THE DIAPASON APRIL, 2006
First Presbyterian Church, Savannah, Georgia Cover feature on pages 30–31
skill or its application” (Oxford Dictio- performer lies, in part, in overcoming nary), imitations or reproductions, lack- the compromises to make the music THE DIAPASON ing the creative portion, can rightfully not convincing if not historically accurate. A Scranton Gillette Publication be called art, and thus the electronic Is chiff good? Same deal, it is Ninety-seventh Year: No. 4, Whole No. 1157 APRIL, 2006 organ cannot fall into that category either. appropriate in some styles and not in Established in 1909 ISSN 0012-2378 How can we expect to produce art on an others. instrument that can never aspire to that Why do some historical styles have An International Monthly Devoted to the Organ, level? And how can hybrid organs, which developed pedal divisions while oth- the Harpsichord, the Carillon and Church Music slather a couple of ranks of pipes on an ers don’t? How do historical styles otherwise artless instrument, be taken evolve? Why did it take so long to seriously? What future can we accord develop equal temperament? One pipe organs where whole divisions are area of my personal interest is the histo- CONTENTS Editor & Publisher JEROME BUTERA [email protected] taken over by artless imitations? ry of technology. It is very revealing to 847/391-1045 I like to think of art as the highest form look at how each important technologi- FEATURES of cultural expression. It is interesting to cal and even aesthetic advance is related Hindemith Sonata No. 2, second movement: note that electronic organs tend to prolif- to the technology available to make it A Guide Towards Performance Associate Editor JOYCE ROBINSON erate in churches that have lost or are happen. Certain painting styles required by Jan-Piet Knijff 19 [email protected] losing a sense of art. We often see this bright red pigments. Railroads required 847/391-1044 when the highest forms of cultural a way to make steel cheaply. High wind Organ Historical Society Convention expression gravitate toward country pressures required electric action. All July 12–18, 2005 western and rock, which are more enter- three of these items are similar. Some by Ronald E. Dean 22 Contributing Editors LARRY PALMER tainment than art, and that is a predica- regions had the space and resources to Harpsichord ment far beyond the scope of organ build big pedal divisions, then com- LETTERS TO THE EDITOR 3 building. It will take many years of dili- posers found a way to use them effec- JAMES McCRAY gent and patient education in the appre- tively. Equal temperament in instru- Choral Music ciation of true art to lead churches back ments required the need for chromatic NEWS to an understanding of the role of art in tuning by the music. Chromatic music Here & There 3, 4, 5, 6, 8, 10, 12 BRIAN SWAGER worship and thus to the importance of a required instruments (initially orchestral Appointments 6 Carillon good and artful instrument to lead the woodwinds) that had chromatic scales Nunc Dimittis 10 music. I truly believe that mechanical and tuning. Cause and effect. In the wind . . . HERBERT L. HUESTIS action is the way to go in most cases, Where did the different pitches by John Bishop 14 OrganNet Report because it places the performer closer to come from? When I was first learning Osiris Organ Archive the creative process of making music. organ at about age 13, that question was www.mdi.ca/hhuestis/osiris Mechanical action does not necessarily utterly fascinating. I was also learning REVIEWS e-mail: [email protected] mean Baroque voicing; a tracker-action horn at the time, and the overtone series Book Reviews 16 organ can be just as romantic or eclectic shows up more clearly on the horn than New Recordings 16 Prepress Operations DAN SOLTIS as one that has electric action. But, of other brass. Today explaining it to organ New Organ Music 18 course, for immense organs, the coupling loft visitors is fun. I would just bet that THE DIAPASON (ISSN 0012-2378) is published monthly by of two organs, or flexible arrangements of young students benefit in their math Scranton Gillette Communications, Inc., 380 E. Northwest consoles, electric action is still required, skills directly from that exposure. NEW ORGANS 31 Highway, Suite 200, Des Plaines, IL 60016-2282. Phone but this should be used only as a necessi- How does a modern church justi- 847/391-1045. Fax (847) 390-0408. Telex: 206041 MSG RLY SUMMER INSTITUTES, WORKSHOPS & Email: [email protected] web: TheDiapason.com ty and not as a matter of course. fy the cost . . . ? If someone comes up CONFERENCES 32 Subscriptions: 1 yr. $35; 2 yr. $50; 3 yr. $65 (United Dr. Christoph Tietze with a universal answer to this, they States and U.S. Possessions). Foreign subscriptions: St. Mary’s Cathedral could be the next Bach. Or at least CALENDAR 33 1 yr. $45; 2 yr. $60; 3 yr. $80. Single copies $6 (U.S.A.); $8 (foreign). San Francisco, California Mendelssohn. Even at the level of ORGAN RECITALS 36 Back issues over one year old are available only from winded vs. electronic instrument, it The Organ Historical Society, Inc., P.O. Box 26811, Rich- What are the questions? requires patient repetition to drive CLASSIFIED ADVERTISING 38 mond, VA 23261, which can supply information on avail- John Bishop’s “In the wind” column home that a quality winded instrument abilities and prices. Periodical postage paid at Des Plaines, IL and addi- in the February 2006 issue posed eight is a rock-solid investment. And perhaps Cover: A. E. Schlueter Pipe Organ Company, tional mailing offices. POSTMASTER: Send address excellent rhetorical questions about the key to the solution is that in today’s Lithonia, Georgia; First Presbyterian Church, changes to THE DIAPASON, 380 E. Northwest Highway, organs and organ music. American culture, long-term is one Suite 200, Des Plaines, IL 60016-2282. Savannah, Georgia 30 Routine items for publication must be received six Which is better, tracker or elec- year. The 30 years I have owned my weeks in advance of the month of issue. For advertising tric action? The answer is Yes. Not so home is but a twinkling of an eye in the copy, the closing date is the 1st. Prospective contributors much to be facetious, but to emphasize life of a quality instrument. The church www.TheDiapason.com of articles should request a style sheet. Unsolicited that under some circumstances either I serve has gone through 4 sound sys- reviews cannot be accepted. This journal is indexed in the The Music Index, annotat- could be the better choice. While tems and over $50,000 since the last ed in Music Article Guide, and abstracted in RILM mechanical action has many advantages, major work on the organ. Yet scraping Send subscriptions, inquiries, and Abstracts. especially with low pressures, small together $1700 for a needed job took address changes to THE DIAPASON, 380 Copyright ©2006. PRINTED IN THE U.S.A. instruments, and music before about almost as long to negotiate as the last E. Northwest Hwy., Suite 200, Des THE DIAPASON accepts no responsibility or liability for 1800, electric action also has advantages sound system lasted. Plaines, IL 60016-2282. the validity of information supplied by contributors, ven- for architecture, high wind pressures, How does a chestnut become a dors, advertisers or advertising agencies. and the not-uncommon need for judi- chestnut? John’s discussion hit all but cious borrowing and duplexing. one road to chestnuthood—pure, dumb No portion of the contents of this issue may be reproduced in any form without the specific written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the pur- Those differences are reflected in the luck. The right people happened to like pose of course reserve reading at the rate of one copy for every fifteen students. Such copies may be reused for music played. I can play some literature it at the right time that influenced the other courses or for the same course offered subsequently. of the French modern school on my next right people. Why else to explain small instrument, but it requires com- Wagner? promises. Whatever the scope of the Carl Kishline, P.E. instrument we each play, there are com- Organist, Zion Lutheran Church Letters to the Editor promises somewhere. The skill of the Kent, Washington
Tracker vs. electric action thing was forfeited: the direct feel of an In John Bishop’s column “In the intimate connection between finger and Here & There wind” in the February issue, Mr. Bishop sound. In order to play these large discusses the merits of tracker vs. elec- organs and the new orchestral sounds, tric action. His last sentence, “What do the fingers had to be fooled into think- St. Thomas Church Fifth Avenue, The Church of St. Louis, King of you think?” invites comment, and I just ing that there was a direct connection New York City, continues its organ France, St. Paul, Minnesota, continues can’t pass up an opportunity like this! between the articulation of the finger recital series on Sunday afternoons at its lunch-time recitals on Tuesdays at First of all, it must be kept in mind and the opening of the toehole. Yet the 5:15 pm: April 2, Karen Beaumont; 4/9, 12:35 pm: April 4, Carolyn Diamond; that the Barker lever, pneumatic action, organ was at that time the only instru- Robert Gant; 4/16, Jeremy Bruns and 4/11, Lily Ardalan; 4/18, Michael and the various types of electric action ment where the player was connected to Christian Lane; 4/23, Maxine Thevenot; Barone; 4/25, Jason Alden; May 2, grew out of an era where bigger was the sound only by electrical means. 4/30, Philip Baker; May 7, John Scott; Susan De Kam; 5/9, Jeffrey Patry; 5/16, better. Organs grew phenomenally, and Now you’ve got me going. And I’d like 5/14, Christian Lane; 5/21, Mark Bani. Frances Nobert; 5/23, Bradley Althoff. all sorts of special orchestral voices— to go one step further. I believe that the For information: For information: some of them on high wind pressure— almost universal acceptance of electric
APRIL, 2006 3 St. Luke’s Chapel at the Medical The Cathedral of Mary Our Organ Day on May 13 at Southwark Tribout, Mangin, Carouge, Riepp, University of South Carolina, Charleston, Queen, Baltimore, Maryland, continues Cathedral, Southwark, UK, featuring Cochu, Clicquot, Callinet, Cavaillé- continues its organ recital series: April its music series: April 30, choral concert the 1897 T. C. Lewis organ and the Sil- Coll, Merklin, Ghys and others at Sens, 18, Michael Ging; 4/25, Seung-lan Kim. (Byrd: Mass for Four Voices and other man chamber organ. Presenters include Joigny, Semur-en-Auxois, Talant, For information: 843/577-6604. Renaissance and early music); May 21, Jos van der Kooy, Peter Wright, Dijon, Seurre, Beaune, Besançon, Aux- Concert Artists of Baltimore. For infor- Michael Hodges, and Julia Raeburn. onne, Moulins, Souvigny, and Paris. The Cathedral of St. Patrick, New mation:
On February 10, organ students of Mozart, Bach, Langlais, and Dupré. David Pickering at Graceland Univer- Pictured left to right are David Picker- sity played in an organ masterclass ing, Audrey Speer, Kendra Freeman, taught by Jan Kraybill on the Casavant Lindsay Garrett, Jan Kraybill, Ben organ at Graceland University in Lam- Anderson, and Jeff Benson. Not pic- oni, Iowa. On February 11, Dr. Kraybill tured are students David Bolton and played a recital of works by Handel, Ashley Holbrook.
Susan Alden, Daniel Sullivan, and Bálint Karosi
The final round of the 2006 Miami Christie. Daniel Sullivan, currently fin- International Organ Competition ishing an Artist Diploma at The Juilliard was held at the Church of the Epiphany, School with Paul Jacobs, received the Miami, Florida, on February 10. Spon- $1500 second prize. The third prize of sored by Fratelli Ruffatti and the $1000 went to Susan Alden, a student Church of the Epiphany, three finalists of James Kibbie in the doctoral program each played a 30-minute program on the at the University of Michigan. Judges for 61-rank Ruffatti organ; an enthusiastic the 2006 competition were Robert audience of several hundred people was Bates, Craig Cramer, Christa Rakich, in attendance. The first prize of $2000 as Fredrick Kaufman, Kimberly Marshall well as the $500 audience prize was and Marie-Bernadette Dufourcet- awarded to Bálint Karosi, who is Hakim. The next Miami International enrolled in the Historical Performance Organ Competition will take place in program at the Oberlin Conservatory of early 2008; for more information: Music, studying organ with James David
4 THE DIAPASON in basic organ technique, individual concerts. Father McHugh holds an tutorials, and practice sessions. Infor- undergraduate degree from Rowan Uni- mation about the camp can be found at versity, New Jersey, and undertook
Colin Andrews Cristina Garcia Banegas Maurice Clerc Joan DeVee Dixon Olivier Eisenmann Organist/Lecturer/ Organist/Harpsichordist/Conductor Interpreter/Improviser/ Pianist/Organist/ Organist/Pianist/Lecturer/ Recording Artist Organ Faculty and Chair Recording Artist Recording Artist Recording Artist Solo Recitals University of the Republic Titular Organist Associate Professor of Music Freelance Recitalist Solo/Duo with Janette Fishell Conductor, De Profundis St. Benigne’s Cathedral Frostburg State University Organ and Flute Greenville, North Carolina Vocal/Instrumental Ensemble Faculty Frostburg, Maryland with Verena Steffen London, England Director, International Organ Festival National Conservatory Lucerne, Switzerland Montevideo, Uruguay Dijon, France
Laura Ellis Janette Fishell Faythe Freese Michael Gailit Michael Kaminski Organist Organist/Lecturer Organist/Lecturer Organist/Pianist Organist Associate Professor of Organ and Professor of Music Associate Professor of Organ Organ Faculty Conservatory Director of Music Ministries Carillon East Carolina University School of Music of Music Saint Francis Xavier Church University of Florida Greenville, North Carolina University of Alabama Piano Faculty University of Music Brooklyn College Faculty Gainesville, Florida Tuscaloosa, Alabama Organist St. Augustine’s Church St. Francis College Faculty Vienna, Austria Brooklyn, New York Also: David K. Lamb Maija Lehtonen Sabin Levi David F. Oliver Larry Palmer Gregory Peterson Stephen Roberts Angela Kraft Cross William Kuhlman Tong-Soon Kwak Bach Babes Clair Rozier Organist/Pianist/Composer/ Organist Organist Baroque Music Ensemble Lisa Scrivani-Tidd Recording Artist College Organist and Professor of Organ Variable Groupings Jeremy David Tarrant Organist Professor of Music Emeritus College of Music Soprano, Strings, Flute, Oboe, Continuo Heinrich Walther Congregational Church Luther College Yonsei University Milwaukee Symphony Orchestra Associates Jane Watts San Mateo, California Decorah, Iowa Artistic Director Martha H. Stiehl, Artistic Director Torch International Organ Academy Organ and Harpsichord Brador Brass Quintet Seoul, Korea University of Wisconsin-Milwaukee Duo Majoya ConcertArtistCooperative Beth Zucchino, Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 [email protected] www.ConcertArtistCooperative.com
APRIL, 2006 5 Laura Ellis David F. Oliver
(l–r) Richard Taylor, Marilyn Austin, Michael Fazio
Fazio as President and Tonal Director. Building organs since 1893, Austin is Appointments one of the largest and oldest companies in the organ industry. The new manage- ment will continue the Austin heritage and will restore its role in American organ building. Key factory personnel from the firm have been recalled and further expansion is anticipated. In addition, many of the regional sales and service firms throughout the United States and abroad have reaffirmed their commitment to the Austin organ. While the ownership and daily opera- tion of the company has passed from the Austin family, Marilyn Austin (wife of the late Donald B. Austin) has agreed to Sabin Levi Brador Brass remain involved with the new manage- ment. In his first formal act as president, soloists and ensembles. Rd., Sebastopol, CA 95472; 707/824- Michael Fazio appointed her Executive Dr. Ellis is an associate professor of 5611; 707/824-095 fax; Consultant and CEO Emeritus. She was organ and carillon at the University of
Paul Cienniwa
Paul Cienniwa, DMA, has been appointed director of music at First Church, Boston, Massachusetts, where he plays the Casavant organs (Op. 3129, 3140), directs the professional 12-part choir, and leads the occasional volun- teer Singing Society for Sunday services broadcast on WERS (Boston) 88.9 FM. Dr. Cienniwa continues as founding artistic director of Newport Baroque Orchestra, visiting lecturer at UMass-
6 THE DIAPASON GREAT 16’ BOURDON 8’ PRINCIPAL 8’ GAMBE 8’ FLÛTE HARMONIQUE 8’ BOURDON (EXT.) 4’ OCTAVE 4’ FLÛTE CONIQUE ANNOUNCES THE BUILDING OF A 2 2/3’ TWELFTH 2’ FIFTEENTH 1 3/5’ SEVENTEENTH NEW ORGAN FOR 1 1/3’ FOURNITURE IV 16’ BOMBARDE 8’ TROMPETTE BALL STATE UNIVERSITY 4’ CLAIRON 8’ TUBA MAGNA (FLOATING) MUNCIE, INDIANA SWELL 16’ COR DE NUIT 8’ DIAPASON 8’ COR DE NUIT (EXT.) 8’ VIOLE DE GAMBE 8’ VOIX CÉLESTE 4’ PRINCIPAL 4’ FLÛTE TRAVERSIÈRE 2’ OCTAVE 2’ PICCOLO 2 2/3’ SESQUIALTERA II 2’ PLEIN JEU III-IV 16’ BASSON-HAUTBOIS 8’ TROMPETTE 8’ HAUTBOIS (EXT. OF 16’) 8’ VOIX HUMAINE 4’ CLAIRON 8’ TUBA MAGNA (FLOATING)
POSITIF
16’ QUINTATON 8’ FLÛTE À CHEMINÉE 8’ GEMSHORN 8’ UNDA MARIS (RENDERING BY CSO ARCHITECTS OF INDIANAPOLIS) 4’ PRESTANT 4’ FLÛTE À FUSEAU DAVID AND MARY JANE SURSA 2 2/3’ NAZARD 2’ DOUBLETTE 2’ FLÛTE À BEC PERFORMANCE HALL 1 3/5’ TIERCE 1 1/3’ LARIGOT 2/3’ CYMBALE IV 8’ CROMORNE The nationally recognized architecture firm of Michael Dennis and As- 8’ TUBA MAGNA (FLOATING) sociates of Boston, MA designed this new room on the campus of Ball PEDAL State University. The organ façade, designed by our team, corresponds to significant design elements in the room, including the poured- 32’ CONTRE BOURDON (EXT.) 16’ PRINCIPAL concrete sound diffusion panels that stand along the walls. Roger 16’ SOUBASSE Noppe of the firm Purcell, Noppe and Associates, Inc. served as acous- 16’ BOURDON (GT) tical consultant. Installation is scheduled for August 2006. 16’ COR DE NUIT (SW) 8’ OCTAVE 8’ FLÛTE BOUCHÉE 8’ BOURDON (GT) 8’ COR DE NUIT (SW) 4’ CHORAL BASS 4’ CANTUS FLUTE 2 2/3’ FOURNITURE IV 16’ BOMBARDE 16’ BASSON (SW) 823 Massachusetts Avenue • Indianapolis, Indiana 46204 8’ TROMPETTE 8’ BASSON (SW) 800.814.9690 • 317.637.5222 4’ CLAIRON Facsimile 317.637.5236 8’ TUBA MAGNA (FLOATING) www.gouldingandwood.com Dartmouth, and adjunct instructor at artistic and executive director of the ety of New York was founded in 1873, Dean College. From 2003–2006, he was Abendmusik: Lincoln concert series. and is New York City’s second oldest organist and choirmaster at Trinity Cummins succeeds Larry Monson cultural organization. Carnegie Hall was Church, Newport, Rhode Island. who served as associate professor of built in 1891 for OSNY and the Philhar- music and director of choral and vocal monic Symphony Society, and OSNY studies at Doane College in Crete, continues to present its annual season at Nebraska, before joining First-Ply- the venerable hall. This includes annual mouth in 2003. Monson served the performances of Handel’s Messiah, an church during the search for a successor unbroken tradition dating to Christmas to Jack Levick, First-Plymouth’s minis- 1874. Tritle’s direction of their Messiah ter of music for 31 years. performance on December 19, 2005 was heralded in The New York Times as In a move to strengthen support for “a vibrant and deeply human perfor- Rodgers dealers worldwide, Rodgers mance.” Tritle continues as music direc- Instruments LLC has named organ tor for the Church of St. Ignatius Loy- industry veteran J. Roy Hanson as ola, as organist of the New York Phil- manager of product support. Mr. Han- harmonic, and as a member of the grad- son, who plays the organ and has an uate faculty at The Juilliard School. extensive background in both the Susan Jane Matthews wholesale and retail music businesses, will be responsible for product training she is a Phi Beta Kappa graduate of materials and programs and field train- Haverford College. She has served as Here & There ing activities. His duties also will include director of music at St. Luke & St. representing Rodgers at selected music Simon Cyrene Episcopal Church, and industry conventions, responding to Rochester, New York, and St. Michael’s John Cummins product operation questions from deal- Episcopal Cathedral, Boise, Idaho. In ers and end users, and assisting with 2001, she was appointed assistant organ- John Cummins has been named product design. ist, and then in 2003, principal organist minister of music at First-Plymouth Following graduation from St. of Grace Cathedral, San Francisco, the Congregational Church, United Church Thomas University in St. Paul, Min- first woman to have held these positions. of Christ, Lincoln, Nebraska. Cummins nesota, where he studied marketing and Dr. Matthews began piano study at holds a DMA degree in organ perfor- management, Mr. Hanson began his the age of seven and organ at fourteen mance and literature from the Eastman career as a staff artist for Wurlitzer. He as a student of Marjorie Briggs George. School of Music where he studied with went on to join Baldwin, where he Subsequent organ teachers have includ- David Craighead. He also studied with became director of the classical organ ed Claribel Thomson, Mark Laubach, the late J. Warren Hutton while earning division, then divisional vice president Jeffrey Brillhart, and David Higgs. The bachelor’s and master’s degrees in organ of product training. He also served as winner of the 1998 John R. Rodland performance at the University of Alaba- vice president of Jordan Kitt’s Music for Memorial Scholarship Competition in ma, and with Peter Fyfe in Nashville, the Tidewater/Virginia Beach market. New Jersey, she also received first place Tennessee. He has been organist and in the 1993 AGO Region III Competi- choirmaster for the past nine years at Susan Jane Matthews has been tion for Young Organists in Wilmington, Christ Church Cathedral in Lexington, appointed director of music at St. Paul’s Delaware. Kentucky, and was minister of music at Episcopal Church in Burlingame, Cali- In July 2000, Matthews served as Calvin Presbyterian Church in fornia effective January 2006, following organist at the Royal School of Church Louisville, Kentucky, 1989–1996. three months of serving as interim direc- Music training course at King’s College, George Bozeman Dr. Cummins has been active in the tor. She serves as organist and directs Wilkes-Barre, Pennsylvania, with Gerre AGO in Kentucky, serving as dean of the adult Chancel Choir and the boy and Hancock, music director. She has served George Bozeman is featured on a the Louisville Chapter 1994–1996 and girl Choristers, affiliated with the Royal the AGO as dean of the Les Bois Chap- new recording on the Pape Verlag sub-dean of the Lexington Chapter School of Music Training Program. ter (Boise) and as a faculty member at Berlin label (7022). Recorded on the 2003–2004. First-Plymouth is home to Matthews completed her MMus and the San Francisco Chapter 2005 Pipe Schuke organ in the Ernst-Moritz- the Lied Organ, a 4-manual, 110-rank DMA in organ performance and litera- Organ Encounter. At the 2003 AGO Arndt Church in Berlin-Zehlendorf, the Schoenstein. As minister of music at ture at the Eastman School of Music. A Regional Convention in Salt Lake City, program includes 11 selections from First-Plymouth, Cummins will also be native of Wilkes-Barre, Pennsylvania, she served as organist for the opening Hugo Distler’s 30 Spielstücke, op. 18/1, service and presented a lecture-recital 11 selections from Ernst Pepping’s on Jeanne Demessieux. During her Kleines Orgelbüch, and Pepping’s Con- four-year tenure at Grace Cathedral, she cert I für Orgel. For information: recorded frequently with the Cathedral
Paul Jacobs
The internationally syndicated radio program, “St. Paul Sunday,” broadcast on public and satellite radio by Ameri- can Public Media, will feature Paul Jacobs in its Easter Sunday program, recorded at the Church of St. Ignatius Loyola in New York. The Show Must Go On Department: Kent Tritle (photo credit: Chris Lee) Phillip Truckenbrod reports that Paul Jacobs arrived at the Atlanta airport only Kent Tritle has been appointed to discover that his bags, which included All Saints Episcopal Church, Atlanta, GA music director for the Oratorio Society his organ shoes, had not made the same Raymond & Elizabeth Chenault, Music Directors of New York. He succeeds Lyndon trip. His informant, who had traveled Quote overheard during the Dedication Service Woodside, who passed away suddenly in from Alabama to hear Paul’s recital at August 2005, and who had served the Spivey Hall, says Paul played the pro- Society for 40 years. The Oratorio Soci- gram in his stocking feet—and perfectly. Member, Associated Pipe Organ John-Paul Builders of America Buzard 112 West Hill Street Pipe Organ Builders Champaign, Illinois 61820 800.397.3103 • www.Buzardorgans.com
8 THE DIAPASON
Shore, New York, on April 23 at 4 pm. In Austell in Cornwall. After National Ser- conjunction with the Bay Shore Rotary vice he studied music at Durham Uni- Club, Potts will be dedicating 100% of versity, was organist of St. Oswald’s, and the concert proceeds to Rotary Interna- had organ lessons with Francis Jackson. tional’s Gift of Life program. He stated Fleming served as organist and choir- that “As a member of the Bay Shore master at St. Giles, Cambridge, and Rotary Club, my goal is to raise $4,000, continued organ lessons with George which will pay for a child to travel from Guest. During his two years as organist a third world country in Central Ameri- of Chingford Church in Essex, he stud- ca to have crucial open heart surgery at ied with Harold Darke. In 1958 he was Long Island’s Stony Brook Hospital.” appointed director of music at All Saints The concert will include popular Margaret Street in London, where he works by Bach, Mozart, Schumann, taught in its choir school. A decade Saint-Saëns, William Walton and Sousa, later, he moved to Croydon Parish for listeners of all ages. Admission: $20 Church and became a full-time tutor at adults, $15 senior citizens/students, $10 nearby Addington Palace, then home of children under 13 yrs. For further infor- the Royal School of Church Music. Ten mation:
In the USA: 1220 L Street N.W. In Canada: 16355, avenue Savoie RONALD CAMERON BISHOP Suite 100 – No. 200 St-Hyacinthe, Québec J2T 3N1 Consultant Washington, DC 20005-4018 Telephone: (450) 774-2698 Robert I. Coulter Toll Free: (800) 625-PIPE Fax: (450) 774-3008 Pipe Organs Fax: (202) 737-1818 e-mail: [email protected] Digital Enhancements Organbuilder e-mail: [email protected] www.letourneauorgans.com All-digital Instruments Atlanta, GA 404.931.3103 8608 RTE 20, Westfield, NY 14787-9728 Coulterorgans.com Tel 716/326-6500 Fax 716/326-6595
10 THE DIAPASON town of Shirakawa has for the past 20 proportioned and of handsome classical Corrections and clarifications Fenris Pipe Organ, Inc., Kilkenny, years sponsored an annual Academy of design. It is to be regretted that the only Resource Directory 2006 Minnesota, reports that the dedication Italian Organ Music there, which has examples of his work to be exported to THE DIAPASON 2006 Resource Direc- of their installation at Good Shepherd brought several distinguished teachers the American continent are a small tory inadvertently omitted the following Lutheran Church in Rochester, Min- to Japan. One of the results of this col- house organ and a 3-stop continuo supplier: nesota took place on November 6, laboration is that Shirakawa and Pistoia organ, both in Canada. Jacob Gerger & Sons, Inc. 2005. The instrument was featured on have become “sister cities,” participat- —Barbara Owen 1006 Pennsylvania Avenue, P.O. Box the September 2004 cover of THE DIA- ing in cultural exchange. 245, Croydon, PA 19021-0245; contact PASON. The organ was constructed in While several subsequent organs con- Peter Gerger, 215/788-3423; fax two phases: the first phase being the tinued to reflect the North German 215/491-3456; Great and Pedal divisions, and the sec- style, by the late 1980s and early 1990s e-mail
12 THE DIAPASON PEDAL 2nd Voices/Pipes 64 Resultant 32 Contre Bourdon LEVERINGTON PRESBYTERIAN CHURCH 32 Contra Violone 16 Diapason Prinzipal HILADELPHIA ENNSYLVANIA 16 Gedeckt Pipes only P , P 16 Bourdon 16 Bourdon doux (Sw) 16 Contra Gamba (So) 16 Violone 8 Principal Pipes only 8 Octave Oktav 8 Bass Flute Pipes only 8 Bourdon Pipes only 8 Gedacktflöte 8 Gamba (Solo) 4 Prestant Pipes only 4 Choralbass 4 Fife Pipes only 4 Flûte 2 Octave Pipes only IV Fourniture Pipes only IV Mixture 32 Contre Bombarde 32 Contre Dbl. Trumpet (Gt) 16 Bombarde Posaune 16 Double Trumpet (Gt) 8 Trompette 4 Clarion SWELL English Swell/Pipes 16 Bourdon doux 8 Geigen Diapason Open Diapason 8 Bourdon 8 Gedeckt Pipes only 8 Flute Celeste II Erzähler Celeste II 8 Erzähler Pipes only 8 Viola Pipes only 8 Viola Celeste Pipes only 8 Salicional Viole d’Orchestre 8 Voix Celeste Viole Celeste 4 Principal Pipes only 4 Octave Geigen Octave 4 Rohrflöte Pipes only 4 Traverse Flute 2 2/3 Nasard 2 Octavin Pipes only 2 Flautino Pipes only 2 Piccolo 1 3/5 Tierce IV Fourniture Mixture V III Plein jeu Pipes only 16 Contre Trompette Double Trumpet 8 Trompette Trumpet 8 Hautbois Orchestral Oboe 8 Vox Humana Vox Humana 4 Clairon Clarion Tremulant 16 Swell to Swell Swell Unison Off 4 Swell to Swell English Swell Chimes mechanical (in Swell chamber) GREAT Second Voices/Pipes 16 Double Diapason Quintaton 16 Bourdon 8 Principal Pipes only 8 Diapason Prinzipal 8 Bourdon 8 Gedeckt Pipes only 8 Harmonic Flute Metalgedackt 8 Gamba 4 Prestant Pipes only 4 Octave Oktav 4 Spitzflute 4 Harmonic Flute Pipes only 2 2/3 Twelfth Sesquialtera II 2 2/3 Nazard Pipes only 2 Super Octave Pipes only 2 Fifteenth 2 Waldflute IV Mixture III Cymbale Pipes only III Sharp Mixture 16 Double Trumpet 8 Tromba Tremulant Chimes Carillon SOLO (no pipes) A four-manual Allen Renaissance Heritage™ console in a special two-tone finish 16 Gamba Celeste II 8 Flauto Mirabilis has been recently installed in Philadelphia’s Leverington Presbyterian Church, 8 Solo Gamba located in the heart of the Roxborough section. The 24 Mudler-Hunter pipe ranks 8 Gamba Celeste 4 Gambette Celeste II and 79 Allen digital voices are controlled by individual drawknobs. The handsome 16 Trompeta Real 8 Trompeta Real console features rosewood manual and pedal sharps, rosewood rocker tablets, 8 French Horn rosewood drawknob faces with maple stems, and Skinner-style key cheeks. 8 Corno d’Bassetto 8 Cor Anglais The manual naturals are Laukhoff Ivora. Cathedral-style side panel mouldings 4 Trompeta Real Tremulant complement the inspired console design. An adjustable bench, adjustable music Celesta rack and console dolly are finished to match the console’s exterior finish, which CHOIR (no pipes) 16 Contra Viole is custom-matched to the existing woodwork of the sanctuary. The digital audio 8 Holzgedackt is located behind the pipe façades, in and near the pipe chambers. 8 Viole 8 Viole Celeste 4 Prinzipal 4 Koppelflöte 4 Violes II 150 Locust Street, P.O. Box 36 Macungie, PA 18062-0036 USA 2 Oktav Phone: 610-966-2202 Fax: 610-965-3098 1 1/3 Quintflöte III Cymbale E-mail: [email protected] 16 Bass Clarinet 8 Petite Clarinette www.allenorgan.com Tremulant PIPE AND DIGITAL CUSTOM ORGANS CUSTOM PIPE AND DIGITAL bring a manometer to a job, he can with me. We restored a 19th-century make one using flexible plastic tubing as organ in a church in Bethlehem, Ohio— In the wind . . . found in a fish tank, a rough piece of a project that included the restoration of by John Bishop wood, and a few staples. the original hand-pumping equipment. CHANGE IS INEVITABLE. The other measurement we take of Garth Peacock, a member of Oberlin’s organ air is volume—considered as a organ faculty, played the dedication Thar she blows! factor of an amount of air in a specified recital, which included some pieces and ROWTH IS PTIONAL I know I share with many organ- period of time. In the case of a pipe a hymn to be played with the organ G O . builders the sense that the organ is organ it’s meaningless to say, for exam- pumped by hand—and I was the alive. Stand inside an organ chamber ple, 1,000 cubic feet of air, because pumper. The pump handle stuck out of { when the blower is off and all is silent— when described that way our thousand the right-hand side of the organ case unliving. Turn on the blower. The reser- cubic feet is sitting still and won’t make where pumper and player could see voirs fill, the swell shutters give a little a peep. Instead we say 1,000 cubic feet each other. As we got into the hymn, twitch, and the instrument seems to per minute (CFM), which describes a Peacock caught my eye and winked. He ARTISTRY IS CRITICAL. quiver expectantly, ready to sound. volume of air in motion. And, 1,000 drew stop after stop, filled in manual We normally don’t notice air. We CFM doesn’t mean much unless you chords, then added doubling in the ped- don’t bump into it when we walk. We also assign a pressure value. So you als, using all the wind he could, chuck- { don’t feel its resistance when we ges- might purchase an organ blower that ling as I flailed the pump handle up and ture with our hands. But we do notice it can produce 2,000 CFM at 4w WP. That down. I know he did it on purpose. when it’s in motion—we call that wind. would be adequate for an organ of about My other favorite organ-pumping INTEGRITY AND AN INFORMED Reflecting on the nature of wind, we 25 stops with low wind pressure. If you story happened after I completed the typically refer to blowing wind, as in needed 2,000 CFM at 10w WP, you restoration of the 1868 E. & G. G. Hook POINT OF VIEW,SINCE 1917 “it’s blowing a gale out there.” But a would need a more powerful blower. organ (Opus 466) for the Follen Com- sailor knows that the effect is often just Some organbuilders use the term wind- munity Church in Lexington, Massa- the opposite. If there’s a low pressure sick to describe an instrument in which chusetts. That project also included the { cell up north, all the high pressure air the wind supply is not adequate for the restoration of the hand-pumping gear, south of us rushes by to fill the gap. The job. Now you’re an expert. and more than one parishioner felt wind is caused by air being drawn, not I’m inspired to write about organ air clever commenting that the organ could blown. Another interesting case is the by the engraving that hangs over my be played even during a power failure. classic sea breeze that occurs when desk. It’s reproduced from L’Art du Fac- And sure enough, one of the first times coastal land is heated by the midday teur d’Orgues, the 18th-century French the restored organ was played in con- sun causing updrafts. You can’t have a treatise on organbuilding written and cert there was a power failure and vacuum without an enclosure, so when illustrated by the good monk Dom someone from the audience volun- all that air rushes skyward, the cooler Bedos de Celles—it depicts a large teered to go forth and pump. air over the water rushes ashore to take organ in cross-section. On the left side of Those who know me well—and prob- its place. Again, the wind is caused by the image, which is the back of the ably some casual acquaintances—know air being drawn. organ, there is a young gentleman work- that I love the epic series of novels ing a set of three large manually operat- about the brilliant captains of the Royal Wind n. 1a. Moving air, especially a nat- ed multi-fold bellows. He walks down Navy in the early 19th century, especial- ural and perceptible movement of air, par- the row, pushing down each lever, in ly captains Horatio Hornblower (writ- allel to or along the ground. b. A move- turn raising each bellows. The bellows ten by C. S. Forester) and Jack Aubrey ment of air generated artificially, as by bel- Reuter Organ Co. lows or a fan . . .1 are connected together with a tripping (written by Patrick O’Brian). Many a mechanism—when one nears empty, turnpike toll-taker has chuckled as my 1220 Timberedge Road The organ is all about wind—air in the next one starts to fall, and the young lowering car window emits a hearty Lawrence, KS 66049 motion. Because the organ and the piano gentleman circles back around to fill the “belay there” (audio books have accom- have similar keyboards, many people first again. He’s wearing a jacket with panied me for tens of thousands of miles 785/843-2622 assume that they are a lot alike. In fact, some 20 buttons, breeches that buckle at of pipe organ adventuring). Both epics www.reuterorgan.com they could hardly be more different. The the knee, and stockings that cover his are full of musical allusions, such as tone of the piano is created by a hammer calves from the top of his buckled shoes. when Captain Hornblower rounds Cape striking a metal string. The vibration of Back then you couldn’t play a note on Horn in a gale after lengthy adventures the string creates the sound, the length an organ without someone to pump. I in the Pacific, and the groaning of the and tension of the string determine the imagine that there were plenty of very timbers of his ship Lydia “swelled into a pitch, and the impact of the hammer bored organ-pumpers. But remember- volume of sound comparable to that of causes the attack. The fact that a great ing that mechanical or electric organ an organ in a church.”2 pianist can produce cascades of notes blowers are essentially a 20th-century Captain Jack Aubrey, an accom- without the sensation of hammering is at invention—how many of us would have plished amateur violinist as well as a the heart of the art—the art of both the volunteered hours to pump while Bux- brilliant fighting sea captain, shared instrument and the player. I’ve often tehude, Bach, Mendelssohn, Franck, or hundreds of evenings making music marveled during piano performances Widor was practicing? Maybe rival with his closest friend, the equally able when a scale or arpeggio gives the organists tried to infiltrate “enemy” cellist and ship’s surgeon (and prolific impression of falling water rather than organ lofts by embedding their choir intelligence agent) Stephen Maturin hundreds of hammers hitting strings. boys in the other’s pumping squad: while traveling through 360º of longi- Here the art surpasses the mechanical— “What’s that Bach up to this week?” tude and twenty novels. Their evening or the mechanical enables the art. The great Cavaillé-Coll organ in the concerts (typically enhanced with toast- In nature, wind is caused by air being church of St. Sulpice in Paris was built ed cheese and marsala) pepper the drawn. Of course, the wind in a pipe in 1862. It has about 100 stops—a very active story with allegory while giving organ emanates from a blowing device, large organ by modern standards and the reader a chance to understand the usually a rotary blower. But when I play, downright huge for the days of hand- musical tastes of the day. It’s a delight to I think it’s fun to imagine the air as pumped organs. Charles-Marie Widor’s read how these determined warriors being drawn out from the top of the tenure as organist there started in 1870 reveled in playing chamber music or organ’s pipes, originating in my body, and ended with his retirement in 1934 improvising on favorite melodies as they leaving my fingertips to make the sound. (he was hired as a temporary fill-in and sail around the world. On several occa- That imagined sensation is the heart of never given a permanent appoint- sions they discuss the effect of all that the player’s phrasing. Remember your ment!), so we can assume that there was damp salt air on their instruments, and teacher encouraging you to breathe a magical Sunday when Widor played Jack Aubrey is smart enough to leave his with the music? Once again the art sur- the organ for the first time supported by precious Amati violin at home, distin- passes the mechanical. The huge an electric blower. That must have been guishing it from his seagoing fiddle. mechanical entity that is the pipe organ liberating for the organist. In Post Captain, the second book of in effect vanishes, leaving only the play- When organs were pumped by hand, the series, Captain Aubrey returns to Hupalo & Repasky er and the sound of the music. organists were acutely aware of how shore at a dramatic and complicated s The sound of the organ is produced much wind they were using. The more moment in his life. Heavily in debt, Pipe Organ by columns of air vibrating in the stops you drew, the more air you used badly wounded after a violent sea battle, 1785 Timothy Dr. Unit 4 organ’s pipes—or in the case of a reed and the faster the pumper had to work. and thrilled with his new promotion to San Leandro, Calif. 94577-2313 stop, by the vibration of a brass reed or Surely more than one young gentleman post-captain as a result of his victory, he 510 483 6905 tongue. The physical production of quit in protest. Think of Bach’s pumpers is confined to the Duchy of the Savoy in www.hupalorepasky.com those sounds is analogous to the flute dealing with those huge arpeggiated London, a sanctuary where debtors whose sound is produced by the player diminished chords midway through the were protected from arrest. After learn- blowing across an open hole (like the Toccata in D Minor that start with bot- ing the boundaries of the Savoy from his top of a bottle), or a clarinet whose tom D of the pedalboard, the third innkeeper, he goes out walking: David Petty & Associates sound is produced by the vibrating reed. biggest wind-consuming note of the Organbuilders Whether you are vibrating a column of organ. Imagine the master playing those Wandering out, he came to the back of air by splitting a sheet of air against the soon-to-be famous chords with arms the chapel: an organ was playing inside, a sweet, light-footed organ hunting a fugue edge of a hole or with a vibrating outstretched and head thrown back, through its charming complexities. He cir- 27 Marlboro Lane • Eugene, OR 97405 tongue, you need air in motion to do it. reveling in the sonic experience, while cled the railings to come to the door, but (541) 521-7348 [email protected] We measure organ air pressure in the pumpers raced from bellows to bel- he had scarcely found it, opened it and inches using a manometer. In its sim- lows, trying to keep up with the settled himself in a pew before the whole plest form, a manometer is a U-shaped demand: “Nice work,” he said, “here’s elaborate structure collapsed in a dying tube filled with water so the level of the an extra ducat for your trouble.” wheeze and a thick boy crept from a hole water is even on both sides of the tube I have had personal experience with under the loft and clashed down the aisle, (gravity does a good job of leveling). this phenomenon. At the time I graduat- whistling. It was a strong disappointment, the sudden breaking of a delightful ten- When you apply air pressure to one end ed from Oberlin College I was working sion, like being dismasted under full sail. of the tube, the water in that end is with an organbuilder in Ohio named Jan “What a disappointment, sir,” he said to blown down forcing the other side up Leek, a wonderful man who was trained the organist, who had emerged into the and you use a ruler to measure the dif- in the Netherlands and who shared his dim light. “I had so hoped you would bring ference. If an organbuilder forgets to wealth of knowledge and experience it to a close.”
14 THE DIAPASON Life is full of little surprises.
Get ready for a BIGBIG one.
Inspired by the Rodgers Trillium Masterpiece Series, the newest member of the Allegiant organ family offers an attractive American-built alternative to lower-cost imports. Offering a new level of magnificent sound, flexibility, unmatched control, and industry-leading MIDI functions, WIN it will make an astonishing impact THE USE OF in a church, educational institu- tion, or home. AN INSIGNIA 537 FOR ONE YEAR! ENTER OUR CONTEST IN CHICAGO! Visit us in the Lincolnshire I/II room at the 2006 ChicAGO convention July 2-6 to hear it played by Dan Miller. For a really 1300 NE 25th Avenue, Hillsboro, Oregon 97124 pleasant surprise, let us tell you 503.648.4181 Fax: 503.681.0444 Email: [email protected] about the price. www.rodgersinstruments.com “Alas, I have no wind,” said the organist, sued in paperback by Back Bay Books, Boston, Dresden, Hamburg, and Leipzig. There rios and masses, The Well-Tempered an elderly parson. “That chuff lad has Massachusetts, 1999. are engravings of churches, both interi- Clavier, the Brandenburg Concertos, blown his hour, and no power on earth will 3. Father Smith was a 17th-century English organbuilder—Patrick O’Brian’s novels are both ors and exteriors. Several organs are and the Art of the Fugue—will welcome keep him in. But I am glad you liked the compelling and well-researched. organ—it is a Father Smith.3 A musician, included: the organ of St. John’s, Lüne- this testimony to his religious and musi- 4. O’Brian, Patrick, Post Captain, William burg; the Silbermann organ in Freiberg cal legacy. The editor’s comment in the sir?” Collins Sons & Co., Ltd., London, published as a “Oh, the merest dilettante, sir; but I paperback by W. W. Norton & Company, Inc., Cathedral (for which the builder Preface provides an appropriate con- should be happy to blow for you, if you New York, New York, 1990, pp. 423–424. received his master craftsman certificate cluding assessment of Bach’s life: choose to go on. It would be a sad shame 5. Ibid, p. 426. in 1714); another Silbermann organ in to leave Handel up in the air, for want of Rötha, near Leipzig; and a small, one- We must be content with the old wisdom wind.” manual chamber organ included in a that there are things in heaven and earth “Should you, indeed? You are very good group of performing musicians. that cannot be grasped by our intellect. sir. Let me show you the handle—you One of these things is the way that an understand these things, I am sure . . . ” Book Reviews The portraits of human figures— organist, choirmaster and court composer So Jack pumped and the music wound mostly bewigged males—include paint- from the 18th century called J. S. Bach away and away, the separate strands fol- ings of kings, dukes, and prominent fulfilled his daily musical duties, argued lowing one another in baroque flights and Johann Sebastian Bach: His Life in political persons; some notable musi- with town councils, lived, loved and com- twirls until at last they came together and Pictures and Documents, by Hans cians, such as Palestrina, Caldara, Tele- posed music. (8) ran to the final magnificence . . . ”4 Conrad Fischer; English translation mann, Handel, and Vivaldi, are includ- by Silvia Lutz; with compact disc: A ed. In addition to several portraits of J. —James B. Hartman The next day while writing a letter to musical journey through the life of S. Bach by various artists, there are The University of Manitoba Stephen to share the news of his pro- Johann Sebastian Bach. Holzgerlin- paintings of members of the Bach fami- Winnipeg, MB, Canada motion, Captain Aubrey recognized the gen, Germany: Hänssler Verlag, ly: Carl Philipp Emanuel Bach, Wilhelm depth of his humor: 1985 and 2000 (redesigned edition), Friedemann Bach, and Johann Christ- Note 1. The book’s overall high quality is marred by a 191 pages. Available from the ian Bach (Music Master to the Queen of large number of unfortunate misprints—missing . . . in the Savoy chapel I said the finest Organ Historical Society ($25.00 England by Thomas Gainsborough). letters, numbers, names, and dates on pages 12, 14, thing in my life. The parson was playing a plus shipping), 804/353-9226, Among the reproductions are pages 16, and 18: Origin of the Musical Bach Family. Handel fugue, the organ-boy deserted his
16 THE DIAPASON teenth-century John Snetzler chamber ist and music tutor at Christ Church, demonstrates his manual and pedal dex- le Mystère de la Sainte Trinité: V–Medi- organ, the monumental four-manual Oxford, in 1985 in order to spend four terity in the climactic fugue at the end. tation on the Divine Attributes. Fernan- Hill organ in College Chapel, Dirk years in India studying philosophy and Throughout the varied repertoire on do Germani, Toccata, op. 12. Flentrop’s two-manual instrument in theology. He now lives in London, where this recording Clive Driskill-Smith Stefan Engels received his musical the School Hall, and the new three- he divides his time between psychody- demonstrates his mastery of a wide education both in Germany and the manual Kenneth Tickell organ in the namic therapy and musical composition. range of organ music. The instruments United States, having studied at the Lower Chapel. Clive Driskill-Smith, The Flourish and Reverie is a fairly also give a very good account of them- Musikhochschulen in Aachen, Düssel- assistant organist of Christ Church, accessible modern piece that gives the selves. With organs like this it is no won- dorf, and Cologne before moving to the Oxford, and an outstanding concert organist a good opportunity to show off der that Eton College—which in the United States for further organ studies organist of the newer generation of the fine Hill Tuba. After this comes Par- past produced musicians of the caliber with Robert Anderson and Wolfgang British performers, returned to his old ry’s familiar chorale prelude on the of Thomas Arne, Sir Hubert Parry and Rübsam. Engels rose to the internation- school in order to make the recording. hymn tune “Melcombe,” where we hear Peter Warlock—continues to produce al attention of the organ world when he The first track on the compact disc is some of the softer voices of the Hill such fine concert organists as David was awarded the Concerto Gold Medal the frolicsome and episodic Diderik organ including some of the flutes and a Goode and Clive Driskill-Smith. at the Calgary International Organ Buxtehude Toccata in F, played on the very attractive Orchestral Clarinet. Sir —John L. Speller Competition in 1998. He has an active II/26 Flentrop “Dutch Organ” in the Hubert Parry was himself an Old Eton- St. Louis, Missouri concert career having performed in School Hall. This was built in 1973 and ian, although he would have been more Asia, Australia, many European coun- incorporates the case and a couple of familiar with the 1852 Gray & Davison tries, Canada, and the United States. ranks from a Dutch organ of 1773. Clive organ that preceded the Hill. Parry sub- Stefan Engels plays the Seifert organ From 1999–2005 he was associate pro- Driskill-Smith uses the resources of the mitted an exercise in composition and of St. Matthias, Berlin-Schöneberg fessor of organ at Westminster Choir organ well in the many transitions of obtained his Bachelor of Music degree (Great European Organs No. 69). College in Princeton, New Jersey, and tempo and dynamic level that the piece from Oxford University while still a Priory Records, PRCD 790, has recently accepted a position as pro- entails. We find here the flutes, there schoolboy at Eton. (He and John Stanley
APRIL, 2006 17 is in the process of recording Karg- (in this instance 9000+ pipes) in a Dubois’ arrangement of Mendels- latures. The use of the blackened nota- Elert’s complete organ works, is both a splendid acoustical setting this is your sohn’s War March of the Priests amply tion in the triple time sections through- sensitive and virtuosic interpreter of the cup of tea. demonstrates the larger instrument in a out Puer nobis and in the fifth variation selections on this recording. Many lis- Dumler stands in succession to Pietro “great space,” to use the contemporary of Ich fuhr mich vber Rheine may also teners will find Karg-Elert’s three selec- Yon and the incomparable Charles Cour- term. Gifford’s sure sense of registra- pose an initial reading problem. Howev- tions from his massive collection boin in his position, and he gives no quar- tion comes to the fore in Horatio Park- er, once all the initial challenges have Chorale Improvisations, op. 65 easier to ter. The 13 pieces are familiar ones, er’s Five Short Pieces, opus 68. We been overcome, they may well give rise understand and enjoy than his sprawl- played with a sense of style and musician- should play these more often. Good for to a more subtle application of articula- ing, obtuse Kaleidoscope, op. 144, ship on a magnificent instrument. If you church or recital! tion. The music is as marvelous and as which, to my ears, is a work based more have speakers that can take it and crank A Spiritual Service by Carleton Innis difficult as ever, but this new edition on a fascination with color and form up the volume it is wonderfully exciting, is in three sections, each based on a could well be the impetus to a re-evalu- than melodic or harmonic beauty. and may remind you why you wanted to familiar spiritual, and well worth hear- ation of our approach as performers to Engels’ technical prowess shines in become an organist in the first place! ing. Percy Fletcher’s familiar Fountain the communication of the subtleties and his exciting rendering of the Reger Hal- Reverie and Festival Toccata end the intricacies of Sweelinck’s art. leluja! Gott zu Loben, bleibe meine See- Pullman Promenade, Mary Gifford, disc, showing the full potential of this The printing is very clear, each piece lenfreud. He plows through the score organist, Steere & Turner organ, wonderful old instrument. Kudos to Ms. being preceded by the first bar in the with all of the ease and virtuosity that 1882, Pullman United Methodist Gifford and everyone involved. original notation. An excellent concise anyone could hope to achieve in this dif- Church, Chicago. ORG-002, $14.98. —Charles Huddleston Heaton general introduction to Sweelinck’s life ficult composition, yet he plays with a Noble, From Olden Times; and compositions (amazingly, his key- sublime musical sensitivity in the softer Stoughton, The Courts of Jamsbyd; board compositions were written more sections of this work. Unfortunately, the Smart, March in G; D’Evry, Noctur- or less only during the last fifteen years Spanische Trompette, a high-pressure nette; Stanley, Voluntary in D; West, New Organ Music of his life) is followed by notes on source horizontal reed stop used during several Old Easter Melody; Dupont, Medita- evaluation and notation. A special intro- climactic moments in this recording, tion; Sullivan, The Lost Chord; Gounod, duction to and comments on the varia- almost obliterates the organ’s tutti. Funeral March of a Marionette; Dubois, Jan Pieterszoon Sweelinck, Com- tions in this volume closes the introduc- Although Engels gives fine perfor- Noël; Gawthrop, Passacaglia. plete Keyboard Works, Volume 4, tion. One problem is that certain essen- mances of the Reger Moment Musical, Variations on Songs and Dances. tial notes on aspects of instrumentation, op. 69/4, Capriccio, op. 69/5, and Ave The Lyon Roars, Mary Gifford, Edited by Pieter Dirksen and Har- registration and playing techniques are Maria, op. 63/7, the musical content of organist (with Martin Pazdioch, ald Vogel; Breitkopf & Härtel included only in specific volumes and these works prevents them from being tenor), Lyon & Healy organ, 1902 (4 EB8744. not in each, which would have been elevated to the level that characterizes manuals, 57 ranks), Our Lady of Sor- This is the last of the four volumes of most helpful to the novice. This Reger’s best work. rows, Chicago. ORG-101, $14.98. Sweelinck’s keyboard works in the new notwithstanding, Dirksen and Vogel Engels achieves a fine balance of Parker, Five Short Pieces, op. 68 edition published by Breitkopf & Här- have set a very high standard in the pre- panache and introspection in the fifth (Canon, Slumber Song, Novelette, Ari- tel, and is devoted to the Variations on sentation of pieces well-known from movement of Messiaen’s Meditations etta, Risoluto); Fletcher, Fountain Songs and Dances. It is now over 30 previous editions, and this volume is sur le Mystère de la Sainte Trinité. The Reverie, Festival Toccata; Mendelssohn, years since the publication of the vol- highly recommended to both organists cavernous acoustics of the St. Matthias arr. Dubois, War March of the Priests; ume edited by Frits Noske covering the and harpsichordists/clavichordists. The Church and the Seifert organ join forces Luard-Selby, Fantasia Sonata on Dies same material, and there are a few other volumes in the series include the to provide an exemplary environment Irae, Dies Illa; Innis, A Spiritual Service changes in the contents reflecting the Toccatas (Bk 1), Fantasias (Bk 2) and for this work. Fernando Germani, a (I want Jesus to walk with me, There is most recent researches and findings by Variations on Chorales on Psalms (Bk leading organ virtuoso of the twentieth a balm in Gilead, Didn’t my Lord deliv- Dirksen and Vogel, acknowledged as 3). To those who have yet to make the century known for his outstanding pedal er Daniel?); Schubert, Ave Maria; experts in the North German reper- acquaintance of this wonderful compos- technique, was professor of organ at the Franck, Panis Angelicus. toire. Both editions agree that the set of er, or whose knowledge is confined to Rome Conservatory, Santa Cecilia. His These two discs give a triple bonus: six variations on the Passomeza is of Mein junges Leben hat ein Endt, this Toccata, op. 12, under Engels’ nimble unusual repertoire played on two intact doubtful authorship, despite the source volume offers what are probably the technique, brings the recording to a historic organs, and imaginatively well quoting Sweelinck as composer, but this most accessible pieces; difficult they dramatic conclusion. played. If your interest lies in the sound new edition also relegates such popular may be (many pieces have eighth note This recording will find its largest of early American organs and/or in works as the Balleth del granduca and and sixteenth note passages in thirds audience among those interested in the repertoire hardly ever heard, you will Malle Sijmen to the appendix of doubt- and sixths and rapid arpeggio figurations organ music of Reger and Karg-Elert. want these CDs, which are available ful works, along with the Alemande de for both hands together), but careful Although all of the repertoire on this from the Organ Historical Society chapelle with its three variations of study will more than repay the effort recording is well played, I must admit (804/353-9226,
18 THE DIAPASON Hindemith Sonata No. 2, second movement: A Guide Towards Performance Jan-Piet Knijff
This is the second in a series of “organ mm. 1–10 Oberwerk A 19–20; and the pick-up notes are quently, particularly in the first half of a lessons” by Jan-Piet Knijff. The first, 10–20 Hauptwerk Av changed from b - g# in m. 20 to f# - g# measure. The metronome mark is the “Bruhns’s ‘Little’ E-minor,” appeared in 20–38 Oberwerk B in m. 38. Finally, Hindemith wrote out same (50 to the dotted quarter); the the January 2006 issue of THE DIAPA- 38–56 Hauptwerk Bv a rallentando at the end: the dotted- tempo indication is “Pastorale, moder- SON, pp. 22–24. 57–60 Oberwerk C quarter ending in m. 64 is stretched out ate.” I think we can safely consider the 60–63 Hauptwerk Cv to dotted-half notes in m. 65–66. sonata movement as a little “pastoral” Introduction 63–64 Oberwerk D Of course, the end of the B section (literally: “shepherd’s song”) as well. Like it or not, almost all organ music 64–66 Hauptwerk Dv above (mm. 32–38) is a shortened and The German tempo indication ruhig of any significance (and a lot that has no varied reprise of section A, this time fin- bewegt means “quietly moving” (literal- significance at all) was written by com- The Hauptwerk sections can be con- ishing on the tonic E. The overall form ly “quietly moved”); if you wanted an posers who were also organists. One of sidered varied repeats of the preceding of the movement, then, is something Italian equivalent, it would probably be the major exceptions (along with Oberwerk sections. But, though the har- that’s often referred to as a “rounded andante. The character of both the Brahms, who was no organist either) is monization and inner voices may be binary,” in this case followed by a little “Interludium” from Ludus Tonalis and Paul Hindemith (1895–1963), arguably quite different, you’ll find that—with coda, and could be summarized as fol- the organ sonata movement is very rem- one of the giants of twentieth-century the exception of a pick-up note or two lows: iniscent of the siciliano, the slow dance music. Hindemith wrote a handful of and an octave transposition once—the in 6/8 (or 12/8) with the dotted-eighth- excellent works for organ: three sonatas soprano of the Hauptwerk section is ||: X :|||: Y Xv :|| Coda. note pattern in the first half of the mea- (1937–40), the Kammermusik No. 7 exactly identical with that of the preced- sure, found in so many Baroque pieces. (Concerto for Organ and Chamber ing Oberwerk section. In fact, it may not Tempo and Character A good example from the organ reper- Orchestra, 1927), and finally the Organ be a bad idea to play through the sopra- Hindemith wrote another short key- toire is the first movement from John Concerto (1962). The three sonatas no only of the piece (just the top notes board piece very similar to the second Stanley’s Voluntary in D minor, op. 6 have long been an essential part of the in the right hand) to realize this for movement of Sonata No. 2: the second no. 1. It’s almost impossible to miss the organ repertoire, although probably yourself and find out where those little “Interludium” from Ludus Tonalis right tempo for the Stanley movement; more so in some cultures than in oth- changes are made: two pick-up notes (Hindemith’s equivalent of Bach’s Well- and approximately the same speed will ers.1 The Kammermusik, a very appeal- are added in m. 10; the last three notes Tempered Clavier).2 The time signature work well for either Hindemith piece. ing work, has been recorded by a num- of the first section (mm. 9–10) are trans- here is also 6/8 with the characteristic (The indications langsamer and noch ber of organists, but is not often heard posed up an octave at the repeat in mm. dotted-eighth rhythm appearing fre- langsamer, found towards the end of the in concert, undoubtedly for practical reasons. The 1962 Organ Concerto is very rarely heard. ANDOVER BEDIENT BERGHAUS BIGELOW BOND
An outstanding violinist, Hindemith BUZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD became concertmaster in Frankfurt at age 20, working with conductors such as Mengelberg, Furtwängler, and Scher- chen. He soon had enough of orchestra life and, as a performer, concentrated on the viola and the viola d’amore, mak- ing a career both in chamber music and as a soloist. His real vocation, however, was composition. Hindemith wrote in every conceivable genre: opera, orato- rio, choral (both sacred and secular), solo vocal (including the cycle Das Marienleben [The Life of Mary]), orchestral, concerto, chamber music— often for instruments that had previous- ly been treated in a stepmotherly fash- ion—and piano solo. Hindemith taught Butter composition in Berlin and, after his emi- gration to the United States in 1940, theory at Yale University. He retired Doesn’t Claim from the concert stage as a violist in 1939 upon hearing some of his own recordings; after World War II, he was to increasingly active as a conductor, not only of his own works. The subject of this article is the sec- Taste Like ond movement of Sonata No. 2 for organ, probably the most accessible of all of Hindemith’s organ music, both to Margarine! the performer and to the listener. The work is available from Schott (ED 2559), Hindemith’s publisher; the sec- ond movement is found on pp. 10–12. Overview The movement has a very clear and simple structure, which, however, may not be terribly obvious at first sight. And once they get “stuck” in “learning the notes,” many musicians have a tendency to overlook the large structure of the work: they can’t see the forest for the trees, so to speak. In this particular movement, Hindemith’s manual indica- tions (Oberwerk and Hauptwerk— It’s not about fooling your ears. Swell and Great, if you like) are the key. Why not take a look (don’t start playing right away) at the beginnings of each It’s about thrilling your soul! section where the hands are playing on a new manual: mm. 1, 10–11, 20–21, 38–39 (page turns don’t help in getting an overview of a piece!), 57, 60, 63, To receive information about pipe organs 64–65. The first thing that may catch your eye is that the pedals don’t play A and recognized pipe organ builders when your hands are on the Oberwerk; P write or call toll free 1-800-473-5270 this, of course, is handy, because it saves you from having to adjust the pedal reg- O or on the web @ www.apoba.com istration in performance. Next—and BA Associated Pipe Organ Builders of America perhaps you want to play the first four to six notes of the soprano of each sec- P.O. Box 155 • Chicago Ridge, Illinois 60415 tion—you will notice that the soprano in each Hauptwerk section simply BOODY repeats & QUIMBY PARSONS OTT REDMAN SCHANTZ SCHOENSTEIN TAYLOR that of the Oberwerk section preceding it. In other words: NOACK MURPHY KEGG JAECKEL HOLTKAMP HENDRICKSON
APRL, 2006 19 organ movement, mean “slower” and Oberwerk and Hauptwerk seem to Example 1: two fingering options for mm. 65–66 “even slower” respectively.) refer to a Baroque or “Baroque-ish” The metronome mark for the sonata type of organ, the movement works well movement tells you to play 50 dotted on pretty much any organ with at least quarters per minute; and when you two manuals. As long as you have ped- think about it, that means that the dot- als, it can also be played effectively on a ted quarter is something like a very slow one-manual organ by simply adding a second. But of course, this does not stop for the mezzoforte sections. mean that Hindemith expected you to take out your metronome, put it on 50, Beginning to Play and play the whole piece with the Whether I am learning a keyboard blessed machine ticking away. Use the piece or teaching a new piece to my Example 2: mm. 1–3 metronome to get an idea of what the choir, I often like to begin with getting tempo is like; hum the tune along for a an idea of the end of the piece (or measure or two, get the feeling, and put movement): this is the goal of the jour- the machine away. If you want to make ney, and it’s usually a good thing to bear sure that you know “how the piece that in mind from the start. In this case, goes,” listen to a recording (perhaps take the last four measures. Take the one of those listed below). To make time for the grace notes (with the beau- Example 3: mm. 4–5 sure that you play the whole piece in tiful g-natural!); they are best played (approximately) the same tempo, jump before the beat, which means that, in from fragment-here to fragment-there the penultimate measure, the c#v in the maintaining the same “flow.” But alto still sounds during both grace nobody’s heartbeat is perfectly regular, notes! In the same measure, notice Hin- and no musical performance should be demith’s written-out rallentando (a dot- either: “The metronome mark is only ted half note instead of a dotted quar- valid for the first measure of a piece.”3 ter). Also, notice how the left hand on the Great brings the first three notes of Registration the little melody in augmentation (in Hindemith did not indicate any regis- this case, three times as slow); some- Example 4: mm. 5–7 tration beyond the manual indications thing you would like to point out in a and a simple piano and mezzoforte. If paper for your music theory class, I one stays with the manual indications think! (playing with hands on the same key- I see two possibilities for fingering in board, alternating between Swell and the last two measures [Example 1]. If Great), I think one would in all likeli- you choose the second option, pay hood want to avoid reeds. Often a regis- attention that the tied-over b in the left tration with flutes 8 and 4 on the Swell hand does not stick around after playing Example 5: mm. 7–10 and foundation stops 8 and 4 on the the c#v in the right; and make sure that Great works well. In an ideal world it the thumb moves as smoothly as possi- may be nice not to couple the manuals; ble from the c#v to the dv. As for the in practice, coupling often works well pedal in this measure, the important on organs with electric action. On a thing is to get your right foot on the A; tracker, you will probably want to avoid to me, the easiest way to do that is by the coupler, as it may make the action alternating toes, starting with your right heavier than you might like for this foot on the e. Example 6: (a) mm. 11–15 and (b) 17–20 movement. In the pedal, use a registra- Now that you have an idea of where tion with 16 and 8, strong enough to the piece is going, take a look at the make the “theme” in mm. 54–56 clearly beginning, mm. 1–5. I love how the heard; but not so loud that the pedal- right hand begins on its own, then is points in mm. 39–53 become overpow- joined by the left hand in a little duet; ering. Hindemith adds an alto and tenor only Although the manual indications for the “cadence” in mm. 4–5. Make sure to play nicely legato in both hands; beautiful unison passage in mm. 5–7 (a but of course, the bv in the middle of m. nice contrast with the four-part harmo- 2 (not the grace note) must be clearly ny in mm. 4–5) is followed by the motif separated from the note before (by with the repeated c#vv in the soprano, shortening that note) and from the and the sentence concludes with the grace note following (by shortening the Phrygian cadence on f# in m. 10. It is note itself) at the same time. Think of it important to bring out Hindemith’s this way [Example 2]. But don’t allow phrasing well; in practice, that means the left hand to go along with the artic- shortening the last note under a slur. ulation of the right! Here is my fingering Effective fingering can also help; here’s for the chords in mm. 4–5 [Example 3]. my suggestion for the unison passage Of course, frequent finger substitution [Example 4]. In m. 7, omit the c#v in the helps to obtain a nice legato; but if an left hand, as you’re playing it with the index finger on the b in the left hand right hand anyway. In the right hand, produces too much tension in your you want to nicely separate the soprano hand, use your thumb instead. In that c#’s while playing legato in the alto case, you try to make the thumb’s “jour- [Example 5]. In the left hand, a “natur- ney” from c#v to b (quite a trip!) as al” way to get the right phrasing can be smooth and short as possible; try to to use the same little pinky on the e and avoid “hurried” movements, however. the A in m. 8 (the left hand starts with a Now that you have learned both the thumb on the b in m. 7). end and the beginning of the move- ment, why not put the two together to Section Av create a kind of “summary” of the piece: The beautiful varied repeat of section glue the beginning of m. 5 to the middle A starts with five-part harmony; make of m. 63; or, even more concisely, glue sure to keep track of the sustained e in the beginning of m. 2 to the end of m. the left hand (mm. 11–12) and the sus- 64. During your work on the piece, you tained av in the right (mm. 13–14). A want to come back to your little summa- few crucial fingers in the left hand: a ry from time to time; it helps you to middle finger on the last a in m. 12; avoid “getting lost” in the notes. silent substitution (2–1) on the a in m. 14, followed by a middle finger on the d; Section A and index finger and ring finger on the After the long opening phrase dis- chord in m. 18. cussed above, the movement continues Think of the pedal part as the double with a number of shorter gestures: the basses in your orchestra; isn’t that a
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20 THE DIAPASON Example 7: mm. 28–31 Discography have some more upbeat pieces from If you enjoy listening to CDs and you other style periods). Finally, for those are interested in hearing some real-life whom I got “Hooked on Hindemith,” approaches to Hindemith’s organ I would recommend the last move- music, here are some recordings you ment (also Ruhig bewegt) from Sonata might like to consider: No. 1 as your next piece to consider. • Piet Kee Plays Hindemith and Perhaps we’ll talk about that one Reger. All three sonatas; Grote of St. another time. I Example 8: mm. 36–38 Bavokerk, Haarlem (Netherlands); Chandos. Jan-Piet Knijff teaches organ, historical • The Art of Peter Hurford. Includes keyboard instruments, and chamber music and is organist-in-residence at the Aaron Sonata No. 2; Dom, Ratzeburg (Ger- Copland School of Music at Queens Col- many); Decca Argo. lege/CUNY. He holds the DMA from The • Hindemith: Organ Concerto, 3 City University of New York as well as the Organ Sonatas. Anton Heiller, Elisa- Artist Diploma from the Conservatory of beth Ullmann; Brucknerhaus, Linz Amsterdam and is an Associate of the AGO. Example 9: mm. 54–56 (Austria); Warner Classics. He won second prize at the Hindemith- Micheelsen Organ Competition (Rotterdam, Conclusion The Netherlands, 1996) and has performed the three organ sonatas and the Concerto for The second movement from Organ Organ and Chamber Orchestra on both sides Sonata No. 2 is probably the most of the Atlantic. His organ teachers have accessible organ piece of Paul Hin- included Piet Kee, Ewald Kooiman, and demith. Though not exactly easy, it is Christoph Wolff. Visit JP’s website at beautiful line in mm. 11–15? The easier from before: first the tenor (m. 52), then not terribly hard to learn and though
THE DIAPASON 2006 Resource Directo- ry was mailed with the January issue For complete info and online registration visit our website – www.agohq.org/2006 or contact of THE DIAPASON. To request addition- Ronald Vanderwest at [email protected]. al copies ($5 each): 847/391-1045, ______
APRIL, 2006 21 Organ Historical Society Convention July 12–18, 2005 Ronald E. Dean
he fiftieth convention of the Organ first half was based on the order of the struction of what had been a highly THistorical Society was itself an his- Christian Science service. Post-intermis- altered E. & G. G. Hook 2-manual torical occasion and was held in an sion selections were Allegro (Symphony tracker, Op. 132 of 1852: Voluntary in A appropriately historical locale in Massa- No. 5) and Serenade, both by Widor; Major, Selby; God Save the King with chusetts, the “Old Colony,” part of Fantasia in E-Flat, Saint-Saëns; selec- New Variations, Wesley; “Voluntary for which had been the center of the first tions from Peer Gynt Suite No. 1, Grieg, the Cornet” (from An English Suite), permanent English settlement of followed by an encore: Arab Dance, also Dahl; Chorale, Aria and Toccata, colonists who came to New England in by Grieg. The much-rebuilt organ con- Sandowski; “Schmücke dich, O liebe 1620. Headquarters was the Radisson tains the color and hefty dignity associat- Seele” (from Eleven Chorale Preludes, Hotel in Brockton, a convenient depar- ed with a late Hutchings but seemed op. 122), Brahms; Pavane, Fauré, arr. ture spot for the many bus trips to the unable to take advantage of the rather Paxton; Flowers of the Forest, anon.; week’s events. Keywords for the con- good acoustical setting offered by the Newburyport Polka, Johnson; Le vention were “History” (lots of it), “Her- tastefully appointed Beaux Arts style Cygne, Saint-Saëns; Toccatina, Whiting; itage” (cultural, sociological and organ), interior. One conventioneer was heard and the hymn “A Fierce Unrest” sung to and “Hope” (one senses an optimistic to mutter, “ . . . the chamber must be the tune Salvation. future). To these three “H’s” should be lined with Celotex!” Ms. Metson, as usual, had the organ added “HOT,” since the afternoon and give a good account of itself in the evening programs were accompanied by Wednesday Hook & Hastings Co., Op. 2325, 1913, somewhat dry acountics of the very one of the famous New England sum- The first full day of the convention Bridgewater United Methodist Church, interesting building. The ceiling has mer heat waves, creating some very began at the North Congregational Bridgewater, MA acoustical tiles (certainly not an original uncomfortable conditions for both lis- Church in the charming small town of 1845 item!) and wall decorations that at teners and performers. North Middleboro. Cheryl Drewes Op. 2325 of 1913, was the first of 14 first glance appear to be applied archi- played on a somewhat earlier Hutchings Hooks to be heard during the conven- tectural features, but are instead expert- Tuesday 2-manual tracker, Op. 339 of 1895, as tion. This great little organ, restored and ly executed trompe-l’oeil painted simu- Even though most of the week’s activ- restored by Roche in 1992. The small somewhat repositioned by the Andover lations. Behind the high central pulpit (a ities centered around the larger metro- Organ Co. in 1998, benefits from a sym- feature of many Protestant churches of politan areas of the “Silver City” of pathetic acoustical environment and the era) there is a dramatic painting of a Taunton, the Fall River of Lizzie Borden proved once again that a small instru- scene that brings one’s eye into a per- and her axe, and the New Bedford of ment, well voiced and well maintained, spective of considerable depth. Herman Melville and Moby Dick, the can serve a wide variety of literature. The group then walked across the first event took place in Providence, This was amply demonstrated by the street to Tillinghast Hall on the campus Rhode Island. Peter Krasinski played a wise programming and artistic playing of Bridgewater State College for a buffet recital on the 3-manual Hutchings- of organist Steven Young and trom- lunch and the official Annual Meeting of Votey, Op. 1637 of 1912, at First Church bonist Douglas Wauchope in the fol- the Organ Historical Society. Prior to of Christ, Scientist. The imposing and lowing program: Old Hundred, op. 49, both events, Lisa Compton, a profes- dignified structure is located in the his- no. 2, Buck; Variations to the Sicilian sional historian as well as a musician (and Hymn, Carr; Solemnities for Trombone wife of convention co-chair Matthew and Organ, Pinkham; the hymn “Break Bellocchio), gave a slide-lecture on “Old Thou the Bread of Life” sung to the Colony Origins, Organs and Oddities.” tune Bread of Life; and Sonata II in C Her presentation was at once scholarly, major, op. 5, Thayer. entrancing, humorous, and informa- tive—a tour de force result of deep and intense research coupled with an obvious love of the topic. Geo. S. Hutchings, Op. 339, 1895, The business meeting was handled North Congregational Church, North with reasonable dispatch since written Middleboro, MA reports had already been distributed to the membership. During this period, organ sang out its rich and colorful Derek Nickels made the formal intro- sounds as Ms. Drewes performed duction of this year’s Biggs Fellows, expertly. Her husband, organ builder Bradley Althoff from St. Paul, Min- and organist Tim Drewes (to be heard nesota; Christopher Deibert from later in the convention), assisted at the South Amboy, New Jersey; and Rachel Hutchings-Votey Organ Co., Op. 1637, console. The program: Concerto in C Tissue from Grand Rapids, Michigan. 1912, First Church of Christ, Scientist, Major, BWV 595, Ernst/Bach; Three The results of the election of officers and Providence, RI Partitas from Ach wie nichtig, ach wie councilors were read from the podium flüchtig, Böhm; the hymn “Come and are published in The Tracker. Two toric College Hill section, which is noted Down, O Love Divine” sung to Down E. & G. G. Hook, Op. 132, 1852, First items deserve special mention here: for the outstanding architecture of its Ampney; Response, Chadwick; The Bal- Parish Church (UU), Bridgewater, MA first, the Distinguished Service Citation many residences as well as being the site timore Todolo, Blake; Offertorio, presented to Rachelen Lien of New of Brown University. His program: Petrali. Drewes did a fine job of display- Since the previous two programs Orleans, a true “spark plug” and enthusi- chorale prelude on the tune Freedom, ing the musical versatility of this little were presented in churches with limited astic member, promoter and councilor improvised by Krasinski; the hymn “Saw nine-rank jewel, which sounded superb seating capacity, the convention had of the OHS for many years; and, second, Ye My Saviour” sung to the tune Free- in spite of being in a totally carpeted split into “A” and “B” groups with the the announcement of the “hot off the dom; “Thine Is the Greatness,” Gal- and cushioned room. performances repeated. The entire press” publication of a festschrift written braith, sung by soprano Gina Beck; The United Methodist Church in group reassembled in the historic 1845 in honor of Barbara Owen. She is one Lyric Rhapsody, Wright; the hymn Bridgewater hosted the next recital— Meeting House of the First Parish of the nation’s most knowledgeable “Come, Labor On” sung to the tune Qui yet another demonstration of the poten- Church (UU) in Bridgewater where scholars of American organ history and Laborat Orat, followed by Krasinski’s tial of a small tracker (only six ranks this Marian Ruhl Metson played the fol- the first president of the OHS. The improvisation on the same tune. This time). This Hook & Hastings 2-manual, lowing program on an Andover recon- beautiful volume, titled Litterae Organi,
The be s t of the European tradition Proudly made in America
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22 THE DIAPASON contains a variety of articles by 15 distin- slaapt,” Bolt; the hymn “Rise, My Soul, movements. It was accompanied by a set guished authors. Published by the OHS to Watch and Pray” sung to the tune of program notes done up in the best Press, it is available from the Society Straf mich nicht; Cantilena in G, op. 71, academic garb to trap the unwary. (www.ohscatalog.org). Both honorees no. 1, Foote; and Prelude No. 3 in d, were genuinely moved and obviously Mendelssohn. The result was distin- Thursday totally surprised by the awards. Their guished playing on a terrific instrument. Again, we split into two groups for the reactions proved that secrets can indeed After a short time to explore the sights morning’s events in Swansea. Robert be kept! of North Easton, we returned to Brock- Barney played a short program on a A more somber announcement con- ton and the hotel for dinner and then somewhat altered, small 2-manual cerned the fact that long-time OHS departed for the evening program—a Hutchings tracker, Op. 515 of 1900. member and former editor of The recital by Bruce Stevens at St. Jacques The instrument is in a chamber on the Tracker, John Ogasapian, had died on R.C. Church in Taunton. The organ, a 2- Epistle side of the chancel of the ele- Monday that week as the result of a manual Hook & Hastings tracker, Op. mercifully short battle with cancer. 1595 of 1894, was originally installed in The group then split again to hear two St. Mathieu R.C. Church, Fall River, short recitals in the historically impor- then restored and moved to St. Jacques tant town of North Easton, known for its by the Delisle Pipe Organ Co. in 1989. large collection of 19th-century build- Fr. Thomas Morrissey, who gave a warm ings designed by the noted Boston archi- welcome to the conventioneers and the tect Henry Hobson Richardson. Con- many other listeners, noted that he had vention co-chair (and indefatigable tour also served St. Mathieu when the organ Hook & Hastings, Op. 1595, 1894, St. commentator) Richard Hill played the had been there, and that the organ “ . . . Jacques Roman Catholic Church, following program in Unity Church fits [the church] like a glove” and that [it] Taunton, MA (UU) on a much-rebuilt Hook & Hast- “ . . . sounds even better here than it did ings, Op. 786 of 1895, as modified by at St. Mathieu.” The lively acoustics, Fugue, BWV 564, Bach; the hymn “Love Aeolian-Skinner and others: the hymn, enhanced by the high barrel vault ceil- Divine, All Loves Excelling” sung to the “Rank by Rank Again We Stand” (get ing, and the fine installation all respond- tune Hyfrydol; Benedictus, op. 59, no. 9, it?) sung to the tune Reunion; Festal ed to Bruce Stevens’ expert, dramatic, and Scherzo, op. 65, no. 10, Reger; and March, Clark; Minuetto, Shelley; and yet always flexible, playing. The result Sonata 13 in E-flat Major, op. 161, Ballet Egyptien, Luigini, arr. Feibel. The was a wonderfully satisfying musical Rheinberger. The quasi-Mozart piece building, unlike many rather stark and experience with which to end the first was a whimsical bit of musical entertain- unadorned Unitarian churches in New full day of the convention. His program: ment in the guise of a serious musicolog- England, is a highly decorated Victorian Prelude and Fugue in D Minor, Böhm; ical discovery of great importance—it neo-Gothic delight that features elabo- Partita on Werde munter, Pachelbel; ended with a movement titled “Rondo rate wood carvings (added later) and two Four Pieces for Trumpet Clock, W. A. alla Turkey,” an obvious reference to Geo. S. Hutchings, Op. 515, 1900, Christ magnificent large LaFarge stained glass Plagiavsky Mozart; Toccata, Adagio and one of Mozart’s most well-known piano Church (Episcopal), Swansea, MA windows at the ends of both transepts. Since the organ console is directly oppo- site the “Angel of Help” window (said to be LaFarge’s masterpiece), Hill admit- ted to being so entranced by the chang- ing colors and moods of the window, that he frequently is distracted from his organ practice by its overwhelming beauty. Since Hill has been organist of the church for 28 years, he was able to demonstrate effectively the color and power potential of the small 2-manual instrument in spite of the fact that it must speak through some of the open- ings in the spectacular wood carvings located at the front of the church.
E. & G. G. Hook, Op. 254, 1859, Holy Trin- ity Lutheran Church, North Easton, MA
Holy Trinity Lutheran Church in North Easton was the site for a short recital by Kevin Birch on a 3-manual Hook & Hastings tracker, Op. 254 of 1859, that had been added to and rebuilt several times prior to its reloca- tion to Holy Trinity in 1982. Andover Organ Company accomplished a very effective restorative transplant into the rear gallery of a typical 1950s A-frame church. The organ has both a visually and sonically splendid presence in the room whose fine acoustics are enhanced by its high peaked roof. Birch, a superb player, presented the following pro- gram: Variaties over “Ontwaak, gij die
APRIL, 2006 23 gant and intimate Christ Church (Epis- St. Joseph’s R.C. Church, where Kim- Bros. of Doylestown, Pennsylvania, with copal). The façade of the organ berly Hess played on a highly altered assistance by Charles Callahan and May- (designed by Henry Vaughan) is exquis- example of a rare 2-manual tracker orig- cher. The rear gallery location (which at itely designed as is the entire church. inally built by W. K. Adams & Son of first gives the impression of a free-stand- Unfortunately, much of Barney’s well- Providence in 1883. The organ had suf- ing case) allows the instrument to gain at chosen program was marred by the fered some damage in the 1980s by least some sense of projection in a room sound of hammering and sawing from a some unfortunately placed scaffolding. with wall-to-wall carpet and thus very building next door. Thanks to co-chair It was returned to at least a modicum of dry acoustics. The high ceiling together Richard Hill, who dashed out to get the playing condition by the valiant work of with the organ’s placement helped workmen to cease their activities, Bar- some OHS members and others. Ms. somewhat to overcome the “sofa cush- ney was able to soldier on through the Hess did a fine job of music-making in ion” effect of an otherwise visually stun- following program: Fantasia und Fuge in the following program: the hymn ning and richly furnished room that con- c moll, Wq 119, no. 7, C.P.E. Bach; “Praise to the Lord, the Almighty” sung tains, among other treasures, windows Andante in G, S. S. Wesley; Fiat Lux to Lobe den Herren; Elevation No. 2 in by both Tiffany and LaFarge. Maycher’s (from Twelve Pieces), Dubois; and the c minor, Batiste; Reverie and Elegie, program: Allegro vivace (Symphony No. hymn “When in Our Music God Is Glo- Still; Petit Prélude in g minor (Aria), 6), Widor; Musician’s Hymn, Jackson; rified” sung to Engelberg. Jongen; and Postlude on a Theme by Adagio cantabile, Bach, arr. Perry; Solo Handel, Guilmant. de Flûte (from Three Miniatures), Lem- M. P. Möller, Op. 864, 1908, St. Luke’s mens; A Fancy Sketch, Frost; Capriccio Episcopal Church, Fall River, MA (On the Notes of the Cuckoo), Purvis; Harmonies du Soir, Karg-Elert; Requi- fully maintained and sounded out escat in Pace, Sowerby; and Carillon de proudly in the following eclectic pro- Westminster, Vierne. Typically smooth gram: Sonatina per offertorio e postcom- early Skinner reeds were featured most- munio, Bergamo; Le jardin suspendu, ly in the vigorously played opening and Alain; “The Cat” and “Grandfather’s closing French works, with the other Wooden Leg” (from Fireside Fancies), orchestral colors displayed in the Clokey; the hymn “By All Your Saints remainder of the enthusiastically Still Striving” sung to King’s Lynn; and received and well-chosen program. Rondo and Winslow Blues Bugle March, We then took a short walk to what had Shaw. Some unfortunate ambient rum- been the Victorian Gothic Central Con- bles (not from the organ) failed to swal- gregational Church, now the location of low up the delicate effects of the more the Abbey Grille and its Great Hall. We subtle voices. Steinbach (Brown Univer- were served a gourmet dinner by stu- E. & G. G. Hook, Op. 460, 1868, First sity Organist) played especially musical- dents of the International Institute of Christian Congregational Church, ly on the entire program. The Alain was Culinary Arts, whose headquarters is in Swansea, MA Henry Erben, 1863, Good Shepherd particularly effective on what one might the former church complex. Located Parish (Roman Catholic), Fall River, MA think of as an unlikely instrument for prominently in a corner of the large The next program was in the First that piece—it worked. room (formerly the main church) is an Christian Congregational Church where The undercroft of Good Shepherd eye-catching monumental organ case of Thomas W. D. Guthrie played its one- Parish (R.C.) in Fall River was the site carved black walnut behind which are manual, eight-stop E. & G. G. Hook, for lunch after which we went upstairs the remains of a large 2-manual E. & G. Op. 460 of 1868, as restored by Andover into the vast, high, and beautiful main G. Hook & Hastings, Op. 806 of 1875, in 1963. The little organ sang out its church for a particularly fine recital by later enlarged and electrified by Hook & wonderfully bright yet warm sounds in Kevin Kissinger on yet another trans- Hastings as their Op. 2388 in 1916. the following selections: La Marseillaise, planted instrument: what had been a Though the instrument is currently Rouget de Lisle (performed in honor of large 2-manual Erben of 1863 originally unplayable, it could be restored. What a “Bastille Day,” July 14, the day of this in the Cathedral of Sts. Peter and Paul in fine and unusual adjunct to the restau- program); Liberty March, Frysinger; Providence and later moved to Fall rant and reception hall that would be! Fanfare, Mason; Nachspiel, Bruckner; River. Welte-Whalon did some alter- Navidad (from Seis Piezas Breves), Tor- ations and reconstruction in 1954. res; Welcome the Nation’s Guest (“A Organbuilder Ray Whalon, the present Military Divertimento, Composed & organist of the parish, was introduced Respectfully Dedicated to General and justifiably commended for his fine Lafayette on his visit to Providence”), work. The organ, enhanced by the Shaw; and the hymn “Awake, My Soul, church’s superb acoustics, was master- Stretch Every Nerve” sung to the tune fully handled in Kissinger’s program: the Ernest M. Skinner, Op. 191, 1911, First Christmas. Tommy Lee Whitlock pro- hymn “All People That on Earth Do Congregational Church, Fall River, MA vided narration in the naïvely charming Dwell” sung to Old Hundredth, then Shaw tribute to Lafayette while attired selected portions of Concert Variations The final event of the afternoon was a in appropriate 18th-century costume. on Old One Hundred, Paine; then recital in First Congregational Church Guthrie did an outstanding job of pro- Celeste (which also features the Melodia where perennial OHS favorite Lorenz viding a program that allowed the fine stop), Kissinger. Maycher played superbly on an early little instrument to display the surpris- A rare treat followed with Mark and very fundamental-sounding Ernest ingly large variety of registrational Steinbach playing a true historic sur- M. Skinner, Op. 191 of 1911, with some effects available from only eight ranks. vivor, an original 2-manual, nine-rank minor tonal revisions done by Aeolian- The whole group then assembled in Möller, Op. 864 of 1908, in St. Luke’s Skinner in 1964. The organ had a more Fall River and the freshly redecorated Episcopal Church. It has been wonder- complete restoration in 2002 by Emery
Casavant Frères, Op. 2796, 1964, St. Anne’s Roman Catholic Church, Fall Log On and take the tour! River, MA Buses then took us to the huge, sumptuous, and beautifully maintained ANNUAL AND ONE-TIME COPYRIGHT St. Anne’s R.C. Church, also in Fall River. Located on a high spot of land PERMISSIONS WITH THE and fronted by twin towers soaring over 150 feet into the air, the church is one of CLICK OF A MOUSE the most commanding pieces of church architecture in the city. The program was a change of pace in that the organ here is neither old nor a rebuild of a vin- tage instrument, but rather a 3-manual Phelps Casavant, Op. 2796 of 1964, voiced strongly and with many high- pitched stops and speech attack that take advantage of the outstanding acoustical environment afforded by the large enclosure. The high rear gallery location allowed for clear and reflective sound projection down the very long nave. The following program featured the Sine Nomine Chamber Choir • EASY—online permission and reporting directed by Glenn Giuttari with organ- • ECONOMICAL—based on average weekend attendance ist Andrew Galuska: three motets, • THOROUGH—your favorite songs Coelos Ascendit Hodie, Beati Quorum Via, and Justorum Animae, Stanford; • CONVENIENT—includes a growing list of publishers Christus Pro Nobis Passus Est, Klemet- ti; I Am the Rose of Sharon, Billings; Followers of the Lamb, Shaker Tune; LOG ON TODAY! WWW.ONELICENSE.NET the hymn “O For a Thousand Tongues to Sing,” Azmon; followed by the Grego- rian Salve Regina, each verse alternating
24 THE DIAPASON with improvised sections in the manner ful Memorial Unitarian Church. Forget of a French symphony; Salve Regina, any ideas of the usual stark and under- Poulenc; organ improvisation on Salve stated New England Unitarian build- Regina; and Gloria by Poulenc. The ing—this one is an example of architec- performers were awarded protracted tural magnificence done up in the lofty applause for their presentation of a English neo-Gothic style. There are demanding musical offering. delights for the eye everywhere. The organ is a 1904 3-manual Hutchings- Friday Votey, Op. 565, as reworked in 1971 by The day began in a “picture postcard” F. Robert Roche, and must be regarded setting: Middleboro’s First Congrega- as the local (nearby Taunton) builder’s tional Church—the “Church on the magnum opus. The twin cases are lav- Green.” The 1828 building houses a 2- ishly carved and contain gilt façade manual S. S. Hamill tracker of 1887 pipes that are themselves highly deco- reworked by F. Robert Roche. The rated with elaborate stencil work. As if all of this were not enough, more wood- carvings abound as do Tiffany windows. Dwight Thomas, the incumbent musi- cian of the church and a very fine organ- ist, played a program that suited the E. & G. G. Hook, Op. 387, 1866, First Con- Giles Beach, United Methodist Church, church’s great acoustics: Woodland gregational Church, Rochester, MA Marion, MA Flute Call, Dillon; Trumpet Tune, Swann; The Squirrel, Weaver; the hymn examples available at this convention the Poor; and concluded with two “Let There Be Light” sung to the tune (one a transplant). Lemare transcriptions: “Old Black Joe” Concord; and Dawn by Jenkins. His The charming elliptical Rochester and “When Johnny Comes Marching altogether too short performance civic “square” contains a library, town Home Again.” Both her playing and the showed off the beautifully balanced offices, and the ubiquitous First Congre- instrument suited the friendly small sound of this very colorful instrument. gational Church, in whose Parish Hall building. One hopes that this worthy The whole experience was magnificent. we ate our box lunches. This was a gem will receive a well-deserved muse- A short stroll down Center Street refreshing time to enjoy a lovely spot and um-quality restoration. brought us to the restored Fairhaven soak up some small town ambiance. Town Hall and a short lecture by S. S. Hamill Co., 1887, First Congrega- Peter Crisafulli played a masterful pro- Christopher Richard on Henry H. tional Church, Middleboro, MA gram on the altered, bold, bright, and Rogers and his architectural gifts to the lively 1-manual E. & G. G. Hook, Op. city. In addition, we all were able to take beautiful old structure still has its box 387 of 1866. The rear gallery location a short tour, both verbally and later in pews with doors and a rear gallery from allowed good projection of the organ’s person, through the nearby portions of which the organ speaks clearly and with delightful sound, although the somewhat “Mr. Rogers’ Neighborhood.” authority under a shallow barrel vault cramped location meant that the organ ceiling. The interior is enhanced by bench (and Crisafulli) were perched more examples of fascinating trompe- precariouly close to the edge of the rail. l’oeil decoration. SharonRose Pfeiffer His program: Voluntary in A, Selby; played with both verve and sensitivity in Jesu, meine Zuversicht, Zeuner; Varia- the following program: the hymn “How tions on “Fairest Lord Jesus,” Woodman; Firm a Foundation” sung to the tune the hymn “There’s a Wideness in God’s Foundation, then Adler’s setting of the Mercy” sung to Crisafulli’s own tune same tune from Hymnset; Arietta, Elegy New Mercy. and Melody, all by Taylor; winding up One could not imagine a more apt with “Deep in Our Hearts,” also from example of a close-knit country congre- Hymnset. This was an auspicious begin- gation than that found at the little Unit- ning for the day’s events—a fine pro- ed Methodist Church in Marion, Massa- gram in an historic old New England chusetts. The delightful and intimate Congregational church. building (complete with embossed tin interior walls and ceiling) houses a much traveled and altered 1-manual organ of uncertain manufacture, but presumed to have been built by Giles Beach of Gloversville, New York in the mid 1860s. Judith Conrad, who obviously Hutchings-Votey, Op. 565, 1904, Memo- fell in love with the tiny instrument and rial Unitarian Church, Fairhaven, MA Roche, 1977, First Congregational its intimate sounds, arranged the follow- Church, Fairhaven, MA ing appropriate program to display its The remaining three events of the captivating qualities: Fantasie in the 6th afternoon took place in the once-afflu- The multi-talented George Boze- Tone, Carreira; Hexachordum Appo- ent city of Fairhaven and featured sev- man then gave an outstanding recital in linis, Pachelbel; Voluntary and Fugue in eral examples of the civic generosity of the First Congregational Church, built D, Wesley; Ave Maria by Arcadelt, its greatest benefactor, Standard Oil in 1845. The organ is what can best be Liszt; the hymn “The Day of the Lord Is magnate Henry Huttleston Rogers. The described as an “assembled” instrument at Hand” sung to the tune Remember first of these was the incredibly beauti- of two manuals rebuilt and reconfigured
Hook & Hastings Co., Op. 2503, 1925, Central Congregational Church, Mid- dleboro, MA
Another Congregational church, Cen- tral in Middleboro, was the spot for David Chalmers to demonstrate the features of what had begun in 1925 as a 2-manual Hook & Hastings, Op. 2503. After a couple of reworkings, it retains the remains of the case of the church’s previous organ, a George Stevens of 1871 that had been situated in a rear gallery. After much remodeling of the interior, the organ was moved to the front of the church and had more case wings added. Chalmers showed that he understood both the potential and limi- tations of the instrument in the following program: Veni Creator, Spiritus (Prae- ludium), Sowerby; Prelude, op. 50, no. 5, Foote; “My Soul Forsakes Her Vain Delight” and “Do Not I Love Thee, O My Lord” (from Eight Preludes on Southern Hymns, op. 90), Read; ending with the hymn “All Hail the Power of Jesus’ Name” sung to the tune Corona- tion. The organ has a firm and generous tone with the building offering no rever- beration whatsoever. Fortunately, it is located in a front choir gallery and thus speaks down the room’s central axis. We rarely hear examples of the late work of Hook & Hastings, but there were three
APRIL, 2006 25 by Roche in 1977. The visual aspect (reminiscent of much of the original case), as well as the sound, is very much in the style of a mid 19th-century instru- ment. The rear gallery location allows the sound to blend and project well. Curiously, in the front of the auditorium there are two matching pipe fences that at one time formed a façade for a small 3-manual Kimball, Smallman and Frazee of 1911. These quite uninterest- ing flats were said to have been designed by E. M. Skinner. Bozeman’s program: the hymn “Eternal Father, Strong to Save” sung to Melita; Concer- to in d minor, Vivaldi/Bach; Dolce and Scherzo (from Symphony No. 4 in f minor), Widor. As usual, Bozeman dis- played his customary musical playing, which is always propelled by a telling rhythmic liveliness. We returned to Brockton for the final E. & G. G. Hook & Hastings, Op. 764, event of the day, a recital by Ray 1874, St. John’s Episcopal Church, Estey Organ Co., Op. 2486, 1926, Our Cornils, Municipal Organist of Port- Taunton, MA Lady of the Holy Rosary Roman land, Maine, where he continues his E. & G. G. Hook, Makers, c. 1834–7, Catholic Church, Taunton, MA distinguished tenure (among other toire to suit them. Her program: Motet keydesk, Berkley Congregational appointments) presiding over the mon- for Organ on the Third Tone of Thomas Church, Berkley, MA umental Kotzschmar Organ (Austin, Tallis, Schaffer; “O Gott, du frommer Op. 323, 1912) in the Merrill Auditori- Gott” (from Eleven Chorale Preludes, other locales prior to its settling in um. His recital here was on a 2-manual op. 122), Brahms; “March 24: Saint Berkley in 1875. Sensitively and thor- 23-rank Hook & Hastings, Op. 2461 of Gabriel” and “November 22: Saint oughly restored by Roche in 1983 after 1923, which had been transplanted Cecilia” (from Saint’s Days: Twelve Pre- much research, the once-white case now from Brockton’s Olympic Theatre to the ludes for Organ), Pinkham; Suite of displays its warm original mahogany rear gallery of St. Casimir’s R.C. Dances, Phalese, transcr. Johnson; the veneer and was somewhat redesigned to Church where its robust tones sounded hymn “The King of Love My Shepherd reveal its now elegant proportions. Ms. out vigorously in the fine acoustical set- Is” sung to the tune St. Columba; and Owen, internationally known both as an ting of the 1950s room. Cornils dis- “Moderato” (from Three Tone Pieces, organ historian and an editor and com- played his usual blazing verve as he let op. 22), Gade. The Phalese dances were piler of organ literature, played the fol- the Hook “rip” in the following pro- charming demonstrations of the sounds lowing program: God Save the King, gram: Carillon de Westminster, Vierne; of individual stops. The combination of with Variations, Wesley; Wie nach einer Rosace (from Byzantine Sketches), church, instrument and artist was a won- Wasserquelle, BWV 1119, Bach; O wie Mulet; “You Raise the Flute to Your derful way to begin a very busy day. selig seid ihr doch, ihr Frommen, Lips” (from Four Eclogues), DeLa- Brahms; Trip to Pawtucket and The marter; Will o’ the Wisp, Nevin; The Bristol March, Shaw; Flutedance, Utter- Leviathan March, Kotzschmar; Melody back; All’ Elevatione II and All’ Offerto- in Mauve, Purvis; the hymn “For All the rio, Zipoli; and the hymn “Years Are Saints” sung to Sine Nomine; and Vari- Coming” sung to Hyfrydol. As an added ations on “Sine Nomine,” Weaver. That bit of interest, Matthew Bellocchio this was one of the loudest instruments was called upon to use the hand pump to be heard in the entire convention, during The Bristol March. He had also there can be no doubt. Many conven- redesigned the case modeled on two ear- tioneers were heard to remark that lier Hook organs. Even though in a non- hearing more of the available subtler reverberant room, the organ has a sounds would have been welcome. bright, yet subtle and singing tone Unfortunately, Cornils decided to play a which, notwithstanding its peripatetic “full bore” romp on Bach’s Toccata and history and alterations, and thanks to Fugue in D Minor as an encore. It could careful tonal reconstruction, has the well have been omitted as we already charming sound one associates with had heard a surfeit of fortissimo. early Hook instruments. Back in Taunton proper, we experi- Saturday enced a rare treat, an air conditioned This was “Taunton Day.” It began space—Our Lady of the Holy Rosary with a gem of a recital by Lois Regestein R.C. Church, where Philip Jones on a genuinely historically important E. & G. G. Hook, Makers, c. 1834–7, played a pre-lunch program on a small 2- instrument, a 2-manual E. & G. G. Berkley Congregational Church, manual Roche organ that has portions of Hook, Op. 764 of 1874, in St. John’s Berkley, MA Estey’s Op. 2486 of 1926 and Ryder’s Episcopal Church. The organ, original to Op. 147 of ca. 1887 as well as new mate- the building, has served valiantly Once again, the conventioneers split rial. Though certainly far from being an throughout the years with only periodic into two groups in order to be accom- historic instrument, it is an effective maintenance and cleaning. A damaged modated in the somewhat smaller spaces example of what can be done to provide Great Trumpet was replaced by a fine for the next two programs. The first of a workable pipe organ for a small parish Johnson & Son, Op. 745, 1890, Pilgrim period-sounding one in 1965 by James these was the Berkley Congregational church. The program: Ciacona, Buxte- Congregational Church, Taunton, MA Winters. Snugly situated at the front of Church where founding member and hude; Two Preludes on Asian Hymns, the south aisle, the organ sounds the first president of the OHS, Barbara Jones; Jesu, Jesu, Thou Art Mine (three Carol for the New Year”), Fedak. Lunch through its original façade of tastefully Owen, played happily on what may be variations plus chorale by Bach), Fedak; followed in the Parish Hall. decorated Open Diapason pipes. Lois the oldest known functioning church Spiritual Needs, Fletcher; the hymn Will Headlee then played an exciting Regestein is often featured on the organ by the firm of E. & G. G. Hook, a “Father, We Praise Thee” sung to recital on Pilgrim Congregational smaller trackers during OHS conven- delightful 1-manual tracker of ca. Christe Sanctorum; and Two Hymn Pre- Church’s reconstructed late 2-manual tions and knows how to choose reper- 1834–1837 that had resided in several ludes (“The Kingsfold Trumpet” and “A Johnson, Op. 745 of 1890. The organ has
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26 THE DIAPASON been subjected to several additions and the Green and directly opposite the First surviving Hook in this part of the Com- both the weather and the packed nave reworkings, most recently by Roche in Parish Church; visiting the Reed and monwealth. Even though it has had must have been quite a challenge for the 1995–1997. As the result of much care- Barton Factory Store; or taking a walk- occasional repairs and replacement of artist, who seems to be able to overcome ful work, the tonal effect is a more than ing tour of the Taunton area and seeing its pedalboard, it is in essentially origi- any obstacle and produce magnificent reasonably good approximation of the the house where Ernest Skinner lived as nal condition and is obviously in need musical results. The console is located in characteristic Johnson sound. It is quite well as the building where Washington of a thorough restoration. O’Donnell’s what is best termed a “cozy” cubbyhole thrilling in the room, and Headlee was Skinner had his singing studio. From the program: the hymn “Mary, Woman of on the Gospel side of the chancel. Its enthusiastic in his praise for the instru- many parcels brought onto the bus, it the Promise” sung to the tune Drakes location must create real balance per- ment that responded joyfully under his seemed that many conventioneers opted Broughton; and Plymouth Suite, Whit- ception problems for the organist which, expert playing of the following program: to shop for silver goodies. lock. He played with both technical coupled with the presence of a large por- “Choral” (from Quatre Pièces, op. 37, brilliance and musical sensitivity. What tion of the Great whose pipework no. 4), Jongen; Three Pieces for Organ a sound! extends several feet into the south aisle, (from the film, Richard III), Walton; Before the major evening perfor- must be quite unsettling. The case pipes Reverie, Macfarlane; “Allegretto” (from mance, we bused to the West Congrega- of this division stand very close to the Sonata in e-flat minor, op. 65), Parker; tional Church where they have a spa- pulpit, and their presence may seem “Hamburg” (from Ten Hymn Tune Fan- cious pavilion on the grounds set up for occasionally intimidating to the person tasies), McKinley; Ronde Française, op. an authentic New England clambake delivering wisdom from that spot. Even 37, Boëllmann; and the hymn “Glorious complete with tender steamed clams, near the rear of the nave, the Great divi- Things of Thee Are Spoken” sung to sausages and vegetables in seemingly sion certainly makes itself felt. Fortu- Abbot’s Leigh. The entire program was limitless quantities, and topped off with nately, Murray has had a long association spectacularly played, and special note slices of refreshing watermelon. The with this instrument and was, indeed, must be made about his outstanding small church itself was open for those the consultant for its rebuild by the hymn accompaniment. who wished to sample a “taste” of a very Roche firm in 1980. late 3-rank Hook & Hastings unit organ, Op. 2604 of 1933 (their final instrument was Op. 2614 installed in 1935).
George Jardine & Son, Op. 1257, 1899, St. Thomas Episcopal Church, Taunton, MA
Perennial favorite Thomas Murray Wm. B. D. Simmons, 1853, keydesk, demonstrated his usual astounding First Parish Church (UU), Duxbury, MA artistry on Taunton’s largest organ, a much-rebuilt Jardine, Op. 1257 of 1899, Sunday in historic St. Thomas Episcopal After several event-packed days, the Church. Fortunately, the high vaults of schedule allowed for a Sunday morning the beautiful but non-reverberant free for those who chose to attend local Upjohn-designed building helped to dis- church services or who opted instead for Hook & Hastings, Op. 1674, 1895, St. perse the sound. Murray gave some wel- a later start to their day. Mary’s Roman Catholic Church, come informative explanatory comments Travel to the lovely town of Duxbury Taunton, MA during the following program: Three brought us to the picture-gorgeous Pieces, op. 29 (Prélude, Cantilène, and 1840 meeting house of the First Parish The final event of the afternoon was Scherzando), Pierné; Concerto Grosso in Church (UU) where Frances an altogether too short recital played d, Vivaldi/Bach; Six Versets on the Mag- Conover Fitch played a short pro- by Joseph O’Donnell in St. Mary’s nificat, op. 18, Dupré; a commissioned gram on Andover’s 1967 rebuild of the R.C. Church where its lofty nave hymn “O God, We Thank You” sung to church’s Wm. B. D. Simmons 2-manu- helped enhance the distinguished tone Coram Hall; Grand Choeur Dialogué, al tracker of 1853. The elegantly pro- of the 3-manual Hook & Hastings, Op. Gigout; Evening Song, Bairstow; and portioned room still includes much of 1674 of 1895, located high in the rear Sonata I in d, op. 42, Guilmant. Once its original décor, conveys an overall gallery. The instrument is the largest again, the oppressive heat occasioned by feeling of uncomplicated serenity, and
E. & G. G. Hook, Op. 348, 1864, First Parish Church (UU), Taunton, MA Yale Institute of Sacred Music The next organ, that in the 1831 First Parish Church (UU), is a highly modified reworking of a 2-manual E. & G. G. 2006 Summer Study Hook, Op. 348 of 1864. The lore is that the original organ was the first one with which young Ernest M. Skinner became SUMMER TERM AT STERLING DIVINITY QUADRANGLE acquainted when his father, Washington WEEKLONG NONCREDIT COURSES IN JUNE Skinner, was tenor soloist for the church during the 1870s and 1880s. Over the 0REACHING AND 7ORSHIP IN A 0OSTMODERN #ONTEXT years, the instrument received several 7ORSHIP FOR THE 7HOLE #ONGREGATION modifications including some work done by E. M. Skinner himself in 1949, two #HURCH -USIC #LINIC generations after his first acquaintance 7RITING 7ORKSHOP #ONTEMPORARY 0OETRY AS 4HEOLOGY with it. Rebuilding by Roche in the -USIC #OMPOSITION 7ORKSHOP 1980s resulted in an essentially new instrument behind the original façade -OZART´S 3ACRED -USIC AND THE 3ACRED IN -OZART´S -USIC but with enough 19th-century “accent” (EAVENLY 'LORY ON %ARTH 4HE !RT OF )CON 0AINTING IN THE /RTHODOX to sound reasonably authentic. Rosalind Mohnsen played with her usual verve, #HURCH 4HEORY AND 0RACTICE style, and understanding in spite of the room’s total lack of presence. Her pro- 4UITION SCHOLARSHIPS AVAILABLE /THER COURSES OFFERED THROUGH 9ALE gram: Orgelsinfonie zum Ausgang, Tag; $IVINITY 3CHOOL $ETAILS AT WWWYALEEDUSDQSUMMERTERM “Cantabile” (from Ecole d’orgue), Lem- mens; the hymn “Lead, Kindly Light” sung to Lux Benigna; In Memoriam, op. YALE AT NORFOLK 17, Dunham; Washington’s Grand Cen- YALE SCHOOL OF MUSIC SUMMER SCHOOL AUGUST ¯ NORFOLK CT tennial March and Bristol Waltz, Shaw; ending with Postlude, Whiting. Grant #HAMBER #HOIR AND #HORAL #ONDUCTING 7ORKSHOP Hellmers assisted at the console. We were then offered a break in rou- tine by having the option of the follow- ing tours: exploring the offerings of the )NFORMATION AT Old Colony Historical Society located on
APRIL, 2006 27 is an ideal setting for the proud little The final event of the day took place most wealthy city largely as the result of organ’s gallery location and a bright in the Church of the Pilgrimage in Ply- the extensive whaling industry that was summer morning recital. Her program: mouth with Brian Jones, Organist centered here. Once again, because of “Toccata per l’Elevazione” (from Messa Emeritus of Trinity Church, Boston, and limited seating in the first two churches, degli Apostoli), Frescobaldi; Voluntary Peter Gomes, distinguished author, the group was split into two with the I in g minor, Stanley; the hymn “Winds theologian and Plummer Professor of programs repeated. Be Still” sung to Lead Me Lord; and Christian Morals at Harvard. Jones, a Praeludium and Fuga, Wesley. Ms. native of nearby Duxbury and at one Fitch’s exquisite playing was a fine time organist at the Church of the Pil- match for both the ambiance and the grimage, and Gomes, a Plymouth native rebuilt Simmons. and former organist at Memorial On we went to nearby Plymouth Methodist Church, became acquainted where we visited the large granite as youths, long before they went on to National Monument to the Forefathers their respective notable careers. The his- that was erected in the 19th century. toric building, a good one for support of The huge figure of Faith stands atop the congregational singing, houses a room- pedestal and faces appropriately toward filling organ rebuilt and moved several the sea, which is visible from the monu- times prior to its present reconfiguration ment’s location on high ground. At least by Roche in 1991. The program consist- one of the OHSers found the name of ed of congregational hymns and organ his Mayflower ancestor among those works appropriate for both the location engraved on the base of the monument. and the general themes of the conven- The remainder of the day was devoted tion. Aiding in the performances was a to further Pilgrim matters and a visit to choir of singers from the Church of the Plimouth Plantation, an extrordinary Pilgrimage, William Richter, director; place that includes a living museum and First Baptist Church, Patricia Peter- where one can wander through a recre- son, director. Both Gomes and Jones George Stevens, 1852, keydesk, St. ation of what might have been similar to enlivened the evening with frequently Andrew’s Episcopal Church, New Bed- a portion of the Plymouth of 1627. Fea- humorous comments. The program: the ford, MA tured there are structures and events por- hymn “O God, Beneath Thy Guiding trayed by “villagers” who will speak to the Hand” sung to Duke Street; A Song of Chas. F. Chadwick, Op. 1, 1901, North ing. The program: Andante in D Major, tourists as desired, but in an accent that is the Sea, Matthews; the hymn “It’s Good Baptist Church, New Bedford, MA Blewitt; Fugue on Es ist gewisslich an supposed to be like that of the Massachu- unto Jehovah to Confess” (from the der Zeit, Stirling; “Moderato in G setts colonists of the 1620s. We were Ainsworth Psalter) sung to Old 124th; Timothy Drewes, organ builder and Major” and “Allegro in D Major” (from admonished not to ask them or speak to “A.D. 1620” (from Sea Pieces, op. 55), husband of Cheryl, heard the previous American Church Organ Voluntaries), them about anything in our current time MacDowell; the hymn “The Breaking Wednesday on the Hutchings at North pub., A. N. Johnson, 1852; Choral Song as they would know nothing about events Waves Dashed High” sung to Plymouth; Congregational Church, North Middle- and Fugue, S. S. Wesley; and the hymn later than what happened in the Ply- March of the Magi, Dubois; choral boro (q.v.), played a “whale” of a “Thou Did’st Leave Thy Throne and mouth of 1627! Following this fascinating anthems, The King of Love My Shepherd delightful program on the only surviv- Kingly Crown” sung to Margaret. Ms. experience, we met for a “Pilgrim Feast” Is, Shelley and Praise the Lord, O ing organ built by Charles Chadwick, Rice performed with grace and skill and featuring 17th-century fare served by Jerusalem, Maunder (conducted by his 2-manual Op. 1 of 1901 in North did not let the occasional out of tune flue some of the same costumed and well- Gomes); the hymn “Lead on, O King Baptist Church. As we entered the rank disturb her in the least. informed guides whom we had seen in Eternal” sung to Lancashire; “War church, we were greeted by the ringing the village. During the dinner they gave March of the Priests” (from Athalie), of the tower bell. The fine and gener- comments (in the same 17th-century Mendelssohn; and the hymn “O Beauti- ously-toned instrument was rebuilt with accent) on the various dishes and “con- ful for Spacious Skies” sung to Materna. some tonal changes by Roche in 1981. temporary” ways of eating. Forget Emily There was also time allotted for hymn The program: “The Pharos (Light- Post or Miss Manners. Gentlemen, for requests, with numbers of favorites house) of Alexandria” and “The Pyra- instance, were shown the proper way to being shouted from the audience. mids of Giza” (from Ancient Wonders), wear a dinner napkin (when one was Arcus; the hymn, “The Ribs and Ter- used) in 1627—not in the lap, but slung Monday rors in the Whale” sung to Windham; over the left shoulder. Try it sometime— The final day of the convention was “Pawles Wharfe” (from The Fitzwilliam the thing really doesn’t want to stay there. held in New Bedford, once the nation’s Virginal Book), Farnaby; “Drake’s Drum” and “Pirate Song” (from Three Nautical Songs), G. W. Chadwick; and “The War Dance Festival” (from Impressions of the Philippine Islands), Moline. The Chadwick songs (by the more well-known composer brother of the organ builder) were sung both styl- ishly and with drama by tenor Freder- ick Louis Jodry who would be heard as organist at the First Unitarian Church later in the day. The informa- tive program notes explained the sea- faring thread that ran through the pieces performed. The Moline dance, which could serve only as a grand finale, was a truly wild romp.
Casavant Frères, Op. 489, 1912, St. Anthony of Padua Roman Catholic Church, New Bedford, MA
The final program of the morning took place in the elegantly decorated and massive St. Anthony of Padua R.C. Church, which boasts the tallest spire in New England. The high, vast interior contains hardly a square inch of undeco- rated area and is a continual feast for the eyes. It is climaxed by 32 heroic-sized angels on pedestals that ring the room. The organ, Casavant’s 4-manual, 60- rank, Op. 489 of 1912, is located high in the second (organ) balcony at the west end of the church. It speaks with author- ity down the massive barrel vault and features a truly glorious crescendo. George Stevens, 1852, St. Andrew’s Timothy Edward Smith, assisted by Episcopal Church, New Bedford, MA Tom Murray, conductor, and Michael Calmès, tenor and narrator, presented At St. Andrew’s Episcopal Church, the following program: “Sanctus” (from Joyce Painter Rice played a program the St. Cecilia Mass), Gounod; Marche of appropriate pieces on the oldest organ Funèbre et Chant Séraphique, Guil- in New Bedford, a transplanted 2-manu- mant; Carnival of the Animals (with al George Stevens tracker of 1852 that verse by Ogden Nash), Saint-Saëns; ORGAN HISTORICAL SOCIETY had been acquired by the church in 1977 ending with the hymn “Angels We Have BOX 26811 RICHMOND, VA 23261 through the advice of Barbara Owen. It Heard on High” sung to the tune Gloria. Order 24 Hours Daily www.ohscatalog.org had some restoration by Roche in 1978. The assembled audience formed the 804-353-9226 (REAL PEOPLE 9:30 TO 5 EST MON - FRI) It was a delight to hear the sweet and choir for the Gounod “Sanctus” (con- FAX 804-353-9266 e-mail [email protected] cohesive tone of this little jewel as it sang ducted by Murray), and Calmès narrat- out from the gallery of the small build- ed the clever Nash poetry that accompa-
28 THE DIAPASON nied the Saint-Saëns menagerie. The program: “Allegro” (from Sonata in E- been difficult to maintain given the hymn was an appropriate “nod” to the flat Major, BWV 525), Bach; Tiento de extreme heat and humidity, especially angels and seraphim that ringed the mano derecha, Bruña; Introduction and in the organ gallery. Also, an annoying nave. For a final “Gee Whiz” moment Variations on “Nicaea,” Post; the hymn “thrumming” of an idling diesel engine we were treated to a display of some “Bring, O Morn, Thy Music” sung to just outside one of the open windows of 5,500 light bulbs that enhance the Nicaea; and the Fugue in E-flat Major the church interfered with the enjoy- curves of the many arches in the church. (“St. Anne”), BWV 552, Bach. Jodry ment of the Franck Pastorale and the We were told that the local power com- played with great panache on the organ’s fine Hautboy stop. Fortunately, pany had to be notified in advance as to church’s 2-manual 25-stop Flentrop of the engine noise stopped about half- the exact time that the switches were to 1966 located in the rear gallery. It way through the piece. An extremely be thrown so that proper preparation sounds quite strong in the large but brisk tempo for the Bach “Wedge” left could be made for the great power acoustically dry room and had received many listeners breathless. demand. Evidently all went well, as needed restoration work and tonal The many events of the very busy there were no reports of “brown-outs” in refinement by Scot Huntington in 1995. week had many ponder whether the the city of New Bedford. Smith, justifi- otherwise well-organized (no pun ably long an OHS favorite, seemed quite intended) convention may have been at ease amid both the great roars and over-scheduled. A wealth of interesting subtle tones of this terrific organ. His instruments are available in this part of playing together with Calmès’s tenor the Old Colony, but perhaps we were and the large choral forces filled the led to see too many of them, particular- room with glorious sound. ly since there were quite a few that could hardly be considered as “historic” in the usual sense. Nonetheless, bravos must go to the hard-working convention Hutchings, Plaisted & Co., Op. 42, committee and to the many organ tech- 1874, St. Anne’s Roman Catholic nicians who put the instruments into Church, New Bedford, MA playing condition. Special mention is due to the compil- Fletcher. It is a whimsical piece very ers of the Organ Handbook, 2005 for the much in the tradition of the Saint-Saëns many hours of research and writing that Carnival of the Animals heard earlier in went into the volume. It is the largest the day. As an amusing prop, Fletcher one produced thus far (at 288 pages) and Hilborne L. Roosevelt, Op. 29, 1876, produced a small dinosaur figurine that again is a beautifully illustrated and Our Lady of Guadalupe Parish, New resided on the lid of a nearby grand information-filled source of background Bedford, MA piano during the performance. material on both the instruments and their locales. The editors, under the After lunch in St. Anthony’s large overall direction of Lisa Compton, parish hall, we went to Our Lady of deserve our admiring thanks. Guadalupe Parish at St. James R.C. OHS conventions are always enjoy- Church for a recital by Christopher able, and often much of the pleasure Marks on a much-rebuilt and relocated comes from being with colleagues who Hilborne Roosevelt, Op. 29 of 1876, that E. & G. G. Hook, Op. 244, 1859, Centre- share the common interest of the history had originally been in Trinity Episcopal Trinity United Methodist Church, New of North American organ building. The Church, Boston. After a couple of Bedford, MA 2006 convention will be headquartered rebuilds there, it was moved to St. James in scenic Saratoga Springs, New York, in 1927 and installed in the rear gallery. Dinner followed at the Wamsutta and will run from June 25 through 30. It The organ had been out of service for Club, an elegant facility that originally will celebrate the fiftieth anniversary of some time and was heard this afternoon had been one of New Bedford’s many the Society’s official founding. For fur- for the first time in over 30 years. It was opulent mansions. A short walk took us ther information, contact the Organ His- put into basic playing condition by a to the final recital of the convention, a torical Society at their website: group of dedicated artisans, one of D. A. Flentrop, 1966, First Unitarian brilliant performance by the popular
APRIL, 2006 29 Cover feature
A. E. Schlueter Pipe Organ truly effective expression allows the use Company, Lithonia, Georgia of a variety of stops for choral and con- First Presbyterian Church, gregational accompaniment and tonal Savannah, Georgia layering that is not often possible in The new pipe organ for First Presby- other instruments. terian Church, Savannah, Georgia is a Our firm built electro-pneumatic custom-built instrument comprising 47 slider chest actions of the Blackinton ranks of pipes with an eclectic specifica- variety with our electro-pneumatic pri- tion paying homage to the American mary design. This type of chest action Classic school of organbuilding. A core has the ability to operate over a wide concept of our company’s tonal ideal is pressure range without the repetition “to design instruments that have warmth problems and pressure limitations often but not at the expense of clarity and clar- associated with electric pull-down slider ity not at the expense of warmth.” We chests. Electro-pneumatic unit chests believe this to be one of the most impor- are provided for all large bass pipes, off- tant considerations in an instrument that set chests, and reeds. draws its lineage from the organbuilding One fabled and often debated ele- schools of Germany, France, and Eng- ment in organ mechanical design is the land. Of utmost concern was adequate winding system of the modern organ. support of the choir and congregation Often in art one can consider that any- taking into account the acoustics of the thing that draws attention to itself is church and the literature required of the probably too much. This maxim is used organ in this worship setting. as an internal compass in our decision- The church musicians and organ com- making processes. Our concern is a mittee had a clear vision for the type of winding system that provides a solid organ they desired for worship when wind supply without being sterile. The they contacted our firm three years ago. winding on the Savannah organ is They listened to many instruments in accomplished through the use of ribbed order to define their ideals. Certain and floating lid regulators fitted with styles of organ design were clearly not weights and springs. The organ reeds suitable for First Presbyterian. Ultimate- are placed on independent wind regula- ly, they gravitated toward the collective tors to allow a pressure differential from work of Aeolian-Skinner circa the flue stops and to permit indepen- 1940s–1950s as directed by G. Donald dent tremulant control. All of the wind- Harrison. As our firm worked with the chests are individually fitted with tun- church to develop a specification, it was able concussion bellows to allow fine decided that our work was to be in the regulation. In this manner, we achieved spirit of this great builder but not a stop stable winding that still maintains a for stop copy. Key points of departure presence of life. are found in the presence of an 8v Prin- The resources of the organ are con- cipal chorus in each manual division, a trolled by a three-manual drawknob con- more dominant Choir division than sole. Built in the English style, the con- would have been found in the period, key elements of the sanctuary. These woods in the sanctuary. The lower case sole sits on a rolling platform to allow and the choice of English reeds. Many of elements were a cornerstone of the panels are designed as a reflective sur- mobility. The console exterior is built of our decisions were guided by voicing visual integrity and symmetry they face for the choir. The organ grille pan- white oak with an interior of mahogany sample pipes in the church prior to con- wanted to maintain. Numerous design els were designed to provide a decora- and ebony. The console features modern struction of the organ. While setting studies were undertaken with free- tive allure while acting tonally transpar- conveniences for the organ performer samples in the church it became evident standing organ cases inside and outside ent. Our treatment of the organ grille such as multiple memory levels, program- that the French reeds often found on a the arch and its impact on the chancel panels allowed us to eliminate the use of mable crescendo and sforzando, trans- Harrison-era organ would not be suit- stained glass window. grille cloth that is often tonally absorp- poser, MIDI, and the ability to record able in this acoustical environment. A visual design emerged from our tive and does not allow a free exchange and play back organ performances. During the planning and tonal finish- engineering study that provided a focal of air between the sanctuary and the As the music ministry continues to ing stages of the organ we worshipped point for the stained glass window with organ chambers. grow, the organ is prepared for addi- with the choir and congregation in order Christ as the center. The solution was to Ever mindful that an organ is musical tional stops in the Great, Swell, and to gauge critical balances and dynamic build a large chamber on the front of only when it is in tune, we took great Choir divisions. There is also prepara- levels. We were also able to use the tal- the sanctuary and to utilize a suspended efforts in the design to provide a stable tion for an Antiphonal division with a ents of the church musicians and other light box for display of the window. In environment. A primary consideration horizontal Trompette en Chamade in Savannah organists, each bringing their this manner we were able to speak was to place all of the manual and pedal the rear of the sanctuary. These design own playing and registration style to the around and under the window with a pipework at one common level, thus considerations allow the organ to grow instrument. This has been very impor- large degree of tonal freedom and min- avoiding differing thermo climes and with the needs of the congregation. tant in the sound of the organ as it is imal tonal occlusion. The organ cham- the resulting tuning issues. The organ The organ chassis, inclusive of the heard in its final form. ber is built of solid concrete to concen- blower is located beneath the organ and organ case, console, windchests, winding A primary challenge was where the trate the sound of the organ forward draws its air from the bass of the Swell system and wood pipes were built organ would be located. The church was without a loss of energy. This allowed us and Choir chambers. In this manner air entirely by the Schlueter craftsmen. built in the late 1940s and was designed to work with more modest scales and is drawn from the same environment as Delivery and installation of the organ to be enlarged by removing the front wind pressures than might have been the pipes to promote tuning stability. took five weeks with the tonal finishing chancel wall. Until this came to pass, a required under other circumstances Metal windlines were used to dissipate lasting six weeks beyond the installation. temporary front chancel wall was built due to placement and chamber depth. heat buildup. The chambers were also Tonal finishing was completed under the containing a large stained glass window During the installation and subsequent designed with air returns in the ceiling direction of Arthur Schlueter III and depicting the Stations of the Cross. As tonal finishing we were very pleased to draw the ambient sanctuary air back Daniel Angerstein with the assistance of the dream of a pipe organ lay dormant with the transfer of energy from this into the chamber. This system is cou- Lee Hendricks, John Tanner, Marc for many years, the congregation grew organ chamber design and construction. pled to the sanctuary HVAC and runs Conley, and Al Schroer. As is the prac- to accept the chancel design with its The organ case was built of native whenever it is engaged. Thus no special tice of our firm, the tonal finishing of the stained glass window and stone arch as white oak, finished to match other controls are needed to set proper condi- organ has occurred with several repeat tions in the church in respect to the trips to work with the pipes and evaluate organ. This careful attention to layout the results. We find that this method of A.E. Schlueter Pipe Organ Company and other issues that affect the environ- tonal finishing results in a finer degree of mental conditions of the organ has voicing than is possible from one con- enabled us to maintain a one-degree centrated trip. It is expected that over Fine Pipe Organ Builders and variance between all divisions, which the course of the year we will continue Consultants promotes tuning stability. to make small changes and refinements. To provide control over the volume of Quality organ building is never the • New instruments the organ’s resources, the organ contains result of one individual but is the result • Rebuilding two expressive boxes, one for the Swell of the synergy of a team. In this respect • Additions division and one for the Choir division. our firm was ably assisted by the clergy, Built with extra-thick shades that over- music staff, church staff, organ com- • Slider chests lap and interlock, the expressive boxes mittee chairman and the members of • Electro-pneumatic chests provide wide dynamic control with elec- the organ committee. These individu- • New consoles tro-pneumatic servo-motors faithfully als readily gave of their time and tal- duplicating the performer’s movement ents and provided invaluable assistance P.O. Box 838 • Lithonia, GA 30058 of the expression shoes at the organ con- from the inception of the organ project 800-836-2726 • 770-482-4845 sole. This degree of expression finds to its installation and tonal finishing. additional favor with control of the high- Their effort, coupled with that of the Fax 770-484-1906 pressure hooded Tromba Heroique in craftsmen of our firm, has resulted in www.pipe-organ.com the Choir division. Constructed with the creation of this unique instrument. small Willis tuba shallots on 16w wind We would like to take this opportunity New 3-manual, 48-rank pipe organ installed at pressure, this dynamic reed is duplexed to thank each of the individuals First Presbyterian Church in Savannah, Ga. to the Great division and can be tamed involved with this project. We would Dedicated October 9, 2005. for use as a chorus reed by its enclosure. also like to publicly thank the members Indeed, the degree of control allowed by of the First Presbyterian Church in
30 THE DIAPASON Savannah, the organ committee, and Shan Dalton—office manager/ adminis- individual members including but cer- trative assistant tainly not limited to minister Stephen Bob Parris—executive assistant New Organs Williams, parish associate Nelle McC. Marc Conley—shop foreman/tonal fin- Bordeaux, Ray McClain, organist, Jim isher Adams, music director, and organ com- Randy Wilson—assistant shop foreman mittee chairman Bill Ricks. Rob Black—master cabinetmaker/CAD Established in 1973, the A. E. organ design Schlueter Pipe Organ Company is locat- Sam Polk—organ assembly, tuning ed of 20 miles east of Atlanta in the town assistant of Lithonia, Georgia. The facility con- Al Schroer—voicing, organ assembly & tains over 22,000 square feet of space tuning dedicated to building organs for worship Dallas Wood—organ assembly, tuning and recital. Created as a family business, assistant the company is operated under the guid- Michael DeSimone—leather & small ance of Arthur Schlueter, Jr. and Arthur parts Schlueter III. Together they provide Katrina Thornton—financial secretary direction to over 25 artisans in the build- Barbra Sedlacek—office support ing and rebuilding of pipe organs. In a Joe Sedlacek, Sr.—console wiring desire to be mindful of the reason for the Joe Sedlacek, Jr.—organ assembly instruments, the seal of the company Mark Montour—CNC operator/wood- incorporates “Soli Deo Gloria,” God wright alone the glory. Additional information Dustin Carlisle—organ assembly on our firm and projects can be viewed at Jeffery Chilcutt—organ assembly
APRIL, 2006 31 International Choral Festival Royal Canadian College of Organists July 10–15, Missoula, Montana. National Convention Summer Institutes Focus on score preparation for the choral July 23–27, Halifax, Canada. Workshops & Conferences conductor; choral literature, performances. Recitals, workshops, worship services, Contact:
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church Park Ridge, IL Maxine Thevenot; St. Thomas Church Fifth Pickle Piano & Church Organs Avenue, New York, NY 5:15 pm This calendar runs from the 15th of the month Bloomingdale, IL of issue through the following month. The deadline The Practitioners of Musick; Christ Church, is the first of the preceding month (Jan. 1 for New Brunswick, NJ 6:30 pm, Vespers at 6 pm Feb. issue). All events are assumed to be organ Peter Richard Conte; Shadyside Presbyter- recitals unless otherwise indicated and are grouped ian, Pittsburgh, PA 4 pm within each date north-south and east-west. •=AGO Alan Morrison; First Presbyterian, Virginia chapter event, • •=RCCO centre event, +=new Beach, VA 4 pm organ dedication, ++= OHS event. Choral concert; First Presbyterian, Lynch- Information cannot be accepted unless it spec- burg, VA 4 pm ifies artist name, date, location, and hour in writ- Sally Goff, with soprano, choirs and orches- ing. Multiple listings should be in chronological tra; Second Presbyterian, Roanoke, VA 4 pm order; please do not send duplicate listings. THE Gerre Hancock; Leith Symington Griswold DIAPASON regrets that it cannot assume responsi- Hall, Baltimore, MD 4 pm bility for the accuracy of calendar entries. T. Joseph Marchio; The Baptist Temple, Charleston, WV 4 pm William Bates; Centennial A.R.P. Church, Columbia, SC 4 pm Len Langrick; St. Philip’s Cathedral, Atlanta, UNITED STATES GA 3:30 pm, Evensong at 4 pm East of the Mississippi Ken Cowan; Church of Bethesda-by-the- Sea, Palm Beach, FL 4 pm Stephen Schnurr; Cathedral of the Holy 15 APRIL Angels, Gary, IN 3 pm Thomas Murray, Poulenc, Organ Concerto; John Gouwens; Memorial Chapel, The Cul- Woolsey Hall, Yale University, New Haven, CT ver Academies, Culver, IN 7:30 pm 8 pm Vincent Dubois; First Presbyterian, Evans- Gerre Hancock, accompaniment of Easter ville, IN 4 pm Vigil service; St. Stephen’s Episcopal, Rich- +Jeffrey Verkuilen; First Presbyterian, mond, VA 7:30 pm Neenah, WI 2 pm Choral concert; Grace United Methodist, 16 APRIL Naperville, IL 4 pm Bach Vespers; Holy Trinity Lutheran, New John Butt; House of Hope Presbyterian, St. York, NY 5 pm Paul, MN 4 pm Jeremy Bruns & Christian Lane; St. Thomas Church Fifth Avenue, New York, NY 24 APRIL 5:15 pm Thomas Murray, with Yale Schola Cantorum; Gerre Hancock, Easter morning worship ser- Woolsey Hall, Yale University, New Haven, CT vice; St. Stephen’s Episcopal, Richmond, VA 8 pm 11:15 am, recital 5 pm Nathan LeMahieu; Elliott Chapel, The Pres- byterian Homes, Evanston, IL 1:30 pm 17 APRIL Fauré, Requiem; House of Hope Presbyter- ian, St. Paul, MN 7:30 pm 25 APRIL Ray Cornils, with choir; Portland City Hall, 18 APRIL Portland, ME noon, 7:30 pm Michael Ging; St. Luke’s Chapel, Medical Peter Richard Conte; Graystone Presbyter- University of South Carolina, Charleston, SC ian, Indiana, PA 7:30 pm 12:15 pm Seung-lan Kim; St. Luke’s Chapel, Medical Michael Barone; Church of St. Louis, King of University of South Carolina, Charleston, SC France, St. Paul, MN 12:35 pm 12:15 pm Marek Kudlicki; Queen of All Saints Basilica, 19 APRIL Chicago, IL 7:30 pm Colin Lynch; Dwight Chapel, Yale University, Jon Laukvik; Lawrence University Memorial New Haven, CT 12:30 pm Chapel, Appleton, WI 8 pm Scott Foppiano; Cathedral of St. Patrick, Jason Alden; Church of St. Louis, King of New York, NY 4:30 pm France, St. Paul, MN 12:35 pm Cj Sambach, school INformances; First Pres- byterian, Charlottesville, VA 10:30 am, 1 pm, 26 APRIL also 4/20 Satomi Akao; Woolsey Hall, Yale University, Todd Wilson, with brass; Church of the New Haven, CT 12:30 pm Covenant, Cleveland, OH 7:30 pm Frederick Swann; Buncombe Street United Wesley Roberts; Trinity Episcopal, Coving- Methodist, Greenville, SC 7:30 pm ton, KY 12:15 pm Jon Laukvik, masterclass; Lawrence Univer- sity Memorial Chapel, Appleton, WI 11:10 am 20 APRIL Paul Jacobs; Northminster Baptist, Jackson, 27 APRIL MS 7:30 pm Monteverdi, 1610 Vespers; Church of St. Luke in the Fields, New York, NY 8 pm 21 APRIL Martin Jean; Illinois College, Jacksonville, IL True North Brass; Franklin & Marshall Col- 7:30 pm lege, Lancaster, PA 8 pm Cj Sambach; First Presbyterian, Char- 28 APRIL lottesville, VA 7:30 pm Vincent Dubois; First Presbyterian, Utica, C. Ralph Mills; St. Paul’s Lutheran, Durham, NY 7:30 pm NC 7:30 pm Maxine Thevenot, with orchestra; Cathedral •Michael Ging, with harp; Resurrection of the Incarnation, Garden City, NY 8 pm Lutheran, Cary, NC 7:30 pm Mark King; St. John’s Episcopal, Hagers- Frederick Swann; First Presbyterian, town, MD 7:30 pm Elkhart, IN 7 pm Tom Trenney, with orchestra; First Church Vincent Dubois; Salem United Church of Congregational, Painesville, OH 7 pm Christ, Huntingburg, IN 7:30 pm Clay-Chalkville High School Chamber Choir; Paul Jacobs, masterclass; Northminster Cathedral Church of the Advent, Birmingham, Baptist, Jackson, MS 10 am AL 12:30 pm Martin Jean, masterclass; Illinois College, 22 APRIL Jacksonville, IL 10 am Russell Weismann; Dwight Chapel, Yale Delbert Disselhorst; First Presbyterian, University, New Haven, CT 5 pm Springfield, IL 7 pm Mozart, Requiem; Woolsey Hall, Yale Univer- sity, New Haven, CT 8 pm 29 APRIL Antone Godding Manhattan Voices; St. Bartholomew’s, New •Paul Jacobs, masterclass; South Congrega- York, NY 7:30 pm tional, New Britain, CT 10 am Nichols Hills Edward Alan Moore; Franciscan Monastery, Dong-ho Lee; Woolsey Hall, Yale University, United Methodist Church Washington, DC 7 pm New Haven, CT 8 pm Oklahoma City Gerre Hancock, masterclass; Leith Syming- Ken Cowan; St. Paul’s Episcopal, Philadel- ton Griswold Hall, Baltimore, MD 3 pm phia, PA 7:30 pm Todd Wilson, lecture-recital; United Cj Sambach, INformance; Asbury United Methodist Church, Berea, OH 10:30 am Methodist, Harrisonburg, VA 2 pm LORRAINELORRAINE BRUGH, BRUGH, Ph.D.Ph.D. Paul Jacobs; St. Norbert Abbey, De Pere, WI John Gouwens, carillon; The Culver Acade- 2 pm mies, Culver, IN 4 pm Associate Professor 23 APRIL 30 APRIL Felix Hell; United Presbyterian, Amsterdam, Thomas Murray; Christ Church Cambridge, University Organist NY 3 pm Cambridge, MA 4 pm Gillian Weir; Hendricks Chapel, Syracuse •Paul Jacobs; South Congregational, New Valparaiso University University, Syracuse, NY 4 pm Britain, CT 4 pm Valparaiso, IN Farrell Goehring, with flute and harp; Paul Bisaccia, piano; Immanuel Congrega- Bethesda Episcopal, Saratoga Springs, NY tional, Hartford, CT 4 pm www.valpo.edu 4 pm Farrell Goehring, with violin and viola; Nigel Potts (Gift of Life Concert); St. Peter’s Bethesda Episcopal, Saratoga Springs, NY 4 by-the-Sea Episcopal, Bay Shore, NY 4 pm pm 219-464-5084 Scott Foppiano; Cathedral of St. Patrick, Gerre Hancock, hymn festival; Church of St. [email protected] New York, NY 4:30 pm Vincent Ferrer, New York, NY 3 pm
APRIL, 2006 33 Philip Baker; St. Thomas Church Fifth St. Cecilia Singers; Our Lady of Sorrows, Avenue, New York, NY 5:15 pm South Orange, NJ 3 pm David Hurd; Trinity Cathedral, Episcopal, Brenda Day; Christ Church, New Brunswick, Trenton, NJ 4 pm NJ 6:30 pm, Vespers at 6 pm Seton Hall University Choir; Our Lady of Sor- Janet Tebbel, carillon; Longwood Gardens, rows, South Orange, NJ 4 pm Kennett Square, PA 2:30 pm Paul-Martin Maki; Christ Church, New Cantate; First United Methodist, Char- Brunswick, NJ 6:30 pm, Vespers at 6 pm lottesville, VA 3 pm Bradley Hunter Welch; Nativity Cathedral, Alan Morrison; River Road Baptist, Rich- Episcopal, Bethlehem, PA 4 pm mond, VA 5 pm Handbell concert; Doylestown Presbyterian, Ken Cowan; St. Mark’s Lutheran, Baltimore, Doylestown, PA 4 pm MD 4 pm Brian Jones Maxine Thevenot; The Presbyterian Church Marilyn Keiser, hymn festival; Myers Park Director of Music Emeritus of Chestnut Hill, Philadelphia, PA 3 pm Presbyterian, Charlotte, NC 6 pm John Walker; St. Paul Episcopal (Mt. W. Michael Brittenback; St. Catherine's R.C. TRINITY CHURCH Lebanon), Pittsburgh, PA 4 pm Church, Columbus, OH 4 pm Mary Mozelle; National Presbyterian, Wash- Jiri Cipera; St. Philip’s Cathedral, Atlanta, GA BOSTON ington, DC 3 pm 3:30 pm, Evensong at 4 pm Cathedral Choir; Cathedral of Mary Our Boyd Jones; Jacoby Hall, Jacksonville, FL 3 pm Queen, Baltimore, MD 5:30 pm Welsh Hymn Sing; First Presbyterian, Felix Hell; Grace United Methodist, Balti- Neenah, WI 2:30 pm more, MD 6:40 pm Bach Week Festival; Music Institute of Chica- Cj Sambach, INformance; Asbury United go, Evanston, IL 7:30 pm Methodist, Harrisonburg, VA 9:45 am, recital 3 pm Choral Evensong; St. James Episcopal Cath- Jane Watts; Cincinnati Museum Center, dral, Chicago, IL 4 pm Cincinnati, OH 7:30 pm Nancy Staton; Grace United Methodist, Tom Trenney, hymn festival; United Naperville, IL 4 pm Methodist Church, Painesville, OH 7:30 pm Kevin Kwan; Church of the Covenant, Cleve- 8 MAY land, OH 4 pm Jane Parker-Smith; Brick Presbyterian, New Clayton State Chorale; St. Philip’s Cathedral, York, NY 8 pm DAVID K. LAMB, D.MUS. Atlanta, GA 3:30 pm, Evensong at 4 pm Choral concert; Church of the Covenant, Georgia Festival Chorus; Peachtree Road Cleveland, OH 7:30 pm Director of Music/Organist United Methodist, Atlanta, GA 5 pm Instrumental ensembles; St. Lorenz Lutheran, 9 MAY First United Methodist Church Frankenmuth, MI 4 pm Gail Archer; Bruton Parish Church, Williams- Columbus, Indiana The Alleluia Ringers; Concordia University burg, VA 812/372-2851 Wisconsin, Mequon, WI 3:30 pm Diane Belcher; Central Synagogue, New Peter Richard Conte; Cathedral of St. York, NY 12:30 pm, masterclass at 10 am Joseph, Baton Rouge, LA 4 pm Jeffrey Patry; Church of St. Louis, King of France, St. Paul, MN 12:35 pm 1 MAY Paul Jacobs; University United Methodist, John Walker; St. Paul Episcopal (Mt. Baton Rouge, LA 7:30 pm JAMES R. METZLER Lebanon), Pittsburgh, PA 8 pm 10 MAY TRINITY CATHEDRAL 2 MAY Choral concert; St. Bartholomew’s, New York, LITTLE ROCK Verdi, Requiem; Merrill Auditorium, Portland, NY 7:30 pm ME 7:30 pm Mark King; Trinity Cathedral, Pittsburgh, PA Jieun Newland; Battell Chapel, Yale Univer- 12:30 pm sity, New Haven, CT 8 pm Choral concert; Grace Church, New York, NY 11 MAY 7:30 pm +Olivier Latry, with the Philadelphia Orches- Marek Kudlicki; All Saints Episcopal, Atlanta, tra; Verizon Hall, The Kimmel Center, Philadel- GA 7:30 pm phia, PA 8 pm Gerre Hancock; Westminster Presbyterian, +Olivier Latry; Verizon Hall, The Kimmel Springfield, IL 7 pm Center, Philadelphia, PA 10:30 pm Susan De Kam; Church of St. Louis, King of Bradley Hunter Welch; Boone United France, St. Paul, MN 12:35 pm Methodist, Boone, NC 7 pm
3 MAY 12 MAY Maxine Thevenot; Princeton University Renée Louprette; Center Church, Hartford, Chapel, Princeton, NJ 12:30 pm CT 12:10 pm Choral concert, with orchestra; Grace Church, 4 MAY New York, NY 8 pm Mendelssohn, Paulus; St. Ignatius Loyola, +Olivier Latry, with the Philadelphia Orches- New York, NY 8 pm tra; Verizon Hall, The Kimmel Center, Philadel- Ken Cowan; Porter Center for the Performing phia, PA 8 pm Arts, Brevard, NC 7:30 pm +Olivier Latry; Verizon Hall, The Kimmel Choral concert; St. Mary’s College, Notre Center, Philadelphia, PA 10:30 pm Dame, IN 7:30 pm Mendelssohn, Elijah; First Presbyterian, Birm- ingham, MI 7:30 pm 5 MAY Bach Week Festival; Music Institute of Chica- Jason Charneski; Center Church, Hartford, go, Evanston, IL 7:30 pm CT 12:10 pm Choral festival; Cathedral of St. Paul, St. Marilyn Keiser; Myers Park Presbyterian, Paul, MN 8 pm Charlotte, NC 7:30 pm •Erik Wm. Suter; Highland United Methodist, 13 MAY Raleigh, NC 8 pm +Diane Meredith Belcher; Verizon Hall, The Bach Week Festival; Music Institute of Chica- Kimmel Center, Philadelphia, PA 1 pm go, Evanston, IL 7:30 pm +Alan Morrison; Verizon Hall, The Kimmel David Schrader, harpsichord; Music Institute Center, Philadelphia, PA 1 pm of Chicago, Evanston, IL 10 pm +Olivier Latry, with the Philadelphia Orches- Mozart, Requiem; St. James Episcopal Cath- tra; Verizon Hall, The Kimmel Center, Philadel- dral, Chicago, IL 7:30 pm phia, PA 8 pm +Olivier Latry; Verizon Hall, The Kimmel 6 MAY Center, Philadelphia, PA 10:30 pm Chanson; All Saints’ Episcopal, Wolfeboro, Lorenz Maycher; Georgetown Presbyterian, NH 8 pm Washington, DC 4 pm Ken Cowan, masterclass; St. Mark’s Luther- Todd Wilson; Cathedral of the Assumption, an, Baltimore, MD 9:30 am Louisville, KY 7:30 pm •Erik Wm. Suter, masterclass; Highland Unit- ed Methodist, Raleigh, NC 10 am 14 MAY Gerre Hancock; St. Matthew’s Episcopal, Felix Hell; Newark United Methodist, Newark, Houma, LA 6 pm DE 4 pm Handbell concert; Church of St. Joseph, 7 MAY Bronxville, NY 3 pm Paul Jacobs; Cadet Chapel, West Point, NY Christian Lane; St. Thomas Church Fifth 3 pm Avenue, New York, NY 5:15 pm Yoon-Mi Lim; First Presbyterian, Northport, Brian Harlow; Christ Church, New NY 7 pm Brunswick, NJ 6:30 pm, Vespers at 6 pm +George Damp; First Presbyterian, Ithaca, Doug Gefvert, carillon; Longwood Gardens, Cathedral Church of St. John NY 4 pm Kennett Square, PA 2:30 pm Albuquerque, New Mexico Felix Hell; St. Teresa’s RC Church, Staten Lew Williams; Trinity Episcopal, Bethlehem, www.stjohnsabq.org A two-inch Island, NY 3 pm PA 3 pm 505-247-1581 Brahms, A German Requiem; Church of St. Isabelle Demers; St. Philip’s Cathedral, Professional Card Vincent Ferrer, New York, NY 3 pm Atlanta, GA 3:30 pm, Evensong at 4 pm Olivier Latry, complete organ works of Duru- Bach Week Festival; Music Institute of Chica- in THE DIAPASON flé; St. Ignatius Loyola, New York, NY 4 pm go, Evanston, IL 3 pm Canterbury Choral Society; Church of the Music of the Baroque; First United Methodist, For information on rates and Heavenly Rest, New York, NY 4 pm Evanston, IL 7:30 pm specifications, contact: Choral Evensong; Grace Church, New York, NY 4 pm 15 MAY Jerome Butera Joseph Nigro; Cathedral of St. Patrick, New Ken Cowan; Calvary Episcopal, Cincinnati, [email protected] York, NY 4:30 pm OH 8 pm Iain Quinn Maxine Thevenot John Scott; St. Thomas Church Fifth Director of Associate Organist- 847/391-1045 Avenue, New York, NY 5:15 pm 16 MAY Cathedral Music Choir Director Choral concert; St. Peter’s Episcopal, Morris- Ray Cornils, youth concert; Portland City town, NJ 3 pm Hall, Portland, ME 10:30 am
34 THE DIAPASON Unionville High School Choir; Longwood Gar- 24 MAY dens, Kennett Square, PA 2 pm Matthew Dirst, harpsichord; St. Frances Nobert; Church of St. Louis, King of Bartholomew’s, New York, NY 7:30 pm RICHARD M. PEEK France, St. Paul, MN 12:35 pm 25 MAY IN MEMORIAM 17 MAY Bach Vespers; St. Lorenz Lutheran, Franken- McNeil Robinson; Church of the Holy Apos- muth, MI 7 pm May 17, 1927–November 28, 2005 tles, New York, NY 7:30 pm 26 MAY 19 MAY +Peter Richard Conte; Verizon Hall, The Ken Cowan; West Parish Church, West Kimmel Center, Philadelphia, PA 11 am Barnstable, MA 7:30 pm Jeffrey Wood; Center Church, Hartford, CT 27 MAY 12:10 pm Vento Chiaro; All Saints’ Episcopal, William Ferris Chorale; Mt. Carmel Church, Wolfeboro, NH 8 pm Chicago, IL 8 pm 28 MAY 20 MAY Kyle Babin; Central Synagogue, New York, Ken Cowan, masterclass; West Parish NY 12:30 pm Church, West Barnstable, MA 10 am Andrew Peters; Christ Church, New +Peter Richard Conte; Verizon Hall, The Brunswick, NJ 6:30 pm, Vespers at 6 pm Kimmel Center, Philadelphia, PA 11 am Herndon Spillman; St. Patrick Catholic John Gouwens, carillon; The Culver Acade- Church, Meridian, MS 4 pm mies, Culver, IN 4 pm 31 MAY 21 MAY Ken Cowan; Emmanuel Episcopal, Chester- Colonial Singers; First Church of Christ, town, MD 8 pm Wethersfield, CT 7 pm Choral concert; Center Church, Hartford, CT 4 pm UNITED STATES Brahms, Requiem; Church of St. Joseph, West of the Mississippi Bronxville, NY 3 pm Hymn Festival; St. Peter’s Episcopal, Bay 16 APRIL Shore, NY 5 pm Christoph Tietze; Cathedral of St. Mary of the Assumption, San Francisco, CA 3:30 pm Jonathan Hall; Cathedral of St. Patrick, New Carol Williams; Balboa Park, San Diego, CA York, NY 4:30 pm 2 pm Mark Bani; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 21 APRIL Gwendolyn Toth; Christ Church, New Bruce Neswick; St. John’s Cathedral (Epis- Brunswick, NJ 6:30 pm, Vespers at 6 pm copal), Denver, CO 7:30 pm Felix Hell; Lutheran Theological Seminary, Gettysburg, PA 3 pm 23 APRIL DONALD W. WILLIAMS Anne Wilson, Song of Hope; Doylestown Eastertide Evensong; Christ Church Cathe- Presbyterian, Doylestown, PA 7 pm dral, St. Louis, MO 2:30 pm IN MEMORIAM Choral concert; Cathedral of Mary Our Carlene Neihart; St. Luke’s Episcopal, Queen, Baltimore, MD 5:30 pm Shawnee, KS 3 pm August 5, 1939–September 22, 2005 Mary Preston; Grace Covenant Presbyter- Easter Lessons & Carols; St. Stephen’s Pres- ian, Richmond, VA 5 pm byterian, Fort Worth, TX 11 am Cantate; First Presbyterian, Lynchburg, VA 3 Mel Butler, with accordion; St. Mark’s Cathe- pm dral, Seattle, WA 2 pm Paul Jacobs; Forrest Burdett United Bruce Neswick; Trinity Lutheran, Lynnwood, Davis Wortman Methodist, Hurricane, WV 3 pm WA 7 pm RONALD WYATT Gerre Hancock; First Baptist, Henderson, John Scott; Walt Disney Concert Hall, Los NC 11 am worship service, 4 pm recital Angeles, CA 7:30 pm St. James’ Church Trinity Church Atlanta Baroque Orchestra; Peachtree Road Carol Williams; Balboa Park, San Diego, CA New York United Methodist, Atlanta, GA 3 pm 2 pm Galveston Bruce Neswick; St. Philip’s Cathedral, Atlanta, GA 3:30 pm, Evensong at 4 pm 25 APRIL Duruflé, Requiem; Cathedral Church of the Huw Lewis; Wichita State University, Wichi- Advent, Birmingham, AL 4 pm ta, KS 7:30 pm Thomas Wikman; St. Chrysostom’s, Chica- go, IL 2:30 pm 28 APRIL Marcia van Oyen mvanoyen..com Orff, Carmina Burana; St. Mary’s College, Gail Archer; Church of St. Helena, Min- Marcia van Oyen Notre Dame, IN 7:30 pm neapolis, MN 7:30 pm Joseph Adam; Kilworth Chapel, University of 22 MAY Puget Sound, Tacoma, WA 12:10 pm Plymouth First United Methodist Church,,Plymouth,,Michigan Cathryn Wilkinson; Elliott Chapel, The Pres- Lynn Butler; St. Mark’s Cathedral, Seattle, byterian Homes, Evanston, IL 1:30 pm WA 7:30 pm
23 MAY 29 APRIL Jason Roberts; Central Synagogue, New Gail Archer, lecture and masterclass; Church York, NY 12:30 pm of St. Helena, Minneapolis, MN 9:30 am Peter Richard Conte; St. Mary’s Cathedral, Peoria, IL 7:15 pm 30 APRIL Bradley Althoff; Church of St. Louis, King of Ars Lyrica Houston; Christ the King Lutheran, France, St. Paul, MN 12:35 pm Houston, TX 5 pm
A E. Power to the People - #0614. . . continuing a centennial tribute P to the late, great E. (Edward George) Power Biggs (3/29/06- 3/10/77). R I Easter Uprising - #0615. . . our musical progression leads from Palm L Sunday through Passiontide to the Resurrection Festival.
2 Going On Record - #0616. . . a springtime review of some interesting new CD releases of organ music from around the world. 0 0 Not Quite Neighbors - #0617 . . . but not so distant, either, three new 6 pipe organs at Indiana's Goshen College, St. Chrysostom's Church in Chicago, and Notre Dame University.
APRIL, 2006 35 James David Christie; Pacific Lutheran Uni- 26 MAY Shawn Grenke, with orchestra; Centenary 28 MAY versity, Tacoma, WA 3 pm Gail Archer; Trinity Episcopal, Reno, NV 12 United Church, Hamilton, ON 3 pm Sylvie Poirier, with narrator, Eben: The Tim & Nancy Nickel; Zion Lutheran, Port- noon Nicholas Fairbank, with Sooke Philharmonic Labyrinth of the World and the Paradise of the land, OR 4 pm Winds; Pemberton Chapel, Royal Jubilee Hos- Heart; Église St-Anges, Lachine, Montreal, QC, 28 MAY pital, Victoria BC 2:30 pm Canada 3 pm 1 MAY Gail Archer; Cathedral of St. Mary of the Alan Morrison; Benaroya Hall, Seattle, WA Assumption, San Francisco, CA 3:30 pm 1 MAY 29 MAY 7:30 pm Carol Williams; Balboa Park, San Diego, CA Daniel Bishop; Liverpool Cathedral, Liver- Andreas Meisner; Liverpool Cathedral, Liv- 2 pm pool, UK 11:15 am erpool, UK 11:15 am 6 MAY Choral Evensong; St. Stephen’s, Collegium Vocale; Christ Church Cathedral, Bournemouth, UK 4 pm 30 MAY St. Louis, MO 7:30 pm INTERNATIONAL Carol Williams; Lincoln Cathedral, Lincoln, Carsten Møller & Jen Christiansen; St. UK 7:30 pm Andreas, Copenhagen, Denmark 8 pm 7 MAY 17 APRIL Lew Williams; Casa Loma, Toronto, ON, Paul Bisaccia, piano; St. Timothy Lutheran, Ian Tracey; Liverpool Cathedral, Liverpool, Canada 8 pm Houston, TX 6 pm UK 11:15 am Marek Kudlicki; University of Nevada, Las Gordon Stewart; Beverley Minster, Beverley, 3 MAY Vegas, NV 6 pm UK 6 pm Adrian Gunning; Reading Town Hall, Read- Organ Recitals Festival Evensong; Episcopal Church of the ing, UK 1 pm Resurrection, Eugene, OR 5 pm 20 APRIL William O’Meara, with violin and trumpet; St. Christoph Tietze; Cathedral of St. Mary of Andrew Sampson; St. Matthew’s Westmin- Basil’s, Toronto, ON, Canada 6 pm JOHN ALLEGAR, St. Paul’s Roman the Assumption, San Francisco, CA 3:30 pm ster, London, UK 1:05 pm Luke Parkin; Christ Church Cathedral, Victo- Catholic Church, Valparaiso, IN, Novem- James Welch; Balboa Park, San Diego, CA 2 pm Douglas Hollick; St. John’s Smith Square, ria, BC, Canada 7:30 pm. ber 11: Wie schön leuchtet der Morgen- London, UK 1 pm stern, BuxWV 223, Buxtehude; Duo (Missa 14 MAY 4 MAY Octavi Toni), Corrette; Schmücke dich, o Paul Jacobs; First Presbyterian, Tulsa, OK 5 pm 22 APRIL David Hill; Symphony Hall, Birmingham, UK liebe Seele, BWV 654, Wir glauben all an Christoph Tietze; Cathedral of St. Mary of +Thomas Trotter; Bridlington Priory, Bridling- 7:30 pm einen Gott, BWV 680, Fantasia et Fuga in the Assumption, San Francisco, CA 3:30 pm ton, UK 6 pm g, BWV 542, Bach; Fugue sur le theme du Erik Wm. Suter; St. James Episcopal, Los 6 MAY Carillon des Heures de la cathèdrale de Angeles, CA, 5:45 pm 23 APRIL Carol Williams; Hull City Hall, Hull, UK 2:30 Soissons, op. 12, Duruflé; Schmücke dich, Carol Williams; Balboa Park, San Diego, CA Don Menzies, with The Mennonite Children’s pm o liebe Seele, O Welt, ich muß dich lassen, 2 pm Choir; Westminster United Church, Winnipeg, David Flood; Canterbury Cathedral, Canter- Brahms; Moto ostinato (Sunday Music), MB, Canada 8 pm bury, UK 7:30 pm Eben. 16 MAY Elke Völker, with violin; Metropolitan United Sae Wan Yang; Westwood United Methodist, Church, Toronto, ON, Canada 7:30 pm F. ALLEN ARTZ, III, Our Lady of Sor- Los Angeles, CA 7:30 pm 28 APRIL Marnie Giesbrecht & Joachim Segger; rows R.C. Church, South Orange, NJ, 7 MAY November 6: Passacaglia in c, BWV 582, 19 MAY Christ Church Cathedral, Vancouver, BC, Cana- Choral concert; Cathedral Church of All Bach; Versets on the Magnificat, Scheidt; Britten, Noyes Fludde; Cathedral of the da 7:30 pm Saints, Halifax, NS, Canada 7 pm Nun komm, der Heiden Heiland, Bach; Madeleine, Salt Lake City, UT 8 pm, also 5/20 at Paean on Divinum Mysterium, Cook; 2 pm, 5/21 at 8 pm 29 APRIL 8 MAY Prélude sur l’Introït de l’Epiphanie, Duruflé; Alison Luedecke, with Millennia Too!; First Ian Tracey; Victoria Hall, Hanley, Stoke-on- James Vivian; All Souls, Langham Place, Cortège et Litanie, op. 19, no. 2, Dupré; En Church of Christ, Scientist, La Mesa, CA 7 pm Trent, UK 12 noon Festival Evensong; St. Stephen’s, London, UK 7:30 pm taille, Fugue à 5, Récit du chant de l’hymne David Palmer; Église St-Françoise-d’Assise, précédent (Versets on the hymn Pange lin- 21 MAY Bournemouth, UK 5:15 pm Andrew Fletcher; St. Stephen’s, Ottawa ON, Canada 8 pm gua), de Grigny; Prelude for Easter Morning, Robert Bates; Fredericksburg United Near; Prélude au Kyrie, Langlais; Orgel - Methodist, Fredericksburg, TX 3 pm Bournemouth, UK 7 pm Jonathan Rennert; St. Albans Cathedral, St. 10 MAY Ordinarium (Kyrie), Schroeder; Partita on Michael Britt; St. Stephen Presbyterian, Fort Veni Creator Spiritus, Peeters; Hymne d’Ac- Worth, TX 7:30 pm Albans, UK 5:30 pm Ryan Jackson; St. Basil’s, Toronto, ON, Canada 6 pm tions de grace (Trois Paraphrases Grégori- Bach Choir and Orchestra; Christ the King ennes, op. 5) Langlais. Lutheran, Houston, TX 5 pm 30 APRIL Felix Friedrich; Abteikirche, Hamborn, Ger- 12 MAY 24 MAY many 4:30 pm Patricia & William Wright; St. Anthony ANDREW CANNING, with Anders Gail Archer; St. John’s Episcopal, Jackson Choral concert; St. Stephen’s, Bournemouth, Daniels, Kitchener, ON, Canada 8 pm Paulsson, soprano saxophone, Chevy Chase Hole, WY 8 pm UK 7 pm Denis Bedard; Holy Rosary Cathedral, Van- Presbyterian Church, Washington, DC, couver, BC, Canada 8 pm November 13: Amazing Grace, arr. Paulsson & Huff; Anthem for the Homeless, Paulsson; 13 MAY Pavane, Fauré; Music for a Short Subject, Colin Wright; Beverley Minster, Beverley, UK DeBlasio; Caprice en forme de valse, Bon- 6 pm neau; Variations on a Norwegian folktune, Slogedal; Sonata in e, BWV 1034, Bach; Toc- 16 MAY cata, Paulsson; In a Sentimental Mood, Carol Williams; Oxford Town Hall, Oxford, Ellington; Starcrossed Lovers, Strayhorn; UK 1 pm Suite from Porgy & Bess, Gershwin.
17 MAY S. WAYNE FOSTER, Friends Meeting Andrew Weleschuk, with violin and cello; St. House, Indianapolis, IN, November 4: Fan- Basil’s, Toronto, ON, Canada 6 pm tasy and Fugue in B-flat, Boëly; Toccata and Fugue in d, BWV 538, Bach; Fantasy and 20 MAY Fugue in f, K. 608, Mozart; Scherzo, op. 2, Peter Gould; Victoria Hall, Hanley, Stoke-on- Duruflé; Naïades (Pièces de Fantaisie), Trent, UK 12 noon Vierne; Alleluias sereins d’une âme qui Matthew Owens; St. Albans Cathedral, St. desire le ciel (L’Ascension), Messiaen; Pre- Albans, UK 5:30 pm lude and Fugue on B-A-C-H, Liszt. Carol Williams; Cartmel Priory, Cumbria, UK 7:30 pm RICHARD BARRICK HOSKINS, Kenil- worth Union Church, November 6: Prelude 24 MAY and Fugue in c, Mendelssohn; Orgelsonate, NEW INSTRUMENTS Carol Williams; Salisbury Cathedral, Salis- op. 18, no. 2, Distler; Benedictus, Reger; MAINTENANCE bury, UK 7:30 pm Variations on Veni Creator spiritus, Ferko; RESTORATIONS Nun danket alle Gott, BWV 657, Ach, bleib 25 MAY bei uns, Herr Jesu Christ, BWV 649, O 974 AUTUMN DRIVE Greg Morris, Messiaen, L’Ascension; Black- Lamm Gottes, unschuldig, BWV 656, Bach; ANTIOCH, ILLINOIS 60002 burn Cathedral, Blackburn, UK 9:15 pm Cantilène Improvisée, Tournemire; Allegro ABR 847-395-1919 F INCY risoluto (Deuxième Symphonie), Vierne. PIPE ORGANS FAX 847-395-1991 www.fabryinc.com 26 MAY David Palmer, with choir; St. Basil’s, Toronto, PAUL JACOBS, Augustana Lutheran ON, Canada 7:30 pm Church, West St. Paul, MN, November 4: Patrick Wedd; Christ Church Cathedral, Van- Sinfonia from Cantata No. 29, Trio Sonata in couver, BC, Canada 7:30 pm C, BWV 529, Bach; Berceuse (Pièces en style libre), Vierne; Allegro vivace (Symphony No. 27 MAY 5 in f), Widor; Fantasia for Organ, Weaver; Alan Spedding; Bridlington Priory, Bridling- Fantasia in f, K. 594, Mozart; Variations on ton, UK 6 pm America, Ives.
WOLFF & ASSOCIÉS Facteurs d’orgues Organbuilders
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36 THE DIAPASON CALVERT JOHNSON, Catedral de Oax- op. 11, Scriabin; Prélude, Fugue et Variation, MASSIMO NOSETTI, United Church of THOMAS TROTTER, Woolsey Hall, aca, Oaxaca, Mexico: November 10: Sonata Pièce Héroïque, Franck; Prière, op. 16, Elégie Christ, Naples, FL, October 27: Trumpet Yale University, New Haven, CT, November de Clarines, Soler; Versos del séptimo tono fugue, op. 44, Dance des songes, op. 53, Pas- March, Bush; Concerto in d, BWV 596, after 20: Fantasia and Fugue in G, Parry; Two con la final en re, Cuaderno de Tonos de torale, op. 26, Guilmant. Vivaldi op. 3, n. 11, Bach; Serenata per Canons, Schumann; Fantasia, K. 608, Maitines de Sor María Clara del Santísimo Corno Inglese, Fumagalli; Allegro maestoso Mozart; Le Tombeau de Georges Rouault, Sacramento; Conditor alme, Gracia Baptista; MAREK KUDLICKI, The United (Flöten-Concert, op. 55), Rinck; Legende “St. Macmillan; Fantasia and Fugue on BACH, Ave verum corpus, Ego flos campi, Caterina Methodist Church, Saratoga Springs, NY, Francis of Paola walking upon the waves,” Liszt; Miroir, Wammes; Overture: Rienzi, Assandra; Zyon klagt mit Angst und November 4: Magnificat Primi Toni, Buxte- Liszt, transcr. Rogg; Assisii Templi in limine Wagner, arr. Lemare. Schmertzen, Anna Amalia; A Dirge for hude; Preambulum in D, Colenda, Cantio (Meditation), Chiesa; Italian Rhapsody, Yon; Funeral, Miss Steemson; Sonata de órgano Polonica, Anonymous; Salve Regina, Sowa; Arioso (Psalm 84), Burtonwood; Allegro BEN VAN OOSTEN, The Brick Presby- en re menor, Sonata de órgano o clave en sol Hayducki, Alia Poznanie, Preambulum in F, (Organ Sonata), Hidas. terian Church, New York, NY, November 7: mayor, Larrañaga; Entrada y Juego de seis Nicolaus of Cracow; Prelude and Fugue in b, Sinfonia to Cantata 29, Bach, arr. Dupré; versos del segundo tono, Sonata para la Cor- S. 544, Bach; Prelude in e, op. 28, no. 4, Pre- PIERRE PINCEMAILLE, St. Paul’s Fantaisie en la majeur, Franck; Variations neta real con el eco, Lidon; Preludio y fuga en lude in b, op. 28, no. 6, Chopin, arr. Kudlic- School, Concord, NH, November 4: Prelude sur un Noël, Dupré; Symphonie No. 5, re menor, op. 16, no. 3, C. Schumann; Versos ki; Fantasy, Gorski; Choral No. 1 in E, and Fugue in E-flat, BWV 552, Bach; Widor. del primer tono con el final en delasolre, Franck; O Gott, du frommer Gott, Brahms; Prélude, Fugue et Variation, op. 18, Third Cuaderno de Tonos de Maitines de Sor Fantasy, Bloch; Improvisations on the Polish Choral in a, Franck; Feux follets, Clair de María Clara del Santísimo Sacramento; Pas- Church Hymn Holy God, op. 38, Surzynski. Lune, Toccata (Pièces de Fantaisie, op. 53), JAMES WELCH, with Nancy Wait- sacaglia: Litanies, Tañer de Fantasiá (Cate- Vierne; improvisation on a submitted theme. Kromm, soprano, Santa Clara University, Toccata, dral), Jiménez; La Bamba (Triptico Mexi- ARDYTH LOHUIS, with Robert Murray, Santa Clara, CA, November 13: cano), Noble; Versos del primer tono con la violin, The Chapel at Loretto, El Paso, TX, Adagio, and Fugue in C, BWV 564, Bach; O KATHLEEN SCHEIDE, with Zofie Had I Jubal’s Lyre (Joshua), Handel; Alle- final en fa, Cuaderno de Tonos de Maitines November 4 and 6: Sonata in A, op. 4, no. 11, Vokalkova, flute, Sandy Springs United de Sor María Clara del Santísimo Sacramen- Albinoni; Adagio, K. 261, Mozart; 5 Pièces gro (Exsultate, Jubilate, K. 165), Mozart; Methodist Church, Atlanta, GA, November 6: Symphony No. 6, op. 42), Widor; to; Batalla famossa, Anonymous. pour Flûte ou Violon, Langlais; Aria, Sonata in F, op. 1, no. 11, Handel; Andante in Allegro ( Wilkomirski; Sehr rasche Bewegung (Violin- F, K. 616, Mozart; “Jody” Suite for Flute Solo, Scherzo (Symphony No. 2, op. 20), Vierne; MARILYN KEISER, with Steven Keiser, Orgelkonzert, op. 40), Springer; Arioso, Barabas; Sonata da Chiesa, Martin; Sonata in Prélude sur l’Introit de l’Épiphanie, Fugue tenor, Grace United Methodist Church, Lovreglio; Gigue (Sechs Stücke, op. 127), B-flat, K. 15, Mozart; Variations on Victimae sur le Thème du carillon des heures de la Naperville, IL, November 13: Flourish for an Rheinberger; Variations on Amazing Grace, Paschali, Ropek; Duettina, Eben. Cathédrale de Soissons, op. 12, Duruflé; Occasion, Harris; Ach bleib bei uns, Bach; Held; Four Preludes on Latino Religious Vocalise, Poulenc; Aprés un rève, Notre Ein feste Burg ist unser Gott, Bach, arr. Songs, Healey; “Stars and Stripes” in the Vir- JOHN SCOTT, Trinity Episcopal Church, amour, Fauré; Quando m’en vo (La Near; Panis Angelicus, Franck; Introduction tuoso Style of Wieniawski; Sousa/Dukov. Staunton, VA, November 1: Praeludium in C, Bohème), Puccini; Come, Come, Ye Saints, and Passacaglia (Sonata No. 8 in e, op. 32), BuxWV 137, Buxtehude; My Jewel, My Selfe, Diemer; El Día de Fiesta, Goemanne; The Rheinberger; Fanfare on Psalm 81:1-3, Cook; THOMAS MURRAY, Christ Church Revenant, Bull; Pavana Lachrymae, Swee- Ash Grove, Wood; Every Time I Feel the “Hallowed be thy name,” “We owe thee Episcopal, New Haven, CT, November 13: linck; Concerto in F, op. 4, no. 5, Handel; Spirit, Elliott; Come to My Garden (The thankfulness and praise” (Salem Sonata), Fanfare, Cook; Concerto Grosso in d, op. 3, Voluntary No. 1 in D, Boyce; Voluntary, op. Secret Garden) Norman/Simon; Waiting, “The people respond–Amen!” (Rubrics), no. 11, Vivaldi, transcr. Bach, BWV 596; Pre- 6, no. 2, Stanley; Ricercare, Bovet; Prelude Mollicone; Ride On, King Jesus, arr. John- Locklair; Hyfrydol, Wyton; Olivet, Jones; lude and Fugue in e, Mendelssohn, transcr. and Fugue in a, BWV 543, Bach; Concerto, son; He’s Got the Whole World in His Hand, Kremser, Phillips; Carillon de Westminster, Murray; Rhapsody, op. 17, no. 3, Howells; op. 4, no. 1, Handel. arr. Bonds. Vierne. Six Versets on the Magnificat (Fifteen Antiphons, op. 18), Dupré. JEREMY DAVID TARRANT, Cathedral CAROL WILLIAMS, Bates Recital Hall, VOLODYMYR KOSHUBA, with Vik- of St. Mary of the Immaculate Conception, University of Texas, Austin, TX, November toriya Koshuba, piano, The Presbyterian CARLENE NEIHART, The Village Pres- Peoria, IL, November 9: Fantasia and Fugue 13: Processional March (Montezuma), Stew- Homes, Evanston, IL, November 8: Dance of byterian Church, Prairie Village, KS, in g, BWV 542, Herr Jesu Christ, dich zu uns art; Weinen, Klagen, Sorgen, Zagen, Liszt; the Sugar-Plum Fairy, Tchaikovsky; Valse November 9: Toccata and Fugue in d, BWV wend, BWV 655, Bach; Scherzo, Beethoven; Riff-Raff, Swayne; Toccata, Stevens; Lux des Fleurs (The Nutcracker), Tchaikovsky, 565, Jesu, Joy of Man’s Desiring, Bach; Andante sostenuto, Widor; Toccata, Vierne; Aeterna, Kokkonen; Andante, Marche arr. Koshuba; October–Autumn Song, Sonata I, Mendelssohn; Prelude on London- Lied, Scherzo, Litaize; Sketch in c, op. 58, no. Funèbre, op. 122, Lefébure-Wély; Toccata, November–Troika (Seasons of the Year, op. derry Air, Rawsthorne; Fantaisie, Langlais; 1, Sketch in D-flat, op. 58, no. 4, Schumann; Paponaud; En Bateau, Debussy, transcr. 37), Tchaikovsky; Five Preludes for Piano, The Squirrel, Weaver; Toccata in F, Widor. Prélude, Andante et Toccata, Fleury. Roques; Toccata, Jongen.
APRIL, 2006 37 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
POSITIONS PUBLICATIONS/ PIPE ORGANS PIPE ORGANS AVAILABLE RECORDINGS FOR SALE FOR SALE
St. David’s Episcopal Church, Southfield, “Fantasia on Duke Street” by Ralph Kinder, 1967 4-rank Moller, free-standing, very good Farrand & Votey op. 758, 1899, 2/24. Michigan, is seeking a part-time organist/choir- an American student of Edwin Lemare, is now condition. Casework in good condition. From Ringling home, Baraboo, WI. In stor- master to lead our Sunday worship service, available for the first time in decades as origi- Trumpet, Diapason, Flute, String. $9,000. age. Hendrickson Organ Company, St. Peter, direct chancel and handbell choirs, and provide nally published in 1904. A great piece for 248/398-3064. [email protected]. MN. [email protected]. 507/931-4271. Best liturgical leadership to our expanding music pro- Easter, Ascension or Christ the King, these offer. gram. St. David’s has a history of quality organ variations can be performed together or 10-stop Estey organ, perfect for home or (14-rank Tellers, 1969) and choral music separately. www.michaelsmusicservice.com; chapel use, ca. 1940; This organ is available Fabry Inc. has the following instruments for embracing a traditional Anglican style. Our 704/567-1066. “as is” for $7,500, or may be professionally sale on consignment: Wicks 1964, 2 manuals, growing parish has a gospel and youth choir restored by our firm. Asking $75,000 restored, 6 ranks, in storage; Moller 1925, 2 manuals, 10 and is considering an additional service incor- plus shipping. The windchests must be direct ranks, in church; Moller 1949, 3 manuals, 30 porating quality jazz, renewal and freedom OHS Catalog 2006 of organ and theatre organ CDs, books, sheet music, DVDs, and VHS electrified, and a new relay system installed. ranks, in church; Reuter 1950s, 2 manuals, 9 music. Contact: [email protected]; Excellent condition. Contact Anthony Meloni ranks, in church; Moller/Kimball/Kilgen 2 man- 248/557-5430. videos. Free. Thousands of items. Mailed gratis upon request to Organ Historical at 914/843-4766. Please visit our website uals, 16 ranks, in church; Kimball 1940s, 2 Society, P.O. Box 26811, Richmond, VA at www.meloniandfarrier.com for other “for manuals, 4 ranks, in storage; Berghaus 1976, Director of Music Ministry—St. Bernard’s 23261, or request the printed catalog at sale” listings. 2 manuals, 11 ranks, in church. Purchase Catholic Church, 114 S. Church Street, Water- www.ohscatalog.org. instruments in “as is” condition or Fabry Inc. town, WI 53094. Duties include planning and offers removal, rebuilding, new DC electric coordination of music program and includes 1952 Wicks Organ, 3-manual, 18 ranks, 36 systems, and installation at new location. For stops. Playing in Cleveland area. Complete direction of four choirs and a handbell group Reflections: 1947-1997, The Organ Depart- specifications please e-mail, fax, or write our plus volunteer cantors and vocal and instrumen- minus blower; $12,000 or best offer. Call Greg office. Large used pipe inventory available. ment, School of Music, The University of Michi- Sparks at 216/252-8264. tal soloists. Three weekend Masses; must have gan, edited by Marilyn Mason & Margarete Call for info. Fabry Inc., 974 Autumn Drive, a thorough knowledge of Catholic liturgy as well Thomsen; dedicated to the memory of Albert Antioch, IL 60002, fax 847/587-1994, e-mail as good people skills. Music degree preferred. Stanley, Earl V. Moore, and Palmer Christian. Moller Organ, 1931/1965, 6 ranks, 2 manual [email protected]. Instruments include a 23-rank pipe organ and Includes an informal history-memoir of the and AGO pedal. (Not Artiste.) Pipes crated, two grand pianos. Position is open immediately. organ department with papers by 12 current and needs releathering or Peterson valves, etc. 2-manual, 6-rank, electro-pneumatic action Salary is competitive and includes health bene- former faculty and students; 11 scholarly arti- Good for small church or practice organ. Schaefer organ, unified to 8 stops, with full cou- fits. Please résumé and letter of interest/intro- cles; reminiscences and testimonials by gradu- $7500 or best offer. Contact Donna Gatz: plers. Disassembled and in storage. Available duction to the above address c/o Fr. Marr and ates of the department; 12 appendices, and a 716/358-4507, [email protected]. immediately. Make offer. St. Peter the Fisher- Search Committee. CD recording, “Marilyn Mason in Recital,” man Catholic Church, Frank Birr, Music Direc- recorded at the National Shrine of the Immacu- Wahl 2-stop practice organs for sale. tor, 3210 Tannery Road, Two Rivers, WI 54241- Experienced organist wanted—Monthly late Conception in Washington, DC. $50 from Custom casework available. Fall 2006 1699, 920/793-4531. salary range $900–$980. Call 925/757-2135 for The University of Michigan, Prof. Marilyn delivery. Prices start at $34,500. auditions at the Christian Science Church, Mason, School of Music, Ann Arbor, MI Visit www.wahlorganbuilders.com or call 1860 Wm. A. Johnson 1/8, including 12-note Walnut Creek, California. 48109-2085. 920/749-9633. 16v Subbass. Meticulously restored, $39,500; Pedal extension optional. Details: Andrew Smith Looking for experienced pipe organ tuners, HARPSICHORDS/ Wicks practice organ—Three stops under Pipe Organs, 522 East Rd., Cornish, NH 03745. service technicians and builders to start work expression. Would make a good practice organ. 603/542-8316; [email protected]. immediately in the New York area. Immediate CLAVICHORDS Needs some work. Asking $3,500. For more benefits including paid holidays, paid vacation information call 615/274-6400. and a health care package. 631/254-2744, Attention organbuilders: for information on [email protected]. Harpsichords from the workshop of Knight sponsoring a color cover in THE DIAPASON, Vernon. Authentic replicas of historic instru- Our 5-stop chapel/house/practice organ contact Jerome Butera, Editor, THE DIAPASON, ments carefully made and elegantly decorated. (independent Subbass optional), for immediate 380 E. Northwest Hwy. Suite 200, New classified advertising rates went into 8201 Keystone, Skokie, IL 60076. Telephone delivery. www.goberorgans.com (click on Des Plaines, IL 60016-2282; phone 847/391- effect January 1, 2006. See page 37 for 847/679-2809. Web site: Columbus, Ohio) or call Hal Gober, 1045; FAX 847/390-0408; e-mail: information. www.vernonharpsichords.mykeyboard.com. 519/846-9888. [email protected] glück newyork orgaNbuilders
170 Park Row, Suite 20A New York, NY 10038
212.608.5651 www.glucknewyork.com
Send a copy of THE DIAPASON to a friend: Editor, The Diapason, 847/391-1045; e-mail:
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38 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
MISCELLANEOUS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
1967 Tellers 2-manual console, medium oak, Sets of organ pipes for sale by Herb Huestis, Columbia Organ Leathers sells the finest Top Quality Releathering. Pouch rails, pri- bench and AGO pedalboard, $500. #1502—1574 Gulf Road, Point Roberts, WA leathers available for organ use. We sell pre- maries, reservoirs and any other pneumatic Contact Donna Gatz: 716/358-4507, 98281, phone 604/946-3952, e-mail: punched pouches and pre-assembled pouches, action. Removal and installation service avail- [email protected]. [email protected]. Shipping extra to U.S. or and we specialize in custom releathering ser- able. Full warranty. Skinner, Casavant and Canada—no overseas. $650—8v Regal made vices. Call today for a catalogue. 800/423-7003 Kimball specialty. Spencer Organ Company, by Detlef Kleuker, 1964 from a 2-rank continuo 1995 Schantz French Horn 8 , 73 pipes, 6 or e-mail: [email protected]. Inc. Call, Fax or visit our website for quotation v w organ. Very good condition throughout. Bottom and information. 781/893-7624 Voice/Fax, scale, 6w pressure. Crated for shipment two octaves open shallots, Bertouneche shal- from California. $3,500 or best offer. www.spencerorgan.com. lots from cv upwards. Very nice tone at 60mm or Tuning with your laptop—Send $5 for a CD- [email protected] or leave greater. $550—Bottom 12 notes of Oboe/Bas- message at 215/767-9530. ROM that features articles on temperaments, soon, made by Casavant Frères c. 1970. Origi- tuning, and reed pipe construction. RELEATHERING: also Pipe Organ Rebuild- nally from a Fagott 16v (half length). Very suit- Contact: www.mdi.ca/hhuestis or e-mail: ing, Repair and Maintenance Service in New Welte 4-manual console—1928. New ivories able for extending 4v Oboe to 8v pitch where bot- [email protected]. Herbert L. Huestis, 1574 Gulf England area. Years of experience, fine work- and ebony, quarter-sawn oak, 101 stop knobs, tom octave is needed. Good tone at 70–80mm. Rd., #1502, Pt. Roberts, WA 98281. Phone manship. Reading Organ Works, A. Richard gorgeous! Mike Jalving, 303/671-6708. $250—Meidinger blower. 2w static pressure, for 604/946-3952. Hunter, P.O. Box 267, 1324 Vermont Route continuo-type organ, 1 or 2 stops. Housed in 106, Reading, VT 05062. 802/484-1275. silencing box, outside dimensions: 14-3/4w x 16- E-mail [email protected]. Voicing set-up, 3 stops, electro-pneumatic. 3/8w x 11-1/2w. Very compact! Includes blower, regulator, and 8v and 16v offset Highest quality organ control systems since chests. Asking $600. T. R. Rench Co., Racine, 1989. Whether just a pipe relay, combination Classified Ads must be prepaid and may be Austin actions recovered. Over 30 years WI. 262/633-9566 or [email protected]. action or complete control system, all parts are experience. Units thoroughly tested and fully ordered for 1, 2, 3, 4, 5, or 6 months. compatible. Intelligent design, competitive pric- guaranteed. Please call or e-mail for quotes. ing, custom software to meet all of your require- Technical assistance available. Foley-Baker, Atlantic City Pipe Organ—Odell 16v metal dia- ments. For more information call Westacott Exclusive new pipe organ advance! Now, Inc., 42 N. River Road, Tolland, CT 06084. pason 33/34 scale, 32 pipes, 1–12 façade, 4w Organ Systems, 215/353-0286, or e-mail wp, $2,000; Tellers 5-rank unit chest, regulator, for the first time ever, a movable console Phone 1-800/621-2624. FAX 860/870-7571. [email protected]. [email protected]. $1,000; 16v mahogany pedal bourdon unit, 44 for tracker organs! If you have to endure pipes with chests, racking, $1,000; capped playing an intractable “stick organ” you oboes, clarinets, pedal mixture and chest. 1932 know how frustrating it can be to have the Need help with your re-leathering Estey: beautiful pipe work/Haskell basses, keydesk stuck in one place. You can’t see project? All pneumatics including the choir, much less the extra instrumen- Flue pipes in metal and wood–Mixtures gemshorns, spitzflutes, principal chorus, 8v Austin. Over 45 years experience and upperwork are available from stock or harmonic flute, harp, 16v open wood and talists, or hear what you are doing. You (on the job assistance available). have probably dreamed of the day when specify custom orders to meet your exact more. For more info visit 615/274-6400. requirements. Tuning Sleeves with http://mywebpages.comcast.net/acorgan. you could enjoy the benefits of moving the console. Now, through the miracle of flare–Order complete sets ready to install E-mail: [email protected]. Phone or bulk quantities in each diameter. These 609/641-9422. an exclusive new super-hi-tech advance- ment in the well-known “black box” tech- sleeves are guaranteed to fit and will not nology, this amazing product actually lets tarnish or corrode. For excellent quality, 1985 Austin tripper combination action for you move a tracker console, with little or ALL REPLIES great pricing and timely delivery contact: International Organ Supply, P.O. Box 401, five divisions, $350. 1985 Austin pedal contact no damage to trackers and no loss of TO BOX NUMBERS assembly with 25 switches, $150. Klann com- touch sensitivity or control. Tiny ultra- Riverside, IL 60546. 800/660-6360. FAX plete three-division console system wired, $200. infra-red-violet laser beams connect the that appear 708/447-0702. Relays, combo actions, pipes and other keys to the trackers. Be the envy of other without an address parts available. Inquiries: e-mail “stick organ” players and revel in the new- [email protected], phone 215/353-0286 or found freedom of having a movable con- should be sent to: Postal regulations require that mail 215/788-3423. sole. Easily installed in an afternoon or to THE DIAPASON include a suite num- two using ordinary sacristy tools. Option- THE DIAPASON ber to assure delivery. Please send Request a free sample issue of The Diapason al industrial-strength casters. Order one 380 E. Northwest Hwy., Suite 200 for a student, friend, or colleague. Write to the now! Order before midnight and receive a all correspondence to: THE DIAPA- Editor, The Diapason, 380 E. Northwest Hwy., free tracker repair kit. Box Move-a-Stick, Des Plaines, IL 60016-2282 SON, 380 E. Northwest Hwy., Suite Suite 200, Des Plaines, IL 60016-2282; or c/o The Diapason, [email protected]. 200, Des Plaines, IL 60016-2282. e-mail: [email protected].
J. H. & C. S. Odell East Hampton, Connecticut • web: www.odellorgans.com voice: 860-365-0552 email: [email protected] PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
CHARLES W. M CMANIS In Memoriam March 17, 1913–December 3, 2004
APRIL, 2006 39 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 2385 Fenwood Road, Cleveland, OH 44118 Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Yoon-mi Lim AGO National Competition Winner Available 2004-2006
Stefan Engels Thierry Escaich* David Goode* Gerre Hancock Judith Hancock Martin Haselböck*
Vincent Dubois Calgary 2002 Recital Gold Medal Winner
David Higgs Marilyn Keiser Susan Landale* Olivier Latry* Joan Lippincott Alan Morrison
László Fassang Calgary 2002 Improvisation Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Simon Preston George Ritchie Gold Medal Winner Grand Prix de Chartres, 2004
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Westminster Cathedral, UK Martin Baker, Director October 13-24, 2006 Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland Thomas Trotter* John Weaver The Choir of Saint Thomas Church, NYC John Scott, Director March 1-8, 2007 WEBWEB SSITE:ITE: The Choir of Winchester Cathedral, UK wwwwww.concertorganists.com..concertorganists.coconcertorganists.com Andrew Lumsden, Director October 17-29, 2007
Gillian Weir* Todd Wilson Christopher Young *=European artists available 2006-2007