestival.com. Canandaigua, New York. The instru- ment will have a three-manual and pedal detached console with mechani- Organbuilders cal key action and electric stop action, Austin Organs, Inc., Hartford, to be installed in the rear balcony of the Connecticut, announces the following church. The entire space is undergoing projects: a new three-manual organ for a liturgical, architectural, and acoustic DeSales University in Center Valley, renovation. The cubic air volume of the Pennsylvania; a new two-manual organ room will be increased by raising the Stanford, Concert Piece for the Congregational Church in interior ceiling height, sound refl ective South Glastonbury, Connecticut; solid and diffusing materials will be installed Dr. J. Butz Musikverlag announces state upgrade of the console and the in the room, and the musician’s balcony the publication of L’Organiste, volume addition of a Choir division to Austin area will be expanded. The church’s I, by César Franck (BU 2932). The com- Opus 2621 at the First Congrega- organist is Brett Wolgast. pilation of romantic character pieces, The Art of Dora Poteet Barclay tional Church in Old Greenwich, Con- Christ King Catholic Church, originally composed for harmonium, necticut; a new console and addition of Wauwatosa, Wisconsin has signed a is arranged for “regular” two-manual The East Texas Pipe Organ Fes- a Choir division to Austin Opus 2735 contract for a new 53-rank organ to be organ with pedal by Martin Böcker of tival announces release of a new CD: at St. Matthew Lutheran Church in built by Juget-Sinclair of Montreal, Hamburg, Germany. The Art of Dora Poteet Barclay. Barclay Wilmington, North Carolina; rebuilding Canada. The two-manual and pedal of Austin Opus 2031 at Our Lady of instrument will have mechanical key WEEKEND ORGAN Jacques Stinkens Perpetual Help Catholic Church in action and electric stop action. The Orgelpijpenmakers B.V. Washington, Connecticut; a new con- encased organ will be in the rear bal- MEDITATIONS sinds 1914 sole for Austin Opus 1850 at Bridge- cony on the long axis of the room. Room Flues - Reeds hampton Presbyterian Church in acoustics were improved by hardening Grace Church in New York Your personal wishes are in good hands Bridgehampton, Long Island, New a previously sound absorbing barrel www.stinkens.nl York. For further information: vaulted ceiling. This instrument will www.gracechurchnyc.org [email protected] www.austinorgans.com. ³ page 8

6 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM Only an experienced craftsman knows the true meaning of excellence.

We have a heart that beats for the pure love of the craft. Our experienced craftsmen work with immense passion to create unique, custom-designed organs for every church. You’ll not only hear that passion in the arrangement of the stops, you’ll see it in the details of the cabinet built around it.

Our professional designers can translate the wishes of our clients into a distinctive console that looks as excellent as it sounds.

Johannus has dealers throughout the United States. Visit johannus.com to fi nd a dealer near you. If you have any questions, or would like more information about any of our organs, you can contact us at [email protected] Here & There Harpsichord Notes

³ page 6 By Larry Palmer be the fi rst by the builder in Wiscon- sin. Bill Lieven is the church’s music Notes in THE DIAPASON: director. For further information: a bit of history http://riedelassociates.com. Siegfried Gruenstein, the founding editor of The Diapason, served for forty-eight years. The front-page tribute to him in the December 1959 issue cel- ebrating the magazine’s fi ftieth anniver- sary began with these descriptive words: . . . a rare combination of competent or- ganist and professional newspaper man, (Gruenstein) founded The Diapason in 1909 against the advice of his elders among organists, builders, and well-wishers. That it grew and prospered steadily under his guid- ance was due wholly to his skill, his impar- tiality, his integrity and his taste. . . . At fi rst the principal purpose of the magazine was to represent the organ industry. However, it soon became evident that the organist and the organbuilder were so closely allied in Trinity Memorial Episcopal Church, their interests that the fi eld should include Binghamton, New York (photo credit: Greg- both of them and that the paper would serve ory Keeler) to bring the two more closely together. Philip Treggor in 1967 Larry Palmer in 1969 Trinity Memorial Episcopal In those early years the magazine Church, Binghamton, New York, expanded its focus in several directions, with the Chickering Piano Company as 2018 Harpsichord Notes: topics dedicated its rebuilt 1960 Casavant serving for a time as the offi cial journal they produced harpsichords and other and page numbers organ with a recital by Timothy E. of the American Guild of Organists, for early musical instruments (November January, page 10: A posthumous gift Smith, organist and choir director of example. However, it was not until Frank 1968, page 12, with continuation in from Gustav Leonhardt (Bach tran- the church, on October 5. The recital Cunkle, Gruenstein’s successor, took the December issue, pages 10–11), scriptions published by Bärenreiter) included music of Franck, Guilain, Yon, over the supervision of the magazine that which proved to be his swansong, for February, page 11: The Art of the Hampton, Bach, and Guilmant, and was the organ’s sister instrument, the harpsi- he resigned from harpsichord column Harpsichord (Two Texas Treasures: followed by a reception. chord, was welcomed into its pages. The responsibilities at the beginning of Janu- three-manual harpsichord by Keith Hill Over the last year, Smith, who designed fi rst person to take charge of harpsichord ary 1969. and Philip Tyre, miniature by Art Bell) changes to the organ, supervised the matters was Philip Treggor (1920–2004) During 1969 harpsichord news items March, page 12: Handel with crew that carried out the modifi cations. of Hartford, Connecticut, who published were solicited from our readers, who care (performance suggestions, rec- In addition to pipework changes, a new his fi rst column in October 1967 (page were instructed to send them to the ommended books, Handel House mobile console was built to replace the 11). November’s column (page 13) fea- editorial staff of The Diapason. In Museum, London) original. Aside from removal, replace- tured the lute while a feature article by May I submitted another feature article April, page 10: Harpsichordist Jane ment, relocating, and revoicing of E. Power Biggs occupied the opposite about Hugo Distler’s Harpsichord Con- Clark’s birthday various ranks of pipes, a new unenclosed, page with his “Case for the Pedal Harp- certo (pages 12–13), and in September May, page 11: Seeking Haydn (new seven-rank Nave division was mounted sichord.” Treggor’s three columns of 1969 an announcement and my picture compact disc reviewed, some relevant on its own chest and casework, facing interviews with Denise Restout, Wanda appeared on page 25, with the infor- research noted) into the nave. Three digital pedal stops Landowska’s companion and legatee, mation that, from henceforth, I would June, page 12: Dandrieu’s Harpsi- were added. The new console, as well as presented valuable information about be “the man in charge of harpsichord chord Music the casework and supporting framework the pioneer harpsichordist’s biography items.” The following month my fi rst July, pages 10–11: A glimpse into of the Nave division, were built by local and legacy (1968: March page 15, April column as harpsichord editor was pub- actual eighteenth-century performance craftsman (and retired Binghamton Uni- page 23, May pages 14–15). lished: “Praeludium, Allemande, and practices (Beverly Jerold’s article, versity music professor) Bruce Borton. I had made my Diapason print Courant: Some Notes on a European “Reichardt’s Review of Handel Con- The instrument now comprises three debut fi ve years earlier, in November Summer” (page 12), and in December certs in London”) manuals, 49 ranks. 1962, when the magazine published the 1969 I relayed some corrections con- August, page 10: Death and taxis in feature article “Hugo Distler—20 Years cerning the Huguenots and the city of Vienna (Obituary of Gordon Murray), Later” based on research I was doing for Erlangen, as sent to me by Dr. Lowell Review of Bach Violin/Harpsichord Carillon News my Doctor of Musical Arts thesis that G. Green of Boone, North Carolina, a Sonatas CD (Pine and Vinikour), Com- Bok Tower Gardens, Lake Wales, I was busily writing while a student at reader who knew far more about such munications from Readers Florida, will host its 24th International the Eastman School of Music. My fi rst matters than I did. I was pleased to September, page 12: Armand-Louis Carillon Festival March 20–24. Perform- guest contribution to Treggor’s column, publish his corrections since that is how Couperin Keyboard Works, edited by ers include Koen Van Assche (Antwerp published in June 1968, was “Isolde Ahl- knowledge is disseminated. Martin Pearlman available for free Cathedral), Amy Johansen (University grimm as the Widow Bach” (page 15), So, depending on when one begins download of Sydney, Australia), Joey Brink (Uni- followed in October of the same year counting the years, I am either cel- October, page 14: A letter from versity of Chicago and a member of The with my report on the second Bruges ebrating my fi ftieth anniversary year as Johann Sebastian Bach with two illus- Diapason’s 20 Under 30 Class of 2015), International Harpsichord Competition harpsichord editor or the fi fty-seventh trations by Jane Johnson and Michael Solotke (Yale University). (pages 10–11). Meanwhile, in July 1968, year since my fi rst publication as a writer November, page 16: Recent record- The 60-bell instrument was designed and Treggor’s column featured an interview for this splendid magazine, which I have ings of Bach’s Goldberg Variations by built in 1928 by John Taylor Bellfoundry, with Boston-based composer Daniel served by working with every editor Diego Ares, Wolfgang Rübsam, and Ltd. of Loughborough, England. For Pinkham (page 8). except the founder, happy to have lasted Helmut Walcha (from a boxed set) further information: Treggor wrote an informative column even longer than Mr. Gruenstein, albeit December, page 11: Christmas gifts: a https://boktowergardens.org. Q about Arnold Dolmetsch’s collaborations with far fewer responsibilities. It will be few suggestions (CDs, scores, books, and my pleasure during 2019 to revisit some an anonymous Landowska caricature) Q favorite pieces from this more-than- half-century collection of articles, as Comments and questions are wel- MANDER ORGANS well as editing several guest essays, and, come. Address them to lpalmer@smu. hopefully, sharing a few more original edu or 10125 Cromwell Drive, Dallas, thoughts of my own. Texas 75229. New Mechanical Action Organs A gift subscription to The Diapason The perfect gift for + organist colleagues + teachers + organ builders + students + choir directors + clergy

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8 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM

Reviews

New Organ Music “Molto grave” returns for fi fteen mea- A delightful melody bounces along in an active composer and has numerous Two Fantasias for Organ, Carson sures, and then—away we go again, this parallel thirds, sixths, or sometimes compositions for organ and choir pub- Cooman. Zimbel Press, Subito Music time in the relative major that brings even in fi fths and often against a lished by CHP as well as MorningStar Corporation, #80101384, $11.95, the piece to a close. repeated note in the right hand. The Music Publishers. www.subitomusic.com. I like both of these fantasies, different left hand keeps a steady beat with The movements of Hildebrand’s The two fantasias in this volume are fl avors though they are. The fi rst car- repeated notes of its own. Six measures partita are: I. Hymn, II. Intrada, III. related in that they develop some of the ries the weight of sadness, the second of arpeggiated fi gures in both hands Chorale, IV. Bicinium, V. Allegro, VI. same musical material although in very the lightness of a happy dance. Both provide a contrasting section and a Meditation, and VII. Gigue. The open- different ways. Both were composed have their place, and both succeed well slightly more diffi cult passage. Still, it ing “Hymn” is a very straightforward set- in December 2016. Recordings of the in their intended goals. Cooman has is fascinating music. ting of the chorale and, as noted in the pieces are available at: https://carson- provided a new understanding of what “Preludio quasi eco” is the fourth score, may be used as an alternate hymn cooman.com/music/two-fantasias/. a fantasy can be. I know that you will piece in the book. This music is ener- harmonization for singers. According to Cooman the Fanta- fi nd events where one or the other will gized by the contrasts between a full Using plenum choruses, mixtures, and sia solenne “explores an atmosphere fi t perfectly! sound (mf) and a softer (p) echo. The manual reeds, the “Intrada” begins with throughout that is bittersweet: warm echo is not exact, but brings it own a fanfare fl ourish that returns at the end and sad.” A slow-moving section Five Preludes for Organ, Carson energy to the intertwining of the two of the short movement. The phrases of marked “Lento” opens the piece in G Cooman. Zimbel Press, Subito Music sounds. A slightly faster melody takes the chorale continue the dotted rhythm minor. This is followed by a passage Corporation, #80101385, $11.95, over in the center of the piece, and it is motive but employ a solo pedal gesture marked “Andante, quasi Adagio” in 3/4 www.subitomusic.com. interrupted by the main theme on the featuring available reeds as well as those time that introduces the primary mel- December 2016 was a productive fuller manual. There is a pedal line in coupled from the manuals. The move- ody with a two-part fugue. At the third month for Carson Cooman, composer in this movement consisting primarily of ment employs double pedaling with entry the left hand changes to two-part residence at Harvard University Chapel, several pedal points. open fi fths at cadence points. Occasional chords accompanying the melody. A as these fi ve independent preludes dem- “Preludio festivo” is the fi nal piece in triplets, brief echo passages, and the fi gurative left-hand melody brings us onstrate. The preludes are not intended the volume. It is a majestic, full-organ interpolation of 6/4 measures contribute back to the opening Lento. The melody to be played together; each prelude piece with a much more active pedal to the movement’s festive nature. comes back in a second Andante, quasi shows a different characteristic as the line than found in the other pieces. It is The “Chorale” movement features Adagio episode; this time the soprano titles indicate. marked poco adagio in 3/4 time relying the hymn tune in the soprano voice melody is set against repeated chords “Preludio maestoso,” the fi rst piece, on some very interesting harmonies for resting on traditional harmonies. Run- on beats one and two with a rest on is quite dignifi ed in character. Written its interest. This music would work well ning eighth notes in the pedal line beat three. This brings us back to the in four-part texture, each statement of as a postlude in a church service or the provide a unique character to this opening Lento again. A variation of the the main theme is followed by a quiet, ending to a concert. brief fourteen-measure setting. The Andante, quasi Adagio returns with placid echo. The music is easily played on None of the music in this volume up-tempo manuals-only “Bicinium” only a memory of the melody left, but manuals alone; the only pedal note is in can be considered diffi cult. Cooman movement carries on the running ending with a repeat of the broken the fi nal chord and easily reached by the has kept average organists in mind eighth-note pattern in the detached chord section, tapering off with long hands. This piece immediately appealed with their need for interesting service lower voice for the left hand. The upper rests, and fi nishing in G minor with an to me. The stately descending theme music. The composer does not fall into voice features an embroidered version added ninth. with its upward jump, the gentle echoes the trap of using musical clichés or old of the chorale melody with ornamen- In playing through this music, I felt of the theme, and some unexpected formulas. His music is new, well writ- tation included by the composer. The a defi nite sense of melancholy—the harmonies all work together to make the ten, with great interest, but does not “Allegro” movement, also for manuals warmth and sadness as noted by music memorable. carry it to an extreme. This is not only only, maintains the con moto running Cooman. In addition to the key of G “Preludio con ostinato” moves at a relatively easy to play, but also easy to eighth-note pattern throughout. Two- minor, the slowing moving melody faster pace and has enough tricky spots listen to. and three-voice staccato chords are with its half notes and rather drooping in it to keep the organist on his or her —Jay Zoller effectively used at the beginning and melodic structure adds to this feeling of toes. There is an independent pedal Newcastle, Maine ending of this setting, as well as after foreboding. The Lento sections are to line in this selection that is slow mov- the fi rst and repeated second phrases of be played on foundation stops with the ing. The ostinato is a four-bar phrase Dear Christians, One and All, Rejoice the choral tune. melody registered at a dynamic of mf. that resides in the left hand exclusively. (Partita on “NUN FREUT EUCH”), Kevin The quiet and relaxed “Meditation” This is an interesting mood for a fantasia! What makes it tricky is the 6/8 time Hildebrand. Concordia Publishing dispenses with eighth-note patterns The second work, Fantasia pro signature with off-beat rhythms. It will House, 97-7789, $10. used in the previous three movements. organo pleno, has a completely differ- take some practice to keep it going in Concordia Publishing House (CHP) A quarter-note strophic treatment of ent outlook. With a dynamic of ff for the tenor or bass with what is going on published a series of partitas in 2017 in the chorale with the hymn tune melody the fi rst fourteen measures in a chordal above it. In all, this is appealing music, commemoration of the 500th anniver- in the soprano voice is underscored by section marked “Molto grave,” it gallops and it worth the extra work that will be sary of the Reformation (1517–2017). pedal points on the tonic and dominant off thereafter at a fast Allegro. Rapid demanded of the performer. In addition to Kevin Hildebrand’s tones. This calm movement sets the repeated chords in the left hand accom- “Preludio staccato” is exactly what Partita on NUN FREUT EUCH, partitas by stage for the contrasting and initial triple pany a fast-moving melody in eighth the title indicates. With the exception Michael Costello (previously reviewed), meter (12/8 and 9/8) movement in the and sixteenth notes, carrying us away of a few long pedal notes, almost every Jacob B. Weber, Kenneth L. Kosche, work, a delightful “Gigue.” for the next 37 measures. The opening single manual note is marked staccato! Benjamin Culli, and Jeffrey Blersch Marked “Giocoso,” the fugal texture were released. of the “Gigue” employs a quarter- and A graduate of Concordia University eighth-note motive followed by running Chicago, River Forest, Illinois, Hil- eighth notes introduced in the tenor, debrand also holds a master’s degree alto, and soprano voices, respectively. in music from the University of Michi- The fi nal entrance in the pedal utilizes gan, Ann Arbor, and a master’s degree reeds before the verbatim repeat after from Concordia Theological Seminary, which the reeds are silenced. The Fort Wayne (CTSFW), Indiana. He remaining two phrases of the hymn con- studied organ with Steven Wente and tinue to feature the chorale theme in the Marilyn Mason, as well as composition pedal under two-, three-, or four-note with Richard Hillert, Robert Lind, and voices in the manuals. A fi nal fl ourish on James Aikman. Hildebrand has served the opening motive, alternating between in the Music Department of CTSFW pedals and manuals, rounds out this rol- since 2002, and currently serves as licking “Gigue.” Kantor and co-director of the Good Hildebrand’s partita on Dear Chris- Shepherd Institute. He also serves as tians, One and All, Rejoice provides Kantor for St. Paul’s Lutheran Church, tuneful and engaging service music, Missouri Synod, in Fort Wayne. He is especially for congregations using hym- nals that include the hymn tune Nun freut euch. It is medium-easy in diffi culty and an excellent teaching com- position with some pedal practice for the “Intrada,” “Chorale,” and “Gigue” necessary for many organists. CPH has provided a number of attractive and accessible partitas from 2014 onward. Hildebrand’s partita is a recommended addition to the catalog and deserves to “superb musicianship, masterly technique and savvy programming … Archer’s be in the music library of all Lutheran sweeping assurance and stamina enable you to hear the music behind the virtuosity.” parish musicians and organists support- — GRAMOPHONE (JAN 2018) — ing other denominations as well. —Jeffrey Schleff MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com Richardson, Texas

10 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM

In the wind...

Why art? Raphael’s Sistine Madonna is a mag- nifi cent and monumental painting. Almost nine feet tall and more than six feet wide, it is a compelling work in which I see a shy and slightly frightened Mary holding a burly infant who sports a Gotti-esque pout. (Whadaya gonna doo?) Saint Sixtus, the patron saint of Starry Night, Vincent Van Gogh the church for whom the painting was commissioned, is shown in the thrall of reducing my beans for espresso and the the mother and child, and Saint Barbara, gabbling of the women wearing headsets whose presence was also specifi ed by working the drive-thru window. the commission, looks down at two putti Michelangelo’s David in a snow globe; resting their chins, arms, and elbows on Rodin’s Thinker as a paperweight; Rondo the bottom frame of the painting. ala Turca in an elevator; history’s artistic Because of its huge scale and rich col- milestones reduced to the common- ors (it’s my guess that in real life, Mary place. Wendy and I are lucky to live in never had such opulent garments), it is a New York City, where great museums real eye catcher, but those two little imps are sprinkled across the map, and we can are the stars of the show. A legend says experience many of the greatest artworks that they were the children of Raphael’s at the other end of a short subway ride. model, and he painted them just as they Van Gogh’s Starry Night looks fi ne on a looked six hours into the tenth day of t-shirt, but when you see it in person in watching their mother stand still for New York’s Museum of Modern Art, it the master. Their expressions convey takes your breath away. Monet produced both disinterest and cunning, and they around 250 “Water Lilies” paintings, all are clearly not impressed by the exalted showing scenes of the beautiful gardens Water Lillies, Claude Monet infant. As grandfather of two boys about at his home in Giverny. Just like Starry the ages of the putti, I have seen those Night, they look nice on t-shirts, but if A painting that depicts a histori- music is the interpretation of someone expressions before, and know that they you have only seen them in that format, cal event, a battle, or an armistice for else’s inspiration. signal time for a diversion. “Hey, boys, you might not realize that they get as big example, would be non-fi ction. But what We talk about artistic temperament. let’s go outside.” as 13 by 41 feet. That is a huge amount about a painting of a biblical scene? Ask- The phrase is sometimes used to excuse Raphael’s putti have been plucked of paint for someone who was suffering ing whether The Last Supper is fi ction someone’s bad behavior, but at its best, from the painting and reproduced and from cataracts. feels like a great way to start an argu- artistic temperament is a frame of mind marketed as if they were nacho chips or As Monet produced hundreds of gor- ment. I am guessing that most texts that for expressing beauty or powerful emo- soda pop, appearing on post cards, cof- geous images in spite of failing eyesight, have been set to music are fi ction. Most tions. The splendid Russian baritone fee mugs, refrigerator magnets, and tote so Beethoven gave us some of the most operas and most art songs are fables, Dmitri Hvorostovsky, who died at the bags. They are adorable, but something sublime, defi ant, innovative, and power- allegories, stories, or poetry. I am afraid age of fi fty-fi ve in November 2017, could of the original poignancy is lost. ful masterworks of music as he was los- to categorize sacred music that way. Like express the full depth of human emotion When the pope commissioned the ing his hearing. We know enough about The Last Supper, it feels a little danger- with a twitch of his lips. Before he sang painting, did Raphael take it on as a job, him to have a sense that he could be ous to ask if the Latin Mass is fi ction. a single note, you knew you were in for happy to have the income and simply cranky. If your life is creating spectacular But what about a trio sonata, a sym- something special. I strongly recommend accepting that he was better at paint- music, I will forgive you a fi t or two if phony, or a piano concerto? Can they be treating yourself to twenty minutes on ing than others, so it was natural that it you are losing your hearing. A legend has defi ned as fi ction or non-fi ction? There is YouTube, entering his name in the search would be his job? Or did he take it on Beethoven playing the piano for a group something abstract about the concept of bar, and watching his every move. Musi- as a spiritual challenge, setting out to do of socialites in a lavish drawing room, music, even tonal music that is controlled cianship and artistry do not get any better. something so good that mere mortals angered by their inattention and chatter, and defi ned by complex sets of rules. It § would never be able to fully understand? slamming the fall board, standing up to is sound that is organized vertically in You can order a 16′′ x 24′′ framed announce, “For such pigs I will not play,” chords, all of which are ultimately derived Last week, sitting in the hundred- print of Sistine Madonna from Amazon and storming out of the room. from the overtones that are the structure fi fty-year-old second-fl oor theater ′′ ′′ for $29.99, and a 9.5 x 7.9 mouse pad § of any musical note, and it is sound that is (complete with tin ceiling) in downtown picturing the putti for $9.99. organized in time. How chords progress Damariscotta, Maine, Wendy and I saw Musicians know that the music of Bach Dictionary defi nitions of art use from one to another, how counterpoint John Logan’s play, Red, as fi lmed in a or Mozart is the work of genius. When phrases like, “. . . works to be appreciated allows multiple independent lines of live performance at London’s Wyndam you study the music mathematically and primarily for their beauty or emotional music to intertwine, converting melody Theater in the summer of 2018. It is theoretically, you get a sense of what the power.” Art is pictures, sculptures, music, into harmony is somehow both logical a ninety-minute production with fi ve composer had in mind. But for all its maj- literature, and drama. Art can be fi ction and mystical. Could that oxymoron be scenes, performed without intermission, esty and intricacy, I heard “Brandenburg or non-fi ction. A bowl of pears and grapes the defi nition of why music is art? portraying a two-year period in the life Five” playing at Starbucks the other day sitting on a table next to a candlestick Michelangelo rendered human fl esh, of artist Mark Rothko. Rothko and his when I ordered coffee. If the barista had may be a non-fi ction subject, but the fact including sensitive facial expressions, in assistant, Ken, are the only two charac- been a struggling young musician, per- that every glistening drop of moisture, marble. Rodin left us a fl eet of sensual ters, and those two years exactly span haps she would have worked the steam every vein in a leaf, and iridescent surface and sensuous images in bronze. Manipu- Ken’s employment in Rothko’s studio. nozzle in time with the music. A little of the fruit is represented in paint applied lating such dense materials with such Ken’s entry to the stage a few moments puff of steam on “one and three” would by human hands is the art part. That still sensitivity is the essence of art, images into the play is the moment he is hired. have been cute. But no. Bach’s ingenious life is art because of its beauty more than that transcend the inanimate quality of The play is set in 1958–1959 in Roth- creation was coexisting with her off-beat its emotional power, while Starry Night is their materials. ko’s studio at 222 Bowery, an abandoned steam punk, competing with the grinder all about emotional power. Music as art is magical because it is gymnasium. The title is derived from the fl eeting. It happens at the present, and commission Rothko is working on, a series the present is infi nite. Each nanosecond of monumental murals for the new Four is another right now! The motion of a Seasons Restaurant in New York City’s Saving organs throughout piece of music is like the bow wave of a Seagram Building, designed by Ludwig boat, moving relentlessly through an infi - Mies van der Rohe and Phillip Johnson. America....affordably! nite series of “right nows.” As we play or Rothko makes no secret of the fact that he as we listen, we store up the memories of views this commission as the opportunity those infi nite moments and assemble the of a lifetime. He is being paid $30,000 progression of sound into our perception for it, which he feels is a huge amount of the music. There is a wonderful photo- of money. Ken is expected to be very graph of Pablo Picasso tracing the outline impressed by that. Rothko is crushed to of a bull with a fl ashlight, captured on learn that Jackson Pollack is Ken’s favorite a long exposure. That seems the closest artist, and throughout the play, the action link between pictorial art and music. circles around Rothko’s enormous ego. We have invented a recognizable Rothko denigrates Pollack, saying written language to record music, so the that success is the worst thing that ever creation of the composer can be saved happened to him, and ridiculing him for reproduction. Music is an art, but for owning an Oldsmobile convertible. unless there is a performer who can real- Racing around Long Island in that car 1-800-621-2624 ize it, is it anything more than notations? was the antithesis of art. Pollack died in We consider a performer to be an artist, a drunken crash in that car, and Rothko foleybaker.com but unless the performer is improvising, called it a “lazy suicide.” He continues, inventing music on the spot, the art of “believe me, when I commit suicide

12 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM By John Bishop there won’t be any doubt about it.” (In pretty common to hear tales of woe about gently. When a hymn starts with a huge fact, Rothko did commit suicide with a priests who felt overshadowed summar- crash, it can be jarring for people who did combination of barbiturates and razor ily dismissing successful musicians. But I not know it was coming. The organ is a blades. There was no doubt about it.) He am troubled by haughty attitudes I often musical instrument, a living, breathing goes on to criticize Andy Warhol, Roy encounter among musicians. A stopknob thing that encourages people to sing if Lichtentstein, and Robert Rauschenberg engraved “Rector Ejector” may be a cute you do not frighten them. for selling out to commercialism. gag, but the thing can get out of hand. I Ken accused Mark Rothko of acting The irony of all this, given the $30,000 see all sorts of complaints from church as though no one was good enough to commission, is not lost on Ken. Rothko is musicians on social media, dismissing view his paintings. According to Rothko, obsessed with the progress of the work people who think the organ is too loud, museums are mausoleums and art deal- and of his greatness, until late in the play, making snide remarks about clergy, and ers are pimps. Rothko railed against the Ken explodes in pent up fury and frustra- chiding the “ignorant” congregants as if client who asked to commission a paint- tion. “Not every painting has to be so . . . they are not worthy of your music. ing that would “go” with a certain couch, important all the time! Not every paint- I was a regular church musician for and he used the term “overmantle” to ing has to rip your guts out and expose about thirty years and gave up the bench denigrate the client who wanted a paint- your soul! Not everyone wants art that twenty years ago when I joined the Organ ing simply to fi ll a space. actually hurts! Sometimes you just want Clearing House because the travel sched- Music is a public art that requires both with his paintings. Unfortunately, he was a . . . still life or landscape or soup can ule was not compatible. That means I composer and performer to make it hap- so tied up in his high opinion of himself or comic book.” The fi ght continues until have a lot more chances than most organ- pen. And, of course, it requires listeners that suicide was inevitable. He men- Ken bursts out with, “Just admit your ists to sit in the pews as a worshipper, and who are engaged and who participate in tioned it himself in a Freudian slip. hypocrisy: The High Priest of Modern Art you know what? The organ is often too the act of music, especially when they Organists: what you do is special. It is is painting a wall in the Temple of Con- loud. As much as I love the sounds of are invited to sing and be part of the an unusual art and a special gift. Invite sumption. You rail against commercialism a powerful organ, I fi nd it tiring. Every performance. A bumper sticker popular the people of your church in. Share the in art, but pal, you’re taking the money.” verse of every hymn does not need to among people who race sailboats says, majesty and the mystery of your instru- The last scene opens with Rothko include Mixtures. It is refreshing for the “Have you fl ogged your crew today?” ment with them. Teach them to appreci- arriving at the studio the following congregant if the organist mixes it up a lit- One for organists could be, “Have you ate the art as you envelope them with morning. He tells Ken that he went tle, changing colors between verses, and fl ogged your congregation today?” beauty. Never forget that they paid for there. Where? The Four Seasons. He is saving the big guns for the right moment. Ultimately, Rothko realized that he the instrument that it is your privilege to horrifi ed by the experience, the naked If you are playing a gentle hymn, play it could not control a commercial space play. Show them that it was worth it. Q consumerism, the spectacle of the city’s wealthiest people trying to impress each other by spending too much on din- ner. He picks up the telephone, dials a number, and asks for Mr. Philip Johnson. “Philip, this is Rothko. Listen, I went to the restaurant last night and lemme tell you, anyone who eats that kind of food for that kind of money in that kind W HY CHOOSE of joint will never look at a painting of mine.” Ken is pleased to have made his point so dramatically, but two lines later, Rothko fi res him, and the play ends. AN APOBA FIRM? Rothko is the big loser in this story, and the eerie foreshadowing of his suicide is a poignant part of the play. Alfred Molina created the role of Rothko and repeated W E PROMISE: in the revival production we saw. Eddy Redmayne was the original Ken—in this KNOWLEDGE ROOTED IN EXPERIENCE production we saw Alfred Enoch playing ◆ Ken. Red won a Tony Award for Best Play in 2010, and Eddy Redmayne won a ◆ TRADITION BLENDED WITH INNOVATION Tony that year for Best Performance by a Featured Actor in a Play. ◆ ECLECTICISM ENSURING MUSICAL RELEVANCE Red was screened in theaters in the United States and the UK on November QUALITY THROUGH CRAFTSMANSHIP 7. 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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2019 Q 13 Choir anniversaries

Celebrating the Centennial of the Cathedral Church of Christ Choir, Lagos, Nigeria

1918–2018 Christmas carol service, December 2013

By Godwin Sadoh

n important event in the history comprised women and men. It was A of church music in Nigeria was later reorganized during the ministry observed in 2018. It connotes longevity of Reverend Hamlyn, who replaced the and continuity as we celebrate the cente- women with boys and young men. The nary of the oldest choral group in Nigeria present choristers, comprising several (1918–2018), which fi nds its home in choirboys together with the gentlemen the oldest Anglican cathedral in Nigeria, of the choir who sing alto, tenor, and the Cathedral Church of Christ, Marina, bass, continue this tradition of singing Lagos. The history of the Cathedral Choir into the twenty-fi rst century, providing The Cathedral Choir with MUSON Or- Christmas carol service with the Trum- began in 1895, when Reverend Robert music at worship services and other chestra in 2013 peters of the Life Guards, London, Lieu- tenant Colonel K. F. N. Roberts, senior Coker inaugurated the fi rst Anglican occasions throughout the year. The director of music, Household Division, choir in the country. The centenary is choir also reaches out to a wider audi- Wilson’s Mass Of Light and Mozart’s December 2013 associated with the fi rst choir festival ence by singing in live radio broadcasts Mass in B-fl at, in addition to the daily celebrated on November 23, 1918, under during Easter and Christmas seasons, music. The repertoire encompasses a the mantle of the progenitor, Thomas and also through their compact disc broad range of styles and compositions well. The annual choir festivals, Advent Ekundayo Phillips. Since then, the choir’s recordings. The basis of the choir’s min- ranging from plainchant to classical, carol services, Festival of Lessons and anniversary has been celebrated around istry is the regular singing at cathedral African-American spirituals, contem- Carols, classical music concerts, choir this period on the Sunday nearest to Saint services, but there are other activities, porary American praise choruses, and feasts, and picnics continue to attract Cecilia’s Day in November each year. The including choir feasts, picnics, as well Nigerian indigenous gospel music. choristers and music enthusiasts from choir has gone through several phases in as frequent concert appearances in the The Cathedral Choir repertoire the Methodist, Baptist, Catholic, the hands of organists and choirmasters, cathedral and other venues. ranges from Orlando Gibbons anthems, Charismatic, Lutheran, Presbyterian, without losing its standard, tradition, fer- motets, and madrigals to Herbert How- Reformed, African, Evangelical, and vor, ethics, and focus on cathedral liturgy Repertoire ells’s strong individuality, to Edward non-denominational churches such as and challenging musical heritage. The Cathedral Church of Christ Choir Elgar’s combination of nobility and Pentecostals, from different parts of Singing has always been an integral is one of the most respected choral spirituality of utterance with a popular the southwest region of Nigeria. The part of worship at the Cathedral Church groups in Nigeria and throughout the style. The choir has always incorporated choir connects American culture with of Christ since its inception in 1867. It is continent of Africa. It is particularly the works of some indigenous Nigerian Nigeria through the use of spirituals referenced that the fi rst organist, Rob- noted for its wide range of liturgical composers, mainly ex-choristers and in the compositions of its ex-choristers ert A. Coker, just before his appoint- repertoire, which forms the bedrock of present musicians of the Cathedral and their musical training in American ment as organist, was sent to England to weekly worship in the excellent acoustics Church. Among the composers whose universities, primarily Fela Sowande. expand his knowledge of church music of the Gothic cathedral. The repertoire music still enriches the repertoire of the in order to inaugurate a choir suitable is similar to that of any typical English choir are the father of Nigerian church Organists and masters of the music for Christ Church, to be second to none cathedral choir. It primarily refl ects the music, Thomas Ekundayo Phillips, The choir has been trained and in Nigeria. The choir was expected to be seasons of the liturgical year, with plain- whose indigenous sacred Yoruba compo- directed by musicians such as Robert able to sing in a manner worthy of being song antiphons and hymns, challenging sitions are often heard in the cathedral, Coker, Thomas Ekundayo Phillips regarded as a model by other churches. festival anthems, and more fl amboy- and Fela Sowande, whose Responses in (1884–1969), Charles Obayomi Phillips The initial choir set up by Coker ant Eucharistic settings, such as Alan English are still sung regularly at Matins (1919–2007), Olayinka Sowande (Fela and Evensong. Other notable composers Sowande’s younger brother), Tolu Oba- include Ayo Bankole, Samuel Akpabot, jimi, and presently, Babatunde Sosan (b. and Godwin Sadoh. 1975). From the late nineteenth century The choir is polyglot, performing to the present, those at the helm of works mainly in English, but occasion- music ministries at the cathedral have ally singing in other European lan- been skillful and talented. — 38 ranks guages such as Latin as well as in the Apart from the weekly routine of choir Yoruba dialect during special diocesan practices in preparation for Sunday wor- services of the Anglican Synod, com- ship, the master of the music and choir- tuscaloosa, alabama tuscaloosa,

bined mass choir or the augmented masters are responsible for preparing opus 132 choir events,1 and Evensong. In recent the choir for concerts that feature reper- years, it has given a few performances toires of sacred choral, instrumental, and of some major works in the cathedral organ pieces. The concert performances including Felix Mendelssohn’s St. Paul are in the form of the annual choir in November 2008 at its ninetieth anni- festival, Advent carol service, Festival

Chri Episcopal Church Chri Episcopal versary concert, and Handel’s Messiah of Lessons and Carols, Easter cantata, in December of that year. Some other Christmas concert, and various other major works that the Cathedral Choir concerts throughout the year. has performed in the past include Most of the music used for worship Handel’s Judas Maccabaeus in 1998, is by British composers: John Ireland, at the Musical Society of Nigeria William Byrd, John Stainer, Bernard follow (MUSON), Lagos, for its eightieth Rose, David Willcocks, John Rutter, us on facebook! anniversary, Haydn’s The Creation in Ralph Vaughan Williams, Samuel Wes- April 2001, and Johann Sebastian Bach’s ley, Thomas Attwood, Charles Villiers Christmas Oratorio. Stanford, Malcolm Archer, George Thal- As the premier choir in Nigeria, ben-Ball, Sydney Nicholson, Herbert Cathedral Church of Christ Choir Howells, Hubert Parry, Edward Elgar, has played a major role in shaping the Eric Thiman, Healey Willan, Walford 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA direction and development of church Davies, Edward Bairstow, William Har- t 800 625-7473 [email protected] music in Nigeria especially in the ris, Orlando Gibbons, Martin Shaw, Wil- Visit our website at www.letourneauorgans.com Anglican Communion. The choir’s liam Boyce, William Matthias, Robert work is felt not only in the Anglican Cooke, and Charles Stanley. However, Church, but in other denominations as compositions from other European

14 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM The Cathedral Choir on Sunday, November 27, 2010 The Lord Bishop of London with the Cathedral Choir in 2006 nationalities are occasionally incorpo- Choir training Before a choirboy or man can be Choir ministry rated into worship, including works of The outstanding musical standard admitted into the choir to sing in Sun- The choir leads the congrega- Beethoven, Mozart, Bach, Vivaldi, Liszt, of the Cathedral Choir today refl ects day worship, he fi rst goes through the tion every Sunday in hymn singing, Widor, Alain, and Schubert.2 the models established by Thomas rigorous probationary period that nor- responses (antiphonal prayers set to The cathedral has been served by Ekundayo Phillips. Some of the ide- mally lasts several months. In the case music), special settings of liturgical three generations of the Phillips family als instituted by Phillips included of the choirboys, their probationary music such as Venite, Benedictus, Te as organists and masters of the music. strict discipline, clarity of diction and period lasts eight months, while proba- Deum, Nunc dimittis, Magnifi cat, Ekundayo Phillips’s tenure was the pronunciation, regular and punctual tion for those who wish to join the choir Jubilate, and settings of the Eucharist. longest, spanning forty-eight years attendance at choir practices, correct as adults to sing alto, tenor, or bass is The master of the music uses the choir (1914–1962). His son, Obayomi Phillips, interpretation of notes, voice balance, three months. The author remembers to teach the congregation new hymns, served for thirty years (1962–1992). Tolu articulation, attack, comportment, rev- his probationary period in 1980 while service music, and songs. This is real- Obajimi occupied the same position erence in worship, and utmost sense still in high school. He attended the ized by the choir fi rst singing all verses for two decades (1993–2013). Olayinka of good musicianship. As a pedantic choir practices on Tuesday and Thurs- of a hymn as an anthem on a Sunday, Sowande spent the least amount of time choir director, his expectations were day evenings, but on Sundays would while the congregation is asked to sing in offi ce, July to December 1992. The very high and certainly demanding, but sit in the congregation for worship and along the following Sunday. Occasion- reason for the short term was that as the choir always rose to his standard was not allowed to sing with the choir ally the choir sings several verses before the sub-organist to Obayomi Phillips for and taste. Ekundayo Phillips’s philoso- until the three months of probation the congregation joins. The Cathedral several years, he was next in line for pro- phy toward choral training cannot be was completed. Whenever the young Church of Christ proves to be an inclu- motion to the position of master of the overemphasized. He would detect and neophytes complete their probation, sive culturally blended congregation music; thereafter the Cathedral Church correct any musical snag such as faulty they are formally admitted into the in terms of hymnals used for worship. gave him the position in 1992. However, notes emanating from any section of the Cathedral Choir at a special service in The church exemplifi es the nature of an old age did not permit Sowande to stay choir. Ekundayo Phillips would also call which their parents assist them to put interdenominational faith-based organi- longer than six months in the position to order any chorister who did not hold on the white surplice over the black zation with the use of hymnbooks from as he was already an octogenarian. Time his music book correctly, such as cover- cassock. The induction ceremony is diverse churches. The hymnals used for and circumstances will determine the ing his face with it or placing it on his always a moment of joy and pride for worship include Hymns Ancient and length of Babatunde Sosan’s tenure. lap while seated. the parents. Modern, Hymns Ancient and Modern

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2019 Q 15 Choir anniversaries

The Cathedral Choir with Thomas Ekundayo Phillips in 1948

London, while the royalties from the they had been exposed to in the United The Cathedral Choir with Obayomi Phillips, Soji Lijadu, Yinka Sowande, Provost sales of the recording were all given to States. Other factors that paved the way Sope Johnson, Archbishop of Canterbury, and Bishop Segun, in the 1970s the Cathedral Church of Christ, for the for the proliferation of American infl u- purchase of an organ in 1932. ences were the abundance of sermons Revised, Songs of Praise, Methodist Cathedral Choir, MUSON Chamber The Cathedral Choir has performed and songs on audio and video recordings, Hymn Book, Hymnal Companion, Orchestra, and MUSON Ensemble. for numerous dignitaries. The group per- praise chorus hymnbooks with staff nota- Baptist Hymnal, Saint Paul’s Cathedral These concerts featured solos, choral, formed before the British royal family, tion, and Christian literature sold in local Psalter, Church Hymnal, Alternative and instrumental music. The events fi rst in April 1921 at the cornerstone lay- religious bookstores. These infl uences Service Book, New English Hymnal, often attract dignitaries, professional ing ceremony of the Cathedral Church of are interwoven into various strands of Redemption Hymnal, Broadman Hym- musicians, and students from far and Christ, by His Royal Highness, the Prince worship that undisputedly distinguish the nal, Sacred Songs and Solos, More near. The venues of the concerts include of Wales. In January 1956, the choir new churches from the well-established Hymns for Today, American contem- the Cathedral Church, Glover Memo- performed before Her Majesty Queen Protestant churches such as the Angli- porary praise choruses found in Songs rial Hall, Musical Society of Nigeria Elizabeth II and Prince Phillip, when can, Baptist, Lutheran, Presbyterian, and for Refreshing Worship, and indigenous (MUSON) Center, and other concert they worshiped at the Cathedral Church; Methodist denominations. hymns written by Ekundayo Phillips as halls in Lagos. and fi nally, on October 2, 1960, at the On a fi nal note, twenty-fi rst-century well as other members of the choir. Some of the concerts were spe- Independence Day service of Nigeria, congregational singing at the Cathedral cifi cally organized to raise funds for attended by Her Royal Highness, Prin- Church of Christ is indeed a commixture Concert performances either the Cathedral Church or to buy cess Alexandra. On an Advent Sunday of traditional hymns and contemporary There are other times in the year that a new organ. For instance, Ekundayo in 1972, the Cathedral Choir performed American praise choruses, a tuneful the Cathedral Choir performs concerts Phillips embarked on a concert tour with the King’s College Cambridge blending of the American and the British in and outside of the church. Oratorios, with his choir to Abeokuta on August Choir, during their visit to Nigeria. The infl uences. At each service, each congre- cantatas, and orchestral works have 24, 1930, and later to Ibadan, to raise fi rst broadcast by the Cathedral Choir on gant’s musical taste is met through the been performed by the choir such as funds to build a new pipe organ for the British Broadcasting Corporation was appropriation of a pluralistic worship. It Mendelssohn’s Elijah in 1989, as well as the Cathedral Church. In these con- aired on December 12, 1951. is not only the indigenous members that Hymn of Praise and Saint Paul; Bach’s certs, the Cathedral Choir performed are being catered to, but also visiting Christmas Oratorio in 1953; Coleridge- mostly Ekundayo Phillips’s Yoruba Compact disc recordings European and American worshippers Taylor’s Hiawatha’s Wedding Feast; songs to the delight of the indigenes of The Cathedral Choir’s work has not who comfortably feel at home in the Handel’s Judas Maccabaeus and Ode on southwest Nigeria. The concerts were been restricted to only live perfor- Cathedral Church of Christ with this Saint Cecilia’s Day performed in 1998; a success because the choir alone was mances at services and concerts. The type of multi-cultural musical repertoire. Haydn’s Creation; Stainer’s Daughter able to raise more than half the cost of choir has recorded some of its favorite While all these evolutions continue, the of Jairus and Crucifi xion performed in the organ. works to reach out to the wider church Cathedral Choir and its musicians have 1916; Davies’s The Temple; and Elgar’s In 1927, Ekundayo Phillips went as far music community. During the tenure painstakingly endeavored to maintain a Pomp and Circumstance performed by as England to appeal to British congre- of Thomas Ekundayo Phillips, the choir befi tting exceptional musical standard the Cathedral Church of Christ Choir gations for money to build a pipe organ. recorded two of his songs, Emi O Gbe that it is reputed as a role model for other Orchestra at the eightieth anniversary He was able to raise a substantial amount Oju Mi S’Oke Wonni (I Will Lift Up My choirs, thereby preserving the legacies of of the choir on November 22, 1998. On through the successful rendition of some Eyes to the Hills—Psalm 121) and Ise the founding fathers of the choir, namely, March 20, 2016, the Musical Society of his Yoruba compositions by Saint Oluwa (The Work of the Lord) for the Robert Coker, Thomas Ekundayo Phil- of Nigeria (MUSON), in collaboration George’s Church Choir on October 23, BBC series, Church Music from the Com- lips, and Charles Obayomi Phillips. Q with the cathedral, presented Fauré’s 1927. The Yoruba songs were recorded monwealth. In 2006, the choir released Requiem, featuring the MUSON Choir, by H. N. V. Gramophone Company in its fi rst compact disc set, Choral Music: Godwin Sadoh is a Nigerian ethnomu- Volumes I & II. The two CDs contain a sicologist, composer, church musician, selection of hymns, anthems, psalms, Te pianist, organist, choral conductor, and Deum, and Jubilate that the Cathedral scholar with over a hundred publications Choir has sung over decades. Compos- to his credit, including twelve books. A Precious Gift ers of the selected works as usual were His compositions have been performed mostly British with the exception of the and recorded worldwide. In 2004 at from the Past Cathedral Choir musicians, in particular, Louisiana State University, Baton Thomas Ekundayo Phillips, Modupe Rouge, Sadoh distinguished himself Phillips, Obayomi Phillips, Soji Lijadu, as the fi rst African to earn a doctoral for the Present Fela Sowande, Olusina Ojemuyiwa, degree in organ performance from any Yinka Sowande, and Babatunde Sosan. institution in the world. He has taught and the Future at several institutions including the Conclusion Obafemi Awolowo University, the Uni- Supremely beautiful and blendable In spite of the stability and loyalty to versity of Pittsburgh, and the University tonal color – a Gift from the Venetian the Anglican worship system, the music of Nebraska-Lincoln. He is presently School of organbuilding, a monumental part of our ministry at the Cathedral Church of professor of music/LEADS Scholar at Christ has gone through a transformation the National Universities Commission, JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH to conform with modern trends in Nige- Abuja, Nigeria. Sadoh’s biography is SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN ria. The middle of the 1980s chronicles listed in Who’s Who in America, Who’s the emergence of the Neo-Pentecostal- Who in American Education, and Who’s Intriguing? Let us build your dream. Evangelical churches and university Who in the World. campus Christian fellowships all over the country. These were largely driven The Cathedral Church of Christ, by an American innovation of worship Lagos, website: and evangelistic methodologies. Hence, https://www.thecathedrallagos.org singing in those arenas is characterized by the adoption of contemporary Ameri- Notes can praise choruses. The new churches 1. Combined Mass Choir or Augmented have been founded primarily by Nigerian Choir is a choral outfi t comprising of about Builders of Fine Pipe Organs to the World pastors trained in American seminaries a hundred voices made up of choristers from various Anglican churches in Lagos. and Bible schools. The pastors, at the www.ruffatti.com 2. This essay is derived from the author’s completion of their training in the United book, The Centenary of the Cathedral Church States, returned to Nigeria to establish an of Christ Choir, Lagos (Columbus, Ohio: GSS Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 experiential worship that mirrored what Publications, 2018).

16 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM Feature review

The Complete Organ Works of Francisco Correa de Arauxo: Correa in the New World Robert Bates performs

By Robert Parkins

The Complete Organ Works of Fran- state of Oaxaca in southern Mexico, and cisco Correa de Arauxo: Correa in the two more are late twentieth-century New World, Robert Bates, organist. organs in northern California. Subtitled Loft Recordings, LRCD 1141–45 (5 “Correa in the New World,” the fi ve-CD CDs), $49.98. Available from www. set purports to be the fi rst recording of gothic–catalog.com. the complete organ music of Correa de Francisco Correa de Arauxo (1584– Arauxo in the Americas. 1654) was the middle fi gure among “the The music of Correa has been said three C’s” of early Spanish organ music, to bridge the Renaissance and Baroque between Antonio de Cabezón (1510– eras in Spain. That assessment could also 1566) and Juan Cabanilles (1644–1712). be applied to the predominant genre of The Complete Organ Works of Francisco Correa de Arauxo: Correa in the New World Like the venerable Cabezón, Correa de early Spanish keyboard music: the tiento, Arauxo received his fi rst major appoint- which evolved from little more than an clear is the precise location of the orna- ornaments described in earlier sources ment in his mid-teens, serving as organist intabulation of four-voice imitative vocal ment, although beginning the turn-like (e.g., Tomás de Santa María’s Arte de in the Collegiate Church of San Salvador polyphony in the sixteenth century to quiebro before the beat seems more tañer fantasía, 1565) in a judicious and in Seville (1599–1636) for most of his a variety of idiomatic subgenres by the consistent with the prevailing practice at stylistically appropriate manner. professional life. Later, after a four- early seventeenth century. Of the sixty- the time to play the consonant main note The track list for this superb record- year stint at the cathedral of Jaén (also nine compositions in Correa’s magnum on the beat. Bates dutifully follows the ing is organized according to venue and in the southern region of Andalusia), opus, sixty-two are labeled tiento or dis- composer’s recommendation to embel- instrument, yielding a more randomized he fi nished his career at the cathedral curso, the latter term reserved for more lish the initial note with a quiebro, but he order rather than the original succes- in Segovia (northwest of Madrid) from advanced works, although he sometimes elects to follow a more fl exible approach sion of pieces. Each work is identifi ed 1640 to 1653. uses the two words interchangeably. to rhythmic placement. by the number assigned when Santiago In 1626, while still employed in Notated in Spanish number tablature, A longer ornament mentioned in Cor- Kastner edited the fi rst modern publica- Seville, Correa de Arauxo published his each piece is preceded by a few intro- rea’s preface, called a redoble, is in the tion of the Facultad orgánica (Barce- Facultad orgánica (Art of the Organ), the ductory remarks, including occasional form of a trill with prefi x. Redobles are lona: Instituto Español de Musicología; only extant volume of Spanish keyboard nuggets of information on pertinent per- often indicated in the score by an “R,” 1948, 1952). Bates, a careful scholar as music to be printed in the seventeenth formance practice issues, such as tempo, sometimes with a prefi x actually written well as a fi rst-rate performer, relied on century. Following an extended preface ornamentation, rhythmic alteration, and out before the consonant main note on Kastner’s edition for this project from by the composer, this Book of Tientos registration. The composer’s valuable the beat. Correa admits that many other the outset—but not without compar- and Discursos of Practical and Theoreti- comments sometimes offer additional types of embellishments are possible, ing it scrupulously to a copy of the cal Organ Music, consisting of 67 solo insights on topics already addressed in and a number of different redoble vari- original 1626 publication, now available organ pieces (plus two intabulated vocal his detailed foreword. ants appear throughout the Facultad in facsimile (Geneva: Minkoff, 1981). settings), constitutes the whole of his If nearly every tiento on this record- orgánica. Bates is not shy about adding Two more complete editions have been known musical oeuvre. Since Correa’s ing seems to begin in an eerily similar some of his own redobles as well as other published since the inception of Bates’s purpose was partly didactic, he provided fashion, it is not only the resemblance a special index that groups the pieces in of the opening measures to a stile antico ascending order of diffi culty from 1 to 5. motet but also Correa’s directive that Scattered leaves ... from our Sketchbook Robert Bates has completed the the organist should adorn the fi rst note daunting project of recording The Com- with a short, accentual ornament called plete Organ Works of Francisco Correa a quiebro. The simpler of its two forms de Arauxo on fi ve different organs over is equivalent to a mordent (for shorter a span of seventeen years (in 1997, pieces like versets), while the slightly 2001, and 2014). Three of these are more complex one is identical to a turn eighteenth-century instruments in the beginning with the upper neighbor. Less

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2019 Q 17 Feature review

in the whole recipe. The organ’s unmodi- fi ed meantone temperament heightens the contrast between consonance and dissonance, spotlighting in particular several prominent occurrences of an augmented triad (composed of two pure major thirds), a distinctive harmonic feature in seventeenth-century Iberian organ music. The tuning also renders simultaneous cross relations, discussed by Correa in his preface, particularly salient (as in m. 119). No. 34, a tiento de medio registro de Correa, disc 1 Correa, disc 3 Correa, disc 5 baxón, features a sprightly bass solo. Heeding the composer’s advice to omit Tiento 55, a Discurso de dos baxones the 8′ level in the bass registration occa- (with two solo lines in the bass), is notable sionally for clarity’s sake, Bates assigns for its chromaticism in the main subject, the left-hand solo to the Bajoncillo, a 4′ strikingly atypical for Correa. Choosing a reed. Musically engaging but fairly pre- registration for a tiento de medio registro dictable, this tiento surprises the listener in fi ve voices can be problematic, but the near the end with a shift to septuple mixtureless chorus in the bass yields a time, one of several instances where Cor- penetrating clarity without overwhelm- rea experiments with irregular meters ing the treble Principal 8′, or Flautado or rhythmic subdivisions. At one point (Correa’s “default” registration for in the 1626 print, the bass line actually accompanying voices). Suffi ciently chal- crosses the “Great Divide” between c1 lenging to play on an organ with a split and c#1, one of myriad errors in the score keyboard (although apparently no prob- that Bates had to confront, especially in Correa, disc 2 Correa, disc 4 lem for Bates), this discurso serves as a Kastner’s modern edition. useful example of how complicated some The last three tracks on the third project, edited by Guy Bovet (Bologna: 1 includes one of Correa de Arauxo’s divided-register pieces can become when disc and all of CD 4 were recorded at Ut Orpheus Edizioni, 2007) and Miguel most alluring works in this subgenre. an organist must employ two manuals Pacifi c Lutheran Theological Seminary Bernal Ripoll (Madrid: Sociedad Espa- As the composer indicates in the title, and pedal to achieve the desired effect. in Berkeley, California, where Greg Har- ñola de Musicología; 2nd ed., 2013). the Tiento de medio registro de tiple de If the two hands (mainly the thumbs) are rold installed a Spanish-style organ in The organizational scheme for the décimo tono (No. 36) is a divided-register not allowed to assist each other in manag- 1989. Modeled after Aragonese instru- recording focuses special attention on piece (in mode 10) requiring a solo reg- ing fi ve parts on the same keyboard, the ments (specifi cally in the area around the organs as well as the music. All fi ve istration in the treble (with a more sub- coupled pedal must supply one of the two Zaragoza, ca. 1700), it has since been instruments share characteristics in com- dued accompaniment in the bass). The bass voices when needed. relocated to Oberlin College in Ohio. mon with most seventeenth- and early imitative contrapuntal opening in “motet Among a handful of compositions not With fourteen bass and sixteen treble eighteenth-century Castilian organs. style,” a hallmark of the Spanish tiento, is classifi ed as tientos in Correa’s collection stops, it is considerably larger than the Each possesses only a single manual key- played here on Principals 8′ and 4′. Rob- is No. 65, a set of sixteen continuous vari- other organs on the recording. board, all registers are divided between ert Bates introduces the fourth entry, a ations on Guárdame las vacas (“Watch The fourth disc begins with Tiento bass and treble stops at c1/c#1, and the solo for the right hand, on the brilliant the Cows for Me”). The familiar folk 16, described by the composer as being tuning system is meantone temperament Corneta, expertly guiding the serpentine tune (and chord progression) had been “in the style of a chanson” (a modo de (either strict 1/4 comma or the more melisma of sixteenth notes that emerge popular among composers of variations canción). After the typical opening, it versatile 1/6 comma). Pedals are minimal from the subject’s initial long notes. The (diferencias) since the early sixteenth becomes a mélange of contrasting tex- or nonexistent, serving only to pull down third and last of the fi ve solo entries century, including Cabezón. Bates skill- tures, rhythms, and meters in the tradi- the low bass notes of the manual when include diminutions in triplet fi gures, to fully interweaves the threads of migrat- tion of batallas (including Correa’s own needed. Each stoplist also includes at be played (as described by Correa else- ing diminutions (glosas) among the long Tiento 23, based “on the fi rst part of the least one horizontal reed, although Bates where) unequally for the most “graceful” notes of the harmonized cantus fi rmus. Batalla of Morales”) and other Spanish is sparing in his use of them since exterior effect, “almost” like making the fi rst note CD 3 takes us to the church of San keyboard pastiches. Bates takes advan- trumpets were not in evidence until after twice as long as each of the two that fol- Jerónimo, Tlacochahuaya, also not tage of the sectional structure to make the Facultad orgánica was published. low. Bates’s tempo is on the brisk side, far from Oaxaca City. An anonymous judicious stop changes, ordinarily not fea- The fi rst two CDs in this set were and the rhythmic nuance becomes so builder constructed the organ around sible in most of these tientos. Particularly recorded in Oaxaca City and nearby subtle that the inequality is just barely 1729 (modifi ed in 1735), and in 1991 noteworthy is a segment of eight mea- Tlacolula, beginning with the organ in noticeable until the tempo relaxes (e.g., its restoration was completed under sures in a jazzy 3+3+2 rhythm—common Oaxaca Cathedral. Constructed in 1712 at cadences). the direction of Susan Tattershall. With among other Spanish composers of the by Matías de Chávez (with later additions The organ in the church of Santa María seven bass stops and an equal number time, but rare and more fl eeting in the in the eighteenth century, followed by a de la Asunción in Tlacolula was completed in the treble, this modest but beautiful music of Correa de Arauxo. number of twentieth-century changes), by Manuel Neri in 1792 (including pipe- instrument has a Bourdon (Bardón) at 8′ it was reconstructed by Susan Tattershall work from as early as 1666). Subjected to pitch rather than the usual Flautado. in 1997. The current specifi cation lists alterations in the nineteenth century, it No. 18, a “fi rst level” piece intended Experience THE DIAPASON’S eight (half) stops in the bass and ten in was restored in 2014 by Gerhard Grenz- for an undivided registration (registro new website! the treble. ing. The result is a simple disposition entero), resembles an older style of tiento More than half of the compositions (eight registers in the bass and seven in with only a moderate degree of fi guration. in the Facultad orgánica were written the treble) with separate ranks for the Bates’s principal chorus is not precisely the for divided stops (a new development upperwork, as in contemporary Italian same in the bass and treble, demonstrat- in the latter sixteenth century), and CD organs, rather than mixtures. ing that the ingredients can be tweaked a bit to produce a more satisfactory balance

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18 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM Santa María de la Asunción, Tlacolula, 1792 Manuel Neri organ (photo credit: Fidel Ugarte)

Decorated pipe mouths Tlacochahuaya recording session

On the fi fth and fi nal CD, the listener fi ve, seven, and nine notes as well. The Santa María de la Asunción, Tlacolula, Robert Bates at the organ arrives at the last stop on this organ tour, performer’s goal is to maintain a steady also in the San Francisco Bay Area. The pulse for the long notes while control- descriptions (including specifi cations) of bargain at $49.98 (when ordered directly instrument in the Mission San José in ling the improvisatory rhythmic shifts the fi ve instruments, as well as a brief from Loft). For individual fans of organ Fremont, California, was built by Man- as well as the almost frenetic streams essay on historical Spanish and Mexican music, it is also available for download uel Rosales in 1989. Although strongly of thirty-second notes in the right hand. organs in general. Following a short from the Gothic website as a complete infl uenced by early Castilian (and Bates is more than equal to the task in introduction by Bates on his “consider- album or as single tracks. Q Mexican) organs, it adheres somewhat executing this fascinating tiento, among ations” for choices of stops is a detailed less strictly to earlier historical precepts the longer and more complex pieces in list of the registrations used. Last but not Robert Parkins is university organist than the preceding four on this record- the Facultad orgánica. least, a contribution by producer Roger and professor of the practice of music at ing. Nonetheless, a fully chromatic bass Accompanying the CD set is a sump- Sherman on the “adventures” of record- Duke University, Durham, North Caro- (rather than a short octave) and a seven- tuous 120-page booklet (25% of which is ing in Mexican churches lends a lighter lina. He has specialized in early Iberian teen-note pedalboard do not violate the devoted to a Spanish translation of the tone to the production notes. keyboard literature, and his publications essential ethos of this instrument as an English text) that includes a rich selec- Kudos to Robert Bates for this splen- include articles on performance practices appropriate vehicle for the performance tion of full-color photos. A handy “Index did contribution to the culture of early in this music as well as the chapter on of Correa’s music. The manual’s twenty of Tientos,” numbered according to the Iberian keyboard music. Although organ- “Spain and Portugal” in Keyboard Music half stops are divided evenly between original published order, matches each ists are now appreciably more aware of Before 1700 (Routledge, 2004). His bass and treble, and the pedal enjoys the one with the corresponding CD track this marginalized repertoire than a few organ and harpsichord recordings have luxury of a Bardón at 16′ pitch. and Correa’s suggested level of diffi culty. decades ago, it remains unfamiliar terri- appeared on the Calcante, Gothic, Musi- Tiento 59, a medio registro de tiple, is Although providing liner notes on sixty- tory for many. Congratulations are due cal Heritage Society, and Naxos labels. one of eight works assigned a diffi culty seven individual pieces would have been also to Loft Recordings for another sig- Parkins received his academic degrees level of 5 and one of only four with dim- prohibitive, Robert Bates offers a suc- nifi cant addition to its continuing series from the University of Cincinnati Col- inutions in thirty-second notes. Bates cinct overview on the composer and his of “complete works.” Beyond their sheer lege-Conservatory of Music and the Yale follows Correa’s advice to use a principal music in historical context, as well as a musical interest, these integral collec- University School of Music. In 1973 he chorus (lleno) for the treble coloratura brief synopsis of the Facultad orgánica. tions possess an undeniable documen- was awarded a Fulbright grant to study above the quietly moving lower voices. In addition to a biography of the tary and instructional value. in Vienna with Anton Heiller. Other The solo in the right hand exploits a performer (who holds a Ph.D. in musi- Every music library should own this teachers have included Gerre Hancock, number of irregular rhythmic subdivi- cology from Stanford University and fi ve-disc package comprising Francisco Ralph Kirkpatrick, Charles Krigbaum, sions; in addition to the more common retired not long ago as professor of organ Correa de Arauxo’s Facultad orgánica, a and Michael Schneider. triplets, Correa includes groups of at the University of Houston), there are

Church of Saint Jude the Apostle Wauwatosa, Wisconsin Three manuals – forty ranks

A RTISTRY – R ELIABILITY – A DAPTABILITY

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2019 Q 19 Cover feature

Roger Banks, The fi rst project we undertook was out the chorus. The existing Koppel choir. To increase versatility, there Oklahoma City, Oklahoma to replace the failing Swell division Flöte was adequate, but the 8′ Nason is now a knob that allows the Choir Reuter Organ Company, expression pneumatics. That opened up Gedeckt and 8′ Quintadena were too expression to operate the Bombarde Lawrence, Kansas the shade front to fully allow the sound similar, so I moved the Nason Gedeckt expression when the strings are used on First Presbyterian Church, to enter the chancel area rather than to the Quintadena chest and added a the Choir. Tonal fi nishing did wonders Oklahoma City, Oklahoma bounce off the ceiling. The improve- new, larger-scaled 8′ Bourdon. The 16′ to tie together all the disparate pipe- ment was immediate and quite notice- Dulzian was moved to a new unit chest, work in the Choir. The division now has From Roger Banks able. In 1994, the previous technician and I added a new large-scale 8′ Flûte purpose and adds a great deal of color I fi rst heard the M. P. Möller organ at installed a new console. However, this Harmonique. The Flûte Harmonique to the entire ensemble. First Presbyterian Church shortly after large console appeared to have more pipes were then voiced to be command- The Bombarde division also received its installation in 1964. At that time, I prepared drawknobs than actual stops. ing as a solo stop in the treble, yet work a vintage 4′ Harmonic Flute. It adds was a senior at Oklahoma City Univer- I suggested that John Edwards consider well in the ensemble. color to the 8′ English Horn and sneaks sity nearby. As one of the newest and not only completing the console prepa- The Swell division only needed the in as a fi ller with the strings. largest organs in the Oklahoma City rations, but also replacing and/or rescal- addition of a new 8′ Diapason of ade- The Pedal division had the fewest area, it should have been wonderful. ing most of the Great principal chorus quate scale. Every other need in that needs, though we did add a larger scale After all, the specifi cation indicated as well as adding foundation stops to the division was addressed during the tonal 8′ Diapason to augment the existing 8′ that it followed the latest trends in other divisions. We decided to make it fi nishing that was done later. Principal. This gave the Pedal a better organbuilding and design at the time, a two-year project to better utilize the The Positiv division was next on the 8′ line. The remaining work was done in yet I remember that, in that cavern- available funding source. list. It was typical of the period, yet the tonal fi nishing phase. ous building, the result was much less It did not take long for us to real- still an effective division. I moved the I cannot thank JR Neutel from Reuter than satisfying. ize that rescaling the existing Great 8′ Geigen from the Choir to a new enough for the marvelous job he did In the intervening time between 8′ Principal was hopeless. The lowest unit chest above the Great in order to during the tonal fi nishing phase. I have then and now, I have fully transitioned fourteen pipes were in the façade, scale provide some foundation at 8′ and 4′ worked with him on many instruments from the spare but well-intentioned 46, and nearly forced double length by pitches. As a result, we also discovered in the last twenty years. He has limitless organ sounds of the 1960s and 1970s, the façade design. The 4′ Octave res- that it makes an impressive 16′ Double energy coupled with complete mastery 1 through the 1980s and 1990s, to arrive caled nicely, but the 2′ Weit Prinzipal on the Great. The existing 1 ⁄3′ was of of dealing with pipework that appears to at my current tonal philosophy, which as well as the IV- and III-rank mixtures fl ute tone, so I replaced it with pipes be hopeless. We spent over three weeks favors broader scales and divisions were not be able to be reused. The from the old Great IV Mixture. The going through every pipe in the organ. featuring rich fundamental tone. Thus new principal chorus that was added remaining issues again were done dur- The completed organ now has the I was delighted when John Edwards now has a substantial 8′ Principal and ing the fi nal tonal work. weight to carry the length of the nave, entrusted me with the care of the upper work to match. We also added The Choir division was an interesting but it is still nimble enough to play the instrument at First Presbyterian. a new Twelfth and Seventeenth to fi ll challenge. It was originally designed as lightest literature. I would also like the the enclosed division to partner with thank G. Mark Caldwell, Marty Larsen, the Positiv. After the 1994 revision, Tom Birkett, and John Riester for their the Choir was left on its own. It had assistance in making the completed the 8′ Geigen, a hybrid 4′ Gemshorn/ instrument possible. Principal, a pair of Erzählers, a large 8′ —Roger Banks Clarinet, and a 4′ Hautbois. It was not a Oklahoma City, Oklahoma lot to work with. By the time we addressed the Choir, From Reuter Organ Company work on the other divisions had rap- This project is unique in that it was not idly depleted funding for the project. conceived in the typical relationship that Fortuitously, the church had several many equate with a “main-line builder” vintage ranks in storage from a donated and the “sales representative.” In this Kimball, and I had several nice stops case, Roger Banks called upon us to con- remaining from various earlier projects. sult with him—a partnership of equals. For example, I had a lovely 8′ Reuter Together we discussed numerous ideas Spitz Principal that we installed on the of how to tonally enhance the organ, cul- now vacant 8′ Geigen chest. The church minating with all of the specifi c details had a wonderful 8′ open wood Kim- needed to complete this tonal enhance- ball Claribel Flute that was installed ment, including fi nal pipe scales and where the 8′ Krummhorn had been. I wind pressures to achieve the objective. had a new chest built to hold a pretty Reuter was then given the opportunity 4′ Möller Flute d’Amour and III–IV to provide the new pipes and chests that Mixture, and Reuter built the bottom Roger needed. Reuter has been fortu- octave for the Hautbois to make it an nate to develop similar relationships with 8′. We also added a lovely set of Kimball other affi liates over the past decade. 8′ strings which reside in the enclosed While Roger has had a fi fty-plus The chancel of First Presbyterian Church, Oklahoma City, Oklahoma Bombarde division that sits atop the year relationship with Reuter, he and I

Roger Banks/Reuter Organ Company

GREAT (Manual II) 8′ Rohrfl öte (ext) 8′ Cromorne (Pos) 8′ Bombarde 61 pipes 16′ Geigen (ext 8′, 1–12 electronic) 8′ Flûte Céleste II 110 pipes 8′ Hautbois 61 pipes 8′ Clarinet (Ch) 16′ Quintadena 73 pipes 4′ Octave Diapason (ext) Tremolo 8′ Dulzian (Gt) 16′ Claribel Flute (Ch) 4′ Praestant 61 pipes Choir to Choir 16 8′ English Horn 61 pipes 8′ Principal 61 pipes 4′ Flûte Harmonique 61 pipes Choir Unison Off 4′ Clairon 61 pipes 2 8′ Geigen 73 pipes 2⁄3′ Nazard 61 pipes Choir to Choir 4 Tremolo 8′ Flûte Harmonique 61 pipes 2′ Flachfl öte 61 pipes 8′ Hooded Tuba (unenclosed) 73 pipes 3 8′ Bourdon 61 pipes 1⁄5′ Tierce 61 pipes POSITIV (fl oating) 4′ Tuba Clarion (ext) 1 8′ Quintade (ext) IV Plein Jeu 1 ⁄3′ 244 pipes 16′ Quintadena (Gt) Bombarde to Bombarde 16 1 2 5⁄3′ Quint (TC, fr 2 ⁄3′) III Cymbal 1′ 183 pipes 16′ Claribel Flute (Ch) Bombarde Unison Off 4′ Octave 61 pipes 32′ Contra Fagotto (TC, fr 16′) 8′ Geigen (Gt) Bombarde to Bombarde 4 4′ Koppelfl öte 61 pipes 16′ Fagotto 73 pipes 8′ Holz Bordun 61 pipes Chimes 1 3 3⁄5′ Grossterz (TC, fr 1 ⁄5′) 8′ Trompette 61 pipes 4′ Geigen (Gt) 2 2⁄3′ Twelfth 61 pipes 8′ Fagotto Oboe (ext) 4′ Rohrfl öte 61 pipes HÉROÏQUE (fl oating, 2 2′ Fifteenth 61 pipes 8′ Vox Humana 61 pipes 2⁄3′ Nazat 61 pipes en chamade) 2′ Flageolet 61 pipes 4′ Clairon 61 pipes 2′ Prinzipal 61 pipes 16′ Trompette Héroïque (TC, fr 8′) 3 3 1⁄5′ Seventeenth 61 pipes Tremolo 1⁄5′ Terz (GG) 54 pipes 8′ Trompette Héroïque 61 pipes 1 1 IV Fourniture 1 ⁄3′ 244 pipes Swell to Swell 16 1⁄3′ Quinte 61 pipes 4′ Trompette Héroïque (ext) III Scharf 1′ 183 pipes Swell Unison Off 1′ Siffl öte 61 pipes 1 16′ Dulzian 73 pipes Swell to Swell 4 III Zymbel ⁄4′ 183 pipes PEDAL 8′ Bombarde (Ped) 16′ Dulzian (Gt) 64′ Gravissima (Bourdon resultant) 8′ Dulzian (ext) CHOIR (Manual I, expressive) 8′ Cromorne 61 pipes 32′ Violone (electronic) Tremolo 16′ Erzähler 73 pipes 4′ Rohr Schalmei 61 pipes 32′ Contre Bourdon 44 pipes Great to Great 16 8′ Spitz Principal 61 pipes Tremolo 16′ Principal 32 pipes Great Unison Off 8′ Salicional (Bomb) 16′ Geigen (Gt) Great to Great 4 8′ Voix Céleste (Bomb) BOMBARDE (Manual IV, 16′ Subbass (ext) Chimes (G2 – G4, volume 0–5) 8′ Erzähler (ext) expressive) 16′ Quintadena (Gt) Carillon 8′ Erzähler Céleste (TC) 49 pipes 8′ Salicional Céleste II 122 pipes 16′ Rohrbass (Sw) 8′ Claribel Flute 85 pipes 8′ Orchestral Flute (TC, fr 4′) 16′ Erzähler (Ch) 2 SWELL (Manual III, expressive) 4′ Gemshorn Principal 61 pipes 4′ Salicet Céleste II (ext) 10 ⁄3′ Bourdon Sub Quint (ext) 16′ Rohrbass 73 pipes 4′ Flauto d’Amore 61 pipes 4′ Orchestral Flute 61 pipes 8′ Diapason 32 pipes 8′ Diapason 73 pipes 2′ Claribel Fife (ext) 4′ Claribel Flute (Ch) 8′ Octave 44 pipes 3 8′ Viola Pomposa 61 pipes III–IV Mixture 2′ 190 pipes IV Harmonics 1 ⁄5′ 244 pipes 8′ Geigen (Gt) 8′ Viola Céleste 61 pipes 8′ Clarinet 61 pipes 16′ Bombarde (TC, fr 8′) 8′ Flûte Harmonique (Gt)

20 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM First Presbyterian Church at night (photo credit: Dustin Gwin, HD Copters) began working together on numerous From John L. Edwards installations, most notably back to 2001, Standing for over half a century when he fi rst assisted me with the voic- on its northwest Oklahoma City site, ing of our fl agship instrument at Saint the fourth house of worship of First John’s Cathedral in Albuquerque, New Presbyterian Church is a grand Gothic Mexico. I was honored when Roger structure of Tennessee limestone. In asked me to take the lead on the revoic- addition to its impressive stained glass ing of the organ at First Presbyterian windows, the building boasts four pipe Church. I also thank John Edwards for organs: chapel (1956 Austin, two manu- his confi dence and support. With an als, fi fteen ranks); Watchorn Hall (1956 instrument of this size the undertaking M. P. Möller, two manuals, four ranks); was daunting. Roger’s ability to “mas- choir room (1965 Walcker, two manu- sage” new sounds out of old pipes as als, eleven ranks); and sanctuary (1964 well as working with new pipes is sec- M. P. Möller, four manuals, seventy-one ond to none. With our combined abili- ranks; 2016 Banks-Reuter, four manu- ties and weeks of on-site voicing time, als, nintety-one ranks). The “4X4 Organ the desired results were achieved. Concert” is unique and very popular This “new” organ at First Presby- to the Oklahoma City community, four terian, along with two other recently organists playing four pipe organs mov- completed organ renovations in Okla- ing from venue to venue. homa City (Christ the King Catholic From its 1889 beginnings, the church The console Church and Oklahoma City University), has regarded music as a primary form of and a soon to be completed project at worship and, to that end, has had many Organists have included Wilma Jensen chaired by DeWitt B. Kirk and then- Westminster Presbyterian Church, are well-known church musicians leading and Samuel C. Hutchison. Several oth- organist Gale Norman Enger chose the the culmination of a rewarding partner- that endeavor. John S. C. Kemp served ers served shorter terms or as music M. P. Möller Organ Co. of Hagerstown, ship and friendship with Roger. We as minister of music from 1949 to 1968 interns for a year of their undergraduate Maryland, to build the new instrument applaud Roger and his successful career with encore service from 1983 to 1986. studies. Those include Elaine Warner for the 1,400-seat sanctuary. Completed as one of the central state’s leading During these periods of service, his Chard, Louise Bass, Dorothy Kosanke- in 1964, Opus 9862 had four manuals organ specialists and extend our deep wife, Helen developed her expansive Elder, Greg Funfgeld, Eric Howe, with seventy ranks in the chancel and appreciation for his leadership on this work with children as well as her soar- Mark Lawlor, and Glenn A. Miller, one “En Chamade” rank at the rear project. The renewed organ stands as a ing soprano voice. In their honor, the among others. of the church. Wilma Jensen oversaw landmark instrument in the area! church now has a free concert series While meeting for Sunday worship in the installation. —JR Neutel named for them. John Blackwell fol- Watchorn Hall until completion of the In 1992 a decision was made to Reuter Organ Company lowed the Kemps’ fi rst term of service. sanctuary in 1964, an organ committee purchase a new console and solid-state

First Presbyterian Church, Oklahoma City, Oklahoma

8′ Rohr Pommer 32 pipes BELLS REVERSIBLES Tuba Non-Coupling On/Off (drawknob) 8′ Quintade (Gt) Glockenstern = a) Handbells; b) India Bells Great to Pedal (thumb and toe) Great/Choir Transfer 8′ Rohrfl öte (Sw) (a, b, or a & b) Swell to Pedal (thumb and toe) Peterson Operating System and Piston Se- 8′ Erzähler (Ch) Zimbelstern = fast/slow Choir to Pedal (thumb and toe) quencer 1 5⁄3′ Bourdon Quint (ext) Bombarde to Pedal (thumb) Next/Previous Pistons (thumb and toe) 4′ Choralbass (ext) Positiv to Pedal (toe) Héroïque Power On/Off (toggle switch) 4′ Geigen (Gt) Tutti (thumb and toe) Adjustable Bench, in memory of Wanda L. ′ COUPLERS 4 Nachthorn 44 pipes Great to Pedal 8, 4 Glockenstern (toe) Bass 2′ Geigen (Gt) Zimbelstern (toe) ′ Swell to Pedal 8, 4 2 Nachthorn (ext) Choir to Pedal 8, 4 32′ Contre Bourdon (toe) 4 manuals, 91 ranks 1 ′ III Cornet 5 ⁄3 96 pipes Bombarde to Pedal 8, 4 32′ Violone (toe) 1 ′ IV Rauschbass 2 ⁄3 128 pipes Positiv to Pedal 8, 4 32′ Contre Bombarde (toe) M. P. Möller Opus 9862, 1964, 4 manuals, 32′ Contre Bombarde 85 pipes 71 ranks; 1994, new console, 4 manuals, ′ Héroïque to Pedal (drawknob) 16 Bombarde (ext) Pedal Continuo to Great 8 75 ranks; 2016, tonal revisions/additions 16′ Fagotto (Sw) COMBINATIONS (99 memory levels) by Roger A. Banks and Reuter Organ Co. ′ Swell to Great 16, 8, 4 16 Dulzian (Gt) Choir to Great 16, 8, 4 Generals: 1–10 (thumb and toe) Tonal fi nishing by Roger A. Banks and JR 8′ Hooded Tuba (Bomb) Generals: 11–20 (toe) Neutel, president, Reuter Organ Co. ′ Bombarde to Great 16, 8, 4 8 Bombarde (ext) Positiv to Great 16, 8, 4 Great: 1–8 (thumb) 8′ Fagotto (Sw) Swell: 1–8 (thumb) Great 1,195 pipes ′ Héroïque to Great (drawknob) 8 Dulzian (Gt) Swell to Choir 16, 8, 4 Choir: 1–8 (thumb) Swell 1,366 pipes 4′ Clairon (ext) Positiv: 1–3 (thumb) Choir 702 pipes ′ Bombarde to Choir 16, 8, 4 4 Fagotto Oboe (Sw) Positiv to Choir 16, 8, 4 Bombarde: 1–5 (thumb) Positiv 725 pipes 4′ Rohr Schalmei (Pos) Pedal: 1–3 (toe); 4–8 (thumb) Bombarde 683 pipes ′ Héroïque to Choir (drawknob) 4 Cromorne (Pos) Choir to Swell 16, 8, 4 Combination Setter Button (thumb) Heroïque 61 pipes 2′ Clairon Doublette (ext) General Cancel (thumb) Pedal 537 pipes ′ Bombarde to Swell 16, 8, 4 2 Rohr Schalmei (Pos) Positiv to Swell 16, 8, 4 Total: 5,269 pipes Chimes Héroïque to Swell (drawknob) ACCESSORIES Carillon Great to Bombarde 16, 8, 4 Drawknob console (movable) Church website: https://fpcokc.org. Pedal Unison Off Positiv to Bombarde 16, 8, 4 Swell/Choir/Bombarde expression pedals Pedal to Pedal 4 Héroïque to Bombarde (drawknob) Crescendo pedal (four crescendo sequences) Tutti (programmable) All Swells to Swell Bombarde to Choir Expression (drawknob)

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2019 Q 21 Cover feature Organ Projects operating system, with preparations for future additions. The console plus four ranks were added in 1994. Organ com- mittee chair, Dargan Mayberry, organist John L. Edwards, and director of music Michael W. Yeager, along with consul- tants John Balka, Fred Haley, Jon Olin Roberts, Frederick Swann, and Laura van der Windt worked together with the McCrary Pipe Organ Service of Oklahoma City, Oklahoma, to complete this project. By 2014 the pneumatics to the Swell expression shades had failed. It was decided to replace them with new elec- tric motors for the operation that also allowed for expanded opening of the louvers. This improvement then led to the discussion of revoicing existing ranks and adding ranks of pipes to better facili- tate the lack of fundamental tone experi- enced in the nave of the church. Roger A. Banks, current curator of the instru- ments at First Presbyterian Church, in conjunction with JR Neutel of the Reuter Organ Company, presented a plan for rescaling certain pipes, adding Pasadena Stake Center, The Church of Jesus Christ of Latter-day Saints, Pasadena, California new pipework, and relocating several stops to alternate divisions. Additionally, R. M. Ballantyne Pipe Organs, some vintage pipework was available and Jurupa Valley, California incorporated into the instrument, nota- Pasadena Stake Center, bly from organs made by W. W. Kimball, The Church of Jesus Christ of Estey, M. P. Möller, Reuter, McManis, Latter-day Saints, and even a Robert Morton Clarinet. Pasadena, California The Hooded Tuba was sent to Reuter R. M. Ballantyne Pipe Organs has to be revoiced for a more commanding completed an extensive rebuild and and appropriate Tuba quality. All in all, enhancement of M. P. Möller Opus sixteen ranks were added in 2016, and 10181 from 1966 in the Pasadena, the organ became an instrument of California, Stake Center of The Church ninety-one ranks with 5,269 pipes. I was of Jesus Christ of Latter-day Saints. honored to present an inaugural recital Ballantyne has serviced the instrument on May 1, 2016, which also marked my for years and was hired to rebuild the twenty-fi fth anniversary on staff at First instrument. Our intent in working with Presbyterian Church. local membership was to take advantage of some of the tonal changes made pre- The console viously to this organ by other fi rms and complete their work. The goal was to 9. restoration to the Great of the origi- g) addition of 2′ Blockfl öte of 61 notes 2 make this organ as fl exible as possible for nal Möller 2 ⁄3′ and 2′ Grave Mixture as to the Swell 3 the worship services of the Stake. Our independent stops h) addition of 1 ⁄5′ Tierce of 61 notes scope included the following improve- 10. addition or extension of the follow- to the Swell ments and restorative work: ing ranks: i) addition of Zimbelstern by Klann 1. cleaning of the organ and its pipes a) 8′ Melodia (61 pipes) added to the j) addition of chimes and chime action 2. rebuilding of windchests and actions Great (from Murray Harris Opus 73) to the Great. 3. rebuilding of six wind regulators b) extension of Great Spitzflöte by The Ballantyne fi rm offers special 4. repairing or replacing damaged 12 notes and relocation to Bassoon thanks to Bruno Lagarce for console amd The pedalboard Möller windlines unit actions restoration work, and to A. R. Schopp’s 5. rebuilding the console and provid- c) relocation of exposed Pedal 16′-8′ Sons, Inc., for providing the new pipe- Working closely with Roger Banks ing a solid state control system unit Bassoon to the Swell and the addition work. The instrument was rededicated has been a highlight for me and for our 6. rebuilding the blower and installing of 17 pipes to complete the compass of by local leadership and a recital was church. He has become family to us. a variable frequency drive the stop, as well as new chests in the Swell given by David Chamberlin in summer His knowledge and expertise are unsur- 7. adding much needed service light- d) extension of Swell Trumpet by 12 of 2016. passed! Roger and JR Neutel, president ing both above and below the organ’s notes using Peterson generators —Ryan Ballantyne of the Reuter Pipe Organ Company, windchests e) addition of 12 bass pipes to complete went through every single pipe of the 8. unifi cation of the playing action of compass of Swell 8′ Geigen Diapason Photo credit: Ryan Ballantyne 2 instrument, critically listening and voic- the Swell #1 main chest to allow for addi- f) addition of 2 ⁄3′ Nazard and chest of ing each to give the best and necessary tional Trumpet, string, and principal stops 61 notes to the Swell Builder’s website: www.rmballantyne.com response to the cavernous space of the sanctuary. The fi nished result is a warm and rich singing sound extending into R. M. Ballantyne Pipe Organs Opus 22 the nave, especially noticed by stronger congregational singing. Pasadena Stake Center, The Church of Jesus Christ of Latter-day Saints, Pasadena, California —John L. Edwards, organist GREAT SWELL (enclosed) PEDAL First Presbyterian Church 16′ Bourdon (Sw) 16′ Contra Viola (ext) 32′ Resultant (fr Bourdon) 8′ Open Diapason (61 pipes) 8′ Geigen Diapason (73 pipes) 16′ Principal (ext Gt 8′, 12 pipes) Photo credit: Kathy Rangel, except 8′ Melodia (61 pipes) 8′ Bourdon (73 pipes) 16′ Bourdon (Sw) ′ ′ ′ where noted 8Bourdon (Sw) 8Viola (61 pipes) 8Octave (Gt) 8′ Spitzfl öte (73 pipes) 8′ Voix Celeste (TC, 49 pipes) 8′ Bourdon (Sw) 8′ Viola (Sw) 4′ Geigen Octave (ext 8′) 8′ Spitzfl öte (Gt) 8′ Voix Celeste (Sw) 4′ Koppel Flute (61 pipes) 4′ Choral Bass (Gt) Interested in sponsoring a cover feature 2 4′ Octave (61 pipes) 2⁄3′ Nazard (61 pipes) 4′ Gedeckt (Sw) for your organbuilding business or 4′ Spitzfl öte (ext 8′) 2′ Blockfl öte (61 pipes) 16′ Trombone (12 generators) 2 3 educational institution? 2⁄3′ Twelfth (61 pipes) 1⁄5′ Tierce (61 pipes) 8′ Trumpet (Sw) 1 2 2′ Fifteenth (61 pipes) 1⁄3′ Larigot (from 2 ⁄3′) 8′ Bassoon (Sw) THE DIAPASON THE ′, ′ ′ THE JANUARY 2019 III Mixture (draws 2 122 pipes) 16 Bassoon (73 pipes) 4Bassoon (Sw) DIAPASON DIAPASON DECEMBER 2018 NOVEMBER 2018 8′ Trumpet (Sw) 8′ Trumpet (61 pipes) Great to Pedal 8 8′ Oboe (Sw) 8′ Oboe (ext 16′) Swell to Pedal 8 Chimes 4′ Clarion (fr 8′) Swell to Pedal 4 Great to Great 16 Tremulant Zimbelstern Great Unison Off Swell To Swell 16

First Presbyterian Church Oklahoma City, Oklahoma Cover feature on pages 20–22 Great to Great 4 Swell Unison Off

Stoneleigh Villanova, Pennsylvania Buckfast Abbey Cover feature on pages 26–28 Devon, United Kingdom Cover feature on pages 26–28 Swell to Great 16 Swell to Swell 4 Swell to Great 8 Contact Jerome Butera Swell to Great 4 [email protected]; 608/634-6253 Automatic Pedal

22 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN John Sherer; Fourth Presbyterian, Chi- Park Ridge Presbyterian Church This calendar runs from the 15th of the month cago, IL 12:10 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline David Jonies, with trumpet; St. Chrysos- Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ tom’s Episcopal, Chicago, IL 7:30 pm Bloomingdale, IL recitals unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO 26 JANUARY chapter event, • •=RCCO centre event, +=new organ Eastman organ students; Immanuel Lu- dedication, ++= OHS event. theran, Webster, NY 3 pm Christopher Babcock Michael J. Batcho Information cannot be accepted unless it specifi es artist name, date, location, and hour in 27 JANUARY Director of Music writing. Multiple listings should be in chronological Choral Evensong; St. John’s Episcopal, St. Andrew’s by the Sea, order; please do not send duplicate listings. West Hartford, CT 5 pm Hyannis Port CATHEDRAL OF ST. JOHN THE DIAPASON regrets that it cannot assume Yale Camerata; Congregational Church, MILWAUKEE responsibility for the accuracy of calendar entries. Naugatuck, CT 5 pm James Kennerley; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm UNITED STATES Alan Morrison; Ursinus College, East of the Mississippi Dean W. Billmeyer Collegeville, PA 4 pm Jens Korndörfer; Duke University Cha- University of Minnesota 15 JANUARY pel, Durham, NC 5:15 pm James Bobb; St. Louis King of France Choral Evensong; Cathedral of St. Philip, Minneapolis 55455 • [email protected] Catholic Church, St. Paul, MN 12:35 pm Atlanta, GA 4 pm Gail Archer; Our Lady of Grace Catholic 17 JANUARY Church, St. Petersburg, FL 3 pm Choral Evensong; Cathedral Church of Ken Cowan, hymn festival; DeSantis the Advent, Birmingham, AL 5:30 pm Family Chapel, West Palm Beach, FL 4 pm GAVIN BLACK Byron L. Blackmore 18 JANUARY Tom Trenney; First Presbyterian, Princeton Early Keyboard Center Gainesville, FL 10:55 am worship service; Crown of Life Lutheran Church Christopher Jacobson; Christ Episco- 732/599-0392 pal, Easton, MD 7:30 pm 5 pm hymn festival Sun City West, Arizona Rhonda Edgington, with trumpet; Michael Emmerich; Basilica of the Sa- www.pekc.org 623/214-4903 Fourth Presbyterian, Chicago, IL 12:10 pm cred Heart, Notre Dame University, South Bend, IN 8 pm 19 JANUARY James Russell Brown; Northern Illinois Yale Schola Cantorum; Christ Church, University, DeKalb, IL 3 pm THOMAS BROWN Carson Cooman New Haven, CT 7:30 pm Haydn, Kleine Orgelsolomesse; Church UNIVERSITY of St. Agnes, St. Paul, MN 10 am Benjamin Sheen; St. Thomas Church PRESBYTERIAN CHURCH Composer and Concert Organist Fifth Avenue, New York, NY 3 pm Tom Ferry; Como Park Lutheran, St. CHAPEL HILL, NORTH CAROLINA Harvard University • Paul French & Benjamin Rivera, work- Paul, MN 4 pm shop; Church of the Ascension, Chicago, ThomasBrownMusic.com www.carsoncooman.com IL 10 am 28 JANUARY Aaron Tan & Grant Wareham; Woolsey 20 JANUARY Hall, Yale University, New Haven, CT 5 pm Renée Anne Louprette, with uilleann Jill Hunt; Presbyterian Homes, Evan- Your professional card pipes; St. Ignatius Loyola, New York, NY ston, IL 1:30 pm DELBERT DISSELHORST 3 pm could appear here! Monica Czausz; St. Vincent Ferrer Cath- 29 JANUARY Professor Emeritus Contact: [email protected] olic Church, New York, NY 4:30 pm Russell Weismann; St. Louis King of University of Iowa–Iowa City or 608/634-6253 Robert McCormick; Cathedral Church France Catholic Church, St. Paul, MN of the Nativity, Bethlehem, PA 4 pm 12:35 pm Kirk Michael Rich; Cathedral of St. Philip, Atlanta, GA 3:15; Choral Evensong 30 JANUARY 4 pm Patrick Kronner; Basilica of the Sacred STEVEN EGLER JOHN FENSTERMAKER Eric Plutz; Hyde Park Community United Heart, Notre Dame University, South Bend, Central Michigan University Methodist, Cincinnati, OH 4 pm IN 12:15 pm School of Music TRINITY-BY-THE-COVE Three Choirs Festival; Christ Church Ca- Mt. Pleasant, MI 48859 thedral, Louisville, KY 3 pm 1 FEBRUARY [email protected] NAPLES, FLORIDA Choral Evensong; Christ Church Cathe- Jacob Reed; Woolsey Hall, Yale Univer- dral, Lexington, KY 4 pm sity, New Haven, CT 7:30 pm Nicholas Schmelter, with fl ute; St. Chelsea Chen; St. Paul’s Episcopal, Norberto Paul’s Episcopal, Flint, MI 4 pm Chestnut Hill, PA 7:30 pm Craig Cramer; Goshen College, Craig Williams; St. Paul’s Episcopal, Goshen, IN 4 pm Greenville, NC 7:30 pm Susan Goodson Guinaldo Corrado Cavalli; Loyola University, Chi- Brian Wentzel; Fairchild Chapel, Oberlin Emanuel United Church of Christ His Music cago, IL 3 pm Conservatory, Oberlin, OH 7:30 pm See—Listen—Buy Gounod, St. Cecilia Mass; Church of St. Manchester, Michigan Todd Wilson; St. John’s Episcopal Lafay- www.GuinaldoPublications.com Agnes, St. Paul, MN 10 am ette, IN 7:30 pm

22 JANUARY 2 FEBRUARY Alcee Chriss, workshop; Kravis Center Chase Loomer; Dwight Chapel, Yale A Professional Card in for the Performing Arts, West Palm Beach, University, New Haven, CT 2 pm STEPHEN HAMILTON FL 5 pm Ryan Kennedy; Christ Church, New Ha- The Diapason Nichole Keller; St. Louis King of France ven, CT 5 pm For rates and digital specifi cations, recitalist–clinician–educator Catholic Church, St. Paul, MN 12:35 pm contact Jerome Butera www.stephenjonhamilton.com 3 FEBRUARY 847/391-1045; [email protected] 23 JANUARY Kyle Swann; St. John’s Episcopal, West Students from The Juilliard School; Cen- Hartford, CT 12:15 pm tral Synagogue, New York, NY 12:30 pm Michael Hey; St. Thomas Church Fifth Alcee Chriss; Kravis Center for the Per- Avenue, New York, NY 5:15 pm forming Arts, West Palm Beach, FL 7:30 pm Caroline Robinson; Christ Episcopal, David Herman Rochester, NY 8:30 pm 24 JANUARY Pittsburgh Camerata; Shadyside Presby- Trustees Distinguished Professor Emeritus of Music and University Organist East West Trio; St. Patrick’s Cathedral, terian, Pittsburgh, PA 3 pm New York, NY 7 pm The University of Delaware Q [email protected] Alexander Straus-Fausto; Washington Choir concert; Church of St. Luke in the Fields, New York, NY 8 pm National Cathedral, Washington, DC 5:15 pm Choral Evensong; St. Paul’s Episcopal, Choral Evensong; Duke University Chapel, Wilmington, NC 6 pm Durham, NC 4 pm Justin Maxey; Cathedral of St. Philip, Gail Archer 25 JANUARY Atlanta, GA 3:15; Choral Evensong 4 pm Craig Williams; Christ Episcopal, Mark Miller; Advent Lutheran, Mel- organist Poughkeepsie, NY 6:30 pm bourne, FL 3 pm www.gailarcher.com Lorraine Brugh, Ph.D. Tom Trenney; First Presbyterian, Jeremy David Tarrant; Trinity Lutheran, Professor of Music Gainesville, FL 7:30 pm Detroit, MI 4:30 pm Vassar College The Chenaults; Calvary Episcopal, Mozart, Missa Brevis in F; Church of St. Barnard College, Columbia University University Organist Memphis, TN 7:30 pm Agnes, St. Paul, MN 10 am [email protected] Valparaiso, Ind. Birmingham Boys Choir; Cathedral Aaron David Miller, with trumpets, (212) 854-5096 Church of the Advent, Birmingham, AL House of Hope Presbyterian, St. Paul, MN valpo.edu 12:30 pm 4 pm Promotion 219.464.5084 SOZO Media Nicholas Schmelter; First Presbyterian, Joseph Trucano; Como Park Lutheran, [email protected] [email protected] Caro, MI 12 noon St. Paul, MN 4 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2019 Q 23 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 4 FEBRUARY Bruce Neswick, hymn playing master- New York, NY Syracuse, NY 13203-2816 Nordic Choir; Prince of Peace Lutheran, class; St. Chrysostom’s Episcopal, Chica- www.andrewhenderson.net Columbus, OH 7:30 pm go, IL 7:30 pm (315) 471-8451 Gail Archer; Grace & St. Luke’s Episco- pal, Memphis, TN 7:30 pm 16 FEBRUARY Yale Voxtet, cantatas of Bach; St. Thom- 5 FEBRUARY as Episcopal, New Haven, CT 7:30 pm Richard Barrick Hoskins Stephen Hamilton; St. Francis Xavier Katelyn Emerson; Saint Thomas Brian Jones Catholic Church, New York, NY 7:30 pm Church, Fifth Avenue, New York, NY 3 pm Director of Music & Organist Director of Music Emeritus David Hurd; St. Peter’s Lutheran, Hun- Bach, Mass in B Minor; Shadyside Pres- St. Chrysostom's Church tington Station, NY 7:30 pm byterian, Pittsburgh, PA 3 pm RINITY HURCH Chicago T C Chistopher Wallace; St. Louis King Georgia Boy Choir Festival; Peachtree [email protected] BOSTON of France Catholic Church, St. Paul, MN Road United Methodist, Atlanta, GA 7:30 pm 12:35 pm 17 FEBRUARY 7 FEBRUARY Matthew Daley; Woolsey Hall, Yale Uni- JAMES KIBBIE Roman Perucki; St. Patrick’s Cathedral, versity, New Haven, CT 7:30 pm KIM R. KASLING New York, NY 7 pm D.M.A. The University of Michigan Douglas Cleveland; Vassar College, TENET; House of the Redeemer, New Poughkeepsie, NY 3 pm St. John’s University Ann Arbor, MI 48109-2085 York, NY 7 pm Jordan Prescott; Cathedral of St. John 734-764-1591 FAX: 734-763-5097 the Divine, New York, NY 5 pm Collegeville, MN 56321 8 FEBRUARY email: [email protected] Buxtehude, Gott hilf mir; Holy Trinity Lu- Aaron Tan; Cathedral of St. John the theran, New York, NY 5 pm Evangelist, Cleveland, OH 7:30 pm Parker Kitterman; Longwood Gardens, Jens Korndörfer; Westminster Presby- Kennett Square, PA 3 pm David K. Lamb, D.Mus. terian, Knoxville, TN 8 pm Karen Schneider Kirner Nicholas Schmelter; First Presbyterian, Stephen Kalnoske; Washington Nation- Director of Music al Cathedral, Washington, DC 5:15 pm Director, Notre Dame Handbell Choir Caro, MI 12 noon Trinity United Methodist Church Janette Fishell, with percussion; Auer Peter Waggoner; Cathedral of St. Philip, Assistant Director, Notre Dame Folk Choir New Albany, Indiana Hall, Indiana University, Bloomington, IN Atlanta, GA 3:15; Choral Evensong 4 pm University of Notre Dame 812/944-2229 8 pm Alcee Chriss; Christ Presbyterian, Can- Richard Benedum; Fourth Presbyterian, ton, OH 4 pm Chicago, IL 12:10 pm Huw Lewis; Southside Baptist, Birming- ham, AL 4 pm 9 FEBRUARY Vincent Carr; Christ Church Cathedral, Handel, Messiah; St. John’s Episcopal, Lexington, KY 3:30; Choral Evensong 4 pm A.S.C.A.P. West Hartford, CT 7:30 pm Scott Dettra; Wabash College, Craw- FELLOW, AMERICAN GUILD OF ORGANISTS Yale Camerata, Symphony Orchestra, fordsville, IN 3 pm 345 SADDLE LAKE DRIVE and Glee Club, Poulenc, Gloria; Woolsey Jeremy Kiolbassa; Loyola University, ROSWELL-ATLANTA, GEORGIA 30076 Hall, Yale University, New Haven, CT 8 pm Chicago, IL 3 pm (770) 594-0949 Todd Wilson; Longwood Gardens, Ken- Mozart, Spatzenmesse; Church of St. nett Square, PA 8 pm Agnes, St. Paul, MN 10 am Chelsea Chen; Riverside Presbyterian, Jessica Park; Como Park Lutheran, St. Jacksonville, FL 5 pm Paul, MN 4 pm

10 FEBRUARY 19 FEBRUARY Concert for treble voices; Grace Church, Jim McFarland; Campbellsville Univer- Professor Emeritus – University of Michigan – Ann Arbor New York, NY 4 pm sity, Campbellsville, KY 12:20 pm Professor of Organ for 67 years Bach, Cantata 82; Holy Trinity Lutheran, Chelsea Chen; Overture Hall, Madison, MarilynThe University’s longest-serving faculty memberMason New York, NY 5 pm WI 7:30 pm Kevin Kwan; St. Thomas Church Fifth Ryan Hulshizer; St. Louis King of France Avenue, New York, NY 5:15 pm Catholic Church, St. Paul, MN 12:35 pm A two-inch Professional Card in The Diapason Robert McCormick; St. Stephen’s Epis- copal, Millburn, NJ 4 pm 21 FEBRUARY Abraham Ross; Duke University Cha- Choral Evensong; Cathedral Church of For information on rates and specifi cations, contact Jerome Butera: pel, Durham, NC 5:15 pm the Advent, Birmingham, AL 5:30 pm Adam Cobb; Cathedral of St. Philip, At- [email protected] 608/634-6253 lanta, GA 3:15; Choral Evensong 4 pm 22 FEBRUARY Nicole Marane, Akerley, A Sweet for Katelyn Emerson; Park Street Church, Mother Goose; Peachtree Road United Boston, MA 7:30 pm Methodist, Atlanta, GA 4 pm Eastman organ students; First Baptist Stephen Hamilton; Christ Episcopal, Church, Rochester, NY 7 pm LARRY PALMER Bradenton, FL 4 pm VOCES8; Cathedral Church of the Ad- PHILIP CROZIER Aaron Tan; St. Catharine of Siena Cath- vent, Birmingham, AL 7:30 pm CONCERT ORGANIST Harpsichord – Organ olic Church, Cincinnati, OH 3 pm Brad Hughley; Cathedral of the As- Maureen McKay; St. John’s Episcopal, sumption, Louisville, KY 7:30 pm ACCOMPANIST Cleveland, OH 3 pm Vincent Carr; Auer Hall, Indiana Univer- Professor of Music, Emeritus 3355 Queen Mary Road, Apt 424 Christopher Marks; Reyes Hall, Notre sity, Bloomington, IN 8 pm Dame University, South Bend, IN 2 pm John Sherer; Fourth Presbyterian, Chi- Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Karen Beaumont; St. Casimir Catholic cago, IL 12:10 pm Canada Church, Milwaukee, WI 4 pm • Marie Rubis-Bauer; Winnetka Congre- Brian Schoettler; St. Luke’s Episcopal, gational, Winnetka, IL 7:30 pm (514) 739-8696 Recitals — Lectures — Consultancies Evanston, IL 3:30 pm [email protected] Schubert, Mass in C; Church of St. Ag- 23 FEBRUARY [email protected] + 214.350-3628 nes, St. Paul, MN 10 am Yale Schola Cantorum; Christ Church, Aaron David Miller; Unity Unitarian, St. New Haven, CT 7:30 pm Paul, MN 2 pm • Marie Rubis-Bauer, workshop; Win- netka Congregational, Winnetka, IL 10 am 12 FEBRUARY Matthias Suss; Central Synagogue, 24 FEBRUARY announces... New York, NY 12:30 pm Choral Evensong; St. John’s Episcopal, Raymond Nagem; Church of St. Paul West Hartford, CT 5 pm the Apostle, New York, NY 7 pm Brahms, Requiem, Mendelssohn motets; 20 Under 30 Nominations The Chenault Duo; Furman University, St. Ignatius Loyola, New York, NY 3 pm Nominations close February 1 Greenville, SC 8 pm Russian Chamber Chorus of New York; Jeremy Filsell ; Decatur Presbyterian, Madison Avenue Presbyterian, New York, Decatur, GA 7:30 pm We will be recognizing 20 young NY 3 pm Zachery Klobnak; Campbellsville Uni- men and women whose career Lynn Trapp; Cathedral of St. John the Di- versity, Campbellsville, KY 8 pm accomplishments place them at vine, New York, NY 5 pm Dean Billmeyer; St. Louis King of France the forefront of the organ, church G. C. Bach, Siehe, wie fein und lieblich Catholic Church, St. Paul, MN 12:35 pm music, harpsichord, carillon, and ist’s; Holy Trinity Lutheran, New York, NY —before 13 FEBRUARY 5 pm their 30th birthday. David von Behren; Dwight Chapel, Yale Jeremy Bruns; St. Thomas Church Fifth University, New Haven, CT 12:30 pm Avenue, New York, NY 5:15 pm Visit TheDiapason.com Martin Baker; Calvary Episcopal, Pitts- burgh, PA 3 pm for more information and to nominate. 15 FEBRUARY Paul Rhoads; St. Paul’s Episcopal, Nicholas Schmelter; Our Lady of Mount Wilmington, NC 7:30 pm Carmel Catholic Church, Altoona, PA 4 pm Paul Jacobs; Knowles Memorial Cha- Christopher Jacobson; Duke University Stay up to date on all of the latest industry news and events. pel, Winter Haven, FL 7:30 pm Chapel, Durham, NC 5:15 pm Visit TheDiapason.com regularly. Thomas Gouwens; Fourth Presbyte- Jillian Gardner; Cathedral of St. Philip, rian, Chicago, IL 12:10 pm Atlanta, GA 3:15; Choral Evensong 4 pm

24 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Mignarda Ensemble; Cathedral of St. 26 JANUARY Southminster Presbyterian Church John the Evangelist, Cleveland, OH 3 pm • Stephen Hamilton, workshop; West- SHORT HILLS Arlington Heights, IL 60005 Gail Archer; St. Paul’s United Methodist, minster Presbyterian, Minneapolis, MN Louisville, KY 3 pm 9:30 am Bach Vespers; Calvary Episcopal, Louis- Stephen Hamilton; St. Mark’s Episcopal ville, KY 4 pm Cathedral, Minneapolis, MN 7:30 pm ANDREW SCHAEFFER Kevin Chunko; Community Presbyte- Jonathan Dimmock; Legion of Honor DEREK E. NICKELS, DMA Museum, San Francisco, CA 4 pm rian, Clarendon Hills, IL 3 pm Church of the Holy Comforter Luther Memorial Church (ELCA) Haydn, Mariazellermesse; Church of St. Choral Evensong; St. Paul’s Episcopal, Madison, Wisconsin Agnes, St. Paul, MN 10 am Burlingame, CA 5 pm Kenilworth, IL 60043 [email protected] (847) 251-6120 • [email protected] 25 FEBRUARY 27 JANUARY Recitals — Hymn Festivals Monica Czausz; Mount Olive Lutheran, Martin Baker, lecture; First Presbyterian, Minneapolis, MN 4 pm Pittsburgh, PA 7:45 pm Wyatt Smith; University of Puget Sound, Organized Rhythm (Clive Driskill-Smith, Tacoma, WA 2 pm Stephen G. Schaeffer A one-inch Professional Card organ, & Joseph Gramley, percussion); All in The Diapason Namhee Han; Ascension Lutheran, Recitals – Consultations Saints Episcopal, Atlanta, GA 7:30 pm Thousand Oaks, CA 4 pm Marianne Kim; Presbyterian Homes, Choral Evensong; All Saints’ Episcopal, Director of Music Emeritus For information on rates and specifi cations, Evanston, IL 1:30 pm Beverly Hills, CA 5 pm Cathedral Church of the Advent contact Jerome Butera: 26 FEBRUARY 28 JANUARY Birmingham, Alabama [email protected] 608/634-6253 Students from University of Alabama; Heidi Hansen; University of Kansas, Central Synagogue, New York, NY 12:30 pm Lawrence, KS 7:30 pm Oliver Brett & Malcolm Matthews; Jeffrey Schleff, Ed.D. Peachtree Road United Methodist, Atlanta, 3 FEBRUARY GA 7 pm Jan Kraybill; Community of Christ Audi- Organist – Teacher – Consultant STEPHEN SCHNURR Cincinnati Conservatory organ students; torium, Independence, MO 2:30 pm Saint Paul Catholic Church Christ Church Cathedral, Cincinnati, OH Isabelle Demers; Our Lady of Lourdes Sulphur Public Schools, Sulphur, OK 12:10 pm Catholic Church, Sun City West, AZ 4 pm United Disciples Christian Church, Richardson, TX Valparaiso, Indiana Grace Renaud, with tenor; Cathedral of [email protected] 28 FEBRUARY St. Mary of the Assumption, San Francisco, Choir concert; Church of St. Luke in the CA 4 pm Fields, New York, NY 8 pm Wyatt Smith; Grace Episcopal Cathe- dral, San Francisco, CA 4 pm ROBERT L. Paul Jacobs; Walt Disney Concert Hall, UNITED STATES Los Angeles, CA 7:30 pm Mark Steinbach West of the Mississippi SIMPSON Christ Church Cathedral Brown University 7 FEBRUARY 1117 Texas Avenue 18 JANUARY Dana Robinson & Paul Tegels; St. An- Houston, Texas 77002 Christa Miller; Catalina United Method- drew’s Episcopal, Tacoma, WA 3 pm ist, Tucson, AZ 7 pm

Wyatt Smith; Christ Episcopal, Tacoma, 9 FEBRUARY ] WA 12:10 pm Sam Black & Sam Gray; Sacred Heart Music Center, Duluth, MN 2 pm Joe Utterback Alcee Chriss, jazz vesper service; St. David Wagner 19 JANUARY ]] ] www.jazzmuze.com DMA Alcee Chriss; Texas Christian Univer- John’s United Methodist, Albuquerque, NM sity, Fort Worth, TX 7 pm 5 pm 203 386 9992 www.davidwagnerorganist.com Jonathan Dimmock; Legion of Honor 10 FEBRUARY Museum, San Francisco, CA 4 pm Daniel Roth; Plymouth Congregational, 20 JANUARY Minneapolis, MN 4 pm Kathrine Handford; Christ the King Lu- Andrew Peters, with horn and alphorn; theran, Houston, TX 6 pm Second Presbyterian, St. Louis, MO 4 pm Kevin Walters ARL ATSON Alcee Chriss; St. John’s United Method- K W Janette Fishell; Trinity Episcopal Cathe- ist, Albuquerque, NM 3 pm M.A., F.A.G.O. FIRST PRESBYTERIAN CHURCH dral, Phoenix, AZ 3 pm James O’Donnell; Cathedral of the Agnieszka Kosmecka; Cathedral of St. Madeleine, Salt Lake City, UT 8 pm Rye, New York WOODBRIDGE, NJ Mary of the Assumption, San Francisco, Michael Hey; Davies Symphony Hall, CA 4 pm San Francisco, CA 3 pm Gail Archer; St. Mark‘s Episcopal, 25 JANUARY Berkeley, CA 4 pm Seth Bott; University of Kansas, Law- Duo MusArt Barcelona (Raúl Prieto Alan G Woolley PhD RONALD WYATT rence, KS 7:30 pm Ramírez, organ, & Maria Teresa Sierra, Musical Instrument Research Paul Jacobs; St. Mark’s Episcopal Ca- piano); La Jolla Presbyterian, La Jolla, CA Edinburgh Trinity Church thedral, Seattle, WA 8 pm 4 pm [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253

1901 - Organ Plus . . . a colorful collection of compositions involving the pipe organ with other J instrumentalists. A two-inch Professional Card in The Diapason A 1902 - The Lion in WinterDUHÀHFWLRQRQWKHDUWRI For information on rates and specifi cations, contact Jerome Butera: N the great Netherlands organist and teacher, Gustav Leonhardt. [email protected] 608/634-6253 2 1903 - Pipe Organs Alive . . . concert performances from near and far keep the King of Instruments in the 0 spotlight. ArtistArtist Spotlights Spotlightspotlight s 1 9 1904 - Anniversary Antics . . . excerpts from the Artist Spotlights Pipedreams 35th Anniversary (and Barone’s 50th) are available on Your professional card bash with Minnesota friends at the Wooddale The Diapason Church. website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

Pipedreams is American Public Media’s weekly program dedicated to Butera for rates or 608/634-6253 the artistry of the pipe organ. Host Michael Barone’s celebration of the and specifi cations. king of instruments is heard on stations nationwide and worldwide via is a proud supporter 608/634-6253 pipedreams.org. Go online to locate a broadcast station near you. of Pipedreams apoba.com [email protected] SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2019 Q 25 Calendar

Benjamin Straley; St. James’s Episco- Mark Bruce; Cathedral of St. Mary of the 26 JANUARY 9 FEBRUARY pal, Los Angeles, CA 6 pm Assumption, San Francisco, CA 4 pm Eleni Keventsidou; St. Paul’s, Deptford, Ian Pattinson, with soprano; Lancaster Chelsea Chen; Rancho Bernardo Com- UK 1 pm Priory, Lancaster, UK 10:30 am 12 FEBRUARY munity Presbyterian, San Diego, CA 4 pm Michael Stephens-Jones; Bloomsbury Daniel Roth; Co-Cathedral of the Sacred Central Baptist, London, UK 1 pm 10 FEBRUARY Jean-Philippe Merckaert; St. Paul’s Ca- Heart, Houston, TX 7:30 pm INTERNATIONAL Callum Alger; Bloomsbury Central Bap- Benjamin Straley; St. Margaret’s Epis- tist, London, UK 2:30 pm thedral, London, UK 4:45 pm copal, Palm Desert, CA 7 pm Gillian Weir, masterclass; Bloomsbury Alexander Knight; Westminster Abbey, 15 JANUARY Central Baptist, London, UK 3:30 pm London, UK 5:45 pm 13 FEBRUARY Ian Tracey; St. George’s Hall, Liverpool, Isabelle Demers; Bloomsbury Central Daniel Roth, masterclass; Co-Cathedral UK 12:45 pm Baptist, London, UK 6 pm 11 FEBRUARY of the Sacred Heart, Houston, TX 3 pm Andrew Cantrill-Fenwick; Royal Hospi- 17 JANUARY 27 JANUARY tal School, Holbrook, Ipswich, UK 1:30 pm 15 FEBRUARY Graham Eccles; Cathedral, Chester, UK Anthony Gritten; Westminster Abbey, Ryan Enright; Christ Episcopal, Taco- 1:10 pm London, UK 5:45 pm 12 FEBRUARY Anton Pauw & Henry Halkens ma, WA 12:10 pm Nathan Laube, Bach, Clavierübung III; Britten, A Ceremony of Carols; Cathe- ; Grote Zaalvan Philharmonie, Haarlem, Neth- Royal Festival Hall, London, UK 7:30 pm dral, Norwich, UK 6:30 pm 17 FEBRUARY erands 8:15 pm Craig Cramer, with students; University 19 JANUARY 28 JANUARY 16 FEBRUARY of Iowa, Iowa City, IA 3:30 & 5 pm Gail Archer; Organ Festival of Khanty- Andy Baldwin; Reading Town Hall, David Hill; St. Alban’s Cathedral, St. Al- Nicholas Schmelter; St. Margaret’s Mansijsk, Khanty-Mansijsk, Russia 8 pm Reading, UK 1 pm ban’s, UK 5:30 pm Episcopal, Palm Desert, CA 4 pm Simon Williams, masterclass; St. William Saunders & Joel Cooper; Roy- Hans Uwe Hielscher; Cathedral of St. George’s, Hanover Square, London, UK al Hospital School, Holbrook, Ipswich, UK Mary of the Assumption, San Francisco, 17 FEBRUARY 2 pm 1:30 pm Andrew Furniss; Methodist Central Hall, CA 4 pm Sam Giddy; St. George’s, Hanover London, UK 3 pm Adam Brakel; The Neighborhood Square, UK 5 pm 29 JANUARY Alexander Pott; St. Paul’s Cathedral, Church, Palos Verdes Estates, CA 4 pm Colin Walsh; St. Alban’s Cathedral, St. Samuel Ali; Grosvenor Chapel, London, London, UK 4:45 pm Alban’s, UK 5:30 pm UK 1:10 pm 20 FEBRUARY Matthew Jorysz; Westminster Abbey, Daniel Moult; St. Andrew’s Church, Sur- London, UK 5:45 pm The Queen’s Six; St. Margaret’s Episco- 30 JANUARY biton, London, UK 7:30 pm Ken Cowan; Westminster United pal, Palm Desert, CA 7 pm Michel Bouvard & François Espi- Church, Winnepeg, MB, Canada 2:30 pm 20 JANUARY nasse; Radio France, Paris, France 8 pm 21 FEBRUARY Gerard Brooks; Methodist Central Hall, 22 FEBRUARY Jan Kraybill, with choirs; Village Pres- 31 JANUARY London, UK 3 pm David Davies; Guildford United Re- byterian Church, Overland Park, KS 7 pm Philip Rushforth; Cathedral, Chester, Epiphany Procession; Cathedral, Nor- formed Church, Guildford, UK 7:30 pm UK 1:10 pm wish, UK 3:30 pm 22 FEBRUARY Isabelle Demers; Maison Symphonique Anthony Gritten 23 FEBRUARY David Jenkins; Nativity of Mary Catholic ; St. Paul’s Cathedral, de Montréal, Montréal, QC, Canada 8 pm London, UK 4:45 pm Donald Mackenzie; Victoria Hall Hanley, Church, Bloomington, MN 7 pm Stoke-on-Trent, UK 12 noon Organized Rhythm (Clive Driskill-Smith, Richard Cook; Westminster Cathedral, 1 FEBRUARY London, UK 4:45 pm Marilyn Harper; St. Paul’s, Deptford, UK organ, & Joseph Gramley, percussion); All Benedict Todd; Ss. Peter & Paul, Go- 1 pm Matthew Jorysz; Westminster Abbey, Saints Episcopal, Fort Worth TX 7:30 pm dalming, UK 1 pm Tom Winpenny; Bloomsbury Central London, UK 5:45 pm Douglas Cleveland; Catalina United Baptist, London, UK 4 pm Methodist, Tucson, AZ 7 pm 3 FEBRUARY 21 JANUARY Alexander Goodwin; St. Paul’s Cathe- 24 FEBRUARY 23 FEBRUARY Gordon Stewart; Huddersfi eld Town dral, London, UK 4:45 pm Martin Stacey; Westminster Abbey, Lon- Oliver Brett; St. Mark’s Episcopal Cathe- Hall, Huddersfi eld, UK 1 pm Peter Holder; Westminster Abbey, Lon- don, UK 5:45 pm dral, Minneapolis, MN 7:30 pm don, UK 5:45 pm Justin Murphy-Mancini & Emma Whit- 23 JANUARY 25 FEBRUARY ten; First Unitarian-Universalist, San Di- Nigel Morris; Cathedral, Blackburn, UK 4 FEBRUARY Gordon Stewart; Huddersfi eld Town ego, CA 7 pm 1 pm Andrew Dewar; Huddersfi eld Town Hall, Hall, Huddersfi eld, UK 1 pm Huddersfi eld, UK 1 pm Paul Dewhurst; Royal Hospital School, 24 FEBRUARY 24 JANUARY David Dunnett; Royal Hospital School, Holbrook, Ipswich, UK 1:30 pm Stephen Hamilton; St. Michael’s Luther- Lucas Arvidsson; St. Margaret Loth- Holbrook, Ipswich, UK 1:30 pm Catherine Ennis; Royal Festival Hall, an, Bloomington, MN 4 pm bury, London, UK 1:10 pm London, UK 7:30 pm Jonathan Dimmock; Claremont United Andrew Wyatt; Cathedral, Chester, UK 6 FEBRUARY Church of Christ, Claremont, CA 3 pm 1:10 pm Edmund Aldhouse; Cathedral, Black- 26 FEBRUARY burn, UK 1:10 pm Richard Hobson; Grosvenor Chapel, London, UK 1:10 pm 7 FEBRUARY Samuel Eriksson; St. Margaret Loth- 27 FEBRUARY bury, London, UK 1:10 pm Vincent Genvrin, Mussorgsky, Pictures Paul Carr; St. Chad’s Cathedral, Bir- at an Exhibition; Radio France, Paris, mingham, UK 1:15 pm France 8 pm

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Subscribers can view the digital David E. Wallace version of this issue (as well as A N D C O M PA N Y, L. L. C. selected past issues) at our website. Pipe Organ Builders New Organs Visit www.TheDiapason.com Restoration / Renovation / Relocation to experience this! www.wallacepipeorgans.com ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

26 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM Recital Programs

EMILY ADAMS, Old West Church, Bos- ken dir Gott, Cantata 29), Bach; Fantasia on JOHN ROBINSON, Methuen Memorial op. 56), Schumann; Herzlich tut mich er- ton, MA, August 31: Toccata in F, BuxWV Wondrous Love, Four Spiritual Preludes, Suite Music Hall, Methuen, MA, August 8: Prelude freuen die liebe Sommerzeit, Schmücke dich, 137, Komm, heiliger Geist, Herre Gott, Bux- in Three Movements, Toccata, Hurd; Overture and Fugue in D, BWV 532, Bach; Ave maris o liebe Seele (Eleven Chorale Preludes, op. WV 199, Buxtehude; Sonata in E-fl at, BWV (St. Paul), Mendelssohn; Faneuil Hall, Decker. stella, de Grigny; Rhapsody in c-sharp, op. 17, 122), Brahms; Allegro, Chorale, and Fugue in 525, Bach; Pastorale, op. 19, no. 4, Franck; no. 3, Howells; Benedictus, Webber; Choral d, Mendelssohn. Fugue sur le thème du Carillon de la Cathé- KAY JOHANNSEN, Stiftskirche, Stutt- No. 1 in E, Franck; Prélude (Vingt-quatre drale de Soissons, op. 12, Durufl é; Adagio, gart, Germany, August 24: Sonata in c, Pièces en style libre, op. 31), Vierne; Prélude STEPHEN THARP, St. Paul’s Cathe- Toccata (Symphonie V, op. 42, no. 1), Widor. BWV 526, Bach; Sonata on the 94th Psalm, et Fugue in B, op. 7, no. 1, Dupré. dral, London, UK, August 2: Variations on Reubke; Shanghai Skyscrapers, Johannsen; Rouen, Baker; Intermezzo in A (op. 118, no. PHILIP CROZIER, Heilige Brigidakerk, improvisation. JONATHAN RYAN, Sage Chapel, Cor- 2), Brahms, transcr. Tharp; Messe de la Pen- Geldrop, Netherlands, July 28: Drie Oud-Hol- nell University, Ithaca, NY, July 28: Comes tecôte, Messiaen; Larghetto (Serenade for landsche Liederen, Zwart; Allein Gott in der SARAH JOHNSON, Old West Church, Autumn Time, Sowerby; Psalm Prelude, Set Strings, op. 20), Elgar, transcr. Trevor; Toten- Höh’ sei Ehr’, BWV 675 & 663, Bach; Prae- Boston, MA, August 7: Praeludium in G, 2, No. 1, Howells; Ricercare in mode VII, tanz (S. 126), Liszt, transcr. Tharp. ludium in d, BuxWV 140, Buxtehude; Fantasia Bruhns; Kyrie (Messe pour les Couvents), Diruta; Toccata Sexta, FbWV 106, Froberger; and Fugue in G, Parry; Bergamasca (Fiori Mu- Couperin; Variations on Mijn God, waar Toccata e Balletto in a, Scarlatti; Pastorale, SUSANNA VEERMAN, Stiftskirche, Stutt- sicali), Frescobaldi; Pièce héroïque, Franck. zal ik henengaan, Bolt; Te Deum, op. 11, Moore; Prélude et fugue sur le nom d’Alain, gart, Germany, July 27: Prelude in E-fl at, BWV St.-Bavokerk, Haarlem, Netherlands, July Demessieux; Con moto maestoso (Sonata op. 7, Durufl é. 552i, Bach; Mit innigem Ausdruck, Innig, 31: Variations: Cantilena Anglica Fortunae, III in A, op. 65, no. 3), Mendelssohn. Nicht zu schnell (Sechs Studien für den Pedal- SSWV 134, Scheidt; Sonata in C, BWV 529, MARTIN SCHMEDING, Stiftskirche, fl ügel, op. 56), Schumann; Fantaisie in a, op. Bach; Epigrams, Kodály; Praeludium in d, NATHAN LAUBE, Stiftskirche, Stutt- Stuttgart, Germany, August 17: Allein Gott in 16, Franck; Hummelfl ug, Rimsky-Korsakov; BuxWV 140, Buxtehude; Allein Gott in der gart, Germany, August 10: Allegro vivace der Höh’ sei Ehr’, BWV 663, Bach; Prelude Allegro, Adagio (Symphonie III in f-sharp, op. Höh’ sei Ehr’, BWV 675 & 662, Bach; Dia- (Symphonie V in f, op. 42, no. 1), Widor; and Fugue in e, Mendelssohn, transcr. Sch- 28), Vierne; Sonata da chiesa, Andriessen. logue sur la Voix humaine (Messe pour les Pa- Funérailles (Harmonies poétiques et reli- meding; A Night on Bald Mountain, Mussorg- roisses), Couperin; Hommage, Bédard; Par- gieuses), Liszt, transcr. Laube; Overture ski, transcr. Szathmáry; Allegro maestoso (So- PATRICK WEDD, Basilique Notre- tite diverse sopra De Lofzang van Maria, Post. (Tannhäuser), Wagner, transcr. Lemare, nata in G), Elgar; Passacaglia (Suite No. 1 in Dame, Montréal, QC, Canada, July 22: La Laube; Première Fantaisie, Deuxième Fan- e), Reger; Scherzetto (Sonata in c), Whitlock; Mourisque, Bransle quatre bransles, Ronde, ISAAC DREWES, Old West Church, Bos- taisie, Alain; Deux Evocations, Baker. Prelude (Vision in Flames), Nishimura. Basse Danse bergerette, Ronde—mon amy, ton, MA, August 21: Prelude in a, BuxWV Pavane la Bataille (La Danserye), Susato; At 153, Buxtehude; Allein Gott in der Höh’ sei ANNE LAVER, Downtown United Pres- DONG-ILL SHIN, Methuen Memorial the Ballet (Five Dances), Hampton; An Eve- Ehr’, BWV 664, Bach; Les Enfants de Dieu, byterian Church, Rochester, NY, July 31: Music Hall, Methuen, MA, August 22: Appa- ning Dance, Albright; Pieds-en-l’air (Cap- Les Anges (La Nativité du Seigneur), Messi- Toccata in C, BVW 566a, Bach; Hoe schoon rition de l’église éternelle, Messiaen; Prelude riol Suite), Warlock; Baletto della Il Conte aen; Nicht zu schnell (Six Studies in Canonic lichtet de morghen ster, D. Sweelinck; Prelude and Fugue in C, BWV, 545, Bach; Sinfonia Orlando, Gagliarda, Villanella, Passo mezzo Form, op. 56), Schumann; Arietta, Kerr; Pas- and Fugue in g, Barraine; Veni Creator Spiri- (Cantata 29), Bach, transcr. Dupré; Prélude e Mascherada (Ancient Airs and Dances), sacaglia in c, BWV 582, Bach. tus (1er Livre d’orgue), de Grigny; Phantasie et Fugue in g, op. 7, no. 3, Dupré; Sonata in Respighi, transcr. Janzer; Pavane, Elmore; und Fuge über den Choral Wie schön leuchtet G, op. 28, Elgar. Tango, Stravinsky; Polovetzkaya Pliaska, STEPHAN GRIFFIN, Old West Church, uns der Morgenstern, op. 25, Reimann. (Prince Igor), Borodin, transcr. Melnikova. Boston, MA, August 28: Paean, Leighton; JOEL SPEERSTRA, pedal clavier, Kil- Variations on Psalm 36, Sweelinck; Vater DAVIDE MARIANO, Stiftskirche, Stutt- bourn Hall, Eastman School of Music, Roch- BRADLEY HUNTER WELCH, Spreck- unser im Himmelreich, Böhm; Prelude in g, gart, Germany, August 3: Concerto in d, BWV ester, NY, July 29: Trio super Nun komm, der els Organ Pavilion, Balboa Park, San Diego, BuxWV 149, Buxtehude; Schmücke dich, o 596, Bach; Fantasia in f, KV 608, Mozart; An- Heiden Heiland, BWV 660, Trio Sonata in C, CA, July 23: Toccata in b, Gigout; Variations liebe Seele, BWV 654, Bach; Sometimes I feel dantino (Sechs Studien für den Pedalfl ügel, BWV 529, Partita No. 2 in d for Violin, BWV on O laufet, ihr Hirten, Drischner; Nocturne, like a motherless child, When I lay my burden op. 56), Schumann; Andantino, Allegretto 1004, Bach. Jig for the Feet (Organbook III), Albright; down (Lay My Burden Down), Farrington. (Consolations, S. 171a, nos. 5 and 6), Liszt; Al- Prelude and Fugue in D, BWV 532, Bach; legro assai (Sonata I in d, op. 42), Guilmant; MARK STEINBACH, Cathedral, Freiberg, Final, op. 21, Franck; Trumpet Tune, Swann; MARGARET HARPER, Methuen Me- Allegro (Symphonie VI in g, op. 42, no. 2), Germany, July 19: Suonata, Piazza; Offerto- Nimrod (Enigma Variations, op. 36), Elgar, morial Music Hall, Methuen, MA, August 1: Widor; Chant du soir, Scherzo in g, Bossi. rio per organo, anonymous (18th c., Pistoia); transcr. Harris, Welch; Chorale Fantasy on Concerto in d, BWV 596, Partite diverse so- Preludium et Fuga in e, BWV 548, Herr Jesu Lobe den Herren, Miller. pra Sei gegrüßet, Jesu gütig, BWV 768, Herr AMANDA MOLE, Portageville Chapel, Christ, dich zu uns wend’, BWV 709, Bach; Jesu Christ, dich zu uns wend, BWV 655, Nun Portageville, NY, August 28: Präludium in C, Passacaglia in c, Heiller; Dance No. 4, Glass. TODD WILSON, Community of Christ komm, der Heiden Heiland, BWV 659, Bach; BuxWV 136, Buxtehude; Ciacona in f, Pach- Temple, Independence, MO, July 5: Passaca- Fantasie und Fuga über das Thema BACH, S. elbel; Innig, Nichts zu schnell (Sechs Stücke BRUCE STEVENS, Avon United Meth- glia in c, BWV 582, Bach; Three Cincinnati 260, Liszt. in kanonischer Form), Schumann; The Revd odist Church, Avon, NY, July 31: Moderato Improvisations, Koehne, transcr. Wilson; Al- Mustard his Installation Prelude, Muhly; (Three Tone-Pieces, op. 22), Gade; Siciliano, legro vivace (Symphonie V, op. 42), Widor; DAVID HURD, Riverside Church, New Toccata, Adagio, and Fugue in C, BWV 564, Scherzo (Six Trios, op. 47), Reger; Innig, The Hands of Time, Robin; Soliloquy, Conte; York, NY, July 17: Sinfonia, Chorus (Wir dan- Bach; Sortie in B-fl at, Lefébure-Wély. Nicht zu schnell (Six Pieces in Canonic Form, Suite, op. 5, Durufl é.

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We are seeking a Pipe Maker with 3 to 5 years Foreshadows of the Cross. For the ambitious Organa Europae calendars featuring famous The Organ Historical Society announced the of experience. We are looking for candidates organist. Stunning, powerful. Extraordinary pipe organs of Europe; years 1969 to 1977. publication of its 2019 Pipe Organ Calendar. with competency in rounding, soldering, fl atten- drama and profound emotional content. Look $10.00 each. 219/662-0677, [email protected]. The calendar features organs by Wolff, Schudi, ing, and cut up of new organ fl ue pipes as well up “Agnus Dei” for composer’s recording of this Noack, Bedient, Sipe-Yarbrough, Fisk, Hook & as technical profi ciency in pipe repair. Applicants and fi ve other equally powerful works, at www. Hastings, Redman, Kern, and others. Available must also be conversant in the casting process, guinaldopublications.com. Prelude on “Divinum Mysterium” by Frederick from the OHS e-Shoppe: $18 members ($21 non- metal compositions, and numerous variations of Candlyn. His most beautiful piece is an absolutely members), https://organhistoricalsociety.org/ pipe anatomy and terminology. We are search- gorgeous and playable arrangement of “Of the product/ohs-2019-calendar/?v=7516fd43adaa Certified appraisals ing for candidates interested in developing to —Collections of organ Father’s Love Begotten” that captures the beauty books, recordings, and music, for divorce, their fullest potential with our 100% employee of the chant melody. If you don’t have this, get it estate, gift, and tax purposes. Stephen L. Raven has released a new recording by owned company. We offer a competitive wage now! michaelsmusicservice.com 704/567-1066. 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M. the Skinner Organ Company, Aeolian-Skinner, Skinner organ at Girard College Chapel (OAR- HYBRID ORGANS FOR SALE C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, 979). The program includes Edwin H. Lemare’s and many others are featured. Text by Stephen Wanted: Organists visiting Maui. Lahaina’s edition of Josef Rheinberger’s Organ Sonata Schnurr; photographs by William T. Van Pelt, Pipe/digital instrument available. Wicks/Allen Holy Innocents Episcopal Church invites visit- No. 4, Tango and Fandango by Margreeth de Trevor Dodd, Halbert Gober, as well as rare 2008 with custom English console and façade. ing organists to play its Beckerath Positiv organ Jong, and pieces by Guilmant, Mozart, Bossi, vintage examples. $50, plus $5 shipping. Visit 11 pipe ranks; 64 digital ranks. Mint tonal and at Sunday services. Built in 1972 by Rudolf von and Franck. $15.98 postpaid worldwide from www.organsofoberlin.com. physical condition. Immediately available. Com- Beckerath and then-apprentice Hans-Ulrich RavenCD.com. plete brochure email [email protected] or Erbslöh for Honolulu’s Lutheran Church, the 408- call 803/359-6352. pipe Shrankpositiv has a 54-note “split” manual, Celebrate the New Year with the strains of a 30-note pedal, 11 stops, 8 ranks, and 6 registers. venerable hymn tune and the pealing of change- The Tracker—The Organ Historical Society Holy Innocents acquired the instrument in 1977 ringing bells: a Carillon-Toccata on St. Anne is quarterly journal includes news and articles PIPE ORGANS FOR SALE and moved it to Maui where it has been played available now as a complimentary online issue about the organ and its history, organ builders, by parish musicians such as Carol Monaghan from Fruhauf Music Publications. The 12-page exemplary organs, and regional surveys of 33-rank Wicks, Opus 3585 (1956) for sale. and visiting artists including Angus Sinclair of letter sized PDF booklet includes notes and 10 instruments. Both American and European organ Three-manual and pedal drawknob console, Canada and Dalibor Miklavcic of Slovenia. The pages of music, offered as a fresh alternative topics are discussed, and most issues run 32 duplexed to 60 playing stops. Exposed Great, instrument is extremely responsive and fi lls the for enterprising organists in search of an uplift- pages with many illustrations and photographs. expressive Swell and Choir, chamber 22′ wide, worship space beautifully. The parish community ing postlude or special recital feature. A visit Membership in the OHS includes a subscrip- 10′-6″ deep. Make offer. Christ King Catholic is “exemplary in its hospitality to all visitors,” and to FMP’s home page bulletin board at www. tion to The Tracker. Visit the OHS Web site for Church, 2604 N. Swan Blvd., Wauwatosa, WI that especially includes visiting organists. For frumuspub.net will provide a link to the PDF fi le’s subscription and membership information: www. 53226; 414/258-2604. Organist Bill Lieven, information: 808/661-4202; holyimaui.org. download page. organsociety.org. [email protected].

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34-rank Casavant pipe organ for sale.Orgues 1968 Schantz, opus 890, III Manual, 5 divisions. Complete Pipe Organ Services from the Organ Létourneau is offering a 33-stop Casavant Frères Organ is in good condition, console converted to Clearing House: 450 vintage pipe organs avail- THE DIAPASON’S 20 Under 30 program has pipe organ (Opus 2518 from 1959) for sale. This solid-state, several additions to original stoplist, able, renovation, tuning, consultation. Other electro-pneumatic instrument is currently in stor- organ to be removed professionally by new services include transportation, cleaning and returned! Nominations for this award for age at the Létourneau shops and is available owner prior to new organ installation. Best offer. renovation of carvings, reredos, liturgical furnish- young leaders in the world of the organ, for purchase in “as is” condition for US $60,000 1980 Milnar organ, 11 ranks on II Manuals and ings. Call John Bishop at 617/688-9290. john@ organbuilding, church music, carillon, and with its original three-manual console. Likewise, Pedal. Currently in climate-controlled storage. organclearinghouse.com. harpsichord are now open and continue Létourneau would be pleased to provide a Asking $17,500. Contact Milnar Organ Company proposal to rebuild this instrument, taking into for more information on either of these organs. through February 1. Nominees must not account any desired changes to the stoplist as www.milnarorgan.com or 615/274-6400. Releathering all types of pipe organ actions have reached their 30th birthday. Self nomina- well as installation costs, voicing, casework and mechanisms. Highest quality materi- tions are not permitted. Nominate a deserving as required, and rebuilding the three-manual als and workmanship. Reasonable rates. young person today! Visit www.thediapason. console with a new solid-state switching system. Tellers Opus 972 (1966), two manuals and Columbia Organ Leathers 800/423-7003. The organ requires approximately 570 sq. ft. pedal, 28 stops, 25 ranks, un-enclosed, stopkey www.columbiaorgan.com/col. com and click on 20 Under 30. with 20′ ceiling for 16′ ranks. For more details, console, Philadelphia area. Asking $5,000.00 visit www.letourneauorgans.com, email info@ and buyer to bear cost of removal. For more letourneauorgans.com or call Andrew Forrest at information: [email protected]. Do you have a pipe organ that you would 450/774-2698. like to interface with an electronic or digital organ? We can interface any digital organ or THE DIAPASON has a completely redesigned Residence instrument available, Doug- any organ console with any pipe organ. For more website! Visit www.thediapason.com today Rieger 23-rank mechanical pipe organ for lasville, Georgia. Four manual, six division, information e-mail [email protected] (not sale. Two 61-note manuals and 32-note AGO hybrid instrument built in 2010. Short montage Comcast) or call 215/353-0286. and often to see news items, videos, digitial concave, radiating pedals. 1,221 pipes, manual on YouTube by entering “HDG residence organ” versions of present and past issues. Note the in the browser. Complete stoplist and pictures and pedal couplers, and tremulant; includes 3 newest classifi ed ads, artist spotlights, and separate mixture stops and 2 reed stops. Gen- available. Contact M. Proscia, 770/258-3388 or Aeolian/Robert Morton-style maroon events that sometimes do not appear in the tly voiced for a chapel or home use. Compact 770/361-2485; [email protected]. leather is now available from Columbia Organ 1 design: width: 5′-8 ⁄8″, depth 7′-3¼″, height Leathers! Highest quality. 800/423-7003, print issue. You can also renew your subscrip- 7′-3½″ with separate electric blower 2′ x 2′-1″ www.columbiaorgan.com. tion and give a subscription to a friend or Historic 1859 ROBJOHN, II+Ped, 11 ranks. Drop x 2′-5″. Mechanical key and stop action, slider dead gorgeous rosewood case, 14′-2″ tall. Lovely colleague. There’s always something new at windchest. Reduced to $45,000.00. For more for chapel, large residence, or museum. www. www.thediapason.com. details call 360/945-0425 or see OHS Organ ANNOUNCEMENTS bigeloworgans.com. Click on News. Data Base, Rieger Orgelbau, Gaspar Schulek Residence. THE DIAPASON E-Newsletters are e-mailed MISCELLANEOUS FOR SALE monthly to subscribers who sign up to receive them. Don’t miss the latest news, featured art- Postal regulations require that mail to THE Pfeffer and Debierre organs. Circa 1860 Pfeffer ists, and classifi ed ads—all with photos—some DIAPASON include a suite number to assure eight-rank organ, available rebuilt and custom Consoles, pipes and numerous miscellaneous before they appear in print! Visit www.TheDiapa- delivery. Please send all correspondence to: fi nished. Also 1884 choir organ by Louis Debi- parts. Let us know what you are looking for. son.com and click on Subscribe to our newslet- THE DIAPASON, 3030 W. Salt Creek Lane, Suite erre. Both are pictured on the Redman website: E-mail [email protected] (not comcast), ter. For assistance, contact Stephen Schnurr, 201, Arlington Heights, IL 60005. www.redmanpipeorgans.com. phone 215/353-0286 or 215/788-3423. 847/954-7989, [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2019 Q 29 2018 In Review—An Index

Articles, Reports, and Reviews — by author (boldface) and subject Aeolian-Skinner organs. See Barone. of the death of Healey Willan (1880–1968): Rechsteiner, Yves. Transcribing for organ: A Joseph. Feb 25* † Alcorn, Allison. Hinners & Albertsen on the A year of remembrances in 2018. Nov 25* historical overview. July 16–18+ ———. Pipe Organs of La Grange, Illinois, Mississippi Bluffs, Part 1: the Genesis. Feb Hinners organs. See Alcorn. Recital Programs. Jan 27, Feb 33, March 33, and the Architectural Edifi ces That 22–24* † Hook organs. See Pinel. April 33, May 32, June 33, July 29, Aug 28, House Them, Part 5: St. John Evangelical ———. Hinners & Albertsen on the Mis- Hoskins, Richard. Choral Music. April 12 Sept 33, Oct 37, Nov 33, Dec 33 Lutheran Church, Missouri Synod. June sissippi Bluffs, Part 2: The Tale Unfolds. Redman, Roy. Louis Debierre Choir Organ, 24–25* † March 20–22* † In the wind. . . See Bishop. 1884: Choir Organ #53. Jan 18–19*† # Simmons, Morgan and Mary. See Egler. Andover Organ Company. See June 26–28 Reed, James M. New Recordings. Speller, John L. New Recordings. Feb Jacobs, Simon Thomas. New Recordings. Robinson, Joyce Johnson. Book Reviews. 14–15, March 14–15, Aug 11–12, Sept Barone, Michael. Minnesota’s Northrop Dec 18 March 13 14–15, Oct 15–17, Dec 17–18 organ lives again! Aeolian-Skinner Opus Johnson organs. See McNeil. Roth, Daniel. See Warde. Swager, Brian. Book Reviews. July 14* 892 restored by Foley-Baker. Dec 24–25*† Rutter, John. See Brugh. ———. Carillon News. June 11, July 9, Aug 9* Beijing, China. See Lash. Kraaz, Sarah Mahler. New Organ Music. Betancourt, Steven. Book Reviews. Aug 11* April 12–13, July 14, Sept 13–14 Schleff, Jeffrey. New Organ Music. Feb Tagliavini, Luigi Ferdinando. See Ferré. Bishop, John. In the wind. . . Jan 12–13*, 13–14, March 13–14, June 14, Oct 15 Transcriptions. See Rechsteiner. Feb 16–17*, March 16–17*, April 14–15*, La Grange, Illinois. See Schnurr. Schneider, Karen. Choral Music. May Troiano, David. New Organ Music. Oct 15 May 16–17*, June 16–17*, July 12–13*, Lash, André. Baroque in Beijing: Alive and 12–13, Nov 13–14 Aug 14–15*, Sept 16–17*, Oct 18–19*, Nov Well. July 19* Schnurr, Stephen. Book Reviews. Feb Warde, Anton. Licht im Dunkel—Lumière 18–19*, Dec 14–15* Leonhardt, Gustav. See Palmer (Jan). 12–13, May 13–14, Dec 16 dans les ténèbres: Festschrift for Daniel Black, Gavin. On Teaching. Jan 14–15*, Feb Letters to the Editor. March 3, July 3, Oct 3 ———. Editor’s Notebook. Jan 3, Feb 3, Roth. Aug 21* 18–19*, March 18–19*, April 16–17*, May March 3, April 3, May 3, June 3, July 3, Aug Willan, Healey. See Haynes. 18–19*, June 18–19*, Sept 18–19*, Nov Maine organs. See Pinel. 3, Sept 3, Oct 3, Nov 3, Dec 3 17+, Dec 14–15+ Marchesano, Paul R. New Recordings. Nov 15 ———. Pipe Organs of La Grange, Illinois, Zoller, Jay. New Organ Music. Feb 14, Book Reviews. See Betancourt, Bullard, McNeil, Michael. The 1864 William A. John- and the Architectural Edifi ces That House March 14, June 14, July 14–15, Aug 12–13, Buzard, Robinson, Schnurr, Swager, Warde. son Opus 161, Piru Community United Them, Part 4: Convent of the Sisters of St. Sept 14, Oct 15, Nov 14 Brugh, Lorraine. An interview with John Methodist Church, Piru, California, Part 1. Rutter. Dec 19–23* Aug 16–20* † # ———. An interview with Stephen Cleobury. ———. The 1864 William A. Johnson Opus June 20–23* 161, Piru Community United Method- Organ Stoplists Bullard, John M. Book Reviews. June 13–14 ist Church, Piru, California, Part 2. Sept Aeolian-Skinner Hutchings-Votey # Buzard, Stephen. Book Reviews. Sept 13. 20–25* Northrop Auditorium, University of Christ Church, Episcopal, Montpelier, ———. The 1864 William A. Johnson Opus Minnesota, Minneapolis, MN. 4/108*, VT. 2/19, May 23–25 Carillon News. See Swager. 161, Piru Community United Method- Dec 24–25 Chapuis, Michel. See Fournier. ist Church, Piru, California, Part 3. Oct Kegg Choral Music. See Hoskins, Nelson, Nick- 26–28* # Stoneleigh, Villanova, PA. 3/37*, Dec 1, Christ the King Chapel, St. John Vianney els, Organ. ———. The 1864 William A. Johnson Opus 26–28 Theological Seminary, Denver, CO. Ciampa, Leonardo. Remembering Yuko 161, Piru Community United Method- Hayashi (1929–2018). April 18–20* ist Church, Piru, California, Part 4. Nov American Organ Institute/Hinners 3/25*, March 1, 26–27 Cleobury, Stephen. See Brugh. 20–24* # Trinity Lutheran Church, Norman, OK. Létourneau Collins, John. Early Composer Anniversa- Minnesota organs. See Alcorn, Barone. 2/9*, March 28 ries in 2018. Feb 20–21 Waldensian Presbyterian Church, ———. New Organ Music. May 14, Dec Nelson, Leon. Choral Music. March 13 Berghaus Valdese, NC. 2/19*, May 1, 26–27 16–17 ———. New Handbell Music. Feb 15, March St. John Evangelical Lutheran, La Lovallo Composers’ anniversaries. See Collins. 15, April 13, May 15, June 15, July 15, Aug Grange, IL. 3/43*, May 24–25 Cornils, Ray. See Bishop (March). 13, Sept 15, Oct 17, Nov 15, Dec 18 Dessau residence, Carmichael, CA. 1/4*, July 24 New Handbell Music. See Nelson. Bigelow Debierre organ. See Redman. New Organ Music. See Kraaz, Schleff, Zoller. St. John’s Episcopal Church, Fishers Möller New Recordings. See Fournier, Jacobs, Island, NY. 2/12*, Oct 1, 30–32 Editor’s Notebook. See Schnurr. Marchesano, Owolabi, Patterson, Speller. Convent of the Sisters of St. Joseph, La Grange Park, IL. 2/8, Feb 25 Egler, Steven. A conversation with Morgan Nickels, Derek. Choral Music. Dec 16. Bigelow/Steiner-Reck and Mary Simmons. April 21–25* Northrop Auditorium. See Barone. Trinity Lutheran Seminary, Columbus, Muller OH. 2/45*, Feb 28 Ferré, Susan, Etienne Darbellay, Bruce On Teaching. See Black. Saint Paul the Apostle Parish, Westerville, Dickey, Margaret Irwin-Brandon, and Organ, Anne Krentz. Choral Music. Feb 12 OH. 3/54*, Sept 28 Marc Vanscheeuwijck. A tribute to Luigi Organ Historical Society Library & Archives. Debierre Ferdinando Tagliavini (October 7, 1929– See Petty. Redman Pipe Organs, LLC, Fort Worth, Noack July 11, 2017). March 23–25* Owolabi, Kola. New Recordings. May 14–15 TX. 1/5*, Jan 18–19 Convent of the Sisters of St. Joseph, La Fournier, Carolyn Shuster. Michel Chapuis Grange Park, IL. 2/31*, 1/3, Feb 25 (1930–2017): A great organist, pioneer, and Palmer, Larry. Harpsichord Notes. Jan Dyer professor. Oct 20–25* 10–11*, Feb 11*, March 12*, April 10*, Greeneville Cumberland Presbyterian Quimby ———. New Recordings. July 15, Nov 14–15. May 11*, June 12*, July 10–11*, Aug 10*, Church, Greeneville, TN. 2/15*, Jan 22 All Saints Episcopal Church, Southern Sept 12*, Oct 14*, Nov 16*, Dec 11* Shores, NC. 2/18*, Sept 1, 26 Gurley, Brian F. Conference of Roman Patterson, Myron B. New Recordings. April Emery Brothers/Aeolian-Skinner Central United Methodist Church, Catholic Cathedral Musicians Conference 13, June 14–15 Stoneleigh, Villanova, PA. 3/37*, Dec 1, Concord, NC. 3/38*, Sept 26–27 XXXV: Kalamazoo, Michigan, and South Petty, Bynum. The Library of Congress for 26–28 Bend, Indiana, January 2018. July 20–21* the organ: The OHS Library and Archives Ruffatti moves to Villanova, Pennsylvania. Oct 29* Estey Buckfast Abbey, Devon, UK. 4/100*, Nov Handel, George Frederick. See Palmer Pinel, Stephen L. A report from Maine: The Christ Church, Episcopal, Montpelier, 1, 26–28 (March). 2017 Historic Organ Institute, October VT. 2/13, May 23–24 Harpsichord Notes. See Palmer. 24–28, 2017. Jan 16–17* † Russell Hayashi, Yuko. See Ciampa. ———. The Organs of Christ Church, Epis- Fabry/Möller Zion Lutheran Church, Appleton, WI. Haynes, Fr. Scott A. The fi ftieth anniversary copal, Montpelier, Vermont. May 20–25* † First Church of Christ, Scientist, 4/49*, Feb 1, 26–27 Libertyville, IL. 2/4*, May 28 Gyllsdorff residence, Rockford, IL. 2/7*, Schlueter Dec 28 First Baptist Church of Christ, Macon, www.pekc.org GA. 3/51*, Jan 1, 20–21 Fabry/Wicks Princeton Early Keyboard Center St. Paul’s Lutheran Church, Union Grove, Stevens & Jewett WI. 2/14*, May 28 Christ Church, Episcopal, Montpelier, Director VT. 2/20*, May 21, 24 Gavin Black, Fisk Centennial Chapel, Christ Church Swartz/Möller The Princeton Early Keyboard Center, with its principal Cathedral, Cincinnati, OH. 2/22*, St. Luke’s Episcopal Church, Durham, studios on Witherspoon Street in Princeton, NJ, is a small, August 1, 22–23 NC. 3/32*, Oct 32 independent school offering lessons and workshops in Glück Wicks harpsichord, clavichord, continuo playing, and all aspects St. Patrick Catholic Church, Huntington, St. John Evangelical Lutheran, La of Baroque keyboard studies. Facilities include two NY. 3/62*, April 1, 26–27 Grange, IL. 2/11, 2/27, May 24 antique harpsichords, several other fi ne harpsichords, Hook Wilhelm and clavichords, both antique and modern. Lessons at the Community Church, Stockton Springs, Christ Church, Episcopal, Montpelier, Center are available in a wide variety of formats, tailored to ME. 1/9*, Jan 16–17 VT. 2/25*, May 23–24 St. John’s Catholic Church, Bangor, ME. the needs of each student. All enquiries are very welcome at 3/36*, Jan 16–17 Zimmer 732/599-0392 or [email protected]. Summerall Chapel at The Citadel, Charleston, SC. 3/86*, July 1, 22–23

30 Q THE DIAPASON Q JANUARY 2019 WWW.THEDIAPASON.COM *=picture +=musical examples †=stoplist #=diagrams

Honors and Competitions Agrimonti, Gabriele, wins Grand Prix Early Music America. May 6 Marchal-Litaize, 13th International Organ Froehlich, Thomas E., honored for 40 years Obituaries Competition Academie André Marchal as associate director of music and organist, Arnatt, Ronald Kent.* Oct 10 Luther, Robert A. “Bob.”* Dec 10 and the Association Gaston Litaize. Feb 8 First Presbyterian Church, Dallas, TX. Jan 7 Bertschinger, Jon L.* Oct 10 McAlister, Margaret Smith.* Jan 8 Arakélian, Emmanuel,* awarded second Fry, Paulette,* honored for 40 years as Dodge, Wilbur R.* March 10 McLean, Hugh John.* Jan 8 prize, Seventh Pierre de Manchicourt organist, United Presbyterian Church, Dudley, Wesley Coleman, II.* Oct 10 Newby, Nelson Bernard.* Sept 10 International Organ Competition at Lens, Cortland, NY. Dec 6 Groom, Myrtle.* Dec 10 Oliver, Curtis “Curt” John.* April 10 France. Dec 4 Garges, Barbara,* honored for 35 years as Grooms, Donald A.* Aug 8 Prat-Molinier, Mary.* Nov 10 Barone, Michael,* honored for 50 years of organist and choir director, Tabernacle Hayashi, Yuko.* March 10 Rippl, Frank G.* Oct 10 employment, Minnesota Public Radio. Aug United Methodist Church, Binghamton, Holtkamp, Walter Henry “Chick,” Jr.* Speed, Robert Malcolm.* Feb 10 4, 6 NY. July 6 Nov 10 Pincemaille, Pierre.* March 10 Bengtson, Bruce A.,* honored upon retire- Gawthrop, Daniel E.,* named 25th Jones, Mark Coan.* March 10 Verdin, James Ralph.* Oct 10 ment as director of music, Luther Memo- Charles E. Lutton Man of Music, Kelly, Columba, OSB.* Aug 8 Weissrock, John.* Dec 10 rial Church, Madison, WI. Oct 8 Phi Mu Alpha Sinfonia Fraternity of Lawson, Steven E.* Oct 10 Willis, Henry, IV.* Aug 8 Boehmer, Tyler, awarded third prize, Arthur America. Oct 12 Poister Scholarship Competition in Organ Groz, Muriel,* awarded second prize, Xavier College, Pomona, CA. Dec 8 Playing. June 10 Darasse Organ Competition. Jan 4 Reed, Connor,* awarded Penn Brown Brueggemann, Justin,* awarded second Houston Chamber Choir,* awarded Mar- Memorial Scholarship for Advanced Organ and hymn playing prizes, East Carolina garet Hillis Award, Chorus America. Oct 4 Study, Young Organist Cooperative. Sept 10 University Young Artists Competition in Ikawa, Hina, wins Giuseppe Englert Memo- Rippl, Frank G.,* honored upon retirement Organ Performance. July 4 rial Prize, 13th International Organ Com- as organist/choirmaster, All Saints Episco- Burkhard, Henrik,* wins Xavier Darasse petition Academie André Marchal and the pal Church, Appleton, WI. April 8 Organ Competition. Jan 4 Association Gaston Litaize. Feb 8 Simmons, Beverly,* awarded Howard Mayer Cates, Matthew,* wins fi rst prize and Bach Kerswell, Benjamin,* awarded second Brown Award for Lifetime Achievement by prize, East Carolina University Young Art- prize, Taylor Organ Competition. June 4 Early Music America. May 6 ists Competition in Organ Performance. Kientz, Thomas, awarded second prize, July 4 Skoog, Johannes,* awarded second prize, interpretation, 13th International Organ Xavier Darasse Organ Competition. Jan 4 Chan, Ryan, wins Arthur Poister Scholarship Competition Academie André Marchal Competition in Organ Playing. June 10 Swann, Frederick,* honored at retirement and the Association Gaston Litaize. Feb 8 with Doctor of Music degree, University of Chenault, Raymond and Elizabeth,* Loomer, Chase,* wins Taylor Organ Com- named organist and choirmaster emeritus Redlands, Redlands, CA. June 8 petition. June 4 Thomas, Audrey,* ties for second prize, and organist and choir director emerita, Lucente, Rudy,* honored for 40 years as Fort Wayne National Organ Competition. All Saints’ Episcopal Church, Atlanta, GA. assistant grand court organist, Macy’s June 4 Oct 8 Department Store, Philadelphia, PA. June 8 Tosti, Giulio,* wins Xavier Darasse Organ Choi, Jihye,* wins Fort Wayne National Maggi, Rebecca,* honored for more than Organ Competition. June 4 25 years as director of music, St. Mark’s Competition. Jan 4 Christiansen, Clay,* honored at retirement Episcopal Church, Palo Alto, CA. May 6 van der Zwaag, Peter,* awarded second from Church of Jesus Christ of Latter-day Miller, Mitchell,* wins Seventh Pierre de prize, Seventh Pierre de Manchicourt Saints, Salt Lake City, UT. Aug 6 Manchicourt International Organ Compe- International Organ Competition at Bét- Dollat, Lucile, wins Grand Prix André tition at St.-Omer, France. Dec 4 hune, France. Dec 4 Marchal and audience prize, 13th Inter- Muhawi, Eleanor,* presented Frasier Van Hal, Shayla,* ties for second prize, Fort national Organ Competition Academie Organ Scholarship. Jan 7 Wayne National Organ Competition. June 4 André Marchal and the Association Gaston Nosova, Liubov,* awarded second prize, Wedd, Patrick,* honored upon retirement Litaize. Feb 8 Seventh Pierre de Manchicourt Interna- after 22 years as director of music, Christ Douthit, Chase,* awarded third prize, East tional Organ Competition at St.-Omer and Church Cathedral, Montreal, QC, Canada. Carolina University Young Artists Compe- Béthune, France. Dec 4 Sept 10–11 tition in Organ Performance. July 4 Oliver, Raphael, wins Bach and French Welch, James,* honored for more than 25 du Verdier, Quentin,* wins Seventh Pierre Music interpretation prize and Gaston years as organist, St. Mark’s Episcopal Happy New Year from the de Manchicourt International Organ Com- Litaize Prize, 13th International Organ Church, Palo Alto, CA. May 6 petition at Lens, France. Dec 4 Competition Academie André Marchal Xu, Bruce, awarded second and audience staff of The Diapason! Duffi n, Ross W.,* awarded Howard Mayer and the Association Gaston Litaize. Feb 8 prizes, Arthur Poister Scholarship Compe- Brown Award for Lifetime Achievement by Peterson, William,* retired from Pomona tition in Organ Playing. June 10 Marina Zlochin - stock.adobe.com Appointments

Capon, Michael,* to adjunct lecturer, Dan Lee, Nara,* to organ scholar, St. George’s School of Drama and Music, Queen’s Uni- Episcopal Church, Nashville, TN. July 6 versity, Kingston, ON, Canada. Jan 6 Mariano, Davide,* to young artist in Craig, Carolyn,* to organ scholar, Truro residence, Cathedral-Basilica of St. Louis, Cathedral, Cornwall, UK. Nov 6 King of France, New Orleans, LA. April 6 Czausz, Monica,* to assistant organist, Par- McBride, Steve,* to sales and marketing ish of St. Vincent Ferrer and St. Catherine manager, Solid State Organ Systems, Alex- of Siena, New York, NY. Oct 6 andria, VA. Dec 6 Davidson, Dent,* to missioner for music and McCall, Warren Edward,* to chief execu- liturgy, St. James’s Episcopal Cathedral, tive offi cer, Organ Historical Society, Vil- Chicago, Illinois. Jan 6 lanova, PA. Aug 6 Driskill-Smith, Clive,* to organist, All Saints’ McMahon, Rev. J. Michael,* to executive Episcopal Church, Fort Worth, TX. July 6 director, Hymn Society in the United Fenn, Daniel J.,* to director of music and States and Canada. Sept 6 organist, St. Luke Lutheran Church, Silver Mitchener, Jack,* to artist-in-residence, Spring, MD. Sept 6 Peachtree Road United Methodist, Ging, Michael David,* to associate director Church, Atlanta, GA. Jan 6 of music and organist, St. John Vianney Rakich, Christa,* to artist in residence, St. Catholic Church, Houston, TX. Oct 6 Grahl, Steven,* to organist, Christ Church John’s Episcopal Church, West Hartford, Cathedral, Oxford, UK. April 6 CT. July 6 Gray, Richard,* to director of music and Ramírez, Raúl Prieto,* to civic organist and organist, St. John the Evangelist Episcopal artistic director, Spreckels Organ Society, Church, St. Paul, MN. July 6 San Diego, CA. Feb 6 Han, Ahreum,* to director of music and Rich, Kirk Michael,* to associate director organist, First Presbyterian Church, Fort of music and organist, All Saints’ Episcopal Worth, TX. April 6 Church, Atlanta, GA. Sept 6 Henderson, Andrew,* to chair, organ Schaeffer, Andrew,* to director of music, department, Manhattan School of Music, Luther Memorial Church, Madison, WI. New York, NY. Oct 6 Nov 6 Jacobs, Simon,* to organist and choirmaster, Schmelter, Nicholas,* to artist-in-residence, Grace and St. Stephen’s Episcopal Church, St. Paul’s Episcopal Church, Flint, MI. Colorado Springs, CO. June 6 June 6 Kunz, Jean-Willy,* to artistic director, Cana- White, Jay,* to artistic director, Quire Cleve- dian International Organ Competition. June 6 land, Cleveland, OH. Feb 6 0LOQDU2UJDQ &RPSDQ\

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2019 Q 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020

Chelsea Chen Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois*

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Katelyn Emerson Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood*

Choirs Available

Saint Thomas Church New York City (March 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole New College Oxford United Kingdom (March/April 2019) Trinity College Cambridge United Kingdom (September 2019) Notre-Dame Cathedral Paris (April 2020) Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

Celebrating Our 98th *=Artists based outside Season! the U.S.A. Jonathan Ryan Todd Wilson Christopher Young