THE DIAPASON AUGUST 2016

Christ Church in Short Hills Short Hills, New Jersey Cover feature on pages 26–27 WWW.CONCERTARTISTS.COM 860-560-7800 [email protected] PO BOX 6507, DETROIT, MI 48206-6507 CHARLES MILLER, President [email protected] Œ PHILLIP TRUCKENBROD, Founder [email protected]

ANTHONY & BEARD ADAM BRAKEL THE CHENAULTS JAMES DAVID CHRISTIE PETER RICHARD CONTE LYNNE DAVIS

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

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BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAMÍREZ JEAN-BAPTISTE ROBIN HERNDON SPILLMAN CAROLE TERRY

Longwood Gardens International Organ Competition

BENJAMIN SHEEN JOHANN VEXO BRADLEY WELCH JOHANNES ZEINLER 2013 2015 LONGWOOD GARDENS ST. ALBANS WINNER WINNER THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Seventh Year: No. 8, In this issue Whole No. 1281 Among the offerings in this issue, Stephanie Burgoyne intro- AUGUST 2016 duces us to the fi ve organ sonatas of Charles Villiers Stanford. Established in 1909 Laurence Libin presents a helpful compendium of suggestions Joyce Robinson ISSN 0012-2378 for ensuring a ’s longevity—these can be categorized 847/391-1044; [email protected] as disaster preparation, instrument documentation, and pro- www.TheDiapason.com An International Monthly Devoted to the Organ, moting appreciation of the instrument. the , , and Church Music Larry Palmer reports on the East Texas Pipe Organ Festival, your favorite students? Student subscriptions are just $20. You held last November. Gavin Black continues his commentary on can also sponsor subscriptions for a group of students. Contact CONTENTS recent recording sessions, and John Bishop refl ects on youthful me, and I’ll be pleased to assist. FEATURES memories, including those of E. Power Biggs. Our cover feature this month is Emery Brothers’ renovation Gentle reminders The Five Organ Sonatas of Charles Villiers Stanford (1852–1924) of Aeolian-Skinner Opus 1347 (Joseph Whiteford, 1960) at It’s not too early to remind you about The Diapason 2017 by Stephanie Burgoyne 20 Christ Church in Short Hills, Short Hills, New Jersey. Resource Directory. Please check your existing listing in the After Conservation, What? 2016 directory and let us know if any changes are needed. Suggestions for Back to school It’s also not too early to get you thinking about nominations by Laurence Libin 24 By the time you receive this issue, summer will be starting for our “20 under 30” Class of 2017. Nominations will open in NEWS & DEPARTMENTS to wind down and students will be planning their return to December. Persons previously nominated but not selected may Editor’s Notebook 3 school. Why not give a gift subscription to The Diapason to be nominated again. Q Here & There 3 Appointments 8 Nunc Dimittis 10 Here & There Harpsichord News by Larry Palmer 11 In the wind . . . by John Bishop 16 On Teaching by Gavin Black 18 Events by Scott Dettra, Christian Bischof, Kim- a description of the daily activities of REVIEWS The Friends of the Kotzschmar berly Schafer, Jonathan Biggers, Joseph the conference, illustrated by dozens Music for Voices and Organ 12 Organ host their Orgelfest 16 this month Gascho, Tiffany Ng, James Kibbie, Kola of photographs, visit www.iohio.org.mx/ Book Reviews 12 in Merrill Auditorium, Portland, Maine. Owolabi, and students at the University eng/fest2016.htm. New Recordings 12 Concerts are presented on Tuesdays of Michigan; lectures and workshops New Organ Music 13 at 7:30 p.m.: August 2, Fred Swann; by Joseph Gascho, Michael Barone, Artis–Naples held a “festival of New Music 15 8/9, Dave Wickerham; 8/16, Katelyn Joseph Balistreri, Huw Lewis, Tiffany Great Organ Music” on June 5 at Emerson; 8/23, Ray Cornils. Saturday, Ng, Christian Bischof, Eugene Rogers, Naples Philharmonic Hall in Naples, NEW ORGANS 28 August 13, 10:00 a.m. until 4:00 p.m., and Darlene Kuperus. For information: Florida. James Cochran demonstrated SUMMER CARILLON CALENDAR 29 is Kotzschmar Organ Day, a free event. [email protected]; www.umich.edu/ the IV-41/64 Casavant Frères organ CALENDAR 30 Tours of the organ are available August departments/organ. (Opus 3690, 1990). Works by Bach, ORGAN RECITALS 32 17, 8/24, and 9/1. Open console time may Barié, Buxtehude, Lemare, Messiaen, CLASSIFIED ADVERTISING 34 be reserved for a fee on August 17 and The Indianapolis Symphonic Rheinberger, Vierne, and Widor were 8/24. For information: www.foko.org. Choir will make its fi rst appearance at played by organists Lee Cobb, Jerome New York City’s Carnegie Hall for the Cole, John Fenstermaker, Joyce Finlay, THE Trinity Episcopal Church, Reno, fi rst time since 1978 on October 16, Brice Gerlach, Thomas Goetz, Ric DIAPASON AUGUST 2016 Nevada, hosts recitals on Fridays at 12 conducted by artistic director Eric Stark. Jaeggi, Colleen Kilpatrick, Reidel Mar- noon: August 5, Philip Manwell and Sally The performance will feature Moham- tinez, Mary Joy Silmaro, and Wojciech Turk; 8/19, Michael Lynch; September med Fairouz’s oratorio, Zabur, commis- Wojtasiewicz. This was the tenth annual 2, Thomas Joyce; 9/16, Joyce Rhodes; sioned and debuted by the Choir with recital at Naples Philharmonic Hall and October 7, James Hicks; 10/21, David the Indianapolis Symphony Orchestra attracted an audience of 500. Hatt; November 4, Dominic Pau; 11/18, in 2015. Joined by the Indianapolis Chil- Joan Chambers; December 2, Michael dren’s Choir, the performance will also

Christ Church in Short Hills Lynch; 12/16, Philip Manwell. For infor- include Benjamin Britten’s Les Illumina- Competitions Short Hills, New Jersey Cover feature on pages 26–27 mation: www.trinityreno.org. tions. For more information, visit www. Macalester Plymouth United indychoir.org. Church, St. Paul, Minnesota, announces COVER Aeolian-Skinner Opus 1347, renovation/ St. Chrysostom’s Church, Chicago, that Barbara Hamm has won its 2015 additions by Emery Brothers, Allentown, Illinois, announces its upcoming con- Grace Church in Newark, New Jer- hymn contest. A $500 prize was awarded Pennsylvania; Christ Church in Short Hills, certs (at 7:30 p.m. unless noted): August sey, participated in the city’s 350th anni- for the hymn O God, Bestow Your Love Short Hills, New Jersey 26 15, 6 p.m., Mathieu Polak, carillon; versary celebration with a concert on May and Care, a marriage hymn. Hamm’s September 6, The Choir of Gonville & 22. James Hopkins, recently appointed hymn texts have been published by Caius College, Cambridge; 9/17, Aestas music director of the church, performed Abingdon Press and by Hope Publish- Editorial Director JOYCE ROBINSON Consort; October 21, Richard Hoskins; and conducted works chosen to celebrate ing Company’s Online Hymnody, among and Publisher [email protected] November 8, Third Coast Baroque; restoration of the “Te Deum” stained others. Since 1996, Hamm has served as 847/391-1044 December 9, Candlelight Carols; 12/18, glass window, installed in 1930 in honor minister of music at Community Con- Sr. Vice President RICK SCHWER Caroling with James Fackenthal, caril- of Newark’s Mayor Thomas L. Raymond, gregational Church, United Church of [email protected] lon. For further information: Jr., long-time Grace Church parishioner. Christ in Benicia, California. She teaches 847/391-1048 www.saintc.org. The concert featured works by Bruckner, English at Diablo Valley College in Pleas- Editor-at-Large STEPHEN SCHNURR Bach, Howells, James McGregor, Grace ant Hill, California. For information: [email protected] The festival Musica Divina will be Church director of music emeritus, and www.macalester-plymouth.org. 847/954-7989 held September 15 through October 2 in John Sebastian Bach Hodges, rector of Sales Director JEROME BUTERA monasteries, beguinages, and churches of Grace Church from 1861–70. The Conference of Roman Catho- [email protected] the province of Antwerp, Belgium. Bel- lic Cathedral Musicians announces 608/634-6253 gian and international artists will present The Eleventh International Organ a competition for newly composed set- Circulation/ Subscriptions DONNA HEUBERGER music from the Renaissance to the pres- and Early Music Festival of Oaxaca, tings of the proper texts of the Entrance [email protected] ent age. For more information, visit www. Mexico, was held February 18–24. and Communion Antiphons with Psalm 847/954-7986 musica-divina.be. Nearly 100 persons from Mexico, the verses from the Roman Missal (2010) Designer CATHY LEPENSKE United States, and six other countries for the Ordination of Priests. A prize [email protected] The University of Michigan Organ participated, with scholarships provided of $2,000 will be awarded for the win- 847/954-7964 Department presents its 56th Annual to six Mexican organ students to attend. ning settings. Texts are to be scored for Conference on Organ Music and Twenty musicians collaborated in eight congregation, choir, organ, and optional Contributing Editors LARRY PALMER Harpsichord the 5th Annual Organ Improvisa- concerts on seven restored organs. instruments. Submission deadline is tion Competition, October 2–4 in Ann Restored historic organs were featured October 30. For a detailed explanation of JAMES MCCRAY Arbor. The schedule includes artists in concert, unrestored organs were competition rules, full texts, instrumen- Choral Music and lecturers from the United States visited to study conservation, and the tation, and submission guidelines, visit BRIAN SWAGER and Europe in addition to offerings by organ restoration project for San Matías www.crccm.org. Carillon Michigan faculty and students: recitals Jalatlaco was demonstrated, as well. For ³ page 4 JOHN BISHOP

In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2016. Printed in the U.S.A. GAVIN BLACK 5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. On Teaching Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make Reviewers Anton Warde $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: at the rate of one copy for every fi fteen students. Such copies may be reused for other Steven Young Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington courses or for the same course offered subsequently. John Collins Heights, IL 60005-5025. David Crean Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, Leon Nelson should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 3 Here & There

³ page 3 Canadian artists as part of the 150th The North American Carillon anniversary of Canadian confederation. School, in cooperation with the Guild Competitors must include MacMil- of Carillonneurs in North America, lan’s Cortège académique in their pro- the Springfi eld Park District, and the gram for the semi-fi nal round during the Rees Carillon Society, announces an 2017 CIOC. The deadline to apply for international carillon competition for the competition is January 30, 2017. The June 2–3, 2017, in conjunction with the Canadian International Organ Competi- International Carillon Festival to be held tion covers the cost of travel, accom- in Springfi eld, Illinois. Selection of the modation, and provides a daily stipend fi ve fi nalists will take place via record- for all candidates selected to compete in ing submission in early 2017. First prize the live rounds of the competition. For is $3,000, second $1,500, third $1,250, information: ciocm.org/register_2017. fourth $1,000, and fi fth $750. For further The Canadian International Organ Longwood winners Gregory Zelek, Alcee Chriss, Joshua Stafford, Colin MacKnight details, visit www.carillonschoolusa.org. Competition, directed by the Canadian (photo credit: Laurie Carozzino) John Grew, presents an annual The Canadian International Organ festival in Montreal each October and The winners of the second Longwood Gardens International Organ Competi- Competition (CIOC) and the Sir a triennial international competition. tion were announced June 18 in Kennett Square, Pennsylvania. The Pierre S. du Pont Ernest MacMillan Memorial Founda- The competition was offi cially accepted First Prize of $40,000 and a contract with Phillip Truckenbrod Concert Artists was tion announce a $12,000 award for the as a member of the World Federation awarded to Joshua Stafford. The Firmin Swinnen Second Prize of $15,000 went top Canadian competitor participating in of International Music Competitions to Alcee Chriss, III, a member of The Diapason’s 20 under 30 Class of 2016. The the 2017 CIOC. This award commemo- (WFIMC) in June. The next competition Clarence Snyder Third Prize of $5,000 was awarded to Colin MacKnight. Gregory rates the career of Sir Ernest MacMil- will take place in October 2017. For fur- Zelek, also a member of The Diapason’s 20 under 30 Class of 2016, was awarded the lan (1893–1973) and celebrates young ther details, visit www.ciocm.org. Audience Prize of $1,000. Additional competitors included: Thomas Gaynor, Michael T. C. Hey, Adam Pajan (all members of The Diapason’s 20 under 30 Class of 2016), Ryan Kennedy, Virgile Monin, and Alessandro Pittorino. For further information, including biographies of competitors, visit www.longwoodgardens.org.

Katelyn Emerson Thomas Dahl (photo credit: Joe Routon) (photo credit: Joe Routon)

The American Guild of Organists announced winners of its biennial National Young Artists Competition in Organ Playing at its national convention in Houston, Texas, June 18. First prize was awarded to Katelyn Carolyn Craig at Cathedral of Christ the King Emerson, a member of The Diapason’s 20 under 30 Class of 2015. Second prize was awarded to Kirk Rich. Third prize and the audience prize went to Carolyn Craig performed works of Widor, Bach, Reger, Vierne, Vaughan Wil- Weicheng Zhao. The list of fi ve fi nalists in the competition was rounded out liams, and Hakim at the Cathedral of Christ the King, Lexington, Kentucky, on May by Nicholas Capozzoli, also a member of The Diapason’s 20 under 30 Class of 6. Craig is a junior at Indiana University’s Jacobs School of Music in the studio of 2015, and Zachary Zwahlen. Christopher Young. She serves as organ scholar at Trinity Episcopal Church, Bloom- The National Competition in Organ Improvisation fi nal round was also ington, Indiana, with Marilyn Keiser. Shown in the photograph are Randall Dyer, held at the convention, at Christ Church Cathedral in Houston on June 21. of Randall Dyer & Associates, Inc., builder of the organ; Brian B. Hunt, cathedral Thomas Dahl was awarded fi rst place and the audience prize, Matt Gender organist; Carolyn Craig; Robert F. Whitaker, cathedral director of music; and Bradley was awarded second place, and Kalle Toivio was awarded third place. For E. Jones, tonal director of the Dyer fi rm. information: www.agohq.org.

People in music education from Elizabethtown College in Pennsylvania, studying organ with Carl Shull, and a Master of Arts degree in organ performance from Mont- A Precious Gift clair State University as a student of Jon Gillock. Artz has served several Lutheran from the Past and Catholic parishes in Pennsylvania (including St. John’s, Emmaus), and New Jersey, including Newark’s Cathedral- for the Present Basilica of the Sacred Heart (1993–98), Our Lady of Sorrows Catholic Church, South Orange, and since 2011 at Crescent and the Future Avenue Presbyterian Church, Plainfi eld, Supremely beautiful and blendable New Jersey. There he was artistic director for Crescent Concerts and conducted the tonal color – a Gift from the Venetian Crescent Choral Society. His retirement School of organbuilding, a monumental part of our this summer marked 40 years of service JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH as a church musician. Artz also served as SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN director of music at the Far Brook School in Short Hills, New Jersey, until his retire- ment this June. Intriguing? Let us build your dream. As a recitalist, he has performed in F. Allen Artz, III several Midwestern and northeastern states and in England and has played F. Allen Artz, III, has retired and Vespers at the Cathedral-Basilica in moved to Pottstown, Pennsylvania. He the presence of Pope John Paul II and received a Bachelor of Science degree ³ page 6

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³ page 4 of the Pontifi cal Equestrian Order of St. President Bill Clinton. Artz founded and Gregory the Great, in acknowledgment Phillip Truckenbrod Concert Art- directed the “South Mountain Chorale,” of his lifelong service to music of the ists, LLC announces the addition of three a choral ensemble of 21 singers, which Catholic Church. concert organists to its roster. Adam J. specialized in mostly a cappella music Brakel, who is based in Tampa, Florida, of the Renaissance. He reactivated this and is director of music for St. Frances ensemble in 2008, renamed as the “Car- Xavier Cabrini Parish in the Diocese of St. rollton Chorale.” Petersburg, has been increasingly visible on the concert stage, receiving consistent Karen Beaumont performs concerts critical praise. National Public Radio in (all in Milwaukee, Wisconsin, except as Florida hailed him as “An absolute organ noted): August 14, St. John’s Lutheran; prodigy, with the technique and virtuos- 8/21, St. Hedwig’s; September 11, Sts. ity that most concert pianists could only Peter and Paul; 9/18, St. Hedwig’s; dream of, and having the potential to be October 2, St. Hedwig’s; 10/16, Basilica the leading organist of his generation. He of the Immaculate Conception, Denver, is the Franz Liszt of the organ.” With a Colorado; November 30, Cathedral of Adam J. Brakel command of a wide range of repertoire, St. John the Evangelist; December 11, Brakel is one of very few concert organ- St. John’s Lutheran; January 6, 2017, ists to perform and record the entire set with Mike Keegan, horn, and Susan of the Six Etudes of Jeanne Demessieux. Platt, soprano, Grace Lutheran; Febru- A graduate of Duquesne University and ary 7, Incarnation Lutheran; March 19, the Peabody Conservatory, he has studied St. John’s Lutheran; April 18, Church with David Craighead, John Walker, Don- of the Transfi guration, New York, New ald Sutherland, and Gillian Weir. Adam J. York; 4/29, First Unitarian Society; May Brakel has performed from coast to coast 14, with Susan Platt, soprano, and Mike Shirley Holzinger in the United States and in concert tours in Keegan, horn, St. Casimir Church; 5/30, England, Germany, and Hong Kong. Prior Exeter College, Oxford, U. K.; 5/31, Shirley Holzinger was recently to his work in Florida, he served as organist Oxford Town Hall, Oxford, U. K. For celebrated by Newman United Meth- at St. Paul’s Cathedral in Pittsburgh, St. Ig- more information: http://karenbeaum- odist Church in Grants Pass, Oregon, natius Loyola in New York, and the Basilica ontorganist.mysite.com. for her 50 years of service as organist. of the National Shrine of the Immaculate Holzinger, who turned 81 in June, is a Conception in Washington, D.C. Harpsichordist Paul Cienniwa graduate of the University of Oregon Hailed by the New York Times as “splen- and mezzo-soprano Allison Messier School of Music. She fi rst served New- did,” Renée Anne Louprette has a very announce their new website, still at the man UMC as director of their children’s Renée Anne Louprette active career as organ recitalist, accompa- same address: WeAreALLISON.com. choir in 1958 and joined the staff as nist, and teacher. She is university organist Visitors to the site can listen to ALLI- organist in 1966. Through the years she and coordinator of the organ department at SON: Volume One online, and purchase has played from one to three worship Mason Gross School of the Arts, Rutgers it there in mp3 and CD formats. The services a week. Under her direction University. She was appointed associate site also lists upcoming performances, the 1939 Reuter pipe organ in the main director of music and organist of the Uni- news and writings, and additional back- sanctuary has been enlarged twice. tarian Church of All Souls in New York City ground information. Holzinger is continuing at Newman as in 2015, having previously served as direc- organist emerita. tor of music at the Church of Notre Dame, The Friends of the Kotzschmar organist and associate director of music at Organ, Merrill Auditorium, Portland, On September 11, organist Christa Trinity Wall Street, and associate director of Maine, have announced the retirement Rakich and cellist Kathy Schiano will music at the Church of St. Ignatius Loyola, of Ray Cornils as municipal organist, perform the premiere of a new work by all in New York City. Her 2015–16 season effective December 31, 2017. Cornils Margaretha Christina de Jong, organist included solo recitals at , has served as tenth municipal organist and composer from Middelburg, Hol- Washington National Cathedral, Arizona since 1990. His duties include not only land, at the First Congregational Church State University, Pacifi c Lutheran Uni- performances on the Austin organ, but in Somers, Connecticut. The work, a versity, and performances with the Mostly also planning musical events at the series of six Charakterstücke, was com- Mozart Festival Orchestra at Lincoln auditorium, devising and executing missioned from the Marjorie Jolidon Robert McCormick Center with violinist Joshua . Louprette programs and demonstrations of the Fund of the Hartford AGO Chapter. holds a Bachelor of Music degree summa organ for young people, and conducting cum laude in piano performance and a graduate professional diploma in organ tours of the organ to the general public. performance from the Hartt School, University of Hartford. She was awarded Cornils intends to retire from his posi- a Premier Prix—mention très bien from the Conservatoire National de Région tion as director of music for First Parish de Toulouse, , and a Diplôme Supérieur in organ performance from the Church, Brunswick, Maine, at about the Centre d’Études Supérieures de Musique et de Danse de Toulouse, studying with same time. He has served First Parish Michel Bouvard and Jan Willem Jansen and improvisation with Philippe Lefebvre. Church since the late 1980s. She did additional study with Gillian Weir, James David Christie, and Guy Bovet. Described by Choir & Organ as “indomitable and immensely gifted” and Leo Nestor has retired as Justine by the Macon Telegraph as “an artist of rare sensitivity and passion,” Robert Bayard Ward Professor of Sacred McCormick is the newly appointed organist and choirmaster of St. Mark’s Music, director of choral studies, and Episcopal Church in Philadelphia, a parish deeply rooted in the Anglo-Catholic director of the Institute of Sacred tradition. From 2008−16, he was director of music at St. Paul’s Parish, K Street, Music at the Catholic University of Washington, D.C. Under his direction, the St. Paul’s choirs performed at con- America, Washington, D.C. There he ventions of the American Guild of Organists, the Organ Historical Society, and conducted the Chamber Choir and the Association of Anglican Musicians, and were heard nationally on the radio University Singers and taught courses programs Pipedreams and With Heart and Voice. From 2001−08 he served as in composition, conducting, and sacred organist and music director at the Church of St. Mary the Virgin, New York. music. From 1984 until 2001, Nestor Shirley Curry and Harold Stover Widely heralded by his colleagues for his creative and unique abilities in organ had also served as director of music improvisation, McCormick was named a semi-fi nalist in the 2005 St. Albans for the Basilica of the National Shrine Harold Stover’s new anthem, God International Organ Festival Improvisation Competition. He holds the Bachelor of the Immaculate Conception, also Speaks to Us in Bird and Song, was of Music degree in organ performance, summa cum laude, from Westminster in Washington. His compositions have premiered on June 5 at First Con- Choir College. During his time at Westminster he was also assistant organist at been published by numerous fi rms. He gregational Church, UCC, in South Trinity Church, Princeton. His teachers have included McNeil Robinson and was one of the four founding members Portland, Maine. The congregation Robert Carwithen. of the Conference of Roman Catholic commissioned the work to honor Shir- Booking inquiries for Adam Brakel, Renée Anne Louprette, and Robert Cathedral Musicians. At the May 14 ley Curry for her nearly 50 years as the McCormick should be directed to Charles Miller at 860/560-7800 or at email@ graduation exercises of the Benjamin T. church’s minister of music and for her concertartists.com. Rome School of Music at Catholic Uni- eightieth birthday. versity, Nestor was inducted as a knight ³ page 8 CLAYTON ACOUSTICS GROUP Duchon’s Organ Pipes 2 Wykagyl Road Carmel, NY 10512 New Reeds & New Flues 845-225-7515 [email protected] Additions & Repairs www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM 330/257-0491 ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP [email protected]

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³ page 6 Organ Builders

Appointments F. Anthony Thurman has been appointed music director at the First Presbyterian Church in Germantown, Philadelphia, Pennsylvania. He completes 22 years as music director at the Irving- ton Presbyterian Church, Irvington-on-Hudson, New York, where he oversaw the selection, design, and installation of a 3-manual, 29-stop organ by Orgelbau Klais (Bonn, Germany) in 2001, and Whitechapel Bell Foundry (London, England) tower in 2007. In Germantown, he will perform on the McLean Memorial Pipe Organ, the largest church organ in Philadelphia and described as “Germantown’s Giant” by Orpha F. Anthony Thurman Ochse in her book, . A graduate of the Manhattan School of Music in New York City, Console section of the one-thousandth Peterson ICS-4000 pipe organ control sys- where he earned a Doctor of Musical Arts degree as a student of McNeil tem at the Berghaus shop Robinson, Thurman holds graduate and undergraduate degrees in organ per- formance and church music from the University of Louisville, where he was Peterson Electro-Musical Products, Inc. of Alsip, Illinois, is pleased to a student of Melvin Dickinson. An award-winning organist, he has performed announce the delivery of its one-thousandth ICS-4000™ pipe organ control system throughout the U.S. and abroad and has been conductor of church choirs on May 31, 2016. ICS systems have been chosen by 220 different pipe organ fi rms. and choral societies in New York, New Jersey, and Kentucky. He continues in ICS number one-thousand was built for Berghaus Pipe Organ Builders of Bellwood, his full-time position as director of development and communications at the Illinois, and will be installed at St. Mark’s Episcopal Church, Milwaukee, Wisconsin, as American Guild of Organists national headquarters. Q the fi rst phase of the refurbishment of their 1926 Austin pipe organ. Shown above are Berghaus staff members Mitch Blum, Michal Leutsch, Brian Berghaus, Joe Poland, Kurt Linstead, Jordan Smoots, Jonathan Oblander, Scott Peterson of Peterson EMP, Inc., Kelly Monette, and Jean O’Brien. For information: www.ICS4000.com.

Church of the Holy Com- forter, Episcopal, of Kenilworth, Illinois, has selected Berghaus Pipe Organ Builders of Bell- wood, Illinois, to refurbish its 1965 Aeolian-Skinner Opus 1455. Work on the two-manual, 25-rank, 33-stop instrument com- menced June 20 with removal of pipes, chests, and console. In addition to cleaning, releather- ing, and pipe repairs, the console Arthur Bird: Music for the American will be refurbished and a new James Welch and Nicholas Welch Harmonium solid-state combination will be installed. Upon reinstal- James Welch performed at the Artis Wodehouse is featured on lation, revoicing of pipework will historic Presidio Main Post Chapel in a new recording, Arthur Bird: Music be accomplished to return the San Francisco, California, May 26 and for the American Harmonium (Raven instrument to its original sound 27, playing works of Bach and Renaud. OAR-962). Wodehouse performs 24 by its builder. The project is to Joining him was Michael Adduci play- works by Arthur Bird (1856–1923), who be completed by mid-September ing English horn and oboe for works composed for the Mason & Hamlin with a rededication recital to take of Jan Koetsier and Ennio Morricone. American Harmonium, also known as Church of the Holy Comforter place in spring of 2017. Welch’s son Nicholas also performed the “normal harmonium,” which was fi rst movement of Rachmaninoff’s Con- Mason & Hamlin’s effort to standardize certo No. 2 with orchestral accompani- the tonal and playing characteristics of by Artis Wodehouse in The Diapason, 1766–1770), for harpsichord, by Georg ment from the organ. On June 4, James the harmonium, especially compass November 2015). For information: Simon Loehlein (“Lelei”), (1725–1781); Welch performed a recital on the new and dividing point on the keyboard, so www.ravencd.com. ISBN 2-8266-0561-5, Minkoff MI53, Dobson organ at St. Dunstan’s Episcopal that composers could write for it know- €28.00. Also Claude de La Porte (1719– Church, Carmel Valley, California. This ing of the parameters as they had been 1779), Traité théorique et pratique de program featured the world premiere able to do for the European harmonium Publishers l’accompagnement du clavecin avec of Franklin Ashdown’s Fête. Nicholas since it had been standardized in the Edition Walhall announces the l’art de transposer dans tous les tons et Welch also performed the Rachmaninoff mid-19th century. Wodehouse plays a release of facsimile editions, both pub- sur tous les instruments / [Dubugarre:] movement, as well as the Toccata from restored Mason & Hamlin (see “The lished by Minkoff: Sei partite per il clav- Méthode plus courte det plus facile que Boëllmann’s Suite Gothique. American Harmonium and Arthur Bird” icembalo (Opera prima e terza, Leipzig ³ page 10 1988 Berghaus Tracker Pipe Organ for Sale The Diapason Q Two manuals Q 18 ranks 2017 Resource Directory Q 17 stops Q 59 inches deep • The only comprehensive directory for the organ Q 142 inches wide and church music fi elds Q 112 inches high • Includes listings of associations, suppliers, and the products and services they provide Built for a private residence in Valparaiso, Indiana. Reserve advertising space now! Deadline: November 1 Absolutely in like new condition! To reserve advertising space, contact Jerome Butera Contact: [email protected] or cell phone 219/929-7558 608/634-6253; [email protected]

8 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM TRADITION REBORN EXQUISITE SOUND THAT ELEVATES ANY OCCASION

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³ page 8 Nunc Dimittis l’ancienne pour l’accompagnement du clavecin dediée aux Dames, 1753 Donald Wayne Dumler, age 77, died choirmaster at Clarendon United Method- and 1754, ISBN 2-8266-0352-3, Minkoff March 20 in Eden Prairie, Minnesota. Born ist Church, Arlington, Virginia. In 1977 he MI28, €32.50. For information: in 1938, he joined the staff of St. Patrick’s founded the Washington Bach Consort. www.edition-walhall.de. Cathedral in New York City in 1970 as Since 1985 Lewis had served as music associate director of music. In 1990 he was director of the 140-voice Cathedral Choral appointed principal organist of the cathedral, Society; under his leadership, more than Recordings and in 2012 played his forty-third Christmas 20 new works were commissioned, and the Midnight Mass, a service that has been group made nine recordings. broadcast worldwide on television, radio, and Born in 1944 in California, Lewis moved the Internet. Dumler played for over 900 with his family to Arlington at a young age. services a year in the cathedral, including the His career in music began before the age of Masses celebrated during Pope John Paul II’s Dumler, Donald 10; he served as a choirboy at the Washington visits to the cathedral in 1979 and 1995. National Cathedral. He earned a bachelor of Born in Oklahoma, Donald Dumler had music degree from Oberlin College and two early training with Curtis Chambers in advanced degrees, including a doctorate, Oklahoma City. He studied with Mildred from the Juilliard School of Music. Andrews at the University of Oklahoma and J. Reilly Lewis is survived by his wife, with Vernon de Tar at the Juilliard School. In Beth Lewis, of Arlington; a daughter from addition to numerous recitals throughout the a previous marriage, Lauren Lewis, of New United States, Dumler made two recordings York; and a grandson. and performed with the Juilliard Orchestra and the American Symphony Orchestra in Stewart W. Skates of East Hartford, Hymnes both Carnegie Hall and Philharmonic Hall Connecticut, passed away May 9 at age 75. (now Avery Fisher Hall) at Lincoln Center. Born in Northern Ireland, Stewart began in Aeolus announces the release of In 2009, Dumler played to a more than sold- David Clark Isele the organ business as an apprentice for Bel- a new two-compact disc recording, out crowd in Oklahoma, with a closed-circuit fast City Organ Pipe Works. In 1960, at age Hymnes, featuring organists Vincent broadcast to accommodate the crowds. 19, he sent letters looking for employment in Dubois, Pierre Farago, Olivier Latry, Upon retirement on May 1, 2014, Donald America, to Aeolian-Skinner, Schlicker, and Benoît Mernier, and Jean-Baptiste Dumler was named Principal Organist Emer- Austin. He received offers from all three, and Robin. The discs feature organ works itus of St. Patrick’s Cathedral, in recognition told me that he conditionally accepted the of Nicolas de Grigny (the fi ve hymns), of 43 years of service. His tenure was the lon- offer from Aeolian-Skinner, but the response Thierry Escaich, Pierre Farago, Benoît gest of any musician in the cathedral’s history. from Austin’s Vice President Percival Stark Mernier, Vincent Paulet, and Jean- Donald Wayne Dumler is survived by his was so welcoming that he decided he would Baptiste Robin. For information: sister, Shirley Geis, brother-in-law Donald go to Hartford. Austin graciously provided www.aeolus-music.com. Geis, nephews Ken, Mark, and Scott Geis, ocean passage and shipped a tool box and his and niece Laura Ackermann. A Donald personal effects. He was also to receive hous- Dumler memorial scholarship is being ing on arrival until he was able to secure an established. Mass was celebrated in Donald’s apartment on his own. The housing provided memory on May 9 at St. Patrick’s Cathedral J. Reilly Lewis by Austin was the downtown YMCA. in New York City; staff organists played some Arriving at Austin on April 2, 1960, he of his favorite organ repertoire, and former found that the company was only manufac- and present cathedral choristers sang. turing reeds and occasional mixtures, or small other pipework, and various mitering and David Clark Isele died June 25; he was repairs. His mission was to build the pipe shop 70. Born April 25, 1946, in Harrisburg, Penn- into a going concern. His fi rst instrument was sylvania, he was a graduate of the Oberlin Opus 2332, the 120-rank organ for St. Joseph Conservatory of Music (studying voice with Cathedral in Hartford. Since that time, he Howard Hatton and organ with David Boe), built pipework for over 450 organs. His fi nal Southern Methodist University (studying stop, recently completed for Austin Opus choral conducting with Lloyd Pfautsch and 2798 at the Church of St. John Vianney in organ with Robert T. Anderson), and the Houston, Texas, was a 4′ Spiel Flute, a special Eastman School of Music (studying composi- Stewart W. Skates Austin-scaled fl ute of similar character to a Aeolian-Skinner Legacy set tion with Samuel Adler). Koppelfl ote. On his bench remains the metal From 1973–79, he served on the faculty of the University arranged out and scribed for a Nazard for the same instrument. The East Texas Pipe Organ Fes- of Notre Dame, where he founded the Notre Dame Chorale Stewart was a wonderful person with a great sense of tival announces the release of its new and was conductor of the Notre Dame Glee Club. From humor and fi erce devotion to his craft. Every nuance in pipe two-CD set of Aeolian-Skinner’s The 1980–2011 he served the University of Tampa as professor of design was carefully documented on various scale sticks King of Instruments, AS315 and AS316: music, composer in residence, and director of choral and vocal and notes. He would usually arrive around 4:30 a.m., and Catharine Crozier Playing the RLDS activities, founding the Collegiate Chorale, Women’s Glee occasionally over coffee he and I would chat about “the old Auditorium Organ, Independence, Mis- Club, and OPUS, a musical theater ensemble. Isele composed country,” cats, boats, “the old company,” and the “state of the souri. Other volumes in the series are more than 100 works, for orchestra, solo instruments, chorus union.” Some days, work would not begin for quite a while, also available, including the 2012 festival (large works and anthems), voice, and chamber groups. He depending on the depth of conversation required! He can be highlights sampler, and recordings by is known especially for the “Lamb of God” of his Holy Cross seen in a cameo on the History Channel’s episode of Modern Ken Cowan and Bradley Welch. Rich- Mass, and his Psalms for the Church Year. Isele was also active Marvels—LEAD, which featured the making and voicing of ard Purvis’s Volume V will be the next as a conductor, organist, and church musician. His organ works organ pipes here at Austin. release. For information: Prologue and Conjugation and Cognitions have had European Stewart is survived by Myrtle, his wife of 55 years, www.easttexaspipeorganfestival.com. premieres; the latter was recorded for Swiss National Radio. daughter Kimberly (Paul) Serksnas, son Scott (Lisa), four grandchildren, sister June (Willie) Humphries, and J. Reilly Lewis, conductor of the Washington Bach Con- brother-in-law Desmond (the late Maude) McMurray. sort and music director of the Cathedral Choral Society, died —Michael B. Fazio, President & Tonal Director, Austin June 9. He was 71. Lewis served since 1972 as organist and Organs, Inc. Q

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10 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM Harpsichord News By Larry Palmer

Broadening a harpsichordist’s horizons: East Texas Pipe Organ Festival 5 continues tradition A stunning series of pictures by pho- tographer David Brown provided the thematic and artistic background for the opening reception of the 2015 East Texas Pipe Organ Festival on Sunday afternoon, November 8, 2015. Brown’s Monica Czausz new book comprising photographs of Ken Cowan the Aeolian-Skinner organs featured at Todd Wilson and Albert Russell these annual East Texas celebrations was available at the gala event. Titled An American Classic: Roy Perry and the American Classic Organ, this vol- ume is available as a print-on-demand item from www.blurb.com (www.blurb. com/b/6530916-an-american-classic). Perry’s own organ at First Presbyterian Church, Kilgore (Aeolian-Skinner’s famous Opus 1173), was the most frequently Charles Callahan heard of the Texas treasures, utilized fi rst Damin Spritzer in Sunday’s vibrant opening recital by Baskeyfi eld. This unfl appable young Damin Spritzer (works by Benoit, Dal- Adam Pajan artist showcased the glories of Aeolian- lier, Oldroyd, Larry King, Alkan, J. S. Bach, Skinner Opus 1308 in the most generous Howells, and Spritzer’s unique specialty, division), and with the added resource of acoustical environment of the churches multiple pieces by French-American com- a partially enclosed Great division. One that house these treasured instruments poser René Louis Becker); continuing on of Maycher’s stated objectives for his fi fth with a bracing program comprising works Monday with a thematic program of music festival was to show the extraordinary by Whitlock, Saint-Saëns, Dupré (Sym- associated with the instrument played versatility of this superbly voiced instru- phonie II), and a stirring performance of by festival director and current organist- ment and its ability to encompass the per- Liszt’s mighty Fantasy and Fugue on Ad choirmaster Lorenz Maycher (the fi nest formance of large major works from the nos, ad salutarum undam. After a superb performance I’ve heard of Sowerby’s Car- solo organ repertory. Bradley Hunter lunch at Ristorante Giuseppe and an eye- illon, made unforgettable by the perfect Welch’s impeccable performances of opening, leg-stretching visit to the R. W. Matthew Lewis balance of the organ’s chimes and celesta), the complete Sixth Symphony of Widor Norton Art Gallery, the refreshed group plus Perry’s own composition Christos Pat- and Liszt’s Prelude and Fugue on BACH assembled at Shreveport’s First Baptist Perry-voiced organ housed front and terakis and three pieces from Callahan’s certainly put to rest any doubts that might Church (another acoustically live build- center in the spacious contemporary Kilgore Suite, followed by Charles Calla- have been harbored by any audience ing) to hear Charles Callahan’s demon- architecture of First Baptist Church. han himself playing the fi rst performance member. Additionally, Welch explored stration of the fi ne Williams organ (voiced After another memorable lunch at the of his Celtic Suite: four selections commis- the organ’s lovely individual voices in by Roy Perry), then returned to St. Mark’s Summit Club, Matthew Lewis played sioned by the festival in honor of this year’s Max Drischner’s Variations on O Run, for Scott Dettra’s much-anticipated a recital of Franck, Vierne, Tournemire, honored guest, organist Albert Russell. Ye Shepherds and all six of J. S. Bach’s program (Lemare’s organ transcription Dupré, the rarely programmed Diptych Also playing Opus 1173 on Monday Schübler Chorales, cleverly dividing these of Wagner’s Meistersinger Overture, of Messiaen, and a traversal, both intense evening, Todd Wilson gave stellar per- beloved transcriptions into two groups of Sowerby’s Arioso, a welcome hearing of and rousing, of Durufl é’s Suite, op. 5. formances of Bach, Widor, and his own three and programming them on either Seth Bingham’s Passacaglia in E Minor, Evening social times, the famous “After- transcriptions of three improvisations by side of the Liszt. op. 40, and Stanford’s Fantasia and Toc- Glow” sessions at the Kilgore Comfort Gerre Hancock, culminating in a rivet- Also playing Opus 1175, young Caro- cata, op. 57—all dispatched with panache Suites Inn rounded off each music-fi lled ing performance of Reger’s Fantasia and line Robinson presented an eclectic and musical grace). Capping the day with day. Comfortable transportation on char- Fugue on BACH. Wednesday began with program (Brahms, Vierne, Nico Muhly, a buffet dinner in the uppermost reaches tered buses also gave the occasional oppor- a program by Adam Pajan, but the day’s Boëly, Alain, Schumann, and Howells, of Shreveport’s Artspace Gallery and a tunity for such unexpected connections most memorable sounds from this versa- with Sowerby’s Requiescat in Pace comfortable trip back to Kilgore, weary as that between Dallas organist Graham tile instrument were heard by an audibly sounding particularly appropriate to travelers either engaged in the nightly Clarke and Bellevue, Washington, physi- delighted capacity audience when Jelani this instrument). Ms. Robinson was also gathering at Kilgore Comfort Suites (this cian Gordon Hale, who discovered their Eddington provided his masterfully coor- the inspired presenter of the festival’s year titled Owls Paradise, or, in honor of mutually similar experiences from military dinated accompaniment to the silent fi lm free outreach programs for elementary honoree Russell, Al’s Paradise) or simply service during the Vietnam confl ict. Hot Water, starring comic actor Harold school students and was praised in the skittered off to get a good night’s sleep. ETPOF director Maycher has assem- Lloyd. Finally, Ken Cowan made magical local newspaper (Kilgore News Herald, The second, much shorter excursion bled another stellar group of artists to music in Thursday’s closing concert, apply- November 14) for her audience-building was Thursday’s trip to nearby Longview, showcase East Texas’s treasure-trove of ing his seemingly effortless virtuosity to skills as demonstrated in the two sessions where Monica Czausz completely capti- American Classic pipe organs for Fes- works by Bach, Karg-Elert, Dupré, culmi- presented at St. Luke’s. vated her audience with deftly delivered tival Six (November 6–10, 2016). Book nating in a gripping dramatic performance To experience the region’s other two verbal program notes and supremely con- soon (the hotel fi lls quickly) and join the of Reubke’s Sonata on the 94th Psalm. large Aeolian-Skinner organs of national fi dent, musical playing (from memory) select 100-plus registrants who will thrill Within easy walking distance of First repute required travelling: on Tuesday of Dvorák’s Carnival Overture (another to the musical legacy of the legendary Presbyterian Church, St. Luke’s United morning, November 10, two chartered Lemare-based transcription), shorter Roy Perry and his magnifi cently voiced Methodist is home to Roy Perry’s smaller busses departed at 8:30 for a full day’s works by Bach, Widor, Alkan, and Parker, East Texas wonders. Q masterwork, Opus 1175, a two-manual excursion to Shreveport, Louisiana. Our and a resounding traversal of Reger’s instrument of 28 stops (plus four bor- schedule began at St. Mark’s Episcopal Chorale Fantasia on Halleluja! Gott zu Photo credits: William Leazer and Paul rowed voices to fl esh out the Pedal Cathedral with a 10 a.m. recital by David loben—all thrilling on Opus 1174, the Marchesano

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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 11 Reviews

Music for Voices and Organ does not contain the extra instrumental uses fragments of the chorale as melodic elegantly printed on the facing page by James McCray parts and a full score (CGB846) will material for the contrapuntal background along with smaller, equally fi ne pho- be needed. The music is exciting, fast, resulting in interesting parts for all three tographs of special details. Stoplists Late autumn church music (Refor- and rhythmic, with driving keyboard lower voices. The keyboard doubles all include metal content by rank or type of mation through Thanksgiving) accompaniment that sometimes moves the voice lines in this Austin C. Lovelace wood used. into 3+3+2 patterns. The middle section arrangement. Highly recommended. The Rohlf fi rm may call this book a So teach us to number our days that we may gain a heart of wisdom. is slower, quieter, and in a more fl owing brochure, but for the student of organ —Psalm 90:12 style before returning to the opening Thanks Be to God, Allen Pote. SATB, prospects and organ cases, it is a visual driving music, which builds to a loud and piano, and optional oboe, Hope Pub- feast well worth its price. One need not –Night is drawing nigh– dramatic ending. The accompaniment lishing Company, C 5881, $2.25 (M+). be a reader of German to enjoy it fully; For all that has been–Thanks! For all that shall be–Yes! could be performed on the piano alone Popular sacred choral composer Allen every one of its 147 pages invites the —Dag Hammarskjöld (1905–61) without extra instruments. The choral Pote has created another very useful set- eye to luxuriate in the visual details of parts are on two staves. ting. Using a text by Fred Pratt Green, yet another thoughtfully conceived and Autumn seems to bring out a sense of this is a mixture of unison and four-part exquisitely executed pipe organ, each so melancholy in many people. The beauty All Saints’ Day singing that is not diffi cult, yet strongly very different in appearance from the of the changing (and falling) leaves, the Rejoice in God’s Saints, James Biery. emphasizes the message. last. The premium quality of the book’s cooler temperatures, and the anticipation SATB and organ, GIA Publications, The keyboard part, as in most of Pote’s paper, graphics, and printing makes this of the coming holidays usually elicit a G-8617, $2.35 (M-). settings, is varied and interesting, with a wonderful gift for any organ enthusiast, Norman Rockwell-type nostalgia. As dis- The text is by the popular author Fred a combination of arpeggios contrasted a treasure to relax with for hours and to cussed in last month’s column about Rally Pratt Green and consists of four verses. with bold block chords, which emphasize return to again and again. Day, the church is now going forward Several verses have extensive passages in the text of the title. The oboe, whose part —Anton Warde with ever-increasing activities. Choirs are unison with moments of four-part writ- is found on the back cover, plays during Cape Elizabeth, Maine rehearsing at full speed, and for some ing. The mood is refl ective, unlike the most of the piece. directors, the new music purchased for title, which seems to suggest an upbeat the start of the year may now be used up tempo and style. The organ and choir Come, Ye Thankful People, Come, New Recordings completely and old standards from the parts are each on two staves. There are Joel Raney. SATB and organ with Douglas Cleveland plays Rockefeller church’s library are probably back in the brief solo organ interludes; registration piano with 3–6 octaves , Chapel. Douglas Cleveland, organist. choir’s folders. To counter this, consider suggestions are included. Hope Publishing Company, C 5723, Loft Recordings LRCD-1118, www. purchasing more repertoire for some of $2.10 (M-). gothic-catalog.com. the coming special services. Saints Bound for Heaven, Howard Subtitled “Thanksgiving Introit,” this This latest recording by Douglas The Sundays of late October and Helvey. SATB and keyboard, Beck- spirited fi ve-page work boldly states Cleveland is the fi rst to feature the mag- November feature special commemora- enhorst Press, BP1485, $2.10 (M). the traditional George Elvey tune (St. nifi cently renovated and improved organ tions such as Reformation, All Saints’ This is a setting of an 1854 Ameri- George’s Windsor). The handbell at the University of Chicago’s Rockefeller Day, and the celebration of Thanksgiv- can folk hymn, which begins with an parts are on the back cover but do not Memorial Chapel. The organ, originally ing; these events point to winter and the unaccompanied verse in four parts appear in the choral score. The organ built by the Skinner Organ Company of four Sundays of Advent. Furthermore, that merges into a fast and rhythmic accompaniment is on three staves and Boston in 1928 as Opus 634, has been note that Daylight Saving Time ends on keyboard background. The choir sings plays throughout, with contrasting music renovated and enlarged by the Schantz Sunday, November 6. The holiday sea- mostly in unison, which alternates with in the piano part. After a fast instrumen- Organ Company, which completed the son generally begins with Thanksgiving, verse endings in four parts. The key- tal introduction, the tempo changes to work in 2008. The company’s vice-pres- which is not a true Sunday church event, board accompaniment becomes more “grandioso” for the remainder of the ident and tonal director, Jeffrey Dexter, but is often commemorated with a ser- intense for the fi nal verse, which has work. The choir has some divisi and uni- provides a concise history of the instru- vice that day or the preceding Wednes- several divisi. Great fun that singers and son sections. Most of the setting is very ment, as well as the changes made to it day evening. congregation will love. loud. Certain to set the right mood for a and the chapel as part of the organ project, The music reviewed below calls atten- Thanksgiving service. in the disc’s booklet. Cleveland’s musical tion to these various recognized days and I Sing a Song of the Saints of God, selections exploit the various colors of this evenings. This might be a good year to Carlyle Sharpe. SA and piano, E. C. large four-manual instrument with works add music to the choir library that high- Schirmer, 8184, $2.25 (M). Book Reviews by Percy Fletcher, , Pamela lights these events—since they happen This sensitive work seems to place Orgeln aus dem Seitzental: 50 Jahre Decker, and David Briggs. every year, having a choice of repertoire emphasis on the piano part, which has a Orgelbauwerkstatt Johannes Rohlf, Fletcher’s Festival Toccata, composed is always advised. fl owing background for the voices. They by Johannes Rohlf. Berlin: Pape in 1915, may be his best-known organ While not every denomination sing the fi rst two verses in unison before Verlag, 2014. ISBN 978-3921140- work. Fletcher made his living as a music celebrates all of these occasions, they the last verse, which is a true SA. The 97-0; 148 pages, softbound, large director in the London theatres, and as a will have relevance for most churches. choral writing is very easy. format, 155 illustrations; €26, www. composer focused on writing ballads and Clearly, Thanksgiving is a holiday that pape-verlag.de. songs. He also received commissions is recognized in almost every church. It The Patron’s Litany, Lynn Trapp. “Organs from the Seitz Valley: 50 Years for brass band music, which may have brings an end to autumn; furthermore, SATB, assembly, piano, organ, and of the Organbuilding Shop Johannes been the inspiration for works by such with the next Sunday, Advent begins, so guitar with C instrument, GIA Publi- Rohlf” (as the book’s title might run in composers as Gustav Holst and Ralph it serves as a closing bookend for the sea- cations, G-8506, $2.00 (E). English) is Johannes Rohlf’s own glossy Vaughan Williams. One hears numerous son. Keep in mind that the offi cial start Useful for any saint’s feast day or All festschrift, published by Pape Verlag on fanfares within this toccata that suggest of winter is not until December 21, even Saints’ Day, this processional also offers the occasion of his fi rm’s fi ftieth year of the spirit of a brass ensemble. The piece though the hint of Christmas will already numerous performance possibilities, such crafting fi ne organs according to clas- features the new Randel State Trumpet, be in the air. So, dear readers, enjoy those as not using the keyboard instruments sic principles. In effect, the book is an named in homage to the University of nostalgic autumn days while preparing or either of the extra instruments, even extravagant company brochure and is Chicago’s former president, Don Randel for the coming commemorative days though their music is included. The open- indeed listed as “unsere neue Firmen- (editor of the New Harvard Dictionary that begin with Reformation Sunday on ing four-part section is repeated in each of broschüre” on the website of Orgelbau of Music), honoring his commitment to October 30 and close with Thanksgiving the fi ve verses sung by a cantor or a group Rohlf, www.orgelbau-rohlf.de. this project. Full of alternating chords on November 24. of soloists. Very easy music for everyone. Rohlf trained with Eule in Bautzen (in and rapid arpeggiations, the toccata the GDR) in the 1950s and then worked bubbles with energy and excitement, Reformation Thanksgiving with Rieger and others before establish- and Cleveland brings this festive spirit to Refuge, Keith Christopher. SATB and In Christ We Come to Offer Thanks, ing his own shop in Ostfi ldern-Ruit near his performance. piano, Hope Publishing Co., C 5893, Thomas Keesecker. SATB, congrega- Stuttgart in 1964, which he moved to a The Pièces de Fantaisie, op. 53, $2.20 (M-). tion, and organ with optional trum- bucolic setting 50 kilometers to the west comprise the second set of a four-suite The fi rst verse is set for unison treble pet, MorningStar Music Publishers, near the town of Calw in the northern collection by French organist-composer voices in a moderate but free tempo, MSM-50-9814, $1.70 (M-). Black Forest in 1986. Rohlf organs Louis Vierne (1870–1937). Originally then is repeated in four parts with the The congregational and optional total nearly 200 in number, including written for his concert tour of the United sopranos singing the melody. The tempo trumpet parts are available as free down- many one-manual positives (most of States, designed to help Vierne raise increases for the last half. The keyboard loads at www.morningstarmusic.com. these appearing only in the opus list at funds for the failing organ in his beloved part is not diffi cult but is fi lled with lots There are fi ve verses with the fi rst two the end of the book), numerous two- tribune of Notre-Dame-de-Paris, the of fl owing lines. The opening harmony of in unison. The organ accompaniment, manual instruments of twenty stops or pieces in this second suite are dedicated the brief keyboard introduction returns on two staves, has easy music and allows so, and about a half dozen three-manual to six American organists. (Oddly, Vierne later when it is sung as the closing coda. some unaccompanied singing. This work ones of thirty ranks or more. Most have played only the Première Suite during his would be useful for a Sunday or evening found homes in Germany, but two are extensive American tour.) Like his ear- God Is Our Refuge and Strength, Thanksgiving service and has a recur- in Spain, one is in France, one in Japan, lier collection, Pièces en style libre, op. Anna Laura Page. SATB and piano ring, memorable melody. one in Austria (Vienna), and two in Swit- 31, these twenty-four pieces make use with optional fl ute, trumpet, chil- zerland (). of all major and minor keys, in the tra- dren’s choir, 3, 4, 5, or 6 octaves Now Thank We All Our God (Nun The soft-covered folio-sized book dition of Bach and Chopin, and express handbells, and 3 octaves hand- danket alle Gott), Johann Pachelbel. presents a selection of 61 of the 133 a wide variety of moods. These works chimes, Choristers Guild, CGA SATB and keyboard, GIA Publica- organs produced since the company’s also allow the organist to explore the 1381, $2.10 (M). tions, G-7476, $2.25 (M). 1986 move. The majority of these vast resources of the symphonic organ. This piece has several options for For many this is the standard lit- are accorded glorious full-page color The opening Lamento, marked by the performance; however, this choral score erature for Thanksgiving; Pachelbel photographs, with their specifi cations complex chromatic harmonic language

12 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM Reviews that was a staple of Vierne’s middle and In addition to works from the estab- Demessieux as well as the personal har- New Organ Music late compositional styles, is followed by lished repertoire, Cleveland presents two monic language of Pierre Cochereau, Girolamo Frescobaldi: Organ and the Sicilienne, a gentle dance, featur- new works: the world premiere of Pamela many of whose improvisations Briggs Keyboard Works, Volume II— ing the Orchestral Oboe. The Hymne Decker’s haunting Jesu, dulcis memoria has transcribed. These intricate pieces Capricci, edited by Christopher au Soleil makes extensive use of dotted (2010), which is dedicated to Cleveland, require both impeccable technique and Stembridge. Bärenreiter BA 8413, rhythms, recalling the opening section and David Briggs’s fi endishly diffi cult musicianship to bring them to life, and €49.95; www.baerenreiter.com. of a Baroque French overture. The Four Concert Etudes (2006), which Cleveland does not disappoint. The four This volume is the fourth to appear subsequent Feux Follets is a light and were commissioned by Cleveland and etudes include rapid octave passages in in the new edition by Christopher fanciful scherzo that fl its about the premiered by him. Decker’s work takes the pedals (Octaves), alternating chords Stembridge (and for earlier volumes keyboard, presenting the Vox Humana the form of a prelude and fugue using the in the manuals (Accordes alternées), dou- with Kenneth Gilbert) that will present in the middle section. All of Vierne’s title Gregorian chant as its theme. Gentle ble-pedal playing in the lyrical Sarabande, in a chronological order the complete melodic lyricism comes to the fore in and lyrical, as suggested by the title, the and rapid-fi re thirds in the concluding keyboard works that Frescobaldi pub- the sumptuous Clair de Lune, whose work makes use of Decker’s synthetic toccata (Tierces). These pieces should lished during his lifetime, together with opening melody employs the beautiful modes and her complex and colorful har- become part of the concert repertoire, as a selection of instrumental canzonas and 8′ Flute on the Great Organ, and the monic vocabulary, initially heard on the they synthesize masterful craftsmanship manuscripts (but excluding the canzonas suite closes with the sizzling Toccata, an Swell strings contrasted with the Great and dazzling virtuosity. This recording published by Vicenti in 1645). energetic tour de force for the organist. fl ute stops. The fugue begins gently but amply demonstrates Cleveland’s prize- The introduction presents full infor- Cleveland’s technical mastery and musi- builds in intensity and concludes with a winning skills and thoroughly justifi es his mation about the appearance of the cianship make the lyrical moments truly brilliant toccata. international reputation. term capriccio in previous music prints sing while the more fi ery passages exude The virtuosic writing of the Briggs —Steven Young in Italy from 1564 onwards (Vincenzo drama, energy, and passion. etudes recalls those written by Jeanne Bridgewater State University ³ page 14

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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 13 Reviews

³ page 13 its appearance—15 times—is marked the relative minor and a repeat of the international acclaim as both a recitalist Ruffo’s Capricci in musica a tre voci . . .). in the score. No. 11, sopra un Sogetto, Allegro. Rampe has provided a complete and composer. He retired from York in It also deals with the possible impact of is based on a more lively theme than arrangement of the Adagio, which he has 1982 to devote more time to composing. the Neapolitan composers for keyboard, the preceding abstract themes utilized, retitled Andante. An untitled triple-time He has been prolifi c in that capacity, including the prints by Trabaci in 1603 with eighth notes prominent, and No. movement with an opening in binary producing four organ sonatas, a concerto, and 1615, and manuscript pieces by de 12 is based on l’Aria di Rugiero, clearly form leading into a section in the rela- and many smaller works, in addition to Macque, in which context the impor- a particular favorite of the composer, tive minor that closes in its dominant is a large amount of choral music. Partita tance of Frescobaldi’s volume is carefully given its appearance as a set of variations marked Da Capo. The next movement is on a Somerset Carol, only recently pub- assessed and the novelty of this collection in the First Book of Toccatas and also in the well-known Air in F, here followed by lished, was actually written in 1975 for and its relationship to his earlier publica- the Aggiunta of 1637 to the Second Book Handel’s own arrangement for keyboard a carol concert in the Chapter House tions is discussed, along with a detailed of Toccatas. Each of the four phrases of (HWV 464), followed by a Minuet with of York Minster. According to a note in appraisal of each piece in this volume. the is used as a soggetto, and over its trio in the tonic minor. The suite the score, it was premiered there by the The section on interpretation con- half of the ten sections use more than one concludes in Geminiani’s arrangement composer on a modest one-manual organ tains helpful comments on notation. soggetto simultaneously. with a Bourrée and Hornpipe, to which with only one independent pedal stop. These include the somewhat imprecise An appendix includes the setting of La, Siegbert Rampe has added a 67-measure The work was recorded in 2007 by Simon triple-time descriptions provided by Sol, Fa, Re, Mi by Vincenzo Ruffo and a movement from the manuscripts. Nieminski on the organ of St. Mary’s the composer himself (a table gives version in score of the eighth Capriccio. The shorter Suite II in D opens with Cathedral, Edinburgh (Lammas Records the occurrences of triple time with the The critical commentary discusses the an Allegro, with a three-bar transitional 127D), and seems to have been slightly original time signatures), along with sources, including the Turin organ - Adagio from the manuscript sources, revised for publication. suggestions on instruments and tuning. ture, and the editorial policy points out followed by the well-known Hornpipe, Prospective performers should be A chromatic keyboard with the range of the extent of the editors’ intervention, untitled in the original, with its mark- sure to note that the carol in question is E to A2 will suffi ce, but there are places as the original contained no beaming ings for horns and violins inserted. A not the Somerset Carol (“Come All where the low E would have been played of eighth notes or sixteenth notes. The binary-form Minuet and ternary-form You Worthy Gentlemen”), but rather on a short-octave instrument (i.e., on the editorial conventions applied throughout Lentement are followed by a binary-form the lesser-known Somerset Wassail G# key), and the player must decide how the series are also in force here regard- Bourrée (untitled in original), which (Oxford Book of Carols, no. 32). The best to adjust this when performing on ing accidentals and whether naturals closes the suite. long-breathed E-major melody is pre- modern instruments with a complete may admit of infl ection; more than one The Suite III in G opens with an sented in a straightforward three-part chromatic compass. A translation of the solution is frequently possible. There are untitled movement in triple time, fol- harmonization before being subjected composer’s preface offers further useful full listings of readings and places where lowed by two Rigaudons, the fi rst in the to nine variations, the virtuosity of which advice and is required reading. there have been editorial amendments; tonic major, the second in the minor, two belies the work’s humble origins. This volume contains the 12 pieces those variants in the Turin Tablatures Minuets, both in the tonic minor, the fi rst The fi rst variation presents the included in the print of 1624; interestingly, are particularly interesting. Appendix A in binary, the second in ternary form, unadorned melody in the left hand No. 7, sopra l’Aria ‘Or che noi rimena,’ gives a list of handwritten corrections in and closes with two Gigues, the fi rst in against sequential counterpoint in the was omitted in the reprints of 1626, 1628, each of the fi rst editions consulted, and the tonic minor, the second in the major, right, supported by longer pedal tones. and 1642 (which also contained the vol- Appendix B suggests obvious uncor- for which Siegbert Rampe has provided a Variation two is essentially a bicinium umes of Ricercars and Canzoni of 1615). rected printing errors. Four pages of fac- complete arrangement. characterized by homorhythmic, and Most are composed as a sequence of similes make interesting reading as well. The Musick for the Royal Fireworks, generally dissonant, counterpoint, with between 7–10 sections of variable length The quality of printing is excellent, comprising six pieces in D major and the melody outlined in the higher voice. and in contrasting meters, but the player and the very careful layout ensures that minor, was fi rst performed in 1749 and The third variation, marked “deciso e is permitted to shorten the piece at will. page turns are manageable by the player. published later that year by Walsh, brusco” is aggressive and heavily synco- Frescobaldi states in his preface that he These intricate pieces will require care arranged anonymously for the German pated. The theme is barely present, being realizes the comparative diffi culty of this where the parts cross, but the quality of fl ute, violin, or harpsichord. That volume only hinted at by some of the motives in style and laments that reading from score the music makes such labors well worth- contained 11 transcriptions on 21 pages, the running triplets of the right hand. is falling out of fashion. while. It is primarily through playing of which only the fi rst seven pages belong The string stops (one of the few specifi c The volume opens with two examples and immersing oneself in this wonderful to this suite; the remainder of the volume registration instructions) are introduced on the hexachord, No. 1 on the ascend- music that one becomes more adept at was fi lled with marches from various ora- in the next variation, which contains sev- ing, No. 2 on the descending, starting on solving the problems posed in the score, torios (pp. 8–11), the Coronation Anthem eral challenging three-against-four cross la, but the fi nal note ut is wittily altered and these demanding but inventive Zadok the Priest (pp. 12–15), and two rhythms. The melody is paraphrased to G#. No. 3 is based on the call of the pieces deserve to be far more frequently unidentifi ed airs (pp. 16–21). This modern and passed between the soprano and cuckoo, the treble part throughout included in recitals. edition contains only the pieces belonging alto voices. The mostly dormant pedal is the piece consisting only of the falling to the Royal Fireworks, opening with the fi nally given the spotlight in variation fi ve, third D–B, and may well be the earliest Handel: Water Music, Music for lengthy Overture, followed by pieces in for pedal alone. Several moments in the instrumental piece featuring what was to the Royal Fireworks, arranged binary form including a Bouree [sic], a variation seem to recall Bach’s G-minor become such a popular motif (inspiring and edited by Siegbert Rampe. Largo alla Siciliana known as “La Paix,” fugue, BWV 542/2, with similar rhythms later seventeenth-century composers Bärenreiter BA 9254, €34.95; www. an Allegro known as “La Rejouissance,” and roughly analogous melodic contours. such as Kerll and Pasquini, right up baerenreiter.com. and two Menuets, the fi rst in the tonic Apart from specifi c allusions, the fi gura- to Daquin). No. 4 is based on a theme This volume contains the three suites minor, the second in the major. tion is quite Baroque in character, being from Josquin, the Missa La, sol, fa, re, known as the Water Musick (HWV The introduction gives comprehensive mostly suited to alternate toe pedaling, mi, which had been used previously by 348–50) and the Musick for the Royal information about the original perfor- even with the pervasive chromaticism. several composers of both keyboard and Fireworks (HWV 351). These have been mance of both sets of pieces, with much Variation six is a canon at the octave ensemble pieces. As with Nos. 1 and 2, among Handel’s most popular works, information from contemporary sources, between the right hand and pedal, this fi gure appears in each voice in vari- with arrangements for keyboard and also and is well worth reading. The printing accompanied by disjunct eighth-note ous rhythmic transformations here (up to for solo instrument plus basso continuo is clear, with editorial additions and sug- counterpoint. A “scherzando” follows, 25 times) in combination with a plethora appearing during the composer’s lifetime gestions, including complete movements, with the melody paraphrased at different of contrapuntal ideas. to enable a recreation in a domestic being clearly distinguished through use pitch levels throughout. Variation eight Nos. 5 and 6 are based on la Bassa setting without the extensive forces of a smaller font. This volume offers all is a clearer allusion to a Baroque work— Fiammenga and la Spagnoletta respec- that performed the original versions. of the music associated with these two in this case, the opening sinfonia of tively, both originally dance tunes. No. Arrangements of these pieces published perennially popular sets within one cover Handel’s Messiah. Marked “quasi over- 7, Sopra l’Aria ‘Or che noi rimena’ in in the eighteenth century by Walsh and and should be a welcome alternative to ture francese,” the variation follows the partite, consists—uniquely in this collec- later by Wright were followed by count- those seeking a closer arrangement of the two-part arrangement of its model, with tion of pieces—of variations, albeit with less others up to the present day. original than many of the greatly infl ated a slow, over-dotted opening giving way to contrapuntal writing. A change of fi gura- The three suites of pieces known arrangements from the late nineteenth a sprightly fugue. Jackson even sets the tion and also of time signature, from the as Water Musick, composed originally and twentieth centuries. The inclusion variation in the same key (E minor). The opening triple time to quadruple time, for performance in 1717, comprise ten of the separate parts for the Musick for fi nal variation brings the expected toc- occurs in the middle of each partite. Nos. pieces in F, fi ve in D, and seven in G. the Royal Fireworks will enable a wider cata, with the theme presented in long 8 and 9 stand apart even more and have These were almost all set by the eminent range of performance options within notes in the pedal and paraphrased in just the one section, and dealing with violinist Francesco Geminiani, whose both home and church. the manuals. As elsewhere in the piece, theoretical problems, No. 8 is titled Cro- harpsichord skills were clearly subservi- —John Collins the keys of E major and C major are fre- matico, di Ligature al contrario, with dis- ent to his prowess on the violin; the Sussex, England quently juxtaposed. sonances being resolved upwards instead volume was published by Walsh in 1743. The suitability of the work for worship of the customarily accepted downwards. The opening Suite I in F is by far the Partita on a Somerset Carol, op. 45a, services is a bit of a question. While rarely No. 9 is an example of the durezze, or dis- longest with ten movements, of which Francis Jackson. Banks Music Pub- aggressively dissonant, Jackson’s often sonance through suspension and its reso- the fi nal one is here arranged by Siegbert lications 14073, £5.95, www.banks- polytonal and always highly chromatic lution. These two pieces contain some Rampe from the original material since it musicpublications.co.uk. sensibilities may well be beyond the typi- extreme dissonances and raise the genre does not feature in Geminiani’s arrange- Christmas-themed organ music by a cal pew-sitter in all but the most sophis- well above those of contemporaries. ments. The opening Overture was also signifi cant composer like Francis Jackson ticated congregations. Additionally, the No. 10 presents a challenge to the included in volumes of the collected over- (b. 1917) is always a welcome addition overall diffi culty renders it inaccessible performer by being an Obligo di cantare tures published over a period by Walsh, to the repertoire. The near-centenarian to less-virtuosic players. Arguing in the la Quinta parte senza toccarla. The part followed by an Adagio e Staccato in triple succeeded his teacher Edward Bairstow work’s favor is its adaptability. Registra- to be sung is shown in whole notes, is time, after which an Allegro for Corno as master of music at York Minster in tions are loosely prescribed and could be not subject to rhythmic change, and and Violini is followed by an Adagio in 1945, and over the next 37 years achieved successfully rendered on any instrument

14 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM Reviews of average size. Many of the variations also indications, the character of each leaves Registration and dynamic markings are looking for creative shorter arrange- present the theme fairly clearly, which may little doubt as to the intended timbre. The also somewhat sparse, but can be sur- ments that can be quickly learned. Titles help to overcome any reticence to the har- majestic opening variation combines ele- mised to a general degree. include: Cornerstone, Forever Reign, monic language. The set would certainly ments of the fi rst and third phrases of the —David Crean Oceans, 10,000 Reasons, The Stand, One be a worthy addition to somewhat pre- tune. The characteristic opening phrase is Wittenberg University Thing Remains, and more. dictable Christmas-themed recitals, and set in mixed meter with aggressively dis- could well stand in for Dupré’s ubiquitous sonant harmonies that often highlight the When in Our Music God Is Glorifi ed, variations in certain venues. The printing tritone. The more subdued middle section New Handbell Music arranged for 3, 4, 5, 6, or 7 octaves of is clear and generously sized, although is a gloss on the neighbor-note motive Reproducible Rings III, arranged for handbells with optional organ, brass it seems little attention was given to the that begins the third phrase (“Alleluia”). 2–3 octaves of handbells by Lloyd quintet, , SATB choir, and placement of page turns. Also regrettably The opening theme returns to close the Larson, Agape (a division of Hope congregation by Cathy Moklebust, absent is any information on the work’s movement, which cadences in the sub- Publishing Company), Code No. 2778, Choristers Guild, CGB712, $4.50, illustrious composer. dominant. The second sketch presents $49.95, Level 2 (E+–M). Level 2+ (M). the melody more completely and more Here is an accessible set of hymn set- This festive arrangement has a lot of Five Sketches on Helmsley, Philip obviously, as an unadorned pedal theme. tings arranged with the volunteer ringer possibilities —using just the handbells or Moore. Banks Music Publications The manuals accompany with a mirror in mind. Engaging settings of eight famil- pulling out all the stops involving every- 14072, £5.50, www.banksmusicpubli- canon, which eventually gives way to iar carols and hymn tunes bring great one, instrumentalists and singers. The cations.co.uk. more chordal writing. The third sketch is appeal to both ringers and listeners. Buy piece is very accessible, mostly quarter Philip Moore (b. 1943) succeeded Fran- clearly intended as a scherzo and seems to one book and copy all the music for use and eighth note chords, ringing out that cis Jackson as organist and master of music recall similar works by Vierne, Dupré, and by your choir. wonderful tune and text, Engelberg, at York Minster in 1983 and served in that Durufl é, without specifi cally referencing by Charles Villiers Stanford. There are capacity until 2008. In addition to a large any. The tune is well hidden—in inversion Now Thank We All Our God, arranged separate scores available for all of the catalog of choral music, Moore’s organ and fragmented in the right hand—and for 3–5 octaves of handbells and piano musical forces involved. works include a sonata and sets of hymn- the tritone is again the predominant by Lloyd Larson, Code No. 2776, tune preludes. Five Sketches on Helmsley interval. Also reminiscent of Dupré is $4.95, Agape (a division of Hope Pub- Air in D (from Orchestral Suite No. 3) seems to have been written before the the fourth sketch: a slower, simpler, more lishing Company), Level 2 (M-). by Johann Sebastian Bach, arranged mid-1990s, as it was recorded by Jeremy lyrical affair based on the last phrase of the This festive combination of handbells for 3, 4, 5, or 6 octaves of handbells Filsell on the 1997 compact disc 20th hymn. Set in the minor mode with quietly and piano provides a fresh arrangement and 3 or 4 octaves of handchimes Century Cathedral Music (Guild GMCD undulating accompaniment, the outer sec- on the well known hymntune Nun dan- with optional C instrument, by Wil- 7129), but was published only in 2013. tions present the fi nal phrase in retrograde ket alle Gott. The bell part is very liam H. Mathis, Choristers Guild, Due to its modernist character and tech- and in sequence, with the bold melodic accessible, and the piano part is a colorful CGB854, $4.50, Level 3 (M). nical diffi culty, the work is probably best seventh given particular attention. The addition. Ideal for worship or concert. This familiar, lyrical melody by Bach is suited to concerts, although those wishing central major section is a more straight- Director/piano score, 2776D, $8.95. given several performance options. First, to program it in a liturgical setting should forward harmonization of the opening one fi ve-octave ensemble dividing ringers note that it is in A major, whereas nearly all phrase. The work concludes with a brief Easy to Ring, Praise, and Worship VIII, between the melodic handbell line, the American hymnals set Helmsley (“Lo! toccata that presents the heavily synco- compiled and arranged for 3–5 octaves handchime part, and the malleted bass he comes, with clouds descending”) in G pated melody in the highest voice, largely of handbells or handchimes by Peggy line. Second, combined handbell and major. The hymn is pitched at A in the in its original form. Of all the sketches, this Bettcher, Code No. 2763, $14.95, handchime choirs. Third, a solo instru- venerable Hymns Ancient and Modern, and the preceding one seem to have the Agape (a division of Hope Publishing ment may play the melodic line (substi- mainly used in Anglican churches through- most potential for liturgical use. Company), Level 1–2 (E–M-). tuting for or doubling the bells) in either out the twentieth century. The edition is reasonably priced and Ten of today’s most popular praise of the above options. The part for the C Each of the fi ve sketches explores a cleanly and clearly printed. Unfor- songs are included in this compilation instrument is included on the last page. different texture and, although there are tunately lacking is any biographical written especially for beginning handbell —Leon Nelson only a handful of general registration information or background of the work. choirs as well as more advanced choirs Vernon Hills, Illinois Talent. Passion. Community.

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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 15 In the wind...

When I was a kid . . . Mr. Kaye’s greatest contributions were marathon fundraisers for the BSO. KLH and WCRB Each year WCRB would devote an I grew up in the rectory of the Parish entire weekend to the effort, featuring of the Epiphany in Winchester, Mas- interviews with orchestra members and sachusetts, where my father was rector. giving the audience the chance to make Prominent on the shelves on the living pledges in return for prizes, very much a room wall nearest the street was a KLH model for the now ubiquitous NPR fund- Model 24 “Hi-fi ” and a collection of LPs. raisers. One tee-shirt bore the phrase, Dad wrote his sermons in the living room “Beethoven Lives: 1770–1827.” I’m on Saturday nights using a typewriter set guessing that was Beethoven’s bicenten- up on a card table facing the speakers of nial year. There were contests for musi- the KLH, listening to the live broadcast cal limericks and puns, with symphony of the Boston Symphony Orchestra tickets as prizes. One of my entries as KLH Model 24 stereo (photo courtesy Burchard Galleries) (BSO) on classical radio station WCRB. a 16-year-old was “Of Korsakov only It was well understood that one entered between movements.” I didn’t win. I’ve of strange groaning and dying sounds, it cbfi sk.com/instruments/opus_50). John that room on pain of death. read that Richard L. Kaye was respon- had heaps of dead notes, and it ciphered. Skelton, a former student of Alastair, Once, a thief broke into the house, sible for raising more than $3,000,000 I have a vivid memory of the organist was the church’s organist, and he was and the KLH was among the missing for the BSO—in 1974 dollars. leaving the bench during a service, cross- my teacher through my graduation from items. The police recovered a cache ing the chancel (bowing to the altar), high school in 1974. I was given prac- of stuff they thought might be ours, Vinyl fetching a ladder, crossing the chancel tice privileges there, which was mighty and asked my mother over the phone My parents’ collection of recordings (bowing to the altar), setting the ladder, convenient, as the church was just two for details that would help identify it. included lots of the favorite classical and climbing to the chamber to pull a blocks from our home. She remembered that there was a Joan symphonies, and Dad subscribed to the pipe, quelling the cipher, still wearing George Bozeman was an organ- Sutherland recording on the turntable, Musical Heritage Society, a mail-order his black cassock—then repeating the builder in the area, and his wife Pat was and that turned the trick. The cache was record company with a “disc of the solemn farce in reverse to return the lad- a member of the choir at the Parish of returned with the record intact. Dame month” club. Two or three randomly der to its hook. Looking back on that, I’m the Epiphany. George was one of sev- Joan saved the day. selected discs would arrive in the mail sure he was delighted to stage that piece eral musicians in the area who encour- WCRB was, and still is, the classical each month. They were heavy on the of theater. The Skinner was replaced by aged my enthusiasm. He was organist music radio station in Boston. When I baroque, which was fi ne with me, but I a two-manual tracker organ by C. B. Fisk of the First Congregational Church of was a kid, it was at 1330 AM and 102.5 remember one in particular that featured (Opus 65) a few years later (www.cbfi sk. neighboring Woburn, Massachusetts, FM (like so many things, those num- the late McNeil Robinson and the choir com/instruments/opus_65). which has a marvelous three-manual bers have changed). The AM side was of the Church of St. Mary the Virgin at As a treble chorister, I was itching to organ built in 1860 by E. & G. G. Hook important because the Ford Falcon only Times Square in New York City. While take organ lessons. Dad was adjunct (http://database.organsociety.org/Sin- had an AM radio. The theme music for I don’t remember the programming, I professor of homiletics at the Episcopal gleOrganDetails.php?OrganID=8041). WCRB’s afternoon rush-hour program, do remember that Neil improvised on Theological School (now Episcopal Divin- He offered me the chance to serve as Drive Time, was the last movement of that smashing Aeolian-Skinner organ ity School) in Cambridge, Massachusetts, his assistant, covering for him when he Handel’s Organ Concerto, op. 7, no. 6 between choral pieces. As a young pup and he arranged for me to have lessons was away on organbuilding trips. It was (B-fl at major), in a recording featuring of an organist, I was in the thrall of the with Alastair Cassels-Brown, professor of about an hour walk or fi fteen-minute Pierre Cochereau with a big orchestra. I sound of that organ and of the very idea sacred music and chapel organist at the bike ride from home (when I was a thought his cadenzas were thrilling, but that someone would create a piece of seminary, where the chapel organ had kid . . . ), and I loved playing and prac- later realized they were “of a period,” music out of thin air like that. been built by Walter Holtkamp in 1956. ticing on that grand instrument. There romantic and virtuosic, un-Handelian. In those days, Gerre Hancock was That organ is just as old now as Skinner was a Dairy Queen along the route. The We heard that piece pretty much every organist at Christ Church (Episcopal, #128 was when I fi rst played it. (Yikes!) Woburn Unitarian Church was across day, singing along, and carrying the ear- now Christ Church Cathedral) in Cin- It has electro-pneumatic action, a slider the square, home to another large worm through supper. WCRB was such cinnati. That was dad’s home parish, and chest for the Great, and a Ruckpositiv, three-manual Hook—that’s the one a part of our family life that I played that he had gotten his hands on a couple LPs unusual for American organs at that time. that was relocated through the Organ concerto on my senior recital at Oberlin of “Uncle Gerre” leading the church’s Melville Smith was the organist when the Clearing House to the Church of the as a gift to my parents. I used a three-stop annual Boar’s Head Festival. The “Title Holtkamp was installed—he was also Holy Cross in Berlin, Germany—Die Flentrop chamber organ on the stage of Song” was the Boar’s Head Carol, with director of the nearby Longy School of Berliner Hook. Warner Concert Hall joined by a string organ improvisations between verses, Music. A young Charles Fisk was Holt- William H. Clarke had been the organ- quartet of friends and wrote my own and again, I was thrilled with the sound, kamp’s apprentice, E. Power Biggs lived ist of both those churches in Woburn cadenzas—a decidedly un-Cochereau- the concept, and the power of that in the neighborhood, and his disciple through the 1860s and 1870s, oddly shut- esque performance. music. I feel lucky to have grown up to Daniel Pinkham was also around. They tling back and forth between the two. Richard L. Kaye was the manager of know both of those organists, and you were all leaders of a great revolution in He was responsible for the installation WCRB, and ultimately the chairman can bet I told them both about how their organ design and playing, and I love to of the organ in the Unitarian Church in of its board of directors. He hosted a recordings helped inspire my career. imagine evening conversations in that 1870 and was the great and good friend program called WCRB Saturday Night, little organ loft during the installation. of George P. Kinsley, the head voicer for which came on after the BSO concert, in Organs I knew I rode my bicycle seven miles from E. & G. G. Hook. Sometime just after which he presented humorous takes on Ernest Skinner’s Opus 128—that’s an home in Winchester to ETS for those that, Clarke moved to Indianapolis to classical music and introduced the Boston early one. It was built in 1905, the year organ lessons (when I was a kid . . . ). start his own organ building company, audience to British comedy. It was at his that Robert Hope-Jones joined the Skin- When I drive those narrow busy roads taking Kinsley with him. Among the few hands that I learned of the King’s Singers, ner Organ Company as vice-president, today, I can hardly believe I survived dozen organs he built was a ten-stop job Florence Foster Jenkins, the “Bricklayer” and it was in our home church. It was then—in the days before helmets. for the Church of the New Jerusalem letter (www.lectlaw.com/fi les/fun28.htm), the fi rst organ I played, and I thought A couple years later, my lessons (Swedenborgian) in Yarmouthport, Mas- and heaps of other hilarity. Allan Sherman it was pretty great. But from the begin- moved to the First Congregational sachusetts, where my parents bought (“Hello Muddah, Hello Fadduh…”) was ning of my “organ awareness,” I knew it Church in Winchester, home of a three- a summer home in 1969. That church a favorite, and Monty Python a staple. was in poor condition. It made all sorts manual Fisk organ built in 1972 (www. only operated in the summer, and I was

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16 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM By John Bishop

Bozeman-Gibson & Company. That summer, the company moved from Low- ell, Massachusetts, to Deerfi eld, New Hampshire, and my co-worker John Farmer (now an active organbuilder in North Carolina) and I installed a new one-manual organ in the chapel on Squirrel Island, just off Southport Island and Boothbay Harbor, Maine. The only way to reach the island was by ferry, a small privately operated thing like a lob- ster boat. We caused quite a spectacle carrying the organ parts from the rented truck down the dock to the ferry and stacking them among the other passen- gers. It took three trips. That was lovely foreshadowing, as Wendy and I have had orchestra into the introduction of “Hal- a house in that area for fi fteen years, and lelujah” from Handel’s Messiah. Lord, we often sail around Squirrel Island. what a thrill. Biggs played a Rheinberger Before the trip to Squirrel, Farmer concerto with the orchestra in what I and I took the organ on a detour to believe was his last public performance. Boston where we installed it in the cross- He died on March 10, 1977. ing of the Cathedral of the Holy Cross § Bozeman-Gibson organ at chapel in Squirrel Island, Maine in preparation for the 1976 American Guild of Organists national convention, I was lucky to come up playing a fl eet organist there for four summers. That express all I learned from Biggs through where Barbara Bruns played a Handel of wonderful organs, both new and old. was only a twenty-minute walk. his publications and recordings. Concerto with the Handel & Haydn In those days, new organs were being The First Congregational Church in I was surrounded by a group of organ- Society Orchestra. I had my AGO con- sold like fried dough at the State Fair, Yarmouthport has a two-manual Hook & ists who encouraged my interest in the vention debut that week as Farmer and I and I was treated to more than a dozen Hastings organ that I played on a lot, prac- organ, especially by taking me to con- played the organbuilder parts in a piece dedication recitals during those years. I ticing in bare feet, and playing recitals once certs. I heard Anton Heiller and Fenner for organist, organbuilders, and elec- was fortunate to live in that area where in a while. The pastor’s name was Carlton Douglass play the (fi rst) Fisk organ tronic tape by Martha Folts. We stood so many talented people were doing so Cassidy—we called him “Hopalong.” at Harvard University, and thrill of all inside the Fisk organ at King’s Chapel in much interesting work in and around thralls, Biggs playing on “his” Flentrop Boston with the score on a music stand, organs. They were generous to me with Biggsy organ at the Busch-Reisinger Museum slapping at square rails and rollerboards, their time and interest in my develop- My father’s teaching position at the (now Adolphus Busch Hall). One eve- stirring up a fi ne racket! ment. I’m grateful to them all and have seminary came with a parking space. ning we heard him play all sorts of early The highlight of the 1976 convention tried to pass on the torch in their names Harvard Square, a favorite haunt of our music—Sweelinck, Bruhns, Buxtehude. was “AGO Night at the Pops” at Sym- to young people I meet who are inter- family, was a couple blocks from there. At the conclusion of the published phony Hall with Arthur Fiedler, the Bos- ested in the organ. I loved the record department at the program, he sidled out from behind the ton Pops, and E. Power Biggs. For one It’s sobering to realize how many of Harvard Coop (now Barnes & Noble) Rugwerk and said to the delighted audi- of his signature “Pops Extras,” Fiedler those organs were new—some brand and spent all the money I could spare. ence, “I’m happy to play another piece, addressed the thousands of organists new—when I fi rst knew them, and they’re It seemed that every time I went there, but I’ve run out of baroque music!” present, inviting us to sing along with all over forty years old now. Their leather, E. Power Biggs had released another (Baloney!) He gave us Charles Ives’ the “next number,” and launching the like mine, is showing signs of age. Q recording. I snapped them all up, racing Variations on ‘America.’ I had never back to the KLH for hours of listen- heard anything so cool. I’m guessing ing. One of my favorites was Vivaldi’s that was early in 1972, because the older D-minor concerto as arranged for organ of my two copies of “The Ives” is dated by J. S. Bach (BWV 596). Biggs recorded April 2, 1972. I must have been on the that, along with chorale preludes by train to Carl Fischer’s the next weekend. Ernst Pepping, on the Schnitger organ A favorite post-concert haunt of in Zwolle, Holland. I played it on a organists was The Wursthaus (long gone) recital in 1972—I was 16 and never did in Harvard Square, an old-fashioned, get those pesky descending thirds in old-world place that served beer by the Organ Historical Society the fugue—and have played it dozens bucket and classic soggy German dishes Philadelphia 2016 Diamond Jubilee of times since. The organ in Zwolle was by the greasy pound. I sat with groups built in 1721—it’s 295 years old—and of organists at big round tables after Commemor ative Anthology that contemporary music is just as viable concerts, and I recall one evening when there as Bach’s, which was written when someone noticed there were nine people the organ was new. Thanks to E. Power present who played for area churches EDITED BY ROLLIN SMITH ~ OHS PRESS Biggs, I learned as a teenager that the that had organs built by C. B. Fisk, Inc. pipe organ is all about timelessness. (I A few years later, in the fall of my fresh- A BOOK THAT CELEBRATES ALL ASPECTS OF THE can play those thirds now!) man year at Oberlin, the magnifi cent PIPE ORGAN IN ONE OF AMERICA’S GREATEST CITIES MBTA Commuter Rail trains run from Flentrop organ in Warner Concert Hall Winchester to North Station in Boston. was dedicated on St. Cecilia Day, capping THE PHILADELPHIA ANTHOLOGY includes 16 chapters, many From there it was easy to take the Green a week-long festival of workshops, round- by prominent authors, on Philadelphia organbuilders John C.B. Line subway to Boylston Street where I table discussions, and concerts. Biggs loved hanging out at the Boston Music was there as participant and to receive Standbridge, Henry Knauff, and C.S. Haskell, Organs in the Wa- Company and Carl Fischer’s, where an honorary degree, and a classmate and namaker store, Atlantic City Convention Hall, two great syna- George Kerr ran the organ music desk. I were deputized to meet Mr. and Mrs. gogues, the 1876 Centennial Exposition, and Tindley Temple. He was a patient guide to an enthusi- Biggs and show them around the Conser- FULLY INDEXED WITH ALMOST Other essays include: astic young musician on a tight budget, vatory. He asked us to demonstrate the sharing stories of the famous musicians practice organs for him (his fi ngers had 300 PAGES AND 125 ILLUSTRA- • ’s visits to Philadelphia, who came and went from his desk and been ravaged by arthritis) and answered TIONS. THE MOST IMPORTANT • Aeolian organs in palatial homes, offering me freebies—most of which I our questions patiently and generously, realized later was second-rate stuff he moments an eighteen-year-old would BOOK ON THE PIPE ORGAN TO BE • Church music, couldn’t sell. never forget. When we were fi nished, he PUBLISHED IN 2016. • I bought Biggs’s editions and collec- asked if there was a place to get a beer. Emerson Richards and the American Classic tions from George, dutifully dating each Oberlin was a dry town then, but my revolution in organbuilding, and NON-MEMBER PRICE: $34.95 purchase. On March 4, 1970, I bought friend and I walked the mile to Johnnie’s MEMBER PRICE: $29.99 • Early organ recordings. Festival Anthology for Organ ($3.00), and Carry-Out on the township border, and Treasury of Early Organ Music ($3.50), brought beer back to their room at the and on December 27, 1970 (Christmas Oberlin Inn. I shared the story with my money?), I bought A Treasury of Shorter girlfriend Amy who was still back in Win- WWW.OHSCATALOG.ORG Organ Classics ($2.00). Forty-six years chester fi nishing high school. She didn’t later, they’re still on my shelf, chock full believe me, so she went to a record- ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we of my youthful fi ngerings (whose hands signing event at the Harvard Coop, and P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. Media Mail shipping is $5.00 for your entire were those?) and naïve observations. asked Biggs if he knew me. “Oh yes, the Telephone: (804) 353-9226 Over the decades I’ve played from those bearded one.” Hah! Told you. order. Shipping outside U.S. is $4.50, plus Monday–Friday 9:30am–5:00pm ET volumes countless times, I treasure their The summer of 1976 (I was twenty) the cost of air postage, charged to your VISA presence in my library, and I can hardly was my second stint working for [email protected] SHIPPING or MasterCard.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 17 On Teaching

Recording Notes III Day 1 Before my Frescobaldi recording ses- I am heading to a rural spot in Bucks sions began, I found my thoughts drifting County, Pennsylvania, about an hour to the golf course, as they often do. For from my house, where I will record ninety better or worse, we had scheduled the minutes or so of Frescobaldi keyboard sessions for a time of year when being music on a seventeenth-century Italian out on the golf course is at its nicest: early harpsichord. The venue is the same one spring, not too hot or cold, no fear of where I recorded The Art of the Fugue snow or hurricanes. This is not just coin- in a version for two with cidence. That kind of weather is also best my colleague and former student George for location recording. Our venue is an Hazelrigg several years ago. George is old, modernized barn out in the country. serving as recording engineer and pro- It has thick walls—pretty good for keep- ducer for this project, and he will also ing out noise and for keeping the climate help with the tuning and general care of stable, but not as perfect for either as an the harpsichord during the sessions. actual studio might be. It’s nice to record The instrument is in my car on this at a time when we don’t need heat or air drive, and we will begin by getting it conditioning—when, if we turn off the inside and setting everything up. Since refrigerator in this barn to get rid of its this instrument is so old and utterly noise, the items in it won’t heat up too irreplaceable, I am glad it is not raining. promptly, with a good chance there won’t It is out of the question to get any rain be thunder, and so on. But though it’s nice on this harpsichord, even at the cost of to be recording then, it’s also tempting not delaying the start of things. I am not to be recording, not to be indoors. saying that I need to be especially care- So back to the golf course. It occurs to ful with this instrument on the grounds me that the concept of the “mulligan” has that it is particularly fragile. It really isn’t: something to say about the recording pro- it is remarkably sturdy and stable. It’s cess. For those who don’t know, a mulli- important that it not suffer any damage gan is a shot that does something that the or stress. Gavin Black, back in the studio golfer doesn’t like—gets the golf ball into a bad situation or causes the ball to be lost altogether—and that the player then decides not to count. It is a “do-over.” It is a violation of the formal rules, a form of cheating, strictly speaking. It is also a common informal practice and one that isn’t necessarily unethical—isn’t really cheating if you have agreed with anyone against whom you are playing that you will let one another do it. I have never allowed myself to take mulligans, not because I am temperamentally devoted to rules—which I am not—but because I fi nd that a commitment to counting every shot helps me focus on my shot-making Detail of the keyboard of the instrument used for in the way that I want and strive to do. A Recording in progress recording little voice in my head telling me that if I don’t like the shot I won’t count it would Moving the harpsichord inside goes placing them in many different ways. We have very purposefully constructed and undermine what I am trying to work on very smoothly. Since we have used this even tried unconventional placements in taken quite a while to construct. when I play golf. space before, we have a sense of where it which the mics were quite far apart or on So, with its theoretically endless pos- might be best acoustically and logistically different sides of the instrument. Day 2 sibilities for editing, is the recording pro- to place the harpsichord. The process This was all fascinating and fun. It This day I am thinking about the cess a cornucopia of mulligans? There’s of setting up recording equipment and gave me a chance to practice the same nature of the seclusion that I need to always a chance for a do-over. As I wrote generally preparing the room—which short passage over and over again and to record. When I am teaching or writing, I back in June, editing is a defi ning char- is mostly about noise, turning off appli- get used to playing in that room. It also can and do take breaks in which I interact acteristic of recording. Endless mulligans ances, and so on—serves to give the allowed the nervous side of my character with the world. In between lessons I will without penalty. Can I learn anything instrument time to relax and get used to fantasize that this would actually go on check my phone or, if there is enough about performance during recording to the room. This is a very stable harpsi- forever, and that I would never have to time, go for a walk or do an errand, or sessions and about the editing process chord and doesn’t seem to change at all buckle down to the business of playing whatever presents itself. If someone I from my feeling about mulligans or from from being driven about or from being and recording for real. know is present in another part of the thinking about what the differences are placed in a new space. I’m not talking However, the most interesting thing church where the Princeton Early Key- between those situations? The difference about tuning: every harpsichord is per- was this: the instrument sounded really board Center studio is located, I might is this: that the legacy of any one trip petually going out of tune and needing different depending on which micro- go chat. In between bursts of writing a through the golf course or through a par- to be tuned, whether it is being moved phones we used and how we placed column I will orient my computer to ticular hole is the awareness and then the or not. them. One of the criteria that we used in the outside world and check the news, memory of what happened. The legacy of Microphone placement: this is impor- trying to decide what was best was how my e-mail, or Facebook. These breaks the recording process is the artifact that tant, but until the day’s work was over, I much we thought that what we heard recharge my concentration, and I never results from it. If I try a certain golf shot had no idea how important. To make a through the speakers with each attempt have any trouble shifting back from such a dozen times and lose the ball on the long story less long, it took the whole day. reminded us of what the instrument things to the focus on teaching or on writ- fi rst eleven, only to fi nally get it right on To start with, we placed the microphones sounded like in person. (And I think that ing. For the recording project, however, the twelfth, then that story is the story of that we had decided to use in a position in the end we did a good job of that.) But I fi nd that I want to feel sequestered or what happened, regardless of whether or that made sense. (I wanted the sound to it was made vivid to me that the recorded secluded. I want the hour of driving to not I call most of those shots mulligans be a bit less dry than the sound of The Art sound of an instrument is in part a con- the venue to feel like it is taking me away and don’t write the big number of strokes of the Fugue recording, so our starting struct, not an objective fact. This ties in from all of the interactive electronics on my scorecard. If I try a passage in a point had the microphones a bit farther with the set of questions about whether and even from interactions with people. piece that I am recording a dozen times out from the instrument than what we a recording is a document or “record” I want to be heading towards a sort of and only get it the way I want it on the had done in that session.) I played a bit, of something in the world outside that cloister. I am not sure why this difference last of those times, then I have still fully and we listened to the results. It sounded recording or an object of its own, an exists, but I feel it very vividly. succeeded in getting it the way I want good, but maybe not quite exactly what artistic artifact to be understood on its I have not brought my computer, and I it. No compromise, and no one needs we wanted. We moved the mics around, own terms. There is no confl ict between fi nd that I can detach myself enough from to know how long it took! If I am afraid changing distance and angle, playing, lis- these things philosophically for me with the world to restrict checking my phone that on the golf course a willingness to tening, conferring. After a while the more respect to this project in particular, since to about twice during the seven-hour take mulligans would make it hard for professional recording-oriented ears the authentic, accurate sound of this recording session. No one has called. me to focus and concentrate the way I in the room began to feel that what we particular harpsichord is magnifi cent. I Today we are doing the pieces that want, then in the recording studio, where felt lacking in these various samples was take it for granted that the more accu- I want to play on two 8′ stops. This repeated takes and editing possibilities caused by an over-sensitivity of the micro- rately we represent the sound, the better instrument has two 8s, like most Ital- are useful, good, and necessary, then I phones to a somewhat bass-heavy quality it is likely to come across artistically for ian harpsichords. However, there is no must be sure that the opportunity to try in the room. So we switched to a pair of most listeners. But it is quite telling to be working stop mechanism. In concert it things over and over again doesn’t also microphones that we had earlier consid- reminded and to have it demonstrated so is effectively impossible to change stops. make me lose focus. ered for the project, but initially decided vividly that the sound as it comes across Every time that I have used this instru- I will now turn to my daily notes. against. We then spent another long while on the recording is something that we ment in live performance I have had to

18 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM By Gavin Black decide in advance whether to use both 8s that he is another person about whose Day 5 or only one of them for the whole event. work I will probably fi nd out more now We have had a lot of noise over the For the recording we can remove and that he is gone than I knew while he was last few days, mostly airplanes. That, plus replace jacks between pieces. Of course alive. (I certainly had no hostility towards other issues like time spent tuning and for effi ciency we don’t want to do that his work. I just had never happened to the decision to do lots of takes—partly of more often than is necessary. So part of get into it much.) And that puts me in a necessity when things have gone wrong, my preparation has been to decide in similar relationship to him that I am in partly for safety and to provide more advance on the registration for each piece perforce with the Baroque composers choice—is going to lead us to leave out and to use that in determining recording whose music I play. a couple of short pieces. My starting list order: 2x8′ pieces fi rst, then the pieces Today I suspect that a couple of the was very long: much too long for a CD, for one of the 8′ stops, then the pieces for pieces will work as single takes. However, and about 50% more music than I have the other. This does misrepresent what that brings to mind an old question. It recorded for any of my previous projects. the instrument can and can’t do. It does seems fi ne to me, normal, probably nec- The remaining music is still too much for not misrepresent what an instrument of essary, to use editing to lower the level of a CD. this sort might possibly do, or what this tension during sessions, so that any little Today I feel noticeably more relaxed, instrument could be made to do if I were glitch need not feel like an emergency. better able to play as I would in a normal willing to alter it. This ties in with the However, how should editing then be concert for which I felt well prepared. questions about the documentary nature used to create the fi nal result? If I have a This has probably been sneaking up on me of a project like this. take that went well and that I like, should throughout the week. I am presumably can fi nd a couple of pieces (lightly edited, I feel that I have done a medium-level I look for other takes that have even noticing it because we are almost done. not necessarily identical to what I will job at best of relaxing while I play. I am more effective versions of some passages I would quite like to go back and re-do consider the fi nal release) at https://www. trying too hard to get everything right: and build up a sort of super-performance the rest of it with this feeling. Will pieces youtube.com/watch?v=ELHjLVh1hlk. notes, ornaments, and interpretive ges- made up of the very best bits of different recorded today sound more relaxed? Next month I will return to the directly tures. I am letting a focus on those things takes? Or should I just use editing to get pedagogic! Q cause me to tense up a bit. I think that around real problems, but fundamentally Conclusion this becomes less of a problem with suc- let performances be what they were on There is no conclusion. That’s all for Gavin Black is director of the Prince- cessive takes of the same passage. Will the the day as much as possible? Is one of now about this experience. I will edit the ton Early Keyboard Center in Princeton, later takes indeed tend to sound the best? those better philosophically? Will one of pieces over the summer, and we will see New Jersey. He can be reached by e-mail Will this slight tension also get better over them lead to a better fi nished product? what sort of dissemination seems best. You at [email protected]. the longer scale on successive days?

Day 3 On the way to the sessions today I am thinking about what to listen to in the car. Is there anything I can do with the car sound system that will get me to the barn in the right frame of mind to play? HY CHOOSE Probably not the radio (in keeping with the cloister idea). Music? What kind? Feeling unsure about that, I am trying W the nothing solution, leaving the sound AN APOBA FIRM? off and trying to hear my own music in my head. I am thinking about a question that is of importance to the outcome of this whole project: the matter of evenness of voicing. Should every note feel and E PROMISE: sound the same as to dynamics? It is W a theory of mine that, especially with ◆ KNOWLEDGE ROOTED IN EXPERIENCE harpsichords that have a crisp and robust sound as this one does, a bit of uneven- TRADITION BLENDED WITH INNOVATION ness in voicing is actually good, that it ◆ gives extra life and fl uidity to the overall effect. It has to be kept within certain ◆ ECLECTICISM ENSURING MUSICAL RELEVANCE bounds: there is such a thing as too uneven. But I like more unevenness than ◆ QUALITY THROUGH CRAFTSMANSHIP some people would. I have defi nitely decided to treat the instrument this way for this project. (I did the voicing and ◆ COMMITMENT TO BUILD HISTORY regulation myself.) Essentially I voice the instrument to the point where all it needs ◆ AUTHENTIC SOUND FROM REAL PIPES! is a fi nal refi nement. Then I don’t do that refi nement. How will that sound for the microphones? There certainly won’t be time to make wholesale changes. That is NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING AND SERVICE FIRMS the approach to which we are committed. BUILDER MEMBERS Day 4 Andover Organ Company Kegg Pipe Organ Builders Schoenstein & Co. Continuing about voicing: when I am Bedient Pipe Organ Company Létourneau Pipe Organs Taylor & Boody Organbuilders going to play on the two 8′ stops together Berghaus Pipe Organ Builders, Inc. Noack Organ Company, Inc. I like to achieve the net sound and feel Bond Organ Builders, Inc. Parkey OrganBuilders Buzard Pipe Organ Builders, LLC Parsons Pipe Organ Builders SUPPLIER MEMBERS of each note with somewhat of a random C.B. Fisk, Inc. Pasi Organbuilders, Inc. A.R. Schopp’s Sons, Inc. difference in the balance of the two Casavant Frères Patrick J. Murphy & Associates Integrated Organ Technologies, Inc. stops. That is, one note may be 55% one Dobson Pipe Organ Builders Paul Fritts & Co. Organ Solid State Organ Systems stop and 45% the other, another note Garland Pipe Organs, Inc. Quimby Pipe Organs, Inc. Syndyne Corporation may be 52%/48%, or exactly even. This Goulding & Wood, Inc. Randall Dyer & Associates, Inc. OSI - Total Pipe Organ Resources Holtkamp Organ Company Schantz Organ Company Peterson Electro-Musical Products creates a pleasing variety of color up and down the keyboard for the 2x8′ sound. However, as we take the jacks of one 8′ stop out to record on the other, I am reminded that for use alone that stop is Call today for Please watch and share a bit too uneven, even for me. So a small APOBA’s free 66+ our short video at: amount of voicing is needed. I have to page color prospectus www.apoba.com/video be quite aware of getting back into the sequestered player mode once I have dealt with the voicing. At one point today, April 21, 2016, 30 Dedicated Member Firms George looks up from his computer and tells me that Prince has died. The world Apoba.com 1-800-473-5270 is there regardless of how sequestered I want to feel. The thought comes to me

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 19 English organ repertoire

The Five Organ Sonatas of Charles Villiers Stanford (1852–1924) By Stephanie Burgoyne

lthough much has been written Sonata No. 1 in F, op. 149 Aabout Sir Charles Villiers Stanford, it Dated May 1917, it is dedicated to is still diffi cult to understand why (apart “my old friend Alan Gray” (1855–1935); from his church music) so little of his without subtitle. output of over 200 compositions is often I. Allegro molto moderato performed—in particular, his organ The fi rst movement, in common works, which include the Six Occasional time, opens in F major and is in sonata Preludes (op. 182), Three Preludes and form. It has some stylistic affi nity with Fugues (op. 193), Six Short Preludes the organ sonatas of Josef Rheinberger and Postludes (op. 101, op. 105) and his (1839–1901), who in addition to the usual organ sonatas (opp. 149, 151–153, 159). concluding fugue in most of his organ A review of recordings and writings sonatas would also periodically include a Example 1, Organ Sonata No. 1 in F, fi rst movement, principal theme about his organ music revealed a need fugal section in the fi rst movement. The to further explore Stanford’s fi ve sonatas principal theme is a two-measure chorale- for organ. This article presents my own like phrase in quarter notes; it is restated personal experience with them, in the once, with slight modifi cation (Example hope of inspiring others to explore these 1). Part of this motive is then used for neglected works. a number of measures, ending with a Charles Stanford (Dublin 1852–Lon- C-major chord. (The same two-measure don 1924) was born into a musical family. theme returns in the fi nal movement, giv- His father, a lawyer in Dublin, was an ing this sonata a cyclical structure.) amateur cellist and a noted bass singer, Stanford then develops this material good enough to be chosen to sing the title for thirty-three measures (with the addi- role in Mendelssohn’s Elijah at its Irish tion of a “trumpet call” on another man- Example 2, Organ Sonata No. 1 in F, fi rst movement, second theme premiere in 1847. His mother, an accom- ual). The exposition section uses very soft plished pianist, played the solo parts in dynamics while it serves as a modulating concertos at various concerts in Dublin. bridge, preparing for the second theme Stanford’s parents encouraged their son, in the tonic minor. The second theme providing instruction in violin, piano, consists of a two-measure fugato sub- organ, and composition. Nevertheless, ject in sixteenth notes ending in several they felt it benefi cial that he pursue a uni- quarter notes, with the countersubject versity education as well, leading towards entering before the subject is complete a degree in law. Yet Stanford not only (Example 2). The opening sixteenth-note pursued music study in Britain but early portion of the fugato subject continues on started travelling to the Continent to appear frequently in different voices, every year to further increase his musical and there is interplay between it and the knowledge. (It is worth noting, in view principal theme, with episodes based on Example 3, Organ Sonata No. 1 in F, second movement, opening measures of his study in Leipzig and Berlin, that both. Part of the countersubject in aug- his interest for study in Germany might mentation serves as preparation for the have originated with his early teachers, recapitulation (in which one can almost three of whom had been students of hear shades of Stanford’s choral writing). Ignaz Moscheles, a Bohemian pianist of A fi nal restatement of part of the main German parents, who spent a number of and secondary themes signals the reca- years in Britain. Moscheles returned to pitulation proper, and with the inversion Germany in 1846, to serve as professor of of the “secondary theme” adding further piano at the Leipzig Conservatory.) interest, the movement ends very quietly Stanford studied with Karl Reinecke with an octave E-fl at. Example 4, Organ Sonata No. 1 in F, third movement, beginning of fugue in Leipzig and Friedrich Keil in Berlin. II. Tempo di Menuetto He was appointed professor of compo- The second movement, in A-fl at uses the same chorale-like phrase as the countersubject over a fi nal restatement sition at the Royal College of Music in major, is one of Stanford’s most light- fi rst movement. Whereas the fi rst move- of the fugue subject in augmentation in London in 1883 and professor of music hearted movements for organ. The ment starts in F major and ends in F the pedal. The recapitulation is prepared at Cambridge in 1887. As a teacher, opening, shown in Example 3, features minor, this movement does the reverse for by a repeated appearance of the conductor, and composer, he exerted a dancelike motive in three-quarter (beginning with the bridge passage three-note opening motive and is then a strong infl uence over future gen- time. This motive is stated sequentially introducing the fugue subject). established by the chorale-like subject erations of composers and musicians. twice and is extended by a two-measure In contrast to the fi rst movement, beginning at the fi nal “Maestoso.” After His former student Ralph Vaughan eighth-note passage in tenths. Stanford where the quarter-note chorale-like the addition of a solo reed, the sequen- Williams is reported to have said that then continues to develop both parts of phrase repeats a number of times without tial three-note chorale subject opening Stanford could adopt the technique the subject separately as well as com- interruption, here each statement alter- appears a number of times before the of any composer he chose. Stanford is bining them so that the main theme is nates with passage runs in triplets and movement ends on full organ. mostly recognized for his choral music, never far away. The development section sixteenths (some of which are derived which includes several settings of the utilizes such techniques as inversion, from the countersubject of the fi rst move- Sonata Eroica No. 2, op. 151 Magnifi cat and Nunc Dimittis, and a imitation, and modulation. Duplet is ment’s fugato). After two solo reed addi- Dated August 1917 and dedicated number of Communion services. He changed to triplet motion and added to tions, the section concludes with a modu- to “Charles Marie Widor and the great also composed works for solo voice, soprano, alto, and/or pedal parts in turn. lation to F major that introduces the key country to which he belongs,” the fi rst piano, and organ, as well as orchestral After a number of repetitions of the for the fugue subject (which is related to and third movements of this sonata works, including seven symphonies and main thematic material, the movement the chorale by using the same three-note refer to two specifi c battlegrounds fi ve Irish rhapsodies. concludes quietly with a restatement of opening). The fugue begins with a fairly where French troops faced very fi erce An examination of Stanford’s organ the opening motive. strict exposition, with a real answer and and costly battles during the World sonatas reveals that he frequently uti- III. Allegro maestoso a “dotted rhythm” countersubject (Exam- War I. Even though Stanford does lizes many chorale-like phrases. Except The third and fi nal movement, in ple 4). Parts of both themes then are not quote the French national anthem for those melodies clearly identifi ed common time and in F minor, is an intro- used to create episodes. An imitative pas- in its entirety anywhere in the three and labeled by Stanford himself, I have duction and fugue (as one fi nds in many sage based on the opening quarter-note movements, it does appear in various decided not to identify any others. Rheinberger sonatas). The introduction motive leads to the fugue’s dotted-rhythm guises throughout.

20 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM Example 5, Sonata Eroica No. 2, fi rst movement

Example 10, Sonata Britannica No. 3, beginning of fi rst movement

Example 6, Sonata Eroica No. 2, second movement

Example 11, Sonata Britannica No. 3, beginning of second movement

Example 7, Sonata Eroica No. 2, second movement

Example 12, Sonata Britannica No. 3, second movement

Example 8, Sonata Eroica No. 2, third movement, “Verdun”

Example 13, Sonata Britannica No. 3, second movement

the French and German armies during except that composed by Cardinal John the First World War, and cost an esti- Henry Newman, the fi rst verse of this mated one million lives, without gaining hymn beginning with the creedal state- any advantages on either side. This move- ment, “Firmly I believe and truly, God is ment quotes the French national anthem Three and God is One.” Thus Stanford melodically and rhythmically more keeps quoting selected phrases of the strongly than any of the other movements. St. Mary tune in different voices and Example 9, Sonata Eroica No. 2, third movement, quoting La Marseillaise It opens with a few loud chords, followed maintains interest by alternating loud immediately by agitated two-part scale- and soft sections using both themes. I. Allegro moderato different themes. Might Stanford have like passages in sixteenths (Example There is a short section in the key of D The fi rst movement, in G minor and intended this as part of a “Requiem 8). The chordal sections continue to major before returning to D minor, and three-four time, is subtitled “Rheims.” Mass” setting (to recall the many deaths alternate with fast-moving, sixteenth- the movement concludes with some The main theme quotes the hymn O on the battlefi elds)? If so, the fi rst note episodes that include parts of the wonderfully quiet melodic sections using Filii et Filiae, whose text denotes meditative theme might function as the Marseillaise (Example 9). Stanford then the St. Mary tune. new life and resurrection (Example 5). Introit, “Requiem aeternam” (Example develops the themes using modulation, II. (Benedictus), Larghetto Stanford may have chosen this tune to 6), while the second theme, with its sequence, and imitation. Although this The second movement, “Benedictus,” relate it to the history of the great cathe- extensive agitated dotted-rhythm motive movement contains many quiet sections, in B-fl at major, emerges from an opening dral at Rheims, which was burned during depicting the horrifi c reality of the con- it is generally loud, and the sonata ends melody in common time (Example 11). World War I. fl ict, might be considered the Sequence, with the complete fi rst line of the Marseil- In the sixth measure, Stanford adds what The fi rst line presents the main theme “Dies irae” (Example 7). laise (beginning with a solo trumpet). might be perceived as an interlude (or in octaves; this theme recurs regularly In the loud and boisterous second comment) on this melody (Example 12). throughout the movement in various section, Stanford uses punctuating Sonata Britannica No. 3 in D This alternating pattern continues until voices. After the fi rst line, Stanford uses chords supported by sixteenth notes in Minor, op. 152 the piu mosso designation in D-fl at major sixteenth-note passagework (relating it to the pedal. This is followed immediately Dated November 1917, it is dedicated where the manual parts make a “hesitat- some of Widor’s symphonies for organ), by a four-measure imitative polyphonic to Sir Walter Parratt (English organist ing” octave jump before the opening which frequently uses the Marseillaise’s counterpoint and a restatement of the and composer, 1841–1924). This sonata melody continues and the pedal adds to melodic rhythms. The themes alternate dotted half-note section, this time in contains the most recognizable melodies; the hesitancy with off-beat eighth notes. between extreme agitation (suggesting A-fl at major. From here on, the chorale the fi rst movement is based on the hymn Following this, we hear a section charac- the hostility of war) and quiet refl ection tune enters (in part) now and then, pre- tune St. Mary and the third movement terized by upward chordal octave skips during periods of rest. pared for by polyphonic imitation and is built on the tune Hanover. where Stanford asks for reed stops to be Stanford continues to add new mate- periodically interrupted by the dotted I. Allegro non troppo ma con fuoco added to the ensemble. One can imagine rial in the middle section, visiting a half-note motive, sometimes in diminu- The fi rst movement, in D minor, that these bold, ascending chords paint number of keys (E minor, A-fl at major) tion. Toward the end there is a complete opens with dotted half-note accumulat- the text “Hosanna in the highest” of the during development. This section briefl y mood change through the use of the ing chords in 12/8 time (Example 10). Benedictus (Example 13). There then fol- returns to G minor; nevertheless, the same four-note motive again. The move- Even though there are a number of dif- lows a development utilizing all the previ- movement concludes with a stately ment ends as it began. ferent texts for the St. Mary tune, based ous themes. The movement ends quietly reminder of the main theme in G major. III. Allegro moderato on the forte dotted half-note opening with the opening melody. II. Adagio molto The third movement is subtitled “Ver- section (which repeats in various ways III. Allegro molto e ritmico The second movement, in E-fl at major dun.” The battle for Verdun was one of throughout the movement), it is hard to The third movement, in 3/4 time and in common time, presents two distinctly the fi ercest and costliest battles between imagine any other text fi tting the music overall in D major, is based on the tune

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 21 English organ repertoire

Example 17, Sonata Celtica No. 4, second movement, recalling fi rst movement Example 14, Sonata Celtica No. 4, fi rst movement, principal theme

Example 18, Sonata Celtica No. 4, third movement, “St. Patrick’s Breastplate” Example 15, Sonata Celtica No. 4, fi rst movement, chorale-like melody

Example 19, Sonata Celtica No. 4, third movement, passacaglia theme

Example 20, Sonata Celtica No. 4, third movement, tune GARTAN Example 16, Sonata Celtica No. 4, second movement, written-out mordent Rheinberger (which in turn is related III. St. Patrick’s Breastplate Hanover, and although it is sixteen pages Sonata Celtica No. 4, op. 153 to the style of Bach). This reminds us The third movement is mostly based long, presents little in new or innovative Composed 1918–1920, this sonata that no composer lives in isolation or is on a hymn to the Trinity, a text ascribed to ideas. It variously quotes parts of the tune was dedicated “To my friend Harold ignorant of historical models. St. Patrick (372–466), translated by Cecil and uses these for further development. Darke” (English organist-composer, After introducing the principal theme Frances Alexander, set to an ancient There are many short imitative lines, loud 1888–1976). (Example 14), Stanford presents a Irish hymn melody (St. Patrick) in emphatic chordal statements, as well as I. Allegro molto moderato simple melody in various voices, which an arrangement by Stanford. There are equally short melodic lines with varied The fi rst movement, in C minor alternates with the main subject (or parts also references to the tune Gartan accompaniment. The movement ends and 3/4 time, shows the most Ger- thereof). This continues until the addi- (known to many in North America as with a setting of Hanover in its entirety manic infl uence of all of Stanford’s tion of modifi ed thematic material in an “Love came down at Christmas”). The and a repeat of the last line, which adds compositions; its contrapuntal nature eighth-note pattern leading to another movement begins with forte octaves an energetic close to this sonata. brings to mind the fi rst sonata by Josef setting of the melody. Following a key sounding the fi rst fi ve notes of the hymn, change to C major the melody is then then chordal support ending on a whole- enhanced by a running sixteenths pat- note D-major chord (Example 18). This tern in the tenor (Example 15). After repeats sequentially a third higher and reiterating parts of the main theme, modifi es the opening material, end- Stanford concludes the movement with a ing in C minor where it introduces the number of repeated chords over off-beat passacaglia unison theme in the pedal — 40 ranks pedal notes, reinforcing the C-major (Example 19). The accompaniment to ending. In just a few measures Stanford the passacaglia subject appears three quickly moves from Germanic counter- times, each time increasing in volume winchester, virginia

opus 124 point (as in Rheinberger) to an English and number of voices. The melody choral music style. then moves to the soprano, supported

Methodi Church Methodi II. Tema con variazioni by chords and imitative counterpoint, The second movement, in A-fl at slowly eliminating some voices to a quiet major and common time, is a set of reduction to three-part harmony. Here Braddock Street United Street Braddock variations, sometimes based on melody Stanford introduces the tune Gartan and other times on harmony. The writ- (Example 20). ten-out lower mordent in single notes, Part of this new theme is then devel- which opens the movement, is a motive oped until the poco piu lento in 6/4 time, that appears fairly often (Example 16). when we hear again a reminder of the follow At the second variation, there is a time passacaglia theme. This is accompanied us on facebook! signature change to 6/4 with much use by an accumulative two-note upward of the imitative lower-mordent motive. chordal leap, emphasizing the beginning In the third variation (in common time), of the chorale on the manual, which we hear a short reminder of the fi rst eventually is supported by rhythmic movement, with Stanford inverting part pedal in octaves. This section gradually Photo courtesy of John Westervelt of the opening subject (Example 17). becomes softer, utilizing a two-part pas- This section also features the lower- sage in sixths leading to another passaca- mordent motive in diminution in the glia section, slightly modifi ed (Example pedal. The movement then returns to 21), which is repeated a number of 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA t 800 625-7473 [email protected] material based on excerpts of the origi- times with different accompaniment. nal theme at “Tempo della thema” of the The following section leads to manu- Visit our website at www.letourneauorgans.com fourth variation, which closes the move- als and pedal imitating and reinforcing ment quietly. each other. After a pedal solo is the fi nal

22 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM Example 23, Sonata No. 5, fi rst section

Example 21, Sonata Celtica No. 4, third movement, passacaglia section Example 24, Sonata No. 5, second section

Example 25, Sonata No. 5, third section Example 22, Sonata No. 5, fi rst section following a descending scale in the pedal, two through four. In sonata one, Stan- statement of fragments of Gartan and chordal sections with the solo fi rst line concludes this second section on an ford uses the same thematic material the main theme, which get stronger in interspersed and modulated until it is A-major dominant-seventh chord. throughout the three movements; preparation for the fi nal entry of the St. stated hymn-like in homophonic style. The third section (Allegro), in 2/4 time sonata fi ve comprises one complete Patrick tune. Stanford then uses parts of the previous and in A major, is a fugal treatment of movement with three separate sections thematic material to prepare for the sec- the last two measures of the hymn tune based on the same theme. Sonatas two Sonata No. 5, op. 159, Quasi ond section. (Example 25). Although this motive through four consist of three separate una fantasia The second section (Allegretto non alternates with reminders of other parts movements, each with its own theme. In Dated May 1918 with a fi rst printing troppo mosso), in F# minor, is in 9/8 time of the hymn tune, it returns regularly, addition, their second movements are in 1921, the whole of this sonata is based and is based on the opening notes of the either in the tenor or soprano, and it is derived from a sacred Latin text or from on Stanford’s own tune Engelberg, hymn in diminution (Example 24). A periodically accompanied by sixteenth- a model from the Middle Ages. Q written in 1904, when he was in Swit- gentle, unison eighth-note passage leads note passages. A modulatory bridge, zerland. In contrast to the other four, to and serves as the accompaniment for which features the fugato motive in the Stephanie Burgoyne obtained her this sonata is not in three distinct move- a melody based on the (modifi ed) second pedal, leads to the fi rst complete state- ARCT in piano performance in 1990 ments, but in cyclical form. All three line of the hymn on the Swell manual. ment of the hymn melody in quarter from the Royal Conservatory of Toronto. of its sections are based on the same These different parts continue to interact notes in A-fl at major, supported by stac- She holds the associateship in organ thematic material. with each other until the key change to cato pedal eighth notes. After a return to performance from Western Conserva- The fi rst section (Allegro moderato), G-fl at major, where Stanford returns A major, Stanford continues to develop tory (now Conservatory Canada), the in A major and common time, opens to the fi rst line of the hymn in 3/4 time. the fugato motive sequentially and imi- A.R.C.C.O. from the Royal Canadian with the fi rst line of the hymn in octaves The main subject then continues in the tatively with interludes based on other College of Organists, and earned an art- (Example 22). It is followed immediately alto-tenor part with a new countersubject parts of the tune. This development pre- ist diploma in organ performance from by similar statements using actual note in the soprano. When the main theme pares for the entry of the “Allegro Mod- Western University, while at the same values as well as diminution of the open- returns to the soprano, it is undergirded erato, ma più largamente” indication of time obtaining a Ph.D. in mathematics. ing three notes of the tune in four parts. by an eighth-note passage in the pedal the Engelberg tune in its entirety. The She has served as organist and minister This continues with arpeggiated chords before returning to F# minor and 9/8 movement concludes after a number of of music at St. Jude’s Anglican Church, in sixteenths (again based on the fi rst time. Whereas in the opening section, the repetitions of the last three notes of the Brantford, Ontario, where she instituted three notes) followed by a short chordal (modifi ed) melodic fragment was in the tune, and after a climbing pedal passage, both a semi-annual concert series and an section fi nishing on the dominant. Here tenor, accompanied by triplet eighths, the ends gloriously on the complete last line organ recital series. In 2011, she became Stanford introduces a dotted-rhythm roles are here reversed, the melody being of the hymn, triple forte in A major. music director and organist at St. Paul’s accompaniment (Example 23), which in the soprano with triplet eighths in the United Church in Paris, Ontario, where adds to and alternates with previous tenor. A chromatic rise in the soprano is Some fi nal thoughts she also began a concert series. She per- material until we hear the fi rst line followed by a reiteration of part of the It appears from the foregoing analysis forms recitals both as a soloist and with of the hymn as a solo line over triplet second measure of the hymn-tune and that sonatas one and fi ve treat thematic William Vandertuin. Burgoyne teaches accompaniment. It then returns to with one last ascending chromatic scale material differently than do sonatas mathematics at Laurier University.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 23 Organ preservation

After Conservation, What? Suggestions for Organists

By Laurence Libin

uch has been said and written about Mconservation of historical organs, but fi ne old instruments, and even newer ones in good condition, continue to van- ish at an alarming rate, taking with them a precious part of our musical heritage. Conservation work, no matter how thor- ough, cannot ensure an organ’s survival. Unpredictable or seemingly unmanage- able threats endanger organs, especially in churches, but also in schools, concert halls, museums, and other institutions, in storage and in private possession—wher- ever they are located, no matter how “safe.” Among these threats are fi res and fl oods, destructive storms, vandalism, abandonment of buildings, changing liturgical and musical fashions, venal or uninformed custodians and property developers, and misguided government interference (such as laws prohibiting sale of instruments with legally imported ivory keys and stop knobs). Such risks are largely beyond the control of organists, but this is no reason to overlook sensible precautions. Above all, be aware and be proactive; an organ’s longevity and your job may depend on it. Most organists nowadays recognize that historical organs are a scarce, irreplaceable resource for performers, music and cultural historians, students of design and engineering, and of course Ravenswood Fellowship United Methodist Church, Chicago, Illinois: 1893 Johnson & Son Opus 803 listeners. Obviously, we will never have more 20th-century and earlier organs (or is unsupervised. Securing the organ’s a heat source are particularly danger- and keep to a consistent inspection , or anything else) than exist right perimeter to prevent unauthorized ous, so make sure fi re extinguishers are and maintenance schedule. Deferred now; tomorrow we will inevitably have access, especially to pipes, is mandatory. nearby and easily located. maintenance busts budgets. A neglected fewer. With this in mind, apart from Adequate lighting with motion-detector 6. Discuss rerouting water pipes organ that doesn’t perform reliably is conservation measures, what can we do switches can prevent accidents and (including for fi re suppression sys- more likely to be scrapped. to slow the pace of loss of organs and deter vandals. tems), roof drains, steam and con- safeguard the unique information and 3. Invite your local fi re protection densate lines, so these don’t pass above Document opportunities they embody? offi cer and building manager to visit the organ; anything that could leak or 1. A stop list isn’t enough. The more Three paths are straightforward: the installation with you (and with drip eventually will. important the organ, the more thorough prepare for disaster; carefully document your organ technician if possible). 7. Install surge protection on elec- documentation it deserves. Photos and important organs before disaster strikes, Tour the chamber or case interior and trical circuits to avoid frying if lightning audio recordings should supplement so vital data, at least, can be saved; and blower room; explain the purpose and strikes nearby. written descriptions, measurements, and promote appreciation for these instru- fragility of pipes, trackers, console, and 8. Try to maintain reasonable drawn plans. No amount of documenta- ments. Costly restoration and conserva- other components; discuss how best climate control but know that HVAC tion will enable construction of an exact tion work are pointless if an organ then to provide emergency access while as (heating, ventilating, air conditioning) replica of a lost organ and its acoustical remains unprotected. Rather than grieve much as possible avoiding water dam- systems will break down, usually when setting, but work toward that goal as if and cast blame after a loss, take preven- age and crushing; inspect the space most needed. Sudden drastic drops or the organ’s virtual survival depends on it. tive measures. Here are some ways to above the ceiling and the blower room peaks in humidity are more dangerous 2. Organs under threat (poten- minimize risk and preserve information: for fi re hazards, bad wiring and plumb- than gradual seasonal shifts. A sharp tially, all organs) need informed ing, and presence of working fi re alarms drop is likely when an unheated build- advocates. Enlist volunteers—stu- Prepare and extinguishers. Bad wiring should be ing is quickly warmed in winter. Discuss dents, choristers, members of a con- 1. Keep the organ and the area replaced; intact old wiring and circuitry this risk with the building manager and gregation—in the task of documenta- around and over it clean and ven- in good condition need not be unless explain the cost and wear-and-tear of tion so they become familiar with the tilated, free of fl ammable material and required by code and insurance terms. frequent retuning of reeds, etc. Monitor instrument and have a stake in its pres- obstacles, dampness, vermin, children, 4. Give your phone number to the fl uctuating temperature and humid- ervation. Collaborators may have skills and other hazards. Regularly inspect fi re protection offi cer and local fi re ity levels at different heights within such as mechanical drawing, close-up the organ’s interior and surroundings station and post it near the organ the organ and try to mitigate excessive photography, 3D imaging, audio for signs of leaks, cracked or crumbling so you (or the organ technician or other swings before they cause damage. recording, or spreadsheet preparation, surfaces, settling, infestation, mold, etc., alternate) can be contacted quickly in an 9. If any part of the organ or that needn’t involve handling pipes or and report and keep a record of any emergency if the building offi ce is closed blower system stands at or below other delicate parts. deterioration. Keep emergency appa- and staff are absent. ground level in a fl ood-prone area, 3. Review available models for ratus (e.g., tarpaulins, large fl ashlight, 5. Do not allow contractors to see if it can be elevated. If not, pre- documentation at varying levels of class ABC—preferably dry chemical— work unsupervised around or over pare to isolate it from encroaching water, specifi city; pick a level that matches fi re extinguisher, ladder) handy near the the organ. Consult the building man- including from backed-up drains. your capabilities and don’t exceed your organ—it’s cheap insurance. ager or project supervisor to ensure 10. Communicate well and regu- level of competence. If you need expert 2. Keep the loft, chambers, and compliance, and don’t trust verbal assur- larly with the organ technician espe- advice, get it; talk to your organ techni- blower room locked when the area ances. Roofi ng and any work involving cially about any problems you notice, cian and to the builder or restorer, if

24 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM Proceedings of a Colloquium (Detroit loft, celebrity endorsements—whatever Monographs in Musicology/Studies attracts favorable notice and enhances in Music, No. 44) (Warren, Michigan: the organ’s stature today and for posterity. Harmonie Park Press, 2005); John R. 7. For general audiences, avoid Watson: Artifacts in Use: The Paradox playing dreary music redolent of of Restoration and the Conservation fusty churches. Program appealing of Organs (Richmond, Virginia: OHS works including transcriptions of popu- Press, 2010), with bibliography. lar music; commission new compositions for a particular instrument; involve Promote other media (e.g. fi lm, dance, dramatic 1. Obscure, overlooked, or neglected reading, vocalists, live streaming) in organs are most at risk. Register and performances; develop imaginative describe such organs in regional and opportunities for an organ to be heard in national indexes such as the American non-liturgical circumstances. Guild of Organists’ New York City Organ 8. If possible, make a well-main- Project, the Organ Historical Society’s tained organ available at minimal or Pipe Organ Database, the American no charge for practicing by college Theatre Organ Society’s international organ majors and qualifi ed students of locator, the British Institute of Organ private teachers, including of course Studies’ National Organ Register, etc. your own students. Such hospitality can Such “offi cial” recognition can be a fi rst build a grateful constituency. line of defense against disparagement, 9. Emphasize that an organ is not denigration, and disposal. only a vehicle for music; its worth is 2. Where local preservation com- not summed up exclusively in its sound. missions offer protection of cultural It can also be a striking architectural heritage, seek protected status for feature, it embodies sophisticated tech- an organ based on its historical and con- nology and refi ned craftsmanship, it tinuing signifi cance to the community, can preserve tangible evidence of past especially if the organ is an integral part practice in design and engineering, it of a historic building rather than a free- displays commitment to certain endur- standing, removable furnishing. ing cultural values and symbolizes civic 3. Don’t let an organ’s existence and institutional pride, it can be an be taken for granted. Enlist allies inspiring memorial to loved ones and a such as choir members, music students monument to donors, among other valu- and teachers, clergy, and enthusiastic able extramusical functions. congregants in communicating more 10. Don’t go it alone. Collaborate generally why an organ is important, with musicians, educators, organ builders how it works, and that it requires regular and technicians, concert promoters and maintenance and insurance just as an patrons, record collectors, broadcasters, expensive automobile does. landmark preservationists, anyone who 4. As a reminder to administra- shares a desire to promote organs and tors, facility managers, budget com- organ music. Membership in the Royal mittees, vestry, dean’s offi ce, or other College of Organists, American Guild authorities, report at least annually of Organists, Organ Historical Society, on the organ’s use, condition, main- British Institute of Organ Studies, Amer- tenance needs, potential problems and ican Theatre Organ Society, Westfi eld Emmanuel United Methodist Church, Evanston, Illinois: 1892 Frank Roosevelt Opus 522 opportunities, and related matters for Center for Historical Keyboard Studies, which their support may be necessary. Historical Keyboard Society of North possible. Like practicing music, docu- and major repairs, and everything else Help them feel involved and account- America, Galpin Society, American mentation is a never-ending process that pertinent to its history, structure, and able. Ultimately an organ’s survival is its Society, and sister can be systematically learned, extended, condition in a secure place apart from owner’s responsibility. associations will expand one’s sphere of and improved. the building where the organ is located; 5. Try to establish an endowment like-minded acquaintances. Professional 4. Start with basics, adding details if the building is destroyed, these vital to fund the organ’s future main- organ builders’ societies should also sup- as resources allow. Don’t overlook oral records may be saved. Make sure several tenance. Even a small but restricted port preservation initiatives. Q accounts; interview persons knowledge- persons know where they are deposited, endowment can be a bulwark against able about the organ’s history. preferably in a well-managed archives, careless plans to dispose of a useful Laurence Libin is emeritus curator 5. Especially for pre-industrial not in your closet. instrument, while not blocking its of musical instruments at The Metro- organs, include measurement of 8. Include among these papers a replacement by a more suitable one. politan Museum of Art and honorary pitch, temperament, and wind pres- copy of the organ’s up-to-date insur- 6. A well-known, cherished organ curator of Steinway & Sons. He has sures; analysis of pipe metal composi- ance policy. If the organ isn’t insured, is less likely to be discarded or been editor-in-chief of the Grove tion and scales; identifi cation of wood either as part of the building’s fabric or mistreated, so draw attention to an Dictionary of Musical Instruments species; description of console and as a furnishing, make it so, because the obscure instrument through positive and president of the Organ Historical chest layouts, action type, and wind- policy can provide objective evidence of publicity. Introduce it to the public by Society, where he initiated the Phoenix ing system; dimensions of keyboards the organ’s condition and replacement writing and photography (for example in Project to provide advice about organ (including size of keys and placement of value. This valuation can help forestall church bulletins and local newsletters), preservation and relocation. He lec- accidentals, distance between manuals efforts to discard the instrument. performances and demonstrations and tures and consults internationally on and between lowest manual and pedals, 9. Don’t rely too heavily on “virtual tours” disseminated by social instrument history, documentation, depth and weight of touch, and other computerized data storage systems media, encouraging visits to the organ and conservation. quantifi able playing characteristics); (including audio and picture fi les) that details of tuning and voicing methods depend on electronic devices prone and of tool marks and construction to obsolescence and glitches; tan- guide lines; recording of makers’ and gible records can be more durable and MANDER ORGANS others’ inscriptions, plaques, mark- long-lasting. ings on pipes, and graffi ti; evidence of 10. Start documentation now. New Mechanical earlier states, e.g. prior location, façade Don’t wait for an instrument to become Action Organs decoration, previous voicing and tuning, endangered but assume it already is. In stop list and mixture composition, pipe addition to detailed conservation reports racking, original winding system, etc. on specifi c organs, for example by the Expert help is available; ask a museum Göteborg Organ Art Center (GOArt), conservator for advice and referrals. these books offer useful guidance: Jim 6. Don’t confuse precision with Berrow, ed.: Towards the Conservation accuracy, but use common sense; and Restoration of Historic Organs: A measurements of a thousandth of an inch Record of the Liverpool Conference, or fraction of a cent in pitch are practi- 23–26 August 1999 (London: Church ³ St. Peter’s Square - London E 2 7AF - England cally meaningless. Clearly distinguish House Publishing, 2000); Robert surmise and opinion from observed fact. Barclay: The Preservation and Use of Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 7. Keep copies of the organ’s Historic Musical Instruments: Display Continuo Organs [e] [email protected] documentation, including original and Case and Concert Hall (London and www.mander-organs.com revised design drawings, technical speci- Sterling, Virginia: Earthscan, 2005), fi cations, builder’s and rebuilders’ con- with bibliography; John R. Watson, tracts, records of relocations, alterations, ed.: Organ Restoration Reconsidered: Imaginative Reconstructions

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 25 Cover feature

Emery Brothers, Allentown, Pennsylvania Christ Church in Short Hills, Short Hills, New Jersey

From the builder It is no secret that tonal styles and the desires and expectations of organists have undergone signifi cant changes in the last hundred years. Aeolian-Skinner Opus 1347, built in 1960, evidences most of the characteristics one would expect from an organ of that decade— lower wind pressures (Positiv speaks on 2 inches wind pressure), ample mixtures and upperwork, and as I heard a colleague once say, “plenty of Zs and umlauts.” Make no mistake—this instru- ment, as originally designed, made a strong, cohesive statement as a whole, and with the clever division of Swell and Bombarde on the third manual, provided a surprising amount of room for creativ- ity in registration. Aeolian-Skinner Opus 1347 was well designed and well built, thus its physi- cal restoration formed the core of the project. In the course of this work, we Antiphonal division on the west wall stripped and releathered pouch boards, stripped and releathered reservoirs, including the installation of double gussets, fashioned and installed new primary valves on primaries and unit actions, releathered tremolos and shade engines, totally rewired the organ, and reconditioned the blower and motor. Everything wooden received a thorough cleaning and, where appropriate, a new coat of shellac. Pipes were all individu- ally cleaned and polished by hand, stop- pers stripped and repacked, and open fl ue pipes fi tted with new stainless-steel Positiv division on the south wall tuning slides. All pipework was checked for voicing and regulation before leaving pressure, and a new Hautbois built for From the organist and choirmaster the shop, with fi nal tonal fi nishing com- the Swell. The Aeolian-Skinner organ at Christ Rohrfl ute pipes installed pleted onsite. The new Antiphonal organ comprises Church was dedicated on Easter Sunday, However, in this project we were six ranks, all playing on electro-pneumatic April 17, 1960. The instrument was typi- The organ work performed by Emery tasked not only with addressing the phys- action, designed to complement and pro- cal of the era with a neo-baroque design Brothers for over a year and a half included ical breakdown of the organ’s various vide a foil to Aeolian-Skinner Opus 1347 that included bright principal choruses new leather, new wiring, a new console, mechanisms after fi ve decades of con- and to bolster congregational singing. and ample upperwork. Joseph Whiteford and a new Antiphonal division. The con- tinuous service, but also with maximizing Within a compact footprint (both cases voiced the organ on the aggressive side sole is built in the style of the original, the instrument’s strengths through some measure 41″ x 72″) are housed fi ve of the to cope with a dry acoustic and a low but is movable and contains additional sensible and judicious tonal additions six ranks (the Trompette en Chamade ceiling height in the nave. The organ was drawknobs for the Antiphonal and Pedal and revisions. In addition, the original is mounted on the wall between the altered slightly in 1967 by the builder divisions. The keyboards, music desk, and console was built around the structure two cases), the blower, static reservoir, (Opus 1347-A) to adjust for the addition walnut key cheeks were retained. Only of the chancel—one corner was cut out step-up blower and high-pressure res- of heavy carpet across the center aisle. minor changes were made to the chancel to make room for a beam—and so with ervoir, double-pressure divided wooden When I came to Christ Church, the organ specifi cation. While the renovated the desire for the console to be made wind trunk, solid-state relay, four wind organ had served the parish for over 50 church now has a warm acoustic that movable, provision of a new console was chests, and two additional reservoirs. years, with minimal maintenance and requires little amplifi cation for speech, the necessary. With the church’s very active Pipes 1–23 of the 4′ Principal make up annual tunings. The only change made length of the nave and low ceiling height music program, including the frequent the right-hand façade. When played with to the organ was the addition of a remote called for the addition of an Antiphonal presence of visiting organists, a multi- the main organ, the Antiphonal organ solid-state capture action to operate organ to support congregational singing. level combination action (provided by has the effect of “pulling” the sound into the console. Because of failing leather, For festivals and weddings, a horizontal Solid State Organ Systems) was abso- back third of the room. The full-length, outdated wiring, and a worn console, reed was added under the center of the lutely necessary. fl amed-copper Trompette en Chamade the church formed an organ commit- Transfi guration window. The scaling and In its original design, the Bombarde was carefully designed to provide a rich tee to address the needs of the music design were by Bynum Petty, installation division featured independent reeds at and commanding solo voice that would program as well as the acoustic issues by Adam Dieffenbach, and tonal fi nishing 16′, 8′, and 4′ pitch. This was altered stand up well to the full organ. in the church. While the committee did by Steve Emery and Charles Callahan. The later, when Aeolian-Skinner removed the I am most grateful for Bynum Petty’s look at several possible replacements for console replica and the Aeolian-Skinner 8′ Trompette from the Bombarde and help in scaling and designing the tonal the instrument, in the end the organ was digital samples were supplied by Walker moved it to the Great. The 16′ Contra additions included in this project. I also restored because of the overall fi ne qual- Technical of Zionsville, Pennsylvania. Trompette was then placed on unit action extend hearty thanks to Brian DeWald ity of the original installation. The organ was rededicated by Alan Mor- and trebles provided for it to speak at (briandewaldwoodworking.com), who With the guidance of the rector, war- rison with an American Guild of Organists 16′ and 8′ pitch. This compromised the built and fi nished the new Antiphonal dens, and vestry, the decision was made workshop and recital in November. strength of the Bombarde reed chorus, organ casework and assisted with instal- to fi rst renovate the church in several I believe that in the end we stayed true and in the end the most sensible step was lation; Dan Cole (pipeshader.com), stages. Each stage was completed during to the original design of the organ. With to put the Trompette back in the Bom- who assisted in the casework design and the summer months to avoid confl icts very minor changes we have made the barde, which also made room for a new provided promotional materials showing during the program year. The fi rst year organ more fl exible and better equipped 8′ Major Trumpet on the Great. This new renderings of the Antiphonal organ; and included the removal of all the carpeting to serve the parish for the next 50 years. stop leans towards solo strength, while Samuel Hughes, who restored all the reed in the church and the installation of new It is truly a blessing for a parish to remaining usable in full chorus. pipes in the organ. New pipes and chests hardwood fl oors in the entire nave. The have such an instrument. May it lead and Mutations in the Positiv were origi- were built by A. R. Schopp’s Sons, Inc. second year included new plaster ceilings inspire worship each and every week for nally pitched an octave higher than usual —Adam F. Dieffenbach in the nave to cover the wood lathe ceil- generations to come! 1 4 (1 ⁄3′ Nasat, ⁄5′ Terz), and the 4′ Rohr Emery Brothers ing panels and restoration of the stained —Andrew Paul Moore, DMA Schalmei was not particularly successful. glass windows. The last year included the Organist and Choirmaster Re-pitching the mutations presented no Emery Brothers staff involved with removal of the organ, renovation of the diffi culty, and the solution for the Rohr this project included: Adam Dieffen- ceilings and fl oors of the choir, and new From the rector Schalmei presented itself when the bach, Steve Emery, Rosemary Hood, lighting throughout the church. At that When I arrived at Christ Church in desire to replace the Swell Krummhorn Parfyon Kirshnit, Jon Kracht, Clem time the woodwork in the church was Short Hills in 2010, I discovered, to my with an Oboe came up. The Krummhorn Mirto, John Nester, Ardie Peeters, Rich refi nished, removing the white pickled delight, that it had a really fi ne Aeolian- was revoiced onto the lower Positiv wind Spotts, and Ryan Stout. oak stain so popular in the 1950s. Skinner organ. It had a sound that

26 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM sing as I’d never heard it before. But he “How to pay for it?” is every parish’s could also diagnose its illness, and he told question and every rector’s challenge. But us the prognosis was dim. The good news in this case we had two wardens, John was that little work had been done to the Cooper and Cynthia McChesney, who instrument since it had been installed in recognized not only the need to do the the 1960s, so little harm had been done. restoration work, but also its stewardship. He also confi rmed that the congregation’s We had competitive bids for both rebuild- lack of singing in the back half of the ing and replacement. Replacement never church probably had to do with such little caught any of our imaginations. That organ support. The acoustics didn’t work would be more expensive, but also, we in our favor, and the sound just wasn’t get- realized this was a very fi ne instrument ting back there. with a fairly unique American sound, the We hosted an organ education night likes of which simply are not being made at which Stephen Emery from Emery today in the same way. Brothers in Allentown, Pennsylvania, Through John and Cynthia’s leader- came to show us worn leathers, ill-fi tting ship in fundraising and both Andrew pouches, tarnished pipes, cotton wrapped Moore’s and my direct involvement in asking individuals for support, the entire amount needed was raised in about four months. That included a substantial cushion, of which we used every last dime as we made changes to both the organ project and the worship space. Our people realized that this was the right time to act, not only because of the present need of the instrument, but also out of respect for the amazing talent of Andrew Moore. Every age has its gifts, and the wise church appreciates and supports those gifts when they happen. Our choir went from fi ve section lead- ers and three volunteer members to four section leaders and more than twenty volunteers over the last fi ve years. Sing- ing has vastly improved. This summer, the entire choir is going to England to be the choir-in-residence for singing the daily offi ce at Bristol Cathedral. More than fourteen new music groups Console with Great, Swell, Bombarde, and Pedal on the north wall Brian DeWald checks to see if the case- used our space last year, both religious work is level and secular, bringing so many people seemed to be saying, “Yes, I’m a cousin I’ve served churches with electronic through the doors of the church. to some of those wonderful organs organs and wheezing electro-pneumatics. wires, and more. We led tours through Oh, every once in a while someone will you’ve heard in other churches that have I was just so grateful this instrument was the chambers, and people who had always complain that the trumpets in the back great music in worship.” neither. Unfortunately, this organ was a taken the sounds of the organ for granted are too loud, but then the person standing Now, I’ve lived in France and love the bit like that date that is really great the now were in awe of how it actually next to her will say, “I think it’s just great!” sound of a great French organ playing. fi rst time but doesn’t grow better as the works—and why it didn’t. They saw piles There you have it; life in the Church! And And I’m Dutch, so those marvelous time goes on; in fact, just the opposite. of pipes that had been removed from their in our case, we feel our worship. Our trackers sound to me like the DNA of After having been at the church a windchests and were unable to function. welcome and invitation to others has vastly my youthful upbringing in the Dutch little more than a year, I began to won- Adam Dieffenbach from Emery improved, all because we acted rather than Reformed Church. But the sound of der why people hardly sang the hymns Brothers proposed a complete renova- argued about whether to be responsible the organ in Short Hills was American. in the back half of the nave? I began to tion of the existing instrument and sug- for something our ancestors here had left I don’t say that in a prideful way, not wonder if it were just me, or if the sound gested a new Antiphonal for the rear wall, us as a gift in the fi rst place. And we feel even in a “better than others” way. But really did fall off a cliff when we reached both to provide sound back there, as well we’ve left the next generation something there was something about this organ a certain pew in the retiring procession as to pull the sound from the pipes in the better than we could have ever imagined. that could sound the repertoire ranging each week? We began to notice greater front. Because of space issues, they pro- —The Reverend Dr. Timothy Mulder from an English cathedral choir chant- hissing noise, more frequent repairs, and posed adding a limited number of digital Rector, Christ Church in Short Hills ing a psalm, to full-blown-out Reger. It costly service. stops to round out the instrument’s full sounded it all well and with its own twist Then in 2011, Andrew Moore joined sound and complete Whiteford’s original Photo credits: Chris Whitaker and on things. us, and he could make the instrument concept for the instrument. Christopher Jennings

Aeolian-Skinner Opus 1347 (1960) Christ Church in Short Hills, Short Hills, New Jersey

Aeolian-Skinner Opus 1347, Joseph III Cornet 183 ANTIPHONAL (Emery Brothers) Couplers Whiteford, 1960. 8′ Hautbois 61 8′ Rohrfl ute 61 Gt/Ped 8 Renovation/additions and Antiphonal 8′ Menschenstimme 61 4′ Principal 61 Sw/Ped 8-4 division, Emery Brothers, 2015: 63 8′ Trompette en Chamade (Ant) 2′ Octave 61 Bomb/Ped 8-4 1 ranks, 3,625 pipes. Tremolo II Rauschquint 1 ⁄3′ 122 Pos/Ped 8 8′ Trompette en Chamade 61 Ant/Ped 8 GREAT BOMBARDE 16′ Quintaton 61 8′ Geigen Principal (digital) PEDAL Sw/Gt 16-8-4 16′ Rohrbourdon (Sw) 8′ Viol Pomposa 61 32′ Contrebass (digital) Bomb/Gt 16-8-4 8′ Principal 61 8′ Viol Celeste 61 32′ Subbass (digital) Pos/Gt 16-8 8′ Bourdon 61 4′ Flute Harmonique 61 16′ Contrebass 32 Ant/Gt 8 8′ Quintaton (ext) 12 V Plein Jeu 305 16′ Subbass 32 4′ Octav 61 16′ Contre Trompette 61 16′ Quintaton (Gt) Sw/Pos 16-8-4 4′ Rohrfl ote 61 8′ Trompette 61 16′ Rohrbourdon (Sw) Bomb/Pos 16-8-4 2 2⁄3′ Quint 61 4′ Clarion 61 16′ Rohrfl ute (Ant) 12 Ant/Pos 8 2′ Super Octav 61 Tremolo 8′ Principal 32 IV Mixtur 244 8′ Gedectpommer 32 Gt/Sw 8 III Scharf 183 POSITIV 8′ Rohrbourdon (Sw) Ant/Sw 8 8′ Major Trumpet (6″ wp) 61 8′ Nasonfl ote 61 4′ Octave (ext) 12 Gt/Pos Trans 8′ Trompette en Chamade (Ant) 4′ Koppelfl ote 61 4′ Gedectpommer (ext) 12 Gt/U 2 Chimes 2⁄3′ Nasat 61 V Mixtur 160 Bomb 16-U-4 Zimbelstern 2′ Blockfl ote 61 32′ Contrebombarde (digital) Pos 16-U-4 3 1⁄5′ Terz 61 32′ Contre Trompette (digital) Sw 16-U-4 1 SWELL 1⁄3′ Quint 61 16′ Bombarde 32 All Sws to Sw 16′ Rohrbourdon 61 III Zimbel 183 16′ Contre Trompette (Bombarde) Pre/Next/Full 8′ Rohrbourdon (ext) 12 8′ Krummhorn 61 8′ Bombarde (ext) 12 8′ Klein Erzahler 61 Tremolo 8′ Krummhorn (Pos) 8′ Erzahler Celeste (TC) 49 8′ Major Trumpet (Gt) 4′ Bombarde (ext) 12 4′ Geigen 61 8′ Trompette en Chamade (Ant) 4′ Krummhorn (Pos) 2 2⁄3′ Nasat 61 8′ Trompette en Chamade (Ant) 2′ Octav 61 Chimes (Gt)

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 27 New Organs

David E. Wallace & Co., LLC, Gorham, Maine Opus 73 Wallace & Co.’s Opus 73 is a portable instrument designed for both demonstra- tions and concerts. It was fi rst showcased in the exhibition hall during the 2014 American Guild of Organists’ national convention in Boston, Massachusetts. Opus 73 made its concert debut in March of 2015 when it was used for two con- certs by the Maine Music Society (www. mainemusicsociety.org). The organ was well received in these performances and was successful in accompanying a large chorus and orchestra. Opus 73 is moved easily in two large sections. The top section holds only the pipes, which have been carefully racked for optimal stability. Pipe racking was accomplished in the traditional manner Manual and pedal key action using red-hot burning irons to cauter- ize and taper the rack holes for a more supportive fi t. Each pipe also has a hook soldered onto the foot just above the rackboard that fi ts over a pin that pre- vents the pipe from turning while being transported. All of the largest metal pipes have reinforced feet for durabil- ity. The bottom section of the organ contains the windchest, key action, and wind system. For safe transport the keyboard slides in, the pedalboard pulls out, and the decorative cornice lifts off. Assembly takes less than ten minutes 2′ Principal and involves setting the upper half gently on top of the lower half and pull- ing out the keyboard. Opus 73’s careful design allows the organ to be rugged and transportable with minimal effort while providing an instrument with a full and rich voice. When fully set up, the organ measures 7 feet 10 inches tall, 46 inches wide, and 21 inches deep (excluding pedalboard). The higher placement of the pipes allows the organ to speak freely when used with large ensembles and in large rooms. This is a distinct difference from the smaller portable box organs. Generous scaling of the pipework has allowed Opus 73 to per- form well with large ensembles without Ready for assembly Concert ready being overpowered or sounding forced. By closing the panels and front doors, quartersawn white oak. All joinery was the sound of the organ can be diminished executed in the traditional manner with appropriately for quieter settings while hand-cut dovetails and either pinned or David E. Wallace & Co., LLC still remaining present and warm. wedged mortise and tenon joints. All Opus 73 While the instrument was not interior parts, to include the wind sys- designed to be a replica of any ancient tem, slider windchest, and key action are Manual: 53 notes instrument, inspiration for all aspects of reclaimed white pine. The key desk is 8′ Stopped Diapason All stops are divided at middle C to provide 4′ Chimney Flute the possibility for more variety in registra- of the organ came from the study of of black walnut with horizontal stop bars 2′ Principal tion. The pedal is permanently coupled to 1 older organs. The design of the organ of solid brass. Natural key coverings are 1 ⁄3′ Quinte Treble (#25–53) the manual and has no stop of its own. case is simple, yet elegant with delicate ebony with fl amed maple sharps. moldings that catch the eye but do not Opus 73’s key action is balanced and 27-note pedalboard distract. The casework, bench, and self regulating with a fl oating backfall. pedalboard are made of reclaimed The front end of the backfall rests passively on the key tails while the back so that the pallets are visible while the end is directly connected to the pulldown organ is being demonstrated. wires from the pallets. This mechanical All parts of Opus 73 were designed and www.pekc.org design permits the keyboard to slide in, built in the Wallace shop, with the excep- as there is no hard connection between tion of the pipes. The 8′ Stopped Diapa- the backfall and the keys. All parts of the son is from E. & G.G. Hook Opus 266 and Princeton Early Keyboard Center key action are made to ensure that there was restored by the Wallace crew. The Director is little unwanted friction. The result is metal pipework was commissioned from Gavin Black, key action that is light and responsive Organ Supply Industries, Erie, Pennsyl- and promotes careful articulation. The vania. To better accommodate a mobile ′ 1 ′ The Princeton Early Keyboard Center, with its principal pedal is attached to the key action by a lifestyle, the 2 Principal and 1 ⁄3 Quinte studios on Witherspoon Street in Princeton, NJ, is a small, coupler, and having the pedalboard in are cone tuned (scroll tuned in the bass) place is optional. and the 4′ Chimney Flute is tuned on the independent school offering lessons and workshops in The organ is winded by a .18hp Ven- ears. The tonal fi nishing was completed harpsichord, , continuo playing, and all aspects tola blower, which feeds into a double by David Wallace and Nick Wallace. of Baroque keyboard studies. Facilities include two fold, parallel rise reservoir. The organ has an ample supply of wind at 3″ pres- Photo credits: Nick Wallace antique harpsichords, several other fi ne harpsichords, sure set primarily by the weight of the and , both antique and modern. Lessons at the blower itself. All panels on the organ David E. Wallace & Co., LLC Center are available in a wide variety of formats, tailored to are removable for maintenance and for Pipe Organ Builders demonstrations. During educational 147 County Road the needs of each student. All enquiries are very welcome at events, spectators can easily view the Gorham, Maine 04038 732/599-0392 or [email protected]. inner workings of the organ as all the 207-839-7621 components are in full view. The pal- [email protected] let box has a polycarbonate bungboard www.wallacepipeorgans.com

28 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM 2016 Summer Carillon Concert Calendar Bert Adams, FAGO PATRICK ALLEN By Brian Swager Park Ridge Presbyterian Church Park Ridge, IL GRACE CHURCH Allendale, Michigan September 5, Sue Bergren Pickle Piano / Johannus Midwest NEW YORK Grand Valley State University, Tuesdays at 10 am Bloomingdale, IL Cook Carillon August 9, Hunter Chase Sundays at 8 pm August 7, Dennis Curry Mariemont, Ohio August 14, Mathieu Polack Mary M. Emery Memorial Carillon Christopher Babcock Michael J. Batcho August 21, Tim Sleep Sundays at 7 pm August 28, Julianne Vanden Wyngaard August 7, Richard D. Gegner Director of Music August 14, Richard M. Watson St. Andrew’s by the Sea, Bloomfi eld Hills, Michigan August 21, Richard D. Gegner Hyannis Port CATHEDRAL OF ST. JOHN Christ Church Cranbrook August 28, Richard D. Gegner & Richard MILWAUKEE August 7, Mathieu Polak, 4 pm M. Watson Duo September 4, Richard M. Watson Kirk in the Hills Presbyterian Church September 5, Richard D. Gegner (2 pm) Sundays at 10 am & noon Dean W. Billmeyer August 7, Mathieu Polak Minneapolis, Minnesota August 14, Open Tower Central Lutheran Church University of Minnesota August 21, Open Tower August 7, Carol Jickling Lens, 11:15 am August 28, Dennis Curry Minneapolis 55455 • [email protected] Montréal, Québec Chicago, Illinois Oratoire Saint-Joseph University of Chicago, Rockefeller Chapel Sundays at 2:30 pm August 7, Joey Brink, 5 pm August 7, Brian Tang August 15, Andrée-Anne Doane, David GAVIN BLACK Byron L. Blackmore Cohasset, Massachusetts Doane & Gabriel Doane-Picard Princeton Early Keyboard Center St. Stephen’s Episcopal Church Crown of Life Lutheran Church Sundays at 6 pm Naperville, Illinois 732/599-0392 Sun City West, Arizona August 7, Toru Takao Naperville Millennium Carillon www.pekc.org 623/214-4903 August 14, John Whiteside Tuesdays at 7 pm August 2, Ellen Dickinson Culver, Indiana August 9, Joey Brink Culver Academies August 16, Sally Harwood THOMAS BROWN September 3, John Gouwens, 4 pm August 23, Hunter Chase ROBERT CLARK UNIVERSITY Houston Texas Master Classes, Consultation Denver, Colorado Norwood, Massachusetts PRESBYTERIAN CHURCH University of Denver, Williams Carillon Norwood Memorial Municipal Building CHAPEL HILL, NORTH CAROLINA [email protected] Sundays at 7 pm Mondays at 7 pm ThomasBrownMusic.com 513/478-0079 August 14, Ray McLellan August 1, Thomas Lee August 28, Carlo Van Ulft August 8, Toru Takao August 15, David Maker East Lansing, Michigan JAMES DORROH, AAGO, PhD Michigan State University, Beaumont Tow- Ottawa, Ontario DELBERT DISSELHORST Saint Luke’s Episcopal Church er Carillon, Wednesdays at 6 pm Peace Tower Carillon Samford University August 3, Mathieu Polak August weekdays at 11 am Professor Emeritus Andrea McCrady, Carillonneur University of Iowa–Iowa City Birmingham, Alabama Frederick, Maryland August 2, Lisa Lonie & Janet Tebbel Duo Organ Consultant Organ Recitals Baker Park August 9, Brian Tang First & third Sundays at 12:30 pm John Widmann, City Carillonneur Philadelphia, Pennsylvania First United Methodist Church of German- STEVEN EGLER JOHN FENSTERMAKER Gainesville, Florida town, Mondays at 7:30 pm Central Michigan University University of Florida, Century Tower August 1, Toru Takao, 7:30 pm School of Music TRINITY-BY-THE-COVE August 21, Laura Ellis, 3 pm Mt. Pleasant, MI 48859 Princeton, New Jersey [email protected] NAPLES, FLORIDA Glencoe, Illinois Princeton University, Grover Cleveland Chicago Botanic Garden, Mondays at 7 pm Tower August 1, Ellen Dickinson Sundays at 1 pm Norberto August 8, Joey Brink August 7, Tiffany Lin & Michael Solotke August 15, Sally Harwood August 14, Lisa Lonie Guinaldo STEPHEN HAMILTON August 22, Hunter Chase August 21, Daniel Kehoe August 29, Kimberly Schafer August 28, Janet Tebbel His Music recitalist–clinician–educator See—Listen—Buy www.stephenjonhamilton.com www.GuinaldoPublications.com David Herman Trustees Distinguished Professor Emeritus of Music and University Organist

The University of Delaware Q [email protected]

( )RU2OG7LPHV6DNHDWULEXWHVRPHPDVWHUVRIWKH < SDVWFRPSRVHUVZLWKVLJQL¿FDQWDQQLYHUVDULHVWKLV\HDU A Professional Card in . 6\PSKRQLF6XUSULVHVWKHFRPELQDWLRQRISLSH RUJDQZLWKDIXOORUFKHVWUDOHQVHPEOHDOZD\VSURYLGHVIRUD < VFLQWLOODWLQJVRQLFGHOLJKW The Diapason For rates and digital specifi cations, contact Jerome Butera : 7KH6XLWH6SRWUHSHUWRLUHIURPVHYHUDOFHQWXULHV ; H[SORLWLQJLQVWUXPHQWDOVRQRULWLHVDQGFRPSRVLWLRQDOWH[WXUHV 847/391-1045; [email protected] 0RUH6XLWH6ZHHWVDFRQWLQXHGH[SORUDWLRQRI  EHJXLOLQJFRQFHUWUHSHUWRLUHIURPWKUHHFHQWXULHV  $Q$PHULFDQ$GYHQWXUHXQLTXHFRQFHUWSHUIRUPDQFHV RIGLYHUVHZRUNVE\$PHULFDQFRPSRVHUVSULPDULO\IURPWKH  3LSHGUHDPVDUFKLYH Lorraine Brugh, Ph.D.  Professor of Music University Organist Valparaiso, Ind. 7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM valpo.edu [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY 219.464.5084 ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZŽ HWVIHJVT [email protected] :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Choir of Gonville & Caius College, Cam- New York, NY This calendar runs from the 15th of the month Syracuse, NY 13203-2816 bridge; St. Chrysostom’s Episcopal, Chi- of issue through the following month. The deadline cago, IL 7:30 pm (315) 471-8451 www.andrewhenderson.net is the fi rst of the preceding month (Jan. 1 for Feb. issue). All events are assumed to be organ 10 SEPTEMBER recitals unless otherwise indicated and are grouped Alan Morrison, Organ Discovery Day; within each date north-south and east-west. •=AGO Spivey Hall, Morrow, GA 3 pm and 4:45 pm Gary L. Jenkins chapter event, • •=RCCO centre event, +=new organ Brian Jones dedication, ++= OHS event. 11 SEPTEMBER Director, Schmidt Concert Series Information cannot be accepted unless it Director of Music Emeritus F. Allen Artz, III; St. John Lutheran, Director of Music, Carmelite Monastery specifi es artist name, date, location, and hour in Bloomfi eld, NJ 3 pm Curator of Organs TRINITY CHURCH writing. Multiple listings should be in chronological Ken Cowan; First Presbyterian, Lancast- Rose-Hulman Institute of Technology order; please do not send duplicate listings. er, PA 4 pm OSTON Terre Haute, Indiana B THE DIAPASON regrets that it cannot assume Karen Beaumont; Sts. Peter & Paul responsibility for the accuracy of calendar entries. Catholic Church, Milwaukee, WI 2 pm

13 SEPTEMBER KIM R. KASLING JAMES KIBBIE UNITED STATES Kenneth Stein; Ransdell Chapel, Camp- East of the Mississippi D.M.A. The University of Michigan bellsville University, Campbellsville, KY 12 noon Ann Arbor, MI 48109-2085 St. John’s University 15 AUGUST 734-764-1591 FAX: 734-763-5097 14 SEPTEMBER Collegeville, MN 56321 Mathieu Polak, carillon; St. Chrysos- email: [email protected] tom’s Episcopal, Chicago, IL 6 pm Douglas Major; Methuen Memorial Mu- sic Hall, Methuen, MA 8 pm 16 AUGUST Ray Cornils; First Parish Church UCC, 16 SEPTEMBER Michel Bouvard; St. Luke Lutheran, David K. Lamb, D.Mus. Brunswick, ME 12:10 pm Ithaca, NY 8 pm Director of Music Katelyn Emerson; Merrill Auditorium, Trinity United Methodist Church Portland, ME 7:30 pm 17 SEPTEMBER ORGAN CONSULTANT New Albany, Indiana Forrest Eimold, Messiaen, Livre d’Orgue; Michel Bouvard, masterclass; St. Luke Old West Church, Boston, MA 8 pm www.gabrielkney.com 812/944-2229 Lutheran, Ithaca, NY 10 am Aestas Consort; St. Chrysostom’s Epis- 17 AUGUST copal, Chicago, IL 7:30 pm Monica Harper; Methuen Memorial Mu- sic Hall, Methuen, MA 8 pm 18 SEPTEMBER David Bohn; First Congregational UCC, Todd Wilson, Durufl é works; St. Joseph A.S.C.A.P. Appleton, WI 12:15 pm Catholic Cathedral, Columbus, OH 3 pm FELLOW, AMERICAN GUILD OF ORGANISTS David O’Shea; Sinsinawa Mound, Sin- Thomas Heywood; Memorial Chapel, sinawa, WI 7 pm Culver Academies, Culver, IN 4 pm 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 Karen Beaumont; St. Hedwig Catholic (770) 594-0949 21 AUGUST Church, Milwaukee, WI 2 pm Stephen Distad, with trumpet; St. Pat- rick’s Cathedral, New York, NY 3:15 pm 20 SEPTEMBER Brian Gurley; St. Paul Cathedral, Pitts- Thomas Heywood; Merrill Auditorium, burgh, PA 4 pm Portland, ME 7:30 pm Thomas Russell; St. John’s Baptist, Michel Bouvard, masterclass; Kilbourn Charlotte, NC 7 pm Hall, Eastman School of Music, Rochester, NY 2 pm Professor Emeritus – University of Michigan – Ann Arbor Mark Sudeith; Christ Church, Michigan City, IN 12:15 pm Professor of Organ for 67 years 25 SEPTEMBER Karen Beaumont; St. Hedwig Catholic MarilynThe University’s longest-serving faculty memberMason Choral Evensong; St. John’s Episcopal, Church, Milwaukee, WI 2 pm West Hartford, CT 5 pm Leon W. Couch III; Shrine of Our Lady of Craig Cramer; Lutheran Church of the Guadalupe, La Crosse, WI 3 pm Good Shepherd, Lancaster, PA 4 pm A two-inch Professional Card in The Diapason Alan Morrison; Trinity Presbyterian, Ber- 23 AUGUST wyn, PA 4 pm For information on and specifi cations, contact Jerome Butera: Ray Cornils, with brass; Merrill Audito- Gail Archer; Christ Lutheran, Kokomo, rium, Portland, ME 7:30 pm IN 4 pm [email protected] 608/634-6253 Amanda Mole; Old West Church, Bos- Jack Mitchener; St. Paul’s Episcopal ton, MA 8 pm Church, Columbus, MS 4 pm

24 AUGUST 26 SEPTEMBER Neal Campbell; Methuen Memorial Mu- Volodymyr Koshuba; Elliott Chapel, sic Hall, Methuen, MA 8 pm Presbyterian Homes, Evanston, IL 1:30 pm LARRY PALMER Stephen Buzard; Christ Church, Michi- PHILIP CROZIER gan City, IN 12:15 pm 30 SEPTEMBER CONCERT ORGANIST Harpsichord – Organ Charles Barland; Memorial Presbyte- Johann Vexo; St. Paul Cathedral, Pitts- rian, Appleton, WI 12:15 pm burgh, PA 7:30 pm ACCOMPANIST Bruce Bengtson; Sinsinawa Mound, Jens Korndörfer, masterclass; Good Professor of Music, Emeritus 3355 Queen Mary Road, Apt 424 Sinsinawa, WI 7 pm Shepherd Episcopal, Augusta, GA 12 noon

Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas 26 AUGUST UNITED STATES Canada Hector Olivera; Valparaiso University, West of the Mississippi Valparaiso, IN 7 pm Recitals — Lectures — Consultancies (514) 739-8696 17 AUGUST [email protected] 28 AUGUST Craig Cramer; St. James Catholic Ca- [email protected] + 214.350-3628 Benjamin Kolodziej; St. Patrick’s Cathe- thedral, Seattle, WA 7 pm dral, New York, NY 3:15 pm Choirs of Covenant Presbyterian and My- 19 AUGUST ers Park United Methodist; Covenant Pres- Michael Lynch; Trinity Episcopal, Reno, byterian, Charlotte, NC 7 pm NV 12 noon

30 AUGUST 20 AUGUST The Diapason announces... Angela Kraft Cross; Legion of Honor Libor Dudas; Old West Church, Boston, MA 8 pm Museum, San Francisco, CA 4 pm 2020 Underunder 30 NominationsClass of 2016 31 AUGUST 21 AUGUST Deadline: February 1, 2016 Nancy Ypma; St. Matthew’s By-the- We offer our congratulations to the Anne Horsch; Methuen Memorial Music Hall, Methuen, MA 8 pm Bridge Episcopal, Iowa Falls, IA 4 pm We will be recognizing 20 young Angela Kraft Cross 20 under 30 Class of 2016. Thanks Ralph & Marillyn Freeman; St. Paul Lu- ; Legion of Honor men and women whose career Museum, San Francisco, CA 4 pm are also extended to those who theran, Neenah, WI 12:15 pm accomplishments place them at Thomas Joyce; Cathedral of St. Mary of Stephen Steely submittedthe forefront nominations. of the organ, We church encour- ; Sinsinawa Mound, Sin- the Assumption, San Francisco, CA 4 pm sinawa, WI 7 pm agemusic, you harpsichord, to submit nominations carillon, and next yearorgan-building for the Class offi elds—before2017. 22 AUGUST 3 SEPTEMBER Tom Trenney, silent fi lm accompani- their 30th birthday. John Gouwens, carillon; Memorial Cha- You can read the profi les of this ment; Spreckels Organ Pavilion, Balboa pel, Culver Academies, Culver, IN 4 pm Park, San Diego, CA 7:30 pm year’sVisit TheDiapason.com winners on our website. Clickfor more 20 under information 30, then and 2016 to. nominate. 4 SEPTEMBER 23 AUGUST Richard Gowers; Trinity Episcopal Ca- Ceri Benson; Christ United Methodist, thedral, Miami, FL 6 pm Rochester, MN 12:15 pm Stay up to date on all of the latest industry news and events. 6 SEPTEMBER 27 AUGUST Visit TheDiapason.com regularly. Nathan Laube; Daniel Chapel, Furman John Walko; Legion of Honor Museum, University, Greenville, SC 8 pm San Francisco, CA 4 pm

30 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Scott Montgomery Concert Organist 28 AUGUST Paulus, Mass for a Sacred Place; Or- John Walko; Legion of Honor Museum, chestra Hall, Minneapolis, MN 8 pm www.ScoMo.org San Francisco, CA 4 pm [email protected] INTERNATIONAL 29 AUGUST Aaron David Miller & Carol Williams; Spreckels Organ Pavilion, Balboa Park, 16 AUGUST San Diego, CA 7:30 pm Daniel Glaus, with brass; Münster, Bern, ANDREW PAUL MOORE LEON NELSON Switzerland 8 pm Director of Traditional Music 30 AUGUST CHRIST CHURCH Matthew Larkin; St. James United Southminster Presbyterian Church Mark Rich; Christ United Methodist, Church, Montreal, QC, Canada 12:15 pm Rochester, MN 12:15 pm SHORT HILLS Arlington Heights, IL 60005 17 AUGUST 2 SEPTEMBER Espen Melbø; St. Michaelis Kirche, Thomas Joyce, works of Reger; Trinity Hamburg, Germany 7 pm Episcopal, Reno, NV 12 noon Nathan Laube; Frauenkirche, Dresden, Stephen G. Schaeffer Nicholas E. Schmelter Germany 8 pm Recitals – Consultations 3 SEPTEMBER Organist David Hegarty; Legion of Honor Muse- 18 AUGUST Director of Music Emeritus 989/980-9912 um, San Francisco, CA 4 pm Letizia Romiti; Chiesa parrocchiale, Cathedral Church of the Advent Quaranti, Italy 9 pm Birmingham, Alabama [email protected] 4 SEPTEMBER Baptiste-Florian Marie-Ouvrard; Church David Hegarty; Legion of Honor Muse- of St. Andrew and St. Paul, Montréal, QC, um, San Francisco, CA 4 pm Canada 12:15 pm David Hatt; Cathedral of St. Mary of the ROBERT L. Assumption, San Francisco, CA 4 pm 19 AUGUST TEPHEN CHNURR James Welch; Grace Cathedral, San Christoph Hauser; Cathedral, Laus- S S Francisco, CA 4 pm anne, Switzerland 8 pm Saint Paul Catholic Church SIMPSON Christ Church Cathedral Ben van Oosten; Our Lady’s Church, Valparaiso, Indiana 10 SEPTEMBER Breda, 8 pm 1117 Texas Avenue James Welch; Church of Jesus Christ of Houston, Texas 77002 Latter-Day Saints, Monmouth, OR 7 pm 21 AUGUST Jonathan Dimmock; Legion of Honor Christian Schmitt; Klosterkirche, Museum, San Francisco, CA 4 pm Fürstenfeldbruck, Germany 12:10 pm Simon Harden; St. Justinus, Frankfurt, Marcia Van Oyen 11 SEPTEMBER Germany 5 pm Mark Steinbach Craig Cramer; Grace Episcopal Cathe- Daniele Dori; St. Johannes Baptist, Her- First United Methodist Church dral, Topeka, KS 3 pm ford, Germany 6 pm Brown University Plymouth, Michigan David Gray; Calvary Christian Assembly, Malcolm Sinn; Westminster Abbey, Lon- mvanoyen.com Seattle, WA 2 pm don, UK 5:45 pm +Carole Terry; Chapel, Epiphany Epis- Virgile Monin; Basilica Notre-Dame-du- copal, Seattle, WA 3 pm, 6 pm Cap, Trois-Rivieres, QC, Canada 2 pm Nathan Laube; Lagerquist Hall, Pacifi c Lutheran University, Tacoma, WA 3 pm 23 AUGUST Jonathan Dimmock; Legion of Honor Felix Pachlatko; Münster, Bern, Switzer- David Wagner Kevin Walters Museum, San Francisco, CA 4 pm land 8 pm DMA M.A., F.A.G.O. Stephen Hamilton; St. Mary Catholic Scott Bradford; St. James United www.davidwagnerorganist.com Cathedral, San Francisco, CA 4 pm Church, Montreal, QC, Canada 12:15 pm Rye, New York 16 SEPTEMBER 24 AUGUST Joyce Rhodes; Trinity Episcopal, Reno, Markus Eichenlaub; St. Michaelis NV 12 noon Kirche, Hamburg, Germany 7 pm Wyatt Smith; Christ Episcopal, Tacoma, Csaba Kerály; Kreuzkirche, Dresden, Alan G Woolley PhD KARL WATSON WA 12:10 pm Germany 8 pm Musical Instrument Research Felix Pachlatko, masterclass; Münster, 17 SEPTEMBER Bern, Switzerland 8 pm SAINT LUKE’S Edinburgh

James Welch; Bethania Lutheran, [email protected] Solvang, CA 1 pm 25 AUGUST METUCHEN Paul Meier; Legion of Honor Museum, Thomas Kladeck, with oboe; Ab- San Francisco, CA 4 pm teikirche, Köln, Germany 7:30 pm Gereon Krahforst & Maria Laach; Ab- 18 SEPTEMBER teikirche, Köln, Germany 8:30 pm RUDOLF ZUIDERVELD Paul Meier; Legion of Honor Museum, Denis Bonenfant; Church of St. Andrew RONALD WYATT San Francisco, CA 4 pm & St. Paul, Montréal, QC, Canada 12:15 pm Trinity Church Illinois College, Jacksonville Angela Kraft Cross; Cathedral of St. First Presbyterian Church, Mary of the Assumption, San Francisco, 26 AUGUST Galveston CA 4 pm Aurelio Genovese; Chiesa parrocchiale, Springfi eld Lerma, Italy 9 pm 22 SEPTEMBER Barry Jordan; Dom, Magdeburg, Ger- Tom Trenney, choral rehearsal; First many 7:30 pm A one-inch Professional Card United Methodist, Conway, AR 6:15 pm Philippe Sauvage, with trumpet; Cathe- DIAPASON Student Rate in The Diapason dral, , Switzerland 8 pm $20 one year 23 SEPTEMBER For information on rates and specifi cations, Tom Trenney; First United Methodist, 27 AUGUST 847/391-1044 Conway, AR 7:30 pm Gabriele Marinoni; Chiesa parrocchiale, WOW! contact Jerome Butera: Grondona, Italy 5 pm [email protected] [email protected] 608/634-6253 24 SEPTEMBER Stephen Hamilton, workshop; Grace 28 AUGUST Lutheran, Mankato, MN 9:30 am Christophe Guida; Klosterkirche, James Welch; St. Timothy’s Episcopal, Fürstenfeldbruck, Germany 12:10 pm A two-inch Professional Card in The Diapason Mountain View, CA 7 pm Jos van der Kooy; St. Nikolaus Kirche, John Walko; Legion of Honor Museum, Frankfurt, Germany 6 pm For information on rates and specifi cations, contact Jerome Butera: San Francisco, CA 4 pm Roberto Marini; Münster, Herford, Ger- many 6 pm [email protected] 608/634-6253 25 SEPTEMBER Letizia Romiti, with Trio di Genova; Thomas Heywood; First-Plymouth Con- Chiesa parrocchiale, Garbagna, Italy gregational, Lincoln, NE 4 pm 4:30 pm John Walko; Legion of Honor Museum, Ian Wicks; Westminster Abbey, London, ArtistArtist Spotlights Spotlightspotlight s San Francisco, CA 4 pm UK 5:45 pm DAVID SPICER Philip Manwell; Cathedral of St. Mary of Marc Senneville; Basilica Notre-Dame- First Church of Christ the Assumption, San Francisco, CA 4 pm du-Cap, Trois-Rivieres, QC, Canada 2 pm Artist Spotlights are available on Wethersfi eld, Connecticut 27 SEPTEMBER 30 AUGUST The Diapason Erik Wm. Suter; Edyth Bates Old Recital Gian Paolo di Rosa, masterclass; Mün- website and Hall, Rice University, Houston, TX 7:30 pm ster, Bern, Switzerland 8 pm Philip Crozier; St. James United Church, e-mail newsletter. 29 SEPTEMBER Montreal, QC, Canada 12:15 pm Contact Jerome Paulus, Mass for a Sacred Place; Or- Butera for rates 31 AUGUST chestra Hall, Minneapolis, MN 11 am and specifi cations. Barry Jordan; St. Michaelis Kirche, 608/634-6253 30 SEPTEMBER Hamburg, Germany 7 pm Artistic Director Marilyn Keiser Peter King [email protected] ; St. Paul’s Episcopal, ; Kathedrale, Dresden, Ger- Albert Schweitzer Organ Festival Fayetteville, AR 7:30 pm many 8 pm

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 31 Calendar Organ Recitals

Juan de la Rubia; Westminster Cathe- 16 SEPTEMBER ALEX BENFORD, University of Ala- de medio registro de primer tono, Lauda Sion, dral, London, UK 7:30 pm Willibald Guggenmos; Cathedral, Lau- bama, Tuscaloosa, AL, April 3: Plein jeu, de Arauxo; Preludium and Fuga in a, BuxWV sanne, Switzerland 8 pm Basse de cromorne, Récit de nazard, Caprice 153, Buxtehude; Valet will ich dir geben, 2 SEPTEMBER Ivan Furlanis; Chiesa di S. Giorgio, Loz- sur les grand jeux (Suite du deuxième ton), BWV 736, Bach; Komm Heiliger Geist, Herre Giampaolo Di Rosa; Cathedral, Laus- zolo, Italy 9 pm Clérambault; Allegro Risoluto, Salix, Toccata Gott, BuxWV 199, Buxtehude; Preludium and anne, Switzerland 8 pm (Plymouth Suite), Whitlock; Sonata in E-fl at, Fugue E-fl at, BWV 552, Bach. BWV 525, Bach; Choral-Phantasie über Ein 3 SEPTEMBER 17 SEPTEMBER Carsten Igelbrink; Hohen Dom, Lim- Ivan Furlanis; Chiesa di San Pietro, Gat- feste Burg ist unser Gott, op. 27, Reger. VÍCTOR CONTRERAS, with JUAN LUIS burg, Germany 4 pm tinara, Italy 9 pm GONZÁLEZ, trumpet, Santo Domingo, Yan- MONTY BENNETT, Park Road Baptist huitlán, Oaxaca, Mexico, February 20: Con- 4 SEPTEMBER 18 SEPTEMBER Church, Charlotte, NC, April 17: Praise the cierto en re menor, A. Marcello; Voluntario Willibald Guggenmos; Klosterkirche, Carlo Barbierato; Chiesa dei SS.Giulio Lord with and , Karg-Elert; II, opus 6, Stanley; Obra de mano derecha de Fürstenfeldbruck, Germany 12:10 pm e Amatore, Cressa, Italy 9 pm Pavane, Elmore; Air and Variations (Concerto medio registro, de Torres, transcr. Delgado; Luca Benedicti; Abteikirche, Marien- Bernhard Buttmann; St. Johannes Bap- I in g, op. 4), Handel; Dreams, McAmis; Toc- Melodía, Gluck; Tiento de 1º tono de mano statt, Germany 5 pm tist, Pfaffenhoffen, Germany 5 pm cata in F, BWV 540, Bach; Andante, Proces- derecha, Bruna; Pasacalles de 1º Tono, Caba- sional (Six Preludes for Organ), Bloch; Mel- nilles; Concierto en re mayor, Vivaldi. 7 SEPTEMBER 20 SEPTEMBER ody in Mauve, Purvis; Sonata III, Guilmant; Manuel Gera; St. Michaelis Kirche, Vinterpastoral, von Koch; Swinging Bach, KEN COWAN, Bethlehem Lutheran Hamburg, Germany 7 pm Stephanie Burgoyne & William Vandertuin; St. Paul’s Anglican Cathedral, The Toccata and Fugue in d?, Heaps; There Church, Minneapolis, MN, April 10: Fanta- Francesco Bonglorno; Frauenkirche, Is a Happy Land, Shearing; Come, Sweetest sia in f, K. 608, Mozart; The Soul of the Lake Dresden, Germany 8 pm London, ON, Canada 12:15 pm Death, Blessed Rest, Bach, arr. Fox; Variations (Pastels from the Lake of Constance), op. 96, 8 SEPTEMBER 21 SEPTEMBER de Concert, Bonnet. no. 1, Karg-Elert; Prelude and Fugue in b, Letizia Romiti, with orchestra; S. Giovan- Samuel Kummer; Kathedrale, Dresden, Martin; A Refi ned Refl ection, Paulus; Étude ni Evangelista, Alessandria, Italy 9 pm Germany 8 pm JAMES RUSSELL BROWN, Nichols Heroïque, Laurin; Prelude and Fugue in a, Andrew Lumsden; Westminster Cathe- Concert Hall, Music Institute of Chicago, BWV 543, Bach; Präludium nach Weinen, 9 SEPTEMBER dral, London, UK 7:30 pm Evanston, IL, April 25: Andante sostenuto Klagen, Sorgen, Zagen, Bach/Liszt, arr. Win- Barry Jordan; Dom, Magdeburg, Ger- (Symphonie Gothique, op. 70), Widor; Rorate terberger/Cowan; Scherzo (A Midsummer many 7:30 pm 23 SEPTEMBER coeli (Twelve Choral-Preludes on Gregorian Night’s Dream), Mendelssohn, arr. Nevin/ Rudolph Peter; Abteikirche, Marienstatt, Matthias Grünnert; Frauenkirche, Dres- Chant Themes, op. 8), Demessieux; O welt, Cowan; Prelude to Die Meistersinger, Wagner, Germany 7:30 pm den, Germany 8 pm ich muss dich lassen (Eleven Chorale Pre- arr. Warren/Lemare. Martin Bambauer; Cathedral, Laus- ludes, op. 122), Brahms; Allegro (Concerto in Roberto Bonetto; Cathedral, Lausanne, anne, Switzerland 8 pm G, BWV 592), Bach. CRAIG CRAMER, Trinity Lutheran Switzerland 8 pm Church, Cleveland, OH, March 20: Toccata 11 SEPTEMBER PAUL CARR, Fourth Presbyterian in d, BuxWV 155, Buxtehude; Intrada-Tanz- Christoph Hauser; Klosterkirche, 24 SEPTEMBER Church, Chicago, IL, April 9: Concert Over- Nachtanz, Tantz-Proportio-Curanta-Final, Fürstenfeldbruck, Germany 12:10 pm Arvid Gast; Marktkirche, Hannover, ture in c, Hollins; Prelude and Fugue in a, Danz Beurlin-Nachtanz, Tannz Jesu Du zartes Paul Goussot; Abteikirche, Marienstatt, Germany 6 pm Germany 5 pm BWV 543, Bach; Trumpet Voluntary, Stanley; Lämblein-Proportio, Tantz-Nachtanz (Linz 28 SEPTEMBER Pomp and Circumstance March No. 4, Elgar; Orgeltablaturbuch); Noël A minuit fut un Rev- Carillon Orléanais, Nibelle; Melody (Trip- eil, Noël Pour l’Amour de Marie, Noël de Sain- 14 SEPTEMBER Ludger Lohmann; Frauenkirche, Dres- Christoph Schoener; St. Michaelis tyque), Langlais; March (The Love of Three tonge, Dandrieu; Passacaglia et thema fugatum den, Germany 8 pm Kirche, Hamburg, Germany 7 pm Oranges), Prokofi ev, arr. Guillou; Polonaise in c, BWV 582, Bach; Freu dich sehr, o meine Holger Gehring, with orchestra; Kreuz- (Eugene Onégin), Tchaikovsky; Marche Seele, Böhm; Kingsfold Suite, Martinson; So- 30 SEPTEMBER kirche, Dresden, Germany 8 pm Américaine, op. 31, Widor, arr. Dupré; Sara- nata No. 1 in f, op. 65, no. 1, Mendelssohn. Manuel Tomadin; Chiesa di S. Maria, bande for the Morning of Easter, Howells; Valduggia, Italy 9 pm 15 SEPTEMBER Kiwi Fireworks, Spicer; Three Pieces for Mu- LYNNE DAVIS, Wiedemann Hall, Wichita Bernhard Marx Michael Utz; Abteikirche, Köln, Germany ; Cathedral, Lausanne, sical Clock, Haydn; Toccata in C, Schmidt. State University, Wichita, KS, April 6: Pièce 7:30 pm Switzerland 8 pm Heroïque, Cantabile, Choral III en La mi- FRANCESCO CERA, Church of the neur, Franck. Covenant, Cleveland, OH, April 24: Toccata VII, Scarlatti; Passacagli, Pasquini; Toccata MATTHEW DORAN, Boutell Memorial ottava, Canzone terza, Toccata quarta da so- Concert Hall, Northern Illinois University, narsi alla levatione, Ricarcare quarto sopra DeKalb, IL, April 24: Prelude and Fugue in mi re fa mi, Partite sopra Follia, Frescobaldi; b, BWV 544, Trio Sonata II in c, BWV 526, Liebster Jesu, wir sind hier, BWV 634, Vater Schmücke dich, o liebe Seele, BWV 654, Bach; unser im Himmelreich, BWV 636, Christus, Annum per annum, Pärt; Gospel Prelude— der uns Selig macht, BWV 620, Da Jesus an Just As I Am, Bolcom; Dieu parmi nous (La dem Kreuze stund, BWV 621, Passacaglia in Nativité du Seigneur), Messiaen. c, BWV 582, Bach. BRYAN DUNNEWALD, St. Thomas FRANCIS CHAPELET, Old West Church Fifth Avenue, New York, NY, March Church, Boston, MA, April 15: Improvisa- 13: Féte, op. 51, Langlais; First Suite for Or- tion: Overture; Plein Jeu, Cromorne en taille, gan, Hampton; Air: Prelude for Organ, Toc- Trio, Basse de Trompette, Flûtes, Grand Jeu cata for Organ, Hancock; Variations sur un (Improvisation: Suite on the 2nd Tone); Tiento Noël, op. 20, Dupré.

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Pipe Organ Builders Since 1915 11561 Edmonston Rd. Beltsville, MD 20705 800/952-PIPE 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

32 Q THE DIAPASON Q AUGUST 2016 WWW.THEDIAPASON.COM RICHARD L. ELLIOTT, First United We Gather at the River, Owens; Theme, Can- SERGIO ORABONA, St. John the Evan- JOHN W. W. SHERER, Fourth Presbyte- Methodist Church, Schenectady, NY, March tabile, Valse, Burletta, Tango, Scherzo, Tango, gelist Catholic Cathedral, Milwaukee, WI, rian Church, Chicago, IL, March 18: March 13: Sinfonia (Cantata 29, Wir danken dir, Berceuse, Final (To Call my True Love to my March 9: Allegro risoluto (Symphonie No. on a Theme by Handel, op. 15, no. 2, Guil- Gott), Sicilano (Sonata for Flute, BWV 1031), Dance), Hakim. 2 in e, op. 20), Vierne; Scherzo in g, op. 49, mant; Passacaglia and Fugue in c, BWV 582, Prelude and Fugue in C, BWV 547, Bach; no. 2, Bossi; Elegy, Thalben-Ball; Tu es petra Bach; Prelude on Iam sol recedit igneus, Si- Fantasie in f, K. 608, Mozart, arr. Dupré; Cho- CHRISTOPHER HOLMAN, JESÚS (Esquisses Byzantines), Mulet; Prelude and monds; Fantasy in E-fl at, Saint-Saëns; Giga, rale Prelude on Christe, Redemptor Omnium, GONZÁLEZ VELASCO, JEFFREY COO- Fugue in B, op. 7, no. 1, Dupré. op. 73, no. 2, Bossi; Marche Héroique, Brew- Parry; Prelude and Fugue in g, op. 7, no. 3, PER, TONATIUH GONZÁLEZ SOLIS, MI- er; Symphony VI in g, op. 42, no. 2, Widor. Dupré; St. Francis Suite, Purvis; Herzlich tut CHAEL DAVID GING, Santa María Nativi- MARGARITA RICÁRDEZ, VÍCTOR mich verlangen, Lloyd; When Johnny Comes dad, Tamazulapan, Oaxaca, Mexico, February CONTRERAS, VICTOR MANUEL MO- LIUWE TAMMINGA, with BRUCE Marching Home, arr. Elliott; Shenandoah, arr. 20: Bergamasca, Frescobaldi; Canzona en Sol RALES, ROBERT BATES, ALBERTO DICKEY, cornetto, Cathedral, Oaxaca, Ciampa; The Battle Cry of Freedom, arr. El- mayor, Tunder; Toccata, Diemer; Solo Dios es REVILLA, theorbe, ALBERTO REVILLA, Mexico, February 18: Canzon II del XII tono liott; Swing Low, Sweet Chariot, arr. Elliott; alabado en las alturas, BWV 711, Bach; Cor- guitar, San Andrés, Zautla, Mexico, February a 4, Canzon francese del XII tono, G. Gabri- Toccata (Uzbekistan Suite), Mushel. rente italiana, Cabanilles; Inviolata, Cabezón; 20: Sonata para responder como a dos órga- eli; Pavane Belle, qui tiens ma vie, Arbeau; Cinco Gallardas del segundo libro de tocatas, nos, Moretti; Dúo en Sol Mayor, BWV 804, Diferencias sobre el canto de (La dama le de- JOHN FENSTERMAKER, organ, harp- Frescobaldi; Pavane, Galliarde, Jouyssance Bach; La Battaglia, Banquieri; Xácara, Caba- manda), Pavana con glosa, Diferencias sobre sichord, piano, calliope, with Wendy Willis, vous donneray, Tant que vivray, Attaignant. nilles; Toccata Arpeggiata, Bergamasca, Kaps- Las Vacas, Cabezón; Tiento de medio registro fl ute, Trinity-by-the-Cove Episcopal Church, berger; Chaconne en Sol, de Visée; Haec Dies, de tiple de X tono, d’Arauxo; Aria sopra La Naples, FL, March 17: Sonata in G for harp- CHRISTOPHER HOULIHAN, Alumnae Léonin; Toccata Malle Sijmon, Sweelinck; Lo Spagnoletta, Storace; Mottetto Emendemus sichord and fl ute, C.P.E. Bach; ‘Little’ Fugue Chapel, Wilson College, Chambersburg, PA, ballo dell’Intorcia, Valente; Ungarescha und in melio, Trombetti; Tarantelas, de Murcia; in g, Bach; Syrinx, Débussy; Irish Air from March, 6: Toccata, Sowerby; Toccata, Ada- Saltarello, Paix; Tres Glosas sobre el Canto Tarantela, de Huete; Mottetto Dilectus meus, County Derry, arr. Lemare; Irlandaise (Suite gio, and Fugue in C, BWV 564, Prelude and Llano de La Inmaculada Concepción: Todo el Palestrina; Fandango, de Nebra Blasco; Can- for fl ute and piano), Bolling; Ashokan Fare- Fugue in e, BWV 548, Trio Sonata No. 5 in C, mundo en general, Segundo tiento de quarto zon La Novellina a 4, Guami. well, Ungar; Lannigan’s Ball, Kerry Dances, BWV 529, Bach; Scherzo (Symphony No. 2, tono a modo de canción, de Arauxo; Punta arr. Gallagher; Variations on Foster’s Melody, op. 20), Romance (Symphony No. 4, op. 32), y tacón-Farruca, Solea, Zapateado en Re- JEREMY DAVID TARRANT, First Pres- Old Folks at Home, Buck; Allegretto (Trois Final (Symphony No. 6, op. 59), Vierne. Morisca, Castellón. byterian Church, Ottumwa, IA, April 8: Pre- Morceaux), Godard; Almans, Galliards & lude and Fugue in G, BWV 541, Bach; No. 4 Gigs, Fitzwilliam Virginal Book. KATHERINE MELOAN, St. Paul’s Epis- WOLFGANG RÜBSAM, Izumi Hall, in D-fl at, No. 3 in f (Four Sketches, op. 58), copal Church, Wilmington, NC, March 11: Osaka, Japan, January 16: Präludium und Schumann; There Is a Happy Land, I Love THOMAS GAYNOR, St. Mark Episcopal Carillion de Westminster (Pièces de Fantaisie, Fuge c-moll, BWV 546, Wachet, auf, ruft uns Thee, My Lord, Shearing; Impromptu, Clair Church, Berkeley, CA, April 10: In Dir ist Deuxiéme Suite, op. 54), Vierne; Apparition die Stimme, BWV 645, Wo soll ich fl iehen de lune, Toccata (Pièces de fantasie), Vierne; Freude, BWV 615, Herr Gott, man schleuß den de l’Église Éternelle, Messiaen; Toccata per hin, BWV 646, Wer nur den lieben Gott läßt Cortège et Litanie, Dupré; Choral, Allegretto, Himmel auf, BWV 617, Erbarm dich mein, O l’Elevazione (Fiori Musicali), Frescobaldi; walten, BWV 647, Meine Seele erhebt den Final (Symphonie VII, op. 42, no. 3), Widor. Herre Gott, BWV 721, Kommst du nun, Jesu, Toccata and Fugue in F, BWV 540, Bach; Toc- Herrn, BWV 648, Ach bleib bei uns, Herr vom Himmel herunter, BWV 650, Bach; Cia- cata, Jongen; Psalm 130—Out of the depths Jesu Christ, BWV 649, Kommst du nun, STEPHEN THARP, with Jill Shellabarger cona in f, T. 206, Pachelbel; Corrente Italiana, I cry to Thee, O Lord!, Psalm 108—O God, Jesu, vom Himmel herunter, BWV 650, Herr and Roger Mueller, readers, St. Luke’s Epis- Cabanilles; Andante in F, K. 616, Mozart; Pre- my heart is steadfast!, Diemer; Trumpet Tune Jesu Christ, dich zu uns wend, BWV 655, O copal Church, Evanston, IL, March 9: Faust lude and Fugue in g, BWV 535, Bach. in D, Johnson; Prince of Denmark’s March Lamm Gottes unschuldig, BWV 656, Herr for Organ, Eben. (The Island Princess), Clarke; Trumpet Tune Christ, der ein’ge Gottes Sohn, BWV 698, JOHN GOUWENS, Memorial Chapel, Cul- on Wachet Auf, Sobaje; Variations on a Theme Gottes Sohn ist kommen, BWV 724, Allein CHRISTOPHER URBAN, First Presby- ver Academies, Culver, IN, April 17: Prelude by Paganini, Thalben-Ball. Gott in der Höh sei Ehr’, BWV 662–664, In terian Church, Arlington Heights, IL, March and Fugue in c, BWV 546, Bach; Aria, Inter- dich hab ich gehoffet, Herr, BWV 712, Gel- 23: Toccata on Hosanna, Loud Hosanna, mezzo (Cathedral Music), Idenstam; Variations PETER MILLER, First United Method- obet seist du, Jesu Christ, BWV 697, BWV Thallander; Give Me Jesus, Hamlin; Night on a Hymn Tune, op. 20, Mathias; Prelude and ist Church, Decatur, IL, April 24: Praeludium 722, Präludium und Fuge in C-dur, BWV Communion, Hebble; De Profundis, Groden; Fugue in E, op. 99, no. 1, Saint-Saëns; Hymn und Fuga in C, BWV 545, Fantasia und Fuga 545, Bach. Come Sweet Death, Bach, arr. Fox; Toccata improvisation; Méditation (Thaïs), Massenet, in c, BWV 537, Chorale e Partite diverse so- (Symphony No. 5 in f, op. 42, no. 1), Widor. transcr. Silver; Carillon, op. 27, no. 4, Dupré. pra Sei gegrüsset, Jesu gütig, BWV 768, Trio CHARLIE SEGA, Fourth Presbyterian Sonata in e, BWV 528, Praeludium und Fuga Church, Chicago, IL, March 11: Fanfare GREGORY ZELEK, St. John’s Episcopal CHRISTOPHER HENLEY, Holy Trinity in b, BWV 544, Bach. (Four Extemporizations), Whitlock; Mas- Church, Kula, Hawaii, March 8: Toccata and Episcopal Church, Gainesville, FL, April 24: ter Tallis’s Testament, Hollins; Praeludium Fugue in d, BWV 565, Bach; Adagio, Alle- Preludium Festivum (Sonata I in g), Becker; DEREK E. NICKELS, Madonna della in e, Bruhns; Air with Variations, Sowerby; gro assai vivace (Sonata I in f, op. 65, no. 1), Prelude and Fugue in C, BWV 547, Bach; An- Strada Chapel, Loyola University, Chicago, Sonata III in A, op. 65, no. 3, Mendels- Mendelssohn; Trio Sonata in C, BWV 529, dante (Sonata IV), Guilmant; Sonata in A, op. IL, April 17: Symphonie Romane, op. 73, sohn; Amazing Grace, There Is a Happy Bach; Voluntary in d, op. 5, no. 8, Stanley; 65, no. 3, Mendelssohn; Jesu Dulcis Memoria, Widor; Pastorale, Roger-Ducasse; Final (Pre- Land, Shearing; Moto Ostinato (Sunday Benedictus, op. 59, no. 9, Reger; Fantasia for Decker; Jerusalem, My Happy Home, Shall mière Symphonie), Langlais. Music), Eben. Organ, Weaver.

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Bedient Pipe Organ, 2005. Mechanical key, 1981 Casavant tracker—3 manuals, 23 George Hutchings, rebuilt by Philip Beaudry. Aeolian/Robert Morton-style maroon electric stop action, 2 manuals/pedal 58/30,12 stops, 30 ranks. Footprint 10′ x 14′; height 18′. 2 manuals, 29 stops, tracker action, detached leather is now available from Columbia Organ stops,11 ranks, Zimbelstern, combination action. Good working order. Available now. Seller will console, good condition, Boston, MA. No sale Leathers! Highest quality. 800/423-7003, Main case, external pipes, pedalboard: 100″D consider offers on a competitive basis. For price, new owner is responsible for removal www.columbiaorgan.com. x 87″W x 115″H. Blower: 30″D x 22″W x 24″H. details, contact consultant Dr. David Lowry at and relocation. Contact John Bishop, the Organ Voiced by Gene Bedient for Seattle residence. [email protected]. Clearing House, john@organclearinghouse. $250,000 obo. Contact: [email protected], com. Complete Pipe Organ Services from the Organ 206/784-1690. Clearing House: 450 vintage pipe organs avail- Historic 1859 ROBJOHN, II+Ped, 11 ranks. Drop able, renovation, tuning, consultation. Other ′ ″ dead gorgeous rosewood case, 14 -2 tall. Lovely MISCELLANEOUS FOR SALE services include transportation, cleaning and Holtkamp residence organ, 2 manuals, 10 for chapel, large residence, or museum. www. renovation of carvings, reredos, liturgical furnish- bigeloworgans.com. Click on News. stops, 13 ranks, electro-pneumatic action. Com- Wood pipes. Missing pipes made to match. ings. Call John Bishop at 617/688-9290. john@ pleted winter 2014. Beautiful oiled walnut case- Damaged pipes in any condition repaired. Over organclearinghouse.com. work with clear lacquer and gold façade pipes. Aeolian-Skinner Opus 968 (1937, 1939, 1955, 25 years experience. Filip Cerny, 814/342-0975. Located in the south east USA. Easily modifi ed 1964). Rebuilt Kinzey-Angerstein (1977), rebuilt for a small to medium sized church. $160,000 Releathering all types of pipe organ actions Létourneau (1995), four manuals, 85 stops. includes removal, shipping, and installation. Consoles, pipes and numerous miscellaneous and mechanisms. Highest quality materi- $40,000. Contact John Bishop, Organ Clearing Dimensions: 12′-6″ wide x 7′-7″ deep x 12′-6″ parts. Let us know what you are looking for. als and workmanship. Reasonable rates. House, 617/688-9290, john@organclearing- high. For more information, contact The Holt- E-mail [email protected] (not comcast), Columbia Organ Leathers 800/423-7003. house.com. kamp Organ Company, chris@holtkamporgan. phone 215/353-0286 or 215/788-3423. www.columbiaorgan.com/col. com, 216 741-5180. E. & G.G. Hook & Hastings (1871, #558): two E. M. Skinner 32′ Bourdon (44 notes) with manuals, nine stops. Very good playable condi- Do you have a pipe organ that you would chests and racks. E. M. Skinner 16′ Double Portative organ: Designed for small choral or tion, modest restoration required. Facade pipes like to interface with an electronic or digital ′ ′ ′ Open Wood Diapason (32 notes) with chests baroque ensembles. Four stops: 8 , 4 , 2 , and mitered for a dropped ceiling (153″ high, 100″ organ? We can interface any digital organ or ′ and racks. $17,500 each, or $30,000 for both, 1-1/3 , with the last two divided into bass and wide, 96″ deep includes pedalboard). $10,000 any organ console with any pipe organ. For more treble registers and an adjustable point of divi- (as is, where is). Relocation and restoration FOB Newcastle, Maine. Delivery services avail- information e-mail [email protected] (not sion (b24/c25 or c25/c#26). Adjustable pitch services available. The Organ Clearing House, able. The Organ Clearing House, 617/688-9290, Comcast) or call 215/353-0286. between A=440 Hz and A=415 Hz. Quartersawn 617/688-9290, [email protected]. [email protected]. white oak case. Available immediately. For more Visit TheDiapason.com for news and events. information, contact Létourneau Pipe Organs at SERVICES / SUPPLIES [email protected] or 800/625-7473. Expressive and compact—3/27 Kilgen (1940). Two expressive divisions. 17 manual 8-foot fl ues. Postal regulations require that mail to THE Reeds include Tuba, Cornopean, Oboe, Clarinet, Professional organ consultants assist DIAPASON include a suite number to assure Circa 1860 Pfeffer eight-rank organ ′ ″, , available Vox Humana. Harp. 16 Open Wood. H: 237 W: with your church’s pipe organ project. New delivery. Please send all correspondence to: rebuilt and custom fi nished. Also 1884 choir ″, ″. 170 D: 189 Stopkey console. Original restor- organs, rebuilding, renovations, repairs, tonal THE DIAPASON, 3030 W. Salt Creek Lane, Suite organ by Louis Debierre. Both are pictured on the able condition. $30,000. Organ Clearing House, designs. Contact: Audio Forum, 254/230-8476, 201, Arlington Heights, IL 60005. Redman website: www.redmanpipeorgans.com. 617/688-9290, [email protected]. [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2016 Q 35 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* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Katelyn Emerson 2016 AGO National Competition Winner Available 2016-2018

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

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2017

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

Choir The Choir of New College, Oxford, UK Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison Thomas Murray Robert Quinney, Director Available March 26 - April 9, 2017

Celebrating Our 95th Season! James O’Donnell* Thomas Ospital* Jane Parker-Smith* Peter Planyavsky* Daryl Robinson *

*=Artists based outside the U.S.A. Jonathan Ryan Ann Elise Smoot Tom Trenney Thomas Trotter* Todd Wilson Christopher Young