THE DIAPASON MARCH 2020

First Presbyterian Church Knoxville, Tennessee Cover feature on pages 22–23 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 MARTIN JEAN JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE

ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN

HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH SEBASTIAN HEINDL ϮϬϭဓt®Äě٠>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄ

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ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵͬǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵͬဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 3, The Gruenstein Award Whole No. 1324 We thank those who have submitted articles for consider- MARCH 2020 ation for the fi rst Gruenstein Award, the deadline for which Established in 1909 was January 31. We are pleased with the breadth and the qual- Stephen Schnurr ISSN 0012-2378 ity of scholarship of younger women and men in the United 847/954-7989; [email protected] States. We will feature the winning article in our May issue. www.TheDiapason.com An International Monthly Devoted to the Organ, the Harpsichord, Carillon, and Church Music In this issue importance of his pending occupational therapy. He plans Gerhard Grenzing introduces to resume his discussion of J. S. Bach’s The Art of the Fugue CONTENTS his organ for the concert hall of next month. John Bishop, in “In the Wind . . . ,” chronicles FEATURES Radio France in Paris, an instru- “the birth of a new building,” Saint Michael the Archangel The Grenzing Organ for Radio France, Paris ment that is veritably one of a kind. Catholic Church, Pawtucket, Connecticut, and his work by Gerhard Grenzing 16 Scott Riedel provides the twelfth reinstalling the parish’s Austin organ. As an annual tradition, Acoustics in the Worship Space XII: Varied installment of his series, “Acoustics we present our list of summer institutes, workshops, confer- music can mean variable acoustics in the Worship Space,” wherein ences, and conventions. by Scott R. Riedel 20 he discusses how a worship space Our cover feature spotlights B. Rule & Company’s renova- NEWS & DEPARTMENTS can be adapted to suit the needs of tion of the Casavant organ at First Presbyterian Church, Knox- Editor’s Notebook 3 traditional or contemporary worship ville, Tennessee. Here & There 3 within minutes, if properly studied Appointments 6 and carefully prepared. Looking ahead 1909 2019 Nunc Dimittis 8 110 Larry Palmer, in “Harpsichord Our April issue will feature the renovated Fratelli Ruffatti Harpsichord Notes by Larry Palmer 12 Notes,” writes about marches for organ in Christ Cathedral, Garden Grove, California, known On Teaching by Gavin Black 13 harpsichord, an appropriate topic to countless people from the instrument’s days in the Crystal In the wind . . . by John Bishop 14 for the month of March. In “On Teaching,” Gavin Black Cathedral. The organ will be dedicated in recital on May 5, to REVIEWS writes about his recovery from orthopedic surgery and the be followed by many fi ne musical programs. Q New Organ Music 10 New Recordings 10 Here & There SUMMER CONFERENCES 24 CALENDAR 25 Events Timothy Zifer; 4/19, University of Evans- RECITAL PROGRAMS 29 ville Choirs, Durufl é, Requiem; May 1, Nicholas Stigall and Noah CLASSIFIED ADVERTISING 30 Klein, organ; 5/3, Choir School of First Presbyterian Church spring concert; June 5, Erik Matson; August 7, Simon THE Pick. First Presbyterian Church houses DIAPASON two pipe organs: C. B. Fisk, Inc., Opus MARCH 2020 98, and an 1889 Edmund Giesecke organ. For information: www.fi rstpresevansville.com. Pleasant Hills Community Presbyterian Church, Pittsburgh, Pennsylvania, Holt- kamp organ

Adam J. Brakel on April 26. The event will be fi fty years since George Markey— then at Madison Avenue Presbyterian,

First Presbyterian Church , and Westminster Choir Knoxville, Tennessee Cover feature on pages 22–23 Third Baptist Church, St. Louis, Missouri College, Princeton, New Jersey—played the dedicatory recital, April 26, 1970. COVER Third Baptist Church, St. Louis, The recital is sponsored by the Har- First Presbyterian Church, Knoxville, Missouri, announces its Friday Pipes mony Society Chapter of the Organ His- Tennessee; B. Rule & Company, series of organ recitals, Fridays at 12:30 torical Society and Pleasant Hills Church New Market, Tennessee 22 p.m.: March 6, Yumiko Tatsuta; 3/13, and will be dedicated to the memory of Bill Sullivan; 3/20, Ann Marie Rigler; Bob Frazier, and choirmaster Editorial Director STEPHEN SCHNURR 3/27, Lucas Fletcher; April 3, Dorothy at Pleasant Hills Church when the and Publisher [email protected] Young Riess; 4/10, Brent Johnson; 4/17, organ was installed, and Bill Linderg, 847/954-7989 Wolff von Roos; 4/24, Tom Vozella; May Pittsburgh organist, resident of Pleasant President RICK SCHWER 1, Nolan Reilly; 5/8, Brent Nolte. For Hills, and Brakel’s fi rst organ teacher. [email protected] information: https://third-baptist.org. For information: 847/391-1048 First Baptist Church, Ann Arbor, Michi- www.pleasanthillschurch.com or gan, Noehren organ www.adambrakel.com. Editor-at-Large ANDREW SCHAEFFER [email protected] First Baptist Church, Ann Arbor, Sales Director JEROME BUTERA Michigan, continues its ninth season of Conferences [email protected] 608/634-6253 Coffee Break Concert Series. Events are The Peabody Institute announces Circulation/ held on Thursdays at 12:15 p.m. and are a symposium celebrating the 150th Subscriptions THE DIAPASON free: March 19, Bach Celebration (Alice anniversaries of and P.O. Box 300 Lincolnshire, IL 60069-0300 Van Wambeke, organ; Ling-Ju Lai, Charles Tournemire, October 18–20, in [email protected] piano; Pheobe Gelzer-Gavatos, violin; Baltimore, Maryland. Presenters include Toll-Free: 877/501-7540 Early Music Singers directed by Shin-Ae Marie-Louise Langlais, Sylvie Mal- Local: 847/763-4933 Chun, continuo organ); April 23, Jeremy let, and Christian Lesur. For informa- Designer KIMBERLY PELLIKAN First Presbyterian Church, Evansville, Collins, classical guitar; May 21, Early tion: peabody.jhu.edu/organconf. [email protected] Indiana, Fisk organ Music Celebration, various musicians. 847/391-1024 The church houses a three-manual, Contributing Editors LARRY PALMER First Presbyterian Church, Evans- 57-rank Noehren organ, fi nished in People Harpsichord ville, Indiana, announces music events: 1966. For information: www.fbca2.org. Janette Fishell’s recording of March 7, Robert Nicholls, organ and Beethoven works attributed to organ (or BRIAN SWAGER Carillon harpsichord, with Joanna Fleming, Pleasant Hills Community Presby- clock organ) that were previously miss- soprano; 3/14, Evansville Chapter Amer- terian Church, Pittsburgh, Pennsylva- ing from the NAXOS catalogue has been JOHN BISHOP ican Guild of Bach-a-thon; nia, will celebrate the fi ftieth anniversary released as part of that company’s newly In the wind . . . April 3, Robert Nicholls with trumpeter of its Holtkamp organ with a recital by ³ page 4 GAVIN BLACK On Teaching 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 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 Reviewers Sarah Mahler Kraaz 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. John L. Speller Subscriptions: 1 yr. $44; 2 yr. $81; 3 yr. $112 ( and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 3 yr. $112 + $50 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, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the 60069-0300. 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 MARCH 2020 Q 3 Here & There

Engaging the next generation Daniel Colaner, age 14, is the winner of From the Top’s Jack Kent Cooke Young Artist Award, a national scholarship of up to $10,000 for extraordinary young musicians. Colaner appeared on a broadcast of NPR’s From the Top in early February. The broadcast was taped before a live audience on November 2, 2019, at The Presby- terian Church in Morristown, New Jersey, where he performed “Jupi- ter” from The Planets by Gustav Holst, arranged by Peter Sykes. Colaner is one of only twenty Chamber Choir young musicians to receive the Jack Kent Cooke Young Artist Award in Houston Chamber Choir, Robert Simpson, founder and artistic director, was the 2019–2020 season. Since 2005, awarded a GRAMMY® for best choral performance with their compact disc, Durufl é: From the Top and the Jack Kent Complete Choral Works, at the 62nd GRAMMY® Awards, January 26. Ken Cowan Cooke Foundation have awarded accompanies the group in the disc of works by Maurice Durufl é, released April 5, Daniel Colaner at The Presbyterian more than $3 million in scholar- 2019, by Signum Classics. For information and to order the disc: Church, Morristown, New Jersey ships to young musicians from https://houstonchamberchoir.org. across the United States. Colaner is a pediatric cancer survivor from Akron, Ohio, who began his study of music at an early age as a means of counteracting potential late effects of the chemotherapy he received as an infant. He currently studies organ with David Higgs of the Eastman School of Music; serves as organ scholar at Trinity Episcopal Cathedral, Cleveland, Ohio, under Todd Wilson; and is a scholarship student in the pre-college program at Cleveland Institute of Music, where he studies piano with Sean Schulze. At the age of 12, Colaner had the opportunity to perform at Carnegie Hall (piano) and St. Patrick’s Cathedral (organ). These performances were featured on ABC World News Tonight and led to appearances on ABC’s Good Morning America, Harry, and The 700 Club. He recently won fi rst prize and the audi- ence prize in the Sursa American Organ Competition (high school division), Ball State University, Muncie, Indiana, and has been a prize winner in the 2018 Becky Ramsey and Alice Walker (photo credit: Brian Dean Photography); Aeolian-Skinner Steinway Junior Piano Competition in Cleveland and the 2017 American Pro- organ console, Druid Hills Presbyterian Church tégé International Piano Competition. In his spare time, Daniel enjoys reading about technology, repairing computers, swimming, playing tennis, and spend- Alice Walker and Becky Ramsey, identical twins, presented a recital January 12 ing time with his calico cat, Imogene. at Druid Hills Presbyterian Church, , Georgia. The event was presented Receiving the Jack Kent Cooke Young Artist Award will enable Daniel to to benefi t restoration efforts for the church’s Aeolian-Skinner Organ Company Opus purchase a virtual pipe organ for his home. In addition to performing on the 1004, a three-manual instrument. Cliff Frierson is the church’s organist. The pro- broadcast, Daniel’s experience with From the Top included leadership training, gram included works by , Samuel Wesley, and Emma Lou Diemer. career development workshops, and community engagement. From the Top For information: www.druidhillspresbyterian.org. designs these experiences to enrich both personal and artistic growth for all its young musicians. More details on this episode of From the Top can be found at: https://www. fromthetop.org/show/nprs-from-the-top-morristown-nj-show-377/. Q

³ page 3 A. Seward Organ, C. B. Fisk, Inc., Opus issued complete box set. Fuge in D-dur, 135, in the Jacobs School of Music, Indi- WoO 31, Fünf Stücke für eine Spieluhr, ana University, Bloomington. WoO 33, and Grenadiermarsch für Fishell is professor of music and Flötenuhr F-Dur, Hess 107, were chair of the organ department at Jacobs recorded on the Maidee H. and Jackson School of Music and concertizes under

Janette Fishell

the auspices of Karen McFarlane Artists, Inc. For information: https://info.music. Shin-Young Lee indiana.edu/faculty/current/fishell- janette.shtml. Lee began musical studies on piano at age four and on organ at age 17. She Stephen Hamilton returns to Ger- received a Bachelor of Music degree many to perform on the Eule organ in from Yonsei University, Seoul. In the cathedral of Trier on July 29. On France, she continued studies at the August 5, he will play in the Lutheran Schola Cantorum of Paris. In 2003, Lee Kreuzkirche of Dresden. He returns entered the organ class at the Paris Con- to St. Matthäus Church, Munich, on servatoire National Superieur Musique August 7. For information: (CNSMDP) and received the Diplôme www.stephenjonhamilton.com. de Formation Supérieure in 2007. Shin-Young Lee won the organ com- Shin-Young Lee completed her petition of St. François of Lyon 2007 and fi rst North American concert tour in was laureate of the Jordan International November 2019, performing recitals at Organ Competition in Columbus, Geor- the University of the South, Sewanee, gia, in 2009. Since then, she has traveled Tennessee; Catalina United Methodist to fi ve continents, performing, giving Church, Tucson, Arizona; Arborlawn masterclasses, and judging competitions. United Methodist Church, Fort Worth, For information: [email protected]. Texas; Meyerson Symphony Center, , Texas; and St. Joseph Oratory, Wolfgang Rübsam has embarked , Canada. Among the reper- on a project to record the organ sym- toire performed was her own transcrip- phonies of Charles-Marie Widor on the www.ruffatti.com tion of Saint-Saëns’ The Carnival of the organ of Rockefeller Memorial Chapel, Animals, a recording of which is available University of Chicago, Chicago, Illinois. on YouTube. ³ page 6

4 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM

Here & There

³ page 4 Appointments Andrew Forrest is appointed vice president of Létourneau Pipe Organs, Saint-Hyacinthe, Québec, Canada, in addition to his responsibilities as artistic director. Forrest has worked his way through the Létourneau company over the past twenty years, and this work extends to the fi rm’s design, construction, and sound Graeme Shields of instruments. He is equally involved with the company’s customer care and service. Wolfgang Rübsam feature Ashley’s only work for organ, The Andrew Forrest is a native of Toronto Entrance, along with music by compos- and holds a bachelor’s degree in politi- Symphonies I and II were released by ers with ties to Michigan and Ashley. Andrew Forrest cal science from Carleton University in Naxos in January (8.574161), and Sym- Born in Ann Arbor, Robert Ashley Ottawa. An organist, he studied privately phonies III and IV are scheduled to be studied at the University of Michigan with Andrew Teague in Ottawa and Bruce Wheatcroft in Montréal. He has served released in April. The recordings are with Ross Lee Finney and forged a as an offi cer for the American Institute of Organbuilders and the Associated Pipe available at naxos.com, amazon.com, reputation built on his multi-disciplin- Organ Builders of America. For information: http://letourneauorgans.com. Apple Music, iTunes store, and other ary projects, use of electronics, and media. For information: extended techniques. In the 1960s, Thomas R. Thomas is appointed www.wolfgangrubsam.com. Ashley co-founded the ONCE Festival organist and choirmaster of St. Luke’s in Ann Arbor alongside other local com- Episcopal Church, Live Oak, Florida. posers and artists, featuring new music Thomas began playing for church ser- and art. It was during this time that he vices at age 13 and is from , wrote The Entrance. Pennsylvania, where he was educated Graeme Shields is organ scholar for and served several historic churches. He Calvary Episcopal Church, Cincinnati, held the post of assistant organist at the Ohio. He has performed contemporary Church of Bethesda-by-the-Sea, Palm organ concerts across the American Beach, Florida, at the age of 16. Upon Midwest and is a founding member his return to Florida, he was director of Vital Organ Project (VOP), a of music for Royal Poinciana Chapel, composer-organist duo that facilitates also in Palm Beach, for ten years. Dur- the creation and performance of new ing this time, he designed the original Nicholas Schmelter in Stuttgart-Weilim- music featuring the pipe organ. VOP has Austin Organs, Inc., Opus 2685 (now dorf (photo credit: Stefano Massera) been the catalyst for more than 15 world Opus 2685-R of 104 ranks). He invited premieres and over 20 concert events Thomas R. Thomas his long time friend, Virgil Fox, to be Nicholas Schmelter, director of since its inception in 2017, including artist-in-residence at the chapel. During worship and congregational life for First an 8-hour performance of John Cage’s the installation of the organ, he was appointed by the late Donald Austin Presbyterian Church, Caro, Michigan, Organ2/ASLSP. For information: www. to represent Austin Organs in Florida and Georgia. His organ design and made his European debut performing a vitalorganproject.com. restoration work is mentioned in periodicals and books. The original specifi - seasonal recital of all American compos- cation and proposal for the new 109-rank Austin at Bethesda-by-the-Sea was ers at the Katholische Kirchengemeinde conceived by Thomas. He resides in McAlpin, Florida, with his partner. Q St. Theresia, Stuttgart-Weilimdorf, Publishers Germany, on December 20, 2019. His Paraclete Press announces new program included compositions by Keith sheet music publications: Phos hilaron, (1938–1962). Boggess became an Chapman, John Cook, Richard Purvis, by Robert Lehman (PPM01964M, instructor of piano and organ at the Leo Sowerby, and others, as well as his $1.70), for SATB a cappella; Magnifi cat University of Oklahoma School of Music own arrangements of pieces by Leroy and Nunc dimittis, by Margaret Woodley in 1938, later named professor of music, Anderson and Vince Guaraldi. For infor- (PPM01969M, $3.70), for SATB divisi and served until her retirement in 1976. mation: www.schmeltermusic.com. with organ; God So Loved the World, by Boggess was known for her dedica- David Barton (PPM01972M, $1.20), for tion to the discipline of her students, Graeme Shields will present a SATB a cappella; Oculi Omium, by June many of whom were winners at national program marking the 90th birthday of Nixon (PPM02011M, $1.20); and Gigue, and regional competitions. She was one composer Robert Ashley, “Drones, by G. P. Telemann, transcribed by Rob- of the fi rst female organists to perform Weights, & Ashley’s Date,” March 28, ert M. Thompson (PPM01971M, $7.50), at the Washington National Cathedral at First Congregational Church, for organ. For information: in Washington, D.C. Boggess was Ann Arbor, Michigan. The program will https://paracletesheetmusic.com. inducted into the Oklahoma Hall of Fame in 1971. Prepublication subscriptions are invited. Levels of subscription are Friend $50, Sponsor $100, Benefactor $150, Patron $200, and Angel $300

and above. Deadline for subscriptions is November 1, 2020. Publication date is June 15, 2021. For information: 800/765-3196. Mildred Andrews Boggess

Leupold Editions will publish a Recordings biography of over 400 pages cover- Regent Recordings announces ing the life, performing and teaching new CDs. Prières pour Notre Dame careers of Mildred Andrews Boggess (REGCD 538), features music for organ (1915–1987), authored by Stephanie and treble voices by Marcel Dupré, Ann Barth. Boggess earned a Bachelor Nadia Boulanger, Jeanne Demessieux, Proud builders of the pipe organ kit of Fine Arts degree in piano (1937) and and Francis Poulenc. Colin Walsh plays a graduate degree in piano performance the Cavaillé-Coll organ of St. Ouen, (1940) from the University of Oklahoma. Rouen, France, with the Romsey Abbey She served St. John’s Episcopal Church, Choir, conducted by George Richford. follow Norman, as organist and choirmaster The Garment of Holiness (REGCD 503) us on facebook! (1936–1962) and was instructor in organ features the choral and organ music of for the Evergreen Episcopal Music Iain Quinn. The Chapel Choir of Selwyn Conference, Evergreen, Colorado ³ page 8 Photo courtesy of Eric Harrison 0LOQDU2UJDQ &RPSDQ\

16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA t 800 625-7473 [email protected] /DUJHVWVHOHFWLRQRIH[FHOOHQWXVHGSLSHV /LNHQHZ$XVWLQDFWLRQV JL Weiler , Inc. Visit our website at www.letourneauorgans.com 6ROLG-VWDWHV\VWHPV 3URYHQ7UXPSHW(Q&KDPDGHV Museum-Quality Restoration --GHQQLV#PLOQDURUJDQFRP ZZZPLOQDURUJDQFRP of Historic Pipe Organs jlweiler.com

6 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM www.ConcertArtistCooperative.com

Colin R. Monty Elisa Jackson Shin-Ae Leon W. Andrews Bennett Bickers Borges Chun Couch III

Rhonda Sider Laura Faythe Simone Justin Sarah Edgington Ellis Freese Gheller Hartz Hawbecker

James D. Rob Michael Angela David K. Mark Hicks Hlebinsky Kaminski Kraft Cross Lamb Laubach

Yoonmi Wynford S. Colin Katherine Scott Shelly Moorman- Lim Lyddane Lynch Meloan Montgomery Stah lman

David F. Brenda Tom Beth Rodland Duo Oliver Portman Winpenny Zucchino Carol & Catherine Rodland

R. Monty Bennett, Director ([email protected]) Beth Zucchino, Founder & Director Emerita 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 Clarion Duo A non-traditional representation Christine Westhoff Keith Benjamin celebrating its 32nd year of operation & Timothy Allen Melody Steed Here & There

Concert management Nunc Dimittis Kevin Bowyer has joined the Richard S. Hedgebeth, 75, management roster of Seven died November 3, 2019. He was Eight Artists. Bowyer, organist born in Avon, Florida, and grew for the University of Glasgow since up in Bismarck, North Dakota, 2005 and a recording and concert and Medfi eld, Massachusetts. He artist, is the winner of fi ve inter- attended Elon College in North national organ competitions (St. Carolina as a physics major before Albans, Dublin, Paisley, Odense, transferring to the New England and Calgary). His recording catalog Conservatory of Music, Boston, of over a hundred commercial CDs as an organ performance major. includes the complete organ music Before founding his own compa- of Bach, Brahms, and Alain, as well nies, the Stuart Organ Company as others. and Westminster Organ Works, As a performer he has earned a he worked with several pipe organ reputation as a performer of com- companies, including Foley-Baker, plex, “unplayable” works, includ- Tolland, Connecticut; Andover ing pieces by Kaikhosru Sorabji, Organ Company, Andover, Massa- Brian Ferneyhough, Chris Dench, chusetts; and Guilbault-Therien in Iannis Xenakis, Milton Babbitt, Saint-Hyacinthe, Québec, Canada. Kevin Bowyer Niccolo Catiglioni, and others. Richard S. Hedgebeth (photo credit: Dan- In Binghamton, New York, Bowyer has performed through- iel Lemieux) Hedgebeth serviced pipe organs in out , North America, , , , and Japan. He several area churches, with projects produced a number of articles and book chapters and, for a time, provided including a renovation of the Aeolian-Skinner organ at First Congregational the regular humorous column for Organists’ Review magazine. For informa- Church. He also serviced the theatre organ at the Broome County Forum. He tion: seveneightartists.com. Q was a licensed agent for Hauptwerk, a digital organ software company, having recently completed the installation of a four-manual Hauptwerk in a church in San Diego, California. At the time of his death, he was working on a four- ³ page 6 Church, Kennebunkport, and was manual Hauptwerk installation for a new concert hall being built at Indian Hill College, Cambridge, UK, is directed donated and moved to First Congrega- Music School, Groton, Massachusetts. by Sarah MacDonald, and the organ- tional in 1919. Over his career, Hedgebeth serviced, built, and rebuilt hundreds of pipe ists are Shanna Hart and Alexander The organ had a few minor struc- organs throughout the Northeast. He was a member of the Organ Historical Goodwin. For information: tural alterations to allow it to fi t in its Society and was a member, sub-dean, and webmaster for the Binghamton www.regentrecords.com. new setting. As part of the restoration, Chapter of the American Guild of Organists. those alterations were changed back to what the restorers felt was the original Steven Alan Williams, 63, died December 18, 2019, in Asheville, North Organbuilders confi guration for the Pedal windchest. Carolina. Born May 10, 1956, in Asheville, he graduated from Asheville High A unique feature of the organ is the School, completed his bachelor’s degree at Mars Hill College, and his master’s independent 8′ Principal for the 13-note and doctoral degrees in music at the University of Illinois, Urbana-Champaign. Pedal. The organ remains tonally He accepted his fi rst paid position as a church organist at the age of 13. He was unaltered and is now back in playing awarded the Prix d’Excellence in 1980 while studying under Marie-Claire Alain form. Kevin Birch of St. John’s Church, at the Conservatoire National de Musique, France, and won the 1981 National Bangor, Maine, played the rededication Organ Playing Competition at First Presbyterian Church, Fort Wayne, Indiana. recital, June 7, 2019. Williams began his professional career at Warren Wilson College, Swan- nanoa, North Carolina, in 1981 as the chapel and college organist and accepted a faculty position in the music department in 1982. He served as chair of the music department from 1985 until 1989 and again from 1992 until 2007. In 1990, he was the fi rst Warren Wilson faculty member awarded the honor of Teacher of the Year. Throughout most of his years at the college, he also served as the Warren Wilson Presbyterian Church organist, music director, and chapel choir director. He was assistant conductor and accompanist for the University of North Carolina Asheville Community Chorus from 1989 until 1990, and for the Asheville Symphony Chorus from 1999 until 2009. Active for many years 1854 E. & G. G. Hook Opus 177, First in the American Guild of Organists, he served as dean of the Western North Congregational Church, Kennebunk- Carolina chapter from 1999 until 2001. port, Maine Steven Alan Williams is survived by his brother Ed Williams (Jan), sister Patsy Williams Agee (Royce), as well as an uncle, seven cousins, two nephews, David E. Wallace & Co., LLC, Pipe six nieces, three great-nephews, and two great-nieces. Q Organ Builders of Gorham, Maine, has been selected to provide the restorations of several unique 19th-century pipe Church, Yarmouth, Maine, is undergo- appropriately scaled 16′ Subbass, 16′ organs. Recently completed was the res- 1893 George Jardine & Son Opus 1123, ing a renovation of its Pedal division. Bourdon, and 8′ Violoncello ranks. The toration of the 1854 E. & G. G. Hook Sacred Heart Catholic Church, Yar- The organ was built for Russell Sage ranks replace a diffi cult to register, large- Opus 177 for First Congregational mouth, Maine Memorial Church, Far Rockaway, scaled Bourdon. This work completes Church, Kennebunkport, Maine. The Queens, New York, and sold in 1985 a series of renovation projects for the one-manual, nine-rank organ was built The 1893 George Jardine & Son to Sacred Heart Church. The Pedal is instrument. For information: originally for South Congregational Opus 1123 at Sacred Heart Catholic being expanded by Wallace to include www.wallacepipeorgans.com. Q

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New Organ Music rhythms, accidentals, and occasional New Recordings antiphon for Maundy Thursday. In its Pièces d’Orgue, by François Cou- ornaments (Nivers was a proponent of In My Father’s House: Choral Music character and harmonies this setting is perin, edited by Jon Baxendale. this newer style in the second half of by Philip Stopford. Truro Cathedral not unlike Maurice Durufl é’s version of Cantando Musikkforlag, Stavanger, the seventeenth century) to support Choir, BBC National Orchestra the same text. Following this is Stop- Norway, 2018, ISMN 979-0-2612- this decision. of Wales, directed by Christopher ford’s setting of the well-known hymn, 4441-1, €37. Available from www. One of the most valuable items in the Gray. Regent Records compact disc “Christ is our cornerstone.” This uses an cantando.com. front matter comes in the section on REGCD517, available from www. original tune, repeated and elaborated The Norwegian publishing house registration. Baxendale discusses le bon regentrecords.com. in each verse, and is given an elaborate Cantando Musikkforlag has issued a new goût as it pertains to the tonal resources In my Father’s house; Bring us, O orchestral setting, with some very festive edition of François Couperin’s Messe of the organ: Lord God; Ubi caritas; Christ is our cor- brass fanfares, including an introduction Solennelle a l’usage des Paroisses and the nerstone; Love divine, all loves excelling; and interludes. It is not unlike some of The mélange of the organist’s tonal re- Messe propre pour les Couvents de Reli- sources [in the seventeenth century] was The chorister prayer; Jesu, lover of my the work of John Rutter and is cheerful, gieux et Religieuses to commemorate the an important consideration in building el- soul; O how glorious is the kingdom; Ave melodious, and graceful. 350th anniversary of the composer’s birth. egant performances and governed a range Maris Stella; Ave Maria; Stabat Mater; Next comes a setting of Wesley’s hymn, In this critical edition, the fi rst to appear of aesthetics of which the foremost objec- There is no rose; A child is born in Beth- “Love divine, all loves excelling.” Stop- tives were to strike listeners with not only in nearly forty years, the objectives of the quality of sound . . . but also with its lehem; What sweeter music; A Christmas ford composed this for a wedding when British musicologist Jon Baxendale “were beauty. Surprise and variety were essential blessing; We three kings of Orient are; he was director of music at Saint Anne’s to reassess surviving and lost copies of the ingredients, . . . each movement had a spe- Silent night, holy night; The star of kings. Cathedral in Belfast, Northern Ireland. organ Masses with regards to establish- cifi c character that was aligned to the part Philip Stopford (b. 1977) is currently It is a very gentle work, commencing ing their authority, as well as to provide of the liturgy to which it belonged. director of music at Christ Episcopal with the trebles alone and including a practical advice on performance practice, Church, Bronxville, New York. He began baritone solo in the middle. Stopford’s ornamentation, and registration with Following this explanation is a table his musical education under Simon anthem on the Royal School of Church practical comments based on original in which every Mass movement is pro- Preston and Martin Neary and was Music Chorister Prayer (“Bless, O Lord, source material” (publisher’s notes). vided with suggested registrations and a subsequently organ scholar in succession thy servants who minister in thy temple”) To appreciate Baxendale’s and description of its character from seven- at Truro Cathedral, at Keble College, was written for the twentieth anniversary Cantando Musikkforlag’s achievement, teenth-century sources (in the original Oxford, where he also obtained a music of the inclusion of girl choristers in the a bit of history is in order. Previous French and English translations) as well degree, and at Canterbury Cathedral. choir of Llandaff Cathedral, Cardiff, editions of the organ Masses include as editorial comments that clarify organ Then followed a stint as assistant organ- Wales, in 2016. Another very gentle those by Alexander Guilmant (1906), tonal design and performance practice. ist of Chester Cathedral and director work, it includes passages sung by the Paul Brunold (1932), Norbert Dufourcq It is a tremendous resource for all organ- of music of Belfast Cathedral. After choristers that are echoed by the altos, (1970–1974), and Davitt Moroney and ists regardless of their degree of experi- this came a fi ve-year period spent as a tenors, and basses. Kenneth Gilbert (1982); the latter was ence with this repertoire. freelance composer and choral director Stopford’s second hymn based on a a revised edition of Brunold’s, published Regarding ornamentation—always a before he took up his present post in text by Charles Wesley is “Jesu lover of by L’Oiseau Lyre. Only manuscript cop- critical issue for early music—Baxendale Bronxville in 2015. my soul,” fi rst performed on the island ies of the music exist; Couperin chose to posits some new thoughts. Received wis- Truro Cathedral Choir has risen to of Jersey in the Channel Islands in sell the Masses in this format rather than dom, based on Couperin’s own directive considerable prominence among English 2013. The treatment is not unlike “Love as scores printed from engraved plates. in L’Art de toucher le clavecin, dictates cathedral choirs in recent years, particu- Divine” and “Chorister Prayer” inas- Baxendale’s edition uses all four known that one should not add agréments to his larly since the appointment Christopher much as it is a gentle hymn, beginning sources, of which the primary ones are music since he had taken pains to mark Gray as director of music in 2008. Gray is softly with the trebles and then intro- the handwritten copies known as Car- them appropriately. However, there are also director of the Three Spires Singers ducing the lower voices. There is then pentras and Versailles. many more ornaments used in the four and Orchestra, a semi-professional group a marked change and the mood reverts How does this new edition differ from books of harpsichord pieces Couperin based in Truro, and so-named because to something like that of “Christ is our that of 1982? There are several key areas. published between 1713 and 1730 than Truro Cathedral has three spires. On this cornerstone.” The text here is Revelation One is formatting: the layout is horizon- we fi nd in the organ Masses from 1690, compact disc he directs both the Truro 7:9, “O how glorious is the kingdom,” tal rather than vertical, preserving the which puts his remarks in a different Cathedral Choir and the BBC National as paraphrased by Basil Harwood in his original 1690 arrangement. Another is light. Baxendale argues that “the domain Orchestra of Wales. The keyboard player own anthem of the same name. Stopford that the versets with plainchant canti of the harpsichordist belonged not only is Luke Bond, who is assistant director wrote it for Saint Matthew’s, Northamp- fi rmi are printed in two versions, the fi rst to the professional musician but also to of music at Saint George’s Chapel, Wind- ton, noteworthy for being the church on two staves with the chant in the tenor, amateurs who, using Couperin’s logic, sor, having previously held a similar posi- where the late Alec Wyton was organist the second on three staves with the chant were at least in need of some guidance tion at Truro Cathedral. before he came to the United States. It in a separate pedal line. The performer when it came to such refi ned matters The fi rst anthem on the compact disc, was fi rst performed on Saint Matthew’s can choose which version to use. as tasteful ornamentation.” Organists from which it takes its title, is “In my Day in 2014. Although vigorous and joy- The most innovative change, however, employed in the principal churches of Father’s house are many dwellings.” This ful in character it lacks the monumental places the music in a liturgical context by Paris, in contrast, were professionals was written in 2015 for the ninetieth quality of Harwood’s anthem and is both including the appropriate chant above who were competent to provide their anniversary of Saint Petronille Catholic easier and a couple minutes shorter. the movement that follows it. Thus, own ornaments. “It should come as Church in Glen Ellyn, Illinois, a church We turn then to three Latin Marian the Ordinary chants of Cunctipotens no surprise, therefore, that Couperin’s where Stopford had directed the Christ- hymns. The fi rst, “Ave Maris Stella,” Genitor Deus appear with the Messe des organ pieces contain what can only be mas services the previous year. In honor was composed for a festival in Saint Paroisses; the “Messe de Sainte Cecile” described as scant ornamentation, and of this it is cast in “carol” form, with a Andrew’s, Scotland. It is written for eight from Trois Messes en plain chant pour les the probability is that he expected his refrain between each section. The text voices (SATB divisi) and achieves a rich festes solennelles, propre au religieux et peers to supplement his music with their is drawn from the fourteenth chapter of and luscious texture. “Ave Maria” was religieuses (1687), edited by Paul Dam- own.” Any organist who has felt twinges the Gospel of John, with verses two and originally composed for men’s voices but ance, appear with the Messes des Cou- of guilt for adding a tremblement or pincé three repeated as the refrain between was then rewritten in its present form for vents. These are not nineteenth-century to a verset should fi nd this theory both each section. Stopford, however, gives double choir. The texture is again very Solesmes chants; rather, they are taken sensible and liberating. A Demonstration the “carol” a certain numinous feeling rich, and the orchestration once more from the Graduale Romanum, edited des agréments taken from pieces in both as befi ts a contemplative text belonging reminds me of some of the work of John by Nivers and published by Christophe Masses precedes the music itself. to the Easter season. “In my Father’s Rutter. The third Latin hymn is “Stabat Ballard in 1697. A description of con- This is a handsome volume: it has a house” is followed by a setting of a text Mater,” but only sets the fi rst stanza of temporary alternatim practice appears hardcover binding with clearly printed by John Donne, the leading light among this hymn. The leafl et says nothing of in the section on liturgical contexts. As music on high-quality paper that will the metaphysical poets and dean of Saint the piece apart from printing the text Baxendale says in a conversation with last a very long time. The historical Paul’s Cathedral in London in the early in Latin and English, but it seems that organist Stephen Hicks, “I think it’s information in the front matter has been seventeenth century. Donne’s text is a it was originally written for solo voice, important that musicians today get a scrupulously researched. Mr. Baxendale prayer beginning, “Bring us, O Lord, at then rewritten for treble voices, as it is chance to see the music in perspective has edited other early music volumes our last awakening,” and was fi rst per- performed here. Richness of texture is and also to use the music in a liturgical for this publisher, including noëls by formed in Saint Paul’s Cathedral in 2014. here achieved by the strings, leaving the situation” (https://www.youtube.com/ Pierre Dandrieu, and, happily, he has The anthem begins in a broad, fi lmic trebles fi guratively to soar in the gener- watch?v=E-DHCAkTYrQ). brought his scholarship and expertise style and progresses toward a climax of ous acoustics of Truro Cathedral. There are some ornaments indicated from these efforts to bear on the organ “dazzlingly colorful orchestration” (to The rest of the compact disc is devoted in the chants—a radical departure from music of Couperin. This volume will be quote the accompanying leafl et) before to music for Christmastide, making use modern tradition!—but Baxendale cites an important addition to the library of drawing to a gentle close. mostly of traditional texts. The fi rst collections of plainchant published every serious organist. The third track of the compact disc three of these, “There is no rose,” is a between 1687 and 1707 that contain —Sarah Mahler Kraaz uses both the text and the melody gentle and relatively easy a cappella innovative elements including metrical Ripon, Wisconsin of “Ubi caritas et amor,” the Latin setting. Again, there is no mention of

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10 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM Reviews it in the leafl et apart from reproducing and La Délevée charnée, Joseph Bodin faithful to the multum in parvo concept, and impressive Margaret Phillips’s per- the text, but a little research reveals de Boismortier, harpsichord by David and so, apparently, has Margaret Phillips. formance sounds on a two-manual-and- that it was written for Monkton Combe Rubio (1972, after Taskin 1769); Three She is professor of organ at the Royal pedal tracker of a mere nineteen ranks. School, a small independent school in Pieces, Samuel Wesley, organ by James College of Music and a noted exponent Other surprises await us such as how Somerset, and fi rst performed in Bath Davis (ca. 1795); Theme and Variations, of Bach—her eight 2-CD set of record- effective the Sesquialtera & Cornet on Abbey in 2015. The next anthem on the Hendrik Andriessen, organ by Peter ings of the complete works of Bach is also the Snetzler organ—intended primar- carol text, “A Child is born in Bethle- Collins (1984); Plaisanterie, op. 31, no. released by Regent Records. ily as chorus mixture—sounds as a solo hem,” is a more dynamic work featur- 4, Sigfrid Karg-Elert, harmonium by Margaret Phillips and her husband stop. Here, of course, the division of the ing brass. It is the earliest of Stopford’s Alexandre Père et Fils (1861); Verset de David Hunt run the English Organ single manual into treble and bass stops works featured on this recording, dating Procession, Théodore Dubois, and Intro- School and Museum in Milborne Port, permits a limited use of the organ as from 2001, and was originally written duction and Voluntary, op. 14, no. 6, Somerset. Here they have amassed a though it were a two-manual instrument. for Chester Cathedral. The leafl et com- Edward Elgar, organ by James Conacher large collection of keyboard instruments By contrast two of the organs have ments in rather fl owery terms that “the (1882); “Menuet” from Sonata, op. 10, in a former Congregational church. three manuals, although still with rela- anthem personifi es the modern sound Jules Mouquet, harmonium by Victor These organs are curated by John Bud- tively few stops—the James Conacher of Anglican Christmas—the orchestral Mustel (1898); Pastorale and Grand gen following his retirement as director organ having three manuals and ped- tambourine is the cherry on top of an Choeur in G, Théodore Salomé, organ of the old-established organbuilding fi rm als with twelve ranks, and the Telford expertly iced Christmas cake.” Again by Telford & Telford (1865, rebuilt by of Bishop & Son. The English Organ instrument three manuals and pedals the infl uence of John Rutter is apparent. Peter Conacher, 1903). Institute exists to showcase particularly with nineteen ranks, supplemented by Another Christmas piece included on Back in the 1960s when I fi rst became the small organ and its repertoire includ- another four pedal stops installed by this compact disc is a setting of Robert interested in organs the idea of a multum ing especially old English organ music, John Budgen. I particularly liked Phil- Herrick’s poem, “What sweeter music.” in parvo (“much in little”) organ, capable and it also provides facilities for teaching lips’s performance of the Grand Choeur Once again Stopford makes us of lus- of playing a very wide repertoire on a and learning the organ. in G by Théodore Salomé, one of my cious textures, featuring the strings small instrument of a few stops, was The compact disc begins with favorite Victorian pieces. as well as contrasting voices, with an much in fashion. In these days when mas- Lübeck’s Praeludium in E Major played Phillips’s primary goal is to teach and a cappella mid-section, “’Tis he born, sive organs of four or fi ve manuals with a on the larger of the English Organ inform the public about the organ, and in whose quickening breath/Gives life hundred ranks or more are de rigueur the School’s two instruments built by the late this regard the compact disc has a great and luster,” and then reintroducing the idea of a small but versatile instrument Peter Collins. Used as we are to hear this deal to teach us all. orchestra at the end, resulting in a very seems to be have been largely forgotten. piece played on large German Baroque —John L. Speller effective treatment. This is followed by Nevertheless, I personally have remained organs, it is remarkable how brilliant Port Huron, Michigan “A Christmas blessing,” a setting of the Church of England blessing for Christ- mas Eve (erroneously stated in the leafl et to be the Collect for Christmas Eve). Here effective use is made of harp DISCOVEDISCOVER R and organ with orchestra, as well as the contrasting voices of the choir. Written in 2008, it is one of Stopford’s most 21st CENTURY accessible works. 21st CENTURY Placed above a sparkling orchestral ORGAN BUILDING setting, “We three kings of Orient are” makes use of John Henry Hopkins, Jr.’s ORGANIN NORTH BUILDI AMERICA NG original tune. The leafl et notes that Hopkins did not want his carols altered in any way, and adds, “but then he died in 1891”—so there! The carol begins IN NORTHORTH AAMERICAMER softly with the male voices of the choir and builds up to a tremendous climax at the end. Another carol making use of its origi- nal tune is Stopford’s setting of “Silent night.” Here again the strings of the orchestra predominate. The fi rst verse is sung by the upper voices, the second by the lower voices, and the third by BUILDER MEMBERS: SUPPLIER MEMBERS: the full choir. The third verse builds to a slight climax in which the timpani Andover Organ Company Goulding & Wood, Inc. Integrated Organ Technologies, Inc. briefl y appear, but then drops down Bedient Pipe Organ Company Holtkamp Organ Company OSI - Total Pipe Organ Resources to a whisper at the end. Both the text Berghaus Pipe Organ Builders, Inc. Kegg Pipe Organ Builders Peterson Electro-Musical Products and the music of the fi nal piece on the Bond Organ Builders, Inc. Létourneau Pipe Organs Solid State Organ Systems compact disc, “The star of kings,” were Buzard Pipe Organ Builders, LLC Muller Pipe Organ Company Syndyne Corporation commissioned by Manchester United Casavant Frères Patrick J. Murphy & Associates Church in Saint Louis in 2015. The Dobson Pipe Organ Builders Parsons Pipe Organ Builders poet Andrew Longfi eld wrote the text, Randall Dyer & Associates, Inc. Pasi Organbuilders, Inc. and Philip Stopford set it to music to C.B. Fisk, Inc. Quimby Pipe Organs, Inc. Schoenstein & Co. produce a Christmas/Epiphany anthem Foley-Baker, Inc. Paul Fritts & Co. Organ Taylor & Boody Organbuilders that is almost double the length of any of A. Thompson-Allen the other pieces on this recording. The Garland Pipe Organs, Inc. anthem is another gentle, lilting setting and one particularly effective feature is the repetition of the phrase, “Follow me,” over and over, suggestive of the long journey of the Magi. APOBA provides a simple way for you to take Overall, Philip Stopford’s eclectic style advantage of the expertise of the top people in typifi es the best in recent English church music. I commend this compact disc to WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of readers of The Diapason. several generations who have preceded them. Multum in Parvo. Margaret Phillips, keyboardist. Regent Records, Ltd., Call today for APOBA’s Pipe Organ compact disc EOSCD21, available 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV from www.regentrecords.com. Praeludium in E, Vincent Lübeck, organ by Peter Collins (2000); Obra de 11804 Martin Rd. falsas cromáticos de 1o tono, Anonymous, Please watch and share CONTACT o :DWHUIRUG3$ and Tiento de 1 tono de mano derecho, our short video at: US Pablo Bruna, organ by John Snetzler ZZZDSREDFRPYLGHR 800-473-5270 (1769); Rowland and Callino Castur- DSREDFRP ame, William Byrd, harpsichord by Peter Taylor (2011, after Baffo, 1574); Select Piece No. 1 in G, John Keeble, organ by Samuel Green (1796); La Caverneuse

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2020 Q 11 Harpsichord Notes By Larry Palmer

Marches for March be found in that great composer’s Fourth earlier history of music on this side of March: the third month of the year in Ordre: “La Marche des Gris-vêtus.” I the Atlantic Ocean. Eureka! At least our the Gregorian calendar—the only month asked author Jane Clark if I might quote forefathers’ musical tastes will provide with a name that has a musical connec- her description of this marching piece as several entries for this month’s topic! tion. March: a ceremonial procession it appears in the book (written with Derek In W. Thomas Marrocco and Harold in 4/4 time. March: a title for a musical Connon), The Mirror of Human Life. Gleason’s 371-page survey, Music in composition (unfortunately not found With her generous permission, America: An Anthology from the Land- very often in works for harpsichord). ing of the Pilgrims to the Close of the A drinking song in honor of the famous While I was searching for a subject to regiment with grey uniforms, the words Civil War 1620–1865 (New York: W. W. explore this month these defi nitions of which go: ‘Let us sing the glory of the Norton, 1964), chapter nine includes popped into my mind. What follows are grey coats; Let us sing their virtues when both words and music for several delight- the titles and some comments about we drink, and pay respect to their strength.’ ful additions to our keyboard repertoire. pieces that include the word “march” First and foremost is the one-page gem in scores that I found in my library of [My thanks to the author who informs “Washington’s March” from George harpsichord music. me that a third edition of this indispens- Willig’s Musical Magazine (Philadel- From Henry Purcell (1659–1695) we able guide to Couperin’s harpsichord phia, 1794–1795)—eighteen measures have three short examples to be found works is forthcoming from London’s of pompous musical delight that I have in his Miscellaneous Keyboard Pieces Keyword Press.] enjoyed playing on both harpsichord (edited by Howard Ferguson for Stainer More French music: from composer and organ. Early versions of our national “Fast Fingers,” Jane Johnson’s carica- & Bell, Ltd.): in the “Second Part” of Jean-François Dandrieu (1682–1738) anthem and other patriotic songs are also ture of Larry Palmer Purcell’s Musick’s Hand-Maid (1689) we fi nd “Les Caractères de la Guerre” of interest, and at least two Civil War numbers 2 and 4, each comprising sixteen as the fi nal work in his Premier Livre of favorites could be adapted for keyboard publication here of the only known work measures in C major, and from A Choice which “La March” (eighteen measures) use: “When Johnny Comes Marching (“Minuet”) by Peter Pelham, organist Collection of Lessons (1696/1699), num- is the second section of this suite (Edi- Home” (1863) and “Marching Through of the Williamsburg church and jailor ber 19 (also in C)—twenty-two more tion Schola Cantorum, 1973, edited by Georgia” (1865). for the municipality. This delightful measures, all three entitled “March.” Pauline Aubert and Brigitte François- Although it does not have the “m” word small volume was published in 1972 by Ferguson’s second of the two volumes Sappey). And fi nally, an inspired and in its title I think several voluntaries by the Colonial Williamsburg Foundation that present his scholarly edition of moving composition by Claude-Bénigne William Selby (1738–1798) deserve to be (ISBN 0-910412-93-6). Purcell’s complete works for harpsichord Balbastre (1727–1799), who signed mentioned. The composer, English born, Lastly, I recommend the volume does not offer a single march in the his manuscript “le Citoyen [Citizen] emigrated to Boston, where he became Baroque Folk by Willard A. Palmer composer’s Eight Suites. I mention this Balbastre, 1792—the fi rst year of the organist of King’s Chapel from 1771 until (1917–1996), “Moderately Easy to Early because I had also perused a Kalmus Republic”—obviously an astute survivor his death. The beautiful Voluntary in Intermediate Piano Solos That Teach”— reprint of the same Eight Suites edited of the French Revolution and a patriotic A Major was published in London circa sixteen familiar melodies arranged in by the Austrian musicologist Ernst Pauer one, as well: Marche des Marseillois et 1770 in a volume of pieces by a host of Baroque style (Alfred Music Co., New (1826–1905) who took the liberty of add- l’Air Ça-Ira. A wonderful, vigorous set- contributors—ten pieces in all “for the York, 1969). Opening with three two- ing one of the aforementioned marches ting of the French national anthem with Organ or Harpsichord.” The Selby piece part inventions and two minuets, a single as an addition to Purcell’s Suite No. 5 in variations, it is one of my favorite recital is also included in the book by Gleason march is based on the Israeli National C Major—a rather extended addition pieces, especially during July. This march and Marrocco and is also the second of Anthem, Hatikvah. Only one page in since Pauer also assured that each of has Scarlattian hand crossings and a bass two Selby Voluntaries edited by a more length, it is cleverly constructed of imita- the two sections would be repeated by C with a downward squiggly line, marked recent organist of King’s Chapel, the tive counterpoint, and I should think that removing the optional repeat marks in “Canon” (for which I love to use my composer and early music enthusiast quite a few of our readers may be organ- both A and B sections, and then making elbow to make it a thundering tone clus- Daniel Pinkham (1923–2006). This edi- ists for Jewish houses of worship as well as them seem obligatory by printing each ter, usually enough to wake any dozing tion was published by E. C. Schirmer for Christian denominations and might, section a second time. persons among the listeners). Originally Music in 1972. therefore, fi nd special appreciation for From the 1725 Little Notebook for this work was designated for fortepiano, Moving southward from New Eng- their usage of this iconic tune. I will not Anna Magdalena Bach we fi nd three but it also works well as a harpsichord land, I can also recommend a delightful disclose the other familiar melodies that short marches: numbers 16, 18, and 23. In piece (Edition Le Pupitre 52, edited by rarity that I purchased from a shop in are presented in new guises in this clever order: twenty-two measures in D major Alan Curtis for Heugel, Paris). the Smithsonian Institution, Washing- and charming volume. I use several of and the same number of measures in G § ton, D.C., in 1975: A Little Keyboard the arrangements quite often, especially major, both credited to C. P. E. Bach; and Book: Eight Tunes of Colonial Virginia for encores, and it is always a good way to twenty-eight measures in E-fl at major, There is a paucity of American- Set for Piano or Harpsichord by James send one’s listeners on their ways, chuck- the composer unknown—all presented composed marches for harpsichord. A S. Darling, who was, for many years, ling and humming a favorite tune. in the Henle Urtext Edition. Interest- careful perusal of the indices in Fran- organist and choirmaster of Bruton And so, dear readers, enjoy the ingly those three marches are vastly out- ces Bedford’s magisterial catalogue of Parish Church in Williamsburg. During employment of marches in March, numbered by nine menuets in this iconic twentieth-century works for harpsichord my seven years of teaching in Virginia and, just perhaps, we might be able to volume of Bach family favorites. and clavichord did not include even one (1963–1970) we met fairly frequently, encourage (or commission) one of our Moving on to France, the only François such work for the revived instruments. and both of us had the good sense to American composers to write a new Couperin entry in the “Marche-Fest” is to And so I turned my attention to the purchase a harpsichord from America’s march for use in the year 2021? I have master builder William Dowd. my own particular favorite in mind—or For Darling’s choice of pieces from perhaps if we cannot achieve that lofty Colonial Virginia he selected eight from goal we might just improvise or commit the manuscript books of the Bolling fam- to paper or screen something that we ily, plantation owners in Buckingham invent for ourselves. Happy March! Q County. Following introductory mate- rial the fi rst musical item is “Trumpet Comments and questions are wel- March,” and the last piece, “Lord come. Address them to lpalmer@smu. Loudoun’s March.” Also of interest to edu or 10125 Cromwell Drive, Dallas, historically oriented musicians is the Texas 75229.

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12 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM On Teaching By Gavin Black

Interruption childhood and teenage years. That was fi rst, I am very strongly motivated to do I am typing this column slower than a time when I knew that I cared deeply it, and, second, I understand that the usual—with one hand. About three weeks about music and spent a lot of time day- only time to do it is now—one chance. ago I had surgery, apparently entirely dreaming about being a musician and The structure will be externally imposed, successful, to repair a rather large rotator a performer, but did not really believe as it has to be. The physical therapists cuff tear in my left shoulder. I am now that I ever could be. Why not? That know what I need to do; I do not. about halfway through the time I need to question has always interested and even If there is an analogy between this and keep my left arm immobilized in a sling. haunted me, and I do not have a clear learning music, it involves the very prac- This has not just impeded my typing, but or complete answer. Perhaps this current tical side of the latter: the part about “if has also kept me from playing music. In experience will make me search for one. you follow these steps, you will learn the mid-October, about the time when I was That could be fruitful and enriching, and notes, you will develop the skill;” not the writing my December column, I began also intensely relevant to thinking about parts about interpretation, rhetoric, com- to fi nd the pain in my shoulder severe teaching, learning, and motivation. munication. In a way, physical therapy is enough that I could not play for more In those years I was a listener more like systematic practicing, but one step than a few minutes at a time. It was about than a performer. Right now, though, farther back. It is, because of the particu- then that I acknowledged that I had I fi nd it diffi cult to listen. I have not lis- lar circumstance, the practical thing that already been shying away from practic- tened through a piece of music in weeks. I I must do in order to achieve the practical ing or playing much for a month or two. suspect that this may be because I am not things that I am used to doing and that I Gavin Black is director of the Princ- Depending on how rehab goes, I will not quite yet up to scratch mentally. However, try to help other people accomplish. eton Early Keyboard Center, Princeton, have played regularly for a period of from I notice that when I hear music casually, That is all for now. I expect my discus- New Jersey. He can be reached by e-mail fi ve to six months or longer. mostly as movie or television soundtracks, sion of The Art of the Fugue will resume at [email protected]. I have had to cancel—or postpone— I hear it very intensely. I am noticing next month. Q four planned performances of J. S. Bach’s more detail and responding emotion- The Art of the Fugue. Fortunately, only ally in a more vivid way than I expect in one had been publicly announced when that situation. Of course, that is in short I was forced to make that decision. As far bursts—low demands on concentration, as I can remember, this is the fi rst time no need to try for that longer arc that is that I have not had any concerts sched- normally so important to me. Perhaps uled in about thirty-fi ve years. It feels that explains this focus. But I wonder odd: simultaneously peaceful and eerie. whether sometimes I let my focus on the My right arm bears the burden of music that I am working on, or that I am doing everything for the time being working on with students, partially block and is beginning to complain. Typing my commitment to really hearing other has become painful, and I can only type music. I suspect that this is true, and I for a few minutes at a time. Hence this want to observe it as I get back to playing. column is a short one. I am a slow typist I still always have music going through anyways; I never learned to type. I peck my head. During the last few weeks this away with one fi nger at a time—usually, has been essentially all piano music: one fi nger on each hand, but for now, Mozart, Beethoven, Schubert. I react one fi nger, period. I estimate that typing to this as being also a bit of a return to with just my right hand makes it take my much earlier years. This was most of three times as long—some of that just what I listened to as a teenager. because I am bringing fewer resources to bear, some of it compounded out of Concerning motivation the greater number of wrong keys that I I am very aware that I have a fairly hit and the need to make corrections. It long and intense stint of physical therapy interests me to ponder: would the need coming up. It will begin in two or three to type one-handed make more or less weeks, as soon as my sling is removed. I of a difference to someone who could really, really need and want to do it right. “really” type? I suspect more. I gather that the success of the whole I am occasionally asked why I never enterprise of returning my arm to full For learned to type. Given that I do a similar function will depend signifi cantly on this but arguably more complicated task with stage. I care a lot about getting back to a my hands, they I assume that I could state in which I do not feel any physical Sale pick it up naturally. Either I just never constraints on my organ and harpsichord happened to get around to it, did not playing. I care a lot about returning need it enough to be motivated to do to playing golf (see my column from it, or I was (subconsciously) afraid that December 2014); and, of course, I care Unique 2-manual it would somehow confuse me as to my about just being okay in day-to-day life. Hauptwerk-ready continuo keyboard playing! I was surprised when two or three There are two reasons that this month’s friends of mine independently said to organ console built by column does not continue my discussion me something like, “Of course the rehab Cornel Zimmer Organs. of The Art of the Fugue. That I can only will be easy for you. You’re a musi- type a sentence or two at a time before I cian. You’re used to working patiently, need a break makes trying to construct systematically, etc.” The reason I am The console is made of the arc of a serious discussion frustrat- surprised is that I am usually terrible oak and is on casters. It is ing or impossible. The breaks are too at that. I know something about how to distracting, as is the heightened need to describe that sort of systematic work, perfect for a small church, correct typographical errors. I would feel at least when it forms part of organ or chapel, recital hall, or strong pressure to keep it short, or not harpsichord learning, precisely because apartment. It includes a to be overly conscientious if I suspected it does not come easily to me. I have had that I had written something the wrong to puzzle it out very deliberately. matching bench and 2 way or left something out. That is why this is about motivation. internal studio speakers. But also, I am still not that far I am actually serenely confi dent that I removed from the brief but intense will do the physical therapy assiduously It can be transported in period right around surgery when I was and thoroughly. But that is only because, an SUV. in a lot of pain. I still do not feel ready to think connectedly about matters that are important enough to deserve and Asking $9,500.00. need the respect of careful, connected Contact 843/324-7630 or thought. I expect to get back to The Art [email protected] of the Fugue next month, if all goes well, and pick up where I left off. This col- umn, then, is just a few notes or jottings from the middle of an interlude. It is interesting to take a hiatus from performing at this time. Even though I know that it is just temporary, it feels like a change, it feels different. I seem to be experiencing an enhanced set of memo- ries of, and a kind of affi nity for, my late

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2020 Q 13 In the wind...

Organs and boats whom we knew would be interested, we The birth of a new building (There he goes again.) carried a cocktail around to the Consti- The fi nished church building is lovely. Mystic, Connecticut, is a fun destina- tution, because the ship fi red the Navy’s The windows and oak wainscoting are tion for people like me with a love for regulation “sunset gun,” using 7:00 p.m. bordered with attractive and colorful saltwater sailing. The area was originally as the “offi cial modifi ed sunset” in the stenciled patterns, the walls are painted home to the Native American Pequot now residential neighborhood. a rich brick red, new light fi xtures with people, was settled by British colonists Excavation was underway at the site fancy controls and state-of-the-art bulbs around 1640, and was one of the fi rst ports of the Spaulding Rehabilitation Hospi- illuminate the place effectively, and an in New England. It is now home to the tal at the north end of the yard when intricate system of wood trusses sup- Mystic Seaport Museum, which has a vast the contractors unearthed more than ports the pitched ceiling, a huge change range of exhibits about the history of sail- a dozen huge oak beams unknown in from the tacky dropped ceiling in the ing in the region. The museum includes modern times that had been preserved original building. a large and comprehensive working by being buried centuries ago by Navy The high altar and reredos are made wooden boat shop where many important shipbuilders. The contractor had the of wood but are receiving a faux-marble historic vessels have been restored. imagination and presence of mind to painted fi nish by the Golubovic fam- Ours is a catboat, one of a class of contact the Mystic Seaport asking if ily. Milan Church Restoration is run by broad-beamed boats developed for they were of any value, and the next day Marco Golubovic, whose family came nineteenth-century fi shermen in New the seaport sent fl atbed semi-trailers to to the United States from Serbia in the England, handy enough to sail alone collect them. We were shown the beam early 1990s. His parents are the artists with a large, single sail, stable in choppy that had been chosen for the Charles W. who marbleized the altar. We have been water, with plenty of capacity for a large Morgan. Anyone interested in historic watching them with interest as they catch. Since Kingfi sher entered our lives, preservation in any fi eld such as the transform the primed-white structure to we have been members of the Catboat pipe organ would surely appreciate the stone, making mixtures of tubed colored Association with some 2,500 other cat- fortuitous discovery. oils and lined oil, sketching “marbly” boaters. The membership is listed twice designs in pencils, and applying the Installing the Crucifi x at Saint Michael in the club’s directory, once alphabeti- Organ installation colored veins to the wood with fi ne art- Church. The free standing altar piece is on wheels so it can be pushed back to cally by last name, and once by the name It is mid-January, and I am not here ist brushes, sponges, and the occasional nestle in the reredos for the traditional of the boat. to play with boats. We are spending long fi nger-painted streak. celebration with the priest’s back to the Each January, the Catboat Association working days in the Church of Saint The “altar system” has a special congregation. (photo credit: John Bishop) holds a three-day meeting in a large con- Michael the Archangel in Pawcatuck, feature. The altar itself is mounted on vention hotel a few miles away, and we Connecticut, a neighborhood of the well-concealed wheels and can be used have had several fascinating dedicated town of Stonington. The organ was built either as a free-standing fi xture with the tours of the museum. A highlight of one by Austin Organs, Inc., in 1979 (Opus priest facing the congregation or can be of those visits was a private tour of the 2926), with two manuals and fi fteen pushed against the reredos under the Charles W. Morgan, the last wooden ranks—a modest and simple organ with centered tabernacle so the priest can whaling ship in existence, undergoing a clever scheme of borrowing to create a celebrate Mass in traditional style with restoration at the time. She was built in fl exible pedal division. his back to the congregation. 1841, is 107 feet long, nearly thirty feet After the start of the second decade of In 1979, I helped install the Flentrop wide, and was launched after restoration this century, the people of Saint Michael’s organ in Trinity Cathedral in Cleveland, in 2013. During the summer of 2014, were planning a new building, and in Ohio, where I later played several recit- she was sailed by a specially chosen crew 2013 we were engaged to dismantle and als, and which was the site of my fi rst Saint Michael the Archangel Church, on a tour of thirty-eight New England store the Austin organ. We would install wedding. The altar and pulpit in that Pawcatuck, Connecticut, before the ports and is now on permanent exhibit the organ in the completed new build- church are made of richly veined marble project (photo credit: John Bishop) in Mystic. ing under a separate agreement. The that look for all the world as though they The director of the restoration was our new building was designed by architect are made of blue cheese. The artists at practiced that routine, and through it all, guide, taking a couple hours out of his Brett Donham (who also designed the work this week at Saint Michael’s are I was sitting on an upturned bucket, sort- hard workday. He showed us how they recent renovation of Saint Paul’s Cathe- good at painting blue cheese. It is remi- ing wires at the junction in the back of the steamed fi fteen- and twenty-foot-long, dral, Boston, and Saint Paul’s Episcopal niscent of Homer’s account of the Greek console (white with blue, blue with white, six-inch-thick oak planks and bent them Church, Brookline, Massachusetts), who god Poseidon who turned a Phaeacian . . . violet with green, green with violet) to fi t the compound curves of the ship’s happens to be a friend of Wendy and me ship into stone, punishing them for aid- with a PA speaker ten inches from my sides, fastening them with heavy hand- with a summer home just a few miles ing his enemy Odysseus. head. Actually, not through it all. After made wood nails and caulking the seams from our house in Maine. The Stations of the Cross are molded several minutes, I stood up, waved my with tar-soaked hemp. He also shared a In the new building, the organ would and carved pieces about thirty inches arms above my head as if I was marooned remarkable story of the unique problems be installed in a free and open space high and twenty-four inches wide. The on a desert island, and asked ol’ silver of material supply in that specialized on the main fl oor of the building, a rare fi gures and architectural images are col- tongue to turn off the balcony speakers. authentic fi eld. instance of a new ecclesiastical building orfully painted, and each piece weighs As we race toward completion, as the A main central beam supporting the with no limitations for the placement of about fi fty pounds. The general contrac- general contractor prepares to leave the deck along the length of the ship was an organ. My organbuilder colleagues tor replaced the hardware and steel wire building offi cially in a couple days, as the rotten beyond saving, and the shipbuild- will chuckle “too good to be true,” and to hang them on the walls, similar to pastor paces around the building noting ers were at a loss to replace it, when they they would be right. Fundraising fell hanging a heavy painting in your home. details, and as UPS delivers eight hun- received a chance call from a contractor short, plans for the new building were The wire they chose was not up to the dred new hymnals, we are aware of the who was starting the construction of a scrapped, and the existing building would job, and last week two of the stations fell sense of anticipation. They have been large new building in the Charlestown be stripped to its very bones and rebuilt to the fl oor within twelve hours of each worshipping in a neighboring church for Navy Yard in Boston. Wendy and I lived on the same footprint. We would install other. Late one evening, the priest and almost seven years, and they have missed in the Navy Yard for ten years, which is the organ in the same loft from which it project manager removed the remaining their home parish. The pastor brings a also home to the USS Constitution, the was removed, but—wait for it—the ceil- twelve from the wall lest they, too, should small group of people into the building oldest commissioned warship in the ing would be eighteen inches lower over fall. Fortunately, Milan Church Restora- several times a day, and I have heard United States Navy, and is an interesting the Swell, stealing space from the organ tions also specializes in the restoration of their exclamations, their excitement, place to visit. When we had dinner guests to allow an enhanced HVAC system. liturgical art, and they were able to repair even weeping. Some wander into the A colleague subcontractor releathered the severe damage to the plaster pieces choir loft and shake their heads at the the Austin actions for us, and we started on short notice. A different wire was cho- complexity of the pipe organ. Inwardly, A. E. Schlueter Pipe Organ Co. the installation about ten days ago. sen, and the pieces were quickly rehung. we refl ect that it is actually a very small Remember the “too good to be true The new sound system was tested and simple organ, but to them, who have part?” Today is Sunday, and I put the and calibrated last week. I am not much never seen the innards of a pipe organ, last two cables on the console junctions of a fan of public address systems, and it is as much a marvel as a Silbermann this afternoon. The church and the organ I have heard many that distort rather organ was to an eighteenth-century Alsa- will be dedicated on Saturday in a two- than enhance the spoken word. I have tian vintner. It is certainly not my job to hour ceremony led by the bishop of the often noticed that the technicians who correct them, as in, “Actually, this organ diocese along with combined choirs and work with those systems are very good at is pretty simple.” It’s their organ, they’re brass instruments. We have a busy week counting, but their range is limited: “one proud of it, and they love it. ahead of us. We have built a new swell . . . two . . . three . . . four . . . .” It reminds Let us remember a time when most box, repositioned the Swell in relation to me of the old vaudeville gag of a horse every local, even rural church had a the Great to make the most of the avail- counting by stomping its feet. The techs four-, six-, or eight-rank pipe organ that  New Instruments  Tonal Additions able space, relocated the four largest were very proud to demonstrate that the they loved and valued. M. P. Möller built  Rebuilding  Maintenance pipes (the only ones that would not fi t microphones could handle anything they over thirteen thousand organs, most of  New Consoles  Tuning under the new lower ceiling), and hung were offered. You could approach with which were smaller “factory models,” the chimes on the wall. We will spend voice meek and mild, the microphone as did Casavant, Reuter, Schantz, and How can we help you? the next several days setting the pipes on pointing at your forehead, whimpering others. While so many smaller churches the chests, installing the last few appli- through a passage of scripture, or you purchase substitute instruments now, we 800-836-2726 ances (fan tremolo and its electric relay, could lean into it and thunder, fi re, and celebrate those that own and cherish a www.pipe-organ.com expression motor, etc.). brimstone. Goodness, he must have real pipe organ.

14 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM By John Bishop

(photo credit: Félix Müller)

especially as it fl ourished in the heady days of the “tracker revival” in Boston in the late 1960s and early 1970s. I will always be grateful for the care and atten- tion they offered a young organ geek. Detail of stenciled decoration (photo cred- George retired, the company closed, it: John Bishop) and he continued to live in a cottage behind the main house on the property Going out in fl ames whose barn was the workshop, until I mentioned Saint Paul’s Episcopal recently when he offered the whole place Church in Brookline, Massachusetts, for sale and moved to a retirement com- which was recreated by architect Brett munity. The Organ Clearing House had Donham after a signifi cant fi re in the used the workshop for storage and a few 1980s. It is home to an organ built by small projects, and we removed our mate- George Bozeman & Company of Deer- rial in advance of the closing. The elec- fi eld, New Hampshire, affectionately tricity had been shut off for quite a while known by the Bozeman workshop as as the building was barely being used. A Orgelbrookline. I worked for George few days after the closing, the new owner during the summers of 1975 and 1976, turned on the main switch and was check- my fi rst experience in an organ work- ing some electrical circuits when there shop. Early in the summer of 1976, we were sparks, and within a few minutes the all participated in moving the shop to building was engulfed with fl ames. Organ installation at Saint Michael the Archangel Church (photo credit: John Bishop) Deerfi eld from Lowell, Massachusetts. It was no longer George’s building and When I was a young teenager, I sang it was no longer an organ workshop, but building pioneers like Austin, Skinner, in the choir of my home church with it sure was sad to see it go down. The his- Casavant, and Möller, but since at least George’s wife, Pat, and together they toric home of a creative company was lost. 1980, virtually every organ I have fi n- were important mentors to me, introduc- Rites of passage. Thank you, George. ished has included solid-state controls. ing me to the world of the pipe organ, Thank you, Jim. Q The Austin organ at Saint Michael’s has analog switching—the simple relays (touch boxes) at the tail end of the key- boards in thousands of Austin organs. It is the fi rst time in decades that I have wired an entire organ “the old-fashioned way.” It is ironic, because my old pal Jim

Mornar retired from Peterson Electro- 2020 Musical Products, Inc., at the end of 2019. Back in the 1980s when I was fi rst working independently, I attended a couple informational seminars at the Peterson plant to enhance my under- standing of their equipment. That is when I got to know Jim personally, and Saint Michael the Archangel (photo credit: in the ensuing decades, with his help, I John Bishop) purchased dozens of systems from Peter-

son for rebuilding consoles and updating Summer My friend Jim entire organ systems. I have wired dozens of organs in my I have spent hundreds of hours on Experience the brilliance of the Kotzschmar career. It is work I enjoy, and I draw from the phone with Jim, each call starting Organ and the beauty of Maine my experience as an organist to enhance with casual banter and moving gradu- my understanding of the complex wiring ally toward the problem at hand. Often, Portland Municipal Organist James Kennerley schemes. When I am sorting out cables, I it was “my bad.” “Did you connect the on the Kotzschmar Organ can picture the musician using a particu- ground?” “Yes, of course, . . . oooh, . . . lar function of the organ. I know why it is maybe not, . . . never mind.” Sometimes there, how it is used, why it is important, it was a serious puzzle. I would describe Guest Artists: Katelyn Emerson, Peter Krasinski and and I love hooking up those wires. (“She’s a problem in excruciating detail and , Organiste Titulaire Notre-Dame de Paris gonna use the Great to Pedal reversible a could picture Jim’s hand rubbing his chin lot.”) Wendy is an avid weaver who revels as if I was nuts. “That can’t be.” “It is.” Family Concert, Windchest Tours, Fun Group Events along in the complex patterns possible with the When placing a call to Peterson with the beauty and charm of Portland in the summer. multiple shafts of the loom. There is a (answered by Marlene or Karyn) I would poetic similarity between weaving and ask for Uncle Jim. (He is just a couple Visit www.foko.org/festival organ wiring—both crafts create matri- years older than I am.) They often told for full event schedule. ces with two axes, both rely on neatness me he was on the phone. He would call and predictability for their beauty. (The back an hour later, just to get on a fi fty- trackers and stop actions of an organ or sixty-minute call with me. I suppose with mechanical action also have rich his job was to talk on the phone, but I parallels with weaving.) know he designed and built the systems My career started in the late 1970s, I ordered. just as solid-state controls for pipe organs There are hundreds of organists who were becoming common. A few of the have no idea how important Jim Mornar fi rst organs I renovated and installed had was to the effectiveness and reliability of AUGUST 20-23 now register electro-mechanical switching systems the instruments they play. (Pay no atten- Summer 2020 with phosphor-bronze contacts as devel- tion to that man behind the curtain.) oped by early twentieth-century organ Nice work, Jim. You are the best.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2020 Q 15 Concert hall pipe organs

The Grenzing Organ for Radio France, Paris

By Gerhard Grenzing

ince its founding in 1975 Radio in the orchestral literature and serve in SFrance has remained the sole public the various styles of organ repertory. radio broadcaster in France. The sprawl- Finally, composers and improvisers ing premises in the 16th arrondissement, should construe such an organ as an occupied by the station from its incep- inspiring and subtly appointed medium tion, have been enhanced by a new for new works. 1,461-seat concert hall. However, in In May 2010, following the awarding the design by the Parisian architectural of the contract, a meeting was held with bureau AS Architecture-Studio with the committee, in which, with the par- acoustic consulting by the renowned ticipation of six collaborators from our fi rm of Nagata Acoustics from Japan, no team, the technical and especially the organ was foreseen at the outset. tonal conceptions as well as the design Only with a spirited campaign by doz- of the consoles and accessories were ens of leading fi gures in organ circles and discussed and voted on. It was only in the music world at large did the authori- this meeting that, through creative inter- ties eventually become convinced that in play among all those participating, the an organ city the likes of Paris and in a defi nitive specifi cation and the technical room like this one, a one-of-a-kind con- details of the organ were determined; cert-hall organ must not be lacking. The some among them were decidedly inno- attention that was aroused in this way vative. Several registers are located on spurred Radio France to have the organ an auxiliary windchest, so that they can project overseen by a committee of six be used in the Grand-Orgue as well as organists, made up of Michel Bouvard, in the Pedal. , François Espinasse, In many aspects of designing this Bernard Foccroulle, Olivier Latry, and organ we broke new ground tonally and Jean-Pierre Leguay. technically. To our knowledge, for exam- Once our fi rm had been awarded ple, there exists no other instrument that the contract for building the organ, and may be played simultaneously from an subsequent to an international call for electric console with proportional action tenders, we were actively supported and and from a mechanical console. Our stimulated by the committee during the idea of a three-rank Gamba chorus with total of six years that the design phase, 4′ extension was accepted. For this we Radio France, Paris, France, Gerhard Grenzing organ (photo credit: Radio France/Chris- execution, and fi nishing were to last. The envisioned a bright tone color, almost as tophe Abramowitz) intense dialogue that came about among a preliminary stage leading up to the use us as organbuilders and these experi- of high mutations or mixtures. not so much as a distinct body but above The main façade is formed by pipes. enced specialists was extraordinarily Our wish to have variety in the area all by virtue of the huge, 12 meter by 12 Next to it are found the visible swell enriching and has already become a sig- of reeds was received favorably as well. meter organ façade. shades, and to the outside on either side nifi cant basis for future offshoot projects. Thus not only was a chamade instituted Our technical designer succeeded in the pedal, which is masked by acousti- When I began to build organs in Bar- but also a high-pressure division with fi tting the eighty-seven registers with cally transparent fabric. celona, Spain, in the 1970s my work was tubas, which—enhanced by high- their 5,230 pipes into a depth of only quickly noticed in France and acknowl- pressure fl utes—sets the instrument off some 3.84 meters, yet with a sense of The console arrangements edged with important contracts there. against the orchestra or, with its “broad order and clarity. In the foremost row The mechanical-action attached con- The company leadership in the Grenzing shoulders,” underpins the same. Simi- of the façade stand the 8′ and 4′ pipes sole features a visual link to the conduc- fi rm has meanwhile been transferred to larly, the Cor anglais in the Solo division, of the Grand-Orgue and Pedal, then tor via a screen and a mirror. Both can my daughter Natalie Grenzing, seconded for example, was developed with a par- just behind them the corresponding 16′ be slid into the case. Special functions of by the German master-organbuilder ticular color for solo work. pipes, which fi ll up the entire space of the console include: Andreas Fuchs. My sixty years’ knowl- We understand that French ears have the central case image. • four adjustable crescendos that may edge is always appreciated. Our par- a predilection for the sound of the indige- The austere basic outline is relieved be assigned to any of the swell pedals; ticular responsibility for the realization nous French reed stops. As a result of our by the array of pipe ranks in a free play • a cumulative device for all enclosed of the Radio France concert hall organ studies we are constantly aware in what of pipe sizes and foot lengths. The swell divisions (“All Swells”); was shared by our entire team, consisting country and for what ears we are creat- shades framing the façade symbolize in • for the manual couplers, mechani- of twenty seasoned collaborators from ing (or, even more important, restoring) three levels the enclosed divisions of the cal or electric action may be selected; seven nations. sounds. Hence a careful distinction was fi rst, third, and fourth manuals, which • a MIDI replay and tuning system; made between reed stops in the German opens up on a glimpse of the pipes stand- • freely adjustable interval couplers Hallmarks of an organ for a concert style—which, versatile in their combina- ing behind. The effect, further enhanced (prepared for; you can chose any inter- venue tion possibilities and together with the by lighting setups, lends a dynamic visual val—for example a third, fi fth, ninth, or How, then, does a concert hall organ fl ues yielding various vowel sounds, can dimension to the organist’s playing. any other “strange” interval—for cou- differ from its sibling in a church? It be used polyphonically—and the reed This lighting function may of course be pling to any manual and thus enrich the needs to feature a formal and coloristic stops usual in French organs. The names turned off. color of registration); relationship to all the tone colors of our of these stops make them recognizable The case pipes, in typical Spanish • freely adjustable divided pedal cou- instrumental and vocal musical culture. by the wording, such as Trompete as fashion, are polished with a scraper plers (prepared for). From a wafting pianissimo to the most opposed to Trompette. applied perpendicular to the pipe body. The mobile console on the orchestra massive fortissimo it should accompany, The organ casework was designed Together with the multi-faceted artifi - plateau is equipped with proportional enhance, and provide the foundation by the architect of the hall, taking our cial illumination an enlivening effect of electric action (sensitive touch). for soloists, choirs, a chamber orches- technical/stylistic specifi cations into subtle contrast with the pipe bodies is A tracker organ with refi ned touch- tra, and the large symphony orchestra. account. The instrument is thus so inte- achieved, which in neutral light is trans- sensitive action enables the organist to It should be capable of fulfi lling its role grated into the hall that it comes across formed into a gossamer sheen. control the crucial attack and release

16 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM and the summary of the discussion in the appendix).

Installation of the organ in Paris and its tonal characteristics Following erection of the organ and the fi rst on-site tests, the instrument was optimally adjusted to the room. We were eager, as a challenge from the outset, to take on the dauntingly dry acoustic of the hall. Once again, the instrument had to be adjusted to the tonal power of the orchestra, without relinquishing the tonal poetry and subtleties of the various colors and dynamic levels. We were most grateful indeed for the close collaboration and numerous instructive and supportive moments spent with the organists of the commission, in particu- lar Olivier Latry. From May 7 to 9, 2016, Radio France hosted dedication concerts with fi fteen organists whose programs ranged from family concerts, a “Poetry and Organ” program, and one of improvised Anda- lusian-Arab music, to the avant-garde. The performers were Pascale Rouet, Coralie Amedjkane, David Cassan, Guil- laume Nussbaum, Freddy Eichelberger, Juan de la Rubia, Lionel Avot, and Els Biesemans. The crowning fi nal concert The mechanical-action console (photo credit: Radio France/Christophe Abramowitz) featured organists Michel Bouvard, Thierry Escaich, François Espinasse, parameters of the pipe speech, the only • via a decimal keyboard (like a tele- soloistically: Grand-orgue, Récit expres- Olivier Latry, Shin-Young Lee, and Jean- way the potential for musical expressivity phone keyboard) and a touchscreen the sif, Positif expressif, Solo expressif, Solo Pierre Leguay on May 9. You can hear the can be realized by means of the corre- combination action in its versatile modes Haute Pression [high-pressure] expres- program on the internet at https://www. sponding reaction of the wind. With a of utilization is memorized. Thousands sif, Chamade, and Pedal. youtube.com/user/GerhardGrenzing. normal electric action this is not possible, of combinations can be called forth. Vari- As an unusual tonal effect, in the Radio France intends to put the newly since only an on/off contact is involved. ous combinations and levels are acces- Positif a wind pressure is available that created instrument to use in highly On the other hand, proportional electric sible only by means of a code. Organists is progressively modifi able by means of multifarious ways. A campaign has been action accurately conveys the move- can rest assured that they will truly have a separate swell pedal. As opposed to undertaken for the founding of a circle of ment of the fi ngers to the pallets in the their combinations available to them. the standard wind cutoff this has the patrons and donors committed to future windchest. Even a pedal tone, which the advantage that the manipulated pipe activities focusing on this organ. The idea organist has such a hard time controlling Tonal considerations tone of all stops in this division remains has been broached for workshops and at a large instrument, can henceforth be We exchanged views extensively with less out-of-tune and better supplied, as study trips, public masterclasses, promo- given a surprisingly slow sound decay. composers, conductors, and organists not the quantity but only the pressure of tion of young titular organists, organ and Particular features of the mobile con- (especially with organist-conductors) the wind fl ow is changed. cinema, a cycle of radio plays with France sole include: over tonal conceptions and once again From November 7 to 9, 2013, there Culture, as well as a composition con- • transparent design, with no pedes- express our thanks for the patient was an initial, in-depth examina- test. Since Radio France records all its tal of its own, thereby being extremely exchange of debate on this important tion by the commission of the almost concerts, thorough maintenance of our low-lying and easily movable; subject. Often the remark was made that fully set up organ in our generously instrument is important: it is carried out • all divisions can be assigned to conductors ask organists to reduce the proportioned erecting room. For the by our Parisian colleague Michel Goussu. various keyboards, meaning an inver- registration more and more, as the organ fi rst time in the large room with its 17 My heartfelt thanks for the confi dence sion between Grand-Orgue/Positif and is one way or another too intrusive. We meters height and acoustics acclaimed and the patient, consistently professional Récit/Solo, e.g., Grand-Orgue on the believe that this intrusiveness may be for their high quality, the experts were collaboration goes out to the six organists fi rst manual, the Positif on the second or attributed in the pianissimo realm to able to play the instrument, explor- of the Radio France organ commission, vice-versa; the attack, the transient speech process ing its features and discussing it with the construction director Nadim Callabe, • the “point of contact,” that is the (Einschwingvorgang) of each pipe, and us. It thus seemed appropriate to the conservator (or curator) of the organ exact place within the keydrop at which in the forte realm mainly to the “organ- organize the fi rst concerts on the next Jean-Michel Mainguy, and most particu- the note sounds or cuts off, can be typical strident” tone of the mixtures, day, followed by a symposium entitled larly the twenty collaborators on my staff. adjusted; being too set apart from the tone color “Organs in Concert Halls.” The mem- I have in gratitude dedicated the suc- • the lateral position of the pedal- of the orchestra. bers of the commission offered the cess of the project to my master teacher board can be variously adjusted, for For a long time now we have felt confi - concert, allowing as well the possibility Rudolf von Beckerath, who came as an example C2 under manual C3 or D2 dent in having recognized the solution in of a discussion among some eighty spe- apprentice to Paris and went away seven under manual C3. the most thoroughly refi ned attack behav- cialists we had invited from throughout years later with knowledge to impart, Features common to both consoles: ior of each pipe. Despite its initial emis- Europe (see https://www.youtube. and to our collaborator and friend • both consoles have four 61-note sion, at once quick and gentle, each tone com/watch?v=Xw1D5i_luFA; www. Andreas Mühlhoff, who departed from manual keyboards that are capped with should develop freely and in an unforced youtube.com/watch?v=YtagKK0VALo; us in sorrowful circumstances. bone and ebony. The pedalboards with way. Thereby a certain “merging” into the 32 keys are made of oak. Via the touch- sound of the orchestra can be furthered. screen the organist can store personal Olivier Latry expressed the same idea in fi les or, for example, adjust the speed of the symposium (see Appendix: A sympo- Saving organs throughout the tremolos; sium on the concert hall organ). • the key sostenuto functions either Typical organ tone is to a very sig- America....affordably! as an addition (that is, all depressed keys nifi cant extent produced by mixtures continue to sound) or as a substitution and their quint ranks. For this reason we (the previously depressed keys are can- set the unison ranks in the Grand-Orgue celled when new keys are depressed). mixture apart. The quints are then avail- When one of the two functions is acti- able via a separate register. vated, it is cancelled by activation of the As a contrasting function there is in other function; the Grand-Orgue a Cymbal with freely • both consoles can be played simul- adjustable intervals. The sound can taneously. Priority for the respective thereby be registered in the most varied registration can be assigned at will to the colors as well as in the manner of actual mechanical or to the electric console. Cymbals, but particularly as Ninths and Further particularities: Septièmes, whereby the organ, even in • there is a sequencer with wireless the midst of a triple forte in the orches- remote control for the assistant, so that tra, remains audibly distinct. 1-800-621-2624 the organist is not inconvenienced; The instrument is divided into seven • USB memory sticks can be used for tonal groups in all that can either cor- foleybaker.com personal data; respond with each other or be set off

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2020 Q 17 Concert hall pipe organs

The concert hall (photo credit: Radio France/Christophe Abramowitz)

Perspectives initiative of our collaborators, the space the orchestra). The organ must possess Michel Bouvard shared his experience Following completion of the instru- occupied by our restoration division was a wide dynamic range. The multiplicity as director of the Toulouse les Orgues ment one is beset with many thoughts: converted into a standing buffet restau- of sounds and transient attack param- festival. In Toulouse a considerable rich- wherefore this effort? In the course of rant. The symposium was followed by eters of the orchestral instruments bring ness in organs is available, but even if the the last turn of the century the ques- two further days with public children’s about synchronization problems with the ten best organists in the world had been tion was often asked: What will become concerts, a jam session, and a conclud- organ. Hence the necessity of a sound invited that would not have been enough; of the organ in the future? Aware that ing silent fi lm with Juan de la Rubia as with cautious attack that can thereby in ten years the audience would have the organ is the most evolution-prone improvising organist. come about with a kind of inertia. The become weary of the same basic fare, and of instruments, one could answer the sound of the organ must be capable of so numerous innovative programs and question about its future development Summary of the symposium on entering more or less slowly. The Radio activities enriched the festival offerings. that the organ adapts to the needs and November 8, 2013, in El Papiol France instrument meets this criterion; The high level of the concerts was main- the spirit of the society of its time. Or, Bernard Foccroulle opened the sym- to this are added dynamic enclosed divi- tained. Bouvard holds great hope for the better put, it expresses it as a kind of posium and noted the lack of organs in sions, mechanical action, as well as the same success at Radio France. mirror. But what is indeed our Zeitgeist concert halls in France. The new instru- proportional electric action. The organ must be brought “out of the of today? ment should serve the needs of Radio Olivier Latry emphasized that chapel” in order to create momentum Perhaps this: more and more we are France and the two orchestras that the collaboration of all the organists for a new public; a new place in music determined by today’s technology. Our perform there. involved in the project was highly use- history must be found to lend it a new entire doings must occur ever faster. We Olivier Latry expressed his regret ful. Michel Bouvard noted that the role of its own, and not only as a church want to have everything that can possibly that, for the most part, organs in concert comprehension of the various authori- instrument. It is important to gain a be had. Even acknowledging that what halls do not live up to the expectations ties at Radio France made it possible to young audience through educational seems modern today will already be out- of musicians, orchestras, and conduc- enlarge the specifi cation, such that the endeavors, for which models exist in the dated the day after tomorrow, we cannot tors. The reason: the organs are often organ can serve not only as an organ world, for example the Philharmonie in simply exit this cycle. As was remarked designed in the style of a special era for orchestra (and accompaniment for Budapest. Another possibility would be at the end of the symposium, it seems or in the particular style of a given choir and children’s choir), but also as a to organize “cinema concerts.” to me that observance of musical ethics organbuilder. An example thereof is the solo instrument. Olivier Latry underscored Bouvard’s provides guidance in value boundaries. wonderful organ in Taiwan with its sixty Gerhard Grenzing explained that the suggestion and reported on his experi- In our shop we give full rein to the stops. Playing it requires two assistants, new organ is not an orchestral organ but ence in Manchester. There he was asked, most novel technical developments and and very little literature is playable on should be an organ for the orchestra. as a prelude to Mahler’s Eighth Sym- further enhance them. We are neverthe- the tracker instrument. This implies a refi ned voicing style and phony, to improvise for twenty minutes less very careful not to let ourselves be An instrument of lesser beauty will sel- individually cultivated attack of each on Veni Creator. To many who had never distracted, cultivating or incorporating dom be played. A few organs have been pipe. He emphasized the dynamics of heard an organ, this came as a revelation. noble, time-tested musical values. restored and brought up to date (for the swell boxes, of the very soft stops for François Espinasse suggested devel- example, the Gewandhaus in Leipzig), the accompaniment of the room-fi lling oping initiatives with schools and univer- Appendix: A symposium on the and are played thirty-fi ve to forty times soloists, and of the very loud stops that— sities. In this way public relations work concert hall organ each year. without succumbing to vulgarity—are and scientifi c research would be brought We value any opportunity for enhanc- In the Radio France complex an all- meant to give the instrument “broad together in fruitful collaboration. ing the exchange of ideas. The Barce- encompassing project needed to take in shoulders.” This makes it possible to It is also among the organist’s tasks to lona airport is located only twenty-fi ve not only the organ but also the hall, the respond to the orchestra without lording turn to composers, since the latter often minutes away from our shop. Our construction in general, and the acous- over it. seem to be wary of the instrument. It slogan, “We are not far away, but rather tics. An organ cannot sound good in just This is the result of many consider- is to be hoped that the organ of Radio neighbors,” was once again confi rmed. any acoustic. Hence the need for the ations shared among conductors and France will enable a dialogue with them. On November 8, 2013, a symposium collaboration of an acoustician. organists, for which Grenzing expressed Jean-Pierre Leguay recalled his expe- on concert hall organs was held in our What are the particularities of a con- his gratitude once again, as well as of rience with the composers of the 1960s shop. The impetus came from the new cert hall organ? Conductors often blame the work of his team that contributed its and 1970s, which was a very good time organ for Radio France, which at that the organ either for being too loud sensitivity, perseverance, and soul to the for the development of contemporary time was nearly completed and set up (thereby overpowering the orchestra) cause, without which success would not music. It was discovered that the organ is in the shop. Thanks to the spontaneous or too soft (thus being covered up by have been possible. an unbelievable generator of tone colors.

18 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM 4′ Flûte traversière (ext 8′, 12 pipes) 2′ Flûte (ext 8′, 12 pipes) 8′ Cor anglais (61 pipes) SOLO HAUTE PRESSION 8′ Flûte (61 pipes) 4′ Flûte (ext 8′, 12 pipes) 16′ Tuba (61 pipes) 8′ Tuba (ext 16′, 12 pipes) 4′ Tuba (ext 16′, 12 pipes) CHAMADE 16′ Chamade (fr 8′) 8′ Chamade B (25 pipes) 8′ Chamade D (36 pipes) PÉDALE 32′ Bourdon (ext 16′, 12 pipes) 16′ Principal (32 pipes) 16′ Soubasse (32 pipes) 16′ Contrebasse (32 pipes) 16′ Montre (G.-O.) 16′ Bourdon (Réc.) 2 10 ⁄3′ Quinte (32 pipes) 8′ Principal (ext 16′, 12 pipes) 8′ Bourdon (ext 16′, 12 pipes) 8′ Violoncelle (32 pipes) 8 Flûte (Solo) 2 1 6⁄5′ Tierce impériale (ext 3 ⁄5′, 12 pipes) 1 2 5⁄3′ Quinte (ext 10 ⁄3′, 12 pipes) 4′ Octave (32 pipes) 1 ′ The electric-action console (photo credit: Radio France/Christophe Abramowitz) 3⁄5 Grosse Tierce (32 pipes) 32′ Posaune (32 pipes) 16′ Posaune (ext 32′, 12 pipes) However, for many organists, above that makes nearly everything possible, POSITIF EXPRESSIF 16′ Basson (32 pipes) 16′ Quintaton (61 pipes) 8′ Trompete (32 pipes) all those who were not composers, the I would like to recall that the nature ′ organ was “slumbering, back there in the of the organ emerging out of inner 8 Principal (61 pipes) 8′ Basson (ext 16′, 12 pipes) 8′ Salicional (61 pipes) 4′ Clairon (ext 8′, 12 pipes) organ loft, hidden away and dusty.” necessity is the conveying of musical 8′ Meditation (TC, celeste, 49 pipes) 8′ Chamade (fr Chamade) Study of orchestration at the con- emotions based on acknowledgement 8′ Bourdon (61 pipes) 4′ Chamade (fr Chamade) ′ servatory changed the composers’ way of ethics.” Q 4 Prestant (61 pipes) 4′ Flûte douce (61 pipes) of hearing and revealed the organ’s 2 Couplers 2⁄3′ Nasard (61 pipes) countless possibilities for tone colors. Documentation of the symposium 2′ Doublette (61 pipes) G.-O–Ped. 3 Pos.–Ped. Working together with composers is of may be reviewed on the internet at: 1⁄5′ Tierce (61 pipes) 1 ′ Réc.–Ped. crucial importance. It is important to http://grenzing.com/RadioFrance/. 1⁄3 Larigot (61 pipes) 1 Solo–Ped. 1⁄7′ Septime (61 pipes) show them that the organ is just as rich ′ G.-O 4′–Ped. 1 Siffl et (61 pipes) ′ and expressively potent an instrument as Photographs, unless otherwise speci- IV Mixture (244 pipes) Pos. 4 –Ped. ′ Réc. 4′–Ped. others. A concert hall organ is ultimately fi ed, are by Christophe Abramowitz. 16 Basson (61 pipes) ′ 8′ Trompette (61 pipes) Solo 4 –Ped. an element of this musical laboratory, ′ 8 Clarinette (61 pipes) ′ an opportunity for composers to expand This article is a free translation by Tremblant G.-O. 16 –G.-O. their resources through experimenta- Kurt Lueders of Gerhard Grenzing’s Pos. 16′–G.-O. Pos.–G.-O. tion. The public should not consider the updated text in German, used with kind RÉCIT EXPRESSIF ′ 16′ Principal (6 basses fr Bdn, 54 pipes) Recit 16 –G.-O. organ as a purely liturgical instrument. permission of the original publisher, the ′ Récit–G.-O. 16 Bourdon (61 pipes) ′ Michel Bouvard recalled an anecdote review Ars Organi. 16′ Gambe (6 basses fr Bdn, 54 pipes) Solo 16 –G.-O. concerning Pierre Boulez. To the question 8′ Principal (32 basses fr 16′ Principal, Solo–G.-O. of why he had not composed anything for Builder’s website: www.grenzing.com 29 pipes) Ped.–G.-O. 8′ Gambe (32 basses fr 16′ Gambe, the organ he answered: “The organ has Radio France website: www.radio- Pos. 16′–Pos. 29 pipes) ′ no relation to my musical ideas, since it france.fr 8′ Voix céleste (TC, 49 pipes) Récit 16 –Pos. functions for large masses of sound such 8′ Flûte harmonique (61 pipes) Récit–Pos. as crescendo-decrescendo, whereas I Listen to the organ here: 8′ Cor de nuit (32 pipes fr 16′ Bourdon, Solo–Pos. seek the gentle substance of a fl ute or an https://www.youtube.com/ 29 pipes) 4′ Octave (61 pipes) Récit 16′–Récit oboe.” (A symptomatic answer from the watch?v=nR0gTDZmRR8 4′ Flûte octaviante (61 pipes) Solo–Récit 2 lips of such an eminent composer.) 2⁄3′ Nazard (61 pipes) Christian Dépange noted that this new Born in Insterburg, Germany, Gerhard 2′ Octavin (61 pipes) Tuba–G.-O. 3 ′ organ that we are now getting to know Grenzing trained in organbuilding with 1⁄5 Tierce (61 pipes) Tuba–Pos. IV Plein jeu (244 pipes) Tuba–Récit must be a kind of combative element of Rudolf von Beckerath in Hamburg, and 16′ Bombarde (61 pipes) Tuba–Solo conviction and pedagogy for the public. gained further qualifi cation by working 8′ Trompette harmonique (61 pipes) Tuba–Pédale Yves Rechsteiner, successor to Michel with several other European workshops, 8′ Hautbois (61 pipes) 8′ Voix humaine (61 pipes) Chamade–G.-O. Bouvard with Toulouse les Orgues, mainly in Austria and Switzerland. 4′ Clairon (61 pipes) Chamade–Pos. asked, can the pipe organ open up Beginning in 1967, he restored several Tremblant Chamade–Récit musical aesthetics other than classical organs in Majorca. In 1972, he set up his Chamade–Solo music? How does the role of the pipe own workshop in El Papiol, near Barce- SOLO EXPRESSIF 8′ Choeur de cordes (I–III, 147 pipes) 93 stops, 93 ranks, 5,308 pipes organ stand up to that of the electronic lona, Spain. Approximately 250 new and 8′ Voix céleste (TC, 49 pipes) Manual compass: 61 notes (C–C) organ, which offers a much broader restored organs have left the Grenzing 8′ Flûte traversière (61 pipes) Pedal compass: 32 notes (C–G) variety of sounds? workshop for Spain, France, Germany, 4′ Choeur de cordes (ext 8′, 36 pipes) a1=442 Hz at 22 degress Celsius Bernard Foccroulle noted two appli- , Belgium, Switzerland, Austria, cations of technology: on one hand that Denmark, Italy, Sweden, Japan, South of the image in the service of informa- Korea, Bogotá, Brazil, Uruguay, Mexico, tion and publicity that could be used and Russia. to make the organ more accessible, more comprehensible, and on the other 2016 Gerhard Grenzing organ hand that of making modifi cation of the GRAND-ORGUE sound possible, thereby producing new 16′ Montre (61 pipes) sounds. Foccroulle encouraged Olivier 16′ Bourdon (61 pipes) Latry to report on his experience in 8′ Montre (61 pipes) digital production and the relationship 8′ Suavial (61 pipes) ′ between synthesizer and organ. Latry 8 Flûte harmonique (12 basses from Bourdon, 49 pipes) Church of Saint Jude the Apostle told of his experiences in Hollywood 8′ Bourdon à cheminée (61 pipes) Wauwatosa, Wisconsin 1 with a system in which the synthesizer 5⁄3′ Grosse Quinte (61 pipes) Three manuals – forty ranks was a part of the organ, opening up 4′ Prestant (61 pipes) many perspectives. Seen in this light, 4′ Flûte conique (61 pipes) 1 A RTISTRY – R ELIABILITY – A DAPTABILITY 3⁄5′ Grosse Tierce (61 pipes) the question is perhaps the possibility 2 2⁄3′ Quinte (61 pipes) of an eventual addition of such a system 2′ Doublette (61 pipes) to this organ. “I’m thinking for example II Sesquialtera (122 pipes) of the possibility to capture the tone of II–V Grand Cornet (305 pipes) the organ with swell shades closed, then III–IV [Mixtur] Octaves (207 pipes) II–III [Mixtur] Quintes (183 pipes) projecting it via loudspeakers into the III–IV Cymbal (220 pipes) room.” Gerhard Grenzing noted in con- 16′ Trompete (61 pipes) clusion, “In this race with technology 8′ Trompete (61 pipes)

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2020 Q 19 Acoustics in the church

Acoustics in the Worship Space XII

Varied music can mean variable acoustics

Moorings Presbyterian Church, Naples, Florida, velour drapery retracted (photo credit: By Scott R. Riedel Scott R. Riedel)

Editor’s note: Acoustics in the Wor- by composers and musicians as part of ship Space, Parts I, II, III, IV, V, VI, their musical expression. Further, the VII, VIII, IX, X, and XI have appeared participation by the congregation in in The Diapason, May 1983, May hymns, psalms, and sung or spoken parts 1984, January 1986, May 1987, April of the liturgy is enhanced and facilitated 1988, April 1990, July 1991, May 1992, by a reverberant, sound-supportive April 2009, December 2012, and June architectural environment that allows 2015 respectively. worshippers to hear each other; this is the essence of traditional hymnody and he times certainly have been chang- participation in liturgy. Ting, and continue to do so, relative The contemporary musical forms to worship and music styles, practices, benefi t from lower reverberation peri- and church architecture. While this has ods and from appropriate amounts of always been true, the pace and intensity “soft” sound-absorbing architectural of change seem to increase as time goes materials. In contemporary music, the by. Some years ago, a proper worship use of electronic instruments, together space was presumed to have pews along with strong rhythmic drives and small a center aisle, a prominent reredos with vocal ensembles calls for electronically an altar or communion table at the end reinforced sound projection. The control of the room’s long axis, and a music of sound and musical production via program using an organ as its primary an electronic system, together with a instrument. It is not uncommon today sound-absorptive and low-reverberance Moorings Presbyterian Church, Naples, Florida, velour drapery revealed (photo credit: to fi nd alternative seating arrangements environment, is expected and used by Scott R. Riedel) and to fi nd video screens to be promi- songwriters and musicians as part of the nent visual elements in a room. Similarly, idiom. Further, it is the higher intensity The alternate and separate “contempo- to the listeners will facilitate good tonal various musical styles, from traditional to of sound from electronically amplifi ed rary” worship room has a more casual blend and balanced listener perception. contemporary, may be offered—some instruments and singers that leads the architectural mood, with a lower rever- The correct ratio of sound-refl ective to with and some without organs. participation of the congregation. The beration period, and sound control and sound-absorbing materials will establish If a congregation uses both contem- full assembly’s hearing of each other communication based on an audio/ an appropriate and functional rever- porary and traditional music, the archi- together is not necessarily the essence of visual system. Having two separate beration period. tectural acoustic need is often to fi nd a contemporary worship music. spaces means that each room can be Fortunately, there are method- way to support and enhance the diverse There are two primary architec- uniquely tailored to the worship style’s ologies and means of changing acoustic musical styles. The challenge is that the tural approaches to meet the acoustic unique needs, and service times can be environments within a single space to differing musical styles may have signifi - needs of differing worship and music independently scheduled. accommodate various stylistic needs. cantly different room acoustic require- styles. One is for a faith community The other approach is for a congrega- The reverberation period and associ- ments and design responses. to have separate spaces, each specifi - tion to have a single worship space in ated sound-absorbing/sound-refl ecting The traditional musical forms benefi t cally designed for the holistic worship which different music styles are pre- material ratios and locations are among from generous reverberation periods and music requirements of the varying sented, either within the same service the primary factors that affect traditional and from generally hard, sound-refl ec- styles. Many congregations adopt this or at different service times. When a and contemporary music support and tive and sound-diffusing architectural approach. Typically, the “traditional” congregation desires to offer both con- enhancement. A technique used to surfaces and fi nishes. In traditional worship room is designed in a more temporary and traditional musical forms accommodate a broad range of musical and classic sacred music, a reverber- classic architectural manner, with a within the same architectural space, styles within a single space is to provide ant and sound-supportive acoustical generous reverberation period and a it can be diffi cult to meet the acoustic a means of altering the reverberation environment is both expected and used naturally “live” room-acoustic space. needs of both. Amounts and locations period by changing the sound-absorbing/ of space for musicians, proximities, and refl ecting material ratios, amounts, reverberation period needs are different. and locations. An alterable reverbera- These can be challenging to accommo- tion period can be accomplished with date within the same room. The danger such elements as movable draperies, is that in the effort to meet the needs of fabrics, panels, or enclosures that can multiple styles, the result might be that be repositioned, opened or closed. The no style is served well. reverberation period can be “tuned” How can a single room meet the for the desired musical style; to shorten requirements of multiple worship and reverberation time, greater amounts music forms? How can the room and its of sound-absorbing materials can be acoustic environment benefi t one style, revealed in the room for contemporary without being a detriment to the other? music. To lengthen reverberation time, The essential laws of physics and greater amounts of sound-refl ective acoustical science are fully in force and materials can be revealed in the room apply no matter what musical forms are for traditional music. used. These unchanging laws include The amount (surface area) and loca- the infl uence of a room’s geometric form tion of alterable sound-refl ecting or and cubic air volume on sound behav- absorbing materials relative to rever- ior; generous space without sound- beration time in a room is a function of obstructing or sound-trapping features such factors as the size, geometric form, will facilitate good sound distribution. layout, and seating capacity/occupancy The location of musicians and sound of the room. The methodology for alter- sources both relative to each other and ing the amount of sound-absorbing or

20 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM Shari Fleming Center for the Arts, Tabor College, Hillsboro, Kansas, sound absorb- ing wall panels revealed at all side and rear walls (photo credit: Richard Lenz) Vero Beach Community Church, Vero Beach, Florida, velour drapery retracted (photo credit: Scott R. Riedel)

Shari Fleming Center for the Arts, sound refl ective and diffusing wall panels re- vealed at side/rear wall near elevated seating, with sound absorbing wall panels revealed at forward taller side wall (photo credit: Richard Lenz) Vero Beach Community Church, Vero Beach, Florida, velour drapery revealed (photo credit: Scott R. Riedel) (Photos and products courtesy of click on “About the Venue,” then “The RealAcoustix, LLC, 2437 Rulon White Concert Hall” to fi nd the “Acoustical refl ective material in a space can be from benefi t is that different worship and Boulevard, #8, Ogden, Utah 84404.) Features” section. Q as “low tech” as revealing or retracting musical styles can be well accommo- fabrics/draperies or opening and closing dated within a single worship space 4. An interesting description of a Scott R. Riedel is president of Scott R. sound-absorbing or refl ecting panels, through the use of fl exible and alter- resonance chamber design can be found Riedel & Associates, Ltd., an acoustical to as “high tech” as employing a series able-fi nish materials and technologies, on the website of the Morton H. Mey- and organ consulting fi rm based in Mil- of pre-programmed motorized panels, thus providing an excellent worship erson Symphony Center, Dallas, Texas: waukee, Wisconsin. fabrics, or drapery systems that can be experience for all. www.meyerson.dallasculture.org, then shifted from absorbing to refl ecting by The accompanying photos depict the touch of a switch. some example worship and performance The cubic air volume of a room also settings with alterable-acoustic features: Scattered leaves ... from our Scrapbook affects the reverberation period and sound perception. In general, rooms 1. Movable sound-refl ective drapery with greater cubic air volume will have a vs. sound-refl ective and diffusing walls, longer reverberation period, and rooms Moorings Presbyterian Church, Naples, with lesser cubic air volume will have Florida: There is Hope … a shorter reverberation period. The a. sound-refl ective and diffusing wall design and presence of a “resonance with velour drapery retracted; chamber” can be used as an acoustic b. sound-absorbing wall with velour environment-altering tool. The “cham- drapery revealed. ber” is essentially a separate adjoining What brought you to the organ? room or cavity of generous size that can 2. Movable sound-refl ective curtain be opened to the main space, thereby vs. sound-refl ective and diffusing walls, increasing the total cubic air volume of Vero Beach Community Church, Vero “It conveys a sense of The Divine” the room, or the chamber can be closed Beach, Florida: off from the main space, thus reducing a. sound-refl ective and diffusing wall the total cubic air volume. The combi- with velour drapery retracted; nation of alterable sound-refl ective or b. sound-absorbing wall with velour Justin Dana, Student absorbing interior fi nish materials, along drapery revealed. American Organ Institute with the ability to increase or decrease University of Oklahoma the cubic air volume of an environ- 3. Alterable/convertible RealAcoustix ment can facilitate the enhancement of panels at the Shari Fleming Center various worship and music styles to an for the Arts, Tabor College, Hillsboro, amazing degree. Kansas: It should be noted that, depending on a. sound-absorbing wall panels the overall size and seating capacity of a revealed at all side and rear walls; worship space, the size and amount of b. sound-refl ective and diffusing wall Schoenstein & Co. changeable sound-absorbing/refl ective panels revealed at side/rear wall materials, surfaces, fabrics, panels, and near elevated seating, with sound- Established in San Francisco š 1877 air-volume resonance chambers can absorbing wall panels revealed at www.schoenstein.com ❧ (707) 747-5858 be potentially signifi cant. The ultimate forward taller side wall.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2020 Q 21 Cover feature

B. Rule & Company, New Market, Tennessee First Presbyterian Church, Knoxville, Tennessee The organ at First Presbyterian Church, Knoxville, Tennessee, repre- sented in 1963 the ideals of the modern- ist side of the Organ Reform movement then in vogue. Like Modernism itself, asserting a dynamic of utter clarity of structure and form, Casavant Opus 2756 spoke boldly and brightly into the nave with nothing to hinder its clear tonal egress. Those who are old enough to remember that era recall it as an exciting time: dull, inarticulate organs hidden in chambers, voiced on high pressures and devoid of any “sparkle” were being replaced with articulate, bright instruments on low pressure, speaking directly into the space. After fi fty years of heavy use, a con- sensus had emerged from generations of First Presbyterian’s choir directors and organists that the instrument was too infl exible, too aggressive, and often tiring to listen to. Useful accompani- ment stops were few and far between, and the full plenum was uncomfortably loud. Romantic-era organ literature did not come off well. Choir members often expressed dread if the organist had planned an energetic prelude! It did not help that the instrument spoke into an acoustically dead room. First Presbyterian Church, Knoxville, Tennessee Our fi rst step was to make an analysis in an attempt to address the many com- Esthetics plaints about the organ, which actually The once elegant neo-classical sanc- contained much beautifully made pipe- tuary had gone through a number of work and a well-thought-out stoplist. unfortunate contemporary alterations in Below is a summary of our fi ndings. 1963. The front walls of the church had been turned into one seamless Bauhaus Pipework curtain wall, with repetitive rectangles The scaling of the principals and fl utes created by two-by-sixes, all covered with of the Pedal and Great was, surprisingly, metal screening and painted white. A very close to scales we ourselves would casual observer would assume it to be a utilize for such a room, although most huge cold-air return. The sanctuary also ranks increased in scale toward the treble lost its lovely Tiffany chandeliers in the more than we would have chosen. Some bid to bring everything up to date. became so widely scaled in the treble as to be highly unusual. Solutions Pipework: Further analysis of the Acoustics pipework showed that, in the ranks that Sound energy from the organ dropped became unusually large in the treble, the off quickly in the room. For a room of mouths were also wider than normal. moderate size (seating 350–400) the This, combined with open-toe voicing loss of energy was puzzling. Perhaps the and no nicking, created an aggressive aggressive voicing was an attempt to get attack and an abrasive vowel sound: think the organ sound to travel the length of of the short “a” when one sharply utters The manual keyboards of the new console the acoustically dead nave. the word “scat” to an unwanted animal. Further investigation revealed, after The only remedy for this was to replace toes, opening windways, and adding the character of these stops completely, some gentle tapping on the nave walls those pipes. discreet nicking. resulting in a darker vowel sound with with our “proprietary acoustical sound- The two worst offenders in vowel The large-scaled Pedal and Great more fundamental tone. ing rod” (i. e., a long pine stick), that in sound were the 2′ Great Fifteenth and trumpets were originally voiced with The Swell Trumpet and Basson were many places the plaster was entirely loose the Swell 4′ Spitz Principal. Replacing a distinctive curve so that the initial replaced with new reed stops (8′ Trum- from the solid brick walls. In addition, just these two ranks with properly scaled tongue slap on the shallot created an pet and 16′ Clarinet) made by Fred the ceilings of the side aisles consisted pipes aided considerably in bringing the audible attack; this curve also contrib- Oyster and designed to meld tonally with of Masonite pegboard. Pew cushions organ into blend. The remaining ranks uted to a similar short vowel sound. Add- this instrument. Both ranks turned out absorbed any remaining sound energy. were effectively revoiced by closing ing considerably more curve changed exceptionally well. New fl ue pipework

B. Rule & Company

11 3 GREAT (Manual II, wind pressure 2 ⁄16″, increased from 2″) 1⁄5′ Tierce revoiced 61 pipes 1 2 16′ Diapason Dolce 1–7 from Gedeckt, new, 8–26 in façade 54 pipes 1⁄3′ Fourniture IV originally ⁄3′, revoiced 244 pipes 16′ Gedeckt revoiced 61 pipes 16′ Clarinet new, replaces 16′ Basson 61 pipes 8′ Principal 1-17 new, in façade, revoiced 61 pipes 8′ Trumpet new 61 pipes 8′ Diapason Dolce ext 16′ Diapason Dolce 12 pipes 8′ Oboe revoiced 61 pipes 8′ Bourdon revoiced 61 pipes Tremulant 4′ Octave revoiced 61 pipes 1 7 4′ Spirefl ute new 61 pipes POSITIVE (Manual I, wind pressure 2 ⁄4″, increased from 1 ⁄8″) 2 2⁄3′ Twelfth revoiced 61 pipes 8′ Spirefl ute replaces 8′ Quintadena 61 pipes 2′ Fifteenth new from middle C 61 pipes 8′ Gedeckt revoiced 61 pipes 1 1⁄3′ Mixture IV revoiced 244 pipes 4′ Principal revoiced 61 pipes 8′ Trumpet revoiced 61 pipes 4′ Koppelfl öte revoiced 61 pipes 2′ Superoctave revoiced 61 pipes 3 1 SWELL (Manual III, enclosed, wind pressure 3″, increased from 2 ⁄4″) 1⁄3′ Nasat revoiced 61 pipes 8′ Chimney Flute revoiced 61 pipes 1′ Siffl öte revoiced 61 pipes 1 8′ Salicional revoiced 61 pipes ⁄2′ Zimbel III revoiced 183 pipes 8′ Celeste revoiced 61 pipes 8′ Krummhorn revoiced 61 pipes 4′ Principal new from middle C 61 pipes Zimbelstern 4′ Nachthorn revoiced 61 pipes 2 2⁄3′ Nasard revoiced 61 pipes 2′ Blockfl öte revoiced 61 pipes

22 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM First Presbyterian Church before its recent renovation The new console was made by Janusz Lasota, and the gold, Roman mouth façade pipes were made by Organ Supply Industries. Wind pressures were raised slightly to help create more fundamental tone and better control with closed-toe voicing. However, all of the fl utes were left with open toes, as were most of the rather delicate Positive principal stops. We augmented the Pedal division with a circa-1910 “mega-Bourdon” (as known in organbuilder parlance) on 4½ inches wind pressure to add signifi cant weight under big registrations; this was a much- needed addition to the bass-defi cient 1963 tonal scheme. A 16′ Principal was out of the question due to space limitations. Acoustics: The walls in the problem areas were re-plastered and the peg- board in the aisle ceilings was removed to reveal hard plaster. This, along with removal of the pew cushions, made a distinct improvement in the room reso- nance, particularly in the bass. Façade pipes Façade detail Esthetics: we built two matching organ cases in Classical style to replace Console: the 1963 console with verti- ICS-4000 with MIDI, 99 levels of mem- Also to Mark Pace, organist, for hospitably the 1963 metal grilles: in tone openings cal jambs, while handsome, was bulky ory, and sequencer. making our installation as easy as possible. without organ cases we built new grilles and tall. We built a new low-profi le Results: the sound of both organ and —Brad Rule after a pattern developed by Thomas console with terraced jambs to make the choir now projects nicely down the full Sheraton for library cabinet doors. The work of an organist/choirmaster easier. length of the nave. The organ sings with B. Rule & Company staff: new grille design also nicely replicates The new console specifi cations are as a warm, pleasant voice, yet the clarity Steven Lloyd the lead came tracework in the older follows: cabinet of maple, to match exist- of the plenum is still excellent. It now Hannah Martin stained glass windows. Former organ- ing pews and trim; terraced stop jambs handles literature from Bach to Duru- Naomi Martin builder and now architect William and key cheeks of sapele. The oblique fl é very successfully. The instrument is Julie Mundy-Sullivan Dunklin designed the organ façades; knobs are of pau ferro and maple, and ready for at least another half-century of Brad Rule it was a real pleasure to work with an the electric knob units as well as the good service to this congregation. architect who understood the esthetics knobs and labels are from Harris. The Photos by Hannah Odom. and proportions of classical architecture music rack is book-matched mahogany Many thanks to Denis Blain at Casa- The old photo of the previous church as well as the musical requirements of crotch burl with integral LED music vant for his advice on re-leathering the interior, courtesy of First Presbyterian the organ. light. The control system is a Peterson low-pressure Casavant pitman chests. Church.

First Presbyterian Church, Knoxville, Tennessee

3 PEDAL (wind pressure 3″, increased from 2 ⁄4″) Couplers Peterson ICS 4000 with MIDI, Record/Play- 5 16′ Bourdon new, large scale, wind pressure 4 ⁄8′′ 32 pipes Great to Pedal back, Sequencer, 100 levels of memory 16′ Subbass unaltered 32 pipes Swell to Pedal 16′ Violone revoiced 32 pipes Positive to Pedal Pistons: 16′ Gedeckt from Great 10 generals 8′ Principal revoiced 32 pipes Swell to Great 16 5 divisionals each division 8′ Gedeckt revoiced 32 pipes Swell to Great Next and Previous 4′ Choral Bass revoiced 32 pipes Positive to Great 4′ Rohrfl öte revoiced 32 pipes Pedal to Great Swell, Great, and Positive to Pedal reversibles 2′ Nachthorn revoiced 32 pipes Chamade to Great reversible 2′ Mixture IV revoiced 128 pipes Swell to Positive 16 Chamade to Positive reversible 16′ Trombone revoiced 32 pipes Swell to Positive Zimbelstern reversible 8′ Trumpet revoiced 32 pipes 4′ Schalmei revoiced 32 pipes Swell to Swell 16 Swell expression pedal 16 stages Programmable Crescendo pedal 3 Chamade to Great (wind pressure 4 ⁄4′′) 61 pipes Great/Positive Reverse Chamade to Great 16 Builder’s website: http://bruleorgans.com Chamade to Positive 46 stops, 55 ranks, 2,925 pipes Church website: www.fpcknox.org Chamade to Pedal

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2020 Q 23 Summer Institutes, Workshops, & Conferences

University of Florida Sacred Music Laube, William Porter, Stephen Kennedy. Christophe Mantoux, Tobias Willi, others. Course for advanced singers, treble choris- Workshop Contact: https://summer.esm.rochester. Contact: www.jehanalain.ch. ters and teen altos, tenors and basses, adults, May 3–5, Gainesville, FL. edu/course/summer-organ-academy/. and directors; Katherine Dienes-Williams. Hymn festival, organ and carillon recitals, Church Musicians Workshop at Nasho- Contact: http://kingscollegecourse.com. workshops; Laura Ellis, Jonathan Hehn, R. Westminster Choir College Conducting tah House Monty Bennett, and Elena Baquerizo. Intensive July 13–17, Nashotah, WI. International Organ Festival Haarlem Contact: https://ufl smw.wixsite.com/home. June 28–July 4, Princeton, NJ. Workshops exploring the Anglican choral Summer Organ Academy Conducting classes, masterclasses in tradition, including hymn and service play- July 20–31, Haarlem, the Netherlands. Berkshire Choral Festival rehearsal techniques and conducting, score ing, as well as chant; Stephen Buzard, Lieve Masterclasses, lecture recitals, and excur- May 31–June 7, Lenox, MA; June 21–28, analysis, study of plainchant; James Jordan, Buzard, Lee Erickson, etc. sions to organs in Haarlem, Leiden, Alkmaar, Boston, MA; July 19–26, Amsterdam, Nether- Simon Carrington, Sabine Hortsmann, others. Contact: https://churchmusicianswork- and Groningen; Stefan Engels, Ben van lands; August 5–12, Madrid, Spain. Contact: www.rider.edu/summerarts. shop.org Oosten, Christophe Mantoux, Bernhard Rehearsals, classes, lectures, concerts; Haas, others. Julian Wachner, Grant Gershon, Saul Zaks, Lutheran Summer Music Academy Massachusetts Boys Choir Course Contact: https://www.organfestival.nl. Joe Miller. June 28–July 26, Valparaiso, IN. July 13–19, Groton, MA. Contact: berkshirechoral.org. Lessons, masterclasses, lectures for high RSCM course at the Groton School; Rob- Baylor Alleluia Conference school students; Chad Fothergill, Nancy ert Lehman, Christopher Jacobson, others. July 21–24, Waco, TX. International Baroque Academy Menk, Benjamin Krause, Jeffrey Doebler, Contact: www.mbccusa.com. Conference for church music directors, June 7–20, Winter Park, FL. many others. plenary reading sessions, choral/orchestral Masterclasses, lessons, and coaching in Contact: www.lsmacademy.org. RSCM–Carolina Course reading sessions; Joyce Jones, Jan Kraybill, 17th- and 18th-century performance practice; July 13–19, Durham, NC. David Music, Victor Johnson, others. Alexander Weimann, others. Interlochen Adult Choir Camp Course for girls and adults; individual and Contact: www.baylor.edu/alleluia. Contact: https://musictheaterbavaria.org/ June 29–July 4, Interlochen, MI. group instruction; Daniel Cook, Stephen internationalbaroqueacademy.php. Vocal warm–ups, sectional rehearsals, with Gourley. Mississippi Conference on Church public performance; Jerry Blackstone, Scott Contact: http://carolinarscm.org. Music and Liturgy 2020 Conference Summer Chant Intensive Van Ornum. July 21–26, Canton, MS. June 15–20, University of Florida, Gaines- Contact: college.interlochen.org/adultchoir. RSCM–St. Louis Course Workshops, reading sessions; Michael ville, FL. July 13–19, St. Louis, MO. Boney, Rev. Susan Anderson-Smith, Rev. Wil- Courses in Gregorian chant and semiology; Oregon Bach Festival Organ Institute Course for boys and girls through advanced liam B. Roberts. Edward Schaefer, Kathy Reinheimer, others. June 29–July 4, Eugene, OR. teens; music theory, ear training, develop- Contact: www.mississippiconference.org. Contact: musicasacra.com. Masterclasses, seminars, organ crawls, ment of vocal sound; Robert Nicholls, Nicho- performance; Paul Jacobs. las Quardokus. St. Andrews Bach Choral Course Association of Anglican Musicians Contact: www.oregonbachfestival.org/ Contact: https://www.rscmstl.org. July 21–26, St. Andrews, UK. 2020 Conference organ-institute. Rehearsals, masterclasses, lectures, per- June 21–26, Richmond, VA. Oundle for Organists Summer School formance; Same Evans. Workshops and discussions, liturgies, RSCM–Rhode Island Course July 13–19, Oundle, Northamptonshire, UK. Contact: https://www.st-andrews.ac.uk/ choral and organ concerts; C. Michael Hawn, June 29–July 5, Newport, RI. Course for young organists including key- music/perform/shortcourses/choralcourse/. David Stipe, Rev. A. Katherine Grieb, others. Course for children and adults; workshops board skills, liturgical skills, improvisation; Contact: https://richmond2020.anglican- in conducting, composition, handbells, and Ann Elise Smoot, Anna Lapwood, Iain Quinn, Sing Your Faith—Refresh Your Spirit: musicians.org. vocal technique; Jeremy David Tarrant. William Whitehead, others. A Choral and Spiritual Retreat in the Contact: www.rscmnewport.org. Contact: oundlefororganists.org.uk. Heartland The Fellowship of United Methodists July 24–26, First-Plymouth Church, Lincoln, in Music and Worship Arts (FUMMWA) Royal Canadian College of Organists 70th Sewanee Church Music Conference NE. Music and Worship Arts Week Annual Convention 2020 July 13–20, Monteagle, TN. Clinicians include Tom Trenney, Ariel June 21–26, Lake Junaluska, NC. July 6–9, Victoria, BC, Canada. Study, worship, organ and choral music; Merivil, Mary Louise Bringle, others. Handbells, organ, and choral workshops, Workshops, recitals, exhibits, hymn festi- Malcolm Archer, Frederick Teardo. www.fi rstplymouth.org/singyourfaith recitals; Joby Bell, Mark Miller, Anton Arm- val; Jean-Willy Kunz, Daniel Roth, others. Contact: www.sewaneeconf.com. strong, Martha Matthews, others. Contact: www.rccovictoria2020.ca. Contact: www.umfellowship.org. Incorporated Association of Organists Handbell Musicians of America National Annual Festival American Guild of Organists National Seminar 2020 Montreat Conferences on Worship and July 24–29, Edinborough, Scotland. Convention July 16–20, Orlando, FL. Lectures, masterclasses, recitals; John Music July 6–10, Atlanta, GA. Classes, performances, exhibits, handbell June 21–26 (Week 1) or June 28–July 3 (Week Kitchen, Naji Hakim, Paul Stubbings, others. Recitals, concerts, lectures, workshops, notation conference. Contact: https://iao.org.uk. 2), Montreat, NC. worship. Monica Czausz, Isabelle Demers, Contact: www.handbellmusicians.org. Rehearsals, seminars, workshops; choirs, Christopher Jacobson, Martin Jean, many handbells, organ, visual arts, liturgies; others. Choral Conducting Symposium Choral Masterworks—Brahms, Ein David Eicher, Victor Johnson, Dongho Lee, Contact: www.agohq.org. July 19–23, University of Michigan, Ann Deutsches Requiem Anne McNair, others. Arbor. July 25–28, Rochester, NY. Contact: Presbyterian Association of Musi- American Theatre Organ Society Annual Masterclasses, score study, rehearsal tech- In-depth analysis and rehearsal of Brahms’s cians, www.pam.pcusa.org. Convention niques, reading sessions; Mark Stover, Eugene Ein Deutches Requiem; Jerry Blackstone and July 6–10, Indianapolis, IN. Rogers, Julie Skadsem, Rollo Dilworth. William Weinert. Baroque Performance Institute Brett Valliant, Ken Double, Mark Herman, Contact: www.music.umich.edu/special_ Contact: https://summer.esm.rochester. June 21–July 5, Oberlin Conservatory of Walt Strony, others. programs/adult/choral.conducting.htm. edu/course/choral-masterworks-brahms-ein- Music, Oberlin, OH. Contact: www.atos.org. deutsches-requiem/. “Bach and his heritage,” coaching, master- Fellowship of American Baptist Musi- classes, concerts; Oberlin Baroque Ensemble. RSCM–Charlotte Course cians 2020 Conference St. Andrews Organ Week 2019 www.oberlin.edu/summer-programs/bpi. July 6–July 12, Charlotte, NC. July 19–25, Green Lake, WI. July 25–August 1, St. Andrews, UK. Course for children and teens; small Workshops, ensembles, and concerts; Lessons, lectures, masterclasses, work- Westminster Choir College Choral Con- group instruction and theory classes; Stephen Heather Sorenson, C. Michael Hawn, Paul shops on music of Bach and of France. ducting Intensive Buzard, Edie Johnson. Horndop, others. Contact: www.st-andrews.ac.uk/music. June 22–26, Princeton, NJ. Contact: www.stje.org/rscm. Contact: www.fabm.com. Intensive study sessions, Alexander Tech- Liturgical Music Institute nique, musical analysis; James Jordan, others. Westminster Choir College Kodály Cer- Westminster Choir College High School July 26–31, Huntington, New York. Contact: www.rider.edu/summerarts. tifi cation Courses: Levels I, II, and III Organ Institute Skills and plenum workshops in music, July 6–17, Princeton, NJ. July 19–August 22, Princeton, NJ. liturgy, and theology; John J. Miller, Susan Church Music Association of America Traditional Kodály pedagogy with 21st cen- Lessons, organ crawls, masterclasses in Hugelmeyer, Steve Warner, Lisa Kelly, others. Sacred Music Colloquium tury educational approaches, development of organ and choral training; Eric Plutz, Mat- Contact: www.liturgicalmusicinstitute.org. June 22–27, Tampa, FL. musicianship and conducting skills; OAKE thew Lewis, others. Instruction in chant and Catholic sacred endorsed. Contact: www.rider.edu/summerarts. Organ Historical Society Convention music tradition, participation in chant choirs, Contact: www.rider.edu/summerarts. lectures, performances. July 26–31, Columbus, OH. Choristers Guild Institute Contact: http://musicasacra.com. Featuring recitals on organs by Kimball, National Association of Pastoral Musi- July 20–24, Atlanta, GA. Skinner, Beckerath, Fisk, Fritts, and others. cians Annual Convention 2020 RSCM–America Gulf Coast Course Certifi cate program for directors of young sing- Contact: www.organsociety.org/2020. July 7–12, Louisville, KY. ers in churches and schools; Michael Burkhardt, June 22–28, Houston, TX. Handbell festival, exhibits, choral, organ, Course for girls 10–18 (choristers and two Amanda Smith, Emily Floyd, others. Association of Disciples Musicians and music direction clinics, recitals. Contact: www.choristersguild.org. Annual Conference 2020 organ scholars), individual and group instruc- Contact: www.npm.org. tion; Bruce Neswick. July 26–31, Tulsa, OK Contact: www.rscmgulfcoast.org. Indiana University Jacobs Organ Anton Armstrong, Tom Trenney, Marcia Westminster Choir College Choral Insti- Academy McFee, others. tute at Oxford July 20–25, Bloomington, IN. www.adm-doc.org RSCM–Pacifi c Northwest Course July 7–16, Oxford, UK. June 22–28, Portland, OR. For pre-college and collegiate organists or Choral conducting lessons and master- keyboardists, program includes daily lessons, St. Olaf Conference on Worship, Theol- Course for singers of diverse ages and abili- classes; James Jordan and James Whitbourn, ties; individual and group instruction; Maxine classes, practice, and access to campus instru- ogy and the Arts: “Scatter the Imagina- co-directors. ments, including organs, harpsichords, and tion of our Hearts” Thévenot. Contact: www.rider.edu/summerarts. Contact: www.rscmpnw.com. carillon; Janette Fishell, Christopher Young, July 27–30; St. Olaf College, Northfi eld, MN. and others. Seminars, plenaries, worship, confer- Guild of Carillonneurs in North America Hymn Society Annual Conference Contact: http://music.indiana.edu/precol- ence choir and handbell ensembles, reading Annual Congress 2020 with World Caril- July 12–16, Atlanta, GA. lege/summer/jacobs-organ-academy/index. sessions. lon Federation Lectures, hymn festival, masterclass; Tom shtml. Contact: https://wp.stolaf.edu/cwta/. June 24–July 1, Kennett Square, PA. Trenney, Alisha Lola Jones, Diana Sanchez- Janet Tebbel, Lisa Lonie, Doug Gefvert, Bushong, others. RSCM–King’s College Course Westminster Choir College Choral many others. Contact: www.thehymnsociety.org. July 20–26, Wilkes-Barre, PA. Pedagogy Institute Contact: www.gcna.org. Course for boys, girls, and adults; Graeme July 27–31, Princeton, NJ. Cours d’Interprétation et Improvisation McCullough, Mark Laubach, Tom Sheehan. Instruction on effective choral rehearsing Eastman Summer Academy for High de Romainmôtier Contact: http://kingscollegecourse.com. with long-term skill development, develop- School Organists July 12–26, Romainmôtier, Switzerland. ment of musicianship and phrasing with June 28–July 2, Rochester, NY. Classes on Jehan Alain, improvisation, RSCM–Washington Course choirs; James Jordan, Jason Vodicka, others. Faculty includes David Higgs, Nathan J. S. Bach, and César Franck; Guy Bovet, July 20–26, Washington, DC. Contact: www.rider.edu/summerarts.

24 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM Summer Institutes, Calendar Bert Adams, FAGO ATRICK LLEN Workshops, & Park Ridge Presbyterian Church P A This calendar runs from the 15th of the month Park Ridge, IL GRACE CHURCH Conferences of issue through the following month. The deadline Pickle Piano & Church Organ Systems NEW YORK is the fi rst of the preceding month (Jan. 1 for Bloomingdale, IL Feb. issue). All events are assumed to be organ Smarano Academy 2020 recitals unless otherwise indicated and are grouped July 27–August 9, Smarano, Italy, and within each date north-south and east-west. •=AGO Thuringia and Leipzig, Germany. Fantasia and its historical development; chapter event, • •=RCCO centre event, +=new organ dedication, ++= OHS event. Christopher Babcock Michael J. Batcho Joel Speerstra, William Porter, Edoardo Bel- lotti, others. Information cannot be accepted unless it Director of Music Contact: www.smaranoacademy.com/organ. specifi es artist name, date, location, and hour in St. Andrew’s by the Sea, writing. Multiple listings should be in chronological CATHEDRAL OF ST. JOHN Choral Artistry order; please do not send duplicate listings. Hyannis Port MILWAUKEE July 30–August 2, Eastman School, Rochester, THE DIAPASON regrets that it cannot assume NY. responsibility for the accuracy of calendar entries. Conducting, vocal pedagogy, musicianship; Kathryn Cowdrick, Monica Dale, others. Contact: http://summer.esm.rochester. UNITED STATES Dean W. Billmeyer edu/course/choral-artistry-conducting-vocal- East of the Mississippi pedagogy-musicianship/. University of Minnesota 15 MARCH Santa Fe Summer Organ Academy Timothy Olsen; St. Patrick’s Cathedral, Minneapolis 55455 • [email protected] July 31–August 7, Santa Fe, NM. New York, NY 3:15 pm Lectures and masterclasses on Spanish Marijim Thoene; Cathedral of St. John organ music, Stylus Phantasticus, and Franck. the Divine, New York, NY 4:45 pm Led by Kimberly Marshall on the Fisk organ Laudamus Choir; Cadet Chapel, West of First Presbyterian Church. Point, NY 2:30 pm Contact: https://fpcsantafe.org/sfsoa/. GAVIN BLACK Byron L. Blackmore Una Voce; Shadyside Presbyterian, Pitts- Princeton Early Keyboard Center Crown of Life Lutheran Church Singing Gregorian Chant and Renais- burgh, PA 3 pm sance Polyphony Joshua Stafford; Evangelical Lutheran 732/599-0392 Sun City West, Arizona Church, Frederick, MD 4 pm August 3–7, Chicago, IL. www.pekc.org 623/214-4903 For church music directors, choral direc- Jochanan van Driel; Washington Na- tors, and singers wishing to gain a stronger tional Cathedral, Washington, DC 5:15 pm foundation in early music; Michael Alan Musical Stations of the Cross; Peachtree Anderson. Road United Methodist, Atlanta, GA 7 pm Contact: https://summer.esm.rochester. Mark Herman, theater organ; Grace THOMAS BROWN Carson Cooman edu/course/singing-gregorian-chant-and- Community Church, Manasota, FL 2 pm UNIVERSITY renaissance-polyphony-chicago/. Thomas Murray; Stambaugh Audito- PRESBYTERIAN CHURCH Composer and Concert Organist rium, Youngstown, OH 4 pm CHAPEL HILL, NORTH CAROLINA Harvard University Royal College of Organists Summer Jean-Baptiste Robin; Church of the Course Covenant, Cleveland, OH 4 pm ThomasBrownMusic.com www.carsoncooman.com August 3–8, London, UK. Choral Evensong; First Congregational, Lessons, masterclasses, services, and per- Columbus, OH 4 pm formance; Anne Marsden Thomas, Andrew Dave Calendine; Temple Theater, Ypsi- Cantrill-Fenwick, others. lanti, MI 3 pm Your professional card Contact: https://www.rco.org.uk/events/ Nicolas Mitchell Garcia; First Presbyte- DELBERT DISSELHORST could appear here! summer-course-2020. rian, Ypsilanti, MI 4 pm Kyle Webber ; Nardin Park United Meth- Professor Emeritus Contact: [email protected] RSCM Residentiary Choir for Adults odist, Farmington Hills, MI 4 pm University of Iowa–Iowa City August 3–9, St. Edmundsbury, UK. Karen Beaumont; St. Hedwig Catholic or 608/634-6253 Sing choral services for a week under the Church, Milwaukee, WI 2 pm direction of Silas Wollston, including vocal Solena Rizzato; Loyola University, Chi- coaching. cago, IL 3 pm Contact: https://www.rscm.com/learn-with- Aaron Tan; Trinity Episcopal, Aurora, IL STEVEN EGLER us/residentiary-choir/. JOHN FENSTERMAKER 3 pm Central Michigan University School of Music BYU Organ Workshop 17 MARCH TRINITY-BY-THE-COVE August 4–7, Brigham Young University, Raphael Vogl; St. Paul the Apostle Cath- Mt. Pleasant, MI 48859 Provo, UT. olic Church, New York, NY 7 pm [email protected] NAPLES, FLORIDA Organ skill-building for all levels; Don Ted Gentry; Campbellsville University, Cook, Bonnie Goodliffe, David Pickering, Campbellsville, KY 12:20 pm Sheri Peterson, others. Contact: https://organ.ce.byu.edu. Norberto 18 MARCH Musica Sacra; Cathedral of St. John the Royal College of Organists Organ Stu- Divine, New York, NY 7:30 pm Susan Goodson Guinaldo dent Experience Candlelight Vespers; Shadyside Presby- August 4–9, Cambridge, UK. Emanuel United Church of Christ His Music terian, Pittsburgh, PA 7 pm Lessons, masterclasses, and lectures for Manchester, Michigan See—Listen—Buy young students; Daniel Moult, Janette Fish- Joy-Leilani Garbutt; Cathedral of St. www.GuinaldoPublications.com ell, Anne Page, others. Matthew the Apostle, Washington, DC Contact: https://www.rco.org.uk/events/ 12:45 pm TOSE. John Chappell Stowe; Luther Memorial Church, Madison, WI 12 noon A Professional Card in Chamber Choir and Choral Conducting Christine Kraemer; St. Luke’s Episco- The Diapason STEPHEN HAMILTON Workshop pal, Evanston, IL 11:30 am August 9–16, Norfolk, CT. For rates and digital specifi cations, recitalist–clinician–educator 19 MARCH For advanced singers and choral conduc- contact Jerome Butera tors; Simon Carrington. Eric Plutz; St. Paul’s Chapel, Trinity www.stephenjonhamilton.com Contact: www.norfolkmusic.org. Church Wall Street, New York, NY 1 pm 847/391-1045; [email protected] Ann Stephenson-Moe; Christ Episco- Musica Antica a Magnano pal, Bradenton, FL 12:15 pm August 13–21, Magnano, Italy. Alice Van Wambeke & Shin-Ae Chun, Clavichord, fortepiano, organ, harpsichord, with choir and instruments; First Baptist, musicology; Bernard Brauchli, Georges Kiss, Ann Arbor, MI 12:15 pm David Herman Eva Kiss, Luca Taccardi, Alberto Galazzo. Contact: www.musicaanticamagnano.com. 20 MARCH Trustees Distinguished Professor Emeritus of Music and University Organist James Kennerley; Merrill Auditorium, The University of Delaware Q [email protected] RSCM Summer Course for Young Portland, ME 7 pm People Jean-Baptiste Robin; St. Paul’s Episco- August 17–23, Bath, UK. pal, Greenville, NC 7:30 pm Course for singers age 4–24; choral train- ing, musical leadership skills, services; Ronny 21 MARCH Gail Archer Krippner. TENET, Schütz, Musikalische Exequien; Contact: https://www.rscm.org.uk/courses/ Church of St. Luke in the Fields, New York, organist bath-summer-course-for-young-people-2/. NY 8 pm www.gailarcher.com Lorraine Brugh, Ph.D. Norwegian Organ Festival 22 MARCH Professor of Music Vassar College September 17–20, Stavanger, Norway. CONCORA, Bach, Mass in B Minor; St. University Organist Concerts, lectures, seminars, masterclasses. James’s Episcopal, West Hartford, CT 4 pm Barnard College, Columbia University Contact: http://orgelfestival.no. Choral Evensong; St. John’s Episcopal, [email protected] Valparaiso, Ind. (212) 854-5096 West Hartford, CT 5 pm valpo.edu 47th Annual Convention of the Ameri- St. Salvator’s Chapel Choir; Battell Cha- Promotion can Institute of Organbuilders pel, Yale University, New Haven, CT 7 pm 219.464.5084 SOZO Media October 4–7, Atlantic City, NJ. Annette Richards; Marquand Chapel, [email protected] [email protected] Contact: www.pipeorgan.org. Yale University, New Haven, CT 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2020 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Daniel Brondel; St. Patrick’s Cathedral, 30 MARCH New York, NY Syracuse, NY 13203-2816 New York, NY 3:15 pm Nathan Laube, masterclass; Colleg- www.andrewhenderson.net Mark Pacoe; St. Thomas Church Fifth edale Church, Collegedale, TN 7 pm (315) 471-8451 Avenue, New York, NY 5:15 pm Matthew Barto; Cadet Chapel, West 31 MARCH Point, NY 2:30 pm Bach, St. John Passion; Cathedral of St. Vincent Dubois; Bryn Mawr Presbyte- John the Divine, New York, NY 7:30 pm Richard Barrick Hoskins Brian Jones rian, Bryn Mawr, PA 2 pm Theodore Davis; Campbellsville Univer- Director of Music & Organist Choirs of Duquesne University; Shady- sity, Campbellsville, KY 8 pm Director of Music Emeritus side Presbyterian, Pittsburgh, PA 3 pm Nathan Laube; Collegedale Church, St. Chrysostom's Church TRINITY CHURCH Alan Morrison; St. John’s United Church Collegedale, TN 7:30 pm Chicago of Christ, Lansdale, PA 4 pm [email protected] BOSTON Choral Evensong; St. John’s Episcopal, 1 APRIL Hagerstown, MD 5 pm Candlelight Vespers; Shadyside Presby- Diane Meredith Belcher; Holy Trinity terian, Pittsburgh, PA 7 pm Lutheran, Lynchburg, VA 4 pm Nancy Freitas Novelly; Cathedral of KIM R. KASLING JAMES KIBBIE Duke Bach Ensemble, Bach, Cantatas St. Matthew the Apostle, Washington, DC D.M.A. The University of Michigan 37, 86, 92; Duke University Chapel, Dur- 12:45 pm Ann Arbor, MI 48109-2085 ham, NC 5:15 pm Andrew Schaeffer & Kangwon Kim; St. John’s University Christopher Houlihan; University of 734-764-1591 FAX: 734-763-5097 Luther Memorial Church, Madison, WI 12 Collegeville, MN 56321 Tampa, Tampa, FL 2 pm noon email: [email protected] Choral Evensong; Cathedral Church of Chelsea Chen; Trinity International Uni- St. Paul, Detroit, MI 4 pm versity, Deerfi eld, IL 7:30 pm David K. Lamb, D.Mus. 23 MARCH 2 APRIL Karen Schneider Kirner Scott Dettra; Woodberry Forest School, James Walton; Christ Episcopal, Bra- Director of Music Woodberry Forest, VA 7 pm Director, Notre Dame Handbell Choir denton, FL 12:15 pm Trinity United Methodist Church David Jonies; First United Methodist, Assistant Director, Notre Dame Folk Choir New Albany, Indiana 24 MARCH Kalamazoo, MI 12 noon University of Notre Dame 812/944-2229 Students from Curtis Institute; Central Synagogue, New York, NY 12:30 pm 3 APRIL Jazz Vespers; Duke University Chapel, Martin Jean, Dupré, Stations of the Durham, NC 7:30 pm Cross; Providence United Methodist, Char- lotte, NC 7:30 pm 25 MARCH Nathan Lively; National City Christian, Candlelight Vespers; Shadyside Presby- A.S.C.A.P. Washington, DC 12:15 pm FELLOW, AMERICAN GUILD OF ORGANISTS terian, Pittsburgh, PA 7 pm Just Bach; Luther Memorial Church, Nathan Avakian, silent fi lm; Redford 345 SADDLE LAKE DRIVE Theater, Detroit, MI 8 pm ROSWELL-ATLANTA, GEORGIA 30076 Madison, WI 12 noon (770) 594-0949 Christine Kraemer; St. Luke’s Episco- Alan Morrison; St. Paul’s Episcopal, In- pal, Evanston, IL 11:30 am dianapolis, IN 8 pm Robert Nicholls, with trumpet; First 26 MARCH Presbyterian, Evansville, IN 7 pm Chelsea Chen, masterclass; Trinity Col- Read our May 2020 issue, which will include the lege Chapel, Hartford, CT 12:15 pm 4 APRIL Janet Yieh; St. Paul’s Chapel, Trinity Yale Voxtet; Marquand Chapel, Yale Uni- work of the winner of our C rst Gruenstein Award. Church Wall Street, New York, NY 1 pm versity, New Haven, CT 7:30 pm C. P. E. Bach, Die letzten Leiden des Er- Duke Chapel Choir & Chamber Orches- lösers; St. Thomas Church Fifth Avenue, tra, Duke University Chapel, Durham, NC New York, NY 7:30 pm 7:30 pm Nancy Siebecker; Christ Episcopal, Three Choirs Festival; Peachtree Road A two-inch Professional Card in The Diapason Bradenton, FL 12:15 pm United Methodist, Atlanta, GA 7 pm Thomas Ospital; First Presbyterian, Bir- Alan Morrison, masterclass; St. Paul’s mingham, MI 7 pm Episcopal, Indianapolis, IN 10 am For information on rates and specifi cations, contact Jerome Butera: VocalEssence; Bethel University, Arden 27 MARCH Hills, MN 8 pm [email protected] 608/634-6253 Martin Jean; Christ Episcopal, New Ha- ven, CT 5:30 pm 5 APRIL Chelsea Chen; Trinity College Chapel, Zachary Schurman; St. John’s Episco- Hartford, CT 7:30 pm pal, West Hartford, CT 12:30 pm James Conely; St John Nepomucene Yale Camerata, Mendelssohn, Elijah; LARRY PALMER Catholic Church, New York, NY 7 pm Woolsey Hall, Yale University, New Haven, PHILIP CROZIER Carson Cooman; National City Chris- CT 4 pm CONCERT ORGANIST Harpsichord – Organ tian, Washington, DC 12:15 pm Chelsea Chen; St. Ignatius Loyola Cath- Nicholas Schmelter; St. Paul’s United olic Church, New York, NY 3 pm ACCOMPANIST Methodist, Rochester, MI 12 noon Choral Evensong; Cathedral Church of Professor of Music, Emeritus 3355 Queen Mary Road, Apt 424 Choir of St. John’s College, Cambridge; St. Paul, Detroit, Michigan 4 pm St. James Episcopal Cathedral, Chicago, Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas IL 7:30 pm 6 APRIL Canada Couperin, Leçons de ténèbres; St. Tho- 28 MARCH mas Church Fifth Avenue, New York, NY (514) 739-8696 Recitals — Lectures — Consultancies Blue Heron; First Church Congregation- 6:45 pm [email protected] al, Cambridge, MA 3 pm [email protected] + 214.350-3628 Scott Smith, silent fi lm, Metropolis; Sen- 7 APRIL ate Theater, Detroit, MI 8 pm Dupré, Le Chemin de la Croix; St. Thomas Graeme Shields; First Congregational, Church Fifth Avenue, New York, NY 6:45 pm Ann Arbor, MI 7 pm Wesley Roberts; Campbellsville Univer- sity, Campbellsville, KY 12:20 pm 29 MARCH Chase Loomer; Woolsey Hall, Yale Uni- 10 APRIL A gift subscription to versity, New Haven, CT 7:30 pm Stainer, The Crucifi xion; Shadyside Pres- St. Andrew Chorale & Orchestra; Madison byterian, Pittsburgh, PA 7 pm Avenue Presbyterian, New York, NY 3 pm Schütz, Johannespassion; First Congre- The Diapason Nathan Bayreuther; St. Patrick’s Cathe- gational, Columbus, OH 7:30 pm dral, New York, NY 3:15 pm The perfect gift for Paul Griffiths; Cathedral of St. John the 11 APRIL + organist colleagues + choir directors Divine, New York, NY 4:45 pm Duke Bach Ensemble; Goodson Chapel, Jamie Hitel; St. Thomas Church Fifth Av- Duke University, Durham, NC 4 pm + students + organ builders enue, New York, NY 5:15 pm + teachers + clergy Craig Williams; Cadet Chapel, West 12 APRIL Point, NY 2:30 pm Tom Sheehan & George Fergus; Wash- Each month your gift will keep on giving by providing the Gail Archer; Vassar College, Pough- ington National Cathedral, Washington, DC important news of the organ and church music fi eld. Know that keepsie, NY 3 pm 5:15 pm Alan Morrison; St. James the Less Epis- your gift will be just right. copal, Scarsdale, NY 4 pm 13 APRIL For information, The Diapason, P.O. Box 300, Lincolnshire, IL Robert Parkins; Duke University Cha- Yale Repertory Chorus; Battell Chapel, 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: pel, Durham, NC 5:15 pm Yale University, New Haven, CT 5 pm 847/763-4933. Or visit www.thediapason.com and click “subscribe.” Benjamin Sheen: St. John’s Episcopal, Tampa, FL 5 pm 14 APRIL $44 one year USA; $35 one year digital; $20 one year student David Jonies; First Congregational, El- Karen Beaumont; Church of the Trans- gin, IL 3 pm fi guration, New York, NY 12:30 pm

26 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 15 APRIL 21 APRIL Southminster Presbyterian Church Just Bach; Luther Memorial Church, Johann Vexo; St. Anne’s Catholic SHORT HILLS Arlington Heights, IL 60005 Madison, WI 12 noon Church, Bethlehem, PA 7 pm Choir of Notre Dame Cathedral, Paris; 16 APRIL Cathedral of St. John the Evangelist, Peter Sykes; St. Paul’s Chapel, Trinity Cleveland, OH 7:30 pm Church Wall Street, New York, NY 1 pm Adam J. Brakel; Community Church at Tiffany K. Ng, PhD DEREK E. NICKELS, DMA Keble College Choir; St. Thomas Church Tellico Village, Loudon, TN 7 pm University Carillonist | New Music Performer Church of the Holy Comforter Fifth Avenue, New York, NY 7:30 pm + Scott Detra; St. John’s Episcopal Ca- The University of Michigan, Ann Arbor Choral Evensong; Cathedral Church of thedral, Knoxville, TN 7:30 pm Kenilworth, IL 60043 the Advent, Birmingham, AL 5:30 pm [email protected] Nathan Laube, worship service; Hills- 22 APRIL soundcloud.com/carillonista (847) 251-6120 • [email protected] dale College, Hillsdale, MI 11 am Choir of Notre Dame Cathedral, Paris; Cathedral of Christ the King, Atlanta, GA 17 APRIL 7:30 pm NDREW CHAEFFER Johann Vexo; Christ Church Episcopal, A S Jeffrey Schleff, Ed.D. Philadelphia, PA 7 pm 23 APRIL Luther Memorial Church (ELCA) Organist/Director of Music Mercersburg Academy Chorale; St. John’s Bradley Burgess; St. Paul’s Chapel, Madison, Wisconsin Episcopal, Hagerstown, MD 7:30 pm Trinity Church Wall Street, New York, NY First Presbyterian Church Mark Thewes & Chad Pittman; National 1 pm [email protected] Gainesville, Texas City Christian, Washington, DC 12:15 pm Recitals — Hymn Festivals [email protected] Nicholas Schmelter; First Presbyterian, 24 APRIL Caro, MI 12 noon Ken Cowan; Emmanuel Episcopal Church, Chester Parish, Chestertown, MD 18 APRIL 7:30 pm Ken Cowan; St. Norbert Abbey, DePere, Alexander Frey; National City Christian, STEPHEN SCHNURR WI 2 pm Washington, DC 12:15 pm Cathy Shelton; Cathedral Church of the Saint Paul Catholic Church Organogenesis Artists LLC 19 APRIL Advent, Birmingham, AL 12:30 pm Valparaiso, Indiana [email protected] Ryan Kennedy; Center Church on the Jeremy David Tarrant, works of Bach; Green, New Haven, CT 3 pm Cathedral Church of St. Paul, Detroit, MI Grant Wareham; Woolsey Hall, Yale Uni- 7:30 pm versity, New Haven, CT 7:30 pm Jackson Borges, silent fi lm, Sherlock Tallis Scholars; St. Ignatius Loyola Cath- Jr.; St. Luke’s Episcopal, Evanston, IL 7 pm ROBERT L. olic Church, New York, NY 4 pm Aaron Tan; Cathedral of St. John the Di- 25 APRIL SIMPSON Mark Steinbach vine, New York, NY 4:45 pm Barnard-Columbia Chorus & Choir of Brown University Timothy Lyons; Cadet Chapel, West Gdynia Maritime University, Dvorák, Re- Christ Church Cathedral Point, NY 2:30 pm 1117 Texas Avenue quiem; Church of the Ascension, New York, Houston, Texas 77002 Johann Vexo; St. Stephen’s Episcopal, NY 8 pm Milburn, NJ 4 pm Vincent Dubois; Corinth Reformed David Hirst; Washington National Ca- Church, Hickory, NC 7 pm ] thedral, Washington, DC 5:15 pm THOMAS R. THOMAS Joe Utterback Steven Ball, silent fi lm, The Adventures 26 APRIL Organist/Choirmaster of Prince Achmed; Tampa Theater, Tampa, Yale Camerata & Yale Glee Club; Wool-

]] ] FL 3 pm sey Hall, Yale University, New Haven, CT St. Luke’s Episcopal Church www.jazzmuze.com Clark Wilson, silent fi lm, King of Kings; 4 pm Live Oak, Florida 32064 203 386 9992 First Congregational, Columbus, OH 7:30 CONCORA; First Church of Christ, Con- [email protected] pm gregational, New Britain, CT 4 pm Mark Herman; Senate Theater, Detroit, GM Chorale; Middletown High School, MI 3 pm Middletown, CT 4 pm Renée Anne Louprette; Trinity Luther- Choral Evensong; St. John’s Episcopal, an, Grand Rapids, MI 3 pm West Hartford, CT 5 pm Kevin Walters University of Evansville Choirs, Durufl é, Jillian Gardner; Cathedral of St. John David Wagner Requiem; First Presbyterian, Evansville, IN the Divine, New York, NY 4:45 pm DMA M.A., F.A.G.O. 6 pm Peter Baratta; Cadet Chapel, West www.davewagner.net Richard Elliott; Zion Lutheran, Wausau, Point, NY 2:30 pm Rye, New York WI 3 pm Ken Cowan; First Presbyterian Church in Peter Fennema; Luther Memorial Germantown, Philadelphia, PA 4 pm Church, Madison, WI 12 noon Adam J. Brakel; Pleasant Hills Commu- Laura Bottei; Loyola University, Chica- nity Presbyterian, Pittsburgh, PA 3 pm Alan G Woolley PhD go, IL 3 pm Tallis Scholars; Shadyside Presbyterian, KARL WATSON Choir of Notre Dame Cathedral, Paris; Pittsburgh, PA 3 pm Musical Instrument Research

Emmanuel Episcopal, La Grange, IL 3 & Eileen Guenther; Cathedral of St. Mat- FIRST PRESBYTERIAN CHURCH Edinburgh

7 pm thew the Apostle, Washington, DC 3:30 pm WOODBRIDGE, NJ [email protected]

DIAPASON Student Rate RONALD WYATT $20 one year Trinity Church 847/954-7989 Galveston WOW! [email protected] 2009 - Women Work . . . and have proven themselves exceptional performers and composers, whom we celebrate on International Women’s Day during Women’s History M Month. A two-inch Professional Card in The Diapason A 2010 - Invitation to the Dance . . . though the pipe organ itself For information on rates and specifi cations, contact Jerome Butera: R may seem big and ponderous, its music will have your toes tapping. [email protected] 608/634-6253 2 2011 - Bach Here and There . . . diverse venues and 0 interpretive attitudes explore the universal genius of J.S.B. ArtistArtist Spotlights Spotlightspotlight s 2 2012 - More Minnesota Memories . . . drawn from the 0 archives, arresting repertoire and performances featuring Artist Spotlights Minnesota venues and instruments. are available on Your professional card The Diapason 2013 - Sonata for Everyone! . . . from Baroque beginnings to website and could appear here! contemporary realizations, this ‘classical’ format serves all. 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 MARCH 2020 Q 27 Calendar

Colin Andrews; Washington National Chelsea Chen; Trinity Downtown Luther- 18 APRIL 25 MARCH Cathedral, Washington, DC 5:15 pm an, Houston, TX 2:30 pm Gail Archer; Westport Presbyterian, Matthias Havinga; Kreuzkirche, Dres- Choral Evensong; Cathedral Church of Isabelle Demers; Highland Park United Kansas City, MO 7:30 pm den, Germany 8 pm St. Paul, Detroit, MI 4 pm Methodist, Dallas, TX 6 pm Musica Sacra San Antonio; Basilica of Alcee Chriss; Hyde Park Community Rodney Gehrke; Gethsemane Luther- the National Shrine of the Little Flower, 26 MARCH United Methodist, Cincinnati, OH 4 pm an, Seattle, WA 4 pm San Antonio, TX 7:30 pm Bernhard Ruchti, silent fi lm; Collège Jin Kyung Lim; Cathedral of St. Mary of Claparède, Geneva, Switzerland 8 pm 28 APRIL the Assumption, San Francisco, CA 4 pm 19 APRIL Denis Bédard; Westminster United Clara Gerdes; Marquand Chapel, Yale Nathan Laube; Episcopal Church of the Church, Winnipeg, MB, Canada 2:30 pm University, New Haven, CT 7:30 pm 27 MARCH Transfi guration, Dallas, TX 7 pm 27 MARCH Lucas Fletcher; Third Baptist, St. Louis, 29 APRIL 24 APRIL Simon Peguiron; Reformed Church, MO 12:30 pm Ethan Mellema; Luther Memorial Tom Vozella; Third Baptist, St. Louis, Neuchâtel, Switzerland 6:30 pm Church, Madison, WI 12 noon Nathan Laube; First Presbyterian, Santa MO 12:30 pm Donald McKenzie, silent fi lm; Collège Fe, NM 5 pm Renée Anne Louprette; All Saints’ Epis- Claparède, Geneva, Switzerland 8 pm 30 APRIL • Margaret Kvamme; University of Ne- copal, Fort Worth, TX 7:30 pm Gail Archer; St. Paul’s Chapel, Trinity vada Las Vegas, Las Vegas, NV 7:30 pm Wyatt Smith; University of Puget Sound, 28 MARCH Church Wall Street, New York, NY 1 pm Wayne Burcham-Gulotta; St. Marga- Tacoma, WA 12 noon Guy Bovet, Nicolas Hafner, Robert ret’s Episcopal, Palm Desert, CA 12 noon Choir of Notre Dame Cathedral; Christ Rowley & Vincent Thévenaz; Collège UNITED STATES Catholic Cathedral, Garden Grove, CA Claparède, Geneva, Switzerland 8 pm West of the Mississippi 28 MARCH 7:30 pm Nathan Laube, masterclass; First Pres- 29 MARCH byterian, Santa Fe, NM 10 am 26 APRIL Ensemble Vocal de Lausanne; Abbey 15 MARCH Steven Ball; St. Francis de Sales Ora- Church, Romainmôtier, Switzerland 5 pm Buxtehude, Membra Jesu Nostri; Epiph- 29 MARCH tory, St. Louis, MO 2 pm any Episcopal, Seattle, WA 6:15 pm Thomas Ospital; Meyerson Symphony Andrew Peters, Easter hymn festival; 1 APRIL Chelsea Chen; St. Margaret’s Episcopal, Regina Schnell; Katholische Pfarrkirche, Palm Desert, CA 4 pm Center, Dallas, TX 2:30 pm Second Presbyterian, St. Louis, MO 4 pm Brian Swager, harp; Cathedral of St. Choir of Notre Dame Cathedral, Paris; Kolbermoor, Germany 7:45 pm Monica Czausz; Central Union Church, Johannes Trümpler; Frauenkirche, Honolulu, HI 2 pm Mary of the Assumption, San Francisco, Church of the Incarnation, Dallas, TX 4 pm CA 4 pm Conte-Ennis Duo (Peter Conte, organ, Dresden, Germany 8 pm & Andrew Ennis, organ & fl ugelhorn); St. 17 MARCH 7 APRIL Chelsea Chen; Baylor University, Waco, 3 APRIL Andrew’s Episcopal, Amarillo, TX 7:30 pm Dorothy Young Riess; Third Baptist, St. Chelsea Chen; Our Lady of Lourdes Anna Lapwood; St. Lawrence, Alton, UK TX 7:30 pm 8 pm Monica Czausz; Makawao Union Louis, MO 12:30 pm Catholic Church, Sun City West, AZ 3 pm Church, Makawao, HI 7 pm Frederick Swann; St. Margaret’s Episco- 8 APRIL pal, Palm Desert, CA 12 noon INTERNATIONAL Olivier Latry; Kulturpalast, Dresden, 18 MARCH Germany 8 pm Chelsea Chen, masterclass; Baylor Uni- 5 APRIL 15 MARCH versity, Waco, TX 3 pm Zhen Piao; Pacifi c Lutheran University, Stephen Tharp; Berliner Philharmoniker, 18 APRIL Tacoma, WA 3 pm Berlin, Germany 11 am Jonathan Scott; Victoria Hall, Hanley, 20 MARCH Choral Evensong; St. Mark Episcopal Humberto Salvagnin, with bassoon; UK 12 noon Ann Marie Rigler; Third Baptist, St. Lou- Cathedral, Seattle, WA 4:30 pm Reformed Church, Aubonne, Switzerland is, MO 12:30 pm Gail Archer; Trinity Episcopal Cathedral, 10:45 am 20 APRIL Bradley Hunter Welch; Catalina United Portland, OR 4 pm Guy-Baptiste Jaccottet, silent fi lm; Carol Williams; Royal Festival Hall, Lon- Methodist, Tucson, AZ 7 pm Théâtre Barnabé, Servion, Switzerland don, UK 7:30 pm Naomi Shiga; Christ Episcopal, Tacoma, 6 APRIL 2:30 pm WA 12:10 pm Ben Bachmann, with poetry; Grace Ca- Susanne Rohn; Reformed Church, Au- 22 APRIL Jeannine Jordan, with media artist; First thedral, San Francisco, CA 6 pm vernier, Switzerland 5 pm Silvius von Kessel; Kreuzkirche, Dres- Presbyterian, Portland, OR 7:30 pm den, Germany 8 pm Philip Smith; St. Margaret’s Episcopal, 10 APRIL 18 MARCH Palm Desert, CA 12 noon Brent Johnson Samuel Kummer; Frauenkirche, Dres- 24 APRIL Monica Czausz; Church of the Holy ; Third Baptist, St. Louis, MO 12:30 pm den, Germany 8 pm Loreto Aramendi; St. James Anglican, Apostles, Hilo, HI 7 pm Vancouver, BC, Canada 7:30 pm 20 MARCH 22 MARCH 17 APRIL Wolff von Roos; Third Baptist, St. Louis, Monica Melcova, silent fi lm, Zorro; Col- 26 APRIL + Thomas Ospital; Boston Avenue Unit- Isabelle Demers, with violin; Berliner MO 12:30 pm lège Claparède, Geneva, Switzerland 8 pm ed Methodist, Tulsa, OK 5 pm Philharmoniker, Berlin, Germany 11 am 21 MARCH Gail Archer; St. Pancras Church, Güter- 29 APRIL sloh, Germany 8 pm Maria Mokhova & Rudolf Müller; Frauenkirche, Dresden, Germany 8 pm 22 MARCH James McVinnie, with London Philhar- Philip Rushworth; Victoria Hall, Hanley, monic Orchestra; Royal Festival Hall, Lon- UK 12 noon don, UK 7:30 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

28 Q THE DIAPASON Q MARCH 2020 WWW.THEDIAPASON.COM Recital Programs

BR. BENJAMIN S. BASILE, C.PP.S., & four hands, KV 521, Mozart; Capriccio (Six Arauxo; Poolsche Dans, Sweelinck; Schmücke NICHOLAS SCHMELTER, First Con- Kathryn Brtko, oboe, Calumet College of St. Duos for piano and organ, op. 8), Saint-Saëns. dich, o liebe Seele, BWV 654, Prelude and gregational Church, Saginaw, MI, September Joseph, Whiting, IN, October 25: Rigaudon, Fugue in b, BWV 544, Bach; Symphonie III 29: Comes Autumn Time, Sowerby; Largo Campra, transcr. Purvis; Cornet Voluntary DONALD FELLOWS, St. Paul Catholic in f-sharp, op. 28, Vierne. (New World Symphony), Dvorák, transcr. (Voluntary in g, op. 2, no. 6), Berg, transcr. Cathedral, Pittsburgh, PA, September 8: Prae- Clough-Leighter; Schafe können sicher wei- Marchant; Pastorale (Voluntary No. 3 in g), ludium in e, Bruhns; How Firm a Foundation, TIMOTHY OLSEN, Co-Cathedral of the den, Prelude and Fugue in G, BWV 541, Wesley, transcr. Marchant; Gavotte (Six Con- Sweet Hour of Prayer (Preludes on Gospel Sacred Heart, Houston, TX, September 6: Bach; Variations on Old Folks at Home, Buck; certos, op. 13, no. 3), Camidge, transcr. March- Hymns of Faith), Farrell; Outer Hebrides, Fantasia and Fugue in g, BWV 542, Bach; Introduction and Toccata, op. 1323, Cooman; ant; Organ Meditation No. 2, Barton; Pasto- Halley; Petite Suite, Bales; Concerto in a, BWV Chorale Partita: Jesu, meine Freude, Walther; Campanile, Chant funèbre, Tu es petra et rale, Aria (Pastorale in F, BWV 590), Bach; 593, Vivaldi, transcr. Bach; Trio in d, BWV 583, Choral No. 1 in E, Franck; Amazing Grace, portae inferi non praevalebunt adversus te Impromptu, op. 78, no. 1, Coleridge-Taylor. Prelude and Fugue in a, BWV 543, Bach. Shearing; Allegro vivace (Symphonie VI in g, (Esquisses byzantines), Mulet. op. 42, no. 2), Widor. ELISA BICKERS, Fourth Presbyterian JILLIAN GARDNER, St. Thomas Church JOHN SHERER, Fourth Presbyterian Church, Chicago, IL, September 13: Nun Fifth Avenue, New York, NY, September 8: ALISTAIR REID, St. Thomas Church Church, Chicago, IL, September 27: Fan- danket alle Gott, Hovland; Suite circulaire, Prelude (Symphonie I in d, op. 14), Vierne; Fifth Avenue, New York, September 22: fare, Proulx; Organ Suite No. 1 in C, Stunkel; Cooman; Peer Gynt Suite, Grieg; Prayer (Oba Prelude and Fugue in A, BWV 536, Bach; Toccata, Adagio, and Fugue in C, BWV 564, Cloister—Garth, Brewer; Prelude, Fugue, a ba ke), Sowande; Sonata IV in B-fl at, op. 65, Carillon, Sowerby; Allegro non troppo (Sym- Bach; Le salut messianique, Pallesco; Scherzo and Variation, Franck; Rubrics, Locklair. no. 4, Mendelssohn. phony V), Shostakovich, transcr. Gardner. (Dix Pièces), Gigout; Cantilène (Suite Brève), Langlais; Carillon-Sortie, Mulet. CAROLE TERRY, Southern Illinois Uni- ALVIN BLOUNT, Cathedral of St. Philip, DAVID HURD, Holy Trinity Lutheran versity, Carbondale, IL, September 13: Prae- Atlanta, GA, September 29: Joie et Clarté des Church, Akron, OH, September 29: Sinfonia, JEAN-BAPTISTE ROBIN, Wichita State ludium in f#, BuxWV 146, Buxtehude; Unter Corps Glorieux (Les Corps Glorieux), Messi- Chorus: Wir danken dir Gott (Cantata 29), University, Wichita, KS, September 24: den Linden grüne, Sweelinck; Allein Gott in aen; City Called Heaven (Spiritual Suite for Bach; Fantasia on Wondrous Love, Four Spir- Grand Dialogue in C, Marchand; Tierce en der Höh sei Ehr’, BWV 662, Prelude and Organ), Taylor; Allegro (Sonata in C, BWV itual Preludes, Te Deum Laudamus, Hurd. So- taille (Messe pour les Couvents), Couperin; Fugue in C, BWV 547, Bach; Sonata I in f, 529), Bach; The Angels’ Song, op. 105, Stan- nata II in D, op. 50, Guilmant. Trois Solos, The Hands of Time, Robin; Pas- op. 65, no. 1, Mendelssohn; Introduction and ford; Praeludium in G, LubWV 9, Lübeck. sacaglia in c, BWV 582, Bach; Prelude and Passacaglia in d, Reger. JERRY JELSEMA, Loyola University, Chi- Fugue on BACH, Liszt; Six Danses Rou- THE CHENAULT DUO (Elizabeth and cago, IL, September 15: Prelude (Sonata for maines, Sz. 56, Bartók; Esquisse in b-fl at, op. MARIJIM THOENE, Trinity Episcopal Raymond Chenault), Episcopal Church of Worship), Fedak; Flourish, Held; Fanfare for 41, no. 2, Dupré. Cathedral, Reno, NV, September 20: Ave the Incarnation, Highlands, NC, September Organ, Proulx; Pastorale in F, BWV 590, Bach; maris stella (Faenza Codex), anonymous; 18: Variations on an Easter Theme, Rutter; Marche Triomphale, Karg-Elert; Benedictus, JONATHAN RUDY, Loyola University, Prelude in e, BWV 548i, Bach; Andante con Eclogue, Shephard; Allegro for Organ Duet, op. 59, no. 2, Reger; Paean, Leighton; Choral Chicago, IL, August 18: Choral-Improvisa- moto, Maestoso, Allegro con moto, Allegretto Moore; Come Home, Callahan; Shenandoah, Dorien, Alain; Pasticcio (Organ Book), Lan- tion on Victimae paschali laudes, Tournemire, ma non troppo, Misterioso e Adagiossimo, Fi- White; Phantom of the Opera Medley, Lloyd glais; Choral No. 1 in E, Franck. transcr. Durufl é; Fantasy in f, K. 608, Mozart; nale (Vêpres du commun des fêtes de la Sainte Webber, transcr. Chenault; Variations on Veni The Dance of David before the Ark of the Vierge, op. 18), Dupré; Fantaisie Paraphrase, Creator Spiritus, Briggs. ROBERT KNUPP, Cathedral of St. Phil- Covenant (Four Biblical Dances), Eben; Con In Festo Corporis Christi (L’Orgue Mys- ip, Atlanta, GA, September 22: Prelude and Sincerita (Six Etudes in Canonic Form, op. tique), Tournemire; Woman of the Apocalypse BRYAN DUNNEWALD, United Presby- Fugue in d (Three Preludes and Fugues, op. 56), Schumann, arr. Dupré; Sonata XI in d, Crowned with Stars, Teml. terian Church, Binghamton, NY, October 18: 37), Mendelssohn; Clair de Lune (Suite Ber- op. 148, Rheinberger. Con moto maestoso (Sonata in A, op. 65, no. gamesque), Debussy, transcr. Cellier; Sonata I THOMAS WILHELM, Evangelische 3), Mendelssohn; Innig (Studien in kanonisch- in d, op. 42, Guilmant. BARBARA NORLAND SALTER, Cathe- Kirche, Enzheim, Germany, August 3: Toc- er Form, opus 56, number 4), Schumann; So- dral of St. Philip, Atlanta, GA, September 15: cata septima (Apparatus musico-organisti- nata I, Hindemith; Allegro, Cantabile, Finale GEOFFREY MORGAN, St. Martin of Phantasie über den Choral Wachet auf, ruft cus), Muffat; Ach du feiner Reiter, SSWV 111, (Symphonie VI in g, op. 42), Widor; Scherzo Tours Church, Basildon, UK, September 10: uns die Stimme, op. 52, no. 2, Reger; Trois Scheidt; Capriccio sopra il Cucu, Kerll; Passa- symphonique, EC 139, Cochereau. Fiat lux, Dubois; Concerto No. 13, Handel; Danses, AWV 119, Alain; Prelude and Fugue caglia (Apparatus musico-organisticus), Muf- Variations on Amazing Grace, Bédard; Pre- in E-fl at, BWV 552, Bach. fat; Partite diverse sopra O Gott, du frommer DUO MUSART (Raúl Prieto Ramírez, or- lude and Fugue in G, BWV 541, Bach; An- Gott, BWV 767, Bach; Prelude and Fugue in gan; Maria Teresa Sierra, piano), University of dante (Organ Sonata in e-fl at, op. 65), Parker; ANDREW SCANLON, Davidson Presby- B-fl at, Krebs; Pastorella in D, Fantasie in e, Nevada, Las Vegas, NV, September 6: Duets Fantasia in f, K. 608, Mozart; Scherzo (10 terian Church, Davidson, NC, September 16, Adagio in a, Partita in C, Kuchar. I, II, V, and VI for Piano and Organ, Widor; Pièces, no. 8), Gigout; Concert Rondo, Hollins. and St. Paul’s Episcopal Church, Greenville, Duet Suite for Piano and Organ, Bédard; NC, September 21: Postlude in D, Smart; JOHANNES ZEINLER, Stiftskirche, Variations on a Theme by Paganini, Luto- DEREK NICKELS, First Congregational Vater unser im Himmelreich, Böhm; Sonata Stuttgart, Germany, August 2: Prelude and slawsky, transcr. Ramírez; Rhapsody in Blue, Church, Columbus, OH, September 22: Obra in e, BWV 528, Bach; Suite du deuxième ton, Fugue in G, BWV 550, Bach; Choral No. 2 in Gershwin, transcr. Ramírez; Dyptique for Pia- de 8o tono alto. Ensalada, de Heredia; Tiento Guilain; Lotus Blossom, Strayhorn, transcr. b, Franck; Phteggomai, Lacôte; Chaconne in c- no and Organ, Langlais; Sonata in C for piano de medio registro de dos tiples de 2o tono, de Wyton; Trois Pièces, Alain. sharp, Schmidt.

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Don’t just tell people what you _ have for sale. Show them! Own a piece of history! The cover of the 100th Anniversary www.thediapason.com Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

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POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Wanted: Organists visiting Maui. Lahaina’s Toccata Giovane, by Bruce Prince-Joseph, is The Tracker—The Organ Historical Society quar- ChicAGO Centenary Anthology, by Alan J. Holy Innocents Episcopal Church invites visit- a piece with youthful energy, and you will enjoy terly journal includes news and articles about the Hommerding, Paul M. French, Richard Proulx, et ing organists to play its Beckerath Positiv organ playing it! If you knew Bruce from his entertain- organ and its history, organbuilders, exemplary al. This joint effort of the Chicago Chapter of the at Sunday services. Built in 1972 by Rudolf von ing records or from his church playing, you will organs, and regional surveys of instruments. Both American Guild of Organists and World Library Beckerath and then-apprentice Hans-Ulrich appreciate Lucas Fletcher’s Honors Paper on the American and European organ topics are dis- Publications presents specially commissioned Erbslöh for Honolulu’s Lutheran Church, the 408- Toccata and Bruce’s life as well as other links I cussed, and most issues run 40 pages with many organ works by Chicago composers, as well pipe Shrankpositiv has a 54-note “split” manual, offer that give you more information on the life of illustrations and photographs. Membership in the as rare or unpublished pieces by earlier organ- 30-note pedal, 11 stops, 8 ranks, and 6 registers. this beloved organist. michaelsmusicservice.com OHS includes a subscription to The Tracker. Visit ists from the city including Leo Sowerby. Also Holy Innocents acquired the instrument in 1977 704/567-1066 the OHS Web site for subscription and member- includes a jubilant Bailado Brasileiro by Richard and moved it to Maui where it has been played ship information: www.organsociety.org. Proulx, the AGO’s 2006 Composer of the Year! by parish musicians such as Carol Monaghan 003074, $25.00, 800/566-6150, wlpmusic.com. and visiting artists including Angus Sinclair of The Lent and Easter Music of Norberto Gui- Canada and Dalibor Miklavcic of Slovenia. The naldo. The drama of the Cross outstandingly Raven has released the fi rst CD recorded by instrument is extremely responsive and fi lls the portrayed in the following works: Seven Pieces a woman, also the fi rst CD recorded by a non- Raven has imported for sale in America a CD of worship space beautifully. The parish community for the Season of Lent; Agnus Dei (Six Pieces); British subject, on the 1892 Henry Willis organ at Nathan Laube playing a live organ concert in the is “exemplary in its hospitality to all visitors,” and Lauda Sion Salvatorem; Prelude for the Passion Hereford Cathedral in England: Damin Spritzer Black Forest, Nagold, Germany, on a 4-manual that especially includes visiting organists. For of the Lord; O Sons and Daughters of the King; plays “Rhapsodies & Elegies” by early 20th-cen- organ of 81 ranks as rebuilt in 2012 to incor- information: 808/661-4202; holyimaui.org. “Lauda Sion Salvatorem,” a shorter setting in the tury English composers including Willan, Rowley, porate romantic ranks from 1874 and classical The New Paltz Organ Book. See, listen, buy: Ireland, Darke, Bullock, Grace, Elgar, and Nor- ranks from 1971. Nathan plays his transcription www.guinaldopublications.com. man Gilbert. Raven OAR-156, $15.98; RavenCD. for organ of the Mendelssohn piano masterpiece PUBLICATIONS / RECORDINGS com 804/355-6386. “Variations Serieuses;” Reubke: Sonata on the 94th Psalm; Widor: mvt. 1 Allegro from Sym- The Nordic Journey series of CD recordings phony 5; and Bruhns: Praeludium in E Minor. The second of three featured complimentary reveals premiere recordings of symphonic organ Ed Nowak, Chicago-area composer, arranger, Ambiente ACD-1062, $16.98 postpaid in the US scores to be offered by Fruhauf Music Publica- music—much of it still unpublished—from Nor- and church musician, announces his new web- from RavenCD.com 804/355-6386. tions in the course of 2019–2020 is A Baroque dic composers, performed by American organist site, featuring Nowak’s original choral works, Sonata for Carillon (alternatively for harp, piano, James Hicks on a variety of recently restored hymn concertatos, chamber and orchestral or varied keyboard instruments), an elegant work Swedish organs. It’s a little bit like Widor, Reger, works, organ hymn accompaniments, organ The Organ Historical Society e-shoppe is tak- in three movements that follows many of the and Karg-Elert, but with a Nordic twist. Check it and piano pieces, electronic music, and psalm ing orders for a new DVD by Fugue State Films, elaborate mannerisms, structures, and practices out at www.proorgano.com and search for the settings. The website offers scores and recorded The English Organ, a three-part documentary of latter Baroque compositions for keyboard solo. term “Nordic Journey.” examples that are easy to sample and can be presented by Daniel Moult. In addition to three Please consult www.frumuspub.net’s home page purchased in downloaded (PDF and MP3) or hours of documentary, almost eight hours of Bulletin Board for access to the PDF booklet fi le, printed form. Visit ednowakmusic.com. music is presented on DVD or CD (in both and note that other previously issued complimen- Prairie Sounds (OAR-162, $15.98) features stereo and surround). More than thirty organs tary scores for organ solo, choir and organ, and Maxine Thévenot performing on the 1930 Casa- have been fi lmed and recorded, including Christ for carillon continue to be listed and available vant organ at Holy Rosary Cathedral, Regina, Pipe Organs of the Keweenaw by Anita Camp- Church Spitalfi elds, Truro Cathedral, from FMP’s Downloads page. Saskatchewan, Canada, with 18th-, 19th-, and bell and Jan Dalquist, contains histories, sto- Town Hall, St. George’s Hall Liverpool, St. Paul’s 20th-century music by French, Canadian, and plists, and photos of organs of the Keweenaw Cathedral , and King’s College. The British composers. Recent works by Ruth Watson Peninsula, the northernmost tip of Michigan’s set can be preordered for $98. For information: Certified appraisals—Collections of organ Henderson, David L. McIntyre, Gilles Maurice Upper Peninsula. Organs include an 1899 https://ohscatalog.org. books, recordings, and music, for divorce, Leclerc, and Philip Moore are recorded for the Barckhoff and an 1882 Felgemaker. The booklet estate, gift, and tax purposes. Stephen L. fi rst time. Other pieces by Denis Bédard, Dupré, ($8.00 per copy, which includes postage) is Pinel, Appraiser. 629 Edison Drive, East Wind- Franck, Clara Schumann, Jean-Adam Guilain, available from the Isle Royale and Keweenaw THE DIAPASON offers print classifi eds like those are sor, NJ 08520-5205; phone: 609/448-8427; and Frank Bridge complete the program. For Parks Association, 49445 US Hwy 41, Hancock, you are reading now, as well as web classifi eds, email: [email protected]. information: www.ravencd.com, 804/355-6386. Michigan 49930. For information: 800/678-6925. including pictures! www.thediapason.com.

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Consider a gift subscription to THE DIAPA- PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES SON for all your friends who love the organ, harpsichord, carillon, and church music. Your Schoenstein Opus 7, 1891. The great 1906 San 26-rank Casavant pipe organ for sale. Orgues Releathering all types of pipe organ actions gift will be remembered throughout the year. Francisco Earthquake destroyed most of Felix Létourneau is offering a 22-stop Casavant Frères and mechanisms. Highest quality materi- (And don’t forget our special bargain for stu- F. Schoenstein’s life work. This two-manual, pipe organ (Opus 2295 from 1955) for sale. This als and workmanship. Reasonable rates. dents at $20!) Visit www.thediapason.com 24-rank mechanical-action instrument in the electro-pneumatic instrument is currently in stor- Columbia Organ Leathers 800/423-7003. and click on “subscribe.” German Romantic style is the only remaining age at the Létourneau shops and is available www.columbiaorgan.com/col. example. It is currently in the care of A. David for purchase in “as is” condition for US $45,000 Moore of Pomfret, VT, who states, “A wonderful with its original three-manual console. Likewise, THE DIAPASON’S new website has an increased example of Nineteenth Century organ building Létourneau would be pleased to provide a Complete Pipe Organ Services from the Organ capacity for new videos. Go to www.thediapa- infl uenced from earlier times—Full principal proposal to rebuild this instrument, taking into Clearing House: 450 vintage pipe organs avail- son.com and click on videos to see what you’ve chorus on the Great with the correct balance account any desired changes to the stoplist as able, renovation, tuning, consultation. Other missed! Visit www.thediapason.com often and services include transportation, cleaning and of upperwork, a diverse selection of 8′s and 4′s well as installation costs, voicing, casework as keep up to date with all the news items. and a 2′ in the Swell.” His fi rm is prepared to required, and rebuilding the three-manual con- renovation of carvings, reredos, liturgical furnish- renovate and install it. The organ is offered free sole with a new solid-state switching system. The ings. Call John Bishop at 617/688-9290. john@ organ requires approximately 360 sq. ft. with 15′ organclearinghouse.com. of charge along with a starter grant to the insti- THE DIAPASON E-Newsletters are e-mailed ceilings. For more details, visit www.letourneauo- tution providing its new home. Full information: monthly to subscribers who sign up to [email protected]. rgans.com, email [email protected] or call Andrew Forrest at 450/774-2698. MISCELLANEOUS FOR SALE receive them. Don’t miss the latest news, featured artists, and classifi ed ads—all with 1964 Möller studio organ, 3 manuals, 22 16′ reed sale. Three by Skinner: Ophicleide photos—some before they appear in print! ranks, 36 stops, renovated console. Best bid Pfeffer and Debierre organs. Circa 1860 Pfeffer (low 6 wood), Bombard, Bassoon, triple miters; Visit www.TheDiapason.com and click on by March 15, buyer to remove by May 1. For more eight-rank organ, available rebuilt and custom fi n- OSI ½-length Fagotto; also three 8′ Trumpets Subscribe to our newsletter. For assistance, information: James Kibbie, University of Michi- ished. Also 1884 choir organ by Louis Debierre. (Moller–Zajic), OSI, Berkshire; also Clarinet, contact Stephen Schnurr, 847/954-7989, gan, [email protected]. Both are pictured on the Redman website: www. English Horn, Rohr Schalmei. Best offers. André [email protected]. redmanpipeorgans.com. CT 860/664-0046 [email protected] 1954 Walcker, 2 manuals and pedal, 8 stops, THE DIAPASON’s website (www.thediapason. tracker action. Great condition, excellent voicing, Expressive and compact—3/27 Kilgen (1940). String sale: 16′ Austin Gamba, triple mitered; ′ com) features an ever-increasing number of well maintained. Free standing oak case. Suit- Two expressive divisions. 17 manual 8 fl ues. three ranks Austin 8′ strings, block tin; two ranks Reeds include Tuba, Cornopean, Oboe, Clarinet, ′ PDFs of vintage issues. Search the website able for home or chapel. $20,000 or best offer. ′ Skinner strings. Flue Pipework: 8 Spitz Principal, Contact: Julio Blanco-Eccleston: jublec18@ Vox Humana. Harp. 16 Open Wood. Restor- new Gemshorn with Estey Haskel basses, 12 now for selected issues, as most are avail- able condition. $30,000. Organ Clearing House, earthlink.net, 703/582-8308. Haskel Diapason Basses, 12 Principal bases with able from 1944–1945, 1966–1993, and 2005 617/688-9290, [email protected]. racking & chest, 4′ wood Flute d’Amour, Moller to the present! Doppelfl ute, Berkshire III Mixture. Several (1970s) Zoller home pipe organ (1985) for sale. One SERVICES / SUPPLIES OSI chests available. 400 feet of PVC cable, 4 manual and fl at pedalboard, cherry case with sets of 8 pair. Best offers. Must clear warehouse. Postal regulations require that mail to THE doors, bench. Six stops divided at middle C: André CT 860/664-0046 [email protected]. DIAPASON include a suite number to assure ′ ′ ′ 8 Stopped Diapason, 8 Krummhorn, 4 Flute; Aeolian/Robert Morton-style maroon delivery. Please send all correspondence to: ′ ′ ′ 2-2/3 Nazard, 2 Principal, 1-3/5 Tierce (no leather is now available from Columbia Organ THE DIAPASON, 3030 W. Salt Creek Lane, Suite pipes). $15,000 or best offer, buyer to remove, Leathers! Highest quality. 800/423-7003, The Gruenstein Award will be featured in the 201, Arlington Heights, IL 60005. located Newcastle, Maine. 207/563-5679. www.columbiaorgan.com. May issue of THE DIAPASON.

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WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2020 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

Trinity College Cambridge United Kingdom (September 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole 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