THE DIAPASON JANUARY, 2008

Wesley Chapel Elkton, Maryland Cover feature on pages 28–29

Jan 08 Revised Cover.indd 1 12/11/07 7:42:34 AM “Electrifying...she quickly had “Artistic without being the audience in the palm “A virtuoso’s flair.” artsy...extremely enjoyable.” of her hand...superb!” (The Washington Post) (The American Organist) (The Organ, England)

iner

Photo: Christian Ste

“Williams takes Barrie by “A virtuosic performance... storm...flamboyant...magnificent.” “Queen of the swell organ....In Williams was right at home (The Barrie Examiner, Canada) the habit of casting a spell over with the eclectic program, her listeners using sparkling, playing with brilliance... strongly effervescing tonal tenderness...playfulness...and sounds...rendered by Williams sheer enjoyment.” with verve and vivid fire.... (The Diapason, review of Toll-free (888) 999-0644 • (860) 560-7788 Fax exceedingly heart-felt and performance at 2006 national www.concertartists.com long-lasting applause.” AGO Convention, Chicago) (Pforzheimer Zeitung, Germany) [email protected] THE DIAPASON Here & There A Scranton Gillette Publication Ninety-ninth Year: No. 1, Whole No. 1178 JANUARY, 2008 All Saints Church, Worcester, Mas- Buxtehude, Bruhns and Böhm); Febru- Established in 1909 ISSN 0012-2378 sachusetts, continues its music series: ary 28, music of the Mexican Baroque, An International Monthly Devoted to the Organ, January 6, Festival of Nine Lessons and St. Luke’s Choir with orchestra of period the Harpsichord, Carillon, and Church Music Carols; 1/27, Choral Evensong with instruments; April 10, music of Palestrina, chamber choirs of Worcester Polytech- Allegri and Anerio; May 8, Biber, Rosary nic Institute and Holy Cross College; Sonatas. For information: 212/414-9419; February 10, Choral Evensong; 2/17, . CONTENTS Editor & Publisher JEROME BUTERA [email protected] Henry Lowe; 2/24, Adrian Lucas; March FEATURES 847/391-1045 2, Choral Evensong; 3/9, Daniel Stipe; Washington National Cathedral 3/21, Lessons and Carols for Good Fri- continues its organ recital series: January Conference of Roman Catholic Cathedral Musicians—Conference XXIV day. For information: 508/752-3766 x 17; 20, David Higgs; February 17, Marilyn by Anthony DiCello 20 Associate Editor JOYCE ROBINSON . Keiser; March 9, Fred Swann; April 6, [email protected] Gillian Weir; 4/20, David Hurd; May 4, Sewanee Church Music Conference 847/391-1044 Walt Disney Concert Hall, Los An- Naji Hakim. For information: by Mary Fisher Landrum 21 geles, continues its organ recital series: . 47th Conference on Organ Music Contributing Editors LARRY PALMER January 6, Anthony Newman; Febru- The University of Michigan ary 3, Olivier Latry (all Messiaen); and Bryn Mawr Presbyterian Church, by Jerry Jelsema 22 Harpsichord May 25, Terry Riley. For information: Bryn Mawr, Pennsylvania, continues its Albert Schweitzer Organ Festival JAMES MCCRAY 323/850-2000; . music series: January 20, music of Jewish, Tenth Anniversary Choral Music Christian, and Muslim traditions; March by David Spicer 24 Old Presbyterian Meeting House, 2, Nathan Laube; 3/15, 35th anniversary Théodore Dubois and César Franck at Sainte- BRIAN SWAGER Alexandria, Virginia, continues its music concert featuring the Senior Choir with Clotilde: A New Look at the Chronicle of the Years Carillon series: January 13, La Ménéstrandise the Chamber Orchestra of Philadelphia; 1857–1863 through the Rediscovered Memoirs early music instrumental ensemble; Feb- 3/21, Bryn Mawr Chamber Singers and by Helga Schauerte-Maubouet, English trans- HERBERT L. HUESTIS lation by Carolyn Shuster Fournier 25 OrganNet Forum ruary 10, Suspicious Cheese Lords early the Biava String Quartet; April 20, piano Osiris Organ Archive music male vocal ensemble; 703/549- and trumpet. For information: 610/525- NEWS & DEPARTMENTS www.mdi.ca/hhuestis/osiris 6670 x121; . 2821 x 836; . Letters to the Editor 3 e-mail: [email protected] Here & There 3, 4, 5, 6, 8, 10, 12 The Cathedral of St. Philip, Atlan- First Presbyterian Church, Arling- Appointments 5 ta, Georgia, continues its music series: ton Heights, Illinois, continues its music Nunc Dimittis 10 Prepress Operations DAN SOLTIS January 13, Craig Campbell, with fl ute; series: January 20, Leon Nelson with Ca- Carillon News by Brian Swager 12 1/17, Choral Evensong; 1/20, Gail Ar- thedral Brass and mezzo-soprano There- In the wind . . . by John Bishop 12 cher; 1/27, Emanuele Cardi; February sa Brancaccio; February 17, 23rd annual THE DIAPASON (ISSN 0012-2378) is published monthly On Teaching by Gavin Black 14 by Scranton Gillette Communications, Inc., 3030 W. Salt 3, Christopher Harrell; 2/10, Leon W. “Organ-Fest” with William Aylesworth, Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Couch, III; 2/17, Marko Petricic; 2/21, John Bryant, Christine Kraemer, Merlin REVIEWS Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 Choral Evensong; 2/24, David Brock; Lehman, Leon Nelson, Kirstin Synnest- Music for Voices and Organ 16 MSG RLY. E-mail: . Subscriptions: 1 yr. $35; 2 yr. $55; 3 yr. $70 (Unit- March 2, Albert Ahlstrom; 3/9, Atlanta vedt and Chris Urban; March 16, Chris New Recordings 17 ed States and U.S. Possessions). Foreign subscrip- Flute Ensemble; 3/16, Choral Evensong; Urban, with pianist; April 13, Mendels- New Organ Music 19 tions: 1 yr. $45; 2 yr. $65; 3 yr. $85. Single copies $6 3/30, Clayton State Chorale. For infor- sohn, Elijah and Symphony No. 5 in D (U.S.A.); $8 (foreign). mation: . minor (Reformation). For information: NEW ORGANS 30 Back issues over one year old are available only from The Organ Historical Society, Inc., P.O. Box 26811, 847/255-5900; . CALENDAR 31 Richmond, VA 23261, which can supply information on Park Congregational Church, ORGAN RECITALS 34 availabilities and prices. Grand Rapids, Michigan, continues its Knox Presbyterian Church, Santa Periodical postage paid at Rockford, IL and additional CLASSIFIED ADVERTISING 36 mailing offi ces. POSTMASTER: Send address changes organ recital series on Tuesdays at 12:15 Rosa, California, continues its “Cre- to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, pm: January 15, Mark Loring; 1/29, ative Arts Series”: January 20, Allan 2007 IN REVIEW—An Index 38 Arlington Heights, IL 60005-5025. Larry Visser; February 12, Janet & Kent Solomonow; February 17, Yoon-Mi Lim; Routine items for publication must be received six Hill; 2/17, Adrian Lucas; 2/26, Jonathan March 16, Philip Manwell; April 20, Bar- Cover: Fratelli Ruffatti, Padua, Italy; weeks in advance of the month of issue. For advertising Tuuk. For information: 616/459-3203, x bara Harris; May 18, Cinnabar Women’s Wesley Chapel, Elkton, Maryland 28 copy, the closing date is the 1st. Prospective contribu- tors of articles should request a style sheet. Unsolicited 24; . Chorus. For information: 707/544-5468. reviews cannot be accepted. www.TheDiapason.com This journal is indexed in the The Music Index, an- notated in Music Article Guide, and abstracted in RILM St. Luke Catholic Church, McLean, The Bach Society at Christ the Abstracts. Virginia, continues its music series: Jan- King Lutheran Church, Houston, Send subscriptions, inquiries, and ad- Copyright ©2008. Printed in the U.S.A. uary 16, piano/cello recital; February Texas, continues its 2007–08 season: dress changes to THE DIAPASON, 3, Manhattan Piano Trio; 2/24, Master January 20, Kristian Oleson; February 3, 3030 W. Salt Creek Lane, Suite 201, THE DIAPASON accepts no responsibility or liability Singers of Virginia; March 30, pianist chamber music; 2/17, Cantata 18, Gleich Arlington Heights, IL 60005. for the validity of information supplied by contributors, John Eaton; April 11, Brass and Bag- wie der Regen und Schnee; March 2, La vendors, advertisers or advertising agencies. pipes; 4/16, Jose Gascho, harpsichord; Follia Austin; 3/16, 18, and 21, St. Mat- 4/27, Amadeus Orchestra. For informa- thew Passion; 3/30, Pavel Cerny; April No portion of the contents of this issue may be reproduced in any form without the specifi c written permission tion: 703/356-0670; 13, Sebastian Knebel with members of of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for . the Bach Orchestra; May 4, Cantata 172, other courses or for the same course offered subsequently. Erschallet, ihr Lieder. For information: The Church of St. Luke in the 713/524-8744; Fields, New York City, continues its mu- . sic series: January 17, David Shuler (Bach, Letters to the Editor

Winded Virtuals that the needs of service playing, as well The virtual organ nomenclature con- as maintenance requirements, must be tinues to bristle, enlighten, and give fuel considered. Whenever I listen to a new to the winded among us, as we read in organ, my palette needs hours to thor- the November issue of a recent Hart- oughly explore the soundscape; i.e., once ford entourage traveling to Manhattan to through the “Ave Maria” will not do it, explore the diverse sounds of pipe and no way, totally useless. I need to hear digital transmission, an illustrious, ambi- and play every note of every stop, look tious, erudite caravan of church musi- at the ensemble, scaling, voicing, tun- cians who sit before pipes, harpsichords, ing, the choice of stops to fi t my needs Bösendorfer piano, several great instru- with choirs, soloists, and my great love ments that remain unidentifi ed, and may for the symphonies of Widor and Vierne, be found on the podium conducting as well as the Gesamtausgabe of Bach, Phantom of the Opera in New York City. Beethoven, and Brahms. Essential details are missing from this My memory is not short when it descriptive letter; i.e., there are no specs comes to sound, and I assure you that for either instrument, and there’s no after hearing Trinity Wall Street, there is price quoted for the pipe organ; however, no comparison with a small, two-manual I would prefer to thoroughly explore the tracker sitting in a carpeted room, no virtual organ of 47 registers, than a pipe way Zeke, no way Tim, no way Floyd, organ with a detached console, 19 ranks no way Hartford. We New Yorkers have with only two independent pedal stops sharp ears for sounds both winded, vir- Charles Echols, Bill Chouinard, Kraig Windschitl, Stephen Self, Joseph Ripka, and on electric-action windchests, two reeds, tual and digital! Aaron David Miller at St. Andrew’s Lutheran Church, Mahtomedi, Minnesota a Trumpet in the Great, and an Oboe in Deacon Peter J. Basch, KCHS the Swell, a Tremulant that affects the Hoboken, New Jersey A Vierne Marathon in Minnesota Andover, Massachusetts. Performers of entire organ and at the average price to- took place September 23 at St. Andrew’s the symphonies one through six, left to day of $25,000 per rank, we arrive at a The Diapason’s 2008 Resource Lutheran Church in Mahtomedi (Twin right, are Charles Echols, Bill Choui- pipe organ package of $500,000—virtu- Directory was mailed with this issue. Cities suburb), featuring Vierne’s organ nard, Kraig Windschitl, Stephen Self, ally twice the cost of the elektronica! Additional copies of the Directory are symphonies. On his 1927 American tour Joseph Ripka, and Aaron David Miller. After having played a three-manual, available for $5 each. For information: Vierne gave a concert on this Casavant The marathon took four and a half hours mechanical-action pipe organ for 20 847/391-1045; . organ (four manuals, 108 ranks) at its to complete. years in Manhattan, I can assure you former home, the Philips Academy in

JANUARY, 2008 3

Jan 08 pp. 2-20.indd 3 12/11/07 7:48:00 AM E The Cathedral of St. Patrick, New naissance, led by Wilko Browers of the recording of this piece with application York City, continues its Sunday organ Monteverdi Choir in the Netherlands. materials needs to be in the hands of recital series: January 20, Justin H. On Friday, the workshop will concen- the committee by March 15. For further Bischof; April 27, Frank L. Crosio; May trate on chant and runs from 9 am to 5 information or questions, call or e-mail e is the greatest 11, Katherine M. Lordi. For informa- pm. Saturday then presents polyphony, Melody Turner, 708/386-2120, ; for application form artist who has embodied . cludes with a parish liturgy. For informa- and rules, go to the Chicago chapter tion: . web-site at . in the sum of his works, Christ Church, Bradenton, Florida, continues its music series: January 20, St. Paul’s Church, Doylestown, The Midwestern Historical Key- Ken Cowan; Lenten noon recitals: Feb- Pennsylvania, continues its music series: board Society will hold its annual the greatest number of the ruary 14, Gregory Chestnut; 2/21, Carol February 2, Solemn Evensong and Bene- meeting May 21–24 at the University of and James Hawkinson; 2/28, Robert diction; March 1, Solemn Evensong and Iowa, with the theme “Buxtehude and greatest ideas. Reeves; March 6, William Holt; 3/13, Benediction; 3/30, Thierry Escaich. For the North German School/Keyboard Roger Roszell; and Kimberly Marshall, information: 215/348-5511; Music of Domenico Scarlatti.” Featured John Ruskin 3/1 masterclass, 3/2 recital; May 4, Ju- . performers include Pieter-Jan Belder, lane Rodgers, harpsichord; June 1, Mo- Craig Cramer, Delbert Disselhorst, the zart, Mass in C, K. 220. For information: Glenview Community Church, Iowa Baroque Players, David Schrader, 941/312-5875; Glenview, Illinois, continues its organ and Brett Wolgast; there will be harp- . recital series: February 3, Chris Urban; sichords, clavichords, and fortepianos March 2, Zvonimir Nagy; April 6, Chris- by the 21st century’s premier builders, The Delius Society presents the 25- tine Kraemer. For information: 847/724- and organs by Taylor & Boody, Casavant, voice semi-professional St. Mark’s Choir 2210; . Brombaugh, and Schlicker. For informa- in concert on January 25 at St. Mark’s tion: David Kelzenberg, 2801 Highway 6 3101 Twentieth Street Church, Philadelphia, Pennsylvania. Un- St. John’s Cathedral, Albuquerque, East, #344, Iowa City, IA 52240; ; . (415) MIssion 7–5132 masters Matthew Glandorf and Diane ries: February 3, Choral Evensong; 2/9, Meredith Belcher, the choir will sing Trelease Memorial Concert; 2/13, Ed- The American Guild of Organists works of Delius, Warlock, Webber, Ord, wina Beard; 2/20, Iain Quinn; 2/27, Scott will sponsor a recital and gala benefi t Dedicated to Expanding and Holst. For information: 215/968- Raab; March 2, Choral Evensong; 3/5, reception honoring Frederick Swann the Tonal Color 5979; . Cathedral Chamber Choir; 3/12, Max- on April 13 at the First Congregational and Dynamic Range ine Thevenot; 3/21, Maxine Thevenot, Church, Los Angeles. The recital will The Cathedral Church of the Ad- Messiaen’s Les Corps glorieux; 3/23, Vi- feature Mr. Swann and the reception of the Pipe Organ vent, Birmingham, Alabama, continues erne, Messe Solennelle. For information: will follow. All proceeds will go to the its music series: January 25, fl ute and . AGO Endowment Fund in Fred Swann’s guitar (12:30 pm), Cathedral Choir fund honor. For information: 212/870-2311 x raiser (7:30 pm); February 24, Choral Trinity Episcopal Church, Santa 4308; . “We are still thrilled with our new organ! Evensong; March 28, the University Barbara, California, continues its music I can’t begin to tell you what a pleasure of Montevallo Concert Choir; April 6, series: February 3, Festival of Lights Rodgers Instruments LLC invites and privilege it is to have an instrument Marilyn Keiser; 4/25, Broadway Caba- concert for Epiphany; March 9, Bach young musicians with piano skills to en- that is so beautifully voiced and so well ret; 4/28, the Choir of Men and Boys, St. birthday bash; April 20, wedding music ter its scholarship competition to attend a designed. It makes our service playing a Thomas Church, New York City; May sampler. For information: week of intensive organ study at the Inter- true joy. Guest organists who have given 16, Charles M. Kennedy; 5/18, Choral . national Music Camp on the North Da- concerts here or who have simply Evensong. For information: 205/226- kota-Canada border. The week at camp stopped by to see and play the organ 3505; . Wichita State University continues includes an introduction to the organ for have been unanimous in their praise.” its Rie Bloomfi eld organ series on the pianists and keyboard players, group in- Carol Muehlig Duke University Chapel, Durham, Marcussen organ in Wiedemann Hall: struction in basic organ technique, indi- First Presbyterian Church North Carolina, continues its organ re- February 5, Mary Preston; April 8, Gil- vidual tutorials, and practice sessions. Ann Arbor, Michigan cital series: January 27, Jonathan Dim- lian Weir; 4/9, Messiaen masterclass, The competition is for school-age pia- mock; February 17, John Scott; March Gillian Weir; 4/23, Lynne Davis. For in- nists, keyboard players, and beginning H 30, Robert Parkins. For information: formation: 316/978-6218; organists who have secured the support . . of their home church or another spon- sor. The scholarships will cover the cost Pinnacle Presbyterian Church, First-Trinity Presbyterian Church, of room, board and tuition during the OrganmasterShoes Scottsdale, Arizona, continues the or- Laurel, Mississippi, continues its music camp’s Organ Week, July 6–12. Sponsors FAST Delivery Ɣ 3 Widths gan recital series featuring its Richards, series: February 8, Clarence Dickinson will be responsible for travel expenses Fowkes & Co. organ: January 27, Brent Festival; May 4, Frederick Swann, 40th for the scholarship winners. Applications HALF Sizes Available Hylton; February 27, Gary Quamme; anniversary of the church’s Aeolian-Skin- are being accepted now. The deadline to March 5, Craig Westendorf; 3/7, Doug- ner organ; June 4, Brett Valliant, silent apply is April 30, 2008. Winners will be las Cleveland; 3/12, Marilyn Hylton. For fi lm: The Hunchback of Notre Dame; 6/5, contacted the following week. information: 480/585-9448; Brett Valliant, silent fi lm: The Kid. For Straddling the border between North . information: . Dakota and Canada, the camp is located in the International Peace Garden. Ad- Trinity Wall Street, New York City, The Church of the Covenant, Cleve- ditional information about the camp can presents early music with the Trinity land, Ohio, presents a Daniel Pinkham be found on its website, Choir and the Rebel Baroque Orchestra: memorial concert on February 17 at 3 . Call us: 1 (413) 773-0066 9-5 EST January 29, Monteverdi, Vespers of 1610; pm. The program will feature the choirs For information and a scholarship FAX 1 (413) 773-0166 March 11, Haydn, Theresienmesse and of Church of the Covenant and Epworth- application, write to: IMC Scholarship organmastershoes.com Schöpfungsmesse; May 20, grand motets Euclid United Methodist Church; rep- Fund, Rodgers Instruments, 1300 NE by Lully, Lalande, Charpentier, Desmar- ertoire includes The Covenant Motets, 25th Ave., Hillsboro, OR 97124; or send est, Rameau, and Mondonville. For in- Christmas Cantata, Evergreen, Three a request via e-mail to: formation: . Songs from Ecclesiastes (Nanette Can- . fi eld, soprano), Oration for Organ and St. Michael’s Catholic Church in Cello, and excerpts from Saints Days (or- Auburn, Alabama presents a sacred mu- gan solo). For information: 216/421-0482; sic workshop February 1–2, sponsored . by the St. Cecilia Schola Cantorum. The workshop will include sessions on Gre- The Association of Anglican Musi- gorian chant and sacred music of the Re- cians Region VII and the Amarillo AGO chapter present a mid-winter conclave February 18–20 at St. Andrew’s Epis- copal Church, Amarillo, Texas. The schedule includes concerts, lectures, and workshops with Gerre Hancock and the King’s Singers. For information: 806/376- 6316; . The Chicago Chapter of the American Guild of Organists announces the 2008 Gruenstein Memorial Organ Com- petition, formerly sponsored by the Chi- cago Club of Women Organists. During its 40-year history, several notable organ- ists have been past winners of the Gru- enstein Competition, including Mary Preston and Anne Wilson. The competi- tion is open to all organists who will be under 30 years of age on April 19, 2008, 30th anniversary of Nordlie Opus 1 the date of the fi nals. Prizes consist of a at First United Methodist Church, $1000 fi rst prize, a $400 second prize, a Appleton, Minnesota $250 third prize, and an audience award of $100. The winner will be presented in The 30th anniversary recital of the a recital at a Chicago area church in the John Nordlie organ, Opus 1, was held fall of 2008. This year’s required piece is at the First United Methodist Church, Bach’s Fantasie and Fugue in G minor; a Appleton, Minnesota, on October 21,

4 THE DIAPASON

Jan 08 pp. 2-20.indd 4 12/11/07 7:48:34 AM 2007. Pictured (left to right) are three the best interpretation of a contemporary Christmas! concerts, each composer re- by Young, Hopson, Shaw and Martin. The members of the original organ commit- work (offered in memory of her late hus- ceived a prize of $1,000. service was led from the six-rank tracker tee: Muriel Nelson, Leonard Massee, band, composer Giuseppe Englert, who Matthew Brown (Los Angeles) com- organ that had been installed in the 1920s and Barbara Kerr; Eugene Doutt who died March 29, 2007). The jury awarded posed Sweet Was the Song, a lullaby by the Hinners Organ Company of Pe- assisted in the installation; Rev. Rich- special mentions to Samuel Gaskin of based on a medieval English text. The kin, Illinois. This historic organ had been ard Collman who played the recital; and the United States and Maria-Magdalena Darkest Midnight in December, by Ste- shipped to Oakes, North Dakota in a rail- builder John F. Nordlie of the J. F. Nor- Kaczor of Poland. Twelve candidates phen Main (San Francisco), is a setting road box car, and remains unaltered. dlie Pipe Organ Company of Sioux Falls, from eight countries were admitted to of a carol text from a poem by Fr. Wil- South Dakota. The organ is an undivided the quarter-fi nals. liam Devereux. For information: one-manual and pedal tracker instru- The international jury consisted of Eric . ment based on an 8-foot Principal and Lebrun, Thierry Escaich, Sophie-Vero- Appointments consists of seven stops. The organ was nique Cauchefer-Choplin, all of France, The Presbytery of the Northern dedicated by Rev. Collman in October of Helmut Deutsch of Germany, and James Plains recently sponsored its third an- 1977, and he has played subsequent 10- David Christie of the USA. The Prix An- nual Festival of Music at First Presbyte- Michael Monaco has been appointed year, 20-year, and now 30-year recitals. dré Marchal is co-sponsored biennially rian Church, Oakes, North Dakota. The director of music and organist at St. Ste- by the Académie André Marchal and the worship service included hymn singing, phen Lutheran Church in Williamsburg, The eighth Concours Internation- town of Biarritz, France. scripture readings, prayers and anthems Virginia. In addition to his responsibili- al d’Orgue de la Ville de Biarritz was by a 30-voice choir and a handbell choir. ties of playing for all the principal servic- held October 24–27, 2007 in Biarritz, VocalEssence and the American David C. Morlock, organist, Joseph S. es of the church, he will direct two choirs France, with the Prix André Marchal Composers Forum have announced Banister, choir director, and Diane Wit- and has plans for developing a youth mu- awarded equally to Simone Gheller of the two winners of the 10th annual Wel- zig, handbell choir director, led the after- sic ministry. He holds advanced degrees Italy and Daniel Tappe of Germany. The come Christmas! Carol Contest. Car- noon service, which included participa- in both sacred music and divinity, and 29-year-old Gheller also won the audi- ols composed by Matthew Brown and tion by clergy of the Presbytery. brings much experience in liturgical and ence prize, as well as two special prizes Stephen Main were selected from 118 Hymn tunes were Nicaea, Dennis, concert music to the church. offered by Madame Englert-Marchal— scores received from 32 states. In ad- Lyons, Lobe den Herren, McAfee Mr. Monaco will continue in his duties one for the best interpretation of a work dition to having their works premiered and Engelberg. Anthems consisted of at the Colonial Williamsburg Founda- by a French composer and the other for by VocalEssence at the 2007 Welcome arrangements of additional hymn tunes tion, where he is a member of the “Gov-

thth ConcertArtistCooperative 20ANNIVERSARY

Sabin Levi Yoon-Mi Lim Ines Maidre Mary Mozelle David F. Oliver Organist/Harpsichordist/Carillonneur/ Organist Organist/Pianist/Harpsichordist Organist/Recording Artist Organist/Lecturer/ Lecturer/Recording Artist 2004 NYACOP Winner Associate Professor of Organ Associate Organist Recording Artist Organist and Composer in Residence Director of Music Grieg Academy of Music The National Presbyterian Church College Organist First Christian Church of Independence Fairlawn Presbyterian Church Bergen, Norway Washington DC Assistant Professor Assistant Music Director Columbus, Indiana “The Sights & Sounds Department of Music Shireinu Choir of Kansas City of the Pipe Organ” Morehouse College Kansas City, Missouri Atlanta, Georgia

Larry Palmer Roman Perucki Gregory Peterson Stephen Roberts Clair Rozier Harpsichordist/Organist Organist/Lecturer/Recording Artist Organist Organist/Harpsichordist/Lecturer Organist/Lecturer Professor of Harpsichord and Organ Director, Frederic Chopin College Organist and Instructor of Organ Director of Music Meadows School of the Arts Polish Baltic Philharmonic Assistant Professor of Music Western CT State University St. David's Episcopal Church Southern Methodist University International Organ Music Festival Luther College Director of Music Wayne, Pennsylvania Dallas, Texas J.P. Sweelinck Organ Music Competition Decorah, Iowa St. Peter Church Organist, Oliwa Cathedral Danbury, Connecticut Gdansk, Poland

Lisa Scrivani-Tidd Michael Stefanek Heinrich Walther Jane Watts Duo Majoya Organist/Lecturer Organist Organist/Clavichordist/Virginalist/ Organist Organ and Piano Assistant Professor of Music Director of Music Recording Artist Exclusive Recording Artist Recording Artists SUNY at Jefferson Aldersgate United Methodist Church Faculty, University of Music Priory Records Marnie Giesbrecht and Joachim Segger Watertown, New York Redford, Michigan Freiburg, Germany First RCO Performer of the Year Professors of Music University Organist Faculties, Church Music Schools Organist of the Bach Choir University of Alberta St. Lawrence University Heidelberg and Rottenburg London, England The King’s University College Canton, New York Germany Edmonton, Alberta, Canada

www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988

JANUARY, 2008 5

Jan 08 pp. 2-20.indd 5 12/11/07 7:49:45 AM trate more fully as the full-time organists extraordinary sonic defi nition and repro- and choirmasters of All Saints’ Episco- duction of the room ambiance. pal Church in Atlanta, where they have Included in the 32-page booklet that served since 1975. In honor of their accompanies the CD is an interview with combined 62 years as the Upper School Michel Goussu, the organbuilder who and Middle School choral directors, and cares for and was part of the team that Ray as director of fi ne arts, hundreds of recently restored the instrument. Goussu former students, parents, teachers and discusses the history, design and care of administrators fi lled the Hendrix The- the organ at Saint-Sulpice. A photo essay ater for a tribute performance by the of Vincent Dubois recording the Liszt, Chenaults’ former students. working with two registrants, is also in- At the conclusion, headmaster Billy cluded in the CD booklet. Peebles announced that the theater was The program includes Mozart, Fanta- renamed the Hendrix-Chenault Theater, sie in F Minor, K. 608; Liszt, Evocation à in honor of three individuals so impor- la Chapelle Sixtine; Rachmaninoff, Pre- tant to the life and history of the school. lude in C-sharp Minor (transcribed for James Hendrix was the headmaster from organ by Louis Vierne); Durufl é, Suite, Michael Monaco Jeremy Bruns 1991–2003, and the person with whom op. 5; and a free improvisation. For in- the Chenaults worked closely in secur- formation: . ernour’s Musick,” performing several ginnings, with revisions by Gilbert Ad- ing the new fi ne arts facilities. Upon the weekly concerts on antique keyboard ams in the 1960s and by Mann & Trupi- completion of the theater in 1995, it was instruments. He is planning to develop a ano in the 1980s. The program includes Dr. Hendrix who dedicated the facility as concert series at the church, performing de Grigny, Veni creator spiritus; Messi- the “house that the Chenaults built,” so it upon a mechanical-action, neo-Baroque aen, L’Ascension; and Widor, Symphonie is only fi tting that the theater’s name now pipe organ built by the fi rm of Petty- VI in G, op. 42, no. 2. For information: refl ects the legacy of these three lead- Madden. The church enjoys excellent . ers. The name change was a unanimous acoustics, being in the shape of an oc- decision by the Lovett School Board of tagon with hard refl ective surfaces. The Trustees, and was made possible by the design of the church was infl uenced by a generosity of Mr. and Mrs. John T. Glov- plan for an octagonal chapel designed by er and Mr. and Mrs. John A. Williams. Thomas Jefferson for the College of Wil- Additionally, Mr. and Mrs. Richard Lee liam and Mary. For further information: began an endowed fund last June in honor . of the Chenaults, who taught their three sons. The Chenault Fund endowment is designated for excellence in teaching by a Lovett Fine Arts teacher. Beth Chenault Jane Fitzharris and Stephen Hamilton Here & There was named the fi rst recipient last year. Mr. Peebles announced that over 100 families Stephen Hamilton played the an- have given over $200,000 to this fund in nual Beinema concert at Trinity Episco- Jeremy Bruns is featured on a new honor of the Chenaults. pal Church in Bethlehem, Pennsylvania recording, French Éclat at Saint Thomas Previously Beth had been named on October 28, 2007. It was sponsored Church, on the Pro Organo label (CD one of the Woodward Teachers for Ex- by the church’s director of music, Jane 7220). A prizewinner in the 1993 Inter- cellence in Teaching at Lovett. Ray A. Fitzharris. The program included national J. S. Bach Competition and the was named STAR teacher this year by works by Handel, Langlais, Boëllmann, 2003 Dallas International Organ Com- Lovett graduate Alex Western, who is and Böhm. The annual Beinema concert petition, Bruns was recently appointed now a freshman at Harvard University. pays tribute to Marvin Beinema, who organist-choirmaster at St. Paul’s Cathe- Beth and Ray Chenault The Chenaults’ Lovett choirs have been was an organist and composer at Trinity dral (Episcopal), Buffalo, New York; he featured at Carnegie Hall, Avery Fisher for 50 years. previously served as associate organist at On October 12, the Lovett School in Hall, represented President Carter’s St. Thomas Church. Atlanta, Georgia held a gala in honor of Friendship Force Exchange Program in The Arents Memorial Organ, located Beth and Ray Chenault, who retired England, and have won numerous na- in the chancel, has both E. M. Skinner from teaching at Lovett following the tional choral titles year after year. Ray (1913) and Aeolian-Skinner (1956) be- last academic school year, to concen- and Beth taught over 8,000 choristers in their 31-year tenure at Lovett. The Chenaults are represented by Phil- lip Truckenbrod Concert Artists and con- professional tinue an active concert career. They have commissioned, recorded and published over 40 organ duets, and have three or- gan duet CDs with Gothic Records. The musiciansicianiician Chenaults just completed their 32nd year at All Saints’ Episcopal Church in Atlanta. pastoral theological Sonata Henderson and Diane Meredith Leon Couch III is featured on a new Belcher recording produced by the AGO as part of their educational resources. Playing 16-year old Sonata Henderson of Dietrich Buxtehude’s Works Rhetorically northeast Philadelphia is the winner Master of is a 3-CD set, which includes an in-depth of the fi rst annual Lynnwood Farnam discussion of musical rhetoric and its ap- Scholarship Competition. Her successful plication to the organ music of Buxtehu- audition in the summer of 2007 earned de. The full lecture text is spoken on the her a full year’s tuition for organ les- Sacred Music CD and printed in the enclosed booklet; sons with Diane Meredith Belcher. The musical examples are played on the Tay- scholarship is named after the famous www.luthersem.edu/msm lor & Boody “Bach temperament” organ Canadian organist (1885–1930) who im- at Goshen College in Goshen, Indiana. migrated to the United States and be- For information: . came the fi rst professor of organ at the Curtis Institute of Music. It was begun in “We seek to give musical and theological honor of, and grateful thanksgiving for, David Spicer, minister of music at First flesh and bone to those who are called Church, Wethersfi eld, Connecticut, who to serve the church as leaders of the offered Ms. Belcher her fi rst organ les- people’s song.” sons free of charge. The scholarship is completely based – Dr. Paul Westermeyer, Director on merit and talent, and therefore has no age restriction or prerequisites. Ap- plicants audition on organ or piano, and perform 15–20 minutes of music in vary- ing styles. The quality of preparation and performance is considered more strongly than the diffi culty of the repertoire. The musical skills and aptitude of the per- former are also tested at the audition (no preparation necessary.) Auditions for the 2008–2009 year will take place between May 1 and June 30, 2008. For further information and Vincent Dubois (photo credit: Monique de St. to schedule an audition, contact Diane Croix) Meredith Belcher, St. Mark’s Episcopal Church, 1625 Locust St., Philadelphia, Vincent Dubois is featured on a new PA 19103; 215/735-1416, ext. 5; recording, made on the Cavaillé-Coll . organ at Saint-Sulpice for JAV Record- Armstrong Aspaas Ferguson Rodland Westermeyer ings (JAV 166). The CD was produced Dan Locklair’s song cycle Cummings’ and recorded by Christoph Frommen in Suite was premiered at the “Songs of SACD Surround Sound, which creates Hope” recital series debut, October 12 at

6 THE DIAPASON

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Quality Pipe Organ Building & Maintenance Since 1967 Grace Church in Brooklyn Heights, New York. The newly commissioned work on the text “I thank you God for this most amazing day” was performed by soprano Janeanne Houston, organist/pianist Paul Richard Olson, and oboist Shannon Spic- ciati. Locklair’s Remembrance was per- formed by J. Reilly Lewis conducting the massed choir at the 28th annual Inter- Faith Concert November 13 at the Na- tional Shrine of the Immaculate Concep- tion, Washington, DC. Remembrance was written in 2006 for SATB chorus a cap- pella, organ and optional trumpet and is Edward Barbieri (director of music based on text from the book of Matthew. & organist at St. Peter’s Episcopal Cathedral), Maxine Thévenot, John Mason III (organ scholar at St. Peter’s Margaret Phillips Domenico Severin Episcopal Cathedral)

gram includes the Orgelbüchlein, BWV France, Poland, Croatia, Romania, Hun- tion to two weeklong residencies as the 599–644; Prelude and Fugue in A, BWV gary, Russia, China, Hong Kong, and organist at Canterbury Cathedral and St. 536; Allabreve in D, BWV 589; Fanta- South Africa. His American appearances George’s Chapel, Windsor. sia and Fugue in c, BWV 537; Prelude include Basilica of the National Shrine Dr. Thévenot is a lecturer in music, and Fugue in C, BWV 531; Canzona of the Immaculate Conception and St. and is director of Las Cantantes (wom- in d, BWV 588; Fugue in b on a theme Patrick’s Cathedral. Upcoming concerts en’s choir) at the University of New of Corelli, BWV 579; and Prelude and take place at the Church of St. Louis, Mexico. She is also the founding direc- Fugue in e, BWV 533. For information: King of France (St. Paul, Minnesota) and tor of Polyphony: Voices of New Mexico . the Cathedral of St. Philip (Atlanta). and serves as associate organist-choir Severin’s repertoire ranges from early director at the Cathedral Church of St. Godwin Sadoh’s Five African Dances music to the contemporary composers. John, Albuquerque. Her upcoming re- for Solo Organ has been published by In addition, he promotes rarely per- cital schedule includes performances Evensong Music. The new work is a col- formed Italian organ music from the end at Emmanuel Church, Maryland; St. lection of fi ve pieces based on Nigerian of the 19th and early 20th centuries. As John’s Cathedral, Colorado; Royce Hall, melodies and indigenous rhythmic pat- a composer, he has published several UCLA, California; the University of Bynum Petty terns, as well as some original material. organ works, and is the author of an es- Arizona; and performances in Canada The Dances celebrate and demonstrate say on the history of organ registration and the Netherlands. For information: Bynum Petty is the recipient of the signifi cant aspects of African music in Europe. . Otto Hofmann Memorial Literary Prize, through the use of traditional creative Domenico Severin joins an artist ros- presented by the American Institute of procedures and dance rhythms; $15.00; ter that includes Scott Lamlein (USA), Organbuilders. The cash prize is award- . Edward Broms (USA), Martin Setchell ed to individuals who contribute to origi- (New Zealand), Luca Pollastri (Italy), nal research in organbuilding relevant Ingrassia Artist Management an- Stefan Moser (Germany), Enrique to promoting the interests and goals of nounces the signing of French concert Rimoldi (Argentina), and Douglas Bruce the Institute. Petty was cited especially organist Domenico Severin for rep- (Switzerland). For additional informa- for his essays on the M. P. Möller Organ resentation in the United States. Mr. tion: 508/277-6022; Company, which were published in the Severin is titular organist at St. Etienne e-mail: ; Journal of American Organbuilding. Cathedral in Meaux, France. He holds web: . a diploma in organ and organ composi- Margaret Phillips is featured on a tion from the B. Marcello Conservatory new recording, J. S. Bach Organ Works, in Venice, Italy, and in musical analysis on the Regent label (REG CD254, two- from the Boulogne-Billancourt C.N.R., CD set). Recorded on the Aubertin or- in France. He has performed at organ gan at St. Louis-en-l’Île, Paris, the pro- festivals worldwide, including in Italy, Thomas Trotter INTHROP NIVERSITY The work of the Thomas Trotter is featured on a new W U Æolian-Skinner Organ recording, Restored to Glory, on the Re- Rock Hill, South Carolina gent label (REG CD265). Celebrating Company under the the re-opening of the Birmingham Town leadership of G. Donald Harrison (1889-1956) has garnered much interest Hall and the restoration of its historic in the past decade, though the number of instruments remaining in William Hill organ, the program includes works by Bizet (Carmen Suite, transcr. unaltered condition from his tenure is lamentably few. Winthrop Lemare), Ireland, Thalben-Ball, Handel, University’s Opus 1257 was an Best, Lemare, and Wagner. For informa- all-new instrument when tion: . completed in 1955 and has seen Frances Shelley and Steven Egler German organist Johannes Unger of only two minor changes since St. Thomas Church, Leipzig, has joined then, showing a respectful The Shelley/Egler Duo (Frances the German baritone Daniel Ochoa to awareness of this instrument’s Shelley, fl ute; Steven Egler, organ) will form a duo for performances in North present masterclasses, a workshop, and a America under representation of Phillip value. concert February 9–10, at First Presby- Truckenbrod Concert Artists. Ochoa has The D. B. Johnson Memorial terian Church, Bryan, Texas, sponsored performed with the Berlin Philharmonic Organ is located in the resonant by the Brazos Valley AGO chapter and Orchestra, at the Leipzig Gewandhaus, Concerts on Carter Creek. The sched- the Dresden Frauenkirche, and at fes- Byrnes Auditorium and ule includes: Saturday, masterclasses for tivals such as Lucerne Festival in Swit- displays all of the hallmarks of fl utists and organists, 10 am; workshop zerland, the Leipzig Bach Festival, the Harrison’s style, including a relatively mild Great division without reeds; on music for organ and C instrument, Festival of Flanders, and the Dresden 1:30 pm; Sunday, Shelley/Egler Duo in Days of Contemporary Music. He has several mixtures with each providing a different texture; a powerful Swell concert, 6 pm. For information: Jane Van also performed with the Leipzig Ge- division with French-inspired reeds; and a general emphasis on tonal clarity Valkenburg, 979/823-8073; wandhaus Orchestra, the Northern Ger- over density. . man Radio Philharmonic Orchestra, and the Dresden Philharmonic, and has sung We are honoured to have been selected by Winthrop University to carry Canadian-born organist and choral numerous operatic roles. out a mechanical restoration of this exceptional instrument. At the conductor Maxine Thévenot performed In 2003 Ochoa was the fi rst to receive completion of our work in the fall of 2008, every aspect of Æolian- the opening organ recital as part of the an award from the Albert Lortzing Foun- Arts Series events at St. Peter’s Episco- dation of Leipzig, and the following year Skinner’s Opus 1257 will have been examined, documented and pal Cathedral, St. Petersburg, Florida was awarded a Richard Wagner Award conservatively restored without tonal changes. Throughout this project, it on October 28, 2007, entitled “Organ scholarship. He studied with Anthony is our pleasure to work in close consultation with the instrument’s curator Fireworks.” Thévenot has performed Baldwin in Rostock and Hans-Joachim throughout Europe, Great Britain, and Beyer in Leipzig. He was a regular mem- and Professor of Music Emeritus at Winthrop, Dr. David Lowry. North America, with a repertoire that ber of the master classes between 2002 includes contemporary works written and 2004 of Dietrich Fischer-Dieskau especially for her. This past summer she and attended master classes led by Horst ORGUES LÉTOURNEAU LIMITÉE performed solo recitals at Westminster Günter and Matthias Goerne at the In- Abbey and Salisbury Cathedral, in addi- ternational Bach Academy in Stuttgart. United States Canada 1220 L Street NW 16355 avenue Savoie RONALD CAMERON BISHOP Suite 100 – No. 200 St-Hyacinthe, Québec Consultant Washington, DC J2T 3N1 20005-4018 Tel: (450) 774-2698 Pipe Organs Digital Enhancements EHGLHQWRUJDQFRP Tel: (800) 625-PIPE Fax: (450) 774-3008  Fax: (202) 737-1818 [email protected] All-digital Instruments [email protected] www.letourneauorgans.com 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595

8 THE DIAPASON

Jan 08 pp. 2-20.indd 8 12/11/07 7:56:41 AM www.ioti.com VirtuosoPIPE ORGAN CONTROL SYSTEM 877 462 4684

In 1938, the Basilica In 2007, the of St. Peter and Paul Basilica chose the in Lewiston, Maine Virtuoso Pipe Organ chose Casavant. Control System. He also served in the Air Force during appear with separate pricings for either unenclosed portion in front of its expres- Nunc Dimittis the Korean confl ict. He served churches layout. For further information: Fruhauf sion box, side by side of the Swell. Re- in Hammond, Indiana; Chicago, Illinois; Music Publications, P.O. Box 22043, San- maining original Kimball pipework was and Louisville, Kentucky; then at First ta Barbara, CA 93121-2043; ph 805/682- restored, and the voicing regulated by As this issue was in production, word Methodist Church in Birmingham, Ala- 5727; . meticulous tonal fi nishing. The façade’s arrived of the death of longtime DIAPASON bama in 1960. In 1964, he was called to original stenciling was restored. Provi- author and reviewer Dr. W. G. Marigold Independent Presbyterian Church, serv- The Institute of British Organ sion has been made to add an Antiphonal on November 25. A “Nunc Dimittis” will ing there as organist-choirmaster until he Building has announced the publication division, in a case in the rear gallery. The appear in the February issue.—Editor retired in 1998. During his tenure there, of Organ Building, Volume Seven. This work was carried out under the aegis of he established the November Organ annual journal of the society comprises the Buzard company’s service depart- Ruth Lloyd Henderson died Sep- Recital Series, which has featured more 112 pages of articles covering new or- ment, under the leadership of Keith Wil- tember 5 in Hamilton, Bermuda, at age than 150 guest organists from the U.S. gans and restoration projects; technical liams and David Brown. 54. She earned degrees in music and and Europe, and also initiated the Re- subjects such as pallet restoration and Buzard will be renovating the two-man- music education from Dalhousie Uni- ligious Arts Festival, beginning in 1972. winding; an appreciation of the work of ual and pedal, 10-rank c.1918 Hinners versity in Halifax, during which time she Under Schreiber’s direction, the IPC Frank Bradbeer; appraisal of a new book organ in the United Methodist Church met William Henderson. They married choir toured Europe six times, perform- by John Norman; review of the year in Westfi eld, Illinois starting in January, in 1975 and moved to Montreal, where ing in cathedrals throughout Europe; highlighting and analyzing the work of 2008. The original electropneumatic ac- Mrs. Henderson completed the licenti- they also sang at three AGO conven- British organ builders in 2006; and the tion ventil windchests will be restored, ate diploma in organ performance. In tions, and produced 13 recordings. Mr. defi nitive IBO register of accredited along with all wind system and expression 1976, they returned to Bermuda, and Schreiber served on various boards, both business members; 95 photos, 32 draw- equipment. The console, which was poor- two years later she became organist at locally and also for such national organi- ings, A4 format, perfect binding, €20.75; ly rebuilt in the 1970s, will be completely the Cathedral of the Most Holy Trin- zations as the Presbyterian Association of . renovated, including installation of a solid- ity (Anglican), where she served for 29 Musicians and the AGO. He received nu- state switching system and combination years. She also taught music at Bermuda merous awards, including the Governor’s A service and resource book has been action. All pipework will be cleaned, re- High School and Saltus Senior School, Arts Award. Joseph Schreiber is survived published to celebrate the 80th anniver- paired as necessary, and regulated, retain- and was the driving force behind the by his wife and two children. sary of the Royal School of Church ing the original pitch, wind pressure, and Bermuda Choral Workshop, which Music (RSCM). Drawing its inspiration tonal character throughout. brings together choirs from throughout from the Book of Psalms, Psallam con- Buzard has been selected by St. Bermuda. She helped restore an old tains a wide collection of easy and more Bridget’s Catholic Church in Richmond, Bermuda organ, now located next to Here & There challenging works for choirs both large Virginia as their organbuilder of choice, the baptismal font in the cathedral. Mrs. and small, as well as for congregations, and they have signed a letter of intent to Henderson served as program director and refl ects the international nature of build them a new pipe organ for delivery for the Bermuda AGO chapter. She is Bärenreiter announces the release of the RSCM. The book refl ects the diverse in 2011. The new organ’s commissioning survived by her four children, mother, Bach, Cantata 1, Wie schön leuchtet der identity of the United States, and in- is a part of the parish’s overall renovation three brothers, and mother-in-law, son- Morgenstern, edited by Matthias Wendt cludes texts in English, Spanish, German, and expansion project. The new Buzard in-law, and daughter-in-law. (BA 10001). Written for March 25, 1725, French and Hebrew, and music infl u- organ will be housed in three cases: two when the feast of the Annunciation co- enced by jazz, blues and African-Ameri- for the Swell, Choir and Pedal on either Jack R. Ruhl, age 82, died September incided with Palm Sunday, the cantata can spirituals, as well as native melodies side of a substantial stained glass window 7 in Fort Wayne, Indiana. Born in Fort forms the conclusion of Bach’s cantata from America, Africa, Latvia, Wales and that the Skinner has occluded for nearly Wayne, he served as a chaplain’s assistant cycle of 1724–25. Also published is Men- the Caribbean. US price $12.95 (RSCM- 40 years, and one in front of the gallery in the Navy. He earned bachelor and delssohn, For He shall give His angels affi liated members can claim a 25% dis- rail, to house the Great. The tonal specifi - master of music degrees at Northwest- charge over thee, motet for eight voices count); order directly from the American cation was developed in conjunction with ern University School of Music in Evan- a cappella, edited by Christoph Heimbu- publishers: GIA catalog number G-7248; music director Allen Bean. The pastor is ston, Illinois. In 1951 he became staff or- cher (BA 8933). For information: 800/442-1358; . sacred_music/index.cfm>. The Buzard company is actively seek- Fort Wayne, serving in that position until ing buyers for the church’s present instru- his retirement in 1991. There he estab- GIA Publications has announced the John-Paul Buzard Pipe Organ ment, Skinner Organ Co.’s Opus 574, a lished a famous concert series on the release of Christe lux mundi, a new col- Builders (www.Buzardorgans.com) an- three-manual and pedal instrument of 30 church’s 81-rank Aeolian-Skinner organ; lection by the Brothers of Taizé (G-7101, nounces completion of comprehensive stops and 25 ranks. (This organ was origi- the series featured such artists as Anton vocal edition, $10.00; CD-696, compact rebuilding of the 1896 Kimball organ at nally installed in Monumental Episcopal Heiller, E. Power Biggs, Virgil Fox, the disc, $16.95). For information: First Presbyterian Church, in Lexington, Church in Richmond, and was trans- Durufl és, Jeanne Demessieux, Robert . Kentucky. Working with music director planted to St. Bridget’s in 1975 without Glasgow, Clyde Holloway, Larry Smith, Marlon Hurst, organist Tina Wagoner, alteration.) The Skinner instrument will Robert Anderson, and many others. He Fruhauf Music Publications has architectural consultant Terry Byrd Ea- be available in 2010, and Buzard Pipe was also responsible for the creation of announced that all editions are now son, and organ consultant Barbara Owen, Organ Builders looks forward to restor- 1 the Fort Wayne National Organ Playing available in bound or unbound 8 ⁄2″ x the Buzard rebuild retains the fl avor of ing the instrument for its new owner. (For Competition. Mr. Ruhl also maintained a 11″ format. As before, music orders pre- the original Kimball work, reconciles the additional information about the Skinner private piano and organ studio, was pia- pared on loose-leaf sheets for convenient various alterations made to it during its organ, please contact Keith Williams at nist for the Fort Wayne Philharmonic, page turning and music rack layout are lifetime, and completes choruses and .) and was active as a recitalist. packaged and delivered in fl exible clear families of sound with judicious, histori- plastic sleeves for easy storage. But now cally informed additions. The instrument C. B. Fisk has released volume 18, Joseph William Schreiber died at all scores are also available for those who is completely new mechanically, with the number 2 of The Pipeline. The newslet- age 77 on September 20, in Mountain prefer traditionally bound volumes print- exception of swell shutter frames, large ter includes information on the fi rm’s Brook, Alabama. A graduate of Baylor ed on both sides of the page. Please re- reservoirs, and the blower. The manual Opus 128 (II/27), Lexington Presbyte- University and Northwestern Univer- fer to the detailed listings on the website divisions are played on electrically op- rian Church, Lexington, Virginia; Opus sity with degrees in organ and church Order Form Page, where wind trunking is wood. A good portion of Polytechnic State University, San Luis Phi Mu Alpha and Pi Kappa Lambda. alternative columns of selection boxes the Great is under expression, with the Obispo; Opus 133, First Presbyterian

Robert I. Coulter Organbuilder Atlanta, GA 404.931.3103 Coulterorgans.com

Fischer Organ Company 823 Massachusetts Avenue • Indianapolis, Indiana 46204 Pipe Organ Services 2107 W. 12th St. 800.814.9690 • www.gouldingandwood.com Allen Digital Organs Erie, PA 16505 Insurance Appraisals (814) 833-8863

10 THE DIAPASON

Jan 08 pp. 2-20.indd 10 12/11/07 7:57:18 AM

Church, Santa Fe; and new contracts for The new organ’s pipe case was built by Friday at 11:50 am (Central Time), when Opus 135, (III/70), Indiana University, Robert L. Sipe, Inc. Its reeds and façade class is in session. Special concerts are and Opus 138, (II/27), First Presbyterian pipes were provided by A. R. Schopp’s scheduled throughout the semester. In the wind . . . Church, Incheon, Korea. For informa- Sons, Inc. and Organ Supply Industries. Tin-shi Tam is the university carillon- by John Bishop tion: < www.cbfi sk.com>. The instrument’s custom Allen digital neur. Recital programs, schedule, and voices were selected and voiced on site the webcast link are available at . The smell of quietness Reginald Hulsey and James Scoggins to I’m writing from New York City on complete the installation. Coral Ridge Kaliningrad: a third carillon for the evening of Sunday, November 18. Presbyterian plans to highlight the new Russia It’s fi ve days before Thanksgiving, and organ at Church Music Explosion in ear- In 2001, St. Petersburg’s fi rst caril- Fifth Avenue is festooned with every ly 2008. For information: lon, with 51 bells, was installed in the gaudy bauble imaginable. European . Cathedral of Saints Peter and Paul. The tourists are spending their gargantuan occasion was the 300th anniversary of euros, spreading Christmas cheer from the city, and the initiative was supported Gucci’s to Saks, from the Disney Store to by 355 sponsors from various countries. the NBA Store. Elaborate light displays This revived the carillon tradition that draw attention to $5,000 handbags, dis- Carillon News was imported into Russia by Czar Peter plays of shoes worthy of Imelda, and un- by Brian Swager the Great in the 18th century after he imaginably expensive jewelry. Chestnuts had become so enchanted by the caril- are roasting on open fi res. They smell lons of the Low Countries. terrifi c, blending with the bustle of the Call for papers In 2005, St. Petersburg was blessed city. My mind’s eye fl ashes an image of The 16th congress of the World Car- with a second carillon, which was hung the fi replace in our house, associating illon Federation will be held July 13–17, in the Cavalry Tower in the Peterhof. the smell of the chestnuts with sitting 2008, in Groningen, the Netherlands. The fi rst bell bears the name of the Rus- in the peace of that favorite of rooms. Proposals for lectures during the up- sian President Vladimir Putin, and the One of the carts selling chestnuts had coming congress are now invited. Sub- second bell was a gift from the Minister middle-Eastern music playing over loud- jects for lectures must be related to the of Culture of the Flemish Community speakers—no doubt a nod to the indig- carillon. The maximum allotted speak- in Belgium. enous music of Bethlehem, Palestine, or ing time is 30 minutes. The proposal In the meantime, a third city has be- the West Bank. Fitting. I’m pretty sure should consist of an outline describing come a candidate for a carillon, namely that the shepherds gathering in the alley the thesis and conclusion of the lecture, Kaliningrad, formerly known as Königs- behind The Inn were not singing four- not to exceed one half page. The com- berg. Kaliningrad is not only an impor- part-harmony in the key of G. I’m pretty plete text of the lecture must be avail- tant seaport, but is also the birthplace sure that snowy fl akes weren’t falling able two months before the congress of the famous philosopher Immanuel softly, clothing all the world in white. In begins. The theme of the congress is Kant. The administration of the carillon fact, I’m pretty sure that the shepherds Allen combination pipe/digital organ for “theme with variations.” The program project will be handled by the Immanuel weren’t white! Coral Ridge Presbyterian Church, Fort committee will make a selection from Kant Foundation, with the support of People are wearing Santa hats. And it’s Lauderdale, Florida (Photo by Skip Sigh) all entries received. Applicants will the Kaliningrad Ministry of Culture and snowing. It’s okay for it to snow in Man- be informed about this choice before the Royal Carillon School “Jef Denyn” of hattan, but it’s pretty early for snow here. Allen Organ Company of Macungie, March 1, 2008. Proposals are due be- Mechelen, International Institute for the I wonder if the Fifth Avenue Merchants Pennsylvania, has recently completed the fore January 31, 2008, and should be Carillon Art and Cultural Ambassador of Association made a special arrangement. installation of a new organ in the chapel sent to: Adolph Rots, Rijksweg 87, 9918 Flanders (Belgium). Maybe Donald Trump has a connec- at Coral Ridge Presbyterian Church, Fort PD Garrelsweer, the Netherlands; +31 Kaliningrad is a Russian enclave that tion—the ultimate networker. It would Lauderdale, Florida. The three-manual (596) 57 18 23; . borders on the European Community. be better if he’d make it rain in Atlan- Diane Bish Signature Series console and The city profi les itself as a bridge be- ta—they really need the water. digital voices include Allen’s patented Live carillon webcasts from Iowa tween Eastern and Western Europe, One of the stores is broadcasting Quantum technology™. The instrument State where cultural exchange and economic Christmas music out to the sidewalk, is a blend of advanced digital technology Iowa State University carillon con- affairs are of great importance for pro- I’m especially attracted to the meaning- and winded pipe voices. Burton K. Tidwell certs are now being broadcast live on moting good relations between East and ful Christmas favorite, the former nun was the instrument’s tonal designer and the Internet. Audiences can listen to and West. It is only natural that the carillon singing, “these are a few of my favorite oversaw the details relating to its design, view the recitals online. Daily 20-minute art—a quintessential form of social art— things.” Is there a Willcocks descant for pipe scaling and tonal fi nishing. recitals are performed Monday through can play a role in this. that one? Maybe Rutter . . . The carillon will be placed inside the WWJD? I’ll tell you what he’d do, he’d beautifully restored cathedral, a rare go to Evensong at St. Thomas Church, The Second Decade arrangement beneath Gothic vaults. It Fifth Avenue at 53rd Street. will be a four-octave instrument with 51 I’m staying in a little hotel on 54th Albert Schweitzer Organ Festival bells. The intention is to create a real Street, two blocks east of Fifth Avenue. concert instrument that is capable of be- It’s a pretty quiet street, but turning left A Weekend in Celebration of Excellence in Organ Music: ing played along with the extant organs onto Fifth is like entering a festive war A Gala Concert, ORGAN COMPETITION, Services, and Masterclass and even with orchestra—a real fi rst! zone. It’s mobbed, it’s noisy, a little scary Sponsors are being sought to support for someone who woke up this morning this project. In recognition of their par- in rural Maine. Walking into St. Thom- High School Division Panel of Judges ticipation, sponsors may choose a bell, as Church is like walking into another whose inscription will immortalize in world. In fact, it is another world. It’s a Provided by Ahlborn-Galanti Organs, bronze their name, their company/busi- world of serenity and grandeur, of peace First Prize: $2,000 Other prizes awarded ness name, or their friends or beloved. and spirituality. It’s a world created by Sponsors will be sent photographs of the best of human effort through de- College/Young Professional* their bell and will be invited to witness sign and craftsmanship. And just like the a bellfounding as well as the festive in- gaudy, extravagant, commercial scene auguration of the carillon in Kaliningrad outside, it’s the product of great wealth. First Prize: $3,500 Other prizes awarded in 2008. In contrast to the neighboring stores Marilyn Further information on the bells, that are bursting with Santas, inside the This includes an appearance on Mason their size, weight, and prices, is available church, above the high altar is a reredos from Jo Haazen, Director; Royal Caril- bursting with Saints. While some reredo- our 2008-2009 Concert Series lon School “Jef Denyn”; Frederik de ses (or is it reredosi?) feature saints that Merodestraat 63; 2800 Mechelen; Bel- are neatly tucked into their niches, some *Through age 26 gium; . of those at St. Thomas Church are rene- gades—bursting out of their little spaces Send items for “Carillon News” to Dr. as though they were in conversation with AUDITION TAPES/CDS: Brian Swager, c/o The Diapason, 3030 each other, gesticulating, looking this way W. Salt Creek Lane, Suite 201, Arlington and that, making their points for the ages Due on June 1, 2008 Gerre Heights, IL 60005-5025; . For information on the but I guess that the thing is more than THE COMPETITION: Guild of Carillonneurs in North Amer- 50 feet tall. There’s a beautiful photo on ica: GCNA, 37 Noel Dr., Williamsville, the church’s website at . thomaschurch.org/interiorview.html>. Perhaps it’s a crude question, but what For Information & Application: Frederick First Church of Christ Hohman 250 Main Street Wethersfield, CT 06109 PAST JUDGES: Colin Andrews, Diane Meredith Belcher, Benjamin Doby, Paul Fejko, Janette Fishell, PACCARD www.firstchurch.org/asof Paul Jacobs, Marilyn Mason, Cast bronze bells 860.529.1575 Ex. 209 Katharine Pardee, Cherry Rhodes, Digital carillons Catherine Rodland, John Rose, [email protected] www.christophpaccard.com John Walker and John Weaver 800/849-6670

12 THE DIAPASON

Jan 08 pp. 2-20.indd 12 12/11/07 7:57:54 AM LAVISH APPOINTMENTS ~ EXCEPTIONAL TONALITY ~ ARTISTIC INTEGRITY OPUS I OPUS II OPUS III TONAL SCHEME HAUPTWERK BY ARP SCHNITGER 16 Quintadena 8 Prinzipal PEDAL OPUS IV 4 Octave 16 Subbass 2 Octave 16 Oktave Considering the overwhelming response to our Elite design philosophy, 8 Holzflöht 8 Oktave we are building a unique two-manual instrument, Opus IV, for concert 4 Rohrflöte and demonstration purposes. Opus IV will be installed in Octave Hall 4 Oktave 2 2/3 Quinte in our International Headquarters building in Macungie, Pennsylvania. Mixture VI-VIII 2 Nachthorn Octave Hall is also home to the larger, more eclectic three-manual Opus I. Mixture VI-VIII Sesquialtera II 16 Posaune Allen Elite™ Opus IV will be a two-manual instrument with 30 stops and Rauschpfeife II 8 Trommet 20 channels of audio. It will be a recreation of an Arp Schnitger organ 8 Trommet with samples taken from one of this famous builder’s North German-style Tremulant RUCHPOSITIV organs. If your church is considering a tonally-unique, custom digital 8 Principal instrument, we encourage you to contact your local Allen representative COUPLERS 8 Gedackt to arrange a trip to Allen to hear and play these two fine instruments. 8 Hauptwerk/Pedal 4 Octave 8 Ruchpositiv/Pedal 4 Blockflöht 8 Ruchpositiv/Hauptwerk 2 Octave Tunings 2 2/3 Nasat Console Description: • Walnut/Oak two-tone finish 11/3 Siffloit TM • Walnut stem/Maple insert Scharff VI-VIII “Elite-style” drawknobs 16 Dulcian • Walnut sharps/Ivora natural keyboards 8 Bahrpfeiffe • Reed Switch keying 8 Trommet • Console Controller™ with Transposer, Acoustic Portrait™ Tremulant and Real Xpression™ THE GOLD STANDARD OF ORGAN BUILDING for discerning customers

Allen Organ Company LLC 150 Locust Street, P. O. Box 36, Macungie, PA 18062-0036 Phone: 610-966-2202 • Fax: 610-965-3098 E-mail: [email protected] Web site: www.allenorgan.com would something like that cost? If we fi g- well, walked eight blocks home because ity. The vision of the architect and the played both without any sharps or fl ats ure the price of a new organ as “so much of a taxi strike, had dinner with his wife skill of the builders make possible the and with whatever the given key signa- per stop,” is the price of a reredos “so Helen, turned on the television to watch magnifi cent building. The proportions, ture suggests. (Remember that it almost much per saint?” There must be 20 tons a performance by musician and humorist decorations, symbolism, and acoustics always makes sense to practice the “nat- of stone involved, and heaven knows how Victor Borge, and died of a heart attack are all essential to the experience. urals only” version fi rst, since it presents many hours of skilled work taking away at 11 pm. (I was a couple days short of The genius of the composers provides more regularly spaced intervals.) This is all the stone that doesn’t look like saints. three months old.) us music that brings the building to life. nothing but a way of saving space and We who regularly install organs might I fi nd in this story a link between a These are musicians who knew these time, and of course it would be pos- be able to imagine what it’s like to install creative genius involved in great and buildings, who made music in these sible to write out any exercise of this sort stone carvings on this scale. But radically enduring work and the passage of life. I buildings, and whose inspiration came twice, once with and once without a key different from the commercialism on the wonder what stops Harrison was work- from these buildings. signature. However, I have found that street outside, this vast expenditure of ing on that last day? What was the last The organbuilders who were con- students easily get used to this notation. money, skill, and human effort is dedi- pipe he handled? Did I hear that pipe to- temporary with the composers (tonight Every pedal exercise that has as its cated and devoted to the glory of God as night? Did he know as he left the church we think of Charles Villiers Stanford as point the development of a student’s an eloquent expression of faith. that he would not be back? Did he stop heard by Ernest Skinner and Henry Wil- sense of the geography of the pedal The choir stalls, pulpit, lectern, and or- for a drink on his way home? (We know lis) heard the music, knew the buildings, keyboard should always be practiced at gan case are all elaborately carved so that that when working on the organs at Bos- and invented and perfected machines a slow tempo. This is for two reasons their massive construction appears deli- ton’s Symphony Hall and First Church that transcend machinery—machines that almost contradict each other but cate, even wispy in a few places. And the of Christ, Scientist, he was very fond that melt into magic under the hands of a that nonetheless both apply. The fi rst is fabric of the building is stone, that most of stopping for refreshment at the Café master organist, machines that consume the normal reason for practicing slowly: unyielding of media. Drop one stone on Amalfi next door to Symphony Hall.) air as fuel and transform it into sound it is easier to play an unfamiliar passage to another and you get chips, a little dust, John Scott must be one of the wisest energy suffi cient to excite tens of mil- slowly than to play it quickly; practicing even splitting in two. The fact that the imports from Great Britain since E. Pow- lions of cubic feet of air mingled with the is more effective if what you are practic- graceful curves of the arches and ribs on er Biggs. In the few years since he began scent of incense and beeswax. ing is correct rather than wrong; and it the ceiling are made of stone defi es the his work at St. Thomas, he has carried on The commitment, dedication, disci- always makes sense to practice any pas- character of the natural material. And by the great tradition of music so beautifully pline, and devotion of the musicians in- sage as slowly as you need to in order to the way, those active saints in the reredos nourished by Gerre Hancock, bringing terpret that music for our modern ears. get it right. Of course as a passage be- are also “chips off the old block.” the famed Choir of Men and Boys to a Their voices burn the same fuel as the comes familiar it can—normally—be There is a magnifi cent quietness to a new thrilling level of musicianship and organ, turning static air into sound ener- sped up. With this kind of kinesthetic building like this. You can hear distant dignity. Immaculately clad in scarlet and gy. Their tuning is precise, their phrasing pedal exercise, however, it is also true noises from the street—an impatient white with elaborate frilled collars, stand- lofty, their harmonies true. that the slower one plays the simple taxi, an indignant pedestrian—and you ing out from the muted tones of stone and And the present clergy and congrega- notes of the exercise, the more intense a can hear subway trains rattling up the wood, they add to the stunning visual ef- tion in all their various roles as offi cers, level of focus is required to feel and in- River Styx, but these noises seem only to fect of the surroundings. committee members, evangelists, ush- ternalize the shape of the physical inter- enhance the quietness. There’s a tinge of The precision of their movements— ers, welcomers, and worshippers com- vals that your feet are negotiating. Such incense mixed with beeswax that is the processing, standing, sitting—adds dig- bine their talents, energy, and (just say an exercise is actually harder mentally, peculiar smell of an Anglican church. It nity to the worship, but I noticed that it it) fi nancial resources to make the entire and more intensely effi cient as a drill and is the smell of quietness. Organbuilders also removes the possibility of distrac- experience available to us in this world of as a learning tool, the slower it is played. know that the higher up you get in the tion. I was able to listen almost wholly Gucci and taxicabs. There can be some point to speeding building, the stronger the smell gets. It to the music, without the back of my These are a few of my favorite things. up exercises such as these—especially must be quieter up in the Solo Organ! mind clattering about someone falling as part of the process of learning to play Another brilliant visual spectacle in out of step, someone standing later than faster without developing tension, and this church is the richly decorated organ the rest. Because they were paying such indeed to disentangle velocity from ten- built by Taylor & Boody in the rear gal- close attention, I was able to as well. sion or force—but that is not relevant to lery, displayed with stunning lighting, The fi rst sound I heard from the choir On Teaching the stage at which a student is fi rst learn- and festooned with gold leaf. If you don’t was the vigorous, sonorous, precise “and by Gavin Black ing pedal playing. notice it when you arrive, it can take your with thy spirit” coming from a distant Once this sense of the distance, shape, breath away as you stand, turn, and walk corridor as they were led in prayer be- and feel of one step has been well estab- out of the church. This organ wasn’t used fore entering the nave. Even so, the Pedal playing, part III: lished, there are two logical next steps. tonight—what we heard was the Skinner/ worshipper-listener could not be pre- expanding the scope The fi rst of these is to invite the student to Aeolian-Skinner organ in the chancel. pared for the inhalation of breath and The scale-based beginning pedal ex- use this sense in more complicated musi- Sitting in the Gothic half-light be- utterance of the fi rst few chords of per- ercise that I discussed at length last cal contexts. The second is to build on this fore the service started, listening to and fectly balanced and expertly tuned tone month is intended to develop a student’s sense to establish an equally secure feel- smelling the silence, I refl ected on the as they sang the psalm after the opening sense—intuitive and kinesthetic—of ing for the moving of one foot over two complicated processes that go into the words. I was sitting about a third of the what it feels like to move one foot the steps, then over three and more. creation of monumental art works like way down the nave (pew 51 had a wad distance of one step on the pedal key- A simple way to set the moving of each the reredos, the organ, or the building of chewing gum under the seat) on the board. The careful procedure that I out- foot by one step in a slightly more com- itself. Having been involved in many epistle side (starboard), far enough back lined then for introducing a new student plicated context is shown in Example II. projects building, restoring, and moving that the choir members, especially the to this exercise is important, since the ef- In this exercise, each foot does exactly organs, I have fi rsthand experience with very young boys, were dwarfed by the fectiveness of the exercise is predicated what it does in Exercise I above: that is, it the complexities of the conversations that majestic height of the place, but their on its feeling easy and natural from the moves slowly by step. (This motion is, in lead to the creation of these things. Mov- voices fi lled the building in a most mov- beginning. However, the gist of the exer- effect, still in half notes, though of course ing from concept to vision to fundraising ing way. cise can be expressed in music notation the notation is arbitrary.) Two things are to design to construction to completion, Great care had been given to the bal- as follows (see Example I). added here. First, the whole process is a these great efforts are both challenging ance between organ and choir. We talk The odd notation of the key signa- bit more challenging conceptually, since and rewarding. and talk about The English Cathedral ture—that is, that the signature itself is the student must think about both feet at In Craig Whitney’s entertaining and Style—when you hear it done so well in parenthesis—is a way of expressing the same time. The student can deal with informative book about the 20th-century you can understand it better. The organ concisely that the exercise should be this by keeping it slow, by focusing well American pipe organ, All the Stops, we must have the ability to sound as if it’s read that during June of 1956 G. Donald going “all out” without overpowering Example I Harrison, the famed creator of so many the choir, and also be able to melt into wonderful Aeolian-Skinner organs, was the ether. This evening, while I heard hard at work supervising the completion the organ in its great fullness in hymn of the large organ in the chancel at St. and postlude, I was so impressed by the Thomas Church, racing against the cal- sound of “full organ” including power- endar to have the organ ready for the ful chorus reeds and mixtures enhanc- convention of the American Guild of Or- ing the sound of the choir. ganists. In the late afternoon of June 14, Choral Evensong in a great church Mr. Harrison left St. Thomas feeling un- like this is a syzygy of genius and creativ-

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14 THE DIAPASON

Jan 08 pp. 2-20.indd 14 12/11/07 7:58:23 AM You’re invited to our new home

...that is, our new home page. We’ll be launching our redesigned and improved www.rodgersinstruments.com website on February 1, 2008, with the addition of new worship resources, organ forum discussions and more. We invite you to visit us online to hear the spectacular sound of Rodgers.

Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue Hillsboro, Oregon 97124 503.648.4181 • fax 503.681.0444 Email: [email protected] On the Web: www.rodgersinstruments.com Example II lowing variation, in which the roles of the Gavin Black is the director of the Prince- feet are reversed (see Example IV). ton Early Keyboard Center in Princeton, Since, when the student approaches New Jersey. He is at work on a pedal-play- these exercises, he or she will already ing method that will probably be available in the fall of 2008. He welcomes feedback by e- have a very fi rm foundation in moving mail at . Expanded one foot over the interval of one step, a versions of these columns with references simple thought will almost always suffi ce and links, along with downloadable PDFs of to guide the feet to the correct distance these and other pedal exercises, can be found for covering two steps: namely, that the at . distance traveled by the foot should feel greater than the accustomed distance of Example III one step, but only just enough greater to notice the difference. If in the course of Music for Voices getting to know these exercises the stu- dent ever makes a wrong note (which is and Organ certain to happen), the best way to cor- by James McCray rect that is also with a simple thought: “I just moved my foot a little bit too far [or not far enough], so next time I will move The Lenten season it a little bit less far [or farther].” This simple, almost naïve, way of correcting Out on the Mount of Olives, wrong notes in pedal practicing always Christ prayed to His Father: Example IV “O Father, if Thou are willing, works (judging from my experience take from me this cup of sorrow, both with students and with myself). It for truly my spirit is willing, is also by far the best way of using the though my body is weary: experience of making and then correct- They will be done, my Father.” ing wrong notes to imprint a correct —In Monte Oliveti feeling for the geography of the pedal Traditional chant keyboard on the brain of the player, and to lead effi ciently to reliable, accurate The season of Lent is an extended playing. It is always possible to get the preparation for Easter, and in 2008 it next note right—or to correct an actual comes somewhat earlier than usual; Ash or anticipated wrong note—by looking. Wednesday, the traditional start of Lent, Example V However, that does nothing to improve occurs on February 6, just 37 days into the student’s command of the pedal key- the new year. Most people are still ex- board, and the sense that it gives of hav- hausted from the holiday pace, so per- ing gotten something right is illusory. haps moving into this next part of the (I will devote a whole future column church year may be more diffi cult than to the subjects of looking at the keyboard having a longer post-Christmas period. and not looking at the keyboard. These Ash Wednesday is the fi rst Wednesday in are both important tools, which are February in the very heart of winter, and sometimes not thought about systemati- the change to daylight savings time will cally enough.) still be almost fi ve weeks away, so dark- Example V shows an exercise that ness prevails on several levels for the in general, and by consciously alternat- back/right foot forward” or “right foot asks each foot to move over the interval Christian community. ing focus from one foot to the other as back/left foot forward” depending, again, of two steps. It also provides practice in Ash Wednesday is said to derive its appropriate. The need for this latter will on the particular student’s posture and dealing with repeated notes. (The play- name from the practice of a bishop sprin- melt away with practice. the angle from which he or she naturally ing of repeated notes with separate feet, kling ashes on the heads of penitents The second new thing that the student approaches that part of the pedal key- which has musical and technical advan- who appeared before him in sackcloth, has to deal with is the consequences of board—or by holding the foot itself at tages of its own, is also a way to practice the garment worn by mourners as a sign having the feet closer to one another. a different angle (i.e., fl exing the ankle being aware of the position of the feet of grief. The sprinkling was a tradition When the two feet are placed in such more or less), or perhaps by switching with respect to each other—not the main in the fourth to tenth centuries, but the a way as to be in some danger of push- from “little toe” to “big toe” or vice versa focus of this approach to learning pedal common use of ashes as an integral part ing each other out of the way or block- in one or both feet, if that addresses the playing, but not something worthy of ne- of the church service probably came long ing one another’s access to the keys that problem and is comfortable. The teacher glect either—and it is good training for after that. need to be played, then the student must and the student can discuss the pros and learning pedal substitution later on. It is The music of Lent tends to be solemn, learn how best to separate the feet and cons of any of these, and this kind of dis- essentially the same gesture as a substi- generally slow and meditative. This mood prevent them from causing problems for cussion will move the student closer to tution: the difference can be thought of culminates on Good Friday, then the joy- each other. This causes additional com- being able to think about such things for as one of articulation.) ous anthems of Easter morning return plexity for the student, but it is also a himself or herself. Again, teachers and students can cer- along with the spring weather. The Gloria very good opportunity for learning about The teacher can make up new exercises tainly write other exercises that will work in Excelsis returns to the liturgy and the the logistics of pedal playing and the along these same lines. They should be as well as these or that can supplement dance of life and afterlife is celebrated in comfortable use of the feet. In each situ- simple melodies in which each foot moves them. It is only important to bear in festive songs of praise. One of the basic ation that brings the feet perilously close mostly by step. The interpolation of the mind the patterns of what each foot is religious principles is that God is not there together, the student can fi gure out—by two feet need not be utterly regular, as doing and to make sure that exercises ex- to take away our suffering, but rather to common sense, and with help from the it is in exercise II above. Some students pand the scope of what each foot is doing fi ll our hearts with his presence. teacher—what solutions will work. For might want to make up their own such ex- in a logical and systematic order. So, take time to look forward to those example, early on in this exercise, when ercises, and can certainly do so, as long as In fact, after any student has become few short weeks after Christmas, so that the left foot fi rst needs to play the note they understand the principle of follow- completely comfortable with the exercis- Lent doesn’t sneak up on the choir. Some B, the right foot has just played c, and ing carefully what each foot is doing. Ex- es in this column or another similar set Lenten music probably needs to be in might be in the way. (This will vary a bit ample III introduces the moving of one of exercises, it should be possible for that the choir folders when the singers return from student to student because of the foot over the interval of two steps. student to begin using pedal lines from from the holiday break. Plan your music kind of differences in foot size, posture, In the fi rst half of this exercise, go- repertoire as pedal practice material. so that the choir is ready to lead the con- and habits that I discussed in Novem- ing up, the left foot is asked to take on This can include even very diffi cult ped- gregation through the Lenten maze with ber’s column.) If there is a problem at the new task of moving over the interval al parts if they are approached the right its various themes. Christmas and Easter this point, the student can think about of two steps, while the right foot is still way. This transition will be the main sub- are easy, but Lent often is confusing, so ways to solve it, such as a more detached just moving by one step. In the second ject of next month’s column, which will choose music with a clear message. In articulation, or separating the feet along half, coming down, this is reversed. For also discuss the Bach Pedalexercitium the words of that old axiom, “In dark the length of the keys—either “left foot completeness one might also try the fol- and touch briefl y upon the heel. Q times, give off light.”

A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church are pleased to announce that the installation of their new 5-manual, 93-rank pipe organ has begun. Go to www.pipe-organ.com to view the complete specification of this and other projects.

A.E. Schlueter Pipe O rgan Co. 800-836-2726 Box 838, Lithonia GA 30058 www.pipe-organ.com

16 THE DIAPASON

Jan 08 pp. 2-20.indd 16 12/11/07 7:59:05 AM Easter is so profound. It is good to re- Palm Sunday Music This energetic and exciting setting of- Disc 8.557555 . member that Christmas, most Christians’ ten has the choir in unison or two parts Toccata in F (BuxWV 157); Choral- favorite holiday, was an afterthought, Let Your Glad Hosannas Ring, Lloyd with rhythmic Hosanna bursts tossed vorspiel, “Von Gott will ich nicht lassen” not even celebrated until centuries after Larson. SATB, optional children’s back and forth between sections. The (BuxWV 220); Praeludium in A major Jesus’s death. But Easter, the most an- choir, and keyboard, Beckenhorst violin and keyboard parts are included (BuxWV 151); Choralvorspiel, “Nun cient of the feasts of the Christian year, is Press, Inc. BP1684-1, $1.50 (M). separately at the back; percussion is easy freut euch” (BuxWV 210); Canzonetta in truly the root of Christianity. There are, of The children’s (or youth) choir may and could be played with two players (it G major (BuxWV 172); Choralvorspiel, course, several themes that run through sing the opening eight vocal measures, includes fi nger cymbals, tambourine, “Kommt her zur mir, spricht Gottes the Lenten season, so conductors may but does not sing alone again; they mere- castanets, triangle, temple blocks, wood Sohn” (BuxWV 201); Fugue in G major vary their repertoire with a variety of texts ly join on the adult music. The music has block, and vibrastrap). This highly rec- (BuxWV 175); Choralvorspiel, “Mensch, even though the pervading mood is most a march quality to it and paraphrases the ommended setting is certain to be well willst du leben seliglich” (BuxWV 206); often somewhat dark and serious. The re- traditional Hosanna text including the received by everyone and offers a fresh Praeludium in G minor (BuxWV 148); views this month draw on opposite moods Benedictus, but all is in English. The approach to music for Palm Sunday. Choralvorspiel, “Ich ruf zur dir, Herr in Lenten music. The music of Palm Sun- keyboard part is on two staves and prob- Jesus Christ” (BuxWV 196); Fugue in B- day with its loud, festive Hosannas is a ably is better suited for the piano. Hosanna to the King, Dan Forrest. fl at major (BuxWV 176); Choralvorspiel, sharp contrast to the Good Friday lamen- SATB and organ, Beckenhorst Press, “Vater unser im Himmelreich” (BuxWV tations. Also, notice a marketing feature Hosanna, John Behnke. SAB, 2 or 3 Inc. BP1771, $1.75 (M). 219); Toccata in F major (BuxWV 156). from Abingdon Press, which lists choral octave handbells or keyboard, Con- The organ part, on two staves, gener- The volumes of the Naxos series of music at two prices: purchasing more cordia Publishing House, 98-3739, ally has fl owing arpeggios that contrast Buxtehude’s organ music feature a num- than six copies of a score offers a bargain $1.50 (M). with the syncopated vocal lines. The en- ber of interesting performers and instru- rate of $1.12 if ordered online directly Handbells are Level II and require tire text is the one word title except for ments. Previous performers have been from Abingdon, and merits your budget- 21 or 27 bells. The music has the feel of a brief contrasting section on “Blessed is Volker Ellenberger, Julia Brown, Wolf- ary consideration. Next month’s reviews a processional, and is designed so that he . . .” This festive setting will be fun for gang Rübsam and Craig Cramer, em- will feature Easter music. there are three verses that alternate with the singers who have rhythmic, dancing bracing such organs as the Brombaugh refrain areas. Both traditional Hosanna vocal lines that are often short and crisp. in Central Lutheran Church in Eugene, Search Me, Try Me, Harold J. Wil- and Benedictus texts are employed in Oregon, and the Fritts at Pacifi c Luther- lome. SATB and keyboard, Abingdon English. The music is not diffi cult and an University. For the fi fth volume Ju- Press, No. 068706161X, $1.60 ($1.12 is suitable for most small church choirs. lia Brown returns, this time playing the for six or more copies) (M-). The handbell music is chordal in style New Recordings Martin Pasi organ in St. Cecilia Cathe- The text, based on Psalm 139, con- and may be played by keyboard alone. dral in Omaha. On this instrument many cerns fi nding a way to “lead me home of the stops have 20 notes to an octave, to you.” This setting would be useful at Hosanna, Hosanna, Joseph Martin. Dietrich Buxtehude Organ Music Vol- and two sets of stop controls allow them other times of the year as well. The fi rst SATB, keyboard, with optional solo ume 5: Praeludia, Chorale Fantasias, to be played in a choice of 1/5-comma half of the anthem is in unison or two violin and percussion, Exaltation of Chorale Preludes. Julia Brown, Mar- meantone and the Wegscheider “well parts, then moves into a four-part tex- The Lorenz Corporation, 10/34921L, tin Pasi organ, St. Cecilia Cathedral, tempered” tuning. The temperament ture. The choral parts and organ are each $1.85 (M). Omaha, Nebraska. Naxos Compact seems to be responsible for quite a bit on two staves and not diffi cult. Note, as mentioned above, ordering directly from Abingdon gives a special price.

How Long, Lord, Shall We Cry for Help, Stephen Folkemer. SAB and organ, GIA Publications, G-4908, $1.30 (E). There are fi ve verses set in various for- mats (unison, SA, SAB, unaccompanied, etc.). The organ part, on two staves, usu- ally doubles the notes of the men, making the piece especially useful to small church choirs. The text, based on Habukkuk 1, is set to a recurring diatonic theme with lim- ited ranges for the voices. Just As I Am, Jeff Miller. SATB and piano, Abingdon Press, No. 06805205X, $1.12 (six or more cop- ies) (M-). The familiar music by William Brad- bury has three verses, with the fi rst for SA and the second for the men in unison. The piano part is simple, with the middle verse set to busy right-hand eighth notes in the upper register of the keyboard. The men are almost always in unison. Easy service music.

O Tree of Beauty, Linda Cable Shute. SATB and organ, Neil Kjos Music Co., 8959, $1.30 (E). There are organ registrations for the music on two staves. The opening unison melody is treated in a modifi ed canon on the second verse, then moves to an unac- companied four-part setting for the third verse. The last verse, also in four parts, adds a descant and is accompanied. There is a folklike character to the mu- sic, which is majestic in style; this would offer a nice contrast of mood for the Lenten season. Highly recommended. In Monte Oliveti (Out on the Mount of Olives), Anton Bruckner (1824– 96). SATB unaccompanied, GIA Pub- lications, G-5549, $1.10 (E). The English text for performance is translated by Robert Batastini. A key- board reduction is included, although the motet is intended for unaccompa- nied choir. The syllabic musical setting is very easy, with primarily stepwise motion for the voices. In Dark Gethsemane, Dana Mengel. SATB, alto solo, keyboard with op- tional fl ute or oboe, Abingdon Press, 0687052653, $1.12 (M). The fl ute/oboe part is included on the back cover; its music is a very easy solo line usually played between the verses. The keyboard part, on two staves, has an arpeggio style in the left hand beneath right-hand chords. The choral parts are syllabic and straightforward, with some “oo” background beneath the alto solo.

JANUARY, 2008 17

Jan 08 pp. 2-20.indd 17 12/11/07 7:59:39 AM of the warmth and sparkle in the present more somber mood of the chorale pre- 890; P. O. Box 25111, Richmond, VA Carillon-Sortie, which Dr. Thevenot recording, although there is the occa- lude “Kommt her zur mir, spricht Gottes 23260; . plays with panache and excitement and sional unsettling moment for those like Sohn,” where the Positive Trichterregal Henri Mulet: Carillon-Sortie; Percy which is an excellent beginning. Follow- me whose ears are mostly used to hearing is used to good effect. Grainger: Early One Morning, arr. Iain ing in a totally different mood is a gentle equal temperament. This is particularly The Fugue in G major was written for Quinn; Iain Quinn: Continuum; Barrie and loving arrangement of the English noticeable in pieces like the chorale pre- manuals only and is actually composed Cabena: Sonata Giojoso; Felix Mendels- folksong “Early One Morning” by the ludes on “Nun freut euch” and “Kommt of three separate fugues. The fi rst makes sohn: Sonata No. 5, op. 65; J. S. Bach: enormously talented and equally eccen- her zu mir.” While these are not in re- use of another very interesting and col- Prelude and Fugue in G Major, BWV tric Australian composer Percy Aldridge mote keys, being in G major and F major orful reed, the Great Vox Humana, fol- 541; Victor Togni: Five Liturgical Inven- Grainger. This was originally a work for respectively, they contain a fair number lowed by the second, an inversion of the tions for Organ: 1. “Jesu Dulcis–Verbum harmonium duet (!) arranged here by of accidentals, and thus the tempera- answer to the fi rst fugue, on the fl utes. Supernum,” 2. “Ave Maria,” 3. “Adoro te Iain Quinn. ment makes some of the intervals seem This is followed by a development of Devote,” 4. “Laudate Dominum,” 5. “Al- That sets up the ear for the piece that a little unusual. Because most of us are the fi rst fugue on the original registra- leluia;” Calvin Hampton: “At the Ballet” follows, Continuum by Mr. Quinn, and used to equal temperament, recordings tion with which the second subject is (from Five Dances); McNeil Robinson: one of my personal favorite pieces on like this one tend to be something of an combined. A further chorale prelude, Hommage à Messiaen; Marcel Dupré: the disc. It was given its premiere per- acquired taste, but I found that the more “Mensch, willst du leben seliglich,” then Cortège et Litanie, op. 19. formance at Notre Dame in Paris in July I listened to this one, the more I liked it. returns us to a more serious mood. The Listening to this recording on the 2005, and uses an oscillating pattern of The recording begins with gusto as Ju- ornamented chorale melody is gently newly rebuilt Reuter organ at the Cathe- chords and clusters between two manu- lia Brown plays the well-known Toccata stated on the Cornet and accompanied dral Church of St. John reminds me that als over which a tone row constructed in F (BuxWV 157), a piece that comes off on the Positive fl utes. the level of organ playing in the United of notes intended to spell out NOTRE particularly well in the spacious acoustic Like the opening Toccata in F ma- States is truly astounding at many cathe- DAME in the pedal voice is heard. This of St. Cecilia Cathedral, played on the jor, the Praeludium in G minor brings drals and churches with the resources to is a hauntingly beautiful piece of music, somewhat massive chorus of the Great us back to another of Buxtehude’s ma- not only have a fi ne instrument but have and it conjures up images of an orga- Organ. The 16′ Pedal reed seems per- jor free-form works in which a majestic the ability (and good fortune) to fi nd num-like structure that celebrates the haps a little too heavy toward the end of opening leads into fugal passages, and musicians of the caliber and artistry of traditions of Notre Dame Cathedral and the piece. Next in a much more gentle in this instance culminates in an equally Maxine Thevenot. Thevenot is a Canadi- the birthplace of polyphonic music with mood comes Buxtehude’s chorale pre- majestic chaconne played mostly on full an-born organist-virtuoso who received the monks Leonin and Perotin. Among lude on “Von Gott will ich nicht lassen,” organ. The much gentler chorale prelude her Bachelor of Music degree from the the other wonderful treasures on this where we have the opportunity to hear on “Ich ruf zu dir, Herr Jesus Christ” University of Saskatchewan, and a Mas- recording is Barrie Cabena’s Sonata the very warm 8′ Octave played against contains some unexpected rhythms and ter of Music and Doctor of Musical Arts Giojoso of 1978, music in several sec- the elaborated melody on the Sesquial- syncopations in spite of being a much degree in organ performance from the tions played with little break: Toccata, tera. Following this, the Praeludium in A simpler and more straightforward com- Manhattan School of Music in New York, Episode, Toccata (with the addition of a major allows us to hear the very pretty position. Like the Fugue in G major, the where she twice received the Bronson chorale-like theme), and then Toccata on subsidiary chorus on the Positive divi- Fugue in B-fl at major was written for Ragan Award. Since September 2005 full organ with pedal added. sion, as well as some softer voices in the manuals only and consists of three sepa- she has served as the associate organist Also of note is the music of Victor bridge passage following the fi rst of the rate fugues. These seem to get livelier as and choir director of the cathedral in a Togni, a composer who was unknown to fugal sections. they proceed, although once again one duo position she holds with her husband me before this recording. Born in 1935 The longest work on this recording is has the feeling of a piece that does not Iain Quinn, who also has just released in Tanganyika, East Africa (now Tan- the chorale prelude on “Nun freut euch,” entirely hang together as a totality. The a recording on this instrument. This is zania) of Swiss parents, his career was occupying nearly a quarter of the entire Cymbelstern is used to good effect at Maxine Thevenot’s debut recording. tragically cut short by an automobile compact disc. The chorale prelude is in the end. The familiar chorale prelude on “Without Boundaries” is the name accident in Ontario in 1965 while Togni ten distinct and rather varied sections. “Vater unser im Himmelreich” again in- of a wire mesh sculpture that Thevenot was on his way to record a recital for the After the chorale melody has been given troduces a more somber note, paving the commissioned by the artist Randy Coo- CBC. These fi ve liturgical inventions are out in ornamented form in the treble way for another brilliant contrast, as the per, who sings in the cathedral choir. in various moods and colors based on fi ve voice, it is, as stated in the notes accom- recording ends as it began, with a major A picture of the sculpture adorns the Gregorian chants and are true treasures panying the recording, “treated in vari- work from among Buxtehude’s 19 tocca- back of the disc and also is the back- now heard for the fi rst time. Congratu- ous ways, fragmentarily, with chromatic tas and praeludia, a second Toccata in F ground for the front of the liner jacket lations to Maxine Thevenot, who, with additional parts, and in varied meters.” major, this time BuxWV 156. This piece booklet. The title is also, to this writer, the help of Victor Togni’s son Peter, has Furthermore, it makes use of a pletho- provides a fi ttingly grandiose end to the an approach to the music on this disc, brought these pieces to life once again. ra of different registrations, including compact disc. because the individual works cover a Also recorded here for the fi rst time is most of the reeds and mutations, with Julia Brown performs all of these wide variety of styles and periods, from McNeil Robinson’s Hommage à Messi- some fugal passages thrown in for good works ably, using historic registrations the music of Bach to the works of Iain aen, which Robinson wrote on commis- measure. Perhaps this is a kind way of that, taken together with the voicing Quinn completed in 2003. In fact, the sion from the United States Naval Acad- saying that this composition lacks focus and the temperament of the organ, very recording is particularly interesting be- emy in Maryland in 1981. and does not entirely hang together as much capture the spirit of Buxtehude’s cause it includes a number of “fi rsts”: In the middle of the album, acting as a totality, although parts of it are well compositions. I was also impressed with four of the ten individual works are re- a musical center of this well-planned crafted and it has many elements typical the careful way in which the composi- corded for the fi rst time. The success of disc, is the Prelude and Fugue in G Ma- of Buxtehude’s style. The temperament tions on this recording have been chosen an album like this, I think, depends ob- jor by Bach, a work that he copied out furnishes a fascinatingly melancholic and ordered to provide the maximum viously not only on the playing involved, for his son Wilhelm Friedemann, as an quality to the work in the chromatic pas- balance and contrast between them. but in the arrangement of the pieces audition piece for the younger Bach’s sages. The piece builds up to an enor- —John L. Speller and the various moods that they create application for the organist post at St. mous climax on full organ at the close. St. Louis, Missouri while one listens to the entire record- Sophia’s Church in Dresden. Thevenot The much shorter Canzonetta in G ma- ing—hearing, if you will, the “rhythm” plays the piece with audition-winning jor that follows is bright and ebullient, of the music order on the disc, which panache, and this American classic-style forming an interesting contrast with the Without Boundaries. Maxine for me seems to be near perfect. instrument handles the music remark- preceding chorale prelude. It is elegantly Thevenot, organist; Reuter organ, The opening sound of the recording ably well, even though many of us are crafted in fughetta form. Another inter- the Cathedral Church of St. John, Al- literally explodes from your speakers with now used to hearing our Bach only on esting contrast is then provided by the buquerque. Raven Recordings OAR- a spirited performance of Henri Mulet’s period-style, mechanical-action instru- ments with well-tempered intervals!! The Mendelssohn sonata is also beau- tifully played, and its three movements begin with that stately independent Log On and take the tour! and unknown chorale played here with dignity and calm repose. The disc con- cludes with what to my ears is one of the best and most exciting recordings of ANNUAL AND ONE-TIME COPYRIGHT Dupré’s Cortège et Litanie, op. 19, that is available on any recording. PERMISSIONS WITH THE The liner jacket notes are very com- plete and include a detailed specifi cation CLICK OF A MOUSE of the organ, which began its life in 1950 as Reuter’s Opus 918. In 2002 it was re- placed with Opus 2210, while still retain- ing portions of the early instrument. For a debut recording by a fi rst-rate artist, with an imaginative program and beauti- ful playing, this project can be summed up in one word: Brava! —David Wagner Detroit, Michigan

Wolfgang Lindner: Invocations. Played by Wolfgang Baumgratz. ERES CD 31. Available from ERES • EASY—online permission and reporting at . • ECONOMICAL—based on average weekend attendance Invocations consists of 18 pieces rang- • THOROUGH—your favorite songs ing from roughly two to fi ve and a half minutes in length: Improvisation, Elé- • CONVENIENT—includes a growing list of publishers vation, Invocation, Meditation, Gym- nopédie, Chorale, Meditation, Hymnus, Pièce, Meditation, Orgelchoral, Can- tilène, Improvisation, Nocturne, Impro- LOG ON TODAY! WWW.ONELICENSE.NET visation, Pièce, Communion, Antiphon. According to the composer, most of the

18 THE DIAPASON

Jan 08 pp. 2-20.indd 18 12/11/07 8:00:08 AM pieces originated in improvisations. The but the real interest may be in hearing FL 0601-2; ; available from the The cathedral dominates the skyline of times confusing notes in the leafl et, pro- for Two” is worth the price of admission! Organ Historical Society ($12.98), Altoona—it is a huge building. The in- vided by the composer and John Hen- It is a fi ne thing to have this memento of . strument was rebuilt in the early 1990s by derson of RSCM, list the themes, almost a time and elegance never to return. In- This CD’s seventeen selections were Columbia Organ Works, and Engels rings all liturgical. cidentally, a brother, T. W. Phillips, had a compiled from Vols. XV and XVI of “The out all the changes in this wide variety of Lindner was born in Duisburg, Ger- mansion also in Butler with a II/12 Aeo- King of Instruments” series produced by musical examples. Well worth owning, many, in 1956. He is a Roman Catholic lian organ in it. They were the oil com- the Aeolian-Skinner Organ Company. both for the organ and the playing. church musician and a musicologist in pany Phillipses, don’t you know . . . These recordings were made in 1959, —Charles Huddleston Heaton a town near Münster, Germany. He has shortly after Crozier’s inaugural recital Pittsburgh, Pennsylvania evinced a strong interest in Baltic music; “Shall We Gather”—American on the large instrument. Any who re- this has led to his music and recordings Hymns and Spirituals. William Ap- member hearing Catharine Crozier’s im- of it appearing under the ERES label, an pling Singers. Albany Records, Troy maculate playing will not have forgotten Estonian fi rm. 476, $16.99; . the Sowerby Toccata in a breathtaking French organ symphonists, particularly This group, founded in 1979, con- performance, Berlinski’s The Burning Vierne, who seems to have been Lind- sists of thirteen singers, and the CD, Bush, also played often by the late Rob- Frauen komponieren (Female com- ner’s greatest love. Nevertheless, the in- which I am enthusiastic about, includes ert Baker, and compositions by Bach, posers); 22 Orgelstücke aus dem 19. fl uence of Brahms’s organ chorales and 27 hymns and spirituals selected from Handel, Alain, Dupré, and others. Here und 20. Jahrhundert (22 Organ Piec- even of some of Reger’s chorale preludes a concert in New York’s Christ and St. are 75 minutes of organ playing that sets es from the 19th and 20th Century), is obvious. The last two pieces, Commu- Stephen’s Church. About half, I would a standard. Barbara Heller/Lucia Schnellbach- nion and Antiphon, are perhaps the most guess, are very familiar and the re- er, editors. Schott ED 9741; . ful organ compositions that every church (Nettleton) is admirable in its purity. Works, Vol. III. Stefan Engels, organ; The music of women composers con- organist should consider adding to his “Gospel Train” shows how a spiritual Steinmeyer organ, 83 ranks, Opus tinues to enrich the repertoire for organ. or her repertory. Listening to the whole ought to sound, and a remarkable piece, 1543 (1931) in the Altoona, Pennsyl- We are certainly indebted to Calvert collection at once is not recommended, “Inching Along,” has a melody within vania Cathedral. Priory PRCD 830; Johnson for his work on the music of since a number of the short pieces do a major third with no hint of dullness. . Florence Price and to Barbara Harbach follow a pattern. Also included is the Jewish hymn, “In This disc contains 27 chorale-preludes for her fi ne editions and recordings of The South German organ builder Mercy, Lord.” These are straightfor- and improvisations, and shows what an music by women composers. This new Claudius Winterhalter built the organ ward arrangements, sung with beautiful imaginative composer Karg-Elert actu- edition of music by several women com- in Grafenrheinfeld, near Schweinfurt, diction and intonation. ally was. Perhaps these recordings will posers showcases some of the outstand- Germany, in 1999; it was intended it as a reawaken interest, beautifully played as ing talent that has been previously un- tribute to Cavaillé-Coll on the centenary Catharine Crozier Plays Aeolian- they are on an organ that could not be known and provides a single source for of his death. The organ even uses French Skinner Opus 1309 (1959), Inde- better suited to the music. The Great has many unavailable compositions. Heller terminology and it has two of its three pendence, Missouri. Fleur De Lis, three mixtures totaling 15 ranks—hardly and Schnellbacher have selected 18 com- manuals enclosed as Positif expressif and Récit expressif. It is an instrument of three manuals and 43 stops (about 58 ranks). The builder had the chance to show the organ off to Lindner, who clearly fell in love with it and apparently NEW pushed for its use in this recording. I fi nd it hard to share Lindner’s en- thusiasm. The principal chorus is quite muddy; the reeds, good specimens of French-type reeds, are so overpowering that anything approaching full organ is Total new developments all in 1 organ! quite harsh. The solo stops and the two enclosed manuals are fi ne. The builder’s claims that the organ is also suitable for older organ music and for Bach are, I think, unconvincing. The performer, Wolfgang Baumgratz, The Sweelinck- is organist of Bremen Cathedral and pro- fessor at the Hochschule für Musik. He is also president of the Gesellschaft der Orgelfreunde and is well known in Eu- rope as a recitalist and recording artist. and Rembrandt Most of Lindner’s pieces pose musical but not technical problems. Baumgratz makes extremely good use of the or- gan and fi nds an imposing number of solo possibilities. I was not able to see a Platinum Edition score of the music—it is available from ERES—but the phrasing is obviously careful and musically convincing. I can- 12 different organs with 12 unique reverbs not help thinking that I would like to hear these same pieces on the famous and 7 breathtaking orchestra voices Sauer organ in Bremen Cathedral over which Baumgratz normally presides. —W. G. Marigold May 24, 1926–November 25, 2007 (See notice page 10)

An Elm Court Musicale—1929 Skin- ner Residence Organ, Opus 783, 15 ranks. Peter Stoltzfus and Thomas Murray, organists, plus fi ve selec- tions from organ rolls. JAV Record- ings, . Elm Court is the gorgeous estate of B. D. Phillips in Butler, Pennsylvania, not far north of Pittsburgh. The pipes Available now! are installed in a space above the main stair hall—a room not useful for much else, which probably has saved the in- Visit your local Johannus dealer or find strument! When I was there about 30 years ago the organ was unplayable. To- ADAPTIVE more information at: www.johannus.com day the house, grounds and organ are SURROUND REVERB restored to mint condition, and through the courtesy of the present owner, Mr. Frederick R. Koch, permission was granted to make this CD. These are smooth and elegant sounds—you really ought to be there. The music has been chosen to illustrate what the organ was intended for. Murray plays Borowski, Fleury, Liszt, and Rich- ard Keys Biggs, while Stoltzfus contrib- the JOHANNUS revolution utes the Pastorale and Divertissement from Vierne’s Twenty-Four Pieces. Both gentlemen play exceedingly well and in the proper style for the circumstances,

JANUARY, 2008 19

Jan 08 pp. 2-20.indd 19 12/11/07 8:00:33 AM posers from the past 200 years and com- sented in the collection is none other en fi rst in English, then in Portuguese. tering on the fi nal page, but this rewrit- piled a representative body of music that than Emma Lou Diemer, one of the great They are registered for a two-manual ing leaves the piece compelling without rivals any other. In addition, the editors female organists and composers of our organ and all have an obligatory pedal sacrifi cing too much. In the simplifi ed provide a fascinating commentary on the time. Inspiration for Fiesta, composed part, relatively easy. Several are based on version, a dynamic p three bars from history of women organists throughout in 1996, came from an annual Spanish hymn tunes: the collection opens with a the end with a sudden ff fi nal chord the ancient and modern worlds. festival held in Santa Barbara, Califor- lively setting of Deck the Halls, and in- does not feature in the original, which Music by the British composer Elisa- nia, Diemer’s adopted hometown. The cludes Promessa, When breaks the dawn seems better with the ff carrying on un- beth Stirling opens the compilation. Stir- work was written specifi cally for the fes- of early morning, two versions of Look til the fi nal chord. ling was recognized during her lifetime tivities, and it is pervaded by lively dance up to the sky, Fear the Lord and O sing Calimerio Soares (born 1944 in São (1819–1895) as an outstanding perform- rhythms. A rapid tempo and frequent to the Lord, which starts in E minor and Sebastião, Minas Gerais) has written a er of the organ music of Bach, while her meter changes add to the excitement. concludes in a joyful E major. Two post- series of short pieces based on folktunes. compositional style refl ects her Romantic (One even hears the Habañera rhythm ludes, one on Vida e Luz, the other being In this volume the fi rst four sets are in- milieu with its lyrical melodies and rich in the lower voices.) A fl ashy cadenza sig- simply in F major and not based on any cluded, 20 pieces in total; many are only harmonies. Her Movement is followed nals the da capo of the opening tune and melody, would be most suitable when one page in length, and only three run by two pieces by Elfrida Andrée, whose a vigorous coda closes the piece. shorter pieces are required, and a piece to two pages. Most of them have mark- symphony may be known by specialists Germany is well-represented by the entitled Clarinada, which has a RH solo ings for solo and accompaniment rather in Romantic organ repertoire. A 19th- works of Ruth Zechlin, Barbara Heller, for Swell trumpet against Great fl utes, is than specifi c stops, but the melody does century feminist, Andrée fought against Sieglinde Ahrens, Eva-Marie Houben, perkily jaunty, over the LH and pedals in appear in the pedals in some pieces. In the male-dominated Royal Academy of and Dagmar Koptein. The Laudate by repeated quarter notes. Cai, cai balão the melody switches from Music in Stockholm, was awarded her Zechlin pays homage to the composer The overall musical language in the pedals to right hand and then to left diploma, and held the post of organ- Jürg Baur on the 80th anniversary of fi rst ten pieces is more diatonic than hand, and in A Manquinha it passes from ist at Göteborg Cathedral. Published in his birth. This work begins simply but chromatic; the pieces are tuneful and left hand to right hand. The Brazilian 1893 as part of 4 Orgelstücke, her An- increases in intensity with each passing will be easily accepted by audiences words are included for the fi rst phrase dante and Largo may have been used measure. It features many repetitive pat- and congregations. The Suite is mark- but without any translation. Samba belê for church services or for teaching. The terns, as it is based on the notes G, B- edly more diffi cult and dissonant; in the and Boi bumbá include some syncopat- Romantic and post-Romantic styles are fl at, A, E-fl at, and D, a pitch set based fi rst section of the fi rst movement en- ed rhythms, but the other preludes are also represented here in works by Cécile upon letters found in Baur’s name and titled Ciranda the player must contend quite straightforward. Some of the pedal Chaminade, Dame Ethel Smyth, Nadia that of Gesualdo, whose music is a fa- with rapidly shifting rhythms (from 9/8 parts require a degree of agility. These Boulanger, and Jeanne Demessieux. vorite of both Baur and Zechlin. The two Allegro to C time Andante) and plenty tuneful works, many of them with met- Among the welcome fi nds in this col- pieces by Heller share a similar static of accidentals, before a more measured ronome marks of a quarter note = 52–66, lection is the Fantasie und Fuge by Jo- quality. Persisches Lied (Persian Song) Maestoso in quarter notes moves from which makes the occasional ones in 16th hanna Senfter. A favorite composition is composed as a litany with optional C time to 3/4. The second movement, notes less daunting, make a most attrac- student of Max Reger, Senfter employed repeats that allow the performer to ex- Saudade, is marked Lento expressivo tive set. Again, the language is far closer many of the devices associated with the plore various colors of the organ. Notte and moves in quarter notes, the RH be- to diatonic with only the occasional chro- late Romantic German master: thickly di maggio—Mainacht, a brief work that ing marked for a Swell reed. The fi nal matic surprise. textured chords, rapid fl ourishes, chro- employs an ostinato pattern that cre- movement, Corrupio, is written in a These two volumes are highly recom- matic thirds, and solid, dense fugal writ- ates sixth, seventh, and ninth chords, vibrant toccata style (although the sug- mended for those players looking for ing. One other similarity shared with Re- takes its title from a favorite poetic text gested MM is only quarter = 66), mainly something different but not inaccessible ger is that she based the piece on the fi rst of Heller’s, which she has previously set in 16th notes; both hands move almost to audiences. Most of the works included line of the chorale, “Wie schön leuchtet in a vocal song cycle. Ahrens’ energetic entirely in parallel, the right hand in would be useful for students at an early der Morgenstern.” Senfter spent most of Invocation employs the second of Olivier fourths over the left hand in thirds, but stage of combining hands on different her career in Oppenheim writing music; Messiaen’s “modes of limited transposi- there are several bars of contrary mo- manuals with feet. Wayne Leupold de- she left a body of well over 140 compo- tion” as its base. Using all three possible tion. There are pedal runs in 16ths and serves our thanks for publishing these sitions. Another rarity is the Prélude et permutations, the toccata-like work cre- syncopations, later carried into the man- pieces; it is to be hoped that he will be Fugue in G minor by Elsa Barraine, one ates unique tonal colors. At one point, all ual writing, which add to the effects. In able to continue to publish more collec- of two works in this genre she is known three versions of mode sound together in the simplifi ed version the pedal runs are tions from South America. to have composed. Barraine was a winner what the composer calls “something like written into the left hand, replacing the —John Collins of the Prix de Rome and an active com- a wordless ‘cry’ of long sustained notes thirds, the much easier pedal part en- Sussex, England poser in the mid-20th century. Dedicated over a pedal point.” Nun komm, der to her maître, Paul Dukas, the Prélude Heiden Heiland by Houben pays tribute counterpoints an angular melody against to the famous Orgelbüchlein of Johann a cancrizans-like accompaniment that Sebastian Bach. The composition em- builds to a climax about halfway through ploys an ostinato (in the pedal), a chorale Conference of Roman Catholic Cathedral Musicians the movement and then returns to the melody in the tenor voice, and an undu- Conference XXIV: Milwaukee, January 2007 quietness of the opening measures. The lating accompaniment fi gure portraying Fugue uses a Hebrew chant as the basis the restlessness of anticipation of the for its subject and it, too, builds to full Savior’s arrival. Another chorale-based The 24th gathering of the Conference English, providing excerpts from the organ near the end but returns to a sub- work, Koptein’s Choralfantasie über of Roman Catholic Cathedral Musicians Order of Mass. dued ending in the relative major. Also “Ach wie fl üchtig, ach wie nichtig,” com- (CRCCM) took place Two public musical performances from France comes a work by the peda- pletes this outstanding collection. Com- January 8–11, 2007, in Milwaukee at the were heard at the cathedral during gogue Lucie Robert-Diessel. Her Lied is posed in 1981 while improvising during Cathedral of St. John the Evangelist. the conference. Sr. Mary Jane Wag- a small tripartite piece full of dense har- a funeral, the work uses a “funeral dance CRCCM sponsors a conference each year ner, OSF, the former cathedral organ- monies in the static outer sections while theme” as the contrapuntal material. Full in January. Meetings in recent years have ist, presented a noontime organ recital the middle portion includes a canon that of syncopations and colorful, dissonant been held in St. Louis, Chicago, Los An- playing Marcel Dupré’s Variations sur passes through the entire range of the chords, the work evokes a great sense of geles, Omaha and Cologne, Germany. un Noël, Toccata in F by J. S. Bach, and instrument. freedom, perhaps what one experiences Michael Batcho, cathedral music di- the Rhapsody of Praise by Theophane Included in this marvelous collection when freed from the human form. The rector, served as this year’s conference Hytrek, OSF. An evening concert by the are works by three Eastern European complete chorale melody is heard only host. Originally built in 1857 and reno- Milwaukee Choral Artists, a female en- composers, namely Erzsébet Szöny, once toward the end of the work as it vated in 2001, St. John’s Cathedral now semble conducted by Sharon Hansen Ivana Loudová, and Violeta Dinescu. moves back into the fantasia style estab- houses two organs, the 1966 Noehren with Jeffrey Peterson, organist, pre- The works of Szöny (Majdnem Tánc) and lished earlier in the work. gallery organ and a new apse organ built sented “Exultate: The Music of Milwau- Loudová (Monument) refl ect their close In addition to the informative history by the Nichols & Simpson Company in kee’s School Sisters of St. Francis.” This association with their respective native found in the preface, the editors have 2005. The cathedral served as the cen- concert featured choral and organ music lands, as the fi rst employs Hungarian included biographies and photographs ter for the daily sung liturgies, business written by and for the School Sisters of rhythms and melodies while the second (where available) of each composer. This meetings, presentations, and concerts. St. Francis, a community distinguished features a fi ve-note motive based on the anthology, the fi rst of its kind, belongs in Attendees were housed in the Pfi ster by their work as artists, composers, mu- initials of the most famous Czech com- every organist’s collection. Hotel, a historical downtown Milwaukee sic educators and parish musicians in posers (B. Smetana, A. Dvoʼnák, Z. Fibi- —Steven Young landmark, graced with the largest hotel the Archdiocese of Milwaukee. ch, and L. JanáÏek). The Dinescu work, Bridgewater State College collection of Victorian art in the world. Fr. Ken Augustine, a priest of the Zeichenreihen (Rows of Symbols), the Bridgewater, Massachusetts Two major presentations were made Archdiocese of Milwaukee, led a tour of most recently composed of all the works to the conference. Fr. Jordan Kelly, signifi cant churches and organs in the in this anthology, pays tribute to the work OP, presented “True, Good and Beau- greater Milwaukee area. Attendees visit- of Wassily Kandinsky, the Russian-born João Wilson Faustini: Brazilian Or- tiful: Shaping our Culture and the ed the Sacred Heart School of Theology, French Expressionist painter. Accord- gan Music, Volume 1. $18.75. Role of the Cathedral Church” and the Basilica of St. Josaphat, St. Anthony ing to the composer, the piece suggests Calimerio Soares: Pequenos Prelú- Leo Nestor, professor of music at the Catholic Church, and the Chapel of the “plasticity and elasticity” by “following dios Folclóricos, Volume 1 (Cadernos Catholic University of America and School Sisters of St. Francis where the the lines of a visual projection.” 1–4). $16.25. a founding member of CRCCM, ad- annual CRCCM members’ new music The only American composer repre- Published by Wayne Leupold as Bra- dressed “The Musician in the Church: reading session was conducted. zilian Organ Music nos. WL600203 Refl ections on Vocation and Formation Business sessions were conducted and WL600208, respectively. . Catholic Church.” Lynn Trapp (St. thony DiCello. The major focus of THE WANAMAKER ORGAN These two volumes are part of a new Olaf Church, Minneapolis) gave a ses- these sessions was the crafting of a state- series from Wayne Leupold devoted to sion on newer organ repertoire for the ment on the formation of liturgical musi- Listen to it worldwide organ music from Africa, Central and liturgical year. Msgr. James Moroney, cians directed to the USCCB Secretariat South America, as well as Europe. Faus- executive director of the Secretariat for for the Liturgy. Plans for two new proj- over the Internet! tini, born 1931 in the state of São Paolo the Liturgy of the United States Con- ects were also formalized: Making Music and now living in Newark, New Jersey, ference of Catholic Bishops (USCCB), in the Cathedral: A Cathedral Musician’s Hourlong streamcasts has been active in compiling hymnals reported on the recent Directory on Primer and A Profi le of Roman Catholic are featured at 5pm ET as well as publishing the largest sacred Music and the Liturgy approved by the Cathedral Music Programs in the US. choral music collection in Portuguese. USCCB, the consultation conducted —Anthony DiCello the first Sunday of This collection of organ music includes by the music sub-committee toward Anthony DiCello is CRCCM chairperson, ten short works, none of them exceed- the revisions of Music in Catholic Wor- music director at St. Peter in Chains Cathe- each month at wrti.org ing three pages, and a three-movement ship and Liturgical Music Today, and dral, Cincinnati, and music director–assistant suite, with a simplifi ed version of the updated the conference on progress of professor of music at the Athenaeum of Ohio/ fi nal movement included. Titles are giv- the translation of the Roman Missal into Mount St. Mary’s Seminary, Cincinnati.

20 THE DIAPASON

Jan 08 pp. 2-20.indd 20 12/11/07 8:01:05 AM Sewanee Church Music Conference Mary Fisher Landrum

Judith Hancock rehearsing the masses for the masses (l–r) Gerre Hancock, Patty Denmark (background), and Ted Dannemiller

Gerre Hancock, who improvised on “St. Hancock as a prelude to the service. He Clement,” the tune of the last hymn. also played the concluding voluntary, an In the festival eucharist university extensive and elaborate improvisation on service in All Saints’ Chapel on Sun- “Ora Labora,” which was the last hymn day morning, Craig Phillips’s Festival of the service. Participating in both ser- Eucharist provided the settings of texts vices were Gerre Hancock, Judith Han- from the liturgy. Psalm 25 was sung to cock and Dennis Maynard. an Anglican chant by George Thalben- Mary Fisher Landrum, a native of Indiana, Ball. The offertory anthem was Gerre Pennsylvania, is a graduate of Vassar College Hancock’s Christ Our Passover. Richard and did graduate work at the Eastman School of Shephard’s motet, O Thou Before the Music as a student of Harold Gleason. She has World Began, and Roland E. Martin’s served as college organist and a member of the anthem, Love on My Heart, were sung music faculty at Austin College, Sherman, Texas; Bruce Sorrell of Kansas City, during a Gerre Hancock at the communion. Both were composed Sullins College, Milligan College, and King Col- conducting session critiqued by Gerre for the 57th Sewanee church music lege in Bristol, Tennessee. For a third of a centu- and Judith Hancock University of the South and School of conference, as was Triptych on “At the ry she was organist/choir director at Emmanuel Theology, presented Episcopal basics for Name of Jesus” (King’s Weston) by Wil- Episcopal Church in Bristol, Virginia. hurch musicians from 32 states, the those new to the Episcopal Church. liam Bates. Triptych was played by Gerre Photo credit: Bradley Phillips CVirgin Islands, and Barbados gath- Reading sessions enriched the confer- ered on the mountain at DuBose Confer- ence program. These were led by Mark ence Center in Monteagle, Tennessee, for Schweizer, editor of the St. James Mu- the 57th annual Sewanee Church Music sic Press; Celia Tolar-Bane, director of Conference July 9–15. Keith Shafer, di- music and organist of St. John’s Episco- rector of music and organist of St. Paul’s pal Church in Columbia, South Carolina; Eloquence and Artistry Church in Augusta, Georgia, planned and Donald E. Dupee, Jr., director of mu- directed the conference. Heading the sic and organist of St. Thaddeus Church, faculty were Gerre Hancock and Judith Aiken, South Carolina; and Robert Del- in Organ Building Hancock, now on the faculty of the Uni- camp, Professor of Music, University versity of Texas in Austin. Serving as con- Organist and Chair of the Music Depart- ference chaplain was Dennis R. May- ment of the University of the South in nard, priest, rector, preacher and writer Sewanee, Tennessee. from Rancho Mirage, California. A highlight of the week was the or- The fi rst day of the conference began gan recital played by Judith and Gerre with registration and ended with Evening Hancock in All Saints’ Chapel of the Prayer, led by Dr. Maynard, who was also University of the South. Judith Hancock the offi ciant for the daily morning eucha- opened the program with the Praeludi- rists. The Hancocks were organists for um in A-Moll, Bux WV 153 by Dieterich the services that used Rites I and II with Buxtehude, and also played Guilmant’s various musical settings of the liturgies. Sonata in C Minor. The charming Duett The psalms were set to Anglican chant, a for Organ (1812) by Samuel Wesley was topic that was discussed with plainchant played by both Judith and Gerre Han- by Gerre Hancock in one of his classes. cock. The program was rounded out with In other classes he demonstrated Gerre Hancock’s stunning improvisation “Leading the Hymns with Conviction on the submitted theme, “Rosedale” by and Verve,” “Improvisation for the Tim- Leo Sowerby. id and Meek of Heart,” and “An Anthem The 150 conferees formed the choir from Start to Finish.” Judith Hancock for two services in All Saints’ Chapel. held a class on organ repertoire and a Evensong used Sowerby’s Magnifi cat class on “The Choral and Organ Works in D and Nunc dimittis in D, preceded of William Mathias.” Both Hancocks col- by his Eternal Light for the introit. laborated in two sessions on “Conducting Eternal Light also began the service as the Choir,” and led organ masterclasses Gerre Hancock improvised on it during featuring music of Jean Langlais, Nicho- the procession. The preces, responses, las Bruhns and Dieterich Buxtehude, Lord’s Prayer and collects were sung by played on the Casavant in the Chapel of the choir to settings by Gerre Hancock. the Apostles on the Sewanee campus by The Phos Hilaron was sung to Charles E. organists attending the conference. Wood’s Hail, gladdening light. Psalm 37 Dr. Maynard gave a series of lectures was set to Anglican chant by E. F. Day that touched the nerve of current Epis- and George Thalben-Ball. The anthem St. Bede Catholic Church, Williamsburg, VA copalian issues such as, “Do you re- was Psalm 122 by Sowerby. The volun- Neil Kraft, Music Director ally think that you’re an Anglican?” and tary concluding the service was played by “How can we respond to the Biblical Member, Associated Pipe Organ Fundamentalist?”, “Are the Schismatics John-Paul the Faithful Remnant or Contemporary Builders of America Pharisees?” and “Where’s the forgive- Buzard 112 West Hill Street ness in the Church?” Specialists in Choral Pipe Organ Builders Champaign, Illinois 61820 Adjunct faculty led a variety of classes. and Organ Music 800.397.3103 • www.Buzardorgans.com Larry Marchese of Sibelius Software 2209 Crestmoor Road, Suite 220 Nashville, TN 37215 talked about music publishing software. 615-386-3542 § 800-851-9023 § 615-297-4291 Fax Susan Rupert, vocal professor at the www.loisfyfemusic.com

JANUARY, 2008 21

Jan 08 pp. 21-23.indd 21 12/11/07 8:02:14 AM 47th Conference on Organ Music The University of Michigan Jerry Jelsema

he 47th annual conference on organ Tmusic took place on the University of Michigan campus from September 30 through October 3, with a major empha- sis on the life and work of North Ger- man composer and organist, Dieterich Buxtehude. Commemorating the 300th anniversary of the composer’s death, numerous recitals featuring his music were presented and the well-known Buxtehude scholar, Kerala J. Snyder, presented a series of lectures concern- ing his organ music. Her topics included the composer’s origins in Denmark, his move to Lübeck, his contact with other signifi cant composers and organists of the time, as well as source materials and performance options for the contempo- rary player. The only all-Buxtehude organ re- cital of the conference took place at the School of Music on the two-manual Fisk organ, an instrument fashioned on the famed Gottfried Silbermann organ at the Georgenkirche in Rötha, Germany. Marcia Heirman, a doctoral candidate Marilyn Mason at Hill Auditorium (photo Douglas Reed, Jonathan Tuuk, Joseph Galema, Marilyn Mason, Shin-Ae Chun, at the school, played a wonderful pro- credit: Peter Smith Photography) Seth Nelson (photo credit: Peter Smith Photography) gram of works including several chorale preludes, two large praeludia as well as from composer Pamela Decker, entitled encouragement in careers and her gra- Wide-ranging in your interests—po- the Toccata in D Minor and the Ciacona Portales. Composed in 2000, Portales ciousness and generosity. Fellow faculty etry, English literature—your gift of wel- in C Minor. uses as a springboard a number of Span- members also spoke of her dedication to coming with warmth is gratefully remem- Polish organist Jozef Kotowicz pre- ish dances including the tango, fandango the school of music and to the university bered. Enthusiastic in all you undertake, sented a stunning recital featuring music and charrada. The writing as well as the itself. The current dean of the school, be it walking, quoting poetry—yes, and of Buxtehude, Bach, Petr Eben and con- performance of this piece was virtuosic. Christopher Kendall, announced at the cooking—all is accomplished with an temporary Polish composers on Monday Also part of the conference was a end of the ceremonies that Dr. Mason infectious fervor. Your sense of humor, evening. Heard on the Karl Wilhelm or- lecture-recital by Timothy J. Tikker will leave a very generous bequest to with your bon mots, is memorable. gan at the First Congregational Church, on a single work by French composer the School of Music, which will endow Congratulations, Marilyn, on the mag- Buxtehude’s Prelude and Fugue in F Mi- Jean-Louis Florentz, Debout sur le So- the organ chair in perpetuity. The an- nifi cent achievement of 60 years at the nor and Bach’s well-known Passacaglia leil: Chant de Resurrection, pour orgue nouncement was followed by a standing University of Michigan, from one who in C Minor were especially suited to this (Standing on the Sun: Song of Resur- ovation and thunderous applause, all in was privileged to be your student. Thou- instrument with modifi ed Werckmeister rection, for organ). A short recital of appreciation of a respected and loved sands of students and audience members III tuning. organ works by American composers organist and musician. today say “Thank you.” An additional Buxtehude concert of was performed by Michele Johns at The banquet festivities were followed —Gordon Atkinson, MMus organ and vocal works also took place at Bethlehem United Church of Christ by an impressive program of great or- formerly of Canada and the USA, the Congregational church on Tuesday on Tuesday. Sowerby’s Comes Autumn gan favorites, played by former students now retired in Melbourne evening. Pamela Ruiter-Feenstra and Time and Bolcom’s What A Friend We of Marilyn Mason. Jonathan Tuuk the Collegium Musicum from Eastern Have in Jesus showed the colors of the opened the recital with a commanding My earliest memory of our class was Michigan University alternated music Casavant Frères organ of 54 stops. On performance of Tournemire’s Victimae a party in the MM Organ Studio cel- for organ with pieces for various voice Wednesday, the fi nal day of the confer- paschali. N. Seth Nelson deftly played ebrating the 450th anniversary of the and stringed instrument combinations. ence, two recitals were presented by the Fantasie, K. 608 of Mozart, followed Reformation. In just 10 years we will The solo songs accompanied by viola students currently in various degree by an inspired Pièce Héroïque performed celebrate the 500th anniversary! We da gamba and organ continuo were es- programs at the university, with both by Shin-Ae Chun. Herman Taylor all wore Halloween costumes. I played pecially engaging. This creative and en- events held at Hill Auditorium. gave us Si bemol-mineur from Deux Es- Ein feste Burg. In those days before the ergetic program gave a more complete Two lectures complementing the quisses by Dupré, and Joseph Galema European tours, we traveled with Mari- picture of Buxtehude as composer and conference’s Buxtehude theme included stylishly dashed off Naïades and Toccata lyn around Michigan. We took the trio church musician. Bela Feher’s impressive video presenta- by Louis Vierne. The program closed sonatas and the Clavier-Übung III to The fi nal day of the conference began tion of churches and organs in Northern with the toe-tapping music of William Olivet College, Mariner’s Church, and with an elegant recital by Les Deux Clave- Germany and southern Denmark. Based Albright: Tango and Alla Marcia from his Andrews University. cins, composed of duo harpsichordists on last summer’s tour of the University Flights of Fancy, both brilliantly played Our Marilyn is like a “jewel.” She Thomas Marshall and Allen Shaffer, of Michigan’s annual organ travels, the by Douglas Reed. has many facets: the nurturing teacher, both former students of the university’s presentation followed the steps of Bach The 47th conference on organ music the professional, the gourmet, the bon music school. They performed transcrip- and Buxtehude including churches, mu- at the University of Michigan was indeed vivant, the raconteur, and the deeply tions of Bach’s Suite No. 3 in D Major seums and monuments. An additional a worthwhile event centered around the prayerful, refl ective and grateful human and Buxtehude’s Fantasia on “Nun freut session included Pipedreams personal- life and work of Buxtehude. The addi- being. And like a jewel she is precious euch.” The fi nal piece on the program ity Michael Barone, who detailed the tional celebration of the life and work of to us all! was a work commissioned by the duo available recordings showcasing the or- Dr. Marilyn Mason made the conference —Gale Kramer, DMA gan works of Dieterich Buxtehude. even more exciting and wonderful. Q organist emeritus, Metropolitan The Global Bach Community held an Methodist Church, Detroit open meeting during the lunch hour on Jerry Jelsema is organist and music direc- Wednesday, to introduce people to the tor at the First United Methodist Church in I don’t remember the exact day, organization. The GBC was written up in Evanston, Illinois. He earned a Master of time, or place. What I do remember Music degree from the University of Michi- The Diapason in May 2006. Its mission gan where he studied with Robert Glasgow, is that during my lesson, as I played, is to foster a sense of community among while his undergraduate studies took place at I had the uneasy feeling that Prof. Bach lovers, performers and scholars Central College in Pella, Iowa, a liberal arts Mason was becoming more and more worldwide. Formed in 2000, in addition college affi liated with the Reformed Church agitated. After several more pages, she to individual members, about 25 Bach of America. shouted, “Stop, you are working too organizations now belong to the GBC, hard at that piece. Watching you play which recently awarded its fi rst small that is like me trying to eat peas with a grant. The GBC advisory board includes Marilyn Mason 60th anniversary knife.” Then she said something that I Christoph Wolff and Helmuth Rilling; its tributes will always remember: “Let the instru- board of directors includes Marilyn Ma- Many tributes on the occasion of Mari- ment be your teacher. The instrument son and Richard Benedum. lyn Mason’s 60th anniversary at the Uni- will tell you exactly how it wants to be The 47th conference on organ music versity of Michigan were offered at the played, if you will just listen.” was especially signifi cant in that it was banquet Monday evening at the Michi- I have found that statement to be true; a celebration of leadership, dedication gan League. The following is a sampling. and those of us who have journeyed on and artistry embodied in the work and the University of Michigan Historic Or- life of Marilyn Mason, who marks her Marilyn Mason. There are few organ- gan Tours have studied with some of the 60th year of teaching at the University ists and lovers of the instrument who do world’s oldest and greatest teachers. This of Michigan. Faculty, students (both not know your name. Your infl uence is became clear when in Bologna, Italy, I current and former), and friends gath- far-reaching. Performing over the years found myself standing in the magnifi cent ered for a splendid banquet honoring on six continents, adjudicating at major Church of San Petronio. The tour mem- Dr. Mason on Monday evening. Former competitions, and, importantly, leading bers were to play a recital that afternoon, students gave testimony to her teach- the European tours to hear and play his- and the organist asked if I wanted to play ing, her wonderful sense of humor, her torical organs, you have opened the minds the “old” organ or the “new” organ. The commitment to the instrument, her and ears of those fortunate to attend. old organ was completed around 1470,

22 THE DIAPASON

Jan 08 pp. 21-23.indd 22 12/11/07 8:02:35 AM that was being studied. She also makes lishment of the “Marilyn Mason Young every second count. No time is wasted, Musicians Scholarship Fund.” This fund and while “multi-tasking” is a recent will provide fi nancial assistance to pre- buzzword, she has been a master at it for college organ students to attend a Pipe six decades. Organ Encounter such as will take place Marilyn’s insatiable curiosity has re- in Holland, Michigan during summer sulted in her having played almost every 2008. By offering this opportunity to the organ composition of signifi cance. In community, the Ann Arbor AGO hopes addition to the many commissions and to honor one of our founding members premiers of new music, her repertoire who has given so much for the advance- is voluminous, and covers every era and ment of organ playing. school of composition. This same curi- —James H. Wagner, A.Mus.D. osity has led to invitations to many re- Dean, Ann Arbor AGO chapter nowned performers and scholars related to the organ, and consequently their pre- sentations of recitals and master classes Thanks from Marilyn Mason here in Ann Arbor. No one is ever more This is to thank all who participated attentive at these, and a better student, in my 60th anniversary celebrations than Marilyn herself. This is evident at during the 47th U-M Conference on lessons when she remarks, “Marie Claire Organ Music. I have had, in 60 years of Alain says this or that,” “Maurice Durufl é teaching, many distinguished and won- said to play it this way,” “Anton Heiller derful students. I have taught future suggests this phrasing,” or “Peter Wil- administrators, deans, and chairs of or- Marilyn Mason and her husband, Professor Emeritus William Steinhoff (photo liams advocates this registration.” gan departments. BUT, I did not realize credit: Peter Smith Photography) Yes, Marilyn, for six decades now, it that my legacy included a Buxtehude has been NO ORDINARY TIME, in fact scholar, Kerala Snyder. She reminded and the new one somewhere around insatiable curiosity. We students, in my it has been quite an EXTRAORDINARY me, at the occasion of her four splendid 1510. I played the old organ and I lis- era, had two nicknames of affection for TIME! Thank you! lectures during our conference, that she tened. As it predated Columbus’s voyage, Miss Mason: one was “Our Lady of Per- —James Hammann, DMA studied the organ with me at Columbia it had a lot to say. petual Motion,” and the other was “Ms. University of New Orleans University during the summers of 1954 I have been fortunate to tour with Prof. Monsoon,” because she truly is a force Chapel of the Holy Comforter and 1955. Mason on fi ve Historic Organ Tours. She of nature! This vitality is focused into the —Marilyn Mason is always the consummate hostess for her joy and importance of the moment, re- The Ann Arbor Chapter of the Ameri- University Organist afi cionados. She does, however, like to sulting in lessons where it seemed that can Guild of Organists, in response to the Chair, Organ Department take the occasional nap during the bus the most important thing in life was play- generosity of Marilyn Mason over the University of Michigan tour portions of the day. One particular ing and understanding the composition years, is pleased to announce the estab- School of Music day, our Italian tour guide stopped the bus in front of a house and proudly said, “This is where Marconi invented the ra- dio.” Roused from her sleep and not yet fully awake, Prof. Mason piped up, “How convenient—the house where macaroni was invented.” The University of Michigan organ tours allow a student to soak up the sights, sounds, and yes, even smells of a particular region. You hear the music as it would have actually sounded—some- times sweet, sometimes harsh, and Johannus and Rivierstad Organ Consultants sometimes even out of tune. You just try keeping a 16th-century Trompeta Real in congratulate a freezing cold Spanish cathedral in tune sometime! As Prof. Mason would often say to us as we grimaced at the sounds, “It is not out of tune. It is authentic.” Traveling with her, you will fi nd that in Georgetown College Spain, Tapas, Tia Maria, and Tientos do go nicely together. In Italy it is Pedals, Pipes, and Pizza. And in Germany it is true enough that Beer and Bratwurst do on the installation of their Monarke church organ make Bach better. I skipped the French tours and over the years, I have regret- ted it as I still struggle with the age-old question, “When playing Franck, does one serve red or white wine?” Prof. Mason has often said that the most important person to know is the man with the key. I once remarked to a gentleman with a huge ring of keys at- tached to his belt, “Wow, you must be very important.” He replied, “No, if I were important, I would have only one key—the master key.” Prof. Mason, you are indeed a Master Key. You have unlocked the potential in each person under your tutelage. You have been the key to successful careers in music. And, you continue to unlock a world greater than any we could imagine on our own, or ever experience. —Philip Burgess, DMA St. Luke’s Episcopal Church Salisbury, NC When Michele Johns called with the invitation to say a few words about Marilyn this evening, I had just been to the bookstore and gotten Doris Kearns Goodwin’s chronicle of the World War II years of Franklin and Eleanor Roosevelt. I have borrowed the title of her book, No Ordinary Time, because I think that it best describes time with Marilyn, and www.johannus.com why generations of students, and hun- dreds of organ afi cionados on her tours have been attracted to her. Ordinary time is also that portion of the church year when there are no large festival times or feast days—but time with Mari- lyn usually seems like a festival, and of- ten involves a feast. the revolution Three important personality traits JOHANNUS stand out whenever I think of Marilyn: her immense vitality, her ability to cel- ebrate and be “in the moment,” and her

JANUARY, 2008 23

Jan 08 pp. 21-23.indd 23 12/11/07 8:02:58 AM Albert Schweitzer Organ Festival Tenth Anniversary David Spicer

David Spicer awards Benton Blasingame ASOF Chair Leslie Vliet awards Ahreum fi rst prize in the High School Division Han fi rst prize in the Young Professional Division

Back row (l to r): Wesley Hall, Benton Blasingame, Christopher Howerter, John Alexander; middle row: Ahreum Han, Chelsea Barton; front row: judges Paul Jacobs, Diane Meredith Belcher, and Frederick Hohman, along with ASOF co- founder David Spicer

t hardly seems possible that ten years Paul Jacobs returned as a judge to the Ihave gone by since we began the Al- competition in which he had won fi rst bert Schweitzer Organ Festival! We have prize ten years ago! At that competition, Judge Paul Jacobs (center) stands with experienced outstanding applicants who his mother and grandmother fl ew from his mother, Mary Jeanne Maggi (left) refl ected superb teaching, wonderful ad- Pennsylvania to be present at his win- and his grandmother, Marie Novi judicators, and a high level of music mak- ner’s recital. They both returned again Judge Frederick Hohman at the Sunday ing. Beautiful New England weather gave this time, to be present as Paul served as The judges’ decisions afternoon masterclass an idyllic setting for the festival. On Fri- a judge. High School Division: fi rst place, Ben- day evening, September 7, our traditional Saturday morning the three High ton Blasingame from Collinsville, Illi- Saturday competition to offer assistance opening concert was held. The service/ School Division fi nalists played the nois, former student of Dr. John Romeri should the organ need it, and to Bon choral portions were played by the writer: required repertoire. At 2:00 pm the and currently studying with Thomas Smith of Austin Organ Service Company Prelude: Benedictus (op. 59, no. 9), Young Professional Division fi nalists Bara at the Interlochen Arts Camp; sec- of Avon, Connecticut, who graciously gave Max Reger (played at the fi rst festival) were heard. The combined repertoire ond place, Wesley Hall from Spencer, the gift of tuning for this festival. Austin Psalm 150, César Franck of these six fi nalists included: hymn Massachusetts, student of Patricia Sny- Organ Service Company is the regular cu- Hymn: Christ Is Made the Sure Foun- tunes St. Thomas (Williams), Corona- der and currently studying with William rator of this instrument, serviced by Alex dation (Tune: Christ Church, Richard tion, Ein’ Feste Burg, Diademata, and Ness; third place, Chelsea Barton from Belair and Michael Tanguay. Thanks to W. Dirksen) Veni Creator; J. S. Bach, Prelude and Mechanicsburg, Pennsylvania, student Betty Standish, Music Committee Chair; Kyrie (from Messe Solennelle, op. 16), Fugue in G Major, BWV 541; Prelude of Dr. Shelly Moorman-Stahlman, a pro- Leslie Vliet, ASOF Chair; Dave Gilbert, Louis Vierne and Fugue in C, BWV 531; Fantasia fessor at Lebanon Valley College. administrative assistant; and Laurie Al- He Comes to Us (with text by Albert and Fugue in G minor, BWV 542; Trio Young Professional Division: fi rst place, len, for so ably performing the organi- Schweitzer), Jane Marshall Sonata No. 1, BWV 525, and Trio So- Ahreum Han from New Haven, Con- zational work that made the festival run Go Ye into All the World, Robert nata No. 6, BWV 530; Charles-Marie necticut, student of Ken Cowan at West- smoothly and effi ciently. Wetzler Widor, Adagio (Symphony No. 3), Ada- minster Choir College, of Alan Morrison Churches that allowed their instru- Hymn: Let Heaven Rejoice (text by gio (Symphony No. 5), and Cantabile at the Curtis Institute of Music, and cur- ments to be used for additional prac- Hal M. Helms) (tune: Rock Harbor by (Symphony No. 6); Simon Preston, Fan- rently at Yale with Thomas Murray; sec- tice include Trinity Episcopal Church, Alan MacMillan) tasia, The Christmas Light; Jehan Alain, ond place, Christopher J. Howerter, SPC, Wethersfi eld, Bruce Henley, organ- The three judges were each invited Litanies; Dan Locklair: “The people re- from Emmaus, Pennsylvania, student of ist-choirmaster; St. John’s Episcopal to play a selection of their own choos- spond, Amen!” (Rubrics); and Franck: Stephen Williams, Michael Krentz, and Church, West Hartford, Ralph Valen- ing. The artists’ playing from the balcony Chorals nos. 1, 2, and 3. currently with James David Christie at tine, organist-choirmaster; St. James’ was projected onto a screen downstairs Immediately after the competition, all Oberlin College Conservatory of Music; Episcopal Church, also in West Hart- in the historic Meetinghouse. Frederick fi nalists and judges had a chance for in- third place, John Alexander from Greens- ford, Jason Roberts, organist-choir- Hohman played Comes Autumn Time teraction and discussion over a delicious boro, North Carolina, student of Robert master; and First Church of Christ, by Sowerby. Diane Meredith Belcher meal provided by Dana Spicer at her Burns King at the University of North Glastonbury, Angela Salcedo, director played her transcription of the Largo ma restaurant, Mainly Tea, directly across Carolina at Greensboro. of music ministries. non tanto (from the Concerto for Two the street from the Meetinghouse. On We are very grateful to Paul Fejko for We are pleased to announce that the Violins, BWV 1043) by Bach, and the Sunday, September 9, all fi nalists played serving as the screening judge for initial 2008 Albert Schweitzer Organ Festival Toccata in B-fl at minor (from Pièces de portions of the 8:00, 9:15, and 11:00 am recorded examples of these organists will have the following judges for the fantaisie, op. 53, no. 6) by Vierne. Paul worship services. At 1:30 pm, a master- and other applicants. We are also grate- competition: Gerre Hancock, Marilyn Jacobs then played the Fugue (from class with the three judges was held. ful to Ahlborn-Galanti Organs for the Mason, and Frederick Hohman. Plans Fantasy and Fugue on B-A-C-H, op. 46) Many important topics were covered, $2000 award for fi rst prize in the High are underway to feature these organ- by Max Reger. and awards were presented. School Division, and to the Austin fam- ists in the opening concert of the fes- ily, who provided the second prize of tival on Friday, September 5, at 7:30 $1000 in loving memory of Donald B. pm. The ASOF Committee is hoping Austin. The Young Professional Division to invite six qualifi ed young organists fi rst prize of $3500 was shared by J.H. & to compete in the two divisions on Sat- C.S. Odell Pipe Organ Builders, which urday, September 6. provided $1500; the Helen L. Reinfrank The 2007 fi rst-place winners, Ahreum Music Fund, which provided $1000; Han and Benton Blasingame, will per- and Dr. Marilyn Mason, who also gave form in recital on Sunday, June 8, 2008, $1000. The Reinfrank Fund also made at 7:00 pm at the First Church of Christ, possible the $500 Creative Hymn Play- Wethersfi eld, Connecticut. Q ing Award, while the Music Committee of First Church of Christ contributed David Spicer began as Minister of Music and the $500 Improvisational Hymn Playing the Arts at First Church of Christ in Wethers- Award, both of which went to Benton fi eld, Connecticut, in 1986. In 1996 he and Harold Robles founded the Albert Schweitzer Blasingame. Bank of America provided Organ Festival. Spicer is a graduate of the Cur- the Judges’ Award, totaling $1500. Other tis Institute of Music, where he studied with prizes and gifts toward the festival—in- Alexander McCurdy, and is a graduate of the cluding the High School Division third Eastern Baptist Theological Seminary. prize of $500 and the Young Professional Division third prize of $750—came from Information about the Albert Schweitzer Austin Organs, Inc., Connecticut River Organ Festival and current requirements for Community Bank, Patrick J. Murphy the competition are available by telephone at 860/529-1575 ext. 209, by e-mail at , or by viewing the ASOF the First Church family. website: . Special thanks go to Gordon Auchin- closs, who was on hand throughout the Photos by Scott Jensen

24 THE DIAPASON

Jan 08 p. 24.indd 24 12/11/07 8:03:45 AM Théodore Dubois and César Franck at Sainte-Clotilde: A New Look at the Chronicle of the Years 1857–1863 through the Rediscovered Memoirs Helga Schauerte-Maubouet English translation by Carolyn Shuster Fournier

uch is known about the fi rst musical With the agreement of C. Franck my choirmaster, I asked him if he would al- Mactivities at Sainte-Clotilde in the low Mr. Bourjuge’s nephew, one of my oc- years 1863 to 1868 when César Franck, casional students who knew what the job the organist of this church, worked to- entailed, whom I had already shown what gether with the young Théodore Dubois, the post involved, to substitute for me dur- his choirmaster. Much less known is the ing my absence. My request was accepted reversal of these roles, which occurred and I was thus assured to fi nd my position precisely from 1857 to 1863 when César upon returning. My mind was at ease and I Franck was choirmaster and Théodore was then able to look forward to the happi- ness that I anticipated for this trip and stay Dubois was the choir organist. Dubois’ in Rome.7 memoirs,1 recently rediscovered at the Bibliothèque nationale de France and This account contradicts Joël-Marie partially published in the complete edi- Fauquet’s version, which states that tion of his organ works,2 shed new light on many of the unclear details in the un- when Dubois left for the Villa Médici in folding of what has been labeled as “the 1861, Franck held concurrently the func- Sainte-Clotilde Tradition.” tions of organist and of choirmaster so that Dubois could resume his position upon In 1857, at the time of the inaugura- returning.8 tion of this church, Théodore Dubois (1837–1924) was only twenty years old. Moreover, from a practical point of The son of a modest basket maker in the view, concurrently carrying out both Champagne region, Dubois was a third- positions could hardly be imagined. year student at the Paris Conservatory, Théodore Dubois then boarded at the earning his living as a choir organist at Villa Medici while keeping his position the nearby Saint-Louis des Invalides as organist-accompanist. Very happy in Church. He recalls: Rome, he later described these two years of absence from Sainte-Clotilde as the The Church of Sainte-Clotilde was to be most beautiful days of his life. However, consecrated and I learned that the newly in November 1863, upon returning from appointed choirmaster César Franck (still a tour in Italy, he was actually urged to unknown at that time) was looking for an organist accompanist. In spite of my shy- decide on the spot to shorten his stay and ness, I didn’t hesitate and introduced my- return hastily to Paris in order to succeed self to him without any recommendation. Franck. Here is his account: He immediately subjected me to a test in accompanying Gregorian chant, sight- Shortly after returning to Rome I re- reading and transposing. He fi nally en- ceived news from Ste-Clotilde that made gaged me on the spot for an annual salary me happy and sad at the same time. I was of 1200 francs. With the incidental emolu- told that they had fi nished constructing ments (700 or 800 francs) it was a fortune! the ‘Grand Orgue’9 and that César Franck Just imagine my joy at fi nally being deliv- wished to exchange his position as choir- ered from all fi nancial worries! […] This master for that of organist, that the priest was how I got to know C. Franck, who was had agreed to this, and that they would always good and very kind to me, whose Théodore Dubois, ca. 1910 (Private Collection) gladly offer me this position if I was pre- friend and admirer I became and remained pared to return forthwith(!). The prospect up to his last hour. ertoire. Hasn’t it always been like that and Lessons for the choristers nearly every of this situation, which would insure my Shortly after the consecration of the Ste- doesn’t one see that time fi nally puts every- day, general rehearsals, services on Sundays livelihood—so diffi cult for so many musi- Clotilde Church, since no organ had been thing right in its place and that the name of and feast days, Thursday masses, Friday cians returning from Rome—made me built yet, I accompanied the singers on a C. Franck is met with universal admiration Benedictions of the Holy Sacrament, cer- happy of course, but at the same time the good Mustel harmonium. […] Through today! tain evening services, the Marian month, thought of having to leave the Villa Medici my daily contact with C. Franck, I grew The artist’s outward appearance did not the octaves of certain feast days, weddings, before the end of my two years greatly to love and admire this great artist. I was correspond to his talent, to his genius. Had funerals, the preparation and the choice of grieved me. After all, it was in November lucky enough to witness him composing his eyes not been lively, fl ashing and full of the programs, engaging additional artists and I should normally have stayed until his Mass, his Motets, and the beautiful Of- intelligence, one would more likely have if needed for a service; the choirmaster the end of December. My parents wanted fertories, and to be the fi rst to accompany taken him in a peaceful moment for a sort was responsible for calculating each per- me to have a secure position. After much them, including top-level works—due to of upright provincial citizen. But as soon son’s salary at the end of each month; he hesitation and thoughtful consideration, I their sublimity and their personally colored as he started talking, he changed: with the supervised the music library and the per- decided to apply for permission to leave expressive harmonies—such as Dextera persuasive power of his words he focused formance repertory; he recruited children Rome in November, and to forgo my trav- Domini [1861], Quae est ista [1861] and his attention with brilliant observations on to sing after some voices had broken and els to Germany, which I would have gladly the Offertory for Lent. What a contrast with art and literature, becoming convincing, other various circumstances.6 carried out, but which—I don’t know the works usually heard then in most of the almost fascinating; one felt that one was why—few of the scholarship students took churches in Paris! This was the beginning in the presence of a powerful strong will! Also in 1861, Théodore Dubois won at that time.10 of a reaction against banality and poor taste There are in fact few young artists who the Prix de Rome with his cantata Atala. which, after so many years, had not com- knew him that were not infl uenced to some He had to leave Paris on December 26, After returning from Rome in Novem- pletely disappeared from the repertoire degree by him.4 3 1861, to travel and stay in Italy for two ber, 1863, the roles at the Sainte-Clotil- found in the church choir schools!” Very concerned about the splendor years, until the end of 1863. Concerned de Church were reversed. With César and the magnifi cence of the worship about resuming his accompanying post Franck at the Grand Orgue tribune, Religious music was in fact in a state of services, the abbot Pierre Ambroise upon his return from Rome, he quickly Théodore Dubois immediately assumed real decadence, sung with dramatic sen- Hamelin (1800–1883), priest at Sainte- went to see his priest in order to request his new job as choirmaster. His account is timentality; the tonal result was closer to Clotilde, only moderately appreciated his permission to fi nd a substitute among of utmost importance because it reveals that of salon romances [for house gath- his choirmaster’s music. Nevertheless, one of his students during his absence. precisely and without ambiguity that erings]. This was the bona fi de begin- Franck dedicated his motet Dextera ning of the tradition that distinguished Domini, Offertory for Easter Sunday, to Sainte-Clotilde from other Parisian him. Théodore Dubois describes in de- churches. Here, the music was made tail one of the dreadful confrontations with serenity, power and lyricism. As between the two men. It was in 1861, there was no organ in the church, it was the year of the composition of this mo- essentially vocal. The choir, directed by tet, that Hamelin launched this quip to César Franck (1822–1890) and made up Franck in front of the choir members: of three male voice parts (soprano, tenor and bass), sang with an orchestra or was “Mr. Franck, you do not know your job!” simply sustained by a double bass and a Franck simply replied to this, but with a Mustel harmonium played by Théodore fi rm and convincing voice: “Father, I affi rm to you that I know my job!” I believe that Dubois. Dubois, who was fi fteen years he did know it. But our good priest never younger than his choirmaster, did not suspected so. He loved blaring music: and hide his admiration for him. still the blaring music, this was not at all Franck’s cup of tea. We were all appalled at These memories are dear to me because such an outburst. Franck alone remained they remind me that C. Franck was such a impassive and with an angelic air he told us noble-minded artist. The affectionate kind- upon leaving: “He does not know; he can- ness that he showed towards me and also not know!” Deep thought, simple, just, full the great impression that his works made of philosophy, of observation and of kind- upon me; they were written in a style so ness!5 new for me. Nobody will be surprised to hear that the church members of Ste-Clo- Until then, Franck only carried out his tilde took a somewhat refractory view of duties as choirmaster. Accumulating the their music director’s compositions. They multiple functions of this post hardly left preferred the banalities of the current rep- him any free time:

JANUARY, 2008 25

Jan 08 pp. 25-27.indd 25 12/11/07 8:04:21 AM Théodore Dubois: Souvenirs de ma vie, p. 124: Bibliothèque nationale de France, César Franck: a “symphonic” page taken from the Final, Op. 21 (1864): Bibliothèque BNF Rés. Vmc. Ms. 3 nationale de France, Ms. 22410

the Sainte-Clotilde Grand Orgue was and which transformed and directed his the organ builder not only required this rate it had come to play it in September in the presence of the Duchess d’Albe as well not completely fi nished before the fall creative thoughts towards new horizons. delay, but also requested a compensa- as at the ceremony of the large wedding of 1863 and that Franck was not named Théodore Dubois’ memoirs attest that tion of more than 500 francs from the celebrated by the Bishop of Carcassonne. titular organist until after the completion the “completed” Sainte-Clotilde organ architect. Since the new date was set The previously announced inauguration, of the work.11 It also clearly reveals the does not date from 1859 but from 1863. fi fteen days later, what was he able to which was to have been brilliant, had been unexpected urgency of the missive from In his memoirs (cited above), the com- do in such little time? Was the organ set for December 5 and it had become ur- Sainte-Clotilde. Why did Franck so sud- poser specifi cally uses the same phrase entirely repaired? The reference found gent to install the top of the imposing or- denly make up his mind to change roles “the Grand Orgue was just constructed.” in the newspaper articles is evasive and gan case. Pressed for time, the architect’s and become organist? This crucial mo- A second witness concerning the work puzzling. Adrien de la Fage announced workers allowed some debris and even some heavy objects to fall into the organ. ment of the completion of the organ was carried out between 1860 and 1863 was that he would speak about “the organ in One of these ‘shells’ had violently crashed thus revealed to be the real turning point Charles-Marie Widor. He reports that another article or that certain questions, into a special device for the wind chests of in his musical career. Until that time, he one of the fi rst to try out the instru- rather serious, would eventually be dealt the Grand Orgue placed at the base of the had not yet composed any important or- ment “which had just been fi nished” in with.”14 La France musicale praised Bal- great case towers. Regardless of the pneu- gan pieces. But suddenly in September the Sainte-Clotilde Church was the “old lu’s marvelous case and reported that matic levers, Cavaillé-Coll had to construct and October of 1863, he began compos- Hesse,” on June 30, 1862.12 this new mechanism that required this spe- ing with great intensity, which until now However, since the archives are miss- this instrument ought to have been as cial very expensive device (3,000 francs) in seemed to be surprisingly unexplained. ing, the rereading of the chronicle of complete as possible, in keeping with the order to overcome the diffi culties that had Théodore Dubois’ account thus al- these years shows uncertainties con- proportions of the church, that is, to pos- been raised. Alas, all attempts to tune the sess 46 stops on three keyboards and a Grand Orgue were useless and the inaugu- lows us to place in its true context the cerning the different revisions of the pedalboard, 14 combination pedals and ration took place using only the rest of the genesis of Franck’s Six Organ Pieces, organ. Actually, the known documents 1796 pipes. This is, in fact, the Sainte-Clo- undamaged stops. his fi rst symphonic works, composed in concerning the construction of this or- tilde organ.15 1863/1864 and edited in 1868. It estab- gan suddenly end on December 2, 1859, It was then necessary to dismantle, lishes a link between the Sainte-Clotilde namely three days before the originally Why then was new work carried out verify, repair or reconstruct the damaged organ on the one hand, and his nomina- determined date for the inauguration. on an organ supposedly “complete,” fi n- mechanism—or to change it. This took tion to the organist position on the other Following some uncareful work car- ished and inaugurated? Moreover, the time and new funding. Wouldn’t it just be hand. The Six Pieces, as the composer ried out by the workers of the architect caliber and the undetermined length of easier to inverse the keyboards? Our hy- presented them at their fi rst perfor- Théodore Ballu (1817–1885) during the the work threatened to put the organ pothesis is then that Cavaillé-Coll would mance at Sainte-Clotilde in November installation of the top of the organ case, “out of service” for many long months, have inversed, between 1860 and 1862, 1864, are thus indebted to the fi nished Cavaillé-Coll declared that restricting the parish to remain without a the order of the Positif and the Grand- state of the Cavaillé-Coll organ in the titular. Théodore Dubois’ memoirs lead Orgue keyboards to simplify the mecha- fall of 1863. Two of the Six Pieces, the the instrument has become unplayable. us to believe that this work continued nism of the note transmission to the pipe Grand Pièce symphonique and the Pas- Sawdust, wood shavings and even heavy until the fall of 1863. After studying the valves of the Grand Orgue. More appro- torale (dedicated to Cavaillé-Coll), are objects had fallen into the organ, had stifl ed various archives (estimations, letters) priate to the quite special location of this the sound of the pipes and altered their so- dated precisely on September 16 and 29. nority so much that it was then impossible published in Fenner Douglass’s book, tribune, the new layout thus presented The other ones—such as the Fantaisie, quoted above, only one explanation the Grand-Orgue on the fi rst keyboard to repair the organ for the inauguration, 16 one of whose versions is dated October announced for the fi fth of this month.13 emerges. To render our hypothesis more and the Positif on the second one. 1863, or the Final—were revised. It is pleasant and more familiar we imagine The fi rst public performance of all of incontestably the new aesthetic of the The date of the inauguration was then it under Théodore Dubois’ pen, who, of the Six Pieces was given by Franck him- Sainte-Clotilde organ, one of Cavaillé- moved to December 19, the time al- course, in his memoirs does not say one self in the Sainte-Clotilde Church on Coll’s most beautiful instruments, which lowed to “repair, clean and tune all the word about these events. November 17, 1864: this represented, in is at the origin of Franck’s new genius damaged material.” To accomplish this, a way, a second but genuine inauguration The year 1859 marks a date in my ca- of the completed organ. The columnist reer: I fi nally obtained my First Prize in S. Dufour from the Revue et Gazette mu- organ and in November La Maîtrise pub- sicale de Paris underlines the immense lished my fi rst organ piece, an Offertory that I composed with the inspiration of the infl uence that the organ’s construction Sainte-Clotilde organ. The construction of had on these compositions. Here is his this large three-manual instrument was fi n- report published in the 47th number of ished at the end of August, the great Lefé- this periodical, on November 20, 1864: bure-Wély who had been chosen to inaugu- Last Thursday at Sainte-Clotilde the elder M. César Franck gave a recital on the Cavaillé-Coll Grand Orgue which was David Petty & Associates attended by a great number of artists and Organbuilders amateurs. M. Franck performed the pieces he had composed, written by a master, and 1184 Woodland St. SW, Hartville, Ohio 44632 one remarked in the fi rst a choir on the Voix 330-966-2499 www.keggorgan.com 27 Marlboro Lane • Eugene, OR 97405 Humaines which was most effective; and in (541) 521-7348 [email protected] the Grande Pièce symphonique a most dis- tinguished melody was played initially on

26 THE DIAPASON

Jan 08 pp. 25-27.indd 26 12/11/07 8:04:54 AM the Clarinet and then repeated on the Voix 4. Ibid. the Récit (3rd keyboard). Until then, Cavail- search, Helga Schauerte-Maubouet has be- Célestes stops. This recital, in which M. 5. Dubois, Souvenirs de ma vie, pp. 138– lé-Coll disapproved of the idea of changing come one of the outstanding musicians of her Franck was revealed as much as a learned 139. this accepted order (cf. Douglass, op. cit., generation. Organist of the German Lutheran composer as a skillful instrumentalist, will 6. Cf. note 3, p. XIV. p. 1440). All of the estimates of the Sainte- Church in Paris, teacher at the Paris Conser- have proved once again that the artistic 7. Ibid. Clotilde organ mention the keyboards in the vatoire Nadia et Lili Boulanger, lecturer and level of the organist is rising from day to 8. Joël-Marie Fauquet: César Franck, Par- generally adopted order. This said, the little jury member for international organ com- day in France, and that the accomplished is, 1999, p. 313. applied notation of certain estimates (cf. for petitions, she maintains a brilliant career as profi ciency in modern building, far from 9. Should one read “grand orgue de tri- example Douglass, p. 1391) can lead to a mis- a performing artist in Europe and the USA. harming the musical composition, gives it, bune” [“Grand Orgue in a gallery”] or “Grand- understanding: one may read “2nd [Article] Author of the fi rst book in the German lan- on the contrary, a precious and powerful Orgue” in relation to the Positif and the Récit [ - ] Positif Keyboard” and not “2nd Positif guage on Alain’s music, she has discovered means of expression. The beautiful organ keyboards? Keyboard” (cf. the writing, more explicit, in and acquired some 40 of Alain’s musical auto- at Sainte-Clotilde was not less brilliant in 10. Dubois, Souvenirs de ma vie, p. 134; cf. other estimations, for example, in that of the graphs. She has been engaged by Bärenreiter this recital by this learned organist.17 illustration. On page 137 Dubois marks the Invalides Church communicated in Douglass, to contribute to the new edition of MGG, to exact date of his return to Paris: “November, p. 1315). write on French organ music subjects in the Concerning Franck as an improviser, 1863.” 17. The indication of the cited stops is in ac- Handbuch Orgelmusik, and to publish schol- Maurice Emmanuel (1862–1938), who 11. According to the past organ literature, cordance with that of the Durand 1880 Edi- arly-critical editions of the complete organ met him for the fi rst time in June 1881, the construction of the Grand Orgue at tion (Maeyens-Couvreur, 1868). The Sainte- works of Léon Boëllmann, Théodore Dubois reports that his sonorous creations Sainte-Clotilde lasted from 1853 to 1859. As Clotilde organ then included an Unda Maris and Louis Vierne as well as of vocal music of to Franck’s nomination to the organist posi- on the Positif and a Voix Céleste on the Récit. Marc-Antoine Charpentier. She has also com- were always colored with very rich registra- tion, it is usually presumed to coincide with Cf. my article on the organ music in France in posed French Noël and German carol settings tions. He even was able, through ingenious the organ inauguration, in December 1859. Handbuch Orgelmusik, Kassel, 2002, p. 376. for other instruments and organ published by devices, to multiply the resources that the 12. “Cavaillé-Coll recalled, with the same 18. Maurice Emmanuel, César Franck, Par- Merseburger-Verlag. In 1987 she received the master builder had put at his disposal. It is astonishment, the slow tempo of the Fugue in is, 1930, p. 108. cultural prize of Olpe, Germany. Since 1990 thus that he gladly improvised on the Posi- D Major under the fi ngers of the old Hesse on 19. Cf. note 3, p. XIV. her biography has been included in the In- tif coupled to the Récit, in order to profi t the organ that had just been completed in the 20. According to Théodore Dubois (Sou- ternational Who’s Who in Music, and she has from the Positif 16′ stops and to surround Ste-Clotilde Church in Paris.” Charles-Marie venirs, page 223), César Franck, in 1890, been included in 2000 Outstanding Musicians them momentarily on the voices of the Widor in his Preface (Venice, October 20, had named him as a dedicatee of one of his of the 20th Century. Récit in a more vast choir; this realization 1904) to Albert Schweitzer: J. S. Bach, Edi- Three Chorals. The posthumous publica- ′ thus anticipated the great Récit with 16 tion Maurice and Pierre Foetisch, Lausanne tion (Durand, 1892) changed the names of A French-American organist and mu- stops, which Cavaillé-Coll later endowed in sicologist, Carolyn Shuster Fournier is an 18 [1905], 6th printing, page IX. Hesse came to the dedicatees. the Saint-Sulpice organ. Paris twice: in 1844 and in June 1862. international concert artist and titular of 13. Cited in Fenner Douglass: Cavaillé-Coll This article appeared in French in L’Orgue, the Aristide Cavaillé-Coll choir organ at La In his memoirs, Théodore Dubois and the Musicians, Raleigh, 1980, p. 1501. no. 278-279, 2007, II-III, pp. 7–13. Trinité Church in Paris, France (cf. ). Her latest CD, “An boasts about having seen the birth of no. 1, 1er janvier, 1860, pp. 4–5. Through her concert tours, radio record- American in Paris” (Ligia Digital, distribution Franck’s Six Pieces, for which he helped 15. La France musicale 23, no. 52, Decem- ings and CDs (the complete organ works of Harmonia Mundi), recorded at La Madeleine the composer by pulling stops when ber 25, 1859, p. 506. Jehan Alain and Dietrich Buxtehude, por- Church, is dedicated to French and American Franck practiced on the Grand Orgue. 16. The established order of an organ with traits of Buttstett, Reger, Boëllmann, Du- music. Chevalier in the Order of Arts and Let- In 1866, he also witnessed fi rsthand the three keyboards was the Positif (1st key- bois and Langlais, comprising some twenty ters, Dr. Shuster Fournier has written several famous meeting between César Franck board), the Grand-Orgue (2nd keyboard), and recordings), as well as her musicological re- articles for THE DIAPASON. and Franz Liszt who “religiously listened to these beautiful pieces which appeared to produce a great impression on him.”19 ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD The happy collaboration between Franck and Dubois at Sainte-Clotilde continued HENDRICKSO WOOD & GOULDING GARLAND FISK DYER R. DOBSON FRERES CASAVANT until 1868, the year when Dubois was Y named choirmaster at the Madeleine. The relationship between the two mu- sicians, founded on mutual esteem, al- ways remained very fraternal. Théodore Dubois dedicated to Franck the fi rst piece of his Twelve Pieces for the organ (Leduc, 1886), whereas Franck indicated that one of his Three Chorals would be dedicated to Dubois.20 Shortly after the success of his oratorio The Last Seven Words of Christ, when Théodore Dubois changed his post at Sainte-Clotilde with that at the Madeleine and became pro- fessor at the Paris Conservatory, he did everything he could to renew his collabo- ration with César Franck by pleading fa- vorably for his nomination to the post of organ professor in 1872. The discovery of Théodore Dubois’ memoirs permits us to maintain that the Sainte-Clotilde organ, whose completion in 1863 no longer corresponded to the initial 1853 project, is later than that of Saint-Sulpice (1862). Closely related to the emergence of his symphonic works, the “Sainte-Clotilde Tradition” was es- tablished beginning with Franck’s Six Pieces, which he composed or fi nalized at the time when he took possession of the completed organ. If the young Dubois’ testimony irrevocably clarifi es the mys- tery that hung over the genesis of these works, it engenders on its own another mystery widely accepted by all the biog- raphies, organ monographs, dictionaries and encyclopedias: that of Franck’s false A Week in These Can Change a Lifetime nomination as titular organist at Sainte- Clotilde in 1859. Q

Notes In just a short week, young people attending a Pipe Organ Encounter were inspired 1. Théodore Dubois, Souvenirs de ma vie to become the next generation of organists and church musicians. [Memories of My Life], autograph, BNF Rés. Vmc. Ms. 3. Signed and dated in August, 1912, this autobiography, written in Rosnay between 1909 and 1912, consists of seven books that Join APOBA in welcoming these talented young musicians, as they dedicate their are continuously numbered. Given to the Bib- lives to expressing themselves through the Pipe Organ! liothèque nationale by his son Charles Dubois (1877–1965), these books, which were lost for a longtime in the archives of the Music De- partment, were refound in 1997 after an in- vestigation by Christine Collette Kléo. 2. Théodore Dubois: The Organ Works, To receive information about pipe organs edited by Helga Schauerte-Maubouet, pub- lished by Bärenreiter, Kassel. The urtext edi- and recognized pipe organ builders tion has been in progress since 2005. Three of A write or call toll free 1-800-473-5270 the six volumes are actually available: Volume P I (BA 8468): the early works and organ pieces or on the web @ www.apoba.com with minimal pedal or optional pedal; Volume Associated Pipe Organ Builders of America II (BA 8469): The Twelve Pieces from 1886; BO Volume IV (BA 8471): The Twelve Pieces from A P.O. Box 155 • Chicago Ridge, Illinois 60415 1893, Ascendit Deus. All the volumes are pro- N vided with explanatory texts in three languag- OTT PARSONS QUIMBY REDMAN SCHANTZ SCHOENSTEIN TAYLOR & BOOD es and numerous illustrations. 3. Théodore Dubois: The Organ Works, edited by Helga Schauerte-Maubouet, Vol. I, NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP Kassel, 2005, p. XIII.

JANUARY, 2008 27

Jan 08 pp. 25-27.indd 27 12/11/07 8:05:25 AM Cover feature

Fratelli Ruffatti, Padua, Italy voices. The pitch is 440 Hz at 20° Celsius Wesley Chapel, Elkton, Maryland and the temperament is equal. Architecturally, the organ case has From the builder been designed to fi t in the historical sur- Fratelli Ruffatti is mostly known in the roundings of Wesley Chapel. Although United States for building large four- and inspired both mechanically and aestheti- fi ve-manual instruments with electric ac- cally by the ancient Positivo organs, it tion. Two fi ve-manual organs have been must not be defi ned as a copy: its design completed in the past 15 months, and is defi nitely a new, original creation. It two four-manual organs are currently be- features a façade composed of 22 pipes ing manufactured in the Ruffatti work- divided in two symmetrical sections. shop. Few people, however, know that Each is topped by a hand-carved panel the majority of instruments that the fi rm designed to add beauty to the ensemble produces outside of the United States while at the same time allowing for maxi- are of mechanical action. mum sound egress. Two hand-carved In tune with the trends and ideas wooden elements at the sides provide that were coming from across the Alps the necessary continuity between the top at the beginning of the 1960s, Ruffatti and the lower part of the case. was among the fi rst in Italy to restore the The casework is made completely tradition of building pipe organs with from solid African mahogany. The key- suspended mechanical action. One of board features bone naturals with carved the most famous of these instruments key fronts, and natural ebony sharps with is in northern Italy, installed in 1970 in bone inlays. The key cheeks are inlaid the parish church of the small medieval with thin strips of bone. The draw knobs city of Noale. It is not a huge instru- are of ebony, with maple insets. The ment, numbering 27 stops and 35 ranks The Ruffatti instrument installed in historic Wesley Chapel (photo credit: Nancy Daley) concave and parallel pedalboard (BDO of pipes over two manuals, but it became measurements) is made of oak, with the quickly famous from the beginning as sharps topped by ebony. the concert instrument for the fi rst Ital- The mechanical action is suspended. ian competition of young organists. It is The rollerboards are made from solid still today the centerpiece of a quite fa- aluminum rollers with wooden arms. mous concert series, involving big names The task of designing and manufac- among international organists. turing an instrument within such a small Ruffatti is here presenting to the space has not been an easy one. In spite American organ community an instru- of this, every part is easily accessible for ment that is quite small, but of large sig- maintenance and ordinary tuning. The nifi cance. Everyone knows that ancient layout of pipes over the slider windchest Italian organs were, for the most part, in particular has been carefully designed of small size—one manual, with a lim- to allow favorable conditions for the ra- ited number of stops—but quite musi- diation of sound from all pipes. cal and versatile. Since our predecessors —Francesco Ruffatti could not depend upon a large number of voices to produce variety, they refi ned Notes their voicing techniques to the point that 1. Gaetano Callido was the most famous every sound could be combined with ev- Venetian organbuilder of the 18th century. ery other to produce the most versatil- A pupil of Pietro Nacchini, he built over 430 organs in his lifetime, many of which ity even within a very limited number of are still preserved. stops. This is the tradition that Italian or- 2. The basic principle of the open toe voic- ganbuilders come from and that consti- ing technique is that of leaving the pipe toe tutes the inspiration for Fratelli Ruffatti Historic Wesley Chapel in Elkton, Maryland (photo credit: Nancy Daley) completely open and regulating the sound even today, whether it may be applied to volume by reducing the opening at the fl ue, or very large or, even more importantly, to lower lip of the mouth. By operating this way small instruments. several advantages are achieved, among which The organ manufactured for Wesley are a less turbulent air supply through the pipe foot and a more focused wind column at the Chapel of Elk Neck is a good example mouth. These features are effective in reduc- of how a very small instrument can be ing the “mouth noise” or “air noise” and, conse- pleasing and effective in spite of its very quently, in reducing the need for languid nick- limited size. With only one manual and ing, a practice that can alter the natural timbre a total of six stops, including the Pedal, and that tends to reduce the development of it is diffi cult to imagine any kind of ver- upper partials in the sound spectrum. satility at all. However, a few special ingredients grant this instrument a real From the organist fl exibility: the divided stops, the compo- Several years back Glenn Arrants in- sition of the Mixture and, above all, the quired: if he purchased an organ, would voicing techniques. I play it?—and fortunately I said yes. He Splitting the stops in bass and treble is then informed me this would be no ordi- an old practice in ancient organs, as we nary organ, but a pipe organ to be built in all know, and it allows the organist to cre- Italy. Through the months ahead, Glenn ate two different tonal “platforms” within kept me informed of the progress. the same manual. In this case, both the The anticipation increased over the Principal and the Spitzfl öte are divided two and a half-year wait for the organ between C and C# in the middle of the to be built. Finally we received word it keyboard, thus increasing the number would be delivered to the chapel on July of possible combinations. The Mixture, 3, 2007. I was so excited about the op- whose composition is shown below, has portunity to see this process fi rsthand, been designed in such a way that no that I took off from work to be there to “double pitches” occur when combined take photos and witness the arrival. ′ Rev. E. Martin Wiley, Jr., pastor, Wesley United Methodist Church and Wesley with the 2 Fifteenth. The Fifteenth and Chapel of Elk Neck; Rev. Thomas Edward, pastor, St. Mark’s United Methodist Spread throughout the chapel were Mixture are conceived as an effective Church, Wilmington, Delaware; Glenn H. Arrants, Jr., Chapel historian; Alice Moore, all of the pieces that would be assem- three-rank Mixture when pulled together, organist; Donald McFarland, organist/choir director, St. Alban’s Episcopal Church, bled into a pipe organ—in two weeks! I but at the same time the Mixture can also Wilmington, Delaware, and dedication recitalist (photo credit: Nancy Daley) thought I understood the complexity of be independently used in a “mezzo ripi- the pipe organ until I witnessed this fi rst- eno” combination without the Fifteenth, gans of the 17th and 18th centuries, and real 16′ Bourdon has been provided for hand. Imagine my excitement to hear creating a very interesting tonal color. effective ways have been refi ned over the the Pedal, with pipes made of African that I would be playing the organ the fi rst Although English names have been centuries—through proper scaling and mahogany, which are located behind the time that Sunday morning, although the chosen for the stops, as a sign of respect voicing—to make the bridge between organ case. pedals were not completed—the sound for the users, a number of tonal features wood and metal remarkably smooth. The voicing technique is probably fi lling the sanctuary that morning was are present that link this instrument in The Octave is of slightly smaller scale, the element of highest signifi cance. At just a sweet taste of what was to come many different ways to the classical Ital- or relative diameter, than the Principal, the lowest wind pressure allowed by the the following week when the instrument ian tradition. as found in many historical organs of acoustical conditions of the room (65 was complete. The Principal pipes, both internal and northern Italy, as are the Fifteenth and mm at the water column, or slightly over There was concern that a pipe organ 1 in the façade, are without “ears,” as in the subsequent Mixture ranks. 2 ⁄2 inches), all pipes have been voiced would overpower the small sanctuary the classical Principale. The low octave The 4′ Spitzfl öte is an almost identi- with completely open toe and a mini- and the congregation, but this is not the of the stop is made of stopped mahogany cal replica of the Flauto in Ottava, a stop mum number of barely visible nicks at case. The sanctuary is fi lled with wonder- pipes, housed against the ceiling inside of rare singing quality used by Gaetano the languids. The result is a very pleas- ful music, and the congregation’s voices the case. They are connected to the Callido1 in his instruments. ing, singing tone without excessive chiff are supported beautifully. Even with full windchest through a complicated series With the primary purpose of provid- or unnecessary non-harmonic overtones. organ, there is no vibration anywhere in of metal windways. A stopped wooden ing a good foundation, especially consid- This constitutes the foundation for a suc- the 177-year old chapel. low octave for the Principale is a com- ering the rather dry acoustical environ- cessful blending of the stops as well as for To be the fi rst organist of the Wesley mon feature of the Positivo Italian or- ment of Wesley Chapel, an independent, the creation of successful, pleasing solo Chapel Fratelli Ruffatti pipe organ is in-

28 THE DIAPASON

Jan 08 pp. 28-30.indd 28 12/11/07 8:06:09 AM deed an honor, and a once in a lifetime Delaware border. It dates from the 1700s MANUAL—unenclosed, 56 notes (C–G) opportunity. One cannot help but think and was a strategic crossroads during the 8′ Principal Bass 25 pipes mahogany + 95% façade + 70% interior of the dedicated craftsmen who built the Revolutionary War. Washington and La- 8′ Principal Treble 31 pipes 95% façade + 70% interior organ, all the attention to detail, and the fayette passed through it frequently, and 4′ Octave 56 pipes 70% ′ beautiful voices of the pipes. It gives me it is very near the spot where the British 4 Spitzfl öte Bass 17 pipes 30% 1–8 common bass with Octave great joy to be able to sit down and play landed for their march on Philadelphia. 4′ Spitzfl öte Treble 31 pipes 30% 2′ Fifteenth 56 pipes 70% this organ, so much so that what seem The Wesley Methodist Society formed 1 II Mixture 1 ⁄3′–1′ 112 pipes 70% like minutes in time are actually hours its congregation there in 1797 and, in of enjoyment—this fi ne instrument will 1830, the parcel of land was bought “for PEDAL—unenclosed, 27 notes (C–D) serve the congregation and community and in consideration of the sum fi ve dol- 16′ Bourdon 27 pipes mahogany of Elk Neck for generations to come. lars current money of Maryland,” and —Alice Moore the Reverend William Ryder laid the 7 ranks, 355 pipes cornerstone of a new building in which % = percentage of tin in tin-lead alloy From the dedication recitalist to hold the society’s services. Handhewn ′ ′ Composition of the Mixture II by itself It was a great pleasure to prepare a beams formed the 25 x 30 single-room 1 1–36 1 ⁄3′ 1′ program for the dedication of the new chapel on a fi eldstone foundation. The 2 1 37–48 2 ⁄3′ 1⁄3′ Ruffatti organ for Wesley Chapel of Elk little building has several features that 2 49–56 4′ 2⁄3′ Neck. It turned out to be much less of make it a particularly important structure challenge to prepare for a “small organ” architecturally, including a perfect half- Composition of the Mixture II together with the Fifteenth 2′ than one might have suspected. The or- circle arched ceiling, and varying-width 1 1–36 2′ 1⁄3′ 1’ 2 1 gan is well capable of playing standard clapboards that hide its vertical plank 37–48 2 ⁄3′ 2′ 1⁄3′ ′ 2 ′ ′ literature, Bach and Telemann, and there construction. Wesley Chapel seats about 49–56 4 2⁄3 2 is, in fact, wonderful variety to be had in 50, and is one of the oldest rural chapels Cover photo: Nancy Daley various combinations of the voices. Most still in use in the area. surprising was the excellent way the organ Glenn Arrants remembers how his could be adapted to the modern works of mother served as church organist for Michael Burkhardt and Donald Johns in almost 50 years. She played on an early hymn-based partitas. Equally important, 20th-century Möller organ, which took the gentle and very artistic voicing of this up considerable space in the tiny build- instrument allows it to lead congregation- ing. In the mid-1990s, the chapel went al song with all the color and emotion one through a complete restoration and the could ask for in an instrument of larger Möller, which was then beyond repair, design. The divided stops are an ideal was replaced with a restored Estey reed way to get “more organ” than the package organ. Church members missed the seems to contain. Bravo Fratelli Ruffatti sound of a pipe organ, however, and, in and congratulations to Wesley Chapel of 2005, set in motion plans to acquire an Elk Neck. instrument specially built for the chapel. –Donald McFarland Because of the design work, the qual- ity of construction, and the reputation A brief history of Wesley Chapel of Elk of the company, Wesley Chapel chose Neck, Elkton, Maryland Fratelli Ruffatti, distinguished pipe or- Elkton, Maryland, a city of some 13,000 gan builders of Padua, Italy, to build its people, sits on Chesapeake Bay near the new instrument.

The parallel and concave pedalboard (photo credit: Nancy Daley)

Detail of the pallet box. Each pallet is removable for ease of maintenance (photo credit: Fabrizio Scolaro)

The bass pipes of the Principal, installed against the ceiling of the organ case (photo credit: Fabrizio Scolaro) Detail of keyboard and draw knobs (photo credit: Fabrizio Scolaro)

Drawing of the case showing the mechanical action Pipe layout for manual windchest

JANUARY, 2008 29

Jan 08 pp. 28-30.indd 29 12/11/07 8:06:32 AM New Organs

and Wylie S. Quinn, director of music and sion that the organ sounds bigger than it organist. In the end all were able to agree looks are the Swell to Great 16′ coupler on a plan that achieved everyone’s goals. and the Pedal 16′ Bassoon. Op. 82 is a two-manual and pedal in- The instrument was fi rst used for ser- strument of 17 ranks with mechanical vices and programs in April 2006, and key and stop actions; for reasons of space was formally dedicated on October 13, and versatility, the Pedal has electric ac- 2006 in a program by Dr. Quinn. tion. The organ is arranged like many —John Panning 19th-century instruments: the Great is located at impost level immediately be- Photo credit: Lynn Dobson hind the façade, with the Swell placed behind the Great at a higher level. Un- GREAT (58 notes) 8′ Prestant derneath the Swell are the pipes of the 8′ Chimney Flute Pedal. The blower and the weighted 4′ Octave reservoir are located in a sacristy be- 2′ Super Octave (from Mixture) hind the wall against which the organ is 2′ Mixture IV placed. The organ case is constructed of 8′ Trumpet rift-sawn, fumed and stained white oak Swell to Great 16′ that is enriched by hand-carved details. Swell to Great 8′ In addition, accents of American black SWELL (58 notes, expressive) walnut, ebony, rosewood, Carpathian 8′ Stopped Diapason elm burl and cow bone are found at the 8′ Salicional organ’s console. Folding doors are avail- 4′ Flute 2 able to enclose the stop jambs and music 2⁄3′ Nasard rack. A cover for the keyboards folds and 2′ Gemshorn 3 recedes into the case when not in use. 1⁄5′ Tierce The chapel’s intimate acoustic re- 8′ Oboe quires very little power to fi ll the space Tremulant (affects entire organ) with sound. While the stoplist looks sub- PEDAL (32 notes) stantial for the size of the chapel, it is 16′ Subbass voiced entirely on 60 millimeters of wind 8′ Bourdon (ext) pressure. Consequently each stop sings 16′ Bassoon gently yet carries effortlessly throughout 8′ Trumpet (ext Bassoon) the room. As the ensembles build, the Great to Pedal organ sounds full and satisfying, yet not Swell to Pedal overbearing. Contributing to the impres-

Dobson Pipe Organ Builders, main worship space, while the chapel Lake City, Iowa is used for services of up to a hundred The Chapel of the Cross people, numerous weddings and funer- (Episcopal), als where signifi cant organ literature is Chapel Hill, North Carolina played, and organ recitals. It was clear Dobson Pipe Organ Builders of Lake from the outset that the musical require- City, Iowa, has installed its Op. 82 at the ments of the new organ would be far Chapel of the Cross (Episcopal), Cha- greater than one might normally associ- pel Hill, North Carolina. Organized on ate with a space such as the chapel. The May 13, 1842, the Chapel of the Cross organ builder’s challenge was to design represented the fi rst denomination to a comprehensive two-manual organ with organize a congregation in Chapel Hill, suffi cient pedal, all within the proper and was intended to serve as a place visual and tonal proportions dictated by where students and faculty of the Uni- the room’s intimate physical and acousti- versity of North Carolina could worship cal setting. according to their tradition. By the fall of Initial design discussions for Op. 82 1842 specifi cations for a church building were lively, since the chapel’s signifi cant were prepared. Actual construction pro- musical needs were seemingly at odds with ceeded slowly and came to a halt several the historical committee’s concerns about GREAT times due to lack of funds, but the chapel a large organ case. Several key individuals Lewis & Hitchcock, Inc. has in- ′ was completed debt-free and was conse- contributed a great deal to these discus- stalled an Aeolian-Skinner organ in the 8 Bourdon 61 pipes 4′ Principal 61 pipes crated on October 19, 1848. By 1921 the sions: James and Susan Moeser, members residence of Patrick Allen of New York Great to Great 4′ parish outgrew the modest chapel and of both the parish and the organ commit- City. The organ is Opus 1128 of Aeolian- built its current, larger sanctuary. New tee, as well as fi ne organists and teachers; Skinner, built in 1947 for Room 424 of SWELL and old are connected by a cloister, all Terry Byrd Eason, member of the parish the Eastman School of Music, Rochester, 8′ Viole de Gambe 61 pipes of similar architectural style. The chapel and the organ committee, and also archi- New York, where it was used as a prac- 4′ Gemshorn 61 pipes was placed on the National Register of tectural consultant and designer involved tice instrument. When the organ became 8′ Hautbois 61 pipes Swell to Swell 16′ Historic Places in 1972. with the chapel renovation; Clare Baum, available, Dr. Allen, who had practiced ′ The newer sanctuary serves as the resourceful chair of the organ committee; on this organ while a student, purchased Swell to Swell 4 it and contracted with Lewis & Hitchcock PEDAL to remove the organ, restore it, modify it 16′ Bourdon 32 pipes North Meets South to fi t his apartment, and to install it. The 8′ Spitz Principal 32 pipes drawknob console is located in his living 4′ Flute 32 pipes Buxtehude and the North German School room at the foot of the stairs leading to the second fl oor; the organ is installed in Couplers Great to Pedal 8′ Keyboard Music of Domenico Scarlatti a former bedroom on the second fl oor, ′ facing the stairs. Dr. Allen is organist and Swell to Pedal 8 Swell to Pedal 4′ An Early Keyboard Conference master of choristers of Grace Episcopal Church, Lower Broadway. Swell to Great 16′ Honoring Two Significant Recent Anniversaries Swell to Great 8′ 2008 Annual Meeting of the Swell to Great 4′

Midwestern Historical Keyboard Society (MHKS) Check your listing in Pistons (preset at the factory) University of Iowa, Iowa City. IA USA – May 21-24, 2008 3 General, 2 Great, 2 Swell, SFZ and General THE DIAPASON Cancel Papers, Lectures, and Concerts 2008 Resource Toe Studs: 2 Pedal, Great to Pedal and SFZ Exhibits of Harpsichords, Clavichords, Fortepianos For Registration Information, contact: Directory Shoes: Swell & Crescendo David Kelzenberg To update information: The organ is listed on the NYC AGO Organs 2801 Highway 6 East, #344 pages: ResAllenP.html> and follow the prompts. (319) 351-3926 Photo credit: Steven E. Lawson Additional Information:

30 THE DIAPASON

Jan 08 pp. 28-30.indd 30 12/11/07 8:06:52 AM Calendar Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Choral Evensong; Grace Church, New York, Pickle Piano & Church Organs NY 4 pm NEW YORK This calendar runs from the 15th of the Bloomingdale, IL month of issue through the following month. Alan Morrison; St. Peter’s Evangelical Lu- The deadline is the fi rst of the preceding theran, Lancaster, PA 7:30 pm month (Jan. 1 for Feb. issue). All events are The American Boychoir; Clemmons United assumed to be organ recitals unless other- Methodist, Clemmons, NC 7 pm Christopher Babcock wise indicated and are grouped within each Daniel Roth, recital and masterclasses; FNB WILLIAM AYLESWORTH date north-south and east-west. •=AGO chap- Concert Hall, University of Alabama, Tuscaloo- ter event, • •=RCCO centre event, +=new or- sa, AL 4:30 pm D. M. St. Andrew’s by the Sea, gan dedication, ++= OHS event. Cathedral Choir; Cathedral Church of the Ad- Hyannis Port Information cannot be accepted unless it vent, Birmingham, AL 7:30 pm specifi es artist name, date, location, and EVANSTON, ILLINOIS St. David’s, South Yarmouth hour in writing. Multiple listings should be in 27 JANUARY chronological order; please do not send du- Rob Richards; Portland City Hall, Portland, plicate listings. THE DIAPASON regrets that ME 2:30 pm it cannot assume responsibility for the accu- Scott Lamlein; Lexington Baptist, Lexington, racy of calendar entries. MA 3:30 pm Choral Evensong; All Saints, Worcester, MA 5 pm UNITED STATES Super Bell XV; First Church of Christ, Wethers- East of the Mississippi fi eld, CT 4 pm Buxtehude, Magnificat; Grace Church, New York, NY 11 am 15 JANUARY Bach, motets; Holy Trinity Lutheran, New Mark Loring; Park Congregational, Grand York, NY 5 pm Rapids, MI 12:15 pm Svetlana Berezhnaya; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 16 JANUARY Choral concert; Christ Church, New Bruns- Dean W. Billmeyer Michael Hey; Cathedral of St. John the Evan- wick, NJ 6:30 pm, following 6 pm Vespers gelist, Milwaukee, WI 12:15 pm Jonathan Dimmock; Duke University, Dur- University of Minnesota ham, NC 5 pm 17 JANUARY The American Boychoir; St. John the Beloved Minneapolis 55455 • [email protected] David Shuler; The Church of St. Luke in the Roman Catholic Church, Summerville, SC 7 pm Fields, New York, NY 8 pm Peter Richard Conte; Covenant Presbyterian, Choral Evensong; Cathedral of St. Philip, At- Fort Myers, FL 4 pm lanta, GA 5:45 pm The Chenaults; Hyde Park Community United Methodist, Cincinnati, OH 4 pm 18 JANUARY Emanuele Cardi; Cathedral of St. Philip, At- THOMAS BROWN David Chalmers John Scott; St. Paul’s Episcopal, Indianapo- lanta, GA 3:15 pm lis, IN 7:30 pm UNIVERSITY Concert Organist Choral Evensong; Cathedral of St. Philip, At- Paul Jacobs; Wisconsin Lutheran College, lanta, GA 4 pm PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES Milwaukee, WI 8 pm Michael Stuart; Peachtree Road United Meth- CHAPEL HILL, NORTH CAROLINA Orleans, MA odist, Atlanta, GA 5 pm 19 JANUARY •Duo Majoya; Calvin College, Grand Rapids, Yale Schola Cantorum; St. Mary’s Church, MI 8 pm New Haven, CT 8 pm Stephen Schnurr, Jr.; St. Mary of the Lake Alan Morrison; St. Norbert Abbey, DePere, Catholic Church, Gary, IN 3 pm STEVEN EGLER WI 2 pm Christopher Young; Grace Episcopal, She- •Southern Indiana AGO Choral Festival; St. DELBERT DISSELHORST Central Michigan University boygan, WI 7:30 pm Mark’s United Church of Christ, New Albany, IN First Presbyterian Church 3 pm A. MUS. D. Mt. Pleasant, Michigan 48858 20 JANUARY UNIVERSITY OF IOWA 28 JANUARY SOLO Shelly-Egler Justin Bischof; Cathedral of St. Patrick, New RECITALS Flute and Organ Duo York, NY 4:45 pm The American Boychoir; Palms Presbyterian, John Scott; St. Thomas Church Fifth Avenue, Jacksonville Beach, FL 7:30 pm New York, NY 5:15 pm Len Langrick; Elliott Chapel, Presbyterian Mark Trautman; Christ Church, New Bruns- Homes, Evanston, IL 1:30 pm wick, NJ 6:30 pm, following 6 pm Vespers JOHN FENSTERMAKER ELLEN KURTZ Ken Cowan; Christ Church, Bradenton, FL 4 29 JANUARY pm Heinrich Christensen; King’s Chapel, Bos- ton, MA 12:15 pm TRINITY-BY-THE-COVE FUNK David Higgs; Washington National Cathedral, M.Mus., A.A.G.O. Washington, DC 5 pm Monteverdi, Vespers of 1610; Trinity Wall •Ken Cowan; Christ Church, Bradenton, FL 4 Street, New York, NY 7:30 pm NAPLES, FLORIDA Concord, California pm Daniel Roth; Church of the Holy Trinity (Epis- Gail Archer; Cathedral of St. Philip, Atlanta, copal), New York, NY 8 pm GA 3:15 pm Jack Mitchener, with soprano; St. Paul’s Choral Evensong; Cathedral of St. Philip, At- Episcopal, Winston-Salem, NC 7 pm Organist / Pianist lanta, GA 4 pm The American Boychoir; First Presbyterian, CHRISTOPHER David Hurd; Christ Church Cathedral, Nash- Ocala, FL 7 pm Michael Gailit Larry Visser ville, TN 4 pm ; Park Congregational, Grand [email protected] GARVEN Leon Nelson, with brass and soprano; First Rapids, MI 12:15 pm http://www.gailit.at Organist & Music Director Presbyterian, Arlington Heights, IL 4 pm Melanie Ohnstad; The Church of St. Louis, St. Augustine’s Church Church of the Good Samaritan Music of the Baroque; First United Methodist, King of France, St. Paul, MN 12:35 pm Conservatory / University (Vienna) Evanston, IL 7:30 pm Paoli, Pennsylvania Anthony & Beard; Weidner Center for the 31 JANUARY Performing Arts, Green Bay, WI 2 pm The American Boychoir; First Presbyterian, Lakeland, FL 7 pm 21 JANUARY John M. Gearhart III Robert Glasgow Music of the Baroque; Harris Theater, Chi- 1 FEBRUARY B.A., M.Mus. cago, IL 7:30 pm Jonathan Moyer; Daniel Chapel, Furman Uni- versity, Greenville, SC 8 pm St. John the Divine (Episcopal) Professor Emeritus 22 JANUARY The American Boychoir; Trinity Episcopal, 2450 River Oaks Blvd. The University of Michigan Heinrich Christensen; King’s Chapel, Bos- Vero Beach, FL 7 pm Houston, TX 77019 Ann Arbor ton, MA 12:15 pm Daniel Roth; St. Joseph’s Catholic Church, Joe Henry; The Church of St. Louis, King of Orlando, FL 7:30 pm France, St. Paul, MN 12:35 pm Bradley Hunter Welch; First United Method- ist, Oak Ridge, TN 8 pm 23 JANUARY JAMES HAMMANN Orff, Carmina Burana; Woolsey Hall, Yale Uni- 2 FEBRUARY Antone Godding versity, New Haven, CT 8 pm Solemn Evensong; St. Paul’s, Doylestown, PA DMA-AAGO 5 pm Nichols Hills 24 JANUARY Royal School of Church Music anniversary; United Methodist Church University of New Orleans Stephen Hamilton, workshop; St. Paul’s Epis- Washington National Cathedral, Washington, Oklahoma City Chapel of the Holy Comforter copal, Greenville, NC 2 pm DC 3 pm Stephen Hamilton, Dupré, Le Chemin de la Marilyn Keiser, workshop; First Presbyterian, Croix; St. Paul’s Episcopal, Greenville, NC 7:30 pm Pompano Beach, FL 10 am Dong-ill Shin; First (Scots) Presbyterian, The American Boychoir; Englewood United LORRAINE BRUGH, Ph.D. Charleston, SC 7:30 pm Methodist, Englewood, FL 7 pm A two-inch 25 JANUARY 3 FEBRUARY Associate Professor Diane Meredith Belcher, with St. Mark’s Scott Lamlein; Wesley United Methodist, Professional Card Choir; St. Mark’s, Philadelphia, PA 7:30 pm Worcester, MA 12:15 pm University Organist David Higgs; Music Center, St. Petersburg David Kazimir; Ascension Memorial Episco- in The Diapason College, St. Petersburg, FL 7:30 pm pal, Ipswich, MA 4:30 pm, following Evensong Valparaiso University Cathedral Choir; Cathedral Church of the Ad- Choral Evensong; Grace Church, New York, Valparaiso, IN For information on rates and NY 4 pm vent, Birmingham, AL 7:30 pm www.valpo.edu specifi cations, contact: Bruce Barber, with violin; St. Chrysostom’s, Bach, Cantata 158; Holy Trinity Lutheran, Chicago, IL 7:30 pm New York, NY 5 pm Jerome Butera Peter Plany; St. Thomas Church Fifth Avenue, 219-464-5084 26 JANUARY New York, NY 5:15 pm [email protected] Peter Krasinski, silent fi lm accompaniment; David Schelat; Christ Church, New Bruns- [email protected] 847/391-1045 St. John’s Episcopal, Gloucester, MA 8 pm wick, NJ 6:30 pm, following 6 pm Vespers

JANUARY, 2008 31

Jan 08 pp. 31-35.indd 31 12/11/07 8:20:38 AM The American Boychoir; Covenant United 13 FEBRUARY Methodist, Port Orange, FL 3 pm Choral concert; St. Ignatius Loyola, New York, WILL HEADLEE Harry H. Huber Marilyn Keiser; First Presbyterian, Pompano NY 8 pm D. Mus. Beach, FL 4 pm Thomas DeWitt; Morrison United Methodist, 1650 James Street Christopher Harrell; Cathedral of St. Philip, Leesburg, FL 12 noon Kansas Wesleyan University, Emeritus Atlanta, GA 3:15 pm The American Boychoir; Oak Grove United Syracuse, NY 13203-2816 University Methodist Church Choral Evensong; Cathedral of St. Philip, At- Methodist, Decatur, GA 7 pm (315) 471-8451 lanta, GA 4 pm James Guyer; First Lutheran, Columbus, IN SALINA, KANSAS Chris Urban; Glenview Community Church, 12 noon Glenview, IL 3 pm 14 FEBRUARY MICHELE JOHNS 4 FEBRUARY Gregory Chestnut; Christ Church, Bradenton, Brian Jones The American Boychoir; Trinity Lutheran, Or- FL 12:15 pm A.Mus.D lando, FL 7 pm The American Boychoir; Cumming First United Director of Music Emeritus Methodist, Cumming, GA 7 pm Organ — Harpsichord 5 FEBRUARY The University of Michigan TRINITY CHURCH Kathryn Moen; The Church of St. Louis, King 15 FEBRUARY Yuko Hayashi School of Music OSTON of France, St. Paul, MN 12:35 pm ; Old West Church, Boston, MA B 8 pm 6 FEBRUARY ensemble amarcord; Central Baptist, Hartford, The American Boychoir; Miccosukee Indian CT 7:45 pm School, Miami, FL 1:30 pm Craig Williams; Holy Trinity Lutheran, Akron, KIM R. KASLING JAMES KIBBIE David Lamb; First United Methodist, Colum- OH 8 pm bus, IN 12 noon Janet Hamilton; Our Lady of Perpetual Help D.M.A. The University of Michigan Catholic Church, New Albany, IN 12 noon St. John’s Univeristy Ann Arbor, MI 48109-2085 7 FEBRUARY 734-764-1591 FAX: 734-763-5097 Olivier Latry, masterclass; Crawford Hall, 16 FEBRUARY Collegeville, MN 56321 North Carolina School of the Arts, Winston-Sa- The American Boychoir, with St. Paul’s Choris- email: [email protected] lem, NC 3:45 pm ters; St. Paul’s Episcopal, Alexandria, VA 7 pm The American Boychoir; Moorings Presbyte- rian, Naples, FL 7:30 pm 17 FEBRUARY Martin Jean; Columbus State University, Co- Henry Lowe; All Saints, Worcester, MA 5 pm David K. Lamb, D.Mus. lumbus, GA 7:30 pm Choral concert; First Church, Wethersfi eld, CT Richard Litterst 4 pm Director of Music/Organist 8 FEBRUARY Affabre Concinui; St. James’s Episcopal, West First United Methodist Church First Church of Christ, Scientist Dennis James, silent fi lm accompaniment; Hartford, CT 7:30 pm Columbus, Indiana Portland City Hall, Portland, ME 7:30 pm David Pickering; St. Thomas Church Fifth Av- 812/372-2851 Rockford, Illinois Brahms, Requiem; Cathedral Church of St. enue, New York, NY 5:15 pm Paul, Boston, MA 7:30 pm Clyde Holloway; The Church of St. Mary the John Weaver; Pew Fine Arts Center, Grove Virgin, New York, NY 8 pm City College, Grove City, PA 7 pm Stefan Engels; Miller Chapel, Princeton Theo- Vincent Dubois; St. Ann’s, Washington, DC logical Seminary, Princeton, NJ 7:30 pm BETTY LOUISE LUMBY 8 pm Eric Plutz; Christ Church, New Brunswick, NJ David Lowry Olivier Latry; Crawford Hall, North Carolina 6:30 pm, following 6 pm Vespers THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO School of the Arts, Winston-Salem, NC 7:30 pm Marilyn Keiser; Washington National Cathe- 1512 BLANDING STREET, COLUMBIA, SC 29201 The American Boychoir; St. John’s Episcopal, dral, Washington, DC 5 pm The American Boychoir, with Misericordia DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO Tampa, FL 7 pm Theresa Bauer; St. Paul’s Episcopal, New Al- University Choir; St. Nicholas Roman Catholic ROCK HILL, SC 29733 MONTEVALLO, AL 35115 bany, IN 12 noon Church, Wilkes-Barre, PA 7 pm Clarence Dickinson Festival; First-Trinity Pres- John Scott; Duke University Chapel, Durham, byterian, Laurel, MS 7:30 pm NC 5 pm Thomas Weisfl og, with Millar Brass Ensemble; Janette Fishell; St. James Parish, Wilming- Rockefeller Memorial Chapel, Chicago, IL 8 pm ton, NC 5 pm •Anita Werling; Universalist Unitarian Church, Paul Jacobs; First Presbyterian, Naples FL 4 James R. Metzler Peoria, IL 7:30 pm pm The Atlanta Baroque Orchestra; Peachtree PARK CONGREGATIONAL CHURCH 9 FEBRUARY Road United Methodist, Atlanta, GA 3 pm Marko Petricic; Cathedral of St. Philip, At- GRAND RAPIDS, MICHIGAN Children’s Choir Festival; Wesley United Meth- odist, Worcester, MA 4:30 pm lanta, GA 3:15 pm Joyce Jones, workshop; Wilson College, Choral Evensong; Cathedral of St. Philip, At- Chambersburg, PA 10 am lanta, GA 4 pm Daniel Pinkham Memorial Concert; Church of The King’s Singers; Grace Episcopal, The the Covenant, Cleveland, OH 3 pm Plains, VA 5 pm ensemble amarcord; Wright State University, William H. Murray The American Boychoir; St. Peter’s Anglican, Dayton, OH 7:30 pm Tallahassee, FL 7 pm A.S.C.A.P. Adrian Lucas; Park Congregational, Grand ELLOW MERICAN UILD OF RGANISTS REBEL; Case Western Reserve University, F , A G O Mus.M., F.A.G.O. Rapids, MI 4 pm Cleveland, OH 7:30 pm 345 SADDLE LAKE DRIVE Music of the Baroque; First United Methodist, OSWELL TLANTA EORGIA Fort Smith, Arkansas Evanston, IL 7:30 pm R -A , G 30076 10 FEBRUARY (770) 594-0949 William Aylesworth, John Bryant, Christine Stephen Hamilton ; College of the Holy Cross, Kraemer, Merlin Lehman, Leon Nelson, Kirst- Worcester, MA 3 pm in Synnestvedt & Chris Urban; First Presbyte- Renea Waligora; Methuen Memorial Music MARILYN MASON rian, Arlington Heights, IL 4 pm Hall, Methuen, MA 3 pm VocalEssence; Ordway Center for the Per- CHAIRMAN, DEPARTMENT OF ORGAN Choral Evensong; All Saints, Worcester, MA forming Arts, St. Paul, MN 4 pm UNIVERSITY OF MICHIGAN 5 pm ANN ARBOR Hans Hielscher; St. Thomas Church Fifth Av- 18 FEBRUARY “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it enue, New York, NY 5:15 pm Roberta Gary, workshop; Old West Church, Choral Evensong; St. Peter’s-by-the-Sea, Bay with awesome technique and a thrilling command of its daring writing.” Boston, MA 8 pm Shore, NY 5 pm The American Organist, 1980 •Tom Trenney, improvisation masterclass; Choral Evensong; Christ Church, New Bruns- Immanuel Lutheran, Grand Rapids, MI 7 pm wick, NJ 6:30 pm Music of the Baroque; Harris Theater, Chi- John Weaver; Shadyside Presbyterian, Pitts- cago, IL 7:30 pm burgh, PA 4 pm Mary Mozelle The Suspicious Cheese Lords; Old Presbyte- 19 FEBRUARY LARRY PALMER rian Meeting House, Alexandria, VA 4 pm Associate Organist ensemble amarcord; The Episcopal Church of Gillian Weir; Leith Symington Griswold Hall, the Ascension, Knoxville, TN 7:30 pm Professor of Baltimore, MD 4 pm Velda Graham; The Church of St. Louis, King The National Lenten Procession; Cathedral of Mary Our of France, St. Paul, MN 12:35 pm Presbyterian Church Harpsichord and Organ Queen, Baltimore, MD 6:30 pm Washington, DC Lenten Procession; Church of St. John the 20 FEBRUARY Meadows School of the Arts Evangelist, Severna Park, MD 7 pm Frederick Teardo; Cathedral Basilica of the 703.898.9609 The American Boychoir; Christ Episcopal, Sacred Heart, Newark, NJ 12 noon SOUTHERN METHODIST UNIVERSITY Pensacola, FL 4 pm John Matthews, Jr.; Grace Lutheran, Colum- www.PipeOrganPro.com Mary Preston; Forrest Burdett United Method- bus, IN 12 noon Dallas, Texas 75275 ist, Hurricane, WV 3 pm “The Sights and Sounds Leon W. Couch, III; Cathedral of St. Philip, 21 FEBRUARY of the Pipe Organ” Atlanta, GA 3:15 pm Johannes Unger; Williamsburg Presbyterian, Musical Heritage Society recordings Choral Evensong; Cathedral of St. Philip, At- Williamsburg, VA 7:30 pm lanta, GA 4 pm Carol & James Hawkinson; Christ Church, Paul Jacobs; St. Lorenz Lutheran, Franken- Bradenton, FL 12:15 pm muth, MI 4 pm Choral Evensong; Cathedral of St. Philip, At- Olivier Latry; Wabash College Chapel, Craw- lanta, GA 5:45 pm Arthur LaMirande fordsville, IN 3 pm LaMirande must be complimented upon investi- Buxtehude cantata and Evensong; Trinity 22 FEBRUARY gating music that few of his fellow organists have Episcopal, Highland Park, IL 4 pm Karel Paukert; Christ Church Cathedral, Hart- had the foresight to examine and to bring before the Chanson; Christ Church Cathedral, New Or- ford, CT 8 pm public.—American Record Guide leans, LA 4 pm Nathan Laube; Emmanuel Church, Chester- town, MD 8 pm L’organiste traversa son programme entier avec 12 FEBRUARY John Scott; St. John’s Cathedral, Jackson- une authorité, une solidité technique et une fraîcheur Carson Cooman; King’s Chapel, Boston, MA ville, FL 7:30 pm de registration qui, loin de faiblir en fi n d’exercice, 12:15 pm Judy Diekhoff & Marci Dickinson; First Pres- accompagnèrent les deux rappels d’ailleurs accordé Diane Meredith Belcher, masterclass; Cen- byterian, Jeffersonville, IN 12 noon sans la moindre hésitation.—La Presse, Montréal tral Synagogue, New York, NY 10 am, recital David Lamb; Fourth Presbyterian, Chicago, 12:30 pm IL 12 noon 461 Fort Washington Avenue, Suite 33 Janet & Kent Hill; Park Congregational, New York, NY 10033 Grand Rapids, MI 12:15 pm 23 FEBRUARY 212/928-1050 [email protected] Tim Strand; The Church of St. Louis, King of Peter Planyavsky, masterclass; St. Peter’s France, St. Paul, MN 12:35 pm by-the-Sea Episcopal, Bay Shore, NY 10 am

32 THE DIAPASON

Jan 08 pp. 31-35.indd 32 12/11/07 8:21:01 AM •Joyce Jones, “Pedals, Pipes & Pizza” work- Robert Reeves; Christ Church, Bradenton, FL shop; Wilson College, Chambersburg, PA 10 am 12:15 pm Craig Cramer, with South Bend Symphony; LEON NELSON Morris Performing Arts Center, South Bend, IN 29 FEBRUARY DOUGLAS REED 8 pm Affabre Concinui; Church of the Good Shep- FIRST PRESBYTERIAN CHURCH herd, Jacksonville, FL 8 pm ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE 24 FEBRUARY Olivier Vernet; First Wayne Street United NORTH PARK UNIVERSITY Edward Broms, with trumpet; Holy Name Par- Methodist, Fort Wayne, IN 7:30 pm EVANSVILLE, INDIANA ish, West Roxbury, MA 4 pm David Lamb; St. Mary’s Catholic Church, New CHICAGO, IL 60625 Douglas Major; St. John’s Episcopal, Albany, IN 12 noon Gloucester, MA 4 pm Adrian Lucas; All Saints, Worcester, MA 5 pm UNITED STATES Stephen G. Schaeffer ROBERT L. Peter Planyavsky; St. Peter’s by-the-Sea West of the Mississippi D.M.A. Episcopal, Bay Shore, NY 6 pm SIMPSON Johannes Unger; St. Ignatius Loyola, New 18 JANUARY The Cathedral Church York, NY 4 pm Mary Preston; Meyerson Symphony Center, of the Advent Christ Church Cathedral James Bobb & Rick Erickson; Holy Trinity Dallas, TX 12:30 pm 1117 Texas Avenue Lutheran, New York, NY 5 pm Birmingham, Alabama 35203 Houston, Texas 77002 Patrick Hawkins; St. Thomas Church Fifth 19 JANUARY Avenue, New York, NY 5:15 pm Sacred music workshop; University of Texas, John Burkhalter & Gavin Black; Christ Austin, TX Church, New Brunswick, NJ 6:30 pm, following Stephen Tappe 6 pm Vespers 20 JANUARY Organist and Director of Music Joe Utterback Joyce Jones; Wilson College, Chambersburg, Laura Ellis; First Presbyterian, Midland, TX 3 PA 3 pm pm Saint John's Cathedral COMMISSIONS & CONCERTS Stefan Engels; First Presbyterian, West Kristian Oleson; Christ the King Lutheran, Denver, Colorado Chester, PA 4 pm Houston, TX 5 pm www.sjcathedral.org 732 . 747 . 5227 Scott Montgomery; Heinz Chapel, University Jonathan Dimmock; Cathedral of St. Mary of of Pittsburgh, Pittsburgh, PA 4 pm the Assumption, San Francisco, CA 3:30 pm Master Singers of Virginia; St. Luke Catholic Karen Christianson; Grace Cathedral, San Church, McLean VA 4 pm Francisco, CA 4 pm Jonathan Moyer; Cathedral of Mary Our David Wagner Queen, Baltimore, MD 5:30 pm 22 JANUARY Marcia Van Oyen DMA David Brock; Cathedral of St. Philip, Atlanta, Brass Spectacular; St. Louis Cathedral, St. First United Methodist Church, GA 3:15 pm Louis, MO 8 pm Madonna University Choral Evensong; Cathedral of St. Philip, At- Plymouth, Michigan Livonia, Michigan lanta, GA 4 pm 23 JANUARY mvanoyen.com [email protected] Tom Trenney, silent fi lm accompaniment; Hi- Paul Jacobs, masterclass; Holsclaw Hall, Uni- ram College, Hiram, OH 3 pm versity of Arizona, Tucson, AZ 1 pm ensemble amarcord; Secrest Auditorium, Paul Jacobs; Grace-St. Paul’s Episcopal, Zanesville, OH 3 pm Tucson, AZ 8 pm A Professional Card in Tom Trenney; United Methodist Church, Painesville, OH 7:30 pm 25 JANUARY Kevin Walters The Diapason Choral Evensong for Lent; Cathedral Church Paul Jacobs; St. Mark’s United Methodist, For rates and digital specifi cations, of the Advent, Birmingham, AL 4 pm Sacramento, CA 7:30 pm M.A., F.A.G.O. contact Jerome Butera Affabre Concinui; The Church of the Holy Spir- 847/391-1045 it, Lake Forest, IL 4 pm 27 JANUARY Rye, New York [email protected] Diane Meredith Belcher; Rammelkamp Cha- Herndon Spillman; Strauss Performing Arts pel, Illinois College, Jacksonville, IL 4 pm Center, University of Nebraska, Omaha, NE 3 pm 26 FEBRUARY Ken Cowan; First United Methodist, Beau- Donald Armitage; St. Paul’s Episcopal, Win- mont, TX 3 pm ston-Salem, NC 7 pm Robert Bennett; West University United Meth- Cherie Wescott Jonathan Tuuk; Park Congregational, Grand odist, Houston, TX 4 pm KARL WATSON Concerts • Masterclasses • Coaching Rapids, MI 12:15 pm Bradley Hunter Welch; Acton United Method- Kirsten Uhlenberg; The Church of St. Louis, ist, Granbury, TX 5 pm STATEN ISLAND 405/942-3958 King of France, St. Paul, MN 12:35 pm James Welch; First United Methodist, Hunts- e-mail: [email protected] ville, TX 6:30 pm 27 FEBRUARY Brent Hylton; Pinnacle Presbyterian, Scotts- Edward Broms; Cathedral Church of St. Paul, dale, AZ 4 pm Boston, MA 12:15 pm Sheila Bristow, with baritone; St. Mark’s Ca- David Hughes; Cathedral Basilica of the Sa- thedral, Seattle, WA 2 pm Davis Wortman cred Heart, Newark, NJ 12 noon Sandra Soderlund; Grace Cathedral, San RONALD WYATT Lisa Lohmeyer; St. Peter’s Lutheran, Colum- Francisco, CA 4 pm bus, IN 11:45 am Choral concert; All Saints Episcopal, Pasa- St. James’ Church Trinity Church Mark Davidson; Cathedral of St. John the dena, CA 5 pm Evangelist, Milwaukee, WI 12:15 pm New York Galveston 28 JANUARY 28 FEBRUARY Joseph Adam; Benaroya Hall, Seattle, WA St. Luke’s Choir with period instrument orches- 7:30 pm tra; Church of St. Luke in the Fields, New York, NY 8 pm 30 JANUARY Charles Dodsley Walker, FAGO Janette Fishell & Colin Andrews; St. Paul’s Gillian Weir; Memorial Church, Stanford, CA Artist-in-Residence Founder/Conductor Episcopal, Greenville, NC 8 pm 8 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico A radio program for the king of instruments www.stjohnsabq.org PHILIP CROZIER 505-247-1581 #0801 - New Organs in the New Year (Part 1)… ORGAN DUO J WKH¿UVWRIVHYHUDOVXUYH\VRIUHFHQWLQVWUXPHQWV 3355 Queen Mary Road, Apt 424 A LQ7H[DV7HQQHVVHH1HZ-HUVH\DQG2KLRD Montreal, H3V 1A5, P. Quebec WHVWDPHQWWRWKHSLSHRUJDQ¶VFRQWLQXHGYLWDOLW\ N Canada U #0802 – New Vistas for the New Year«LQSUHSDUDWLRQ (514) 739-8696 A IRURXUVSULQJWRXULQ3URYLQFH4XHEHFDVDPSOHURI Fax: (514) 739-4752 Iain Quinn Maxine Thevenot th th Director of Associate Organist- 19 DQG FHQWXU\LQVWUXPHQWVLQ0RQWUHDO7URLV [email protected] R 5LYLHUV4XHEHF&LW\DQGSRLQWVLQEHWZHHQ Cathedral Music Choir Director Y #0803 - New Releases for the New Year«DQ DAVID SPICER 2 DXGLRSKLOH¶VDXGLWLRQRIVHYHUDORIWKHEHVWUHFHQW UHFRUGLQJVRIRUJDQPXVLFWDSHGKHUHDQGDEURDG First Church of Christ 0 Wethersfi eld, Connecticut Carol Williams 0 #0804 - New Organs in the New Year (Part 2)… FRQWLQXLQJRXUVXUYH\RIUHFHQWLQVWUXPHQWVZLWK 8 YLVLWVWR*HRUJLD2KLR7H[DVDQG9LUJLQLD San Diego Civic Organist

From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford

JANUARY, 2008 33

Jan 08 pp. 31-35.indd 33 12/11/07 8:21:19 AM 1 FEBRUARY Scott Montgomery; Pasadena Presbyterian, 20 FEBRUARY 26 JANUARY David Pickering; Shaw Center Auditorium, Pasadena, CA 7:30 pm Iain Quinn; Cathedral Church of St. John, Al- Iain Quinn; King’s College, Cambridge, UK Graceland University, Lamoni, IA 7:30 pm buquerque, NM 12:30 pm 6:30 pm James David Christie; Visitation Catholic 10 FEBRUARY Affabre Concinui; Bishop Union High School Church, Kansas City, MO 8 pm Carlene Neihart; Pine Ridge Presbyterian, Auditorium, Bishop, CA 7:30 pm 30 JANUARY Wayne Kallstrom; St. Paul United Methodist, Kansas City, MO 3 pm Daniel Hyde; The Temple Church, London, Lincoln, NE 12 noon Frederick Swann; Boston Avenue United 22 FEBRUARY UK 1:15 pm Scott Montgomery; Westminster Presbyte- Methodist, Tulsa, OK 5 pm Jan Kraybill, masterclass; Shaw Center Audi- rian, Oklahoma City, OK 7:30 pm •Shelley/Egler Duo; First Presbyterian, Bry- torium, Graceland University, Lamoni, IA 4 pm 1 FEBRUARY Gillian Weir; All Saints Episcopal, Fort Worth, an, TX 6 pm Stefan Engels; Ed Landreth Auditorium, Tex- Karl Dorman; SS. Peter and Paul, Godalm- TX 7:30 pm Wolfgang Stockmeier; University of Denver, as Christian University, Fort Worth, TX 7:30 pm ing, UK 1 pm Choral Evensong; All Saints’ Episcopal, Bev- Denver, CO Thomas Joyce; St. Mark’s Cathedral, Seattle, erly Hills, CA 7:30 pm James Welch; St. Mark’s Episcopal, Palo WA 7:30 pm 2 FEBRUARY Alto, CA 4 pm Affabre Concinui; St. Mark’s Episcopal, Med- Stephen Cleobury; King’s College Chapel, Cambridge, UK 6:30 pm 2 FEBRUARY Bruce Barber; St. Mark’s Episcopal, Berke- ford, OR 8 pm James David Christie, masterclass; Visitation ley, CA 6:10 pm, following 5:30 pm Evensong 6 FEBRUARY Catholic Church, Kansas City, MO 9:30 am William Peterson; Pomona College, Clare- 23 FEBRUARY Greg Morris; The Temple Church, London, mont, CA 3 pm Jan Kraybill; Shaw Center Auditorium, Grace- 3 FEBRUARY UK 1:15 pm Herndon Spillman; San Dieguito United land University, Lamoni, IA 7:30 pm David Higgs; St. Rita Catholic Community, Methodist, Encinitas, CA 7 pm Dallas, TX 7:30 pm 24 FEBRUARY 7 FEBRUARY Choral Evensong; Cathedral Church of St. VocalEssence; Hopkins High School Audito- Martin Ellis; St. Martin’s, Dorking, UK 1 pm John, Albuquerque, NM 4 pm 11 FEBRUARY Huw Williams; St. Matthew’s Westminster, Vincent Dubois, masterclass; Roxy Grove rium, Hopkins, MN 4 pm Paul Jacobs; Our Lady of Lourdes Church, Elizabeth & Raymond Chenault; Cathedral London, UK 1:05 pm Hall, Baylor University, Waco, TX 2 pm Sun City West, AZ 3 pm Basilica of St. Louis, St. Louis, MO 2:30 pm Janette Fishell; Sidney Harman Hall, Chris- James David Christie, masterclass; School of 8 FEBRUARY 12 FEBRUARY topher Cohan Center, San Luis Obispo, CA 3 Music Organ Hall, Arizona State University, Tem- David Davies; St. Stephen Walbrook, Lon- Vincent Dubois; Jones Concert Hall, Baylor pm pe, AZ 10:30 am masterclass, recital 7:30 pm don, UK 12:30 pm University, Waco, TX 7:30 pm Choral Evensong; St. Francis’ Episcopal, San Peter Westerbrink; Grace Lutheran, Tacoma, Frederick Swann; University Christian Francisco, CA 5:30 pm WA 3 pm 16 FEBRUARY Church, Fort Worth, TX 3 pm Choral concert; Trinity Episcopal, Santa Bar- Jeffrey Smith; Grace Cathedral, San Fran- Affabre Concinui; Hi-Way Pentecostal Church, bara, CA 3:30 pm cisco, CA 4 pm, following 3 pm Evensong Barrie, ON, Canada 8 pm Olivier Latry; Walt Disney Concert Hall, Los 13 FEBRUARY Frederick Swann, with orchestra; St. Marga- Angeles, CA 7:30 pm Edwina Beard; Cathedral Church of St. John, ret’s Episcopal, Palm Desert, CA 4 pm 19 FEBRUARY Stephanie Burgoyne & William Vandertuin Albuquerque, NM 12:30 pm Stephen Tharp; Neighborhood Church, Palos ; St. Paul’s Cathedral, London, ON, Canada 12 4 FEBRUARY Verdes Estates, CA 3 pm noon Joseph Adam; Benaroya Hall, Seattle, WA 17 FEBRUARY Paul Jacobs; St. Mark Evangelical Lutheran, 12:30 pm Bach, Cantata 18; Christ the King Lutheran, Anchorage, AK 4 pm Houston, TX 5 pm 20 FEBRUARY David Titterington; Southbank Centre, Lon- 5 FEBRUARY Byron Blackmore; The American Lutheran 25 FEBRUARY Mary Preston; Wiedemann Hall, Wichita State don, UK Church, Sun City, AZ 3:30 pm Mary Preston; Meyerson Symphony Center, University, Wichita, KS 7:30 pm Yoon-Mi Lim; Knox Presbyterian, Santa Dallas, TX 12:30 pm Rosa, CA 5 pm 21 FEBRUARY 8 FEBRUARY John Belcher; St. Martin’s, Dorking, UK 1 Choral festival; Cathedral of Our Lady, Los 26 FEBRUARY Douglas Cleveland; First Congregational, pm Angeles, CA 7 pm Bradley Hunter Welch; St. Olaf College, Sioux Falls, SD 7:30 pm Stephanie Burgoyne & William Vandertuin; Northfi eld, MN 7:30 pm Paul Jacobs; Memorial Drive Presbyterian, St. Mark’s Anglican, Brantford, ON, Canada 18 FEBRUARY Houston, TX 7 pm 12:15 pm Gerre Hancock; St. Andrew’s Episcopal, 27 FEBRUARY Scott Raab; Cathedral Church of St. John, 9 FEBRUARY Amarillo, TX 7 pm 22 FEBRUARY Albuquerque, NM 12:30 pm •Steven Egler, with fl ute, workshop; First Alison Luedecke, with Millennia Consort; Olivier Latry; Southbank Centre, London, UK Gary Quamme; Pinnacle Presbyterian, Presbyterian, Bryan, TX 1:30 pm, masterclass First Congregational, Berkeley, CA 4 pm Rachel Laurin; Holy Rosary Cathedral, Van- 10 am Scottsdale, AZ 4 pm couver, BC, Canada 8 pm Cathedral Chamber Choir, with New Mexico 19 FEBRUARY Symphony Orchestra; Cathedral Church of St. Gerre Hancock, lecture; St. Andrew’s Episco- 28 FEBRUARY 23 FEBRUARY John, Albuquerque, NM 6 pm pal, Amarillo, TX 9 am David Pickering; Libby Gardner Concert Hall, David Sanger; St. Peter’s, St. Albans, UK University of Utah, Salt Lake City, UT 7:30 pm 5:30 pm 29 FEBRUARY ORGAN BUILDERS 24 FEBRUARY David Heller; First Plymouth Congregational, Gillian Weir, with the William Byrd Singers; Englewood, CA 7:30 pm Royal Northern College of Music, Manchester, UK 7:30 pm L. W. BLACKINTON THE NOACK ORGAN CO., INC. Olivier Vernet; Westminster United Church, and associates, inc. MAIN AND SCHOOL STREETS INTERNATIONAL GEORGETOWN, MA 01833 Winnipeg, MB, Canada 2:30 pm www.noackorgan.com 380 FRONT ST. 27 FEBRUARY Member: Associated Pipe Organ Builders of America 16 JANUARY EL CAJON, CA 92020 Hatsumi Miura, with trumpet and oboe; Mi- Roger Sayer; Reading Town Hall, Reading, nato Mirai Concert Hall, Yokohama, Japan 12:10 UK 1 pm pm Gordon Stewart; The Temple Church, Lon- martin ott pipe Darius Battiwalla; The Temple Church, Lon- don, UK 1:15 pm organ don, UK 1:15 pm Steven Grahl, with New London Chamber company 17 JANUARY Choir; St. Marylebone Parish Church, London, Gillian Lloyd; St. Martin’s, Dorking, UK 1 pm inc. UK 7 pm 1353 Baur Boulevard St. Louis, Missouri 63132 18 JANUARY (314) 569-0366 Joseph Sentance; St. Stephen Walbrook, London, UK 12:30 pm Organ Recitals NEW INSTRUMENTS 19 JANUARY MAINTENANCE Henry Fairs; St. Peter’s, St. Albans, UK 5:30 RESTORATIONS Parkey pm 974 AUTUMN DRIVE OrganBuilders STEPHANIE BURGOYNE & WILLIAM VANDERTUIN, Trinity Church, Cambridge, ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs 20 JANUARY ABR 847-395-1919 Iain Quinn; Westminster Abbey, London, UK ON, Canada, August 30: Festive Fanfare, F INCY 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 Jacob; Concerto in g, Graun; Andante (So- Suite 150-285 Fax 770-368-3209 5:45 pm www.fabryinc.com Duluth, Georgia 30096 www.parkeyorgans.com nata No. 7), Rheinberger; Fanfare, Reverie, 23 JANUARY Danse, Bédard. Masayo Katsuyama; Minato Mirai Concert Hupalo & Repasky Hall, Yokohama, Japan 12:10 pm PHILIP CROZIER, Don Bosco Kirche, Pipe Organs Stephen Cleobury; The Temple Church, Lon- Germering (Munich), Germany, July 8: Vol- don, UK 1:15 pm untary in D, Boyce; Tranquillo, Andante, Al- Gavin Roberts legretto (Six Interludes), Bédard; Praeludium 1785 Timothy Dr. Unit 4 , with soprano; St. Marylebone in E, BuxWV 141, Buxtehude; Ach bleib bei San Leandro, Calif. 94577-2313 Parish Church, London, UK 7 pm 510 483 6905 www.hupalorepasky.com

sound INSPIRATION ORGANBUILDING & RESTORATIONS 3165 Hill Road Acoustical Design & Testing • Organ Consultation & Eagleville, TN 37060 Inspection • Organ Maintenance & Tuning • Sound & Video (615) 274-6400 Dennis, Derek, Jeff, Todd and System Design, Evaluation & Training Greg Milnar and Associates www.riedelassociates.com • (414) 771-8966 email: [email protected] www.milnarorgan.com E-mail: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202

Advertise in A. David Moore, Inc. _The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected]

34 THE DIAPASON

Jan 08 pp. 31-35.indd 34 12/11/07 8:21:39 AM uns, Herr Jesu Christ, Walcha; Triosonate No. emn March to the Holy Grail from Wagner’s ANTHONY NEWMAN, The Church of verlangen, BWV 727, Bach; Fantasia in C 1 Es-dur, BWV 525, Bach; Remembrance Parsifal, LW A315, Liszt, arr. Gudger; Grand the Holy Trinity (Episcopal), New York, for Flute & Organ, Ach Herr, mich armen (Hommage à Jean-Philippe Rameau), Pastic- choeur dialogué (Six pièces), Gigout, transcr. NY, October 22: Fantasia on Te Deum, Sünder, Krebs; Basilica Triptych for Flute cio (Organ Book), Langlais; Partite diverse Gudger; Largo (Symphony No. 5, op. 47), Newman; Prelude and Fugue in e, BWV & Organ, Woodman; Praeludium in E, sopra De Lofzang van Maria, Post. Shostakovich, transcr. Gudger; Introduction, 548, Bach; Rossignol en amour, Couperin; BWV 566, Bach. Allegro assai (Sonata No. 1, op. 42), Guilmant, La Poule, Rameau; Le Coucou, Daquin; MICHAEL GAILIT, St. Nicolai Church, transcr. Gudger. Toccata and Fugue on B-A-C-H, Newman; NAOMI ROWLEY, with Nancy Reich- Svendborg, Denmark, August 5: Prelude in d, Prelude and Fugue in E-flat, BWV 552, mann, oboe, Shepherd of the Bay Lutheran Weckmann; Mein junges Leben hat ein End, PAUL HALE, First Presbyterian Church, Bach; Fantasie in f, K. 594, Sonata in C, K. Church, Ellison Bay, WI, October 21: A Trum- Sweelinck; Prelude in D, BuxWV 139, Er- Springfi eld, IL, October 30: Praeludium in e, 276, Fantasie in f, K. 608, Mozart; Allegro, pet Minuet, Hollins; Introduction and Fugue halt uns Herr, bei deinem Wort, BuxWV 185, Bruhns; Sei gegrüsset Jesu gutig, Bach; Clair Choral (Symphony II), Carillon de West- in d, Zundel; Now Thank We All Our God, Magnifi cat primi toni, BuxWV 203, Buxtehu- de Lune, Vierne; Sonata III in c, Guilmant; minster, op. 54, Vierne. Tag; For the Beauty of the Earth, Mahnke; de; Sonata No. 2 in d, op. 15, van Eyken; Vier The Angel’s Farewell (The Dream of Ge- Cantilena in G, Foote; Variations on Creator Orgelwerken, de Kort; Étude de Concert, van rontius), Allegro maestoso (Organ Sonata), MASSIMO NOSETTI, Basilica Catte- Spirit, Heavenly Dove, Durufl é; Tone Piece in der Horst. Elgar. drale, Messina, Italy, July 25: Festival Fan- F, Gade; Aria for Oboe and Organ, Jordan; fare, Callahan; Academische Festouvertüre, Concerto in F, Handel; All People That on DAVID GELL, St. Joseph the Worker BOYD JONES, Columbus State Univer- op. 80, Brahms, transcr. Ludwig; Intermez- Earth Do Dwell, Pelz; Aria, Carter; Toccata Catholic Church, Winnetka, CA, Septem- sity, Columbus, GA, October 8: Passacaglia zo, Cantabile (Symphonie no. 6, op. 42), in b, Gigout. ber 8: Fugue on America (Second Organ in d, BuxWV 161, Buxtehude; Toccata and Widor; Postlude, op. 105, no. 6, Stanford; Sonata), Thayer; Concert Variations on Fugue in d, BWV 538, Einige canonische Nimrod, Elgar, transcr. Harris; Toccata-Stu- STEPHEN THARP, Antwerp Cathe- the Star-Spangled Banner, op. 23, Buck; O Veränderungen, BWV 769a, Bach; Improvisa- dio, Esposito. Beautiful for Spacious Skies, Wold; America tion, op. 150, no. 7, Saint-Saëns; Consolation dral, Belgium, July 27: Toccata Labyrinth, Briggs; Ave Maria, Consolamini, Prélude et the Beautiful, Whitford; Variations on Amer- in D-fl at, Prelude and Fugue on B-A-C-H, WILLIAM PETERSON, Pomona College, Fugue en Ut majeur, op. 13, Demessieux; ica, Lovelace; Yankee Doodle Battle Hymn, Liszt; Humoresque ‘L’organo primitivo’, Yon; Claremont, CA, September 30: Praeludium in Allegro deciso (Évocation, op. 37), Dupré; Balderston; Variations on the Navy Hymn, Variations on America, Ives. e, Bruhns; Onder een linde groen, Sweelinck; Ave Maria, Ave Maris Stella (Trois Para- Joseph; God of Our Fathers, Diemer; Varia- Récit de tierce en taille, Dialogue, de Grigny; phrases grégoriennes, op. 5), Langlais; Te tions and Fuguing Tune on Chester, Gell; JEANNINE JORDAN, Mt. Angel Abbey, Kyrie, Gott Vater in Ewigkeit, BWV 672, Deum, Hakim. Fantasy on Battle Hymn of the Republic, St. Benedict, OR, July 25: Prelude in E-fl at, Christe, aller Welt Trost, BWV 673, Kyrie, Jordan. BWV 552, O Herre Gott, dein gottlich Wort, Gott heiliger Geist, BWV 674, Pièce d’orgue, BWV 1110, Jesu, meines Lebens Leben, BWV BWV 572, Bach; Cinq strophes sur l’hymne: MAXINE THÉVENOT, Knox Presby- GERARD GILLEN, First Presbyterian 1107, Allein zu dir, Herr Jesu Christ, BWV Sanctorum meritis, Sortie dans le style de terian Church, Stratford, ON, Canada, Au- Church, Hannibal, MO, October 13: Tocca- 1100, Alle Menschen müssen sterben, BWV Bach sur l’antienne: Cantantibus organis, gust 3: Sellingers Rownde, Byrd; Sonata No. ta and Fugue in d, BWV 565, Bach; Fugue 1117, Fugue in E-fl at, BWV 552, Bach. Guilmant; Communion (Dix Pièces), Gigout; 2, Hindemith; Herzlich tut mich verlangen in C, BuxWV 174, Buxtehude; Sonata in Choral No. 1 in E, Franck. (nos. 9 and 10), O Welt, ich muss dich lassen B-fl at, op. 65, no. 4, Mendelssohn; Prelude, CHRISTINE KRAEMER, First Presbyte- (Eleven Chorale Preludes), Brahms; Fantasia Fugue and Variation, Franck; Largo (New rian Church, Arlington Heights, IL, October SYLVIE POIRIER & PHILIP CROZIER, für Orgel, Schönberg; Sonate für Orgel, op. World Symphony), Dvorak; Two Preludes 10: Concerto after Vivaldi in d, BWV 596, Église des Saints-Anges, Lachine, QC, Cana- 92, no. 1, Krenek; Sonata in f, op. 65, no. 1, on Old Irish Hymn Tunes, op. 100, Stan- Bach; Elevation (Mass for the Convents), da, August 29: Prélude et fugue en ut majeur, Mendelssohn. ford; Chant Héroïque, Langlais; Romance Couperin; Pastorale, op. 19, Franck; Rho- Albrechtsberger; Variations sur un thème Sans Paroles, Bonnet; Finale (Symphonie symedre (Three Preludes Founded on Welsh original, Bédard; Sonate en ré mineur, op. 30, RALPH TILDEN, First United Method- VI), Widor. Hymn Tunes), Vaughan Williams; Praeludium Merkel. ist Church of Union County, Blairsville, GA, in f-sharp, BuxWV 146, Buxtehude. September 16: Corriente Italiana, Cabanilles; WILLIAM D. GUDGER, with John Free- CHRISTA RAKICH, with Wendy Rolfe, Renaissance Dances, Phalèse; Elévation man and Michael Smith, trumpet, Martha C. RALPH MILLS, Scarritt College, Nash- flute, First Lutheran Church, Boston, MA, (Messe pour les Couvents), Couperin; Prae- Edwards, horn, and Bill Zehfuss and Tom ville, TN, September 1: Three Short Pieces, S. September 3: Te Deum Laudamus, Bux- ludium in g, Our Father, Who Art in Heaven, Joyce, trombone, St. Matthew’s Lutheran Wesley; Prelude and Fugue in a (Voluntary WV 218, Ach Herr, mich armen Sünder, Buxtehude; Toccata and Fugue in d, Bach; Church, Charleston, SC, October 1: Fugue No. 5), C. Wesley; The Good Shepherd, San- BuxWV 178, Buxtehude; Siciliana (Sonata Amazing Grace, Swann; Crucifer, Busarow; in E-fl at, BWV 552/i, Bach, arr. Gudger; Sol- dresky; Jubilo, Locklair. in E-flat), BWV 1031, Herzlich tut mich Toccata, Barié.

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CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): Regular classifi ed advertising is single ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December paragraph “want ad” style. First line only of each ad in bold face type. Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER Display classifi ed advertisements are set entirely in bold face type with the addition of a ruled box (border) surrounding the Ad Copy ______advertisement. ______Regular Classifi ed, per word $ .95 Regular Classifi ed minimum 19.00 ______Display Classifi ed, per word 1.25 Display Classifi ed minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. Orders will be accepted for one, two, three, four, fi ve, or ______six months in advance. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. ______The Diapason reserves the right to designate Name ______Phone ______appropriate classifi cation to advertisements, and to reject the insertion of advertising Address ______Total Enclosed ______deemed inappropriate to this magazine. City/State ______Zip ______E-mail ______

JANUARY, 2008 35

Jan 08 pp. 31-35.indd 35 12/11/07 8:21:59 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 35.

POSITIONS MISCELLANEOUS PUBLICATIONS/ PIPE ORGANS WANTED RECORDINGS FOR SALE

All-around, experienced organ builder de- To be removed by purchaser by April 15, sires position with well-established fi rm for the Estey Organ Museum Organ Tour: April Harpsichord Technique: A Guide to 2008, $10,000 or best offer: 2-manual 1960 fi nal 10–12 years of his career. Exceptional 22–May 2, 2008. SW Germany, Lich- Expressivity, 2nd edition with CDs, Lewis & Hitchcock; rebuilt 1982 by Irving breadth of experience encompasses projects tenstein, NE Switzerland. Georg Stein- by Nancy Metzger. Still available and Lawless. Console (1982), Klann; electro- ranging from the restoration of organs from the meyer, guide. Limited openings (group still the practical hands-on choice! mechanical combination action. Lewis & 17th through 20th centuries as well as rebuilds size: 14). Telephone: 802/254-4280; fax: www.rcip.com/musicadulce. Hitchcock “T-bar” unit chests (1960), Organ and the design and construction of new organs. 802/257-1855. Supply unit chest (1982). Large SSLL diode Experience with all major action types from switching system (1982). No blower. 16′ Prin- push pallet chamber organs through Wurlitzer. cipal (pedal), 56 pipes (probably Stinkens); 8′ Tonal position preferred. Skilled voicer of both Aging of Organ Leather by Harley Piltingsrud Bourdon, wooden (pedal), 44 pipes (Organ fl ues and reeds. Reply Box OC-1071, THE PUBLICATIONS/ tells how to test and select organ leathers for lon- Supply); 8′ Principal, TC, 49 pipes (Organ DIAPASON. RECORDINGS gevity of 60 years or more. Treats other aspects Supply); 4′ Octave, 61 pipes (Organ Supply); of leather production and the history of testing for 2′ Super Octave, 61 pipes (Organ Supply); longevity. New 48-page edition in 1994, $9.95 + IV Mixture, 292 pipes (1982); 16′ Quintaton, POSITIONS In A Persian Market by Albert W. Ketèlbey, ar- $4 shipping for entire order (within USA). Order 73 pipes (Stinkens); 4′ Koppelflute, 61 pipes AVAILABLE ranged for organ in 1920. This and other great online at www.ohscatalog.org. (Organ Supply); 8′ Trompette, 73 pipes (prob- organ music is now back in print. Check our web- ably Dennison); 16′ Bourdon/Rohrflute, 97 site for sample music and recordings of the piec- ′ es. michaelsmusicservice.com; 704/567-1066. pipes (probably Stinkens); 8 Viola, 61 pipes Berghaus Pipe Organ Builders of Bellwood, PIPE ORGANS (probably Stinkens); 8′ Viola Celeste, 61 pipes IL seeks experienced individuals for our design FOR SALE (probably Stinkens); 4′ Principal, 73 pipes; 4′ and service departments. Please see full page Flute, 85 pipes; 2 2/3′ Nazard, 61 pipes; 1 3/5′ ad on page 7 for specifi cs. Refl ections: 1947-1997, The Organ Depart- ′ ment, School of Music, The University of Michi- Tierce, TC, 36 pipes; 16 Hautbois, 73 pipes W. Zimmer & Sons 2-manual organ; 11 ranks (“petite” Trompette; probably Dennison); III gan, edited by Marilyn Mason & Margarete unifi ed to 21 stops. Principal, Gedackt, Sesquial- Thomsen; dedicated to the memory of Albert ′ Mixture, 183 pipes. Contact: Thom Robertson, The House of Hope Presbyterian Church, St. ter, Mixture III, Rohrfl öte, Gemshorn, 16 Fagott, Grace Episcopal Church, 3601 Russell Road, Paul, Minnesota, seeks full-time Organist/Music Stanley, Earl V. Moore, and Palmer Christian. 16′ Subbass. Built 1987, casework with hand- Includes an informal history-memoir of the organ carved pipe shades. Southern Michigan. Photos Alexandria, VA 22305. Phone: 703/549-1980; Director. Applications accepted through January E-mail: [email protected]. 15, 2008. Expect to fi ll the position mid-2008. department with papers by 12 current and former and stoplist available. 951/452-0339. For detailed information, see church website: faculty and students; 11 scholarly articles; remi- www.hohchurch.org. niscences and testimonials by graduates of the department; 12 appendices, and a CD record- Casavant pipe organ for sale. View www. Van Daalen 19-rank tracker organ. $50,000 ing, “Marilyn Mason in Recital,” recorded at the casavantorganforsale.com. 706/453-0980. or best offer. Contact for stoplist. Gary Thorn, Goulding & Wood, Inc., of Indianapolis, is seek- National Shrine of the Immaculate Conception 507/288-6430, [email protected]. ing a service technician for immediate employ- in Washington, DC. $50 from The University of ment. A minimum of three years prior experience Michigan, Prof. Marilyn Mason, School of Music, 1999 Morel & Associates organ. Two man- is required. Starting salary well above industry Ann Arbor, MI 48109-2085. ual and pedal, 17 stops, 20 ranks. Originally 1927 Moller pipe organ—electropneumatic standards. The successful applicant will have gen- built for a chamber installation, organ has a action, four manuals, drawknob console, 28 eral knowledge of various action designs, exten- handsome colonial-style case front. Excel- ranks. Available for removal Immediately. sive tuning background, and strong interpersonal CD Recording, “In memoriam Mark Buxton lent condition. Brochure and demonstration Buyer to remove. Make offer. Currently in use. skills. Voicing skills a plus. Please submit résumés (1961-1996).” Recorded at Église Notre-Dame CD available. Call 303/355-3852, or e-mail Contact Salem United Church of Christ, 435 or requests for more information to: 823 Massa- de France in Leicester Square, London, be- [email protected]. South 9th St, Quincy, IL 62301, 217/222-0601, chusetts Avenue, Indianapolis, IN 46204. Fax: tween 1987 and 1996. Works of Callahan, [email protected]. 317/637-5236, e-mail: brandon@gouldingand- Widor, Grunewald, Salome, Ropartz, and Boëll- wood.com, web: www.gouldingandwood.com. mann, along with Buxton’s improvisations. $15 Atlantic City Pipe Organ Co.—2-manual, 8- postpaid: Sandy Buxton, 10 Beachview Cres- stop, 10-rank 1976 Joseph Chaplin tracker in 1976 Schantz—19 ranks, 2 manuals and pedal. cent, Toronto ON M4E 2L3 Canada. 416/699- good playable condition. $8000. Check website Pristine condition; playable. Asking $185,000 + Classifi ed Ads must be prepaid and may be 5387, FAX 416/964-2492; e-mail hannibal@ for pictures, specs. http://mywebpages.comcast. cost of removal. For details contact Pastor Judy ordered for 1, 2, 3, 4, 5, or 6 months. idirect.com. net/acorgan. 609/641-9422. Anderson at [email protected]. glück newyork orgaNbuilders

170 Park Row, Suite 20A New York, NY 10038

212.608.5651 www.glucknewyork.com

Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice

Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail: [email protected] e-mail For Pipe Organ Parts: Muller arndtorgansupply.com Or send for our CD-ROM catalog Pipe Organ Company Arndt Organ Supply Company P.O. Box 353 • Croton, Ohio 43013 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 800-543-0167 Phone (515) 964-1274 Fax (515) 963-1215 www.MullerPipeOrgan.com

THE ORGAN COMPANY

1220 Timberedge Road Lawrence, Kansas 66049 (785) 843-2622 www.reuterorgan.com

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36 THE DIAPASON

Jan 08 pp. 36-37.indd 36 12/11/07 8:22:48 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 35.

PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE WANTED SUPPLIES SUPPLIES

1960s Walcker (German) 14-rank tracker Wanted: Old chime tubes 1.5 inches outside Austin actions: Come to the source. Fast de- Top Quality Releathering. Pouch rails, pri- organ. Open toe voicing on 2″ wind pressure. diameter and 0.65 inches wall thickness. A435 livery. Guaranteed. 860/522-8293; www.austin- maries, reservoirs and any other pneumatic Reverse console built into case. Footprint OK. WC Simpson Jr. 256/412-4053. organs.com. action. Removal and installation service avail- is 6′ wide by 11′6″ deep (including console able. Full warranty. Skinner, Casavant and and pedal stops), 9′10″ tall. All encased with Kimball specialty. Spencer Organ Company, 4′ Principal façade. Manual I—8′ Gedackt, 4′ MISCELLANEOUS The Whistle Shop repairs and rebuilds pipe Inc. Call, Fax or visit our website for quotation Octave, II Sesquialtera, II-III Mixture. Manual organs. Southwestern U.S. Also, maintenance and information. 781/893-7624 Voice/Fax, II—8′ Gemshorn, 4′ Rohrfl ote, ′2 Principal, 1 FOR SALE and tonal work. Finest materials, expert work- www.spencerorgan.com. 1/3′ Quinte. Pedal—16′ Bourdon, 8′ Flute, 4′ manship. K.E.M. Pipe Organ Builders, Austin, Choralbass. Playing and in use regularly. Ask- Wood pipes. Missing pipes made to match. TX. 800/792-8180. ing $28,000. For recordings and pictures con- Damaged pipes in any condition repaired. Over RELEATHERING: also Pipe Organ Re- tact [email protected]. 25 years experience. Filip Cerny, 814/342-0975. building, Repair and Maintenance Service Highest quality organ control systems since in New England area. Years of experience, 1989. Whether just a pipe relay, combination fine workmanship. Reading Organ Works, A college in Nashville closed its music program Vintage consoles, pipes, relays, magnets action or complete control system, all parts A. Richard Hunter, 29 Baker Road, Spring- in 1988 and is offering two practice organs for and numerous miscellaneous parts. Let us know are compatible. Intelligent design, competitive field, VT 05156. 802/886-2304. E-mail sale (a 2-manual and pedal Schlicker and a 2- what you are looking for. E-mail orgnbldr@com- pricing, custom software to meet all of your [email protected]. manual and pedal Zimmer and Sons). Contact cat.com (not comcast), phone 215/353-0286 or requirements. For more information call Westa- cott Organ Systems, 215/353-0286, or e-mail Milnar Organ Co. 615/274-6440 or www.milnar- 215/788-3423. organ.com for details. [email protected]. Austin actions recovered. Over 30 years experience. Units thoroughly tested and fully guaranteed. Please call or e-mail for quotes. Laptops, Pocket PCs and Tuning Software— Columbia Organ Leathers sells the fi nest 1969 Reuter, Opus 1679, 33 ranks, 3 manu- tune harpsichords and pianos. Herb Huestis, leathers available for organ use. We sell pre- Technical assistance available. Foley-Baker, als and pedal, currently installed in original 1502–1574 Gulf Road, Point Roberts, WA 98281. punched pouches and pre-assembled pouches, Inc., 42 N. River Road, Tolland, CT 06084. location, good service and recital instrument, Phone 604/946-3952, e-mail: [email protected]. and we specialize in custom releathering ser- Phone 1-800/621-2624. FAX 860/870-7571. could be rebuilt or used as basis of new instru- Computer tuning software is sensitive to 1/10 vices. Call today for a catalogue. 800/423-7003 [email protected]. ment. Buyer to remove. New price—$40,000. cent, much greater than dial tuners. Over 100 or e-mail: [email protected]. For information call Homer at 480/205-1857, programmable temperaments. Check it out on e-mail [email protected] or visit www.tunelab-world.com. Pocket PC Ipaq 3650 New classified advertising rates went into www.centralumc.com/yourti6530.html. with shareware tuning software, $150, includes effect January 1, 2008. See page 35 for stand, power supply and shipping. 8x10x2 small Need help with your re-leathering information. Toshiba laptop used for shop tuning: $200 in- project? All pneumatics including Bedient “Lincoln” practice organ, Opus 62, cluding shipping. Requires external microphone Austin. Over 45 years experience 1999. Manual I: Rohrfl ute 8, Manual II: Gedackt which is included. Spreadsheets of historical (on the job assistance available). If your company was not listed in THE DIA- 8, Pedal: pull-down from II. Mechanical action. tunings showing both aural and electronic tun- 615/274-6400. PASON 2008 Resource Directory, be sure to be Fits under 8′ ceiling. White oak case. Located ing data, $18 including shipping. Improve your part of the 2009 issue! Visit our website, www. near New Haven, CT. $30,000. merema@sbc- tuning skills! TheDiapason.com, and from the upper left col- global.net; 203/481-8139. umn select Supplier Login. For information, ALL REPLIES contact Joyce Robinson, 847/391-1044, e-mail: THE DIAPASON 2008 Resource Directory was TO BOX NUMBERS [email protected]. mailed to all subscribers with the January 2008 ELECTRONIC ORGANS issue. Additional copies are available at a cost that appear FOR SALE of $5.00 postpaid. Contact the editor, Jerome Butera, at 847/391-1045, [email protected]. without an address Postal regulations require that mail should be sent to: to THE DIAPASON include a suite num- Allen Renaissance R-350. 3-manual, 71 voices, ber to assure delivery. Please send playback, MIDI, 16 memory levels, 7 alternate THE DIAPASON Request a free sample issue of THE DIAPASON all correspondence to: THE DIAPASON, tunings, and many extras. Excellent condition. 8 for a student, friend, or colleague. Write to the 3030 W. 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JANUARY, 2008 37

Jan 08 pp. 36-37.indd 37 12/11/07 8:23:05 AM 2007 In Review—An Index

Articles, Reports, and Reviews by author (boldface) and subject

Albert Schweitzer Organ Festival. See Spicer. Keweenaw Peninsula, Michigan. See Dalquist. Austin Organs. See Fazio. Kimball organs. See Engen. Kramer, Gale. Book Reviews. Feb 14–15 Bach, J. S. See Shay. ______. New Organ Music. June 19 Barone, Michael. John Weaver at 70: A Life in Music. April 20–23* Kuznik, Joel H. EROI Festival 2006: Eastman School of Music. Feb 27–29*† Bishop, John. In the wind . . . Jan 12, 14, 15*, Feb 12, 14, Mar 12, April 14–15, ______. Book and DVD Reviews. Aug 15–16 May 12–14*, June 14–16*, July 12, 14*, Aug 13–14, Sept 14–15, Oct 14, 16*, Nov 14–15*, Dec 12, 14 Langlais, Jean. See Danchik. Black, Gavin. On Teaching. Sept 15–16, Oct 16–18, Nov 15–16, Dec 14, 16 Latvia. See Fiseisky. Bonnal, Joseph Ermend. See Fournier. Laver, Annie. Summer Institute for French Organ Studies. Oct 23* Book Reviews. See Bullat, Chase, Hartman, Hettinger, Huestis, Kramer, Kuznik, Letters to the Editor. Feb 3, May 3, July 3, Aug 3, Nov 3, Dec 3 Marigold. Lo-Bamijoko, Joy Nwosu. New Choral Music. Jan 16–17 Boston Early Music Festival. See Palmer. Bullat, G. Nicholas. Book Reviews. Jan 17, Mar 14–15 Marigold, W. G. Book Reviews. Feb 14, Nov 17–18 ______. New Recordings. Feb 17–18 ______. New Recordings. April 16, Oct 19–20, Dec 18–19 Buxtehude. See Savitskaya, Thoene, Verkade. Maycher, Lorenz. A Conversation with Albert Russell: September 24, 2006, Wash- Buxtehude, Ciacona in C minor, BuxWV 159. See Thoene. ington, DC. Oct 24–27* McCray, James. Daniel Pinkham (1923–2006): A Memoir. Mar 20* Carillon News. See Swager. ______. Music for Voices and Organ. Jan 15–16, Mar 12, 14, April 15–16, May Cera, Francesco. See Robinson, Joyce Johnson. 15–16, June 16–17, July 14 –15, Aug 14–15, Sept 16–18, Oct 18, Nov 16–17, Dec Chase, Jeffrey K. Book Reviews. Jan 17 16–18 ______. New Recordings. Jan 19–20 Mendelssohn. See Osborne. ______. The University of Michigan Historic Organ Tour 54. Dec 24–26* Mexican organs. See Pepe and Wyly. Choral conducting. See Phillips. Minot State University. See Engen. Choral music. See Lo-Bamijoko, McCray. Moscow. See Ebrecht. Church music. See Phillips. Music for Voices and Organ. See McCray. Ciampa, Leonardo. Das Orgeleinbuch. Feb 12+, Mar 18+, April 18+, May 18+, June 18+, July 18+, Aug 18+, Sept 18+, Nov 18+ Nelson, Leon. New Handbell Music. Jan 20, Dec 20 Cogen, Pierre. See Fournier. New Choral Music. See Lo-Bamijoko. Coleberd, R. E. Steuart Goodwin: Organbuilder. April 24–29*† New Handbell Music. See Nelson. Collins, John. New Organ Music. Jan 20, Feb 18–19, Mar 18–19, April 19, May 18, New Organ Music. See Collins, Hardwick, Kramer, Osborne, Robinson, Young. Aug 17–18, Sept 20–21, Oct 21, Dec 20 New Recordings. See Bullat, Chase, Collins, Couch, Hardwick, Heaton, Huestis, ______. New Recordings. Feb 16, Mar 16–17, April 16–17 Marigold, Obetz, Pickering, Speed, Speller, Wagner, Young. Couch III, Leon W. New Recordings. Jan 18–19 Number symbolism. See Shay. Dalquist, Janet Anuta. Pipe Organs of the Keweenaw. Feb 20–26*† Obetz, John. New Recordings. Sept 19–20 Danchik, Kenneth. Duquesne University Celebrates Jean Langlais Centennial. Organ pedagogy. See Black. May 20–21* Organ Recitals. Jan 34–35, Feb 37, Mar 37, April 37, May 36–37, June 36–37, July Dieter, Cheryl E. Healing in the Christian Assembly—The 59th session of the In- 32–33, Aug 36–37, Sept 37, Oct 40–41, Nov 32–33, Dec 36–37 stitute of Liturgical Studies. Sept 24* Organ restoration. See Engen. Digital organs. See Robinson, Joseph E. Osborne, William. Mendelssohn the Organist. July 19–21*+ Duquesne University. See Danchik. ______. New Organ Music. Nov 20 Durufl é. See Ebrecht. Oxford conference. See Johnson. DVD Reviews. See Kuznik. Palmer, Larry. Boston 2007: Early Music “A La Carte.” Sept 22–23* Ebrecht, Ronald. Second International Organ Symposium—Russian Gnessins’ ______. Harpsichord News. Mar 10*, Aug 12–13* Academy of Music. July 24–25* Patry, Jeffrey, and Kraig Windschitl. 28th International Organ and Church Music ______. Understanding Maurice Durufl é, 1902–1986. Aug 19–21*+† Institute—The University of Michigan. Oct 22* Engen, David. 1932 Kimball Restoration by Reuter Organ Company—Minot State Pedagogy. See Black. University. Sept 25–29*† Pepe, Edward, and James Wyly. An Old Mexican Organ. Jan 24–28*†# England. See Glass, Johnson. Performance practice. See Rübsam. Phillips, Kenneth H. Crisis in the Choir Loft. Jan 22–23* Fazio, Michael. Austin Organs Milestones 1893 – 1937 – 2007. Feb 30–31* Pinkham, Daniel. See McCray. Fingerings. See Rübsam. Pickering, David. New Recordings. Feb 16–17 Fiseisky, Alexander. A History of the Organ in Latvia. Aug 24–29*† Posture. See Hawkins. Fournier, Carolyn Shuster. Joseph Ermend Bonnal, a French Organist-Composer: His Quest for Perfection. May 22–29*+† Reuter Organ Company. See Engen. ______. Pierre Cogen, a French Organist-Composer in the Sainte-Clotilde Tra- Robinson, Joseph E. Pipes with Digital—Not Digital with Pipes! Mar 24–25* dition. Mar 26–29*+ Robinson, Joyce Johnson. New Organ Music. Feb 19 Frescobaldi. See Thoene. ______. When in Rome: A conversation with Francesco Cera. June 24–26*† Froberger. See Thoene. Rübsam, Wolfgang. Some Aspects of Smart Organ Fingerings or “the best cheater tricks in town.” June 20–21+ Gematria. See Shay. Russell, Albert. See Maycher. Glass, Henry. A Musical Tour of England. May 19* Russia. See Ebrecht. Goodwin, Steuart. See Coleberd. Guglielmi, Giovanni. See Robinson, Joyce Johnson. Sainte-Clotilde Tradition. See Fournier. Savitskaya, Olga. Trio Sonatas of Dieterich Buxtehude—Stylistic Traits. Nov 24– Handbell music. See Nelson. 25+ Hardwick, Peter. New Organ Music. Mar 19, July 17–18 Shay, Edmund. The Parody Conundrum. June 22–23+ ______. New Recordings. Mar 17–18, April 18–19, May 16, June 17–18, July Speed, Robert M. New Recordings. Oct 20–21 16–17, Aug 16–17, Sept 19 Speller, John L. New Recordings. Jan 19, Feb 15–16, Mar 15–16, April 17–18, May Harpsichord News. See Palmer. 16–17, June 18–19, July 16, Sept 18–19, Oct 18–19, Nov 18–19, Dec 19–20 Hartman, James B. Book Reviews. July 15–16 Spicer, David. Albert Schweitzer Organ Festival/USA 2006. Jan 21* Hawkins, Patrick J. Organ Performance Posture. July 22–23*# Summer Institute for French Organ Studies. See Laver. Heaton, Charles Huddleston. New Recordings. Feb 18, Mar 18, May 17–18, June Swager, Brian. Carillon News. Jan 12*, April 13–14*, Dec 12 19, Oct 20, Nov 20, Dec 19 ______. Carillon Summer Concert Calendar. June 32–33 Hettinger, Sharon L. Book Reviews. June 19 Huestis, Herbert L. Book Reviews. Dec 18 Thoene, Marijim. Stylistic Features of Frescobaldi and Froberger in Buxtehude’s ______. New Recordings. Jan 17–18 Ciacona in C minor, BuxWV 159. Dec 27–29+ In the wind . . . See Bishop. University of Michigan. See Chase, Patry and Windschitl, Van Oyen. Institute of Liturgical Studies. See Dieter. Italian organs. See Robinson, Joyce Johnson. Van Oyen, Marcia. The University of Michigan 46th Conference on Organ Music. Mar 21–23* Johnson, Calvert. The Organ in England to the Death of Elizabeth I: Its Music, Verkade, Gary. Dieterich Buxtehude, Vater unser im Himmelreich—A Study in Ex- Technology, and the Wider Role. April 12–15, New College and All Souls College. pressive Content. Oct 30–33+ Aug 22–23* Jordan, Paul. In celebration of the 100th birthday, October 27, of Helmut Walcha: Wagner, David. New Recordings. Nov 19–20 Artist-Teacher—Part 1. Oct 28–29* Walcha, Helmut. See Jordan. ______. In celebration of the 100th birthday, October 27, of Helmut Walcha: Weaver, John. See Barone. Artist-Teacher—Part 2. Nov 21–23* ______. In celebration of the 100th birthday, October 27, of Helmut Walcha: Young, Steven. New Organ Music. July 18 Artist-Teacher—Part 3. Dec 21–23* ______. New Recordings. Dec 19

38 THE DIAPASON

Jan 08 pp. 38-39.indd 38 12/11/07 8:23:53 AM Beachy, Sean Elliot,* wins First Annu- Rose, John,* honored for 30 years of Dobson Appointments al Anthem Competition, First Baptist service as college organist, Trinity Col- Calvary Lutheran Church, Brookfi eld, Church, Worcester, MA. April 5 lege, Hartford, CT. May 8 WI. 2/24*, Mar 32 Bell, John,* honored by the Hymn Soci- Sitková, Linda, awarded Jean Langlais Kenilworth Union Church, Kenilworth, Barr, Ted W.,* to Trinity Presbyterian ety, Ottawa, ON, Canada. Nov 6, 8 prize at International Organ Festival, IL. 2/29*, Sept 32 Church (USA), Cherry Hill, NJ. Mar Benedum, Richard,* retires from Uni- St Albans, UK. Sept 5 University of Delaware, Newark, DE. 4–5 versity of Dayton, Dayton, OH. June 6 Speller, Frank,* retires from the Uni- 2/22*, June 31 Benedum, Richard,* to Christ Church, Brakel, Adam,* wins third place in versity of Texas at Austin. Aug 10 Bradenton, FL. Oct 6 Langlais Organ Competition, Madi- Spicer, David,* honored at 20th anni- Fabry Biernacki, Richard Thomas,* to the son Avenue Presbyterian Church, versary as Minister of Music and the St. John Lutheran Church, Algonquin, Church of the Holy Communion New York, NY. May 3 Arts, First Church of Christ, Wethers- IL. 2/15*, July 28 (Episcopal), Fair Haven, NJ. May 6 Canonico, Tyler, wins 2007 Vernon fi eld, CT. April 8, 10 Boucher, Jacques, to Dean of the Fac- deTar Scholarship Competition, Wil- Stringham, Phyllis,* honored for ser- Fisk ulty of Music, Université de Montréal. mington, DE. June 4 vice to Carroll College, Waukesha, Christ Episcopal Church, Roanoke, VA. July 6 Churchill, Robert W.,* honored for WI. Nov 10 2/38*, Feb 32 Broms, Edward A.,* to the Cathedral 30 years as director of music/organist, Thomas, Paul,* wins East Carolina Church of St. Paul, Boston, MA. Jan 5 Episcopal Church of the Good Shep- University Pre-College Competition, Fowler Briggs, Tom,* as management consul- herd, Dallas, TX. Aug 6 Greenville, NC. Oct 4 Andrews University, Theological Semi- tant to Wicks Organ Company. Feb 4 Crail, Mary Jane,* honored for 30 Town, Robert,* honored at Rie Bloom- nary Chapel, Berrien Springs, MI. Davis, Brian K., to tonal director, John- years service at the United Methodist fi eld Organ Series recital, Wichita 2/28*, June 31 Paul Buzard Pipe Organ Builders. Church, Clear Lake, IA. Jan 6 State University, Wichita, KS. Dec 8 Faith Lutheran Church, Bridgeport, MI. Feb 4 Coffey, Richard,* receives “Major Walther, Ulrich, wins interpretation 2/25*, Jan 30 Eickhoff, Erik,* to booking director, Achievement” Award from Hartford competition at International Organ Phillip Truckenbrod Concert Artists, Symphony, Hartford, CT. Dec 5 Festival, St Albans, UK. Sept 5 Gober Hartford, CT. Nov 6 Culp, James Lynn,* honored at 25th Weaver, John,* honored at Trin- First Church in Oberlin, United Church Enlow, David,* to organ faculty, The anniversary as organist, First Presby- ity Church Conservatory Stars Organ of Christ, Oberlin, OH. 2/45*, Mar 1, Juilliard School, New York, NY. Nov 6 terian Church, Kilgore, TX. Mar 3 Festival, New York, NY. Sept 8 30–31 Forrest, Andrew,* to artistic director, Darne, Richard A., honored for 40 Wolcott, Oliver, wins 2007 Vernon Orgues Létourneau Limitée, Saint- years’ service, Cedar Lane Unitarian- deTar Scholarship Competition, Wil- Johnson Hyacinthe, QC, Canada. April 4 Universalist Church, Bethesda, MD. mington, DE. June 4 Jamestown College, Jamestown, ND. Geary, Lynnette,* to University Caril- Sept 6 3/40*, April 29 lonneur, Baylor University, Waco, TX. Daw, Carl,* designated a Fellow of the Jan 12 Hymn Society, Ottawa, ON, Canada. Levsen Gramley, Joseph,* to professor of per- Nov 8 Obituaries St. Paul’s Episcopal Church, Atlanta, cussion, University of Michigan, Ann de Vos, Rudy, awarded second prize, GA. 2/22*, April 29 Arbor, MI. Nov 6 interpretation competition at Interna- Gray, Lindsay,* to director, Royal tional Organ Festival, St Albans, UK. Atkins, Madeline Smith. Nov 10 Lewtak School of Church Music. Nov 6 Sept 5 Bicknell, Stephen.* Oct 12 Holy Trinity Church, Utica, NY. 3/29*, Hanoian, Scott,* to Christ Episcopal Fishell, Janette,* awarded Centennial Bitgood, Roberta.* June 10 Jan 1, 29 Church, Grosse Pointe Farms, MI. Award for Excellence by East Carolina Bragg, George. Nov 12 Sept 6 University, Greenville, NC. Sept 8 Brooks, Gene. Nov 12 Milnar (Austin Opus 1206) Hong, Riyehee,* to director of music Gaskin, Samuel,* wins Langlais Organ Carver, Ralph E. Sept 10 Soldiers and Sailors Memorial Auditori- and the arts, The Philadelphia Cathe- Competition, Madison Avenue Presby- Curfman, David R. Nov 12 um, Chattanooga, TN. 4/81*, June 27 dral, Philadelphia, PA. Jan 5–6 terian Church, New York, NY. May 3; Deiss, Lucien, C.S.Sp. Dec 8, 10 Houlihan, Christopher,* to assistant wins High School Division, Albert Dennis, Kent S. May 10 Nolte cathedral musician, American Cathe- Schweitzer Organ Festival/USA, Dodd, Mary Ann.* April 10 Our Lady of Mt. Carmel Parish, Keno- dral, Paris, France. Oct 6 Wethersfi eld, CT. Aug 4 Eargle, John.* July 10 sha, WI. 3/16*, July 1, 26–27 Jonies, David C.,* to Holy Name Ca- Henderson, Andrew,* awarded Rich- Eben, Petr.* Dec 10 thedral, Chicago, IL. Aug 5 ard F. French Prize, the Juilliard Englert, Giuseppe G.* June 10 Nordlie Kennedy, Charles M.,* to Cathedral School, New York, NY. Aug 6, 8 Fritsch, Richard Elvin. Aug 10 Kernersville Moravian Church, Kerners- Church of the Advent, Birmingham, Ho, Edith,* retiring after 30 years at the Fuller, Albert.* Dec 10 ville, NC. 2/12*, Oct 1, 34–35 AL. Aug 5 Church of the Advent, Boston, MA. Garner, James Raymond.* Feb 6, 8 Krebs, Ronald,* to vice president of May 6 Getz, Pierce Allen. July 10 Ott sales, Reuter Organ Company, Law- Horton, Robert,* wins fi rst prize at the Heiller, Erna Kopitz. July 10 St. Mark’s Lutheran Church, Aurora, IL. rence, KS. Mar 5 4th Mikael Tariverdiev International Hilty, Everett J., Sr.* Mar 8 2/32*, Nov 1, 26–27 LaMirande, Arthur,* to St. John’s Epis- Organ Competition, Kaliningrad, Rus- Humer, August. May 10 copal Church, Elizabeth, NJ. June 5 sia. Nov 8 Inselmann, Rudolf O. Dec 10 Quimby Lawrence, Arthur,* to Scarsdale Con- Jacobs, Paul,* appointed to the William Janacek, Bedrich. Sept 10 James C. Coleberd residence, Hannibal, gregational Church, Scarsdale, NY. Schuman Scholars Chair for 2007, The Keeler, Herbert James. May 10 MO. Aug 32* June 5–6 Juilliard School, New York, NY. Jan 6 Korte, Steven J. Nov 12 Libin, Laurence,* elected president of Karosi, Bálint, wins Douglas May L’Ecuyer, John L. Oct 12 Russell the Organ Historical Society. Oct 6 Award at International Organ Festival, Lawrence, Joy E. Nov 12 First Presbyterian Church, Ithaca, NY. Loeser, Carl,* appointed curator of St Albans, UK. Sept 5 Manchey, Margaretta. Oct 12 4/87*, June 1, 28–30 pipe organs, Boardwalk Hall, Atlantic King, Robert Burns,* announces re- Mann, Henry Ray. Dec 10 City, NJ. Oct 6, 8 tirement as organist-choirmaster, First Matthews, Kenneth W. June 10, 12 Schlueter Mardirosian, Haig,* to dean of aca- Presbyterian Church, Burlington, NC. Mathieson, Bruce E. Dec 10 Episcopal Church of the Advent, Madi- demic affairs, American University. Dec 6 Pinkham, Daniel.* Feb 8 son, GA. 2/15*, May 1, 30–31 Mar 5 Kuznik, Joel H.,* named to the Music Poll, H. Ronald.* April 10 Meisten, Kimberly, to director of com- Critics Association of North America. Ramsey, Gordon Clark.* Sept 10 Schoenstein munity engagement for VocalEssence, July 6 Richardson, Harriette Slack. Sept 10 First United Methodist Church, Bir- Minneapolis, MN. May 6 Laver, Annie,* wins 2007 Ruth and Paul Roan, L. Eugene. Jan 10 mingham, MI. 3/46*, Sept 1, 30–31 Peters, Andrew,* to Second Presbyte- Manz Organ Scholarship. Oct 10 Robbins, Evelyn Wall. July 10 rian Church, St. Louis, MO. Oct 8 Lynch, Christopher,* wins second Robinson, Paul S. May 10 Wilhelm Pickering, David C.,* to the Dwight place, East Carolina University Pre- Schantz, Bruce V.* April 10 Asbury United Methodist Church, Liver- and Ruth Vredenburg Endowed Chair College Competition, Greenville, NC. Schuler, Monsignor Richard J.* June 12 more, CA. 2/28*, Sept 32 in Music, Graceland University, La- Oct 4 Seifert, William E. May 10 Holy Trinity Church, Ste. Agathe, QC, moni, IA. Nov 6 Manalo, Ricky, wins National Associa- Small, Howard Don. Nov 12 Canada. 1/10*, Jan 30 Robin, Jean-Baptiste,* to professor of or- tion of Pastoral Musicians hymn com- Smith-Stoops, Lou Ann. Aug 10 Janet Peaker studio, Toronto, ON, Cana- gan, Conservatoire National de Région petition. June 4 Spong, Jon.* Feb 8 da. 2/7*, Oct 36 de Versailles, Versailles, France. Jan 6 McAlister, Margaret Smith,* honored Stone, Marshall. Aug 10 St. John’s Catholic Church, Fenton, MI. Rohlfs, Thomas J.,* to production man- at 60th anniversary as organist, First 3/64*, Mar 32 ager, QLF Custom Pipe Organ Com- Presbyterian Church, Tampa, FL. ponents, Rocky Mount, VA. June 6 Mar 6, 8 Zamberlan Sadoh, Godwin,* to professor of mu- Norrington, Keith E.,* celebrates 20th Organ Stoplists Oakmont Presbyterian Church, Oak- sic, Talladega College, Talladega, AL. anniversary with Miller Pipe Organ mont, PA. 3/25*, Nov 28 Oct 8 Company, Louisville, KY. July 6, 8 Swann, Frederick,* to university or- Obetz, John,* honored by American Austin ganist, artist in residence, and artist Guild of Organists, Independence, Feb 1, 30* teacher, the University of Redlands, MO. July 8 Redlands, CA. Sept 6 Ottományi, Steven, wins National As- Beckerath sociation of Pastoral Musicians hymn University of Nevada, Las Vegas, NV. competition. June 4 3/53*, Aug 1, 30–31 Honors and Peithman, Adam, awarded a Fulbright grant. Aug 8 Bigelow Competitions Portman, Brenda,* wins Young Profes- First Presbyterian Church, Clarksville, sional division, Albert Schweitzer Or- TN. 2/30*, May 32 Alexander, John,* wins second place in gan Festival/USA, Wethersfi eld, CT. Langlais Organ Competition, Madi- Aug 4 Buzard son Avenue Presbyterian Church, Pysher, Harold E.,* honored for 20 Mt. Pleasant Lutheran Church, Racine, New York, NY. May 3 years’ service, Episcopal Church of WI. 3/40*, April 1, 30–31 Arndt, Joseph,* wins third place in Bethesda-by-the-Sea. Aug 8 Langlais Organ Competition, Madi- Robinson, Caroline,* wins third place, Casavant son Avenue Presbyterian Church, East Carolina University Pre-College The Brick Presbyterian Church, New New York, NY. May 3 Competition, Greenville, NC. Oct 4 York, NY. 4/118*, Dec 1, 30–32

JANUARY, 2008 39

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