THE DIAPASON SEPTEMBER 2019

Faculty, staff, and students of the University of Michigan Organ Department Hill Auditorium, Ann Arbor, Michigan Cover feature on pages 22–24 PHILLIP TRUCKENBROD CONCERT ARTISTS

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

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

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

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

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

ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Announcing the Gruenstein Award Scranton Gillette Communications One Hundred Tenth Year: No. 9, Siegfried Emanuel Gruenstein (March 26, 1877– that essays be between 2,500 Whole No. 1318 December 6, 1957) and 10,000 words. Quality is SEPTEMBER 2019 The Diapason is pleased to announce the creation of The preferred over quantity. All Established in 1909 Gruenstein Award to honor S. E. Gruenstein, founder and accompanying illustrations ISSN 0012-2378 fi rst editor of The Diapason, which commenced publication must be submitted in JPEG, in December 1909. For the journal’s 110th anniversary, The TIFF, and/or PDF formats An International Monthly Devoted to the Organ, Diapason is establishing the Gruenstein Award to recognize the with text and must be of suf- the Harpsichord, Carillon, and Church Music scholarly work of a young author who has not reached her or his fi cient quality to print (300 dpi 35th birthday as of January 31, 2020. or better), with any necessary CONTENTS Submissions of article-length essays will be accepted until permission to print secured FEATURES January 31, 2020, and the winning article will be published in in advance on behalf of The The 1755 John Snetzler Organ, Clare Col- the May 2020 issue. Submissions must be original research and Diapason. The winning lege, Cambridge, restored by William Drake, essays by the author, must not have been previously published essay, upon publication in the Ltd., Joost de Boer, Director: An analysis by 1909 110 2019 Michael McNeil from data published in 2016 by any other journal, and may not be under consideration for May 2020 issue, becomes the copyrighted by William Drake, Ltd., Organbuilder publication by another journal. The topic(s) should be related to property of The Diapason and Scranton by Michael McNeil 17 the organ, church music, harpsichord, and/or carillon. Strict word Gillette Communications, Inc. NEWS & DEPARTMENTS count will not be enforced, as some articles will need numerous To submit materials, or to direct questions, contact Stephen Editor’s Notebook 3 illustrations and may require less text, or vice versa. It is suggested Schnurr, Editorial Director: [email protected]. Q Here & There 3 Nunc Dimittis 8 Appointments 9 Editor’s Notebook On Teaching by Gavin Black 12 In the wind . . . by John Bishop 14 September 1969 and September 2019 Harpsichord Notes by Larry Palmer 16 Our September 1969 issue announced that henceforth, REVIEWS Larry Palmer would be “in charge of harpsichord items.” The Choral Music 10 staff of The Diapason wishes Dr. Palmer a meaningful 50th Stephen Schnurr Book Reviews 10 anniversary of his work for our journal and for the harpsichord! 847/954-7989; [email protected] New Organ Music 10 www.TheDiapason.com New Recordings 11 A new time for new events Most choirs and ensembles will soon begin rehearsals for Our cover feature spotlights the historic yet innovative and CALENDAR 25 their weekly services or seasonal concerts. Our “Here & There” vigorous program for organ, church music, harpsichord, and RECITAL PROGRAMS 29 and Calendar sections contain listings for many church, uni- carillon at the University of Michigan School of Music, The- CLASSIFIED ADVERTISING 30 versity, civic, and regional ensembles that will excite you with atre & Dance in Ann Arbor. James Kibbie’s essay is sure to excellence in organ and choral music. If you have a series of enlighten you to the wide scope of opportunities available to events you would like for us to consider, it is not too late to send prospective students. the appropriate information to me. Resource Directory THE In this issue We have begun work on our 2020 Resource Directory, which DIAPASON Michael McNeil introduces us to a one-manual organ built will be mailed with your January issue. If your business was not SEPTEMBER 2019 in 1755 by John Snetzler and now located in Clare College, listed in the 2019 Directory and should be in 2020, please let me Cambridge, UK, having been restored by William Drake, Ltd. know; listings are free of charge. If your business was included in In “In the Wind . . .,” John Bishop discusses Walter Holtkamp, our 2019 Directory, carefully review your entry to see if informa- Sr., and his revolutionary contributions to the American Classic tion needs to be updated, expanded, etc. To ensure your business organ movement. Gavin Black, in “On Teaching,” continues his stands out through advertising, Jerome Butera (jbutera@sgcmail. discussion of J. S. Bach’s The Art of the Fugue. In “Harpsichord com; 608/634–6253) is always ready to assist you with many Notes,” Larry Palmer writes about choosing repertoire for opportunities. Our Resource Directory is a reference tool for our organ and harpsichord recitals. readership for the entire year, so make sure you are included! Q

Faculty, staff, and students of the University of Michigan Organ Department Hill Auditorium, Ann Arbor, Michigan Cover feature on pages 22–24 Here & There Events COVER The University of Michigan Organ The Cathedral of St. John the Department; School of Music, Theatre & Evangelist, Milwaukee, Wisconsin, Dance, Ann Arbor, Michigan 22 announces its Wednesday concert series through 2019, all programs beginning at 12:15 p.m.: September 4, Sara Van Editorial Director STEPHEN SCHNURR Weelden, piano; 9/11, Andy Miller, and Publisher [email protected] 847/954-7989 vibraphone and marimba; 9/18, James Grzadinski, organ, and Rachel Mallette, President RICK SCHWER soprano; 9/25, Simon Farintosh, guitar; [email protected] 847/391-1048 October 2, Jeffrey Jaworski, guitar; 10/9, Hans Uwe Hielscher, organ; 10/16, Editor-at-Large ANDREW SCHAEFFER Adrien Zitoun, cello, and Chi Li, violin; [email protected] 10/23, Agnieszka Kosmecka, organ; University of Nevada, Las Vegas, Becker- ath organ (photo credit: Dorothy Young Riess) Sales Director JEROME BUTERA 10/30, George Radosavljevic, piano; [email protected] November 6, Charles Sullivan, organ; 608/634-6253 11/13, Cordes de Lion (cello and gui- organ in Doc Rando Hall, University of Circulation/ Subscriptions THE DIAPASON tar); 11/20, DSHA Chamber Orchestra; Nevada, Las Vegas: September 6, Duo P.O. Box 300 11/27, Valerie Floeter, piano, and Pat MusArt Barcelona (Maria Teresa Sierra, Lincolnshire, IL. 60069-0300 Backhaus, trumpet; pianist, and Raúl Prieto Ramirez, organ- St. Paul Catholic Cathedral, Pittsburgh, [email protected] Pennsylvania, Beckerath organ Toll-Free: 877/501-7540 December 4, Emma Peng, guitar; ist); October 25, Adam Pajan; December Local: 847/763-4933 12/11, Joseph Kucharski, organ; 12/18, 15, chapter members’ Advent and Christ- Milwaukee Liederkranz. For informa- mas recital; February 14, 2020, Svyati recitals featuring the cathedral’s Bec- Designer KIMBERLY PELLIKAN [email protected] tion: www.stjohncathedral.org. Duo (Rebecca Hepplewhite, cellist, and kerath organ: September 8, 3:30 p.m., 847/391-1024 Julian Collings, ); March 27, Mar- Don Fellows; October 4, 7:30 p.m., The Southern Nevada Chapter garet Kvamme; May 15, Ken Cowan. For Janette Fishell; November 10, 3:30 p.m., Contributing Editors LARRY PALMER Harpsichord of the American Guild of information: www.sncago.org. Craig Cramer; 11/22, 7:30 p.m., Nichole announces its 2019–2020 season of the Simental. For information: BRIAN SWAGER newly renamed Paul S. Hesselink Organ St. Paul Catholic Cathedral, Pitts- http://stpaulpgh.org. Carillon Recital Series held on the Beckerath burgh, Pennsylvania, announces organ ³ page 4 JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles GAVIN BLACK 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. On Teaching Subscriptions: 1 yr. $43; 2 yr. $77; 3 yr. $106 ( and U.S. Possessions). Copyright ©2019. Printed in the U.S.A. and Mexico: 1 yr. $43 + $10 shipping; 2 yr. $77 + $15 shipping; 3 yr. $106 + $18 No portion of the contents of this issue may be reproduced in any form without the Reviewers Derek E. Nickels shipping. Other foreign subscriptions: 1 yr. $43 + $30 shipping; 2 yr. $77 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Stephen Schnurr 3 yr. $106 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Jay Zoller Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. John L. Speller POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

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³ page 3 ensemble-in-residence, offers concerts, Emmanuel Episcopal Church, Sundays at 2:00 p.m.: October 20, Janu- Chester Parish, Chestertown, Maryland, ary 12, March 29. For information: announces its 2019–2020 concert series, www.reddoormusic.org. the church’s 27th season: September 8, Tim Robson, organ, with Cary Ebli, Eng- lish horn; November 8, Nicole Simental; February 9, 2020, Christiana Hundred Choir; April 24, Ken Cowan; May 10, Andrew Sheranian. In addition, the church offers special services: November 27, Thanksgiv- ing Evensong; December 8, Advent/ Christmas Lessons & Carols; January 5, Twelfth Night Evensong; May 21, Ascension Evensong. For information: www.emmanuelchesterparish.org. Leopold Stokowski and the Orchestra with the Wanamaker Organ, Campbellsville University, Camp- March 27, 1919 bellsville, Kentucky, announces its 12th annual noon concert series with organ On September 28, the Friends of the Wanamaker Organ celebrate the centen- recitals at 12:20 p.m. in Ransdell Chapel nial of the “Stokowski Symphony of Fifteen Thousand,” likely the largest and argu- or Our Lady of Perpetual Help Catholic ably the most signifi cant and far-reaching organ-orchestra concert of any era. The Church: September 10, James Sperry; St. Ignatius Loyola Catholic Church, concert, at Macy’s Philadelphia fl agship store, features Peter Richard Conte at the October 8, Wesley Roberts; November New York, New York, Mander organ 28,750-pipe Wanamaker Organ, together with New Jersey’s Symphony in C, under 5, Steven Adams; February 18, 2020, maestro Stilian Kirov. Works performed pay tribute to the landmark musical event Josh Duncan; March 17, Ted Gentry; Concerts at St. Ignatius announces being commemorated, with special organ-orchestra arrangements of Bach’s Toccata April 7, Wesley Roberts, with faculty its 2019–2020 season at St. Ignatius and Fugue in D Minor, his Passacaglia and Fugue in C Minor, his Fantasia and Fugue from the School of Music. For informa- Loyola Catholic Church, New York, New in C Minor, Carlos Chavez’s orchestration of the Buxtehude Chaconne in E Minor, tion: www.campbellsville.edu. York: September 15, Choir of Trinity and Charles-Marie Widor’s Symphony No. 3 for Organ and Orchestra. Added educa- College, Cambridge; 9/24, Paul Jacobs, tional and visitor events are planned around the concert. The concert is sponsored by organ; October 17, Rossini, Petite the Friends of the Wanamaker Organ with a special grant from the Theodore Presser Messe Solennelle; November 8, Amjad Foundation. Tickets may be obtained at www.symphonyinc.org or 856/963-6683. Ali Khan: Devi, featuring music of the On March 27, 1919, an estimated fi fteen thousand concertgoers thronged the sarod; 11/15, Kelly Hall-Tompkins, Grand Court of John Wanamaker’s Philadelphia Department Store to hear the newly violin, Stephen Benson, guitar, Joshua enlarged Wanamaker Organ, played by Charles M. Courboin, in association with the Camp, accordion, and Michael Blanco, Philadelphia Orchestra under the baton of Leopold Stokowski. The concert featured bass; December 6 and 8, A Chanticleer Courboin playing the Bach Passacaglia on the Wanamaker Organ, which Stokowski Christmas; 12/15 and 22, Star of Wonder praised as having “an indescribable grandeur,” and the American premiere of what Christmas concerts; was listed as Charles-Marie Widor’s Sixth Symphony for Organ and Orchestra. January 25, 2020, Yale Schola Can- St. John’s Episcopal Church, West Hart- torum; February 25, Italy Unplugged, ford, Connecticut works of Palestrina, Rossini, and Verdi; March 11, Bruce Rameker, vocalist, and St. John’s Episcopal Church, West Michael Sheets, piano; April 5, Chelsea Hartford, Connecticut, announces its Chen, organ; 4/19, The Tallis Scholars; 2019–2020 Music at the Red Door May 6, Isabelle Demers, organ; 5/13, series: September 15, Community block Verdi, Requiem; 5/17, St. Ignatius party with local bands; October 25, Pipe- Church Children’s Choirs. For informa- screams! organ concert; November 16, tion: https://ignatius.nyc. Patrick Miller, pianist, silent fi lm accom- paniment, The King of Kings; December 15, Candlelight Festival of Nine Lessons & Carols; February 21, 2020, Simon Johnson, organist; March 7, Nat Reeves Trio and St. John’s Choir; April 24, Leo- nid Sigal and friends. Choral evensong is offered on selected fourth Sundays of the month at 5:00 p.m.: September 22, October 27, Janu- Young Organist Collaborative recitalists: back row, Jacqueline Morin, Alexa Hande, ary 26, February 23, March 22, April 26. Madonna della Strada Chapel, Loyola Connor Reed, and Marshall Joos; front row, Audrey Verde, Ronan Miner, Jennifer Pipes Alive! organ recitals are presented University, Chicago, Illinois, Goulding & Medina, and Emily Curie (photo credit: Michael Laird) on the fi rst Sunday of the month at Wood organ 12:30 p.m.: January 5, Scott Lamlein; On May 18, nine members of the 18th class of the Young Organist Collabora- February 2, Cheryl Wadsworth; March Madonna della Strada Chapel, tive performed a year-end recital on the Lively-Fulcher organ at Christ Episcopal 1, Grant Wareham; April 5, Zachary Sch- Loyola University, Chicago, Illinois, Church, Exeter, New Hampshire. The students performed works by John Barr, J. S. urman; May 3, Michelle Horsley; June announces its 2019–2020 Third Sunday and J. C. Bach, César Franck, Ned Rorem, and . For information: 7, Benjamin Straley. New World Trio, ³ page 6 www.stjohnsnh.org/young-organist-collaborative.

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³ page 4 @3 Organ Concert Series: September 15, Jerry Jelsema; October 20, Johann Vexo; November 17, Naomi Rowley; December 15, Agnieszka Kosmecka; January 19, 2020, Kipp Cortez; Febru- ary 16, Charlie Sega; March 15, Solena Rizzato; April 19, Laura Bottei; May 17, John Weit. For information: United States Military Academy, West www.luc.edu/organ. Point, New York, Cadet Chapel organ console The Cathedral Church of the Advent, Birmingham, Alabama, The Cadet Chapel, United States announces its 2019–2020 season of Military Academy, West Point, New special music events. Choral Evensong, York, announces organ recitals, Sundays Thursdays at 5:30 p.m.: September 19, at 2:30 p.m.: September 22, Craig Wil- October 17, November 21, December liams; 9/29, Justan Foster; October 13, 19 (Christmas Lessons & Carols), Esteban Elizondo; 10/20, Meredith January 16, 2020, February 20, April Baker; 10/27, Craig Williams. For infor- 16, May 21. Advent Lessons & Carols mation: https://westpoint.edu. are presented December 8, 9:00 and 11:00 a.m. The Cathedral’s Midday Music Series, Fridays at 12:30 p.m.: September 20, Scott Plato and Matthias Young, classical American Guild of Organists Pipe Organ Encounter Tech participants visit the 1883 guitarists; October 25, Frederick Teardo, Johnson & Son Opus 615 in the Chapel of Mary, Queen of the Apostles, St. Paul harpsichord; November 22, Alabama Catholic Church, Valparaiso, Indiana School of Fine Arts Orchestra; Decem- ber 13, Cathedral Ringers Handbell The American Guild of Organists’ Pipe Organ Encounter Tech was held Ensemble; January 24, Sadie Goodman, July 21–27 in the Chicago metropolitan area, sponsored by Berghaus Pipe Organ soprano, Zachary Palamara, baritone, Builders, Inc., of Bellwood, Illinois, and the Chicago Chapter AGO. Ten stu- and Cindy St. Clair, piano; February 21, dents learned about organs and organbuilding with seminars and workshops at the Charles Kennedy, harpsichord; April 24, Berghaus shop. Cathy Shelton, organ. The group experienced several fi eld trips to visit organs, including a full day in Val- In addition, the Cathedral Concert paraiso, Indiana. There, students visited eight pipe organs at Valparaiso University, Series presents: September 27, Paolo three at St. Paul Catholic Church, and one at St. Andrew Episcopal Church. Bordignon, harpsichord; November 14, The day ended with dinner at Beggar’s Pizza in Lansing, Illinois, where Glenn Mark Edwards, harpsichord; January 9, Tallar performed on the restaurant’s theatre organ. For information: www.agohq. Edward Parmentier, harpsichord; May org/education/poe/. 14, the Cathedral Choir and Orchestra perform works of Bach and Handel. For information: The Chattanooga Music www.adventbirmingham.org. Club presented its 13th St. Thomas Church, New York, New York, annual Patriotic Organ Con- 2018 Dobson Opus 93 cert on at the Soldiers and Sailors War Memorial St. Thomas Church Fifth Avenue, Auditorium in downtown New York, New York, announces special Chattanooga, Tennessee. The music events: September 27, Jeremy Fil- auditorium features 1924 sell, an inaugural recital as the church’s new Austin Organ Company Opus organist and director of music; October 1206 of four manuals, 84 19, Christophe Mantoux, organ; Novem- ranks, designed by Edwin H. ber 7, a concert celebrating the centennial Lemare, who subsequently of the choir school; 11/10, recital by young presided over it when he alumni of the choir school; December 10 served as Chattanooga Civic and 12, Handel, Messiah; 12/19, Britten, Organist from 1924 to 1929. St. Paul’s Episcopal Church, Greenville, A Ceremony of Carols; In addition to presenting a North Carolina, C. B. Fisk Opus 126 February 15, 2020, Nathan Laube, recital of American compos- organ; March 3, The King’s Singers; ers, Andrew Schaeffer led St. Paul’s Episcopal Church, Green- 3/14, Joy-Leilani Garbutt, organ; 3/26, a patriotic sing-along and ville, North Carolina, announces special C. P. E. Bach, Die letzten Leiden des accompanied the silent fi lm music events for 2019–2020: September Erlösers; April 6, Couperin, Leçons de Cops starring Buster Keaton. 21, Andrew Scanlon; October 25, Lynne ténèbres; 4/7, Dupré, Le Chemin de la The event attracted a crowd Davis; December 15, Lessons & Carols; Croix; 4/16, Keble College Choir; May 7, of over 1,000, and David Car- January 17, 2020, Mark Dwyer. St. Paul’s St. Thomas Choir sings recent American roll, a news anchor at Chatta- Andrew Schaeffer at Austin organ console, Sol- Church houses C. B. Fisk Opus 126 of choral works; May 16, Benjamin Sheen, nooga’s NBC affi liate, served diers and Sailors War Memorial Auditorium, Chat- three manuals, 58 ranks. For informa- organ. For information: as the master of ceremonies. tanooga, Tennesse tion: http://stpaulsepiscopal.com. www.saintthomaschurch.org. Saving organs throughout America....affordably!

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VocalEssence announces its 2019– Augsburg Fortress, Hinshaw Music, 2020 season, the group’s 51st: Septem- and MorningStar Music Publishers Concert management ber 28, Tales & Tunes, a family program; announce their annual national confer- Phillip Truckenbrod Concert Artists, LLC, October 13, Divine Light, including ence for sacred music, January 8–10, announces the addition of Joshua Stafford to its Ligeti’s Lux Aeterna; November 17, 2020, at St. Matthew’s Lutheran Church, roster. With his winning of the Pierre S. du Pont What a Mighty God, including the Mid- Charleston, South Carolina. Presenters First Prize of the 2016 Longwood Gardens Inter- west premiere of André Thomas’s Mass: include Tom Trenney, David and Susan national Organ Competition, he was awarded man- A Celebration of Love and Joy; Decem- Cherwien, and Mark Hayes. For informa- agement with the agency for three years. During ber 7, 8, 13, 15, Welcome Christmas; tion: www.augsburgfortress.com. his time with the agency, he performed 35 recitals 12/14, Winter Wonder; throughout the United States and Canada, and was January 18, 2020, Together We Sing featured at the 2016 East Texas Pipe Organ Festi- Festival; February 1, Moana Movie Competitions val, the 2019 Buffalo American Guild of Organists Sing-Along; 2/23, Deep Roots, a Vocal- The Organ Club of Great Britain, in regional convention, and the 2019 national conven- Essence Witness concert; April 4, The association with the Northern Ireland tion of the Organ Historical Society. Mendelssohns: Music of Felix and Fanny International Organ Competition, Stafford is a graduate of The Curtis Institute, Mendelssohn; April 25, May 2, 9, Get announces its London Organ Compe- Joshua Stafford (photo Philadelphia, Pennsylvania, where he studied with Minnesota Singing tour; 5/21, Cantare tition 2019 for Teenage Organists. credit: Niels Van Niekerk) Alan Morrison, and of Yale University, New Haven, community concert; 5/30, Voices Calling The Junior Section of the competition Connecticut, where he studied with Thomas Mur- pre-tour concert. For information: (ages up to 16 inclusive) will take place ray. He is currently organist and choirmaster at St. Peter’s Episcopal Church, www.vocalessence.org. December 27, with a fi rst prize of £500 Morristown, New Jersey. He is a member of The Diapason’s 20 Under 30 and second prize of £250. The Senior Class of 2017. For information: www.concertartists.com. Section (ages 17 to 19) will take place the Conferences following day, with a fi rst prize of £1,000 Seven Eight Artists announces the addition of and a second prize of £500. The com- Jeremy David Tarrant to its roster. Since 2000, petition will take place at St. Clement Tarrant has served as organist and choirmaster Danes, Strand, London. Deadline for of the Cathedral Church of St. Paul (Episcopal), application is November 4. For informa- Detroit, Michigan, becoming canon precentor in tion: [email protected]. 2007. He is the founding director of the Cathedral Choir School of Metropolitan Detroit and adjunct professor of organ at Oakland University. People In 2008, Mr. Tarrant made his European debut with a recital in the Cathédrale de St. Etienne in Meaux, France, and in 2011, he performed the Hill Auditorium, University of Michi- closing concert of International Organ Week in gan, Ann Arbor, Michigan (photo credit: Jeremy David Tarrant Dijon. He has been a featured artist in the Pine Colin Knapp) Mountain Music Festival, and since 2015 has been engaged in a series of concerts on instruments in Detroit. In 2014, Tarrant The University of Michigan School conducted the Cathedral Choir during its residency at Chichester Cathedral of Music, Theatre & Dance announces in and is featured as organ soloist as well as conductor on the choir’s its 59th Annual Organ Conference, albums Nowell Sing We and Evensong for All Saints. Tarrant’s debut solo “Building Bach: His Foundations and recording featuring Widor’s Symphonie VII (Raven, OAR 146) was released in Futures,” September 28–October 1 in Gail Archer (photo credit: Stephanie Berger) 2018. For information: www.seveneightartists.com. Q Ann Arbor, Michigan. The conference will explore Bach’s foundational artis- Gail Archer announces recitals and tic infl uences, his exchanges with his other musical events: September 28, Dean Billmeyer’s double CD, contemporaries, and his infl uence on international organ festival, Czestochowa, Straube Plays Bach, was released in later composers, extending to present- Poland; October 6, Our Lady of Mount September 2018 on the Rondeau label, day projects. Presenters and recitalists Carmel Catholic Church, Altoona, Penn- as well as on iTunes and Naxos. Karl include George B. Stauffer, Renée sylvania; 10/11, international organ fes- Straube, organist and later cantor of the Anne Louprette, Steven Egler, Tiffany tival, Ragusa, Sicily; 10/13, international Leipzig Thomaskirche, edited the second Ng, James Kibbie, Kola Owolabi, and chamber music festival, Cosenza, Italy; volume of the Peters edition of Bach’s many others. For information: https:// 10/20, St. Matthew Episcopal Cathedral, organ works, containing ten of the com- smtd.umich.edu/departments/organ/ Laramie, Wyoming; poser’s pieces, for publication in 1913. organ-conference/. November 3, Basilica of Our Lady of The performance instructions in this vol- Sorrows, Chicago, Illinois; 11/10, First ume represent a unique documentation The Organ Historical Society Presbyterian Church, Fairbanks, Alaska; of late-Romantic German performance announces a symposium, “The Sym- 11/17, Woodburn United Methodist Dean Billmeyer at the Sauer organ, Mi- practice. Billmeyer’s recording, made phonic Organ at Stoneleigh,” October Church, Woodburn, Oregon; 11/24, First chaeliskirche, Leipzig, Germany ³ page 8 13–15 in Villanova, Pennsylvania. Congregational Church, Boulder, Colo- Performers and speakers include: Jack rado; 11/28, international music festival, Bethards, Nicholas Thompson-Allen, Valletta, Malta; December 1, Lessons Scattered leaves ... from our Scrapbook Joseph Dzeda, Anne Laver, John and Carols, Vassar College, Poughkeep- Schwandt, Thomas Murray, and others. sie, New York; 12/7, Handel, Messiah, For information: Barnard-Columbia Chorus, Church of www.organhistoricalsociety.org. the Ascension, New York, New York; Leaving aside everything that Walter January 26, 2020, St. Paul’s Episcopal Damrosch has done for our country and the Church, Flint, Michigan; February 2, First French musicians, I wish to pay my tribute United Methodist Church, South Bend, to the extremely expressive interpretation at the concerts he has given lately at the Opera. Indiana; 2/9, Grace Lutheran Church, Whether it is classical, romantic, or modern River Forest, Illinois; 2/23, University music, Damrosch first of all endeavors to set of Delaware, Newark, Delaware; 2/29, off and illustrate what we call the “melos,” Durufl é, Requiem, Salisbury, Maryland; the element of expression, the voice that March 8, Cathedral of St. Mary of the must rise above all the other voices of the Assumption, San Francisco, California; orchestra. He knows how to distribute the 3/14, St. John Nepomucene Catholic agogic action, the dynamic power, and he is Church, New York, New York; 3/21, St. not afraid—even in Beethoven’s works and in The Craighead-Saunders organ, Christ Pancras Church, Gütersloh, Germany; spite of the surprise this caused to our pub- Church, Rochester, New York 3/29, Vassar College, Poughkeepsie, New lic—to accelerate or slacken the movement York; April 5, Trinity Episcopal Cathe- when the necessities of expression demand it. Eastman School of Music, Univer- dral, Portland, Oregon; 4/18, Westport sity of Rochester, Rochester, New York, Presbyterian Church, Kansas City, Mis- Vincent d’Indy announces its second biennial Utech souri; 2/25, Dvorak, Requiem, Barnard- Hymnody Symposium, November Columbia Chorus, with the Choir of 1. Presenters include Carl P. Daw, Jr., Gdynia Maritime University, Gdynia, Robert A. Leaver, and Crista Miller. Poland, Church of the Ascension, New An Evensong led by Stephen Kennedy, York, New York; 4/30, St. Paul’s Chapel, Nathan Laube, William Porter, and Trinity Church Wall Street, New York, Schoenstein & Co. David Higgs will feature the fi rst singing New York; May 3, Presbyterian Church, of a newly commissioned hymn text by Coshocton, Ohio; 5/20, University of Established in San Francisco š 1877 Daw. For information: Glasgow, Glasgow, Scotland. For infor- www.schoenstein.com ❧ (707) 747-5858 www.esm.rochester.edu/organ/utech. mation: www.gailarcher.com.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 7 Here & There

3/18, Musica Sacra, Cathedral of St. Nunc Dimittis John the Divine; 3/31, Cathedral Choir, Louis Thiry, French organist, professor, Bach, St. John Passion, Cathedral of St. and composer, died June 27. Born February John the Divine; May 6, Oratorio Society 15, 1935, in Fléville-devant-Nancy, France, of New York, Carnegie Hall; May 26–31, he spent his childhood on the family farm in Ballet, Lincoln Center. Frocourt, where he enjoyed riding his bicycle For information: www.kenttritle.com. in the countryside. Naturally curious, he found a detonator in the fi elds and brought it to his grandmother’s home in Nancy. Unfor- tunately, it exploded, permanently damaging his left hand and rendering him blind at the age of nine. While listening to the radio, he discovered his love of music. In spite of his handicaps, he began to study organ with at the Nancy Conserva- tory, where he obtained a fi rst prize in organ in 1952. He then studied with André Marchal at Louis Thiry the Institute for the Blind in Paris and entered ’s class at the Paris Conser- Elizabeth and Raymond Chenault at vatory, where he received fi rst prizes in organ and improvisation in 1958. Peachtree Road United Methodist Louis Thiry taught in at the Saint-Dié Organ Academy and at the Church, , Georgia Carol Williams at Boardwalk Hall, Atlan- Rouen Conservatory (1971–2000). Among his students were Norbert Pétry, tic City, New Jersey Alain Mabit, Nicolas Pien, Benjamin Alard, and François Ménissier. (four manuals, 135 ranks) at Peachtree highly appreciated Thiry’s colorful registrations, virtuos- Road United Methodist Church, Atlanta, Carol Williams has dedicated her ity, and deep spiritual interpretations of his complete organ works, recorded Georgia, on June 26 for the closing Prismatic Toccata to the Midmer-Losh on the Metzler organ at Saint-Pierre Cathedral in Geneva (Calliope, 1972; concert of the Atlanta Summer Organ organ, Boardwalk Hall, Atlantic City, reissued by La Dolce Volta, 2018). Thiry performed twice on the organ Mes- Festival. The new works, commissioned New Jersey. She gave the fi rst perfor- siaen presided over at Sainte-Trinité Church in Paris: the Livre d’orgue on by the Chenaults, are Fantaisie à Deux mance at the American Guild of Organ- June 21, 1992, in a concert given with ; and on March 29, 1995, by Rachel Laurin and A Spiritual Romp ists Mid-Atlantic Regional Convention Livre d’orgue, Verset pour la Dédicace, and Apparition de l’église éternelle for Two by Nicholas White. White was on July 3. The work depicts shafts of light during the fi rst Messiaen Festival there (recorded by Jade). in attendance for the fi rst performance and incorporates the mystical chord of Among Louis Thiry’s other CDs: J. S. Bach’s Well-Tempered Clavier on the of his duet. Scriabin. For information: melcot.com. Koenig organ at the Temple d’Auteuil (, 1972, 1975); Sweelinck on the Both duets will be recorded by the Kern at the Notre-Dame des Blancs Manteaux Church in Paris (Arion, 1975); husband and wife team and will be pub- Nivers on the Clicquot in Houdan (Solstice, 1985); J. S. Bach’s The Art of the lished by MorningStar Music Publishers Educational institutions Fugue on the Silbermann at Saint Thomas Church in (Studio SM, in The Chenault Duet Organ Series. The Rider University, Lawrenceburg, 1993); and Guillaume de Machaut, Guillaume Dufay, and Josquin Desprez Chenaults have commissioned over 60 New Jersey, has announced plans for on the 1732 Lefebvre organ at the Charles-Nicolle Hospital Chapel in Rouen, organ duets (www.chenaultduo.com) the future of its Westminster Choir where he was organist (Hortus, 2004). and concertize under the management College, Princeton, New Jersey. West- In 1970, Louis Thiry met Sister Dominque at the Benedictine Abbey of Phillip Truckenbrod Concert Artists, minster Choir College, founded in 1926 Sainte-Marie in Maumont, near Angouleme. For the next thirty years, he LLC. For information: and located in Princeton since 1932, was composed liturgical music for this abbey. Written on four-line staves, his non- www.concertartists.com. merged into Rider University in 1992. measured and modal music elucidates the texts, as in Gregorian chant. A CD The university and Kaiwen Education of of his compositions was recorded in 2000. China had been negotiating a purchase Louis Thiry is survived by his wife Bernadette, his children Pierre, Anne, and sale agreement for much of the past and Emmanuel, and his grandchildren. year; however, this action was abandoned —Carolyn Shuster Fournier Q at the end of June, as the university had been seeking an entity to purchase the Choir College and its campus for some ³ page 7 Freiberg Petrikirche, home of Gottfried years. The university and Kaiwen will on two historic Wilhelm Sauer organs Silbermann’s largest two-manual organ. continue to discuss a cooperative rela- with tubular pneumatic action in Leipzig tionship for the future. (Michaeliskirche) and Bad Salzungen Michael Burkhardt will present a Rider now intends to integrate West- (Stadtkirche), Germany, is the fi rst ever workshop for clergy, youth music lead- Kent Tritle (photo credit: Jennifer Taylor) minster Choir College into the univer- of all ten works in Straube’s edition. ers, church musicians, and choral lead- sity’s Lawrenceburg campus eight miles In connection with the project, ers at the English Lutheran Church, La Kent Tritle announces his 2019–2020 from Princeton as Westminster College Billmeyer gave a workshop on Bach, Crosse, Wisconsin, October 5. On Octo- season with events in New York, New of the Arts beginning September 2020. Straube, and late-Romantic interpreta- ber 6, he will lead an organ concert and York: September 11–12, Musica Sacra Westminster Choir College, Westmin- tion jointly with Christopher Anderson hymn sing, assisted by a choir composed and New York Philharmonic, Lincoln ster Conservatory, and Westminster of Southern Methodist University for the of singers from area churches, at Our Center; October 21, Musica Sacra, Continuing Education will continue to American Guild of Organists in , Savior’s Lutheran Church, La Crosse. Cathedral of St. John the Divine; operate in Princeton until then. The uni- Texas, in April 2019. Billmeyer also led For information: November 5, Oratorio Society of New versity is exploring the possible sale of a masterclass on Bach and Straube in [email protected]. York, Cathedral of St. John the Divine; the Princeton campus. For information: Leipzig at the Felix-Mendelssohn-Bar- 11/12, Manhattan School of Music www.rider.edu. tholdy Hochschule für Musik und The- Elizabeth and Raymond Chenault Chamber Choir, Manhattan School of atre in May 2019. He performed recitals played the world premiere performances Music; 11/20, Cathedral Choir, Cathe- at the Leipzig Michaeliskirche and at the of two organ duets on the Mander organs dral of St. John the Divine; December Publishers 15, Christmas concert, Cathedral of St. American Carillon Music Editions John the Divine; 12/19, Oratorio Society announces a new publication: The Music of New York, Handel, Messiah, Carnegie of “March:” A Civil Rights Carillon Col- MANDER ORGANS Hall; 12/23, Musica Sacra, Handel, Mes- lection. The volume makes civil rights siah, Carnegie Hall; 12/31, New Year’s songs by diverse composers and arrangers Eve Concert for Peace, Cathedral of St. playable on tower bells. Edited by Tif- New Mechanical Action Organs John the Divine; fany Ng, the book presents 13 carillon January 28, 2020, organ recital, Cathe- arrangements of songs featured in the dral of St. John the Divine; February 10, autobiographical trilogy March by Rep. Cathedral Choir, Cathedral of St. John John Lewis, Andrew Aydin, and illustrator the Divine; 2/25, Manhattan School of Nate Powell about Lewis’s leadership of Music Symphonic Chorus and Cham- major nonviolent resistance actions dur- ber Choir, Manhattan School of Music; ing the Civil Rights Movement. March 2, Oratorio Society of New York, There are new arrangements by Jen Brahms, Requiem, Carnegie Hall; Wang, Tiffany Ng, Joey Brink, and ³ St. Peter’s Square - London E 2 7AF - England 0LOQDU2UJDQ Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 &RPSDQ\ Continuo Organs [e] [email protected] /DUJHVWVHOHFWLRQRIH[FHOOHQWXVHGSLSHV www.mander-organs.com /LNHQHZ$XVWLQDFWLRQV 6ROLG-VWDWHV\VWHPV ([FHOOHQW7UXPSHW(Q&KDPDGHV

--GHQQLV#PLOQDURUJDQFRP Imaginative Reconstructions ZZZPLOQDURUJDQFRP

8 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM Here & There

Appointments Ryan P. McEldowney is appointed director of music and organist for St. Boniface Catholic Church, Louisville, Kentucky. He leaves a position at St. Anthony of Padua Catholic Church and School, Mil- waukee, Wisconsin. He also served for seven years as director of liturgical music at St. Francis de Sales Seminary in the Archdiocese of Milwaukee. McEl- downey holds a Master of Music degree from the University of Wisconsin-Madison and completed his Ryan P. McEldowney undergraduate studies in music at Carroll University in Waukesha, Wisconsin. In a career in sacred music that began when he was in high school, McEld- owney has performed at churches across Wisconsin, leading choirs and serv- ing as guest organist at the Cathedral of St. John the Evangelist in Milwaukee, the Basilica of the National Shrine of Mary, Help of Christians at Holy Hill, and the Basilica of St. Josaphat. Choirs under his direction have been fea- tured in nine nationally broadcast television Masses for Heart of the Nation. As a singer, McEldowney has won awards from the Wisconsin chapters of The Music of “March:” A Civil Rights Car- Hymns Amazing 2 the National Association of Teachers of Singing and Music Teachers National illon Collection Association. He was presented the Wartmann Voice Award and Laura Stroud harmonization, plus a prelude. For infor- Bartsch Music Award, in addition to representing Wisconsin in the 2012 Yvette Janine Jackson, the second mation: www.kevinmayhew.com. MTNA Young Artist Competition, where he was the top-placing male and African American composer to pub- earned second place overall in the East Central Division. He has been a fea- lish carillon music in North America. Recordings tured soloist in orchestral works with the Waukesha Choral Union, the Wis- Among several arrangements appearing consin Chamber Choir, and the Concordia Civic Chorale and Orchestra. On in reprint is Milford Myhre’s 1968 the operatic stage, McEldowney has performed leading tenor roles with the arrangement of “We Shall Overcome” Milwaukee Opera Theatre, Candid Concert Opera, Festival Aurora Borealis, by Charles Albert Tindley (1851–1933). and the University of Wisconsin Opera. All royalties from book sales will be McEldowney is a student at the University of Louisville, pursuing a doc- donated to Our House Georgia, a shelter toral degree in dental medicine. Q in Lewis’s district that works to break the cycle of homelessness. A review of this book is forthcoming. For information: Rheinberger: Music for Voice and St. Peter Catholic Church in Memphis, www.americancarillonmusiceditions.com. Organ. The album includes music by Tennessee, the complete album may be Rheinberger, including Missa Puero- streamed or downloaded from all major rum, op. 62, Sechs Religiöse Gesänge, online distribution platforms including op. 157, and Sonata IV in A Minor, Apple Music, Spotify, Pandora, iTunes, op. 98, for organ. The performers are Google Play, YouTube, Amazon, and Katie Pollorena, mezzo-soprano, and Deezer. Complete liner notes are avail- Christ Cathedral Dedication: A Place for Patrick Parker, organ. able for download free of charge on the Christ Forever Recorded to celebrate the 95th anni- label’s website: versary of the 1923 Casavant organ of www.seveneightrecords.com. Q Gothic announces a new recording: Christ Cathedral Dedication: A Place for Christ Forever (G-49326, $18.98). Fall 2019 A celebration of music and The disc features music for the dedica- the beautiful organs at St. Paul’s tion of Christ Cathedral (the former Crystal Cathedral), Diocese of Orange, California, which took place July 17. II (The music was recorded in advance in The Arboretum on the cathedral cam- Ars gani pus.) Works include new commissions by Peter Latona, Frank Ferko, and Organs by Holtkamp & Hradetzky Rachel Laurin. The cathedral choirs are directed by John Romeri with Sunday, Sept. 29, 4 p.m. — Organ Plus: Noa Even, saxophone; Acht frühe Orgelwerke David Ball, organist. The disc can be Karel Paukert, organ; works by F. Wiley, L.J. White, J. Teml, J. Alain, downloaded from the Gothic website B. McDaniel (World Premiere) Butz-Musikverlag announces a new for $14.98, and individual tracks are A TRIBUTE TO ANTON HEILLER (1923-1979) publication of Gabriel Josef Rheinberg- available. For information: er’s Acht frühe Orgelwerke (Eight Early www.gothic-catalog.com. Friday, October 4, 7:30 p.m. — Recital: Jay Peterson (Chicago), Organ Works, BU 2939). A manuscript organ; assisted by Madelyn Hasebein, soprano; works by of organ compositions by the young -6%DFK$+HLOOHUbDQGRWKHUV Rheinberger was recently (re)discovered in the Munich Staatsbibliothek; fi ve of Saturday, October 5, 2 p.m. — Remembering Anton Heiller: the pieces were previously only available Fulbright grant students Christa Rakich and Jay Peterson in the Rheinberger complete edition. will share remembrances of the beloved Viennese organist, Three compositions are premiered in composer, conductor and pedagogue. this new publication, making all eight works (character pieces and fugues) now Sunday, October 6, 3 p.m. — Recital: Christa Rakich (Oberlin/ available for the fi rst time in one edition. Boston); works by P. Hindemith, J.S. Bach and A. Heiller For information: www.butz-verlag.de or Friday, October 18, 7:30 p.m. Erik Suter www.ohscatalog.org. — Recital: (Wash., D.C.) DVVLVWHGE\WKH0HQRI6W3DXOĮV&KRLUZRUNVE\0'XUXŔ«RWKHUV Kevin Mayhew announces a new Saturday, October 19, 4 p.m. — Organ Music of the Seventeenth publication for organ: Hymns Amaz- Steven Plank ing 2 (978-1-84867-881-1, €19.99), by Century: (Oberlin/St. Paul’s); works by S. Scheidt, June Nixon. The 264-page spiral-bound Josef Rheinberger: Music for Voice and G. Frescobaldi, D. Buxtehude and L. Couperin volume contains arrangements of fi fty Organ Sunday, October 20, 4 p.m.Ĭb3HWU(EHQb/DE\ULQWKRIWKH:RUOG hymntunes. Each has an introduction, and Paradise of the Heart DIWHUb-DQ$PRV.RPHQVN\&RPHQLXV  standard harmonization, alternate har- Seven Eight Records announces Karel Paukert John Orlock monization, interlude, and last-verse the label’s fi rst album, Josef , organ; , narrator

All events made possible by grants from the Ingalls Foundation and the Charles H. Teare and Clifford K. Kern Music Fund at the Cleveland Foundation.

JL Weiler , Inc. St. Paul’s Episcopal Church welcomes you!

Museum-Quality Restoration 2747 Fairmount Boulevard, Cleveland Heights, Ohio 44106 of Historic Pipe Organs jlweiler.com (216) 932-5815 www.stpauls-church.org

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 9 Reviews

Choral Music The young British choral composer and Book Review The life of James H. Rogers was amaz- The following anthems are quite organ virtuoso David Bednall (b. 1979) James H. Rogers: The Keynote of His ingly diverse and yet focused on music, diverse featuring everything from unac- has made an impressive name for himself Life Was Harmony, by Charles L. providing contributions to the culture of companied four-part choirs to celebratory as one of the leading choral composers of Echols. The Leupold Foundation the society of Cleveland during the fi rst texts with challenging and festive organ his generation. His musical language and Organ Monograph Series, No. 2, decades of the twentieth century, as well accompaniments. These anthems also style is clearly unique with many infl u- 2018, The Leupold Foundation, Col- as through compositions that thankfully draw from a variety of texts ranging from ences of the English cathedral choral fax, North Carolina (WL800066); 84 are becoming heard again a century well-known jubilant psalms, three Marian tradition found in the works of Herbert pp., 17 illustrations, $12, available later. When one remembers that life antiphons, and a setting of the Preces and Howells and Kenneth Leighton, but also from www.wayneleupold.com. in those days typically did not include Responses for an Anglican Evensong. exotic and evocative qualities inspired by In my research and writing over the an automobile in each driveway, nor a Maurice Ravel, Pierre Cochereau, and past decades on subjects dealing with telephone (on a telephone stand) in each O praise God in his sanctuary, by Richard Strauss. These infl uences have pipe organs in the Great Lakes region, I parlor, much less a computer or mobile Francis Jackson. SATB, organ, created a unique and compelling liturgi- fi nd I often come across a particular late phone, it is rather astounding to note that , ISBN #978- cal compositional style. nineteenth- or early twentieth-century the subject of this book accomplished so 0-19-352436-1 (MD), $3.25. fi gure in the history of a particular city— much without assistance of a staff. The former organist and director of Ave Regina caelorum, by David Bed- an organist and/or church musician— For those who wish to delve further music at York Minster Francis Jackson nall. SATB (with divisi) unaccompa- that I believe deserves to be brought into the work of Rogers, Echols has (b. 1917) has set the festive text of Psalm nied, Oxford University Press, ISBN back to light in the twenty-fi rst century. edited for Leupold two volumes of his 150 (except for the opening and closing #978-0-19-352431-6 (D), $3.25. Such a person would have been well music. Volume 1 is dedicated to the “Hallelujas”) to a lively and challenging Bednall takes this normally intro- known and respected in his or her locale, sonatas of Rogers (WL600306); Volume anthem for organ and SATB choir. The spective Marian antiphon (“Hail, O have made remarkable contributions to 2 (WL600302) contains suites and sonati- text is painted masterfully throughout Queen of Heaven enthroned”) that is the life of a city, and was generally highly nas. I have performed some of the works this anthem using dissonances to the usually sung at the end of compline respected on a national level. of Rogers in recitals, and I have found best advantage. Written for the Schola and sets it in a joyous and exuberant About a decade ago, I was fi nishing them to be interesting and well received. Cantorum of Ampleforth Abbey and Ian choral paean. The frequent divisi for all research on the organs of metropolitan Now, there are other organists in Little, this anthem would probably be a four SATB parts create some stunning Cleveland, Ohio, and two fi gures struck American church music of a century or challenge for most church choirs with harmonies and contrapuntal textures me as worthy of some sort of recognition so ago that should also be memorialized its rhythmic drive and demanding organ throughout this challenging yet very in today’s world: Edwin Arthur Kraft for those who wish to learn of them in part, but very rewarding. effective setting. (1883–1962) and James Hotchkiss Rog- the twenty-fi rst century. Let’s hear their ers (1857–1940). I was delighted to open stories, as well! The Savoy Responses, by James Alma Redemptoris Mater, by David my mail a month ago and see a new book — Stephen Schnurr Cryer. SATB (some divisi) unac- Bednall. SATB unaccompanied, dedicated to the life of Rogers. Gary, Indiana companied, Oxford University Press, Oxford University Press, ISBN Charles L. Echols has penned a slim ISBN #978-0-19-395416-8 (E), $2.90. #978-0-19-352432-3 (D), $3.25. yet fascinating biography of Rogers, English organist and composer Beginning and ending in open fi fths, from his early life in Fair Haven, Con- New Organ Music James Cryer (b. 1974) wrote this very this setting of the Marian antiphon (“O necticut, now a part of New Haven (the Maestoso: Five Processionals for accessibly concise setting of the Preces loving Mother of our Redeemer”) has a birthplace, by chance, of Kraft), his Wedding or General Use, by Calvert and Responses for the Choir of The haunting ethos throughout that is very musical training in , and his pro- Shenk. CanticaNOVA Publications Queen’s Chapel of the Savoy. While reminiscent of Herbert Howells’s mysti- fessional life, which began in Burlington, Catalog #6030, $8.50. Available predominantly SATB throughout, there cism. The natural rhythm of the text is Iowa, and Chicago, Illinois, but truly from: www.canticanova.com. are a few divided parts. The setting also highlighted by subtle changes in meter blossomed in Cleveland. A glimpse of his It was in the Detroit area that Calvert includes an optional four-part harmo- and triplets against duplets. family life is given, including the trials Shenk (1940–2005) worked and lived in nized version of the Lord’s Prayer. of early death, which was much more his later years. While I have lived in this Tota pulchra es, by David Bednall. prevalent then. same vicinity and was aware of his musi- O sing unto the Lord, by Bob SSATB unaccompanied, Oxford In Cleveland, Rogers served as organ- cal life, regretfully, I did not have the Chilcott. SATB, organ, Oxford University Press, ISBN #978-0-19- ist and music director for Euclid Avenue opportunity to meet him. He was known University Press, ISBN #978-0-19- 352427-9 (MD), $3.25. Baptist Church, the “Old Rockefeller as a musician of high caliber, dedicated 341085-5 (MD), $3.25. This fi ve-part motet based on the Church,” First Unitarian Society (later to the promotion and performance of The former choral scholar at King’s fourth-century prayer and antiphon for First Unitarian Church), and briefl y Gregorian chant and sacred polyphony, College, Cambridge, Bob Chilcott (b. the Feast of the Immaculate Concep- at Plymouth Church, Shaker Heights. a highly skilled improviser of Gregorian 1955) has set Psalm 96:1–4, 9–11 (as tion has a plaintive quality with gentle For over fi fty years he served as organ- themes, an organ recitalist, and a quiet found in the Book of Common Prayer) dissonances and subtle counterpoint that ist and choir director to Anshe Chesed man dedicated to his craft and music for in a setting that is reminiscent of Ben- aptly convey the Marian text of adoration. Congregation, known as the Euclid the Catholic liturgy. jamin Britten. There are several divisi The work begins and ends quietly with Avenue Temple. He gained extensive Maestoso derives its name from the sections for soprano, alto, and bass parts. some sturdy counterpoint in the middle experience as a pianist, accompanist, tempo markings listed on each of the The playful organ part provides plenty of depicting the glories of Jerusalem. chamber musician, and teacher. His fi ve compositions within the collec- banter back and forth between choir and —Derek E. Nickels friends included musicians, politicians, tion. Although the titles vary (“Solemn organ that illuminates the text. Kenilworth, Illinois and John D. Rockefeller himself, as Entry,” “Entrada,” “Processional,” Rogers was music teacher to the Rock- “Festive Processional,” “Entrée”), each efeller children. piece indicates that it should be played Rogers left an extensive corpus of in a solemn, dignifi ed manner associated compositions, in addition to arrange- with the maestoso tempo. Structurally, ments and transcriptions, and he was each piece employs two to three clearly also a music publisher. He was perhaps defi ned sections with symmetrical best known as a composer of songs, but phrases within each section. Numbers his works also included anthems, canta- 1, 3, and 5 use a four-measure trumpet tas, Masses, motets, secular choruses, fanfare to either introduce or close the as well as music for Jewish worship ser- processional tune. Shenk’s harmonic vices. There are works for piano as well language is standard fare with sprinkled as some forty opera for organ. As if that dissonances and cluster sonorities that was not enough activity, he was highly have become common and welcome to regarded as an author, music critic, our modern ears. journalist, and poet. The second half of There are two strengths to the Maes- the book is a list of the organ works of toso collection. First, the processional Rogers with performance suggestions tunes bear a noble character; these for each. are melodies that are serious in tone, Elgar-like, that convey great dignity and purpose. To some, this collection might sound too nostalgic, too close to pieces found in the Liturgical Organ- ist Collections, but the overall effect to the listener is in its sincerity and confi - dence, and in those delicious bittersweet melodies. Perhaps this is Shenk’s own unique gift to those various liturgies and ceremonies for which these pieces “superb musicianship, masterly technique and savvy programming … Archer’s were intended. Second, I believe their sweeping assurance and stamina enable you to hear the music behind the virtuosity.” origin lies in the composer’s celebrated — GRAMOPHONE (JAN 2018) — improvisatory skill. Though now fully notated and edited, there is a feeling of MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com spontaneity and “fi lling in for time” that

10 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM Reviews many Catholic organists are required to divisi); Angel Song (SATB and organ); Canticles. The second canticle returns for St. Paul’s Episcopal Church in execute that speaks well of Shenk’s expe- En natus est Emmanuel (SATB divisi to the ethereal quality of the fi rst track, Winston-Salem. rience at those celebrations. with soprano and alto soloists); Gloria but differs in there being considerable We come next to another communion The published score contains ample (SATB divisi, brass octet, and percus- dynamic changes in the course of the motet, Ave verum corpus, a fi ttingly markings for sound levels and desired sion); O sacrum convivium (SATB); Ubi canticle. The third canticle addition- somber unaccompanied setting of this manuals to play the various sections; caritas (unison and organ); Ave verum ally makes several dramatic changes rather somber anonymous medieval text, however, registrations are not included. corpus (SATB divisi); St. Peter’s Rock in tempo. The text of the fourth track, written for Dan Locklair’s former stu- With most dynamic marks at forte or (SATB, organ, and trumpet); Pater Nos- Angel Song, is of considerable interest. dent Andrew Clark in celebration of his fortissimo, what to use for registrations ter (SATB divisi); Remembrance (SATB Pastor, abolitionist, and freethinker fi rst year as director of choral activities at will be obvious. with bass soloist, organ, and trumpet); Moncure Daniel Conway (1832–1907) Harvard University. Sarah Rowley does CanticaNOVA Publications has made The Lord bless you and keep you (SATB wrote the Christmas hymn, “Now let the an excellent job performing the very it their mission to publish “traditional with soprano soloist). angel-song break forth,” for inclusion in beautiful soprano solo. St. Peter’s Rock music for the contemporary church.” Dan Locklair (b. 1949), professor the Christmas 1862 issue of The Com- is a much livelier piece based on the Their catalog offers sixteen works by Cal- of music and composer-in-residence monwealth magazine in celebration of text “Tu es Petra,” written to celebrate vert Shenk, with three works for organ at Wake Forest University, is probably Lincoln’s Emancipation Proclamation. the opening of a new parish house at St. or organ and brass. Technically, I would best known for his organ suite, Rubrics, John and P. J. Williams commissioned Peter’s Episcopal Church in Charlotte, consider these pieces at a moderate level a movement from which was used at Dan Locklair’s setting for the choir of North Carolina, and also in memory of performance, but one needs to adjust President Ronald Reagan’s funeral. St. Paul’s Episcopal Church, Winston- of Dan Locklair’s uncle, Wriston Hale initially to the modulations that are led This compact disc features thirteen of Salem, North Carolina, and its organist Locklair, a former chorister at St. Peter’s with a fair amount of chromaticism. As its his choral works sung by three different John Cummins in 2014. It is another vig- who was later on the staff of the Juilliard title indicates, the collection is for wed- choirs with two conductors. Winchester orous piece with an organ part of some School in New York City. Pater Noster is dings or general use but would also be College is a prestigious English inde- complexity. En natus est Emmanuel is a a setting of the Lord’s Prayer in English, great for graduations and other solemn pendent school founded by William of beautiful lush unaccompanied anthem, written for Gerre Hancock and the Men occasions that need a bit more maestoso! Wykeham, Bishop of Winchester and using a Christmas text from Praetorius. and Boys Choir of St. Thomas Church, —David Troiano Lord Chancellor of England, in 1382, It was written for and fi rst performed Fifth Avenue, New York City. It has a St. Clair Shores, Michigan partly as a feeder for his (then) New by Bel Canto and the Greensboro Youth rich and warm texture. College, Oxford, founded in 1379. Chorus in North Carolina in 1999. Dan Locklair wrote Remembrance for Sonatina No. 4, by Carson Cooman. Portsmouth Grammar School is also a Gloria, the longest work included St. Paul’s Episcopal Church, Winston- Zimbel Press, Subito Music Corpo- prestigious independent school founded here, is the centerpiece of the compact Salem, North Carolina, and in memory of ration, #80101408, $11.95. Available rather more recently in 1732. The choirs disc, and the work from which it takes his parents. The Beatitudes from the Gos- from: www.subitomusic.com. of both institutions are conducted by its title. It begins softly with a chant-like pel of Saint Matthew in the King James This work is dedicated to three Ger- Malcolm Archer (b. 1952), who is the statement of the text accompanied by Version form the text. The trumpet part man organists, with the titles of the director of chapel music at Winchester tubular bells, and gradually builds up and the bass solo, sung by George Parris, movements refl ecting the name of the College, having previously been suc- into a massive sound accompanied by have a haunting quality. The piece ends city where each of them is from; Andreas cessively assistant organist of Norwich brass and percussion as the pace picks massively on the organ. The fi nal work, Willscher of Hamburg, Hartmut Sieb- Cathedral and organist of Bristol, Wells, up and the procession of singers makes The Lord Bless You and Keep You, is again manns of Pößneck, and Philip Hartmann and St. Paul’s cathedrals. “Sospiri” is its way from the rear to the front of the warm and rich in its texture. This time of Ulm. an ensemble predominantly from the building, then gradually slowing and Bethany Horak-Hallett is the soprano solo- Carson Cooman describes the “Ham- University of Oxford, conducted by dying away, then speeding up once more ist. Dan Locklair composed the anthem in burg March” as a “bright, festive march.” Christopher Watson (b. 1969), director as it repeats the beginning of the text 2008 and dedicated it to Jack Mitchener, A fanfare opens the movement and of music at St. Edmund Hall, Oxford. in a fi nal climax at the end. It was com- artist-in-residence at Peachtree Road alternates with a more formal march— The recording took place in the Chapel missioned by the Choral Art Society of United Methodist Church, Atlanta, Geor- block chords against an upward leaping of Keble College, Oxford, except for Portland, Maine, who fi rst performed it gia, and his wife Julia. melody. I could imagine an adventurous Gloria, which was recorded in Romsey in 1999. Dan Locklair is undoubtedly one of bride using this music as a processional; Abbey. Both locations have excellent Next follows a communion motet, America’s leading choral composers, triumphant music to be sure! acoustics and exceptionally fi ne organs, O sacrum convivium, which is in some and it is interesting that a compact disc The “Pößneck Aria” is the second but though we get to hear the 2011 ways my favorite piece on the record- celebrating his music should have been movement, and immediately one’s Kenneth Tickell organ in Keble Col- ing. Written in a slightly more tradi- produced in England rather than in the attention is caught up by an unusual lege Chapel, we unfortunately do not tional style than most of Dan Locklair’s United States. As mentioned above, ostinato in the left hand that continues hear the historic 1858 Walker organ in works, it begins and ends quietly, almost three separate choirs were involved, and almost unabated throughout the piece. the Abbey Church of St. Mary and St. imperceptibly, with a climax including the booklet does not state which ones A lyric melody that includes some rather Ethelfl aeda in Romsey, since the track soaring sopranos in the middle. This is were singing what. The singing, however, unusual leaps provides interest. This recorded there has an accompaniment followed by a unison plus organ setting is uniformly excellent, and in particular movement has a soft dynamic, and the of brass and percussion without organ. of Ubi caritas in which effective use is I have never heard school choirs that melody is marked only at mp. The ethereal, atonal quality of the fi rst made of contrasting men’s and women’s sounded this good before. I thoroughly The fi nal movement, “Ulm Toccata- piece, Lord Jesus, think on me, contrasts voices, chanting in such a way as to give recommend this compact disc. Fanfare,” borrows its inspiration from with the warmer and highly textured a medieval feeling to the piece. Like —John L. Speller the fi rst movement. The fanfare opens character of the fi rst of the three Isaiah Angel Song, Locklair wrote this piece Port Huron, Michigan the piece with a fi gure derived from the fanfare in the fi rst movement. This soon moves into a chordal march-like section, although shorter than the one in the fi rst movement. Having made this connection with the fi rst movement, Cooman devel- ops the themes to a much greater extent. Thousands of Songs The three movements take eleven minutes to play. Although the pieces ONE LICENSE could be played individually, this music ONE LICENSE is a premier licensing source that covers all makes a cohesive whole. The suite would of your congregational reprint needs. sound wonderful on a large organ as Cooman calls for “Tubas or Festival In the last year, we have added over 10,000 new titles. Trumpet” in the last movement; that, Our catalog now has nearly 75,000 songs from more than along with a triplet motif that repeats in 160 Member Publishers and their divisions, including the the pedal, would make for a thunderous music of GIA, OCP, and WLP. conclusion. This sonatina is moderately diffi cult. I recommend it highly. Our reporting process is fast, easy, and intuitive. There is no online licensing resource that is as user friendly as ONE LICENSE. —Jay Zoller Newcastle, Maine

New Recordings Dan Locklair: Gloria. Winchester College Chapel Choir and the Ports- www.onelicense.net | 800.ONE.1501 mouth Grammar School Chamber Choir, Malcolm Archer, conductor; Annual Single-Use/Event Podcast/Streaming Practice-Track Sospiri, Christopher Watson, con- License License License License ductor. Convivium Records compact disc CR 033. Available from: convivi- umrecords.co.uk. Lord Jesus, think on me (SATB and organ); The Isaiah Canticles (SATB

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 11 On Teaching

The Art of the Fugue, part 4 Art of the Fugue. I wrote in the column Over the next two months, I will con- from June 2018 that I experience a kind tinue my analysis of Johann Sebastian of impersonalized, societal superego Bach’s The Art of the Fugue, BWV 1080, looking over my shoulder while I per- with a focus on my own experience of form with harpsichord performance learning the piece. Following that, I will than I do with organ performance. This expound on the piece itself: namely anal- is not that I necessarily think that my ysis, form, history, and more. The later organ playing is more successful than, stages of the discussion will refer back or better than, my harpsichord playing. to the long program notes I originally But for some complex set of psychologi- wrote in 1985 that formed the content of cal reasons I have a more settled sense the July and August columns. This will of ownership in my organ playing. In a include looking at some of what I wrote similar way I seem to be discovering that ’s unfi nished fugue in The Art of the Fugue, BWV 1080 there in greater detail and from various I have an extremely solid, even unshake- points of view. able feeling of ownership in this piece. for me. It also was effective. I learned the piece all have similar claims to being The ideas constituting this month’s col- That sense feels exactly the same, in piece: not perfectly, but well enough to “valid,” while each one has its own light umn are set down in no particular order— nature and in strength, whether I am give a performance that made the people to shed on the work. The ways of dis- not quite as a stream-of-consciousness playing it on harpsichord or organ. I glad they were present. (That concert was tributing the piece on instruments that narrative, but with some of that miscella- intend to use that sameness to overcome not recorded. I am almost certain that interest me the most are the following: neous quality, somewhat refl ective of how some of the weakness in the feeling of many of the tempos were slower than 1) on organ, played “like organ I learn a piece as monumental as The Art ownership that I sometimes have at the what I would now want, and that was in music.” That is a deliberately silly of Fugue. Of course, there is a big part harpsichord. In other words, some of the part out of necessity. I also remember way of putting it, but what I mean is of that process that is highly structured, strengths of the way that I feel about The there being plenty of wrong notes.) with ample pedal, by and large put- especially the act of practicing. Art of the Fugue will, after I experience I believe that the full-immersion ting bass lines in the pedal, typical of The Art of the Fugue is monumentally performing it on the harpsichord, be approach to the initial learning of the Bach’s other organ music. One feature important to me. I care about it more transferable to other harpsichord perfor- piece left me in a position to revisit it of this approach is that it allows the than any other piece of music, which is mance situations. later with a kind of serenity and comfort three-voice mirror fugues to be played not a statement I make lightly. I have that feels like quite a luxury when deal- in trio-sonata texture. In some other experienced the work, both as a listener My early history with ing with something so imposing. That movements, the distribution of the four and as a performer, While performing, The Art of the Fugue practicing experience was, among other voices over two hands and feet enables it has a level of emotional power that The fi rst time I performed The Art of things, kind of mind-bending. I felt sort the independent motion of the voices to is both deeply satisfying and diffi cult to the Fugue was May 8, 1985, on the Fisk of spaced out, vertiginous, in another be especially clear. live with. It is a known phenomenon that organ at Westminster Choir College, world much of the time. I now wonder 2) on organ, mostly or entirely manu- once in a while a person simply cannot Princeton, New Jersey. This was the fi rst whether my sense of bonding with the als. This approach opens up the interest- listen to some particular piece because of my two graduate recitals for the Master piece comes in part from my having ing idea of playing on a chamber organ the emotional effect is too strong, too of Music degree in organ performance. I encountered the nitty-gritty of learning or trying out lighter textures. disturbing. I have a similar experience presented two recitals; the school’s policy it for the fi rst time. Though a lot of effort 3) on harpsichord. Part of the interest with The Art of the Fugue. stated that one could play either one was involved, it was also sort of as if I had for me right now of this very normal, I can remember once hearing from a recital from memory or two with music. learned it in a dream; therefore, it felt obvious, and mainstream approach is musician that he could not listen to the It was easy for me to choose the latter. in a way like something that had been that I have never done it. Bach Saint Matthew Passion because On the day of my fi rst lesson in January magically bestowed on me rather than 4) on two harpsichords. For several it was overwhelmingly emotional—but 1985, I put The Art of the Fugue score something I had done. years about ten years ago, my occasional that he could and did participate in per- up on the music desk before my teacher student and current colleague George forming it. Being involved that way did Eugene Roan came into the room, and Instrumentation in Hazelrigg and I performed and recorded not weaken his emotional force. Rather, then with some fanfare announced to The Art of the Fugue The Art of the Fugue in a thoroughgo- it gave it somewhere to go that made it him that I wanted to play it as a recital. The Art of the Fugue was not desig- ing arrangement for two harpsichords. manageable. That is different from my He agreed immediately, even though it nated by its composer as written for any That is, every movement was played by experience with The Art of the Fugue. I was clearly a stretch for me to learn it particular instrument or combination of two instruments, usually with each of fi nd the piece more intense and power- within the projected time! (I was 27 years instruments. For my purposes in plan- the four voices on a different manual. ful—and that intensity and power more old then, a late-bloomer as a player.) ning out a performance, this is liberating. This provided an extraordinary variety diffi cult to assimilate—when playing it This was an important step in the evo- We are all very aware of transcription as of colors, but all within the landscape of than when listening to it. lution of my belief that everyone should a kind of thing in itself. If I take the notes colors that the composer knew. It made I do not think it is that I “like” my be allowed and encouraged to work on of a Beethoven string quartet and try the note playing simpler for each per- own performance better than the ones that which they fi nd the most deeply to execute them on the organ, that is a former, but introduced the challenge of I might listen to. That is, in itself, a important, engaging, and exciting. An transcription. Transcription has been an chamber-music-like coordination. complicated concept. I make the inter- interesting difference exists, however, important aspect of organ literature for It is fascinating to me that in the pretive/rhetorical choices that I want to between the project that we began that ages. In some way—which is not rigor- entire Art of the Fugue there is exactly make, whereas other performers make January and the normal approach that ously defi ned—transcription is seen as one note that is unplayable on the organ the choices that they want to make. So I take with my students as to their rep- different from other performance. (As a (because of compass) and one spot that my own playing is at least striving to be ertoire choices. Normally, if a student personal confession: part of my own frus- is unplayable by one performer on the that which I would fi nd most powerful. It wants to work on something that is a tration with the common practice of per- harpsichord (because of hand span). does not always succeed. Consequently, “stretch,” I make it clear that I am very forming harpsichord music on the piano Since there are plenty of arguments in ideas that are not the ones that I have happy to oblige. But I also note that one is not that it is done, but that it is never favor of playing the work on either of thought of myself can end up striking me key to making that process work is that categorized as “transcription.”) I have those instruments, it almost seems like as powerful. there be as little time pressure as possible a lot of faith in composers’ abilities to he is teasing us! I suspect this is not about liking to allow the process to unfold naturally. know what they are doing with sonority, Since I have played this work on the interpretive choices or a particular In the case of my fi rst pass at The Art and I have a preoccupation with shaping organ frequently in the past, learning performance. It may be connected with of the Fugue, we knew very well that we music and performance to sonority, so I it and playing it on the harpsichord is another aspect of my relationship to The did not have any time fl exibility, and the have never been that interested in play- the fi rst priority for the current project. piece is long and diffi cult. There are pas- ing transcriptions myself. That is true both in that, in a pinch, sages that are still, at a minimum, tied for But what is or is not transcription it is more important as a project for A. E. Schlueter Pipe Organ Co. being the most challenging music that I with The Art of the Fugue? Neither a me and in the sense that I plan to do have ever tried to learn for performance. harpsichord performance nor an organ it chronologically fi rst. However the So it was a bit of a gamble and a high-wire performance can fall into that category. real point is to see how it feels to have act. One consequence of this was that I How about a clavichord performance? both performances in my fi ngers and spent that late winter and early spring Bach never specifi ed clavichord in so feet simultaneously and to try to get doing something that I had never done many words for any piece of his, whereas comfortable playing it one way one day before and have not done since: actual he did for organ and harpsichord. How and the other way the next day or soon ten-hour practice days. I was taught up about a performance by an ensemble of thereafter. There are two main compo- until then that it was counterproductive any instruments that the composer could nents to this: getting comfortable with to practice for more than four hours a have known? There is a fair amount of the differences in sonority and touch day. For those three months I averaged reason to assume that he had keyboard between the two instruments and the something like eight hours, fi ve or six performance in mind, but it is not proven interpretive/rhetorical differences that  New Instruments  Tonal Additions days a week, with some of those ten-hour beyond a reasonable doubt. What about these make necessary, and getting used  Rebuilding  Maintenance days thrown in. instruments that the composer could not to playing some notes now in the pedal  New Consoles  Tuning This was grueling and tiring, physically have known? and later in the hands. and mentally. I have never wanted to do Even though we care about what is In one of my fi rst columns in The How can we help you? anything like that again. But simultane- or is not a transcription, it is not really Diapason, addressing the question ously, it was fun, exhilarating, and clearly important to know how to answer these of why playing manuals-only is often 800-836-2726 something that could become addictive, questions. I enjoy knowing that the vari- considered easier, I wrote “ideally, the www.pipe-organ.com even though it seems not to have done so ous ways that intrigue me to perform the more resources one can bring to bear

12 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM By Gavin Black

others. That certainly does not mean that I do not like it. I like it a lot, as I do the whole piece. Maybe just a tiny bit Example 1 less. And, as a practical matter, I have a much less well-developed sense of on playing a piece—like ten fi ngers and sides of the equation are heightened what I want to do with it than I do with two feet rather that ten fi ngers alone— in intensity, and there is the matter of any other movement. It is the one that the easier it should be.” Working on keeping both approaches fresh and begins with the version of the theme The Art of the Fugue simultaneously reliable at the same time. Will there be seen in Example 1. with pedals and without is a good test moments at the organ when the outer And I have also noticed that when a of this. Often the fi ngerings required to part of my left hand inadvertently starts fragment of The Art of the Fugue starts play all four voices of a four-voice move- to play the pedal line? Will there be going through my head, more often than ment are extremely complex. The gain moments at the harpsichord when the not it is the opening of the long and in out-and-out easiness created by only same outer part of my left hand drops imposing fi nal movement. I do not know having to fi nger the three upper voices out, relying on a pedal keyboard that is why this is the case, but I just want to is considerable. It is also usually mean- simply not there? notice and muse about all such things. Q ingfully easier to make the voices seem I close this month with a couple of Jersey, is preparing performances on clear with this lighter load. On the other stray thoughts. I notice reading through To be continued. Bach’s The Art of the Fugue on both hand, the bass lines themselves, while the piece these last months that I harpsichord and organ for the next two most are amply playable by the feet, are feel signifi cantly less connected with Gavin Black, director of the Princeton concert seasons. He can be reached by also often extremely challenging. Both Contrapunctus II than with any of the Early Keyboard Center, Princeton, New email at [email protected].

EASTMAN SCHOOL OF MUSIC ORGAN, SACRED MUSIC, AND HISTORICAL KEYBOARDS

The Second Biennial Utech Hymnody Symposium

FRIDAY | NOVEMBER 1, 2019 FEATURING GUEST PRESENTERS DEPARTMENT FACULTY Carl P. Daw Jr. | Robin A. Leaver | Crista Miller Nicole Camilleri Lisa Goode Crawford Symposium events include: Evensong for All Saints led by Stephen Kennedy, Peter Dubois Nathan Laube, William Porter, and David Higgs, with the first singing of a newly David Higgs Stephen Kennedy commissioned hymn text by Carl P. Daw Jr. Nathan Laube Dianne Maynard-Christensen The George W. Utech Congregational Hymnody Fund of the Eastman School Matt Parsons of Music supports the creation of new hymn texts, tunes and settings, as well as William Porter the study of hymnody in the education of organists and church musicians. Dan Zager

For more information and registration, visit: esm.rochester.edu/organ/utech

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 13 In the wind...

Walter Holtkamp and the box above them to house the stop-rail American Classic and music rack. Anyone familiar with At the Organ Clearing House, we have Holtkamp organs will recognize that been working on a Holtkamp organ these little row of six coupler tablets in the days, which has spurred me to remember center of the stop rail, the basic unison the fl eet of Holtkamps I have known and couplers for a three-manual organ. Holt- worked with. I spent my formative years kamp wrote, working with John Leek in Oberlin, Ohio, There now seems to be a genuine de- starting when I was a student and John sire on the part of serious musicians to was the school’s organ and harpsichord reduce the number of console appliances technician, and continuing after my and spend this money on the inside of the graduation and after John left the school organ. This matter of simplifying consoles directly concerns the couplers. We have far to form his own company. We built sev- too many couplers. If fewer couplers were eral harpsichords and one complete organ used the present confusion in coupler ar- together, and we worked through count- rangements would never have arisen.1 less service calls, releathering projects, major repairs, and organ relocations. John Was he implying that musicians who had apprenticed and started his career in use couplers are not serious? Of course, Holland and immigrated to the United there are differing points of view. The States to work with Walter Holtkamp, style of playing developed and advocated Sr. (1895–1962). While working on Holt- by such geniuses as Lynwood Farnam kamp organs at the Oberlin Conservatory depended heavily on super- and sub- of Music, he learned that the school was coupling. But Farnam was no showcas- looking for a full-time technician and felt ing fool. The spectacular console he that was the job for him. designed for the 1917 Casavant organ John had an active organ maintenance at Boston’s Emmanuel Church included business, and given the proximity to such beauties as “Swell Octave Couplers Cleveland, the home of the Holtkamp to Cut Off Swell 2′ Stops.” Organ Company, we worked on dozens Look at the stoplist of most any Holt- of their instruments. Oberlin profes- kamp organ, and you will see lots of sor Garth Peacock was organist at the fractions and Roman numerals—those Unitarian Universalist Church in Rocky voices that speak at intervals and have River, Ohio, a 1950s brick building particularly high pitches. Tasteful use of known affectionately (or otherwise) as those stops precludes the use of super “The Blue Whale,” where after several couplers. Any organ tuner will tell you unheated service calls for the three-man- to avoid coupling mixtures up and down ual Holtkamp, we arrived for a tuning to octaves and to couple mixtures between fi nd the sexton chortling, “I’ve got it good keyboards only with care. If the Positiv and hot in there for you this time!” Jack and Great are not in tune with each other, Russell was the organ teacher at Wooster you have nothing to gain and everything Crouse Auditorium, Syracuse University, Syracuse, New York, Holtkamp organ (photo College, where the big Holtkamp in the to lose by coupling the two together. credit: William Van Pelt) chapel was housed in a cinderblock cor- Thirty years ago, I knew a tuner who ral. And David Dunkel, who graduated had worked for Aeolian-Skinner who beating time with the Swell pedal. The only small reeds such as Schalmei, Bas- from Oberlin a few years before me, was regularly changed the pistons on organs shutters were up there fl apping “in front soon, or the fractional-length Dulzian. organist at Saint Philomena’s Church in he tuned, taking super-couplers, tremu- of God and everyone.” Harrison’s organs used Ernest Skin- East Cleveland where Holtkamp had lants, and redundant mixtures out of the The focus on exposed pipes was a ner’s pitman windchests exclusively. built an organ with an exposed Rück- combinations, muttering to himself. And factor of sound as well as appearance. Holtkamp’s extremist philosophy mar- positiv in 1936, touted as one of the fi rst several Möller organs I have known had Holtkamp was rebelling against the ried him to slider chests, the traditional Rückpositivs in the United States. electro-pneumatic cutout switches that practice common in early and mid-twen- form developed in Europe in the earliest I have written often and recently would not allow a Celeste and a Mixture tieth-century organs of placing pipes in centuries of organ building. We are famil- about the three-manual Holtkamp to play together, or a Mixture and a remote chambers. He wrote, “With the iar with the mantra that the classic slider (1956) in Saint John’s Chapel of the super-coupler. Another trick was that a present conditions of organ placement, chest with key channels creates superior Episcopal Divinity School, formerly Mixture would not play unless you drew the organist is in the unfortunate posi- blend of choruses of voices because all the Episcopal Theological School (now an 8′ Principal. tion of the man who must woo his lady the pipes of a single note from each stop defunct) in Cambridge, Massachusetts, by correspondence.”3 in a division are arranged over a common where my father taught homiletics, and Upstairs and downstairs, In my long experience tuning organs, key channel. In other words, middle C where I had my fi rst organ lessons in and in my lady’s chamber I know a signifi cant disadvantage of of every stop on the Great is above the 1968. Melville Smith, director of the Holtkamp believed that a listener/ organs with many exposed pipes—they middle C key channel. The stops that Longy School of Music in Cambridge, viewer should be able to discern the are dirty. An organ case or chamber are speaking are those whose sliders are was organist of the seminary and a strong content of an organ by looking at it, and limits the number of airborne particles, open, and the air from the open pallet is advocate of Holtkamp organs. Charles most of his organs left all of the unen- protecting the pipes from accumulating common to all those middle C pipes. Fisk was an apprentice in the Holtkamp closed pipes out in the open. With just excessive dust. I maintain a Delaware Walter Holtkamp cheated. While most shop, E. Power Biggs was a neighbor of a little knowledge about the construc- organ with many exposed pipes, located of his organs have slider stop action, at the seminary, and the innovative design tion of organ pipes, one can construct a in a church on a busy street corner in least on the Great, those chests do not of that organ must have attracted a lot stoplist without seeing the console. And Manhattan. There is so much dirt and have key channels, but are large open of attention. with only a few exceptions, Holtkamp debris in the pipes that Mixtures and vessels with internal key action similar Recently, the Organ Clearing House organs had only one enclosed division. other upperwork cannot be tuned. to that of an Austin organ, with a single was involved in the sale of the fi fty-four Holtkamp wrote, “The Swell is the only round valve under every pipe. That valve rank Holtkamp at Christ Church Cathe- division under the infl uence of the shut- Anything you can do, action is complex and tricky enough to dral in Cincinnati, Ohio, my father’s ters. The shutters are plainly visible, and I can do better. adjust that it is hard to tell why Holtkamp home church, where Gerre Hancock the onlooker is not in doubt as to the Walter Holtkamp and G. Donald used them, especially when he was sacri- began his illustrious career. My father function of the apparatus.”2 Harrison of Aeolian-Skinner were con- fi cing the advantages of key channels. had two LPs of Boar’s Head festivals at This visibility of interior components temporaries, and both were interested Walter Holtkamp, Sr., was a tran- Christ Church as led by “Uncle Gerre,” refl ects the Bauhaus School of Archi- in exploring the sounds of classic organs, sitional fi gure in the history of the which included some of the earliest great tecture as practiced by Walter Gropius, together contributing to the develop- twentieth century American pipe organ. organ playing and improvisation I ever Ludwig Mies van der Rohe, and Le ment of what we now call the “American His company was founded by George heard. (Dad also had a Musical Heritage Corbusier, where “form follows func- Classic” tradition. However, Harrison Votteler in Cleveland in 1855. Hermann Society recording of vespers at Saint tion.” It refl ects Holtkamp’s thought that believed in the complex consoles that Holtkamp of Saint Marys, Ohio, joined Mary the Virgin in New York City with an organ should be “honest.” The highly Holtkamp denounced and regularly Votteler in 1903, and the fi rm was later McNeil Robinson improvising on the regarded Holtkamp organ in Crouse installed organs in chambers, a practice known as Votteler-Holtkamp-Sparling. marvelous Aeolian-Skinner organ.) Hall at the University of Syracuse is a that Holtkamp abhorred. Hermann’s son Walter took control of I pulled out my well-worn copy of stunning example of this philosophy. Harrison’s organs refl ected his the company in 1931. Orpha Osche’s seminal book, The His- What you see is what you get. English heritage. The Swell division By following the evolution of stoplists tory of the Organ in the United States, Kulas Hall at the Cleveland Institute typically contained a Principal chorus year by year, it is easy to see how the to review her piece about Walter Holt- of Music houses a modest three-manual and multiple reed stops, equipping the organs of G. Donald Harrison and Wal- kamp, and found some great insights Holtkamp organ built in 1972, the work instruments for extraordinary expressive ter Holtkamp developed on different into his work in his own words and those of Walter’s son, “Chick” Holtkamp. A capabilities, especially valued for choral paths. Into the 1950s, while Harrison of his competitors. Walter Holtkamp colleague asked me to listen for balance accompanying. The Swell divisions in was producing stately masterpieces believed in simple console design, so the at a rehearsal where she was playing the Holtkamp organs were less important such as found at Saint Mary the Virgin ubiquitous Holtkamp console has a table organ in a large piece for chorus and and less developed than the Great or and Saint Thomas in New York, Holt- on which the keyboards sit with a simple orchestra. My fi rst suggestion was to stop Positiv divisions and usually included kamp’s instruments were more edgy and

14 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM By John Bishop

lush strains of the Skinner, but it was considered revolutionary. Sadly, by that time, Ernest Skinner’s philosophies had run out of fashion, and he was no lon- ger sought after to speak at organists’ conventions. In a letter dated February 20, 1976, Robert Baker, the founding director of the Yale Institute of Sacred Music wrote,

. . . at the Boston Convention in the 1930s, Mr. Skinner found himself standing alone Christ Church Cathedral, Cincinnati, Christ Church Cathedral, Cincinnati, and both hurt and bewildered in the lobby Ohio, Holtkamp organ (photo credit: Dale Ohio, Holtkamp organ console (photo of the Copley Plaza. Walter Holtkamp, who Harris) credit: Dale Harris) told me this story, saw him standing there, and said to himself, ‘Now this is a perfect experimental. Like Charles Fisk a decade Möller organ in Sandusky, Ohio. I had shame!! There stands one of the greatest fi gures in the art of organ-building, and all later, Holtkamp had a large following of removed the pedalboard and was fi xing those sissies are afraid to go up to speak to Notes admirers, devotees, and advocates. His something “down there.” I stood up, 1. Orpha Ochse, The History of the Or- him, for fear they might lose face amongst gan in the United States, Indiana University organs were installed in many prestigious cracked my head on the corner of the their peers!’ So Walter sauntered over, say- Press, 1975, page 386. schools of music, including Oberlin, Uni- keyboard table, and a piece of windshield ing ‘Mr. Skinner, I am Walter Holtkamp 2. Ochse, page 388. versity of California at Berkeley, Trinity glass came out. I still have a lump there. from Cleveland, and I just want to thank 3. Ochse, page 388. you for all you have meant and done for the 4. For those who are not aware, most of College, Yale University, and General art of organ-building through your splen- the organs I mention in this column—in fact Theological Seminary in New York. Some damn fool . . . did career.’ Mr. Skinner, by that time a bit most of the organs in the United States—are Another set of recordings in my father’s In 1922, Ernest Skinner built a land- hard of hearing, and a bit slower on the documented in the Pipe Organ Database of uptake by then, got only one thing out of the Organ Historical Society. If you would collection featured Princeton University mark organ in the auditorium of the like to know more, open https://pipeorgan- organist Carl Weinrich playing Bach on Cleveland Museum of Art. In 1933, this, and that was the word ‘Cleveland.’ So database.org/Organs.SearchForm-Quick. he responded, ‘Cleveland! Say, you know, the Holtkamp at General Theological Walter Holtkamp added a nine-rank php in your browser, and fi ll in the form. I have one of my best organs out there in 5. Dorothy Holden, The Life and Work Seminary, a statement from the 1950s Rückpositiv division to it. I imagine the the Art Museum, and some damn fool has of Ernest Skinner, Organ Historical Society, version of progressive musicians. This was addition must have stood out from the come along and just ruined it.’ 5 Q 1987, page 179. exactly concurrent with E. Power Biggs’s introduction of the Flentrop organ in Harvard’s Busch-Reisinger Museum and his wildly popular series of recordings, E. Power Biggs Plays Bach Organ Favorites. DISCOVEDISCOVER R Ironically, an example of Holtkamp’s popularity as a progressive organbuilder resulted in the commissioning of a 21st CENTURY Schantz organ. In the 1950s, Bowl- 21st CENTURY ing Green State University in Bowling ORGAN BUILDING Green, Ohio, was planning for a new organ for the Bryan Recital Hall in the ORGANIN NORTH BUILDI AMERICA NG Moore Music Center. They hoped to have an organ by Holtkamp, but the state required that they solicit three bids and take the lowest. The result was a Schantz IN NORTHORTH AAMERICAMER organ designed by Walter Holtkamp. You can read about that organ at https:// pipeorgandatabase.org/OrganDetails. php?OrganID=19242.4. In 1979, John Leek was engaged to move all the organs owned by Bowling Green State University into their new music building. I had graduated from Oberlin in 1978 and was working with BUILDER MEMBERS: SUPPLIER MEMBERS: John full time. To spruce up the Schantz organ with its thousands of exposed Andover Organ Company Goulding & Wood, Inc. Integrated Organ Technologies, Inc. pipes, we took all the pipes over fi ve feet Bedient Pipe Organ Company Holtkamp Organ Company OSI - Total Pipe Organ Resources tall to the workshop where we sprayed Berghaus Pipe Organ Builders, Inc. Kegg Pipe Organ Builders Peterson Electro-Musical Products them with fresh coats of nickel-gray Bond Organ Builders, Inc. Létourneau Pipe Organs Solid State Organ Systems paint. We loaded the pipes into a U-Haul Buzard Pipe Organ Builders, LLC Muller Pipe Organ Company Syndyne Corporation truck, packing them with appropriate Casavant Frères Patrick J. Murphy & Associates care, and took our usual ten-in-the- Dobson Pipe Organ Builders Parsons Pipe Organ Builders morning coffee break. I started off to Randall Dyer & Associates, Inc. Pasi Organbuilders, Inc. Bowling Green in the truck, leaving John C.B. Fisk, Inc. Quimby Pipe Organs, Inc. Schoenstein & Co. to make a few phone calls. He would fol- Foley-Baker, Inc. Paul Fritts & Co. Organ Taylor & Boody Organbuilders low me ten minutes later. A. Thompson-Allen As he told it, he drove around a corner Garland Pipe Organs, Inc. on Route 20 heading toward Wakefi eld, Ohio, and saw a U-Haul truck off the road on its side. A pickup truck had run a stop sign and crossed the highway in front of me. The truck was lying on its APOBA provides a simple way for you to take left side, with a utility pole where the advantage of the expertise of the top people in windshield had been. I was lying in the grass when I came to. It was raining. I WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of still have no idea how I got up and out several generations who have preceded them. of the cab through the passenger side door. EMTs were working on me. I had a nasty wound on my scalp. This was six Call today for APOBA’s Pipe Organ weeks before my wedding. I was put on a 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV stretcher. The woman at my head tugged on the stretcher and said, “Jesus Christ, is he heavy.” John Leek gave the tow-truck driver 11804 Martin Rd. Please watch and share CONTACT :DWHUIRUG3$ a fi st-full of money and had him deliver our short video at: US the righted truck to the workshop, where ZZZDSREDFRPYLGHR 800-473-5270 he found that our packing was good DSREDFRP enough that there was almost no damage to the organ pipes. Months later, happily married, but still badly bothered by my wound, I was doing a service call on a

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 15 Harpsichord Notes By Larry Palmer

Program planning As I was attempting to decide what I I write this column just as July is about would want to play in Santa Fe this past to give way to August; even as a retired July, I was inspired by an art exhibit that academic, this autumnal month nurtures had been mounted earlier this year by my urge to begin making plans for musi- the Meadows Museum, entitled Dali— cal programs of the fast-approaching fall Poetics of the Small, 1929–1936. It com- semester! It was my custom through all prised a generous collection of works fi fty-two years of university employment small in format that surveyed the great to present my faculty recital on the sec- artist’s output during those early years of ond Monday of September—one week his career. The exhibition did not travel after Labor Day. Sometimes I played to any other venue, but an illustrated both organ and harpsichord, occasionally catalog is available from the museum, only one or the other. should one wish to investigate the visual This past summer has been especially stimulation that I tried to emulate with full of planning (and playing) organ recit- similarly shorter musical compositions als on two very special instruments. One from a wide variety of composers. is the 1762 Caetano-Oldovini single- Thus Poetics of the Small did provide manual organ housed in the Meadows a program of short pieces in many styles Museum of Art, Southern Methodist and genres. Variety of this sort and care- University, Dallas, Texas, an instrument ful attention includes choosing pieces originally in ’s Evora Cathedral, both in major and minor keys (plus, and, just incidentally, the oldest playable perhaps, an occasional piece that detours pipe organ in Texas. My two demonstra- to yet another idiom—maybe utilizing a tion concerts for the Organ Historical mode), the variety of which may keep Society during its fi rst conference to the ears free from boredom, open, and be held in the Lone Star State and my listening. Thus my Santa Fe program tenth annual organ recital program in lasted about forty-fi ve minutes (with the the TGIF Concert Series of Santa Fe’s rubric that applause was to be withheld First Presbyterian Church, a program until the fi nal chord was sounded), and it and lecture that concluded the tenth consisted of works by composers Healey anniversary celebration of the Fisk pipe Willan, César Franck (the program’s one organ, Opus 133, were two separate lengthy piece, Fantaisie in C, which is events that required differing repertoire made up of short sections), J. S. Bach, to show the capabilities of these two very Herbert Howells, Dame Ethel Smythe, different instruments. Germaine Tailleferre, Calvin Hampton’s The choices that were made from the Consonance for Larry (1957)—my fi rst organ repertoire are no different than commission to the Oberlin classmate, those I usually make when developing for whom it was also his fi rst commis- programs for harpsichord concerts. Thus, sion—and Maurice Durufl é’s Fugue on I hope that my thoughts on planning the Bells of Soissons Cathedral, which and audience reactions may be of some I dared to end with a triumphant fi nal interest and use to our readers, no matter major chord, rather than the repeated which instruments they may utilize. minor one. Larry Palmer demonstrates the 1762 Caetano-Oldovini organ of the Meadows Mu- First and foremost, I would suggest The demonstrations of the 1762 organ seum of Art (photo credit: Steve Stone) that lengthy programming of music were also presented within stringent time by only one composer is generally best limits and with the necessity of including So, I suggest that a wide-ranging vari- in my collection of instruments . . . . reserved for recordings (which allow the an audience-sung hymn, a requirement ety of musical ideas can keep an audience So rewrite a measure or two if needed, listener to choose from the selected rep- for every OHS convention program. For- interested in our historic instruments (or but enjoy the piquant harmonies and ertoire and use the on/off switch if nec- tunately fulfi lling my expressed desire for in the modern replicas thereof). the very idea that this well-known musi- essary). It seems to me that only a very variety, it was possible to devise a twenty- Another idea that I have been pursu- cian felt compelled to write for our few composers (such as J. S. Bach) are fi ve-minute program that did just that: a ing during my long career is the occa- instrument. Francis Thomé’s Rigodon able to fi ll an entire program’s span and Tiento by Cabanilles was followed by my sional introduction of quite unexpected still ranks as one of the earliest pieces to keep the audience’s attention without a SMU colleague Simon Sargon’s Dos Pra- works from the nineteenth- and early be designated for harpsichord, as does danger of ensuing boredom. A lengthy dos (From the Meadows) composed at my twentieth-century repertoires. I have Mulet’s Petite Lied, which has been work such as Bach’s Goldberg Variations suggestion in 1997—a stately pavane with mentioned some of these previously published in all its small-format glory in is usually accepted with sincere affec- variations that utilized every stop on the in various Diapason articles, but has an issue of this very journal. tion and continued interest, especially organ and showed, with particular beauty, anyone followed through with this idea? For more recent works I return often if it can be done in my favorite form of the treble half-stop Sesquialtera that I would be interested in hearing from to Duke Ellington’s A Single Petal of a performance for this monumental work: allows a melody to be played using the readers who may have done just that. Do Rose (dedicated to Antoinette Vischer, dividing the playing with another player, keys from middle C-sharp to the organ’s not forget that Chopin composed a short although it had been written earlier for each of the two alternating variations top C while playing an accompaniment Fugue in A Minor, found in his keyboard Queen Elizabeth II). It is a piece that is, on two different harpsichords. While I using the notes from middle C down to works; Schuman’s Fugue III on BACH to my knowledge, unpublished except have only done this once with a brilliant the lowest C in a bass short octave. Also from the organ works requires only a for the facsimile in a book about the graduate student, it seemed to me that included were sonatas by Scarlatti and few pedal passages, all of which may Swiss patroness. I base my own perfor- the somewhat contrasting timbres of the Seixas, the hymn Pange Lingua, and a be negotiated with the left hand on the mance copy on an arrangement sent to two instruments and the respite it gave rousing frolic by Lidon, using the full harpsichord. Works by Herbert Howells, me in 1985 by Igor Kipnis, who credited to each of us as players was benefi cial in organ to give all the volume that one particularly his Lambert’s Clavichord, jazz great Dave Brubeck as co-arranger. many ways. could possibly want. contain a selection of delightful pieces I make many adjustments to cope with that may be played on any keyboard wide hand stretches and to keep the Confident pedal work instrument (as I can attest to words feeling of a jazz improvisation, and I can that came directly from the composer’s report that it is always an audience toe- comes with practice and mouth when I fi rst queried him in his tapping favorite. Royal College of Music studio in Lon- Among a host of contemporary com- the right shoes don), plus two volumes of Howells’s posers I have my favorites such as Vin- Clavichord that comprise many pages of cent Persichetti, Gerald Near, Neely on the beautiful music to be explored. Bruce, Glenn Spring, Rudy Davenport, Of the Revivalist works, do not Knight Vernon, Timothy Broege, and pedals eschew Ferruccio Busoni’s Sonatina for William Bolcom—all of whom write Cembalo—not the easiest piece to adapt beautifully and knowledgeably for the x Men’s & Women’s Organ Shoes to the harpsichord, even though he harpsichord. To peruse the literally mentions our instrument in the title, he hundreds of possible twentieth-century with suede soles and heels manages to write as least several notes works, see Frances Bedford’s magiste- x Whole & Half that do not exist on any harpsichord rial catalog, Harpsichord and Clavi- chord Music of the Twentieth Century Sizes in 3 Widths (Fallen Leaf Press, Berkeley, Califor- x Quick & Easy WEEKEND ORGAN nia, 1993). Q Returns MEDITATIONS Comments and questions are wel- OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET Grace Church in New York come. Address them to lpalmer@smu. 44 Montague City Rd Email: [email protected] www.gracechurchnyc.org edu or 10125 Cromwell Drive, Dallas, Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes Texas 75229.

16 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM Pipe organ documentation

The 1755 John Snetzler Organ, Clare College, Cambridge, restored by William Drake, Ltd., Joost de Boer, Director An analysis by Michael McNeil from data published in 2016 by William Drake, Ltd., Organbuilder

By Michael McNeil

Editor’s note: THE DIAPASON offers for pason and Flute sound the unison rather the fi rst time here a new feature at our weakly, with a very strong fi rst harmonic digital edition—two sound clips. Any (the octave quint). The result is that the notes of a G major triad are represented subscriber can access this by logging into almost as strongly as those of C major. To our website (www.thediapason.com), analyse a chorus in this way is to challenge click on Current Issue, View Digital the very principles of organ tone, and it has Edition, scroll to this page, and click on to be accepted that the multiple dissonances and consonances found in a principal cho- in the text. rus actually produce a musical effect full of interest and colour. But here, with such a John Snetzler Spartan distribution of the harmonic com- By 1750 England had become a nation ponents and heard at very close quarters the tonality of this or any other chord is highly with a large middle class with an appe- ambiguous. However, as soon as it is put tite for music and art performance. “It into musical context, all becomes clear, and proved to be a magnet to foreigners such the vigour and daring of Snetzler’s method as Handel and J. C. Bach. It is no surprise is suddenly justifi ed. The combination of boldly voiced mutations and shifting patters at all to fi nd a continental organbuilder of consonance and dissonance (always a part making a substantial impact in England of a performance on a keyboard instrument in the 1750s.”1 John Snetzler, born in tuned to meantone temperament) high- Schaffhausen, Switzerland, in 1710, may lights the harmonic structure of the compo- sition played, and in particular emphasises have arrived in London as early as 1740. modulations away from the home key. That His earliest known instruments date home key will itself have its own colour, de- from 1742, one of them a chamber organ pending on how many sharps or fl ats it has. John Snetzler, chamber organ, 1755 (photo courtesy: William Drake, Ltd.) at Yale University, New Haven, Connect- This tonal world is one that is almost com- pletely unfamiliar to modern ears, despite 5 icut. According to Charles Burney, who the early music movement and interest in of Bach’s Fugue in C Minor, BWV 575. Like other English builders of his knew Snetzler personally, he may have authentic performance: the insights it pro- Although containing time Snetzler used a form of mean- worked on Christian Müller’s famous vides are well worth pursuing.4 only one manual and no pedal, it extends tone tuning (not heard in the Youtube organ at the Bavokerk in Haarlem, the in the English style of the time from GG, recording), whose pure or nearly pure Netherlands, during its construction in Snetzler built a chamber organ in 1755 AA to f′′′, a compass that descends well major thirds added signifi cant gravity 1735 to 1738.2 Although his stop nomen- with one of his larger specifi cations, whose into the 16′ octave. The performance of with their low resultants. The grav- clature looks very much like normal original provenance is unknown but today the fugue incorporates the use of this ity of meantone tuning along with the English fare of the time, Snetzler’s sound resides in Clare College, Cambridge, and extended bass compass with revisions to extended manual bass compass goes a is much bolder and brighter. This voic- has survived without signifi cant altera- the score to accommodate the original long way to explain why the lack of an ing style led to the development of true tions. The “vigour and daring of Snetzler’s pedal line. The balances in the voicing independent pedal persisted in English string tone in Snetzler’s Dulcianas. method” can be heard in a Youtube allow all voices to be clearly heard and the organs well into the early nineteenth Large contracts for English cathedrals recording of this organ (pre-restoration) emotional impact is startling. century.6 eluded him, and Snetzler never achieved the fame of builders like Samuel Green. He produced many smaller chamber organs along with a few larger instru- ments. According to Bicknell, Snetzler may have been excluded by the remains graduate study in of the Guild system. “To claim that Snetzler cornered the organ performance market in chamber organs would be an at Yale Institute of Sacred Music and Yale School of Music exaggeration, although it is diffi cult to escape the conclusion that he led the fi eld in re-establishing their popularity.”3 Bick- nell was a gifted English writer, fully at ease in organbuilding technology, music theory, and historical context. His description of a chamber organ built by Snetzler in 1763 for Radburne Hall, Derbyshire, but now resid- ing in Schaffhausen, Switzerland, gives a clear idea of Snetzler’s tonal concept: A pedal raises and lowers the lid of the organ to provide a simple swelling device. In 1982 the organ was very clean and well pre- served and still retained most of its original leather work. The pipes had been crudely torn to alter the tuning, but once repairs had been made it became clear that the instru- 1 ment had been tuned in ⁄4-comma mean- tone temperament or something very close to it. The effect, in the home keys, of the Fifteenth and the strong quint and tierce Yale Institute of Sacred Music, 406 Prospect Street, New Haven, CT 06511 in the Sesquialtera and Cornet is astonish- tel 203.432.9753 · ingly bold. The effect of playing a chord of C ism.yale.edu/musicprograms major, with the tutti very strongly coloured [email protected] by dissonant intervals in the upperwork, is disconcerting. Moreover, the Stopped Dia-

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 17 Pipe organ documentation

The restored feeder and wedge bellows Note the parallel bass and treble slider (photo courtesy: William Drake, Ltd.) positions on the top of the windchest with the topboards removed. (photo cour- tesy: William Drake, Ltd.) Drake, Ltd.’s documentation of the 1755 Snetzler organ includes all of this and much more—detailed dimensions and 2) the dynamics of the wind. Wind of the windchest and wind system that dynamics are fully explained in The allow a full analysis of wind fl ow and Sound of Pipe Organs and are a very wind dynamics, parameters having an important aspect of an organ’s ability enormous impact on the sound of an to sustain a fast tempo with stability or organ. A full narrative of the restoration enhance the grand cadences of historic in William Drake, Ltd’s. documentation literature. The superb data set on the includes the data that support the very Snetzler allows us to explore all of these few restorative changes made to the characteristics. Figure 1 shows the instrument, all of which were guided by Snetzler wind fl ow model. carefully documented investigative work. In Figure 1 we see two lists of all of the William Drake, Ltd., gives us a good stops with the pipe toe diameters for a model for documentation, where they note in each octave in the compass at the have chosen to provide photographs and top and their calculated areas directly detailed hand drawings of the organ along below. These toe areas are then added with the important dimensions. While together (this is the fi rst set of boxed computer drawings are nice, most organ- values). The key channels must be suf- builders do not have the time or funding fi ciently large to fl ow wind to these pipe to make them. If we want to see good toes, and the pallets activated by the keys documentation in print, we must also be must be suffi ciently large to fl ow wind to willing to accept the lack of polish in hand the key channels. drawings. The editorial staff of The Dia- A model for the total required wind pason has shown courage in their willing- fl ow of the full organ assumes a maxi- ness to publish such drawings. mum of ten pallets (a ten-fi ngered chord) The data in this analysis are presented as described in the next line in the table, in normalized scales for inside pipe and the combined toe areas are mul- diameters, mouth widths, and mouth tiplied by the number of these pallets heights. Tables showing how raw data played in each octave of the compass. are converted into normalized scales Here we see that the sum of the fl ow of may be found in the article on the E. & all of the pipe toes in the full organ (the G. G. Hook Opus 322 published in The next boxed value) is 2,982 mm2. Figure 1 Diapason, July 2017, pages 17–19. The Next in the table are values for the set of data and the Excel spreadsheet pallet opening lengths, the extent that But what makes this particular organ Preface to the analysis used to analyze the Snetzler may be the pallets are pulled open when a key most interesting is that it has been restored Good documentation of organs with obtained at no charge by emailing the is depressed (estimated from the ratios and documented in unprecedented detail enough pipe measurements to permit author.8 Readers interested in a deeper in the drawings), and the height and by William Drake, Ltd., who have placed an analysis of both scaling and voicing is understanding of the models used in the widths of the key channels that are fed on their website descriptions, draw- extremely rare. Pipe diameters, mouth analysis may refer to the book The Sound wind by the pallets. These data allow us ings, data, and photographs from which widths, and mouth heights (cutups) of Pipe Organs.9 to calculate the relative wind fl ow of the Snetzler’s work can be fully understood.7 may be found to some degree, but channels (height times width), and we This is no small achievement; organs are toe diameters and especially fl ueway Pitch, temperament, wind pressure, fi nd that there are robust margins in the almost never documented in such detail. depths are extremely rare. William and compass windfl ow from the channels to the pipe The Snetzler organ is pitched at A = toes (see the boxed values of 201% at low 422.5 Hz at 17.5 degrees Celsius. The GG to 549% at high c′′′). current tuning is Young II temperament Now we can calculate the fl ow of the with indications of original meantone. pallets that feed the channels (the sum The wind pressure, water column, is of the opening length and channel width quite low at 51 mm (2 inches). The times the pallet pull), and we fi nd the compass is GG, AA to f′′′. The organ has ratio of the fl ow of the pallet openings no pedal but derives bass tone from its to the channels (the next boxed values) extended manual compass, which with is less robust and ranges from 88% in its lower pitch extends nearly a halftone the bass to 187% in the high treble. The below GG. The stops are divided bass pallets still adequately fl ow wind to the and treble: bass pipes when we consider the more robust margins in channel fl ow. The esti- Bass, GG, AA to b mate of the pallet pull may also be low. Sesquialtera (17–19–22) It is interesting to speculate that pallets Principal (4′, full compass) that just barely fl ow the required wind Flute (4′) to the channels may allow some degree Dulciana (8′, GG to F# grooved) of modulation of touch to the organist. Diapason (8′) Smaller pallets also require less force to open and are easier to play. Treble, c′ to f′′′ The next value, the area of the wind Hautbois (8′, expressive) trunk, is 10,230 mm2, and we see that the Cornett (8–12–17) area of the wind trunk affords 3.4 times Fifteenth (2′, full compass) more wind than all of the pipe toes in the Flute (4′) full organ, so much in fact that it does Dulciana (8′) not function as an effective resistance Diapason (8′) in the system. Interestingly, the Isnard organ at St. Maximin uses the wind trunk The wind system as a strong resistor to dampen Helmholtz The wind system can be modeled resonances in the wind system, and it has www.ruffatti.com from two viewpoints: 1) the restric- a ratio of wind trunk area to a plenum tion of fl ow from the areas of the wind toe area of 1.07 for the coupled principal trunks, pallets, channels, and pipe toes, chorus of the Grand-Orgue and Positif

18 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM Figure 2

Figure 4

Fifteenth, GG, showing bold, slanted Finer nicking of the treble pipes. Note nicking and high languid position. the very wide fl ueway. (photo courtesy: Wil- Smaller pipes have fi ner nicks. (photo liam Drake, Ltd.) courtesy: William Drake, Ltd.) advantageous to use mouth widths, not power balances; this is because mouth diameter scales, to understand the bal- widths can be designed to vary consid- ances of power in a chorus. The Dulci- erably within the same diameters of ana has very narrow mouths consistent pipes. Narrower mouths will produce with its role as a soft string stop. less power, other voicing parameters like Figure 3 fl ueways and toe diameters being equal. The voicing In Figure 4 we see that Snetzler Mouth height, or “cutup” as it is com- (no reeds, fl utes, or mutations). Helm- The scaling greatly reduced the mouth widths of monly called by voicers, is the primary holtz resonances are the source of what The Normal Scale of pipe diameters the 8′ Diapason and the 4′ Flute. The means of adjusting the timbre of a pipe. is normally called wind shake, and we is a way to visualize relative power, mouth width reduction of the Diapason Low cutups will create a bright tone with might expect some mild wind shake with where a fl at line from bass to treble in Figure 4 reduces the power to blend many higher harmonics while high cut- the Snetzler wind system with its large will produce relatively constant power. seamlessly into the tenor of the Dulci- ups will produce smoother tone. Readers wind duct and low damping. Pipes with data extending higher in the ana; it also makes the upperwork seem may refer to The Sound of Pipe Organs, The underlying dynamics of a wind graph will produce more power. Each relatively much more powerful. This pages 68–80. It is not uncommon to fi nd system are the result of its mass and half tone on the vertical scale is worth example of the seamless blend of the fl ute pipes cut as much as 12 half tones volume. These factors produce a natural 0.5 dB of power. Readers may refer to Snetzler mouth widths for the Diapason higher than principal pipes in classical resonance that can enhance the grand The Sound of Pipe Organs, pages 8–32, and the Dulciana shows why it is often pipe organs. cadences of literature with a long surge for a discussion of the underlying theory in the wind, or it can produce a nervous and principles. The Snetzler metal shake if it is too fast. A grand surge in principal chorus pipes have a constant the wind is characterized by a resonant scale where all pipes of the same pitch frequency of less than 2Hz (cycles per have the same diameter regardless of

second), and it is most often produced the stops in which they appear. Snetzler by a weighted wedge bellows. A nervous mildly increased his treble scales from 1 shake is characterized by much higher about ⁄2′ in pitch in Figure 3, a refl ec- resonant frequencies, and it is produced tion of the smaller acoustics of chamber by a sprung, vertical rise bellows with organs and less need to compensate low mass. We correct the latter condition for distance losses. The fl ute has wider with small concussion bellows in modern treble scales. The Snetzler Dulciana organs, but the Snetzler wind system descends dramatically; it shares the does not have such devices; instead, it bass with the Diapason. The scales of features a weighted wedge bellows. the wood pipes are represented by their We can model the dynamic response diagonals, not their relative areas; this of an organ by using its wind pressure, represents the true power capability Proud builders of the the area of the bellows plate, and the of the standing wave in the pipe, as pipe organ kit combined internal volume of its bellows, pointed out by John Nolte, and cor- wind trunk, and pallet box. The model in rectly relates to metal pipes. The GG Figure 2 shows the dynamic response compass is represented by notations on of the Snetzler wind system at a relaxed the pitch axis as “10, 5, 2.5,” indicating follow us on 1.52 Hz, producing a wind surge of 0.66 rough approximations of the length in facebook! seconds. William Drake, Ltd., found that feet for the extended bass compass. the original wedge bellows had been The Normal Scale of mouth widths modifi ed to a vertical rise design, which operates just like the pipe diameters, Photo courtesy of Eric Harrison the model shows would have resonated where a fl at line from bass to treble will at about 2.26 Hz with 0.44 seconds surge, produce relatively constant power. Pipes and they wisely restored the original extending higher in the graph will pro- 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA design. The restorers found that with duce more power. Each half tone on the t 800 625-7473 [email protected] the wedge bellows, “The wind is lively vertical scale is worth 0.5 dB of power. Visit our website at www.letourneauorgans.com but smooth and enhances the sound in a Mouth widths are nearly always a musically pleasing way.”7 better indicator than pipe diameters of

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 19 Pipe organ documentation

Figure 5 Figure 6

larger values of “C” will admit more wind mouth heights of this stop in Figure 5, to the pipe. Readers may fi nd the deriva- giving the stop low power with signifi cant tion of this normalization in The Sound harmonic overtone structure; Snetzler of Pipe Organs, pages 43–47. used box beards to stabilize the speech Now we can understand the Snetzler of the Dulciana. Taken together, this is graphs. In Figure 5 we see exceptionally a very powerful demonstration of Snet- low cutups in the bass that are low even zler’s skills in scaling and voicing where The organ’s nameplate (photo courtesy: William Drake, Ltd.) for the very modest 51 mm. pressure. he achieves good balances with the metal Snetzler’s use of bold nicking on the chorus pipes and the common bass with In the Normal Scale of mouth heights, wind will always produce a brighter tone, languids of the bass and mid-range pipes the Dulciana. a higher cutup value on the vertical scale so the voicer can make a pipe louder and stabilizes the speech with such low cut- Like the pipe toe, fl ueway depth con- will result in smoother tone. Cutups preserve the original timbre by opening ups. This is consistent with the “slower” trols the fl ow of wind and strongly cor- may be adjusted higher for two reasons: the toe or fl ueway and raising the cutup speech of Snetzler’s voicing, where the relates to the power and the speed of the 1) the voicer wants a smoother timbre, until the timbre is restored. languids are kept high and the result- speech of the pipe. Readers may refer to or 2) the voicer wants more power at the Pipe toe diameters can be normalized ing timbre is brighter (the speech is not The Sound of Pipe Organs, pages 50–63 same timbre. More power means more (this is the “C” parameter in Figure 6) actually slower, just brighter—the pipes and 77–82. wind, and this means a larger toe or fl ue- to the diameter of the pipe, the width of are slower to overblow to the octave on In Figure 7 we see very generous way opening to admit more wind. More the mouth, and the depth of the fl ueway; higher pressure).10 Gottfried Silber- fl ueways for the metal pipes of the mann took this concept to an extreme Snetzler chorus, while the wood with upper lips constructed to extend pipes and Dulciana have much more far in front of the fl ueway; this virtually restrained fl ueways. In the chorus pipes required the voicer to raise the languid Snetzler is controlling the power bal- well above the edge of the lower lip, with ances with scaling and toe diameters, not the consequence that the timbre became fl ueways, a technique more commonly very bright. Snetzler was more moderate found in classical French voicing. The in his use of this voicing technique. reduced fl ueways of Snetzler’s wood But lower mouth heights can also be Diapason and Flute are more typical of explained by reduced toe diameters, classical Germanic voicing, where power and we see very consistent and greatly is controlled at the fl ueway rather than reduced toe diameters for the Snetzler the toe. It is unusual to fi nd a chorus with upperwork in Figure 6 where only the both voicing styles. wood pipes of the 8′ Diapason and 4′ The languids are boldly nicked at an Flute have generous toes. As we will see angle in the bass pipes progressing to later, those wood pipes also have reduced fi ner nicks in the higher pitches and ulti- fl ueways. The reduction in toe diameters mately little or no nicking in the highest in Figure 6 reduces the wind pressure at trebles. Ears are present on pipes up to 1 the mouth of those stops, allowing the 1 ⁄3′ pitch and absent at higher pitches. use of lower cutups. Upper lips are lightly skived to about one Of interest in Figure 6 are Snetzler’s half of the metal thickness. very reduced toes on the 8′ Dulciana The fl ow of wind and power balances stop. This is consistent with the very low are controlled by the voicer at the toe

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

A RTISTRY – R ELIABILITY – A DAPTABILITY

20 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM 5. Anne Page, Fugue in C minor, BWV 575, 10. The History of the English Organ, p. www.youtube.com/watch?v=slgjVr97FLY. 178, “Snetzler’s chorus consists of ranks all This is a pre-restoration recording made dur- made to the same scale and voiced at the ing the 2011–2012 time frame. The volume is same power . . . . The speech of the individual set very low in this recording and should be pipes is signifi cantly slower than that of ear- turned up. It is important to keep in mind that lier generations, and this encourages bright- the tuning has been modifi ed from its original ness (as well as facilitating the development meantone to something much closer to mod- of the new string-toned stops). Any tendency ern equal temperament. of the pipes to spit or scream is controlled 6. The gravity induced by meantone must by the consistent use of fi rm, slanted nicking be heard to be appreciated. The 1739 Clicquot on the languids of the pipes—a hallmark of organ at Houdan is tuned in meantone and may Snetzler material.” Joost de Boer, the direc- be heard to advantage in the superb new re- tor of William Drake, Ltd., confi rmed the cording reviewed in The Diapason, July 2018, use of higher languids and slower speech on p. 15, Magnifi cat 1739, Regis Allard, available the Snetzler pipes in a personal communica- from www.editionshortus.com. This organ has tion in 2018. no 16′ stops, but 16′ tone is strongly evident in the resultants of the pure major thirds. 7. William Drake, Ltd., The Restoration of Michael McNeil has designed, con- the 1755 John Snetzler Organ at Clare Col- structed, and researched pipe organs lege, Cambridge, PDF documents accessed August 16, 2016, www.williamdrake.co.uk/ since 1973. He was also a research portfolio-items/clare-college-cambridge/. engineer in the disk drive industry with 8. The author’s email address is: twenty-seven patents. He has authored [email protected]. 9. Michael McNeil, The Sound of Pipe four hardbound books, among them The Organs, CC&A, 2012, Mead, 191 pp., Organ Sound of Pipe Organs, several e-publica- Historical Society and Amazon.com. tions, and many journal articles.

Figure 7 SOLID STATE ORGAN SYSTEMS

1970

1980

Figure 8 and fl ueway of a pipe. The ratio of the pushing these pipes harder with their 1990 area of the toe to the area of the fl ueway narrower mouth widths and narrower is important. If the area of the toe is less fl ueways. In stark contrast, the Snetzler than the area of the fl ueway, which is a metal pipes have ratios trending at or well ratio less than “1,” the speech will be below a value of “1,” suggesting that they 2000 slower. “Slowness” in this instance does speak a bit less promptly. The recording MultiSystem II not refer to the voicer’s term (which made by Anne Page prior to the restora- refl ects how the voicer adjusts the rela- tion demonstrates the full chorus and The world’s tive position of the languid and upper supports this conclusion. Slightly slower most advanced lip), but rather to the effect of resistances speech is not necessarily a defect, and it (toe and fl ueway areas) and capacitance can be used to dramatic advantage. and intuitive (volume of the pipe foot) on the rate of Very rarely do we fi nd anything in the pipe organ the buildup of pressure at the mouth, organ literature about voicing, and very control system which in turn affects the buildup of pipe rarely do we fi nd documentation with 2010 speech to full power. Readers may refer enough data to analyze the voicing of an to The Sound of Pipe Organs, pages organ. With William Drake, Ltd.’s data 56–63 and 114–116, for a discussion of we can understand Snetzler’s voicing and this very important musical characteris- tonal concepts in depth. tic. A well-knit chorus of pipes may have pipes that speak less promptly or pipes Further paths that speak more promptly, but never This short essay cannot begin to do both; a chorus with both would have a justice to the documentation done by confused and ill-defi ned attack. The William Drake, Ltd., on the Snetzler effect here is subtle and measured in organ. Readers are encouraged to visit milliseconds, but the human ear is very their website to view their wonderful 2020 sensitive to such fi ne variations. PDF fi les.7 The casual reader can simply The ratio is exactly “1” when the area peruse the photos and notes to see what of the toe and fl ueway are equal, and this the inside of an eighteenth-century organ is the normal lower limit for pipes with looks like. The motivated organbuilder prompt speech; for example, the vast can fully recreate the Snetzler sound majority of the principal chorus pipes in from these notes. This is a gold standard the Isnard organ at St. Maximin in the of documentation. Q range of 4′ to 1′ pitch exhibit a value of almost exactly “1,” with the highest Notes pitches approaching a value of “3.” 1. Stephen Bicknell, The History of the ′ English Organ, Cambridge University Press, The wood pipes of the 8 Diapason 5600 General Washington Dr., ′ 1996, Cambridge, p. 174. and 4 Flute in Figure 8 have ratios far 2. Ibid, p. 174. Now representing Espressivo Suite B21, Alexandria, VA 22312 in excess of “1,” and this is another way 3. Ibid, pp. 203–204. in the USA, Canada, and UK t: +1 (703) 933 0024 e: [email protected] of looking at Snetzler’s technique for 4. Ibid, pp. 204–206.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 21 Cover feature

The University of Michigan Organ Department School of Music, Theatre & Dance Ann Arbor, Michigan By James Kibbie

The University of Michigan Organ Department, one of the nation’s oldest, largest, and most recognized programs, is an international leader in the fi elds of organ, harpsichord, carillon, and sacred music. Its home, the School of Music, Theatre & Dance, is a highly selective professional school offering programs in music, dance, theatre, and musical theatre on a welcoming campus in the culturally rich college town of Ann Arbor. The school combines the rigor of a conservatory with the academic breadth and depth of a major public research university. Students pursue a comprehensive program of performance and study that embraces a liberal arts education and emphasizes innovation and diversity in the arts. The faculty— eminent performers and scholars with a broad range of specializations—share a profound commitment to teaching. The Organ Department’s reputation for fostering talent is evidenced by the number of graduates enjoying careers as recitalists, university professors, published composers and scholars, and music directors of major churches.

Faculty and staff • James Kibbie, Professor of Organ and Chair; University Organist • Kola Owolabi, Associate Professor of Organ and Sacred Music • Joseph Gascho, Assistant Professor of Harpsichord and Early Music • Tiffany Ng, Assistant Professor of Carillon; University Carillonist; Digital Studies Institute Affi liate Faculty • Jerroll Adams, University Organ Technician • Colin Knapp, Organ Conference Coordinator • Andrew Meagher, Hill Auditorium Scheduling Coordinator • Distinguished former faculty mem- bers include organists Palmer Christian, Robert Noehren, Marilyn Mason, Rob- ert Glasgow, Robert Clark, and Michele Johns, carillonist Margo Halsted, harpsichordist Edward Parmentier, and composers William Bolcom and Wil- liam Albright.

Guest artists Student group recital of de Grigny’s Messe pour orgue on the 1732 Andreas Silbermann organ, Abatiale Saint-Maurice, Ebers- The Organ Department sponsors munster, France recitals, masterclasses, and workshops by leading international artists. Recent faculty residencies have featured Vin- “The Organ Department is a cent Dubois (Cathedral of Notre Dame, very student-centered depart- Paris; Conservatory of Strasbourg) and ment. The study trips abroad, Daniel Roth (Church of St. Sulpice, student recitals, and collaborative Paris). Recent guest artists and clini- projects with other departments in cians include Olivier Latry (Cathedral of the University are not only inter- Notre Dame; Paris Conservatory), Keith esting and compelling, but also a Hampton (Chicago Community Chorus; crucial part of preparation to be a specialist in the Black Gospel tradition), professional musician. I wouldn’t Jaap ter Linden (Royal Conservatory of exchange these experiences for the Hague and Amsterdam Conserva- anything! Go Blue!!” tory, the Netherlands, early music spe- —Sarah Simko (Doctoral stu- cialist), Nicole Keller (Baldwin Wallace dent in Organ Performance; MMus Conservatory, Berea, Ohio), Jörg Abbing 2018; THE DIAPASON 20 under 30 (Hochschule für Musik Saar, Germany), Class of 2017) Andrzej Szadejko (Gdaˇsk Music Acad- emy, Poland), Jaroslav T͐ma (Academy James Kibbie with students Jenni- Kola Owolabi at the 1732 Andreas Sil- of Performing Arts, Prague, Czech fer Shin and Joseph Moss at the 1888 bermann organ, Abatiale Saint-Maurice, • Doctor of Musical Arts in Perfor- Puget organ, Notre-Dame de la Dalbade, , France Republic), and Jean-Baptiste Robin Toulouse, France mance: Sacred Music (Royal Chapel of Versailles). • Doctor of Musical Arts in Perfor- • Master of Music in Early Keyboard mance: Harpsichord Degrees offered • Master of Music in Organ Instruments • Dual degree programs with six • Bachelor of Music in Organ Perfor- Performance • Master of Music in Carillon other University of Michigan colleges mance and Sacred Music • Master of Music in Sacred Music Performance and joint degree programs with other • Bachelor of Musical Arts in Organ • Master of Music in Harpsichord • Doctor of Musical Arts in Perfor- departments in the School of Music, Performance Performance mance: Organ Theatre & Dance are also available.

22 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM Joseph Gascho with Emily Solomon Tiffany Ng with “Big Baird,” the 12- Students at the 1730 Trost organ, Stadtkirche, Waltershausen, Germany (doctoral student in sacred music, THE ton bourdon bell of the Charles Baird DIAPASON 20 under 30 Class of 2019) Carillon

Keith Hampton masterclass: “The Art of Black Gospel” Jaap ter Linden masterclass with members of the Early Music Ensemble

Organ and sacred music excellence and inclusive community • Advanced Improvisation Organs Student career preparation includes engagement and offers one of the only • Service Playing The University of Michigan recog- development of artistry, technique, Master of Music in Carillon Perfor- • Creative Hymn-Playing nizes the pipe organ as the only instru- scholarly research skills, and the ability mance degrees in existence. Students • Blended Worship Music Styles ment suitable for practice, teaching, and to play music of all periods with integrity. enjoy frequent performance oppor- • Contemporary Issues in Sacred performance of the organ repertoire. Students attain knowledge of specifi c tunities and new acoustic and electro- Music Students perform, study, and rehearse performance practices, supported by a acoustic music collaborations, develop • The Church’s Song: Critical Issues on 16 pipe organs on campus, including: wide range of courses in repertoire and socially engaged outreach projects for in Hymnology • Frieze Memorial Organ, Hill Audi- technique. Hymn-playing and choral diverse audiences, and pursue original • African-American Spirituals and torium: four manuals, 124 ranks, electro- accompaniment are pursued with the research in campanology. Alumni hold Gospel pneumatic action; Farrand & Votey same seriousness as solo repertoire. faculty and performance positions • Students also fi nd arts leadership (1893), Hutchings (1913), Skinner Organ Studies in improvisation enable students throughout the country. development, entrepreneurial opportu- Company (1927), Aeolian-Skinner (1955); to develop their creative voices as church nities, and grants in the EXCEL Depart- • Marilyn Mason Organ, Blanche musicians and performers. In sacred Organ, harpsichord, and sacred ment (Excellence in Entrepreneurship Anderson Moore Hall: two manuals, 27 music, a graded curriculum exposes stu- music courses Career Empowerment & Leadership). stops, mechanical action; C. B. Fisk, after dents to the musical practices of diverse In addition to studio instruction in instruments of ; cultures and liturgical traditions. Choral organ, harpsichord, and carillon, stu- Research • James Walgreen Organ, School of conducting and continuo are offered at dents elect from a rotating sequence of Organ Department faculty and stu- Public Health: two manuals, 12 stops, both undergraduate and graduate levels. courses designed to prepare musicians dents engage in major scholarly and mechanical action; Orgues Létourneau; for professional careers as organists, creative projects within the nation’s • Organ teaching studios: three Harpsichord and early music church musicians, harpsichordists, and top-ranked public research university manuals, electro-pneumatic instruments Both solo and continuo playing are carillonists: (as recognized by the National Science by Reuter and M. P. Möller; emphasized for harpsichord students, • Organ Literature: Antiquity to Foundation in 2018). Recent faculty • Italian positiv organ: one manual, who also build a strong foundation in 1750 grants have supported a project to three stops, mechanical action; unknown historical performance practices. Other • Organ Literature: 1750 to Present develop applications of data science 16th-century Italian builder; early music opportunities include par- • Early Music for Keyboard to performance issues in the Bach trio • Kistorgel (continuo positiv): one ticipation in Renaissance Choir, Baroque • Baroque Organ Music sonatas; innovations in carillon schol- manual, four stops, mechanical action; Chamber Orchestra, and a wide variety • Music of the French Baroque arship, technology-augmented perfor- Henk Klop; of chamber music events. Students have • Organ Music of the 19th Century mance, and multimedia publishing; • Portativ organ: one manual, one the opportunity to study and perform on • Contemporary Organ Music audio and video recordings integrating rank; Wendhack, Redeker & Kreuzer, period instruments, including those in • Topics in Historical Performance scholarship and recording on historic after a medieval model; the university’s extensive Stearns Col- • Basso Continuo instruments; the pioneering of team • Practice organs: eight two-manual lection of Musical Instruments. Recent • Basso Continuo II teaching with architecture; and schol- mechanical and electro-pneumatic performances include a fully-staged • Advanced Continuo and Partimento arly publications. Current graduate instruments by A. David Moore, Aeo- production of Charpentier’s opera La • Organ Pedagogy students are receiving grant support lian-Skinner, Reuter, and M. P. Möller; Descente d’Orphée aux Enfers. • Harpsichord Pedagogy for projects including a series of com- • Students also study and perform • Harpsichord Maintenance pact disc recordings of organ music regularly on instruments in Ann Arbor Carillon • Improvisation I by women composers and research churches by Karl Wilhelm, Orgues The carillon program is built on • Improvisation II and performance on North German Létourneau, and Schoenstein. the dual pursuit of innovative artistic • Contrapuntal Improvisation Baroque instruments. ³ page 24

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 23 Cover feature

Joseph Balistreri (MMus 2011, THE DIAPASON 20 under 30 Class of 2015) with the Uni- versity Symphony Orchestra, Hill Auditorium

Marilyn Mason Organ, Blanche Anderson Moore Hall: C. B. Fisk after instruments of Gottfried Silbermann

Bag Recital Series on the James Wal- “The University of Michigan green Organ, AGO recitals, and outreach Organ Department encourages recitals at churches. There are also fre- each student to pursue the music quent opportunities to perform with the which sparks her or his musical university orchestras, bands, and choral passion, offering scholarly guidance ensembles. Carillon students perform on and access to the great resources the daily recitals at both carillon towers, only provided by a world-renowned at student guild recitals, offi cial univer- performing faculty.” sity events, and during fi eld trips to area —Joseph Balistreri (MMus carillons. Harpsichord students perform 2011; THE DIAPASON 20 under 30 in solo recitals, chamber ensembles, and Class of 2015) with the Baroque Chamber Orchestra and Early Music Choir.

Michigan faculty and resident artists, International organ study tours provides an intensive six-day experience Students in the Organ Department focusing on harpsichord and fortepiano. have the opportunity to participate in Co-sponsored by the American Cen- European study tours to play historic ter of Church Music, the annual Organ organs, study with eminent artist-teach- Improvisation Competition has featured ers, and perform in group recitals. Stu- fi nalists from North America, Europe, and dent expenses are funded in part through Asia. The Schoenstein Competition in the fundraising recitals at area churches. Art of Organ Accompaniment, presented During their 2019 tour to the Nether- with support from Jack M. Bethards, lands and Germany, students studied 13 Schoenstein & Co. Organ Builders, rec- historic organs by van Covelens, Schnit- James Walgreen Organ, School of Public Health: Orgues Létourneau (photo by John ognizes artistry in the accompaniment of ger, Silbermann, Trost, Ladegast, and Beresford) solos, choral repertoire, and hymns. Sauer and performed in masterclasses Recent special events have included with Pieter van Dijk, Thiemo Janssen, ³ page 23 Carillons the 2018 Annual Conference of the Ullrich Böhme, and Johannes Trümpler. Harpsichords • Charles Baird Carillon, Burton Historical Keyboard Society of North • Keith Hill: German double manual; Memorial Tower: 53 bells cast by John America, with over 70 performances, Application and fi nancial aid • William Dowd: Franco-Flemish Taylor & Co., England, 1936; lectures, and other events on the theme The Organ Department supports double manual after Ruckers; • Robert & Ann Lurie Carillon: 60 “Kenner und Liebhaber.” students with fi nancial aid packages that • Peter Fisk: French double manual; bells cast by Royal Eijsbouts, the Neth- The UM Summer Carillon Series reward artistic and academic excellence, • Hubbard/Eckstein: French double erlands, 1996; presents leading international recitalists while also considering a student’s over- manual; • Three practice keyboards. each year. Supported by a UM Bicen- all fi nancial resources. Undergraduate • Hill and Tyre: German single tennial Grant in 2017, “Resonance & applicants are eligible to compete in the manual; Conferences, competitions, and Remembrance: An Interdisciplinary annual Undergraduate - • David Sutherland: Flemish single workshops Bell Studies Symposium,” pioneered ship Competition. Master’s students are manual; The annual Organ Conference, a new directions in scholarly and applied considered for a variety of scholarships, • William Post Ross: Italian single tradition for almost sixty years, presents campanology research and technology- and nearly all DMA students receive manual after De Quoc; recitals, workshops, and masterclasses by augmented performance. full-tuition fellowships and are also • Two Zuckermann kit instruments; international artists and performances eligible to apply for fellowships to fund • Randall Scott: clavichord after a by University of Michigan students and Performance opportunities research, travel, and performance. For 1784 instrument of Christian Gottlob faculty. The summer Early Keyboard Organ students perform for the annual further information and to apply, visit Hübert. Institute, presented by University of Organ Conference, the bi-weekly Brown smtd.umich.edu. Q

24 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Justan Foster; Cadet Chapel, West Park Ridge Presbyterian Church This calendar runs from the 15th of the month Point, NY 2:30 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Stefan Kießling; St. Thomas Church Pickle Piano & Church Organ Systems is the fi rst of the preceding month (Jan. 1 for NEW YORK Fifth Avenue, New York, NY 5:15 pm Bloomingdale, IL Feb. issue). All events are assumed to be organ Bradley Hunter Welch; Wilson College, recitals unless otherwise indicated and are grouped Chambersburg, PA 3 pm within each date north-south and east-west. •=AGO Monica Czausz; St. John United Meth- chapter event, • •=RCCO centre event, +=new organ odist, Augusta, GA 3 pm dedication, ++= OHS event. Karel Paukert, with saxophone; St. Paul’s Christopher Babcock Michael J. Batcho Information cannot be accepted unless it Episcopal, Cleveland Heights, OH 4 pm specifi es artist name, date, location, and hour in David Hurd; Holy Trinity Lutheran, Ak- Director of Music writing. Multiple listings should be in chronological ron, OH 4 pm St. Andrew’s by the Sea, order; please do not send duplicate listings. Nicholas Schmelter; First Congrega- Hyannis Port CATHEDRAL OF ST. JOHN THE DIAPASON regrets that it cannot assume tional (UCC), Saginaw, MI 4 pm MILWAUKEE responsibility for the accuracy of calendar entries. Stephen Buzard; Ball State University, Muncie, IN 3 pm

UNITED STATES 30 SEPTEMBER East of the Mississippi Jean-Baptiste Robin; Trinity Episcopal, Dean W. Billmeyer Covington, KY 7 pm 15 SEPTEMBER Stephen Buzard, masterclass; Ball University of Minnesota Choir of Trinity College, Cambridge, UK; State University, Muncie, IN 9 am Church of St. Ignatius Loyola, New York, Minneapolis 55455 • [email protected] NY 4 pm 1 OCTOBER Christopher Houlihan Benjamin Sheen; St. Thomas Church ; St. Ann Catholic Church, Washington, DC 7 pm Fifth Avenue, New York, NY 5:15 pm Jean-Willy Kunz, with saxophone; Karen Beaumont; St. Hedwig Catholic Northrop Auditorium, Minneapolis, MN AVIN LACK Byron L. Blackmore Church, Milwaukee, WI 2 pm 7:30 pm G B Jerry Jelsema; Loyola University, Chi- Princeton Early Keyboard Center Crown of Life Lutheran Church cago, IL 3 pm 2 OCTOBER Nicholas Schmelter; St. Paul’s Episco- 732/599-0392 Sun City West, Arizona 16 SEPTEMBER pal, Flint, MI 1 pm www.pekc.org Andrew Scanlon; Davidson College 623/214-4903 Presbyterian, Davidson, NC 7:30 pm 4 OCTOBER Janette Fishell; St. Paul Catholic Cathe- 18 SEPTEMBER dral, Pittsburgh, PA 7:30 pm Choir of Trinity College, Cambridge, UK; Jean-Baptiste Robin, with trumpet; All THOMAS BROWN Carson Cooman Trinity Episcopal Cathedral, Cleveland, OH Saints’ Episcopal, Atlanta, GA 7:30 pm UNIVERSITY 7:30 pm David Higgs; Rollins College, Winter Composer and Concert Organist James Grzadinski, with soprano; Ca- PRESBYTERIAN CHURCH Park, FL 7:30 pm Harvard University thedral of St. John the Evangelist, Milwau- Jay Peterson, with soprano; St. Paul’s CHAPEL HILL, NORTH CAROLINA kee, WI 12:15 pm Episcopal, Cleveland Heights, OH 7:30 pm ThomasBrownMusic.com www.carsoncooman.com

19 SEPTEMBER 5 OCTOBER Choral Evensong; Cathedral Church of • Thomas Murray, masterclass; Blessed the Advent, Birmingham, AL 5:30 pm Sacrament Catholic Church, Worcester, Your professional card MA 1 pm DELBERT DISSELHORST 20 SEPTEMBER Blue Heron; First Church Congregation- could appear here! Choir of Trinity College, Cambridge, UK; al, Cambridge, MA 8 pm Calvary Episcopal, Pittsburgh, PA 8 pm Todd Wilson, Saint-Saëns, Symphonie Professor Emeritus Contact: [email protected] Nathan Laube; Cathedral of St. Mat- III, silent fi lm, Big Business; Sandusky University of Iowa–Iowa City or 608/634-6253 thew, Washington, DC 7:30 pm State Theatre, Sandusky OH 7:30 pm Nicholas Schmelter; First Presbyterian, • Michael Burkhardt, workshop; English Caro, MI 12 noon Lutheran Church, La Crosse, WI 9 am 21 SEPTEMBER 6 OCTOBER STEVEN EGLER JOHN FENSTERMAKER Johannes Trümpler; Brown University, + Thomas Murray; Blessed Sacrament Central Michigan University Providence, RI 8 pm Catholic Church, Worcester, MA 3 pm School of Music TRINITY-BY-THE-COVE Andrew Scanlon; St. Paul’s Episcopal, The Salvatones; St. Malachy’s Catholic Greenville, NC 7:30 pm Church, New York, NY 3 pm Mt. Pleasant, MI 48859 Nathan Laube; Taft School, Watertown, [email protected] NAPLES, FLORIDA 22 SEPTEMBER NY 5 pm Choral Evensong; St. John’s Episcopal, Sebastian Heindl; St. Thomas Church West Hartford, CT 5 pm Fifth Avenue, New York, NY 5:15 pm Norberto Craig Williams; Cadet Chapel, West Gail Archer; Our Lady of Mount Carmel Point, NY 2:30 pm Catholic Church, Altoona, PA 3 pm Alistair Reed; St. Thomas Church Fifth Katelyn Emerson; Evangelical Lutheran Susan Goodson Guinaldo Church, Frederick, MD 3 pm Avenue, New York, NY 5:15 pm His Music Alan Morrison; Ursinus College, Nathan Strite, with clarinet; St. John’s Emanuel United Church of Christ Collegeville, PA 4 pm Episcopal, Hagerstown, MD 5 pm , Michigan See—Listen—Buy Chelsea Chen; St. Luke Lutheran, Silver Christa Rakich; St. Paul’s Episcopal, www.GuinaldoPublications.com Spring, MD 5 pm Cleveland Heights, OH 3 pm Nicholas Schmelter; St. Paul’s Episco- Nicholas Schmelter, with piano; St. Lo- pal, Flint, MI 4 pm renz Lutheran, Frankenmuth, MI 4 pm A Professional Card in Karen Beaumont; Milwaukee Catholic Karen Beaumont; St. Hedwig Catholic Home, Milwaukee, WI 2 pm Church, Milwaukee, WI 2 pm STEPHEN HAMILTON Isabelle Demers The Diapason ; Zion Lutheran, recitalist–clinician–educator 24 SEPTEMBER Wausau, WI 3 pm For rates and digital specifi cations, Paul Jacobs; St. Ignatius Loyola Catho- • Michael Burkhardt, recital & hymn fes- contact Jerome Butera www.stephenjonhamilton.com lic Church, New York, NY 7:30 pm tival; Our Savior’s Lutheran, La Crosse, WI 847/391-1045; [email protected] 3 pm 27 SEPTEMBER 8 OCTOBER Jens Korndörfer; Merrill Auditorium, Aaron David Miller; Stetson University, Portland, ME 7 pm Deland, FL 7:30 pm Christopher Houlihan; Bushnell Audito- Wesley Roberts; Our Lady of Perpetual David Herman rium, Hartford, CT 7:30 pm Help Catholic Church, Campbellsville, KY Jeremy Filsell; St. Thomas Church Fifth 12:20 pm Trustees Distinguished Professor Emeritus of Music and University Organist Avenue, New York, NY 7 pm Jack Mitchener; Church Street United Katherine Meloan; St. Rose of Lima Methodist, Knoxville, TN 7:30 pm The University of Delaware Q [email protected] Catholic Church, Massapequa, NY 7:30 pm Michael Hey; Church of the Gesu, Mil- David Calendine, silent fi lm; St. John’s waukee, WI 7:30 pm Episcopal, Hagerstown, MD 7 pm Chelsea Chen; Painesville United Meth- 9 OCTOBER odist, Painesville, OH 7 pm Andrew Peters; Cathedral Basilica of Gail Archer Isabelle Demers; Cathedral Church of the Sacred Heart, Newark, NJ 12 noon St. Paul, Detroit, MI 7:30 pm Hans Uwe Hielscher; Cathedral of St. organist Paolo Bordignon, harpsichord; Cathe- John the Evangelist, Milwaukee, WI 12:15 www.gailarcher.com Lorraine Brugh, Ph.D. dral Church of the Advent, Birmingham, AL pm Professor of Music 7:30 pm Vassar College 10 OCTOBER Barnard College, Columbia University University Organist 28 SEPTEMBER Adam Brakel; Cathedral of St. Paul, St. [email protected] John Gouwens, carillon; Culver Acad- Valparaiso, Ind. Paul, MN 7:30 pm (212) 854-5096 emies, Culver, IN 4 pm valpo.edu 11 OCTOBER Promotion 219.464.5084 29 SEPTEMBER Renée Anne Louprette; St. Paul’s Cha- SOZO Media Christopher Houlihan ; Bushnell Audito- pel, Trinity Church Wall Street, New York, [email protected] [email protected] rium, Hartford, CT 4 pm NY 1 pm

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar Madison Avenue Presbyterian Church 1650 James Street + Bruce Neswick; First Presbyterian, Choral Evensong; Cathedral Church of New York, NY Syracuse, NY 13203-2816 Stroudsburg, PA 7 pm St. Paul, Detroit, MI 4 pm Daryl Robinson; Evangelical Lutheran Nicholas Schmelter, with piano; St. (315) 471-8451 www.andrewhenderson.net Church, Frederick, MD 3 pm Paul’s Episcopal, Flint, MI 4 pm Stephen Buzard; First Presbyterian, 13 OCTOBER Deerfi eld, IL 4 pm Esteban Elizondo; Cadet Chapel, West Point, NY 2:30 pm 28 OCTOBER Richard Barrick Hoskins Brian Jones Edward Hewes; St. Thomas Church Fifth Johann Vexo; Georgetown University, Director of Music & Organist Avenue, New York, NY 5:15 pm Washington DC 5:30 pm Director of Music Emeritus Alan Morrison, with piano; First Presby- St. Chrysostom's Church terian, Morristown, NJ 3 pm TRINITY CHURCH 29 OCTOBER Chicago James Kennerley, silent fi lm, The Bat- [email protected] BOSTON 15 OCTOBER tleship Potemkin; Merrill Auditorium, Port- Karen Beaumont; King’s Chapel, Bos- land, ME 5:30 pm ton, MA 12:15 pm Nicholas Schmelter, with piano; First Nathan Laube; Girard College Chapel, Presbyterian, La Grange, IL 6:30 pm JAMES KIBBIE Philadelphia, PA 8 pm KIM R. KASLING 31 OCTOBER 17 OCTOBER D.M.A. The University of Michigan Olivier Latry, with Boston Symphony Rossini, Petite Messe Solennelle; St. Ig- St. John’s University Ann Arbor, MI 48109-2085 natius Loyola Catholic Church, New York, Orchestra, Strauss, Festival Prelude, Scri- 734-764-1591 FAX: 734-763-5097 NY 8 pm abin, Poem of Ecstasy; Symphony Hall, Collegeville, MN 56321 Boston, MA 8 pm email: [email protected] Choral Evensong; Cathedral Church of the Advent, Birmingham, AL 5:30 pm Mark Steinbach; Brown University, Prov- idence, RI 11:59 pm 18 OCTOBER Nicholas Schmelter, with piano; First David K. Lamb, D.Mus. Erik Wm. Suter, with choir; St. Pau’s Congregational (UCC), Oshkosh, WI 12 Karen Schneider Kirner Episcopal, Cleveland Heights, OH 7:30 pm noon Director of Music Director, Notre Dame Handbell Choir Trinity United Methodist Church 19 OCTOBER UNITED STATES Assistant Director, Notre Dame Folk Choir New Albany, Indiana Christophe Mantoux; St. Thomas West of the Mississippi University of Notre Dame Church Fifth Avenue, New York, NY 3 pm 812/944-2229 Steven Plank; St. Paul’s Episcopal, Cleveland Heights, OH 4 pm 15 SEPTEMBER Andrew Peters; St. Paul UCC, Belleville, Aaron Tan; St. Philip Presbyterian, IL 7 pm , TX 2 pm Bradley Hunter Welch; University Chris- 20 OCTOBER tian Church, Fort Worth, TX 7:30 pm A.S.C.A.P. Monica Czausz; Congregational Church Ugo Sforza, Widor, Symphonie VI; Ca- FELLOW, AMERICAN GUILD OF ORGANISTS (UCC) of Salisbury, Salisbury, CT 3 pm thedral of St. Mary of the Assumption, San Peter Richard Conte 345 SADDLE LAKE DRIVE , with fl ugelhorn; Francisco, CA 4 pm ROSWELL-ATLANTA, GEORGIA 30076 First Church of Christ, Hartford, CT 4 pm (770) 594-0949 Meredith Baker; Cadet Chapel, West 20 SEPTEMBER Point, NY 2:30 pm Marijim Thoene; Trinity Episcopal Ca- Scott Dettra; St. Mark’s Episcopal, Phil- thedral, Reno, NV 12 noon adelphia, PA 4 pm Organized Rhythm (Clive Driskill-Smith, 22 SEPTEMBER organ, & Joseph Gramley, percussion); Choir of Trinity College, Cambridge, UK; Marilyn Mason Macedonia Lutheran, Burlington, NC 4 pm Church of the Incarnation, Dallas, TX 4 pm Karel Paukert; St. Paul’s Episcopal, Janette Fishell; St. Mark’s Episcopal, June 29, 1925–April 4, 2019 Cleveland Heights, OH 4 pm San Antonio, TX 5 pm Requiescat in pace Nicholas Schmelter; Christ the Good Domenico Severin; Cathedral of St. Shepherd Catholic Church (St. Helen cam- Mary of the Assumption, San Francisco, pus), Saginaw, MI 4 pm CA 4 pm Johann Vexo; Loyola University, Chi- cago, IL 3 pm 23 SEPTEMBER A two-inch Professional Card in The Diapason Choir of Trinity College, Cambridge, UK; 21 OCTOBER Musica Sacra; Cathedral of St. John the South Main Baptist, Houston, TX 7 pm For information on rates and specifi cations, contact Jerome Butera: Divine, New York, NY 7:30 pm Jean-Baptiste Robin; Trinity Episcopal, 24 SEPTEMBER [email protected] 608/634-6253 Covington, KY 7 pm Jean-Baptiste Robin; Wichita State Uni- versity, Wichita, KS 7:30 pm 22 OCTOBER Choir of Trinity College, Cambridge, UK; VOCES8; St. James’s Episcopal, West Sts. Martha, Mary, & Lazarus, Friends of Hartford, CT 7 pm Jesus Catholic Church, Porter, TX 7:30 pm Hey-Liberis Duo (Michael Hey, organ, LARRY PALMER & Christiana Liberis, violin); Overture Hall, 26 SEPTEMBER PHILIP CROZIER Madison, WI 7:30 pm Scott Dettra; Southern Methodist Uni- CONCERT ORGANIST Harpsichord – Organ versity, Dallas, TX 7:30 pm 23 OCTOBER ACCOMPANIST Johann Vexo; St. Paul’s United Method- 27 SEPTEMBER Professor of Music, Emeritus ist, Rochester, MI 7:30 pm Jean-Baptiste Robin; Village Presbyte- 3355 Queen Mary Road, Apt 424 Agnieszka Kosmecka; Cathedral of St. rian, Prairie Village, KS 7:30 pm , H3V 1A5, P. Quebec John the Evangelist, Milwaukee, WI 12:15 SMU, Dallas, Texas pm 29 SEPTEMBER Canada Jonathan Dimmock, Widor, Symphonie (514) 739-8696 Recitals — Lectures — Consultancies 24 OCTOBER V; Cathedral of St. Mary of the Assumption, Byrd, Great Service; Church of St. Luke San Francisco, CA 4 pm [email protected] in the Fields, New York, NY 8 pm [email protected] + 214.350-3628 4 OCTOBER 25 OCTOBER + Christopher Houlihan; Hope Luther- Robert McCormick; Grace Episcopal, an, St. Louis, MO 7:30 pm Alexandria, VA 7:30 pm Lynne Davis; St. Paul’s Episcopal, 6 OCTOBER Greenville, NC 7:30 pm Jean-Baptiste Robin, with trumpet; Uni- Nicholas Schmelter, with piano; First versity United Methodist, San Antonio, TX The Diapason Presbyterian, Caro, MI 12 noon 3 pm Frederick Teardo, harpsichord; Cathe- dral Church of the Advent, Birmingham, AL 12 OCTOBER 2020 Resource Directory 12:30 pm Isabelle Demers; St. John’s Episcopal, Tulsa, OK 3 pm 26 OCTOBER Martin Ellis; Calvary Christian Assem- Jeremy Filsell; Princeton University bly, Seattle, WA 2 pm • The only comprehensive directory for the organ and Chapel, Princeton, NJ 7:30 pm church music fi elds 27 OCTOBER 13 OCTOBER • Includes listings of associations, suppliers, and the Choral Evensong; St. John’s Episcopal, Adam Brakel; Saint Martin’s Episcopal, West Hartford, CT 5 pm Houston, TX 7 pm products and services they provide Craig Williams; Cadet Chapel, West Nathan Laube; St. Mary’s Catholic Ca- Point, NY 2:30 pm thedral, Cheyenne, WY 2 pm Johann Vexo, French Mass; George- Benjamin Sheen; Cathedral of the Mad- Reserve advertising space now! town University, Washington DC 9 pm eleine, Salt Lake City, UT 8 pm Deadline: November 1 David Goode; First Presbyterian, Virgin- Christopher Houlihan; Christ Episco- ia Beach, VA 4 pm pal, Eureka, CA 2 pm Thomas Gaynor; Hyde Park Community United Methodist, Cincinnati, OH 4 pm 18 OCTOBER To reserve advertising space, contact Jerome Butera Jack Mitchener; Christ Lutheran, Louis- Isabelle Demers; First United Methodist, 608/634-6253; [email protected] ville, KY 5 pm Wichita Falls, TX 7 pm Christopher Houlihan; Samford Univer- Susanna Valleau; Christ Episcopal, Ta- sity, Birmingham, AL 2 pm coma, WA 12:10 pm

26 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Christopher Houlihan; St. Mark’s Epis- Tobias Frank; Kathedrale, Dresden, Southminster Presbyterian Church copal Cathedral, Seattle, WA 7:30 pm Germany 8 pm HORT ILLS Yves Castagnet; Westminster Cathe- S H Arlington Heights, IL 60005 20 OCTOBER dral, London, UK 7:30 pm Aaron David Miller, hymn festival; First 19 SEPTEMBER Presbyterian, Kirkwood, MO 4 pm ANDREW SCHAEFFER Todd Wilson, recital & silent fi lms; Trinity Irena Chribková, works of Eben; St. DEREK E. NICKELS, DMA Downtown Lutheran, Houston, TX 2:30 pm James Basilica, Prague, Czech Republic Luther Memorial Church (ELCA) 7 pm Church of the Holy Comforter Gail Archer; St. Matthew Episcopal Ca- Madison, Wisconsin thedral, Laramie, WY 3 pm Stephan Leuthold; Dom St. Petri, Bre- Kenilworth, IL 60043 Christopher Houlihan; Sonoma State men, Germany 7 pm [email protected] Friedhelm Flamme; Abteikirche, Brau- University, Rohnert Park, CA 3 pm (847) 251-6120 • [email protected] Recitals — Hymn Festivals weiler, Germany 8 pm 21 OCTOBER Rolf Müller; Dom, Altenberg, Germany 8 pm David Goode; Episcopal Church of the James Lancelot; St. John the Evange- Transfi guration, Dallas, TX 7:30 pm Jeffrey Schleff, Ed.D. A one-inch Professional Card list, Upper Norwood, UK 7:30 pm in The Diapason Organist – Teacher – Consultant 22 OCTOBER 20 SEPTEMBER For information on rates and specifi cations, Christophe Mantoux; St. Stephen Pres- Wolfgang Seifen; Klosterkirche, Maul- Sulphur Public Schools, Sulphur, OK byterian, Fort Worth, TX 7:30 pm bronn, Germany 6 pm United Disciples Christian Church, Richardson, TX contact Jerome Butera: Dariusz Bakowski; Stadtkirche, Bienne, [email protected] [email protected] 608/634-6253 23 OCTOBER Switzerland 12 noon Christophe Mantoux, masterclass; St. Giulio Mercati; Cathedral, Lausanne, Stephen Presbyterian, Fort Worth, TX 9 am Switzerland 8 pm JOHN SCHWANDT 25 OCTOBER 21 SEPTEMBER Christophe Mantoux STEPHEN SCHNURR ; Augustana Lu- Elmar Lehnen, with trombone; St. Moriz, American Organ Institute theran, St. Paul, MN 7 pm Rottenburg a.N., Germany 5 pm Saint Paul Catholic Church University of Oklahoma Ken Cowan, Handel, Saul; Wortham Ansgar Schlei, children’s program; Willi- Valparaiso, Indiana Theater Center, Houston, TX 7:30 pm brordi-Dom, Wesel, Germany 6 pm aoi.ou.edu • Adam Pajan; University of Nevada Las Evert Groen, Bend Stäb, Bernd Genz, Vegas, Las Vegas, NV 7:30 pm Christian Hopp, & Bernhardt Brand- Hofmeister; Evangelische Johanniskirche, 27 OCTOBER Darmstadt, Germany 6 pm Ken Cowan, Handel, Saul; Wortham Stefan Schmidt, with instruments; ROBERT L. Theater Center, Houston, TX 2 pm Kiliansdom, Würzburg, Germany 7 pm Mark Steinbach Christophe Mantoux; Trinity Lutheran, Ansgar Schlei, with Domkantorei und SIMPSON Lynnwood, WA 7 pm Synodaler Bläserkreis Wesel; Willibrordi- Christ Church Cathedral Brown University Dom, Wesel, Germany 7:30 pm 1117 Texas Avenue 30 OCTOBER Matthias Mück, with Leipziger Sinfo- Houston, Texas 77002 Christophe Mantoux; Mormon Taber- nieorchester; Kathedrale St. Sebastian, nacle, Salt Lake City, UT 7:30 pm Magdeburg, Germany 8 pm

Leon van den Brand; Kathedrale ] Basiliek St-Bavo, Haarlem, Netherlands INTERNATIONAL 3 pm Joe Utterback Jörg Ulrich Busch; Munster, Basel, David Wagner

]] ] 15 SEPTEMBER Switzerland 12 noon www.jazzmuze.com DMA Christoph Hauser & Roman Hauser; Alasdair Friend; St. John the Evangelist, www.davidwagnerorganist.com Jesuitenkirche, , Austria 6:20 pm East Dulwich, UK 11 am 203 386 9992 Andreas Meisner, with violin; Dom, Al- Andrew Caskie; St. John the Evangelist tenberg, Germany 2:30 pm Catholic Church, Islington, UK 7:30 pm Andreas Jost; Münster, Obermarchtal, Germany 5 pm 22 SEPTEMBER Franz Hauk; Jesuitenkirche, Vienna, Ansgar Schlei; Willibrordi-Dom, Wesel, Austria 6:20 pm Kevin Walters KARL WATSON Germany 5 pm Sebastian Freitag; Dom, Altenberg, FIRST PRESBYTERIAN CHURCH Dominik Axtmann, with alphorn; Kath. Germany 11:45 am M.A., F.A.G.O. Kirche St. Peter, Bruchsal, Germany 6 pm Christoph Hauser; Dom, Altenberg, Rye, New York WOODBRIDGE, NJ Pascale van Coppenolle, with clarinet; Germany 2:30 pm Evangelische Kirche, Pieterlen, Switzer- Gregor Simon; Münster, Obermarchtal, land 5 pm Germany 5 pm Andreas Liebig, with Chor des NDR Vokalensemble St. Jacobi; Hauptkirche Hamburg; Munster, Basel, Switzerland 6 pm St. Jacobi, Hamburg, Germany 8 pm Alan G Woolley PhD RONALD WYATT 18 SEPTEMBER 25 SEPTEMBER Musical Instrument Research

Manuel Gera; St. Michaelis, Hamburg, Michael Grill; Erlöserkirche, München, Edinburgh Trinity Church Germany 7:30 pm Germany 7 pm [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253 1935 - At the Proms . . . Notre Dame Cathedral organist Olivier Latry and Leipzig Gewandhaus organist Michael S Schönheit perform at the Royal Albert Hall. A two-inch Professional Card in The Diapason E 1936 - Tribute from the Wanamaker Grand Court . . . an P after-hours concert at Macy’s Center City commemorating For information on rates and specifi cations, contact Jerome Butera: T Philadelphia organist Michael Stairs. [email protected] 608/634-6253 1937 - Peace PiecesHYHQZKHQFRQÀLFWVHHPVXQDYRLGDEO\ 2 omnipresent, music can take us to a better place. ArtistArtist Spotlights Spotlightspotlight s 0 1938 - ‘M’ is for Michael . . . celebrating the Feast of St. Michael and All Angels (9/29) with compositions and Artist Spotlights 1 performances by various name-sakes. 9 are available on Your professional card 1939 - Reach Out and TouchDFROOHFWLRQRIWHUUL¿FDOO\ The Diapason tactile and telling tests of musical virtuosity and stamina. website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2019 Q 27 Calendar

Samuel Kummer; Frauenkirche, Dres- Anne Katrin Gera & Manuel Gera; St. Mikhail Pavaliy; Abteikirche, Brauweiler, 19 OCTOBER den, Germany 8 pm Michaelis, Hamburg, Germany 4 pm Germany 8 pm Matthias Dreißig; Willibrordi-Dom, We- Natalia Uzhvi; St. Michaelis, Hamburg, sel, Germany 7:30 pm 27 SEPTEMBER Germany 5 pm 11 OCTOBER Bernhardt Brand-Hofmeister; Kloster- Holger Boenstedt, with percussion; St. Christoph Schoener; St. Michaelis, 20 OCTOBER kirche, Lippoldsberg, Germnay 5 pm Michaelis, Hamburg, Germany 6 pm Hamburg, Germany 7:30 pm Mads Damlund; Jaegersborg Kirk; Jae- Johannes Mayr, silent fi lm; St. Johannes Stuttgarter Barock Collegium; St. Mi- Winfried Bönig; Jesuitenkirche St. Mi- gersborg, Denmark 4 pm Baptist Kirche, Oppenau, Germany 8 pm chaelis, Hamburg, Germany 7:30 pm chael, München, Germany 8 pm Christian Vorbeck; Dom, Altenberg, Martine Reymond; Cathedral, Laus- Jean-Baptiste Robin, with trumpet; Germany 11:45 am anne, Switzerland 8 pm 12 OCTOBER Church of St. Andrew & St. Paul, Montréal, Christoph Hauser, with viola; QC, Canada 8 pm Rudolf Müller; Stadtpfarrkirche St. Mar- 28 SEPTEMBER tin, Bamberg, Germany 5:30 pm Klosterkirche, Fürstenfeldbruck, Germany Giampaolo Di Rosa; Kiliansdom, Würz- 4 OCTOBER Steffen Walther; Willibrordi-Dom, Wesel, 12:15 pm burg, Germany 7 pm Arturo Barba; Cathedral, Lausanne, Germany 7:30 pm Petra Veenswijk; Dom, Altenberg, Ger- Ton van Eck; Kathedrale Basiliek St- Switzerland 8 pm Sophie-Veronique Cauchefer-Choplin; many 2:30 pm Bavo, Haarlem, Netherlands 3 pm Agathakerk, Lisse, Netherlands 8:15 pm David Cassan; Jesuitenkirche St. Mi- Ilja Völlmy Kudravtsev; Munster, Basel, 5 OCTOBER Ian Tracey; Victoria Hall, Hanley, UK 12 chael, München, Germany 8 pm Switzerland 12 noon Julian Bewig; Münster, Überlingen, noon Krzysztof Urbaniak; Munster, Basel, Germany 11:30 am Switzerland 6 pm 29 SEPTEMBER Roman Hauser; Willibrordi-Dom, Wesel, 13 OCTOBER Anna-Victoria Baltrusch; Neumünster, Arvid Gast; Jaegersborg Kirk; Jaegers- Johannes Ebenbauer; Jesuitenkirche, Germany 7:30 pm Zürich, Switzerland 6 pm Vienna, Austria 6:20 pm borg, Denmark 4 pm Rolf Müller, with clarinet; Dom, Alten- Gerben Mourik; Jaegersborg Kirk; Jae- 6 OCTOBER 23 OCTOBER berg, Germany 11:45 am & 2:30 pm gersborg, Denmark 4 pm Søren Christian Vestergaard, with Jürgen Sonnentheil; St. Michaelis, Man(n) Singt!; Dom, Altenberg, Germany mezzo-soprano; Jaegersborg Kirk; Jae- Christoph Hauser; Klosterkirche, Hamburg, Germany 7:30 pm 11:45 am gersborg, Denmark 4 pm Fürstenfeldbruck, Germany 12:15 pm Holger Gehring; Kulturpalast, Dresden, Andreas Meisner, with horn; Dom, Al- Andreas Meisner, with vocalists; Dom, Peter Kofl er, children’s program; Jesuit- tenberg, Germany 2:30 pm Altenberg, Germany 11:45 am enkirche St. Michael, München, Germany Germany 8 pm Andreas Liebig; Münster, Obermarchtal, Jimi Järvinen; Klosterkirche, Fürsten- 4 pm Martin Baker; Westminster Cathedral, Germany 5 pm feldbruck, Germany 12:15 pm Antonina Krymova; St. Thomas Kirche, London, UK 7:30 pm Andrea-Ulrike Schneller & Hans-Ru- Michael Schütz; Dom, Altenberg, Ger- Soest, Germany 5 pm dolf Krüger; Kath. Stadtkirche Heiligste many 2:30 pm Michael Grill; Erlöserkirche, München, 24 OCTOBER Dreifaltigkeit, Stuttgart, Germany 5 pm Peter Kofl er; Jesuitenkirche St. Michael, Germany 7 pm Merit Eichhorn & Frédéric Champion; Ulrich Prenger; Liebfrauenkirche, München, Germany 4 pm Juan de la Rubia; Matthäuskirche, Stutt- Dom St. Petri, Bremen, Germany 7 pm Hamm, Germany 6:30 pm Neil Wright; Abbey, Farnborough, UK gart, Germany 8 pm Tobias Willi; Neumünster, Zürich, Swit- 3 pm Christian Drengk; Neumünster, Zürich, 26 OCTOBER zerland 6 pm Chris Paraskevopoulos; St. Maryle- Switzerland 6 pm Josef Still; Kathedrale St. Sebastian, bone, London, UK 4 pm Magdeburg, Germany 7:30 pm 2 OCTOBER Stephen Hamilton; , 14 OCTOBER Ansgar Schlei; Willibrordi-Dom, Wesel, Friedemann Winklhofer Stefan Schmidt, silent fi lm; Kiliansdom, London, UK 5 pm ; Dreifaltigkeits Germany 7:30 pm Kirche, Kolbermoor, Germany 4 pm Würzburg, Germany 7 pm Sebastian Heindl; Westminster United Elizabeth Harrison; St. Albans Organ Arvid Gast; Kreuzkirche, Dresden, Ger- 8 OCTOBER Church, Winnipeg, MB, Canada 2:30 pm many 8 pm Arvid Gast; Hauptkirche St. Jacobi, Theatre, St. Albans, UK 7:30 pm Hamburg, Germany 8 pm 27 OCTOBER 3 OCTOBER 15 OCTOBER Stephen Hamilton; Exeter College Cha- Jan Weinhold, Bach, Art of the Fugue; Manuel Gera; St. Michaelis, Hamburg, 9 OCTOBER Jaegersborg Kirk; Jaegersborg, Denmark Germany 11 am Peter Kofl er & Lena Neudauer; Jesuit- pel, Oxford, UK 1 pm 4 pm Christoph Schoener; St. Michaelis, enkirche St. Michael, München, Germany 16 OCTOBER Rheinberger, Mass in f; Dom, Altenberg, Hamburg, Germany 12 noon 8 pm Daniel Beilschmidt; Frauenkirche, Klaus Eldert Müller; St. Michaelis, Christian Domke; Kathedrale, Dresden, Germany 10:30 am Dresden, Germany 8 pm Hamburg, Germany 1 pm Germany 8 pm Matthias Roth; Dom, Altenberg, Ger- Kristin von der Goltz; Jesuitenkirche St. Elgar, The Apostles; Dom, Altenberg, Stephen Hamilton many 11:45 am ; St. Matthew-West- Michael, München, Germany 8 pm Germany 2 pm Christian Sprenger; Dom, Altenberg, minster, London, UK 12 noon Stephen Hamilton; Queen’s College Anne Michael; St. Michaelis, Hamburg, Germany 2:30 pm Chapel, Oxford, UK 1 pm Germany 2 pm 10 OCTOBER Vincent Vogelsang; Liebfrauenkirche, Joachim Vogelsänger; St. Michaelis, Stephan Leuthold; Dom St. Petri, Bre- 17 OCTOBER Hamm, Germany 6:30 pm Hamburg, Germany 3 pm men, Germany 7 pm Ruben Sturm; Dom St. Petri, Bremen, Germany 7 pm 30 OCTOBER Gerard Brooks; St. John the Evangelist, Holger Gehring, with Sinfonietta Dres- Upper Norwood, UK 7:30 pm den; Kreuzkirche, Dresden, Germany 8 pm

18 OCTOBER 31 OCTOBER Daniel Zaretsky; Jesuitenkirche St. Mi- Andreas Meisner; Dom, Altenberg, Ger- chael, München, Germany 8 pm many 2:30 pm

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

28 Q THE DIAPASON Q SEPTEMBER 2019 WWW.THEDIAPASON.COM Recital Programs

BENJAMIN ALARD, Temple du Foyer JEAN HERMAN HENSSLER, Trinity of Bach, Respighi; Fugue on BACH No. 5, NICHOLAS SCHMELTER, Our Lady of de l’Âme, Paris, France, March 13: Nun freut Memorial Episcopal Church, Binghamton, Schumann; Fugue on BACH, Ginastera; The Mount Carmel Catholic Church, Altoona, PA, euch lieben Christen g’mein, BuxWV 210, NY, March 24: Prelude and Fugue in b, BWV Little Red Lark, transcr. Clokey; Christ, unser February 24: Heraldings, Hebble; Carillon, Buxtehude; Fugue in G, BWV 577, Prelude 544, Bach; Petite rapsodie improvisée, Can- Herr, zum Jordan kam, BWV 684, Fugue in Sowerby; Variations on Old Folks at Home, and Fugue in E, BWV 566, Wie schön leuchtet tilène improvisée, Improvisation sur le Te E-fl at, BWV 552ii, Bach; Prelude in a, Kittel; Buck; Pièce d’Orgue, BWV 572, Bach; Con- der Morgenstern, BWV 739, Ach Herr, mich Deum (Cinq Improvisations), Tournemire; Allegro, Chorale, and Fugue, Mendelssohn. cert Fantasia on a Welsh March, Best; The armen Sünder, BWV 742, Christ lag in Todes- Cortège et Litanie, op. 19, no. 2, Dupré; In- Immovable Do, Grainger; Méditation (Trois banden, BWV 718, Herr Jesu Christ, der einig troduction and Passacaglia in d, Reger; Pre- JONATHAN MOYER, Marktkirche, Improvisations), Carillon de Westminster (24 Gottessohn, BWV Anh.55, Bach. lude on Slane, Festival Piece, Phillips. Hannover, Germany, March 23: Gagliarda Pièces de fantaisie), Vierne “L’herba fresca,” Gagliarda “Gamba,” Ga- GILES BRIGHTWELL, Cathedral of St. DAVID HIGGS, Christ the King Lutheran gliarda “Comadrina” (Intabolatura Nova di PATRICK SCOTT, Cathedral of St. Philip, Philip, Atlanta, GA, April 28: Pièce d’orgue, Church, Houston, TX, March 24: Toccata in Balli), anonymous; Estampie, Danksagmüller; Atlanta, GA, April 7: Improvisations on the BWV 572, Bach; Chorale Prelude on Even- F, BuxWV 156, Buxtehude; Partita: O Gott, Ma doulce amour (Buxheimer Orgelbuch), Stations of the Cross. tide, Parry; Trumpet Minuet, Hollins; Air and du frommer Gott, BWV 767, Bach; Fantasie anonymous; Pastorale, Lefébure-Wély; An- Gavotte, Wesley; Imperial March, Elgar. in g, Müthel; Prelude in E-fl at, Prelude in e- dante in B, Benoist; Merry Fugue, Moyer; JOHN SHERER, Fourth Presbyterian fl at (Sixteen ), Kittel; Sonata I in f, op. Première Symphonie, Langlais. Church, Chicago, IL, March 29: Marche STEVEN EGLER, MARY JO COX, & 65, no. 1, Mendelssohn. Hëroique, Brewer; Prelude on Iam sol recedit ADRIENNE WILEY, organ & piano, Central KOLA OWOLABI, First Presbyterian igneus, Simonds; Suite for Mechanical Organ, Michigan University, Mount Pleasant, MI, PAUL JACOBS, Rollins College, Winter Church, Ypsilanti, MI, March 3: Allegro Beethoven; Adagio in E, Bridge; Siciliano for March 19: Duet Suite for Organ and Piano, Park, FL, February 15: Fantasia, Weaver; maestoso (Sonata III in A, op. 65, no. 3), a High Ceremony, Howells; Symphonie III in Bédard; Prélude, Fugue, et Variation, op. Sheep May Safely Graze, BWV 208, Sonata Mendelssohn; Chorale Prelude on O Sacred f-sharp, op. 28, Vierne. 18, Franck; The Right Combination for Two in e, BWV 528, Bach; Fantasia in f, K. 594, Head Surrounded, Reesor; Chorale Prelude Organists at One Organ, Kunkel; Poem for Mozart; Variations on America, Ives; Sonata I on Picardy, Joubert; Rhapsody in D-fl at, op. MARK STEINBACH, Brown University, Piano and Organ, Callahan; Battle Hymn of in d, op. 42, Guilmant. 17, no. 1, Howells; Improvisation on Won- Providence, RI, March 10: Joie et Clarté des the Republic, Steffe, transcr. Smith & Hustad; drous Love, Owolabi; Suite, op. 5, Durufl é. Corps Glorieux (), Messiaen; The Stars and Stripes Forever, Sousa, transcr. BÁLINT KAROSI, Old West Church, Bos- Sonata II, Hindemith; Prelude and Fugue in E- Chenault & Chenault. ton, MA, March 22: Prelude and Fugue in E, M. BRETT PATTERSON, St. Mark’s Epis- fl at, BWV 552, O Mensch bewein dein Sünde BWV 566, Bach; Choral No. 1 in E, Franck; copal Church, Berkeley, CA, March 10: Pre- groß, BWV 622, Bach; , Messiaen. ARVID GAST, Brown University, Provi- Schmücke dich, O liebe Seele, BWV 654, Pas- lude in G, BWV 568, Bach; Corrente Italiana, dence, RI, March 17: Fantasy and Fugue on sacaglia and Fugue in c, BWV 582, Vom Him- Cabanilles; Ich ruf’ zu dir, Herr Jesu Christ, ERIK SUTER, St. Thomas Church Fifth BACH, op. 46, Reger; Eight Short Pieces, op. mel hoch, da komm ich her, BWV 700, 701, BWV 639, Bach; Evensong, Willan; Meditation Avenue, New York, NY, March 31: Präludium 154, Karg-Elert; Prelude ‘Vision in fl ames,’ 769, Bach; Foundation: Toccata and Fugue on on Draw Us In The Spirit’s Tether, Hancock; und Fugue über BACH, Liszt; Cantilène (Suite Nishimura; Fantasie und Fuge über den Cho- an American tune, Karosi. Acclamations (Suite Médiévale), Langlais; Im- Brève), Langlais; Prelude and Fugue in B, op. 7, ral Ad nos, ad salutarem undam, Liszt. provisation on Pange Lingua, Patterson. no. 1, Dupré. EDWARD LANDIN, St. Thomas Church STEPHEN HAMILTON, St. Matthäus Fifth Avenue, New York, NY, March 24: Pae- CHRISTOPHER REYNOLDS, Cathedral KENT TRITLE, First Congregational Lutheran Church, Munich, Germany, March an, Phillips; Chorale Prelude and Fugue on O of St. Philip, Atlanta, GA, March 24: Ciacona Church (UCC), Sarasota, FL, March 8: Prae- 22: Prelude and Fugue in c, BWV 546, Ich Traurigkeit, O Herzeleid, Smyth; Psalm 139, in e, BuxWV 160, Buxtehude; Master Tallis’s ludium in E, BuxWV 141, Buxtehude; An ruf’ zu dir, Herr Jesu Christ, BWV 639, Bach; Decker; Partita on Deus Tuorum Militum, Testament, Howells; Prière, op. 37, no. 3, Jon- Wasserfl üssen Babylon, BWV 653, Prelude Ich ruf’ zu dir, Herr Jesu Christ, Walcha; O Landin; Bryn Mawr Voluntary, Cooman; gen; Introduction and Passacaglia in d, Reger. and Fugue in e, BWV 548, Bach; Sonata IV Mensch, bewein’ dein’ Sünde gross, BWV 622, Prelude and Fugue in E-fl at, op. 99, no. 3, in B-fl at, op. 65, no. 4, Mendelssohn; O Welt, Bach; Fantasy for Organ, Coe; Choral II in Saint-Saëns. DARYL ROBINSON, Moorings Presbyte- ich muss dich lassen, op.122, no. 3, Brahms; b, Franck; Prelude and Fugue in B, op. 7, no. rian Church, Naples, FL, March 1: Scherzo Prelude and Fugue on BACH, Liszt. 1, Dupré. DANA MARSH, St. Thomas Church Symphonique, Cochereau; Lullaby, Hamp- Christuskirche, Kronach, Germany, March Fifth Avenue, New York, NY, March 17: ton; Prelude and Fugue in E-fl at, BWV 552, TODD WILSON, Congregational Church 24: Toccata, Villancico, y Fuga, op. 18, Gin- Pièce d’orgue, BWV 572, Kyrie, Gott Vater in Bach; Scherzo in G, Roberts; Fantasia on (UCC), Iowa City, IA, March 3: Cortège et astera; Variations on Wondrous Love, Barber; Ewigkeit, BWV 669, Christe, aller Welt Trost, Thaxted, Miller; Nimrod (Enigma Varia- Litanie, op. 19, no. 2, Dupré, arr. Farnam; Ach Toccata, Sowerby; Hommage à Messiaen, BWV 670, Kyrie, Gott Heiliger Geist, BWV tions), Elgar; Suite, op. 5, Durufl é. bleib bei uns, Herr Jesu Christ, BWV 649, Meine Robinson; Fantasy for Organ, Coe. 671, Toccata, Adagio, and Fugue in C, BWV Bryn Mawr Presbyterian Church, Bryn Seele erhebt den Herrn, BWV649, Kommst du 564, Bach. Mawr, PA, March 31: Veni Creator, de nun, Jesu, vom Himmel herunter, BWV 650, THOMAS HEIDENREICH, Fourth Grigny; Allein Gott in der Höh’ sei Ehr’, BWV Passacaglia in c, BWV 582, Bach; Fantasy on Presbyterian Church, Chicago, IL, March ROSALIND MOHNSEN, St. Michael’s 676, Bach; Choral No. 2 in b, Franck; Scherzo themes from Carmen, Bizet, arr. Lemare; So- 22: Prelude and Fugue in D, BWV 532, Episcopal Church, Marblehead, MA, March in G, Roberts; Scherzo Symphonique, Co- liloquy, Conte; Allegro vivace (Symphonie V Bach; Pictures at an Exhibition, Mussorgksy, 17: Mattheus-Final (Bach’s Memento), Bach, chereau; Philadelphia Flourish, Brillhart; in f, op. 42, no. 1), Widor; Improvisation on transcr. Guillou. transcr. Widor; Prelude in a on a Chorale Suite, op. 5, Durufl é. What Wonderous Love is This, Wilson.

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

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POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Wanted: Organists visiting Maui. Lahaina’s ChicAGO Centenary Anthology, by Alan J. Raven has published a 32-page catalog of CD Ed Nowak, Chicago-area composer, arranger, Holy Innocents Episcopal Church invites visiting Hommerding, Paul M. French, Richard Proulx, et recordings and DVD videos, mostly produced by and church musician, announces his new web- organists to play its Beckerath Positiv organ at al. This joint effort of the Chicago Chapter of the Raven but with a few items produced by Fugue site, featuring Nowak’s original choral works, Sunday services. Built in 1972 by Rudolf von American Guild of Organists and World Library State Films and others. The catalog is free hymn concertatos, chamber and orchestral Beckerath and then-apprentice Hans-Ulrich Publications presents specially commissioned upon request to [email protected] or works, organ hymn accompaniments, organ Erbslöh for Honolulu’s Lutheran Church, the organ works by Chicago composers, as well 804/355-6386. and piano pieces, electronic music, and psalm 408-pipe Shrankpositiv has a 54-note “split” as rare or unpublished pieces by earlier organ- settings. The website offers scores and recorded manual, 30-note pedal, 11 stops, 8 ranks, and ists from the city including Leo Sowerby. Also examples that are easy to sample and can be The Organ Historical Society e-shoppe is tak- purchased in downloaded (PDF and MP3) or 6 registers. Holy Innocents acquired the instru- includes a jubilant Bailado Brasileiro by Richard ing orders for a new DVD by Fugue State Films, printed form. Visit ednowakmusic.com. ment in 1977 and moved it to Maui where it has Proulx, the AGO’s 2006 Composer of the Year! The English Organ, a three-part documentary been played by parish musicians such as Carol 003074, $25.00, 800/566-6150, Wlpmusic.com. presented by Daniel Moult. In addition to three Monaghan and visiting artists including Angus hours of documentary, almost eight hours of PIPE ORGANS FOR SALE Sinclair of Canada and Dalibor Miklavcic of music is presented on DVD or CD (in both stereo Slovenia. The instrument is extremely respon- Certified appraisals—Collections of organ and surround). More than thirty organs have been 26-rank Casavant pipe organ for sale. Orgues sive and fi lls the worship space beautifully. The books, recordings, and music, for divorce, estate, gift, and tax purposes. Stephen L. fi lmed and recorded, including Christ Church Létourneau is offering a 22-stop Casavant parish community is “exemplary in its hospitality Spitalfi elds, Truro Cathedral, Town Hall, Pinel, Appraiser. 629 Edison Drive, East Wind- Frères pipe organ (Opus 2295 from 1955) for to all visitors,” and that especially includes visit- St. George’s Hall Liverpool, St. Paul’s Cathedral sor, NJ 08520-5205; phone: 609/448-8427; sale. This electro-pneumatic instrument is cur- ing organists. For information: 808/661-4202; , and King’s College. The set can be email: [email protected]. rently in storage at the Létourneau shops and holyimaui.org. preordered for $98, and orders will ship directly is available for purchase in “as is” condition for from the UK by Christmas. For information: US $45,000 with its original three-manual con- https://ohscatalog.org. PUBLICATIONS / RECORDINGS Organa Europae calendars featuring famous sole. Likewise, Létourneau would be pleased pipe organs of Europe; years 1969 to 1977. to provide a proposal to rebuild this instrument, $10.00 each. 219/662-0677, [email protected]. taking into account any desired changes to the Looking ahead, Fruhauf Music Publications will The new Nordic Journey series of CD record- stoplist as well as installation costs, voicing, offer three complimentary scores in the course ings reveals premiere recordings of symphonic casework as required, and rebuilding the three- of the 2019–2020 season—one each for organ For Your Halloween Concert this year, con- organ music—much of it still unpublished—from manual console with a new solid-state switch- solo, choir and organ, and for carillon. Titles and sider the “Second Toccata in C Minor” by James Nordic composers, played by American organist ing system. The organ requires approximately James Hicks on a variety of recently restored genres will be available beginning in October, but H Rogers. It’s virtually unknown, and its twisting 360 sq. ft. with 15′ ceilings. For more details, Swedish organs. It’s a little bit like Widor, Reger as a reminder to carillon performers, please note chromatic passages are perfect for Halloween. visit www.letourneauorgans.com, email info@ and Karg-Elert, but with a Nordic twist. Check it the gratis publication of Jesse’s Song: A Hymn Of michaelsmusicservice.com 704/567-1066 letourneauorgans.com or call Andrew Forrest at out at www.proorgano.com and search for the Peace, scored for two players and a four-octave 450/774-2698. term “Nordic Journey.” instrument. The 12-page letter-sized PDF booklet fi le is currently available from FMP’s home page The Tracker—The Organ Historical Society quarterly journal includes news and articles Pfeffer and Debierre organs. Circa 1860 Pfeffer Bulletin Board link at www.frumuspub.net. Pipe Organs of the Keweenaw by Anita eight-rank organ, available rebuilt and custom fi n- about the organ and its history, organ builders, Campbell and Jan Dalquist, contains his- exemplary organs, and regional surveys of ished. Also 1884 choir organ by Louis Debierre. tories, stoplists, and photos of some of Both are pictured on the Redman website: www. Raven has released the fourth in a series of instruments. Both American and European organ the historic organs of the Keweenaw Pen- redmanpipeorgans.com. recordings by Jon Gillock of the organ works of topics are discussed, and most issues run 48 insula, the northernmost tip of Michigan’s Olivier Messiaen: , Diptyque, and Les pages with many illustrations and photographs. Upper Peninsula. Organs include an 1899 Corps Glorieux (OAR-984) played on the 2011 Membership in the OHS includes a subscrip- Barckhoff and an 1882 Felgemaker. The booklet 1874 Hutchings-Plaistead. 2 manuals, 11 stops. Pascal Quoirin organ of 111 ranks at Church of tion to The Tracker. Visit the OHS Web site for ($8.00 per copy, postpaid) is available from the Good restorable condition. Free to a good home. the Ascension in New York. $15.98 postpaid in subscription and membership information: www. Isle Royale and Keweenaw Parks Association, Boston area. Contact John Bishop, the Organ the US from RavenCD.com 804/355-6386. organsociety.org. 49445 US Hwy 41, Hancock, Michigan 49930. Clearing House, [email protected].

A gift subscription to The Diapason The perfect gift for + organist colleagues + teachers + organ builders + students + choir directors + clergy Each month your gift will keep on giving by providing the important news TOTAL PIPE ORGAN RESOURCES of the organ and church music fi eld. Know that your gift will be just right. For information, THE DIAPASON, P.O. Box 300, Lincolnshire, IL 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: 847/763-4933. Or visit th 2320 West 50 Street * Erie, PA 16505-0325 www.thediapason.com and click “subscribe.” (814) 835-2244 * www.organsupply.com $43 one year USA; $35 one year digital; $20 one year student

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Consider a gift subscription to THE DIAPA- PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SON for all your friends who love the organ, harpsichord, carillon, and church music. Your 1968 Schantz, opus 890, III manual, 5 divi- Gothic White Oak Organ Case. 25′ x 25′ x 12′ gift will be remembered throughout the year. sions. Organ is in good condition, console con- deep. Excellent condition. Spiky towers, lots of (And don’t forget our special bargain for stu- verted to solid-state, several additions to original fi ligree. The Organ Clearing House, 617/688- dents at $20!) Visit www.thediapason.com stoplist, organ to be removed professionally by 9290, [email protected]. and click on “subscribe.” new owner prior to new organ installation. Best offer. 1980 Milnar organ, 11 ranks on II manuals New subscribers and gift subscriptions and pedal. Currently in climate-controlled stor- SERVICES / SUPPLIES THE DIAPASON’S new website has an increased age. $7,500 or best offer. Small Wicks practice capacity for new videos. Go to www.thediapa- can receive one free Raven CD for a organ, $5,000 obo. Two beautiful Trumpet En Aeolian/Robert Morton-style maroon son.com and click on videos to see what you’ve one-year subscription, two free CDs for Chamades. Contact Milnar Organ Company leather is now available from Columbia Organ missed! Visit www.thediapason.com often and a two-year subscription, and three free for more information. www.milnarorgan.com or Leathers! Highest quality. 800/423-7003, keep up to date with all the news items. CDs for a three-year subscription. 615/274-6400. www.columbiaorgan.com. For details and to begin your THE DIAPASON E-Newsletters are e-mailed new or gift subscription, Patrick J. Murphy & Associates Opus #47 Releathering all types of pipe organ actions ′ monthly to subscribers who sign up to visit www.thediapason.com/subscribe. (2006). Three manuals, 61 stops, includes 32 and mechanisms. Highest quality materi- Bombarde. Reading, Pennsylvania. $200,000, receive them. Don’t miss the latest news, als and workmanship. Reasonable rates. featured artists, and classifi ed ads—all with exclusive of OCH fees and relocation costs. Columbia Organ Leathers 800/423-7003. photos—some before they appear in print! Contact John Bishop, the Organ Clearing House, www.columbiaorgan.com/col. [email protected]. Visit www.TheDiapason.com and click on Subscribe to our newsletter. For assistance, Complete Pipe Organ Services from the Organ contact Stephen Schnurr, 847/954-7989, The 2020 Resource ELECTRONIC ORGANS FOR SALE Clearing House: 450 vintage pipe organs avail- [email protected]. able, renovation, tuning, consultation. Other Directory will arrive with services include transportation, cleaning and Ahlborn-Galanti 3-manual. DrakeTM technol- your January 2020 issue. renovation of carvings, reredos, liturgical furnish- THE DIAPASON’s website (www.thediapason. ogy, 282 independently voiceable stops, internal ings. Call John Bishop at 617/688-9290. john@ speaker system plus 8 external channels. V/S com) features an ever-increasing number of Do you need to add your business to our organclearinghouse.com. MIDI system, pipe compatible, excellent pipe PDFs of vintage issues. Search the website listings? Update your contact information? sound. Church is closing. Asking $15,995.00. Call now for selected issues, as most are avail- Jerry Dulski 773/307-2330 for full specs/brochure. able from 1944–1945, 1966–1993, and 2005 Send updates to [email protected]. ANNOUNCEMENTS to the present!

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

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

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

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

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

Choirs Available

Trinity College Cambridge United Kingdom (September 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole Notre-Dame Cathedral Paris (April 2020)

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