THE DIAPASON NOVEMBER, 2006
St. Maria Goretti Parish Scottsdale, Arizona Cover feature on page 31
one) might remaster some of the record- digitizing many of these remarkable ings, which must still be on tape in the recordings at least for cyber-sale in MP3 THE DIAPASON vaults, for release as CDs? It would be format, if not as CDs? We must all send A Scranton Gillette Publication marvelous to hear these again, in modern our wish lists to
NOVEMBER, 2006 3 Peachtree Road United especially for this concert was pre- its December music events. Organ sing- Methodist Church, Atlanta, Georgia, miered. Entitled A Baker’s Dozen of alongs will be held daily, December continues its music series: November 5, Laughs, the work consists of 13 short 1–23 and 30–31, at 1:30, 2:30, 3:30, and Evensong; 11/12, Atlanta Youth Choir; movements with some for each individ- 4:30 pm (and also at 7 and 8 pm Decem- enius, 11/19, Atlanta Baroque Orchestra; ual choir and some to be performed ber 24–29), with organists Marc in art, consists December 10, Christmas concert; 12/15 jointly. Cheban, Justin Hartz, Don Kinnier and & 16, Atlanta Boy Choir. For informa- On November 19 at St. John’s Rudolph Lucente performing Christ- G in knowing tion: 404/266-2373;
The Church of the Holy Family, New York City, continues its recital series in celebration of the 10th anniver- sary of its five-manual Robert Turner organ. Programs take place on Thurs- days at 12:45 pm: November 16, Bran- don Dumas; December 21, William Atwood. For information: 212/753- 3401;
Trinity Choir of Grace and Holy Trinity Cathedral, Kansas City
The Trinity Choir of Grace and Oxford. American composers represent- Holy Trinity Cathedral in Kansas City, ed were David Ashley White, Michael Missouri, made a 15-day tour of the McCabe (the Kansas City Evening Can- British Isles July 23–August 7. With John ticles), Peter Mathews and Arlen Clarke. Schaefer as director, the choir sang a Mr. Schaefer, who holds the AAGO and Choral Evensong at St. Patrick’s Cathe- ChM diplomas of the AGO and the dral in Dublin and at St. Davids Cathe- ARCO diploma of the Royal College of dral in Wales; three weekend services at Organists, began his 31st year as organ- St. Philip’s Cathedral in Birmingham; ist-director of music at Grace and Holy and a residency, encompassing eight ser- Trinity Cathedral in Kansas City on vices, at Christ Church Cathedral in October 1.
4 THE DIAPASON All Saints’ Church, Beverly Hills, for the winning hymn may be sought in Baptist Church, 111 Park Avenue, events with the chief works of Mon- California, will present Advent Lessons the future. Hymns previously published Worcester, MA 01609. Electronic sub- teverdi and Bach, while there will once & Carols on December 3 (5 pm). On or currently entered in other contests missions accepted by email to again be trips to famous organs, operas, December 13, the All Saints’ Choir, should not be submitted. The contest
Sabin Levi Yoon-Mi Lim Mary Mozelle David F. Oliver Larry Palmer Organist/Harpsichordist/Carillonneur/ Organist Organist/Recording Artist Organist/Lecturer/ Harpsichordist/Organist Lecturer/Recording Artist 2004 NYACOP Winner Associate Organist Recording Artist Professor of Harpsichord and Organ Organist and Composer in Residence Director of Music The National Presbyterian Church College Organist Meadows School of the Arts First Christian Church of Independence Fairlawn Presbyterian Church Washington DC Assistant Professor Southern Methodist University Assistant Music Director Columbus, Indiana “The Sights & Sounds Department of Music Dallas, Texas Shireinu Choir of Kansas City of the Pipe Organ” Morehouse College Kansas City, Missouri Atlanta, Georgia
Gregory Peterson Stephen Roberts Clair Rozier Lisa Scrivani-Tidd Michael Stefanek Organist Organist/Harpsichordist/Lecturer Organist/Lecturer Organist/Lecturer Organist College Organist and Instructor of Organ Director of Music Assistant Professor of Music Director of Music Assistant Professor of Music Western CT State University St. David's Episcopal Church SUNY at Jefferson Aldersgate United Methodist Church Luther College Director of Music Wayne, Pennsylvania Watertown, New York Redford, Michigan Decorah, Iowa St. Peter Church University Organist Danbury, Connecticut St. Lawrence University Canton, New York
Jeremy David Tarrant Heinrich Walther Jane Watts Brador Brass Quintet Duo Majoya Organist Organist/Clavichordist/Virginalist/ Organist International Touring Ensemble Organ and Piano Organist and Choirmaster Recording Artist Exclusive Recording Artist Christopher Marsden Recording Artists The Cathedral Church of St. Paul Faculty, University of Music Priory Records Artistic Director Marnie Giesbrecht and Joachim Segger Detroit, Michigan Freiburg, Germany First RCO Performer of the Year Resident Ensemble Professors of Music Faculties, Church Music Schools Organist of the Bach Choir San Diego State University University of Alberta Heidelberg and Rottenburg London, England San Diego, California The King’s University College Germany Edmonton, Alberta, Canada ConcertArtistCooperative Beth Zucchino, Director, [email protected] David K. Lamb, Associate Director, [email protected] 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 www.ConcertArtistCooperative.com
NOVEMBER, 2006 5 tickets can by ordered beginning November 15, 2006:
Michael Stefanek Rodgers Scholarship recipients Church in Redford, Michigan. Further information can be obtained Ten young musicians spent a week in schedule included a private organ les- from Concert Artist Cooperative’s intensive organ study at the Interna- son, one hour of music history, one hour director, Beth Zucchino, at 7710 Lynch tional Music Camp on the U.S.-Canada of music fundamentals, a minimum of 1 Yoon-Mi Lim Rd., Sebastopol, CA 95472; 707/824- border this summer thanks to scholar- 2 ⁄2 hours of organ practice, and an 5611, 707/824-0956 fax, ships from Rodgers Instruments LLC. evening keyboard seminar.
school, and for the time being organ lessons are being taught at area church- es. Students as young as age 8 are accepted for either private or group instruction. For information: 847/905- Mary Mozelle 1500;
Concert Artist Cooperative, which E. M. Skinner Opus 208 from 1914 at began its nineteenth year in April, Music Institute of Chicago announces the addition of organist Appointments Yoon-Mi Lim, organist/recording artist The Music Institute of Chicago has Mary Mozelle, and organist Michael opened an organ department. Faculty Stefanek to its roster of soloists and includes James Russell Brown, Margaret Southern Methodist University’s ensembles from around the world. McElwain Kemper, and David Schrad- Perkins School of Theology announces Yoon-Mi Lim, winner of the 2004 er. The school’s Evanston, Illinois cam- the appointment of Christopher NYACOP, is director of music at the pus, in the former First Church of Christ Anderson as associate professor of Fairlawn Presbyterian Church in Scientist, is the home of E. M. Skinner sacred music. Dr. Anderson currently Columbus, Indiana. Opus 208 from 1914. Although the con- holds the position of associate professor Mary Mozelle, creator of “The sole was recently restored, a complete of music at the University of North Sights & Sounds of the Pipe Organ,” is restoration of the instrument is now Dakota in Grand Forks, where he associate organist at The National Pres- being realized under the auspices of Jef- teaches graduate and undergraduate byterian Church in Washington, D.C. frey Weiler, organ curator to the Chica- courses in music history and theory as Michael Stefanek is director of go Symphony. A small practice organ is well as applied organ. Christopher Anderson music at Aldersgate United Methodist in the process of being located for the His research in late Romanticism, particularly the music of Max Reger, has yielded frequent essays in journals of the UK, Germany, Sweden, and the United States. His book, Max Reger and Karl Straube: Perspectives on an Organ Performing Tradition, was the first such extensive survey of any aspect of Reger in English. The book won the 2006 Max Miller Book Prize, given by the Boston University School of Theol- ogy, which in turn administers The Organ Library of the American Guild of Organists. His latest book, Selected Writings of Max Reger, was published in 2006. Anderson has been a regular contrib- utor to the biennial International Organ Academy at Göteborg University, Swe- den, and was a featured lecturer at the Internationale Max-Reger-Tage of the Bruckner University in Linz, Austria. His archival researches have involved the central musical institutions of the cities of Leipzig and Meiningen, Ger- many. Anderson appears regularly as an organ recitalist with a repertory that extends from the 16th century to the newest music for the organ. He has maintained his skills in the local church as organist/choirmaster. At Perkins he will be teaching in the areas of the Church Music Colloquium for Master of Sacred Music students, organ service playing and improvisation, and music in worship. Anderson holds the Ph.D. in Perfor- mance Practices from Duke University.
6 THE DIAPASON Vtà{xwÜtÄ Éy itÄÄtwÉÄ|w
VALLADOLID, SPAIN 79 STOP FOUR-MANUAL RENAISSANCE QUANTUM™ BY ALLEN
he 79-Stop Four-Manual all-digital instrument recently installed in the historic T Cathedral of Valladolid, Spain, is a new Quantum™ instrument by Allen Organ Company. It contains four completely-independent specifications: American Classic, English Cathedral, French Romantic, and Neo-Baroque. At the request of Spain’s premier concert organist, Pilar Cabrera, the American Classic specification was customized to a more Spanish Classic tonal scheme, including a special “Trompeta Reál” that crowns the Solo Division. Allen designed a custom audio system for the organ, taking great care to preserve the magnificent aesthetics of the early 1600s building. The instrument speaks from the front of the church. The moveable console can be connected in multiple locations, allowing for either worship or concert use. The organ was introduced to the public at a special First Communion Mass celebrated by the Archbishop of Valladolid. The Cathedral plans a regular concert series, with the first performance by Ms. Cabrera.
www.allenorgan.com 150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 USA / Phone: 610-966-2202 / Fax: 610-965-3098 / E-mail: [email protected] Prior to Duke, he studied under Markey, and William Watkins, played Ludger Lohmann at the Staatliche on noteworthy Aeolian-Skinner organs Musikhoch-schule, Stuttgart, and in Washington, D.C. Both the recording Robert Anderson at Southern and the score of Elegy are available Methodist University, where he earned from The Vermont Organ Academy, degrees in organ performance and
W. Michael Brittenback Larry J. Long music and organ performance from Northwestern University, and post-mas- viously, he served as Cantor at St. Luke ter’s study at the University of Southern Church (ELCA) in Chicago. St. James California School of Music in organ, currently uses a temporarily installed choral and orchestral conducting, and electronic instrument, awaiting installa- pedagogy. An Episcopalian, he has over tion beginning in 2008 of a new 96-rank, 35 years of church music experience, 4-manual Schoenstein pipe organ. Cameron Carpenter Diane Meredith Belcher serving as a church musician in Episco- pal churches in Indianapolis, Chicago, Artist manager Susan Carol Boyer Diane Meredith Belcher has been Palm Desert, California, and Pontiac announces exclusive representation of appointed organ instructor at the Uni- and Plymouth, Michigan. His most Here & There concert organist Cameron Carpenter versity of Pennsylvania, Philadelphia. recent position was as minister of music worldwide. “The ultimate maverick of She will be teaching through the Blutt at St. John’s Episcopal Church in Ply- the U.S. organ community” (The College House Music Program and the mouth, Michigan, where he served for Philadelphia Inquirer, May 2006), Car- Music 10 program for applied solo and five years. penter is “a first rate talent . . . with extra- chamber music performance, both In addition to being a concert musi- ordinarily glib fingers and Astaire-like administered through the Music cian, he teaches both organ and piano footwork” (The New York Times, July Department of the School of Arts and and serves as an organ consultant. Brit- 2006). His recent appearances have gar- Sciences. Belcher has taught organ tenback is also program coordinator at nered notice nationally including in The extensively for the past two decades, the Jefferson Academy of Music at The New York Times, The Los Angeles Times, and has previously served on the facul- Ohio State University. He has served as and New York fashion and society ties of the University of Memphis and a dean and board member in several columns including Women’s Wear Daily, Westminster Choir College. She contin- chapters of the American Guild of Patrick McMullan.com, Page Six (New ues as co-organist/choirmaster of his- Organists, regional director of the Asso- York Daily News), and Liz Smith (New toric St. Mark’s Church, Philadelphia, ciation of Anglican Musicians, and is a York Post). He can be heard on the where she and her partner, Matthew member of Music Teachers National SeeMusicDVD label and on-demand at Glandorf, direct the musical program Association and the Royal School of
New Organs: Atlanta First United Methodist Church: 5-manual, 120 stops New Orleans Baptist Theological Seminary, Leavell Chapel: 4-manual, 78 ranks Midway Presbyterian Church, Powder Springs, GA: 3-manual, 55 ranks First United Methodist Church, Carrollton, GA: 3-manual, 42 ranks New Orleans Baptist Theological Seminary, Recital Hall: 3-manual, 33 ranks (new & existing pipes) Newberry A.R.P., Newberry, SC: 2-manual, 13 ranks (new & existing pipes) Rebuilds: St. John’s Church, Savannah, GA: 4-manual, 76 rank Wicks - additions, tonal revisions & revoicing First Baptist Church, Orangeburg, SC: 3-manual, 31 rank M.P. Moller - complete rebuild with additions Selwyn Avenue Presbyterian Church, Charlotte, NC: 3-manual, 22 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Jackson, GA: 2-manaul, 20 rank Austin - complete rebuild with major additions Cumberland United Methodist Church, Florence, SC: 2-manual, 10 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Tennille, GA: 2-manual, 8 rank Tellers, complete restoration 800-836-2726 y www.pipe-organ.com
8 THE DIAPASON WHY
Because it’s the sound that counts.
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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] • www.rodgersinstruments.com America’s Most Respected Organ Builder posers at the turn of the last century, was noon organ recitals at Washington ist and choirmaster), as part of the Festi- work will be premiered on Palm Sunday also a great composer of sacred music. National Cathedral from JAV Recordings val Jusqu’aux oreilles. 2008. In addition, Aaron Miller’s tone Born in 1872, Perosi’s masterworks date (JAV 144). Dr. Hancock improvises in a Locklair was recently commissioned poem for organ and orchestra, Sleepy from the period 1894–1907. Though his French Classical style on Victimae by the board of directors of the Virginia Hollow, which was commissioned by the oratorios and masses are best known, Paschali Laudes, with the Men of the Chorale to compose a choral work in AGO for the Chicago convention and Perosi’s thousands of works include sym- Cathedral Choir singing alternate verses, honor of music director Robert Shoup’s enthusiastically received by the conven- phonic poems, chamber music, concer- improvises a symphony on submitted 10th anniversary season as part of the tion members, will be published by ECS tos, and pieces for organ. For informa- themes, and plays works by Bach and Virginia Festival of American Voices, Publishers and should be available short- tion or to purchase the book: Sowerby. The booklet contains an inter- where Locklair has been named Festival ly. Aaron David Miller is represented by
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10 THE DIAPASON
many works from the Hyperion catalog. Here & There Most recordings are donated to the sta- tion by record labels or organists. The library contains both commercially CanticaNOVA Publications has released albums as well as independent- announced new releases. Ceremonies of ly produced recordings of organ music the Modern Roman Rite, 2nd Edition, by from all periods, hymns, and a few Msgr. Peter J. Elliott, is a complete cer- organ-accompanied anthems. emonial manual for the celebration of Organlive is based in St. Louis, Mis- the Eucharist and the Liturgy of the souri, and can be heard anytime by Hours. A practical manual for all going to
THE DIAPASON has moved. AHIGHER L EVEL of E XCELLENCE Note our new address: 3030 W. Salt Creek Lane Great musicians need extraordinary instruments Suite 201 to deliver magnificent performances. Arlington Heights, IL 60005
P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com Phone, fax, e-mail, and web remain the same.
12 THE DIAPASON Have the lexicographers punted? and was built in 1934 for Edgar J. Kauf- How does music fit into all this? You How does a great work of art fit into man. It is widely celebrated as a brilliant- can’t very well compose music to depict In the wind . . . this definition? Michelangelo’s Pietà at ly conceived contemporary structure a bowl of pears in still-life. Or at least in by John Bishop St. Peter’s Basilica in Rome, depicting imposed on a wooded setting in such a my ignorance I haven’t heard of such a the crucified Christ lying across his way as to create an unlikely but beautiful piece. There are some obvious musical mother Mary’s lap, is an unparalleled blend of concrete, trees, rocks, and a depictions of nature such as the thun- What is art? example of the imitation of nature using waterfall. You can see photos of this derstorms in Rossini’s William Tell For the last several years the Organ an unlikely medium. Depicting human amazing building at
NOVEMBER, 2006 13 be performed by small church choirs. Music for Voices Because of the 30 Years War when choirs had very limited numbers of and Organ male singers, he often wrote for two by James McCray or three parts with easy instrumental accompaniment. In England and Italy there were Baroque cantatas and other other traditions in church music. extended choral works George F. Handel and William Boyce, for example, made numerous contribu- I have always kept one end in view, name- tions through their extended anthems. ly, with all good will, to conduct a well reg- Purcell clearly was a giant in London in ulated church music to the honor of God. —Johann Sebastian Bach, 1708 the mid-Baroque period; his music Letter to Muhlhausen Council continues to charm us. There were many Catholic composers who provid- Today, the church choir’s presenta- ed masses and motets for their ser- tion of extended multi-movement works vices. From Claudio Monteverdi at the has become a special occasion, but in beginning of the Baroque through the Baroque period it was often a week- Antonio Vivaldi at the end, the Italians ly occurrence. In fact, the cantata were a strong influence on the direc- became one of the major vehicles of tion of music. And in France, Jean- church music in the first half of the 18th Philippe Rameau wrote extended Latin century. We know that Bach created settings of the Psalms. over 300 of them, and although some Church choir directors should have been lost, conductors have access include this kind of repertoire in their Philadelphia Civic Center to about 200. Yet, except for a very few weekly church services, not only for such as “Wachet auf” (Sleepers Awake, special occasions. These settings were la-la-LA-la-la-la.” It was predictable, than in the first 10,000 years of music No. 140) most are not in frequent use. created for use in daily/weekly church unalterable, and wildly distracting. But it history. And not only have we devel- Informed choral conductors will services, yet their use has become so was a clear and accurate representation oped the music itself as imitation, sup- acknowledge that Bach’s writing is rare in America that publishers are pro- of nature’s musical harmonic series. plementation, alteration, and counter- among the best, yet they avoid his set- viding fewer and fewer of them in mod- Remember the harmonic series: Fun- action of the work of nature, but all the tings. That attitude certainly is not new. ern editions. By not purchasing and damental, Octave, Twelfth, Fifteenth, myriad instruments, and the techniques For example, Johann Scheibe wrote in a using these fine works, we may be pre- Seventeenth, Nineteenth, Twenty-first, to play them. A modern violinist in a silk 1737 issue of Der Critischer Musikus venting future choir directors from hav- Twenty-second, etc. Sound familiar? 8v – gown with a Stradivarius under her chin the following: ing that opportunity. 2 3 1 1 4v – 2 ⁄3v – 2v – 1 ⁄5v – 1 ⁄3v – 1 ⁄7v – 1v. So that’s is a long way from a Cro-Magnon homo It is said that the past is another coun- where that comes from! A principal cho- sapiens with a rock in his hand! (Bach) judges the difficulties of his music try, but church choir directors have an rus is nothing more than overtones on Back to my fenced-in organ in Penn- according to his fingers. His compositions, inexhaustible passport. As Mae West top of their fundamental. All of those sylvania. Philadelphia has quite a fleet therefore, are difficult to perform as he said, “too much of a good thing is won- demands the singers and instrumentalists overtones exist in every organ pipe. Start of huge pipe organs, among them the perform with their throats and instru- derful.” The reviews below are of vari- with a Gedackt 8v—strong fundamental, new Dobson organ at the Kimmel Cen- ments the same feats he can perform on ous Baroque settings with a mixture of weaker overtones. Pierce the cap and sol- ter (4-111), the recently renovated the clavier. This, of course, is impossible. relatively easy and moderate works. der on a chimney and it becomes a Austin in Irvine Auditorium of the Uni- None are by the difficult J. S. Bach, Chimney Flute or Rohrflöte—you get a versity of Pennsylvania (4-162, two However, it is well known that although the Monteverdi work is very 2 stronger second overtone (2 ⁄3v) and a blocks from the now demolished Civic many of his cantatas draw on limited challenging. As 2006 winds down, it is brighter, cheerier sound. Center), and of course, the legendary resources and abilities; they merit my hope that church choir directors will Any musical sound has those over- and recently revived Wanamaker Organ consideration from church musicians. set a goal of performing no less than two tones—a bell, a frying pan, a pottery (6-461—think of it!). One wonders how One of the most useful books I own is Baroque extended works with their bowl, an axe; all produce sounds with many monumental secular organs one by William J. Bullock. His Bach Can- church choirs in the coming year. overtones. The first person to strike a city can support. tatas Requiring Limited Resources resonant object and produce a lasting The Civic Center Möller will almost (ISBN 0-8191-3863-3863-0) is a gold A Mighty Fortress (Ein feste Burg), tone would have been the first to hear certainly leave town. When it does, it will mine for conductors. Although possi- Franz Tunder (1614–1667). SATB, 2 overtones. When do you suppose that take with it a big piece of the history of bly out of print by now, this 1984 pub- violins and continuo, Concordia was? And when did humans first learn to 20th-century Philadelphia, from the lication of University Press of Ameri- Publishing House, 97-6185, full sing? If you could sing a melody of three moment when a flock of symbolic doves ca, Inc. is probably available in many score $12.50 (M-). notes, and you could also hear over- were released during a convention of the university libraries. Tunder, the originator of the famous tones, you might imagine trying to have Democratic party, flew into the big elec- There are, however, many other evening concerts in Lübeck that two people singing the same melody an tric fans that were cooling the stage, and Baroque composers who should be gained significant stature through his overtone apart—as in a fourth apart, as were splattered all over party chairman considered for performance, and usu- successor Dietrich Buxtehude, was in faux bourdon. If you could do that and Sam Rayburn on national television, to ally their works are less taxing. also important as one of the early you were imaginative enough to be the tens of thousands of high school and George Philipp Telemann, whose developers of the chorale cantata. This interested in counteracting nature the college graduates whose commencement Advent cantata was reviewed in this cantata has been reduced in instru- two of you might sing some notes in par- exercises were held in the hall. column just two months ago, wrote mental parts, making it accessible for allel motion (faux bourdon) and then This huge organ is an industrial many cantatas, which are available today’s church choirs and budgets. some in opposite motion (counterpoint). machine, built in a large factory by hun- through various publishers today. After a long instrumental Sinfonia, From there, all you would have to do dreds of workers. It has miles of wire, Franz Tunder and Andreas Hammer- there are four stanzas, which are set in would be to write the rules of four-part tons of lumber and metal, and a bewil- schmidt were two of the most impor- various choral combinations. Although harmony (Theory 101 and 102) and dering array of gadgets and gizmos. tant early Baroque composers who Tunder does not refer to them as there you’d be: 371 Harmonized There are dozens of ladders, walk- helped develop the cantata reper- movements, they tend to be self-con- Chorales, Preludes and Fugues, Sonatas, boards, structural beams. There are toire; their settings often are shorter tained so that they function that way. Symphonies, Ballads, Rock ‘n roll . . . more than 250 swell shutters. But at its and easier than those of the late The chorale is ever present, but, The modern symphony orchestra is a core it’s the artistic equivalent of those Baroque, so they are especially suit- unlike most Bach cantatas, does not grand human achievement. Starting hundred tuxedos and gowns on the able for limited choir size and abili- have a closing four-part setting in with those basic overtones, we have dri- stage at Symphony Hall with the truck- ties. There are numerous composers which the congregation joins. The ven an evolution, organizing those load of sophisticated valuable instru- who provided music for church music is very easy, with both German manipulated overtones into time—we ments. A vast pile of lumber and metal; choirs, and their quality of writing and English versions for performance. call it rhythm—in unbelievably complex a vibrant, breathing work of art, imitat- exceeds many of the current “easy” Choral scores (97-3088) and instru- structures. There is more going on in ing, supplementing, altering, and coun- cantatas of today. Schütz certainly has mental parts (97-6186) also are avail- five measures of a Brahms symphony teracting the work of nature. I provided a wealth of settings that can able from the publisher.
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14 THE DIAPASON Lord, Thou hast been our refuge, best. Edited by Fiora Contino, the Psalm 100, Johann Vierdanck William Boyce (1711–1779). SATB, Latin is for performance with the (1605–1646). SATB, two violins, and Book Reviews alto and tenor soloists, and orches- translation in English above the score. continuo, Concordia Publishing tra. Oxford University Press, $6.00 The primary areas are for the histori- House, 97-5726, $5.50 (M). choral score (M+). cus (narrator), Jepthe, Filia, and the Vierdanck is generally unknown, but Handel and the English Chapel The 30-minute anthem/cantata has chorus. Ornamentation suggestions are he was a pupil of Schütz and enjoyed Royal, by Donald Burrows. New eight movements of which three are for given, and the continuo parts, which limited recognition in his lifetime. The York: Oxford University Press, choir; the others are solo recitatives may include organ, harpsichord, cello choral score contains the two violin 2005, xxiv + 651 pages, $165; and arias. Full score and instrumental and double bass, are available from the parts above the choral lines. Instrumen-
NOVEMBER, 2006 15 Handel played organ concertos in his The concluding chapter discusses the performance of the complete œuvre, oratorios. Although his performances Chapel’s choral resources and Handel’s New Recordings typically arranged chorale preludes in an of church music were not as extensive music, including matters of the voices, arbitrary or alphabetical order. as his work in the theater, these activi- The Chapel Royal and the Court odes, In July 1975 Anton Heiller performed ties were a prominent part of Handel’s pitch, and arrangements for rehearsals Johann Sebastian Bach, Orgelmesse. the complete Clavier Übung, Part III creative life. and performances. Thomanerchor Leipzig, Thomaskan- with two students (Elly Kooiman and The major events of Handel’s musi- Nine appendices conclude the book: tor Georg Christoph Biller, and Monika Henking) on the three Mar- cal life are documented in nineteen Handel’s English Church Music (dates, Thomasorganist, Ullrich Böhme. cussen organs at St. Laurenskerk in Rot- chapters of this comprehensive exposi- titles, scoring, place of performance); Dritter Theil der Clavier Übung terdam as part of the International tion. Part I: History and Repertory, Membership of the Choirs of the (1739) with Bach’s four-part chorale Academy held at St. Bavo’s Kerk, Haar- consists of fourteen chronologically Chapel Royal; Handel’s Chapel Royal settings sung by the Thomanerchor. lem. In his Bach course there as well as ordered chapters that deal with rela- Soloists; The British Royal Family, New Bach Organ (Woehl, 2000) at in masterclasses in the U.S., Heiller tively specialized topics. A partial topic 1702–1760; Thanksgiving Services dur- St. Thomas, Leipzig. Rondeau Pro- made a profound impression on many list includes the Chapel Royal before ing Queen Anne’s Reign; Special Ser- ductions ROP4017/18, 2005. with his highly spiritual understanding of Handel’s arrival in England: Sympho- vices during the Reign of King George
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16 THE DIAPASON himself was known in registering the 8v Hautbois Vogell Geschrey (‘Bird Call’) splashy Toccata and Fugue in D minor organ. Plenums are sometimes “spiced Glockenspiel Choir pitch (ca. 465 Hertz) (BWV 565). Chamber coupler for the whole organ up” with the inclusion of a Tierce or Unterwerk (Echo) IV This tour de force was once Sesquialtera, with or without a Trum- 16v Barem shunned—unworthy of Bach and often pet, for example, in the grand ostinato 8v Still Gedackt Ullrich Böhme on the Bach Organ dubbed a “Halloween thriller,” but the fugue Wir glauben. 8v Quintaden in the St. Thomas Church, Leipzig. fact is that Bach once upon a time was a There is also frequent doubling of 8v 4v Principal “Der junge Bach/The Young Bach.” kid, a young man (dare we say?) and stops, typical of the late Baroque and 4v Nachthorn Querstand VKJK0423, 2005, 71:06 didn’t just suddenly start producing Middle Germany, whereas North Ger- 4v Spitzflöth minutes, €18.00, masterpieces. The genius of a composer man practice may use only one 8v. 3v Spitzquint
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NOVEMBER, 2006 17 young red-blooded virtuoso that Bach Bible. But this fascinating brochure pro- the Allegro movement of the Vivaldi A- was. These early works are not for the vides commentary that piques one’s Minor Concerto. My only carp would be faint-hearted, but for those with a bold curiosity. What work has survived as that there is a tendency occasionally to and restless energy, and for those who probably the earliest work Bach himself charge into a cadence where a tad of CHANGE IS INEVITABLE. have practiced their scales! Böhme meticulously wrote in his own hand? relaxation would help, as at the conclu- delivers these improvisatory flourishes Answer: Wie schön leuchtet der Morgen- sion of Ach bleib bei uns and the ending with flashes of compelling brilliance and stern (BWV 739). What do you know of the Prelude in C Major (BWV 547). emphatic verve, reminding one just how about the “Moeller Manuscript” or the The “Summit” from Timpanagos Suite GROWTH IS OPTIONAL. stunning a performer Bach was. That “Andreas Bach Book” where the earliest by Crawford Gates is an atmospheric includes his chromatically aggressive set- copies of these early works are found? and lovely piece, dedicated to Marsha ting of the German Gloria in excelsis, Which one is a source for understanding Foxgrover, which should be better { “Allein Gott in der Höh sei Ehr,” which Bach’s Italian influence? Did you know known. I thoroughly enjoyed Dupré’s must have stunned the congregation. that the Fantasia in C Minor, BWV Variations on a Noël, which is very musi- One can only image their consternation 1121, came down in tabulature notation cal throughout; this performer is not ARTISTRY IS CRITICAL. in trying to sing to this complex Reger- and was only authenticated in 1982? hampered by technical limitations. A like harmonization. What difference would that make in rousing playing of “Go, tell it on the All the works recorded here are one’s approach? mountain” from Dan Locklair’s A Spiri- { drawn from Bach’s early employment as The brochure provides these and tual Pair is a high point in this recording. organist (1703–1717) in Arnstadt many more insights for both the student (1703–07), Mühlhausen (1707–08), and and the professional, including verifica- Music for the Organ and Cello. Todd at the Weimar court (1708–17). The tion of the Toccata and Fugue in D Wilson, organ; Rachel Wilson, vio- INTEGRITY AND AN INFORMED accompanying brochure provides an Minor (BWV 565). This in itself would loncello. 1921 Skinner Organ (65 interesting review of Bach’s musical and be worth the investment. But where the ranks), the Parish Church of Saint POINT OF VIEW,SINCE 1917 personal growth as well as the conflicts performer/listener really benefits is from Luke, Evanston, Illinois. JAV 140, that he had. Böhme’s stellar, perceptive playing, $20.00,
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18 THE DIAPASON Mozart Requiem in d, K. 626. La which is an inversion of the theme of ble, and the composition develops logi- Chapelle de Québec, Les Violons du the opening bars of the Introit) to the New Organ Music cally. Dissonance is pervasive, but not Roy, Bernard Labadie, conductor. end of the Lacrimosa. abrasively harsh. Apart from Variation 5, Dorian DOR-90310; TT 52:55; Maunder leaves out the Sanctus, which is imitative, the textures are
NOVEMBER, 2006 19 Mozart and the Harpsichord: An Alternate Ending for Fantasia in D minor, K. 397 Larry Palmer
ecent DNA tests on a human skull I said I had not, she scolded me roundly preserved at the Salzburg Mozart- for not recording some of my composi- R tions in this most artistic and beautiful of eum have failed to establish that these all musical forms and never ceased to bones were ever part of the great entreat me until I wrote down a fugue for Mozart. My own efforts to “get inside her. So this is its origin. [Translation by the composer’s skull” have been engen- Emily Anderson, in Blom, p. 192.] dered by the question “What was Mozart thinking” when he abandoned A unique bit of courtship, perhaps, the writing of the keyboard Fantasia in but a wonderfully worked out contra- D minor, K. 397 at an unresolved domi- puntal addition to the Mozart keyboard nant seventh chord? literature, and one that works equally Anecdote informs us of this composer well transposed up a step. In D Major it jumping up from a deep sleep in order serves as yet another possibility for a 66- to resolve a dissonance, yet it was with measure extension to Mozart’s Fantaisie an incomplete cadence that his manu- d’Introduction in D minor . . . (See script ended, and it was this document Example 2) that provided a text for the first publica- Should this solution be chosen, tion of the Fantasia in 1804, nearly a Mozart’s advice on the proper tempi for decade and a half after Mozart’s death. fugues is salutary: [Published by the Bureau d’Arts et d’Industrie, Vienna, this earliest print- I have purposely written above it Andante ing was first mentioned in Köchel Cata- maestoso, as it must not be played too fast. log 3 in 1937]. However, only two years For if a fugue is not played slowly, the ear cannot clearly distinguish the theme when later in volume 17 of the “complete it comes in and consequently the effect is works of Mozart” [Leipzig, Breitkopf & entirely missed . . . [From the letter to Härtel] the piece had acquired ten Nannerl, cited above.] additional measures, providing a per- fectly proper “Mozartian” ending, most When I add the transposed Fugue to likely supplied by the incumbent the Fantasia I round it off with the Leipzig Thomaskantor and Mozart afi- return to the original D-minor opening, cionado, August Eberhard Müller. as previously suggested. [Information about these early editions May these pieces be played on a harp- is from Paul Hirsch’s article, cited in sichord? Should they be played on a the Bibliography.] harpsichord? That question has been I have played this particular Mozart argued for decades. Perhaps, yet again, work for more than half a century, first we might allow the composer to weigh on the piano, and, more recently, at the in on this topic. harpsichord. Like every other player, I Writing to his father Leopold, from had always used the standard edition, Vienna, 27 June 1781: not knowing enough to question its total authenticity. But a little knowledge may, We have TWO harpsichords [cembali] in indeed, be liberating (or dangerous), the house where I am lodging, one for and I have enjoyed a quest to craft a galanterie [dance] playing and the other an instrument which is strung with the more individual ending for this favorite lower octave throughout, like one we had work during this anniversary year. in London, and consequently [it] sounds Mozart’s final decade saw both dra- like an organ. So on this one I improvised matic and contrapuntal development in and played fugues. [Anderson, page 748]. the young master’s works. He made the acquaintance of another, older, While many still argue that cembalo is genius—Christoph Willibald von Gluck, Example 1. Opening measures of Fantasia with suggested ending a generic term for keyboard, I think on recently returned to Vienna from stellar the evidence of these 1781 comments operatic successes in Paris. In several from Wolfgang Amadeus himself, we letters, Mozart writes of attending near- may accept that, at least in this specific ly all the rehearsals for the German lan- reference, cembali refers to harpsi- guage premiere of Gluck’s Iphigénie en chords. (We know, further, that the Tauride, during October 1781. Here London instrument played by the nine- was a work of striking novelty and dra- year-old Mozart was made by Burkat matic intensity, beginning immediately Shudi. [Diary of Leopold Mozart, prob- with an arresting Overture that moves ably July 1765; cited in Boalch, p. 174.]) seamlessly from music of classical serenity to the scene-setting storm, and What was Mozart thinking? We on to a most surprising choral interjec- will never know for certain, but we may tion—new music, new dramatic pacing continue to search for clues in the music for opera in Vienna, in a work that he heard and in the music he wrote. As Mozart knew intimately. Rainer Maria Rilke wrote [Letters to a The key of the Fantasia might give Young Poet (1903)]: some indication that a more startling Be patient with all that is unsolved . . . ending should be forthcoming. After all And try to love the questions themselves . . . D minor IS the home key of Mozart’s greatest opera, Don Giovanni [1787]— Bibliography another work of forward-looking musi- Anderson, Emily. The Letters of Mozart and cal invention, including, close to the His Family (London: Macmillan, 1938). end, an absolutely astonishing foretaste Boalch, Donald H. Makers of the Harpsi- of Schoenberg, when all of the twelve chord and Clavichord 1440–1840. Third chromatic pitches occur within six fast- Edition edited by Charles Mould (Oxford: Clarendon Press, 1995). paced measures during the music of the Blom, Eric. Mozart’s Letters (Baltimore, Statue’s dinner invitation to the dis- Example 2. First four measures of Fugue, K. 394 MD: Penguin Books, 1956). solute Don! [Pointed out to Luigi Dal- Broder, Nathan. “Mozart and the “Clavier” lapiccola by Darius Milhaud. See Dal- in The Creative World of Mozart, edited lapiccola on Opera, page 211.] by Paul Henry Lang (New York: Norton, Leaving off conjecture and specula- 1963), pp. 76–85. tion, fascinating as they are, I turned to Marshall, Robert L. Mozart Speaks (Views Mozart’s additional published keyboard on Music, Musicians, and the World). (New York: Schirmer Books, 1991). fantasias, and noted that the fourth Fan- Hirsch, Paul. “A Mozart Problem,” Music tasia (K. 475) concludes with a return to Of course there are other possibili- . . . My dear [fiancée] Constanze is really and Letters 25 (1944), pp. 209–212. its opening measures. So, why not follow ties! The title of that first publication in the cause of this fugue’s coming into the Dallapiccola, Luigi. Dallapicola on Opera that dominant seventh chord in K. 397 1804 read “Fantaisie d’Introduction.” world. Baron von Swieten, to whom I go [translated and edited by Rudy Shack- with a return to the arpeggiated chords Perhaps Mozart planned to follow his every Sunday, gave me all the works of elford] (London: Toccata Press, 1987). of the beginning? For me, this has fantasy with a fugue, as he did in a sub- Handel and Sebastian Bach to take home Rilke, Rainer Maria, Briefe an einen jungen with me (after I had played them to him). Dichter, quoted in Sandra Rosenblum: proved to be a more satisfying musical sequent composition from this same When Constanze heard the fugues, she solution. One simply follows the A-Major period, the Fantasy and Fugue in C Performance Practices in Classic Piano absolutely fell in love with them. Now she Music (Bloomington: Indiana University dominant seventh chord with a repeti- Major, K. 394. will listen to nothing but fugues, and par- Press, 1991). tion of measures one through eight, In an excerpt from this letter to his ticularly . . . the works of Handel and adding an improvised cadence on the D- sister Nannerl, the composer writes Bach. Well, as she had often heard me Thanks to Clyde Putman for Finale ver- minor 6/4 chord, and ending in the tonic about his composition (Vienna, 20 April play fugues out of my head, she asked me sions of the musical examples, and to Jane key of D minor. (See Example 1) 1782): if I had ever written any down, and when Johnson for her evocative Mozart drawing.
20 THE DIAPASON The Sewanee Church Music Conference 2006 Mary Fisher Landrum
hymn collections published by the new In the Festival University Service on publishing company, E-Libris Publish- Sunday morning Jeffrey Smith’s Mass in ers, based in Memphis. C provided the settings of texts for the A highlight of the week was the organ Holy Eucharist. Psalm 85 was sung to an recital played by Conte in All Saints’ Anglican chant by Herbert Howells. Chapel of the University of the South. The offertory anthem was Charles The program featured many of Conte’s Wood’s O Thou sweetest Source of glad- transcriptions—Bernstein’s Overture to ness, and during Communion the com- “Candide,” Kreisler’s Variations on a missioned anthem, Jesu, the very Theme by Corelli, Cortège et Litanie tran- thought of Thee by David Briggs, was scribed from Dupré’s orchestral score, sung. The organ prelude to the service William Bolcom’s Graceful Ghost Rag, was the Allegro maestoso from Sonata Brahms’s Variations on a Theme of in G by Elgar. The postlude was Haydn, ending with a transcription of “Marche Pontificale” from Symphony Rossini’s Overture to “The Barber of No. 1 by Widor, played by Conte and Seville.” Conte provided a rare treat later followed by the ringing of the bells of in the week when he accompanied the the Leonidas Polk Memorial Carillon. showing of the silent film The Kid, featur- Participating in both services were ing Charlie Chaplin. Jeffrey Smith, conductor; Peter Richard The 130 conferees formed the choir Conte, organist; and The Rt. Rev. Joe G. for two services in All Saints’ Chapel. Burnett. Bishop of Nebraska. Evensong featured George Dyson’s Mary Fisher Landrum, a native of Indiana, Magnificat and Nunc dimittis in D pre- Pennsylvania, is a graduate of Vassar College ceded by Barry Smith’s African Versi- and did graduate work at the Eastman School Jeffrey Smith leads rehearsal of conferees choir (Photo credit: John Whitmer) cles and Responses. Psalm 139 was set to of Music as a student of Harold Gleason. She an Anglican chant by Thomas A. has served as college organist and a member Church musicians from 27 states and sented recently published choral works, Walmisle, and the anthem was Edward of the music faculty at Austin College, Sher- man, Texas; Sullins College, Milligan College, the Virgin Islands gathered on the and Thomas Pavlechko, cantor, compos- Bairstow’s monumental Blessed City, and King College in Bristol, Tennessee. For a mountain at DuBose Conference Cen- er in residence and organist-choir direc- Heavenly Salem. The service was third of a century she was organist/choir ter in Monteagle, Tennessee, for the tor at St. Martin’s Evangelical Lutheran framed by two voluntaries—Choral by director at Emmanuel Episcopal Church in 56th annual Sewanee Church Music Church, Austin, Texas, showed two Jongen and Franck’s Pièce Héroïque. Bristol, Tennessee. Conference July 10–16. Robert Del- camp, Professor of Music, University Organist and Choirmaster of the Uni- ANDOVER BEDIENT BERGHAUS BIGELOW BOND versity of the South, planned and direct- B ed the conference. Heading the faculty UZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD were Jeffrey Smith, Canon Director of Music of Grace Cathedral, San Francis- co; Peter Richard Conte, Grand Court Organist of the Wanamaker Organ at Lord & Taylor, Philadelphia and organ- ist-choirmaster of St. Clement’s Church, Philadelphia; and The Rt. Rev. Joe G. Burnett, Bishop of Nebraska and conference chaplain. The conference opened with evening prayer led by Bishop Burnett, who was also the officiant for the daily Eucharists with psalms. Peter Richard Conte and Jeffrey Smith were organists for the ser- vices that used Rites I and II with vari- ous settings of the canticles and differ- ent types of chant for the psalms. These different types of chanting the psalms and issues concerning their per- formance were the focus of two classes held by Dr. Smith. He also presented two sessions offering practical sugges- tions for founding, reinvigorating and polishing children’s choirs. Bishop Bur- nett shed light on three profound reforms that are at the heart of the 1979 Prayer Book. And Mr. Conte took a fresh look at creative hymn playing by drawing inspiration from the poetry of hymns. He also held a crash course for beginners in improvisation for service playing and presented two classes devoted to accompanying. Adjunct faculty led a variety of classes and reading sessions. Wendy Klopfen- stein, principal violinist with the Mobile Your Church Needs a New Pipe Organ. Opera Orchestra, the Mobile Symphony and the Pensacola Symphony, discussed the process of hiring strings to augment What’s the First Step? one’s music program. The discussion included how to deal with a contractor, conducting strings vs. choral conducting, Call or e-mail us! From information for your architect through fund-raising, APOBA payment, rehearsal times and length, and has helpful publications concerning every aspect of an organbuilding project. other considerations. Ms. Klopfenstein also gave a presentation on working with small churches. Susan Rupert, vocal pro- fessor at The University of the South and And, they’re FREE for the asking! The School of Theology, led classes in vocal techniques for choir directors and Episcopal basics for those new to the To receive information about pipe organs Episcopal Church. Reading sessions enriched the confer- A and recognized pipe organ builders ence program. These were led by Jane P write or call toll free 1-800-473-5270 Gamble, Canon Organist-Choirmaster of St. Mary’s Episcopal Cathedral, Mem- O or on the web @ www.apoba.com phis; John Spain, organist at St. Anne BA Associated Pipe Organ Builders of America Episcopal Church in the Cincinnati sub- urb of West Chester; and Jennifer Stam- P.O. Box 155 • Chicago Ridge, Illinois 60415 mers, soprano soloist, composer, BOODY music & QUIMBY TT PARSONS REDMAN SCHANTZ SCHOENSTEIN TAYLOR teacher and choir director at Trinity O Episcopal Church, Atchison, Kansas. Mark Schweizer, composer, bass soloist NOACK MURPHY KEGG JAECKEL HOLTKAMP HENDRICKSON and editor of St. James Music Press, pre-
NOVEMBER, 2006 21 Hybrid Composition: An Introduction to the Age of Atonality in Nigeria Godwin Sadoh
usical practice in 21st-century severely functional following baroque other Nigerian composer has written British Royal Schools of Music, as well as MNigeria can be broadly divided into and classical conventions. The music such a large body of solo pieces for training in ethnomusicology in American four major genres: 1) traditional music, was written for Western musical instru- organ as Sowande. universities. Thus, it would be correct to 2) popular dance music, 3) church ments such as piano, harmonium or Prior to this era, musical activities refer to these musicians as composer- music, and 4) modern African art music. organ, and the form, harmony, and style were confined to the churches during ethnomusicologists. From the 1960s, for- Traditional music can be traced back to follow European standards. festive occasions such as Christmas and eign-trained Nigerian composers the historical roots of the society. It is Nigerian traditional musical instru- Easter seasons. With the introduction of embarked on intensive research into the the music that defines and identifies the ments were not incorporated into these vocal solos, chamber music and orches- traditional music of their society to people of Nigeria and their culture. The compositions during this era because tral works, the venue of musical activities enhance a better understanding of its whole gamut of Nigerian culture is they were blatantly prohibited from shifted from the church to public audito- component materials, structure, stylistic embedded in the traditional music, be it being used for worship by the early for- riums where secular works could be per- principles, tonality, function and mean- cultural, social, political, or religious, his- eign missionaries. In other words, the formed without any inhibitions. In terms ing in the society, the instrumental toriography, as well as world-view. The only instruments that early Nigerian of tonality, Sowande introduced chro- resources, organization of ensembles, music permeates every aspect of Niger- composers could write for were Euro- maticism into the musical vocabulary of rhythmic basis of instrumental music, ian life. However, the middle of the 19th pean. However, in spite of the embargo Nigerian compositions. He refused to organization and techniques of vocal century witnessed events that trans- on traditional instruments, it was in this align himself with the atonal school of music, melody and polyphony in vocal as formed the entire cultural landscape of period that we began to witness musical composers, then in vogue in Europe and well as instrumental ensemble, speech Nigeria. These events were manifested synthesis of European and African America. He chose to move his Nigerian and melody, theoretical framework, and in the form of political governance idioms. The experiment of conjoining audience gradually from the tonal con- interrelatedness of music and dance. The through the British colonial administra- Western elements with traditional vention of the baroque/classical era to focal point has been cultural renaissance tion, and through the efforts of Christian African music actually began in the early romantic chromaticism. Sowande must and the search for nationalistic identity, missionaries from America and England. church. This took the form of employing have felt that jumping from the tradition- that is, how to combine the new art These two domineering forces intro- indigenous languages for texts and using al tonal system to atonality would have music with the African roots. duced Western classical music to the indigenous songs as melodic themes for been too wide a leap and too radical for It is from this period that we witness main stream of Nigerian socio/cultural compositions. Notable composers from the Nigerian audience to appreciate. for the first time compositions involving life around 1840s.1 Through the colonial the first generation include Rev. Canon Although chromatic passages are preva- both traditional African and Western and mission schools, as well as churches J. J. Ransome-Kuti, Rev. T. A. Olude, lent in his organ works, Sowande left the musical instruments. Prior to this era, established by the missionaries, talented Akin George, Ikoli Harcourt-Whyte, idea of atonality for the next generation music notation specified only Western Nigerians were introduced to Western Emmanuel Sowande (Fela Sowande’s of Nigerian composers. instruments. African instruments were music notation, European songs, and father), Okechukwu Ndubuisi, and The second generation of Nigerian not included in the scores of the early musical instruments. It was at these Thomas Ekundayo Phillips (Organist musical experience also ushered in a composers but rather used for support- institutions that Nigerians first learned and Master of the Music, Cathedral new form of musical integration known ive purposes and to create spontaneous to sing Western songs such as nursery Church of Christ, Lagos, 1914–1962). as pan-Africanism. Sowande, unlike his improvised rhythmic background for rhymes, folk songs and selected excerpts Thomas Ekundayo Phillips was the first predecessors, went beyond employing vocal songs. Such instrumental rhythmic from major classical works such as Han- Nigerian to receive professional training Nigerian folk songs in his works; rather, patterns were never notated until the era del’s Messiah and Mendelssohn’s Elijah. in music at Trinity College of Music, he included popular tunes from other of the composer-ethnomusicologists. In In addition, talented Nigerians received London, from 1911 to 1914. African countries into his compositions. fact, there are works from this period private lessons in piano, harmonium, Hence, one would hear indigenous composed exclusively for traditional and organ at these schools and church- The Age of Concert Music songs from Nigeria and other African instruments such as Akin Euba’s Abiku es. All these endeavors consequently led (1950–1960) societies in his works. For instance, he No. 1 for Nigerian Instruments (1965). to the emergence of art music com- This era was represented by the most borrowed a Ghanaian folk song in his This work was composed for a dance posers in Nigeria. celebrated Nigerian musician, Fela African Suite for String Orchestra.3 In drama, Iya Abiku, choreographed by Sowande (1905–1987). Sowande contin- addition, this era introduced the con- Segun Olusola and videotaped by the The Golden Age of Church Music ued to compose sacred music for divine cept of global interculturalism into Nigerian Television Authority for pre- (1900–1950) services in the church, yet he trans- Nigerian music language. We must give sentation at the International Music The first generation of Nigerian com- formed art music in Nigeria from a credit to Sowande for being the first Center Congress on “Dance, Ballet and posers comprised mainly church organ- sacred entity and elevated it to the con- Nigerian composer to go so far as to Pantomime in Film and Television,” in ists and choirmasters. They concentrat- cert platform in public auditoriums, borrow spiritual tunes from the African- Salzburg, Austria, 1965.4 The third gen- ed on writing sacred music for worship institutions of higher learning, and radio American culture. He uses spirituals in eration composers aim to make the in the newly founded churches. Compo- stations. He introduced solo art songs his solo art songs and choral anthems, as music more appealing to their local audi- sitions include church hymns, canticles with piano or organ accompaniment, well as organ pieces. ence. In other words, the Africanisms in (responsorial prayer songs for soloist organ solo pieces, chamber music, and the music are meant to captivate and and congregation),2 chants for singing orchestral works to the Nigerian art The Age of Atonality draw the larger society to the works. Psalms, choral anthems, and cantatas. music repertoire. Although Thomas (1960 to present) In terms of tonal organization, this Their works represent the first attempts Ekundayo Phillips wrote two short The third generation of modern group of Nigerian composers was by indigenous Nigerians in writing pieces for organ solo, it was Sowande Nigerian composers consists of highly tutored in the theoretical principles of Western classical music. Hence, most of who composed several large works for talented musicians, both composers and the early 20th century such as the these compositions are very simple, organ employing traditional folk songs scholars, who received intensive training twelve-tone system, atonality, and octa- short, and tonal. The harmonization is and indigenous church hymn tunes. No in the European tradition in several tonic scales. Pioneers of atonal compo- sitions in Nigeria employed these methods in two ways. First, some of the compositions are written strictly in Western idiom following the styles of Log On and take the tour! Arnold Schoenberg, Alban Berg, and Anton Webern. Works in this category are practically European without any interjection of African traditional ANNUAL AND ONE-TIME COPYRIGHT music. Their form, texture, instrumen- tation, rhythmic organization, and PERMISSIONS WITH THE tonality are Western. The second cate- gory of 20th-century compositions in CLICK OF A MOUSE Nigeria incorporated some Africanisms. These compositions are partly Western and partly African. They are best described as syncretic or intercultural compositions—the amalgamation of European and African musical resources. Prominent composers of atonal music in Nigeria are Akin Euba (1935–), Ayo Bankole (1935–1976), Joshua Uzoigwe (1946–2005), and God- win Sadoh (1965–). Akin Euba Akin Euba is a Yoruba composer. He studied piano performance and compo- • EASY—online permission and reporting sition at the Trinity College of Music, • ECONOMICAL—based on average weekend attendance London, in the 1950s. In 1966, he • THOROUGH—your favorite songs received a master’s degree in ethnomu- sicology from the University of Califor- • CONVENIENT—includes a growing list of publishers nia, Los Angeles, and the Ph.D. in eth- nomusicology from the University of Ghana in 1974. Most of his piano com- LOG ON TODAY! WWW.ONELICENSE.NET positions were written in the 1960s. Interestingly, these piano pieces are all based on Western atonality and twelve-
22 THE DIAPASON tone row. Examples of these works from tetratonic, pentatonic, hexatonic, trated on piano, composition, organ, are also tonal. In 1960, Bankole wrote include Impressions from an Akwete heptatonic, octatonic, diatonic scales, harmony, and counterpoint studies. his first composition for organ entitled Cloth (1964), Saturday Night at Caban atonality, and the twelve-tone method. While at Guildhall, Bankole experi- Toccata and Fugue.14 In his notes to the Bamboo (1964), Tortoise and the Speak- He uses these scale systems to evoke mented12 with simple works and compo- music, Bankole informs us that this ing Cloth (1964), Four Pieces from Oyo melodic and harmonic nuances of Igbo sitions based on 20th-century tonality. work represents one of his first attempts Calabashes (1964), and Scenes from music7 in his compositions. For After four years of intense studies at in the world of atonality. Being his first Traditional Life (1970).5 instance, he uses the twelve-tone row in Guildhall, Bankole proceeded to Claire product in this musical language, the Euba’s compositional technique in his Oja for wind quartet. Uzoigwe began to College, University of Cambridge, Lon- work is more of a blending of several piano pieces is on two levels: 1) He first use dodecaphony while studying at the don, where he obtained his first degree, musical styles of the European epochs. creates traditional rhythmic patterns on Guildhall School of Music & Drama. the Bachelor of Arts in Music, 1964. At this early stage, while trying to break the score, and then 2) assigns melodies, Often, he breaks the row into minute While at Cambridge as an Organ Schol- away from the ‘old order’ of tonality, the which are atonal or twelve-tone, over the ‘cells’ and then shuffles them around to ar (1961–64), Bankole earned the pres- Toccata and Fugue is more of a transi- rhythms. In this way, the clashing disso- create a very interesting work. The pitch tigious Fellowship of the Royal College tional musical work between the 19th nances are not easily perceived by collections are organized into basic sets of Organists (FRCO), making him the and 20th centuries. The young compos- Nigerian audiences. The listeners are to create musical form through permu- second and last Nigerian to receive the er had not yet arrived in the world of more immersed in the irresistible tation, repetition, variation, and impro- highest diploma in organ playing given atonal writing. According to him, rhythms emanating from the pieces, visation. In addition, Uzoigwe uses in Great Britain. At the end of his stud- which move them to dance and easily twelve-tone technique and atonality in a ies at Cambridge University in 1964, this piece maintains structural allegiance eradicate the contemplative aspect of unique way by combining melo-rhyth- Bankole received a Rockefeller Foun- to the king of baroque, J. S. Bach. Howev- the musical performance. In terms of mic patterns drawn from Nigerian musi- dation Fellowship to study ethnomusi- er, while the overall structure and the process of thematic development are in rhythmic drive, Euba’s piano works imi- cal culture with specific tone colors. cology at the University of California, strict accord with the baroque tradition, tate dundun drum music, one of the Meki Nzewi defines melo-rhythm, his Los Angeles. In 1969, he was appointed the melodic style is not. This is because, most popular traditional ensembles own term, as “a rhythmic organization Lecturer in Music at the University of although there is no serial line to dictate among the Yoruba of southwest Nige- that is melodically conceived and Lagos, Nigeria, where he embarked on melodic progression, freedom of tonality ria.6 Another way that Euba deploys melodically born.”8 an in-depth research on Nigerian tradi- has been achieved through the preponder- atonality in his compositions is through Uzoigwe’s conception of the twelve- tional music and presented scholarly ant use of severe neo-impressionistic chro- the use of ostinati. His approach directly tone method differs from Arnold papers at conferences. At the University maticism. Apart from these points, the imitates the traditional African tech- Schoenberg’s. Uzoigwe defines a tone of Lagos, he combined the role of music music belongs to several ages of musical nique in which the ostinato accompani- row as an “ordered set of tones which is educator, composer, performer, and experience, absorbing Beethoven’s sur- 13 prise build-up and “power-cut,” Brahms’ ment harmonically is not in consonance derived from an ordered set of drums musicologist. In addition to his acade- dark orchestration, Bach’s virtuosity with the melodic line, but rather, the and musically deployed in certain spe- mic pursuits, Bankole founded several (especially his powerful cadenzas) and ostinato is merely supplying a melo- cific procedures and its basic root is in choral groups in Lagos and was very chord clusters suggesting certain rhythmic accompaniment. Euba uses Igbo musical system.”9 Indeed, tonal active as an organist in several churches, moments of Max Reger. the atonal texture to create dissonant organization in Uzoigwe’s music is including the Cathedral Church of percussive sounds as found in traditional deeply embedded in his traditional Christ, Lagos (the headquarters of the The composer emphatically states that, drumming among the Yoruba. The dis- musical practice, and his works are Anglican Communion Nigeria, and the “no conscious effort is made to inject sonant lines help to simulate and rein- based on its theoretical framework. This seat of the Anglican Archbishop) and St. African traditional styles (or for that force the indigenous sonority in the ‘cultural-tone row’10 method is exempli- Peter’s Anglican Church, Lagos. matter any of the styles mentioned music and make the piano sound like fied in his Ritual Procession for Euro- above) into the work, and if these are African traditional drums. pean and African orchestra and the Bankole: Toccata and Fugue felt, their roles should not be exagger- Talking Drum for piano. One of the Nigerian composers began experi- ated.”15 Hence, a discussion of this Joshua Uzoigwe movements of the Talking Drum is menting with new tonal resources in piece will strictly be in Western theo- Joshua Uzoigwe belongs to the Igbo based on a row of ten tones, which is their works from the 1960s. This era can retical style. ethnic group in Eastern Nigeria. He associated with ukom music.11 be regarded as radical and avant-garde The Toccata is built on several short studied piano and composition at the in the history of musical composition in chromatic figures, which are later Guildhall School of Music & Drama, Ayo Bankole the country. The then young composers, employed as themes for the Fugue. London, from 1973 to 1977. He later Ayo Bankole was born on May 17, fired up by the new 20th-century com- Generally, the chromatic figures consist studied ethnomusicology under John 1935, at Jos, in Plateau State of Nigeria. positional devices they were exposed to of ascending and descending melodic Blacking at Queen’s University, Belfast, He belongs to the Yoruba ethnic group. at the schools of music in London, par- cells as well as ‘jumping’ intervals. The Ireland, from 1977, and subsequently In August 1957, Bankole left Nigeria on tially abandoned the tonal system of the melodic cells appear in various forms: received the Ph.D. degree in 1981. a Federal Government Scholarship to preceding era. I am very careful to simple eighth notes, rapid-moving six- Uzoigwe uses various types of pitch col- study music at the Guildhall School of choose the word ‘partially’ because teenth notes, and triplets. Structurally, lections in his compositions, ranging Music & Drama, London. He concen- some of the compositions in this period the toccata is in three-part form. The A
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NOVEMBER, 2006 23 Example 1. A section of the Toccata, p. 1, mm. 1–12 Example 2. B section of the Toccata, p. 4, mm. 38–53
section introduces the main melodic temporary milieu. Although it is not cells in the manuals and the pedal. Fol- easy to pinpoint the exact key of the toc- lowing the introduction are various cata, the piece opens with a pedal point Example 3. First and second theme groups in the exposition of the Fugue, p. 6, manipulations of the thematic materials on E and it closes with the third inver- mm. 1–16 (measures 1 to 35). Example 1 shows sion of F-sharp chord resolving finally the A section of the toccata. The B sec- on E (mm. 68–69). tion commences from measure 36 and The Fugue has two main themes; ends in measure 47. Here the left and hence, it is a double fugue. The fugal right hands are filled with massive themes are derived from the ascending chords, while the pedal is occupied with and descending chromatic figures (m. 9 descending sequential passages. The R.H. and mm. 11–12 L.H.) as well as pedal part comprises virtuosic fast-mov- “jumping” intervals (m. 9 in the pedal) ing intervals of 4ths, 5ths, diminished from the Toccata. It opens with the first 5ths, and inversion of wide leap inter- theme in the left hand (mm. 1–4) and a vals from the A section. The A section real answer in the right hand (mm. 5–8). returns in measures 48 to 69. In the final Following is an introduction of the sec- section, the pedal is occupied with ond theme group in m. 11. The first and sequential repetition of the descending second theme groups are supported by chromatic figure. Example 2 shows the counter subjects. The exposition closes B section of the Toccata. with a reappearance of the first theme Bankole’s choice of chords in this toc- group in the pedal while the manual cata includes open 4ths, 5ths, 6ths, accompanies with the counter subject. octaves, diminished 5ths, minor 7ths, Example 3 shows the two theme groups and tone clusters. He deliberately in the exposition. avoids functional harmony and conven- The episode (mm. 17–75) presents tional cadential resolutions. Some of his the two ideas in diverse varied forms: cadential resolution techniques include diminution (m. 32 R.H.), augmentation 1) octave descent in the pedal (mm. (mm. 33–40 pedal), short fragments 16–17); 2) ostinato in the pedal to distil- (mm. 26–27 L.H.), pedal sequence late tonal resolution; 3) sequential repe- (mm. 45–49), and an alternation of mod- tition in pedal; and 4) pedal point. With ified versions of first theme and second these four methods, Bankole was able to theme groups in the pedal, while the confine this composition within a con- manual accompanies with thick chords,
24 THE DIAPASON Example 4. Episode of the Fugue, p. 7, mm. 17–32 Example 5. Pedal cadenza in the finale of the Fugue, p. 12, mm. 88–97
diminished 5ths, and tone clusters (mm. art music compositions. Some of the ist-Composers,” The Diapason Vol. 94, No. 8 notes to the music. 64–75). The final entry of the first and composers even went as far as the Mid- (August 2003): 20–23. 16. For a full list of Ayo Bankole’s compositions, 14. Ayo Bankole, Toccata and Fugue for Organ see Sadoh, “A Profile . . . ” and Afolabi Alaja- second themes appear in the pedal from dle East, India, and America to incor- (Ile-Ife: University of Ife Press, 1978). Browne, “Ayo Bankole: His Life and Works” (M.A. measures 76 to 87. Example 4 shows an porate musical resources into their 15. Quotes were extracted from the composer’s thesis, University of Pittsburgh, 1981). episode of the Fugue. Bankole closes works. Prominent features of African- the fugue with a virtuosic pedal cadenza American music in Nigerian art compo- derived from the two theme groups sitions include spirituals, gospel, and (mm. 88 to the end). This wonderful jazz idiom. Musical creativity in Nigeria piece ends with an unusual dominant today is nationalistic, Pan-African, and seventh chord resolving on C in m. 97. globally intercultural. I “The sound comes from Bankole did his best to avoid functional harmony in this masterpiece; however, Godwin Sadoh is a Nigerian organist-com- he found it very difficult to evade the poser, pianist, choral conductor, and ethno- within you.” sonorous nuance of dominant seventh musicologist. His latest book, Intercultural 16 Dimensions in Ayo Bankole’s Music, will be resolution. Example 5 shows the pedal published by Wayne Leupold Editions. cadenza in the finale of the fugue. Sadoh is presently Assistant Professor of Music and Coordinator of the Sacred Music Conclusion program at LeMoyne-Owen College, Mem- Modern Nigerian composers have phis, Tennessee. produced a large repertoire of art music from their introduction to European Notes 1. Godwin Sadoh, “Intercultural Creativity in classical music in their home country Joshua Uzoigwe’s Music,” Africa 74, no. 4 (Decem- and abroad. A critical study of these ber 2004): 633. compositions reveals dynamic growth 2. Also known as ‘Versicles and Responses.’ The of musical language from the estab- priest usually sings the solo while the congregation responds in unison. The texts of these songs are typ- lished tonality of the baroque/classical ically in vernacular language if sung in a parish era and the romanticism of the 19th church. Fela Sowande wrote Responses in the Eng- century, to the early 20th-century lish language for the Cathedral Church of Christ, Lagos, where services are conducted in English. atonality and twelve-tone method. Sowande’s Responses are in four-part harmony; Indeed, the musical language of con- however, the congregation sings the melody, while temporary composition in Nigeria has the Cathedral Choir sings SATB with organ accom- been dynamic. At this point, it is impor- paniment. 3. Fela Sowande, African Suite for String tant to stress that the third generation Orchestra (London: Chappell, 1955). of Nigerian composers did not rely 4. Joshua Uzoigwe, Akin Euba: An Introduction exclusively on atonal writing; some of to the Life and Music of a Nigerian Composer (Bayreuth: Eckhard Breitinger, 1992): 96. their solo songs, choral anthems, piano 5. Akin Euba, Scenes from Traditional Life (Ile- and organ pieces, chamber music, and Ife: University of Ife Press, 1975). orchestra works are based on other 6. For more information on the life and music types of pitch collections such as dia- of Akin Euba, see Uzoigwe. 7. The Igbo is one of the three major ethnic tonic, octatonic, and pentatonic scales. groups in Nigeria. The other two are the Yoruba Nigerian audiences appreciate the and Hausa groups. interjection of well-known songs in 8. Meki Nzewi, “Melo-Rhythmic Essence and Hot Rhythm in Nigerian Folk Music,” The Black classical pieces, and these songs are Perspective in Music 2, no. 1 (1974): 23–28. All Saints Episcopal Church, Atlanta, GA mostly in tetratonic and pentatonic 9. Joshua Uzoigwe, “Tonal Organization in Raymond & Elizabeth Chenault, Music Directors modes. Furthermore, Ayo Bankole’s Ukom Drum Performance,” Nigeria Magazine 54, Quote overheard during the Dedication Service Toccata and Fugue (for Organ) is one no. 3 (1986): 53–60. 10. Godwin Sadoh coined the phrase ‘cultural- of the few exceptions in terms of the- tone row.’ matic usages. Pan-Africanism and glob- 11. Ukom music is used by the Igbo principally to Member, Associated Pipe Organ al interculturalism became more pro- commemorate the lifetime accomplishments of a prominent woman who has died and to mark her John-Paul Builders of America nounced in the works of the third gen- transition to her ancestors. The Ukom ensemble eration of Nigerian composers. Popular consists of ten rows of drums from the largest deep Buzard 112 West Hill Street folk tunes, traditional songs, indigenous tone drums to the smaller high-pitched drums. Pipe Organ Builders Champaign, Illinois 61820 Christian hymn tunes, and dance band Each drum has a single pitch; therefore, it is a ten- tone drum ensemble. 800.397.3103 • www.Buzardorgans.com themes from different ethnic groups 12. The first African to earn the FRCO diploma within Nigeria and other parts of the was Fela Sowande in 1943. African continent are incorporated into 13. Godwin Sadoh, “A Profile of Nigerian Organ-
NOVEMBER, 2006 25 The Organ Historical Society Fiftieth Anniversary Convention June 25–30, 2006, Saratoga Springs, New York Frank G. Rippl
n the months leading up to the Organ wonderful warmth about the building IHistorical Society’s Fiftieth Anniver- and the organ. Shades of blue dominate. sary National Convention, the question We drove to Cooperstown, along the on everyone’s mind was “Could it live up way passing the grounds of Glimmer- to the level of advance excitement it was glass Opera and Lake Otsego. After a generating?” The OHS magazine, The brief visit to the Farmer’s Museum, a Tracker, had published its usual pre- collection of historic structures, we went convention issue with mouthwatering to lunch in the Old World elegance of photos of the organs and venues—pic- the Otesaga Hotel. The buffet was tures by Victor Hoyt and Stephen Pinel served on the veranda with its stunning that made one fall in love with the organ view of Lake Otsego. all over again. There were articles and ads in the professional journals touting the instruments to be visited, not the least of which was the historic 3-manual Odell organ from 1882, the oldest large and unaltered concert hall organ in America—an instrument not heard in decades. There was the outstanding ros- ter of performers, the beauty of New York State, the festive banquets, the cruise on Lake George, and on it went. By the final evening, the answer was an exultant and resounding “Yes!” Con- vention chairman Stephen Pinel and his committee truly outdid themselves. One of the biggest surprises was the huge, lavishly illustrated and annotated 1 250-page, 8 ⁄2w x 11w convention 2006 Organ Atlas (which replaced the tradi- tional, smaller Organ Handbook we were accustomed to seeing each year), detailing the instruments, the venues and their cities. This major document of the organs of the Albany area will be of invaluable service to historians. It repre- sents an extraordinary amount of painstaking research by Jonathan Giles Beach, 1849, Farmer’s Museum, Ambrosino, editor; Alfred V. Fedak, Cooperstown Scot L. Huntington, Len Levasseur, and Stephen L. Pinel. With this distin- We then returned to the museum guished book, the OHS arrives at one of where, in a gentle rain, we toured the those new plateaus founding member Davis & Ferris, 1847, Round Lake Auditorium, Round Lake various buildings—avoiding puddles Barbara Owen spoke of in her opening and observing wool spinners, black- address. This was an exceptional con- Its full, broad scale filled the room with a smiths and the like, before visiting the vention worthy of a fiftieth anniversary. gentle tone from a quieter, less clam- former Cornwallville United Methodist They called it “Coming Home.” orous time. Especially effective was the Church to hear the 1849 Giles Beach This review includes many fine pho- second movement’s use of the sweet organ played by Eugene Roan with tos of the convention instruments; more flute sounds. The third movement, Intro- John Burkhalter, English flute. They photos can be seen at the OHS website duction and Fugue, featured the princi- presented a pleasant musicale of mostly
26 THE DIAPASON E. & G. G. Hook & Hastings, 1887, St. John’s Episcopal Church, Richfield Springs Aeolian-Skinner, 1956, Cathedral of All Saints, Albany
Chamade. Next, Bach’s Passacaglia & technique—he did not disappoint. Mur- on a high platform. A delicate and stun- Fugue gave us a tour of the principal ray’s sense of color and melodic line was ning metal screen separates it from the choruses. Her playing was, as always, a thing to behold and to hear. He made altar. The sound is clear and fine in the clean, robust, and spirited; each musical the most of the gorgeous resources of church’s resonant acoustic, and it is an line was clearly delineated. The first half this wonderful instrument. In the final elegant example of the best organ build- ended with a brilliant reading of section of variations on Veni Creator ing from its period. Mozart’s Fantasy in F Minor, in which (has there every been a finer harmoniza- The concert featured mostly Baroque we heard some of the quiet and gentle tion of that marvelous tune?), he gradu- music. In the Bruhns Praeludium in E sounds of the organ. ally opened the Skinner in all of its glory. Minor and the Sweelinck Variations on Following intermission, Miss Lippin- This organ exists today as a tri- Mein Junges Leben hat ein End’ we cott returned to play another fanfare: umphant vindication of all the things for heard the sparkling flues and the Dulz- Fanfare for the Common Man by Aaron which the OHS stands: that there is ian, Krumhorn, Ranket and Schalmei Copland. I was seated in the crossing great organ building in every age, and stops—so popular in the 1960s—as well and greatly enjoyed the surround-sound that we only need to regard current as the trumpets. In Bach’s Ein feste effect of trumpets at east and west ends. fashion as transient; we ignore the Burg ist unser Gott, BWV 720, we heard The grand acoustics of the cathedral greatness of previous ages at our peril; the Sesquialtera against the Dulzian added to the impact of her deeply felt and the lack of a clear-eyed and clear- 16v—a fine OHS demonstration of an and spectacular performance. She then eared vision dooms us to mediocrity. organ’s tonal variety! Schnurr next launched into one of the 20th-century’s This was a great recital on a great organ! played the Bach/Vivaldi Concerto in D greatest organ works: Jehan Alain’s Trois Minor, and I especially enjoyed the Danses. From my seat in the crossing, I lovely flute stops in the slow movement. could enjoy the various reed sounds He closed with Gustav Merkel’s Sonata bouncing now from north to south, or in D Minor, a four-hand piece in which triforium to triforium as she used the Skinner Organ Company, 1930/Austin he was joined on the bench by Derek divisions above both sides of the choir. Organs Inc., 2003, Westminster Pres- Nickels. We heard the fine strings in Lippincott projected all the spirit of the byterian Church, Albany the Adagio and enjoyed full organ at the dances dovetailed with the sense of end. A thoroughly satisfying program melancholy and fate that pervades all of tute. Thomas and Ann Older, members and performance! Jehan Alain’s music. To glorious effect of the church, bought the Skinner for We were served a box lunch at Pee- she had reserved the evening’s first use one dollar, and had it installed in their bles Island State Park located at the of the 32v reed for the middle of the sec- home where it would stay safely for the confluence of the Hudson and Mohawk ond Danse—the impact was staggering. next 25 years. By 2001, the electronic Rivers, from which we could observe a The final movement (Struggles) showed was ancient and experiencing some very lock on the Erie Canal. The OHS 2006 why this great performer’s muscular and public embarrassing moments. The Old- Organ Atlas reminded us on page 60 riveting playing is so admired. Lippin- ers graciously offered to return the Skin- that “Many organs built by Erben, Hall cott ended with the Liszt Prelude and ner to a grateful church; Austin rebuilt it, & Labagh, Ferris and others were sent Fugue on B.A.C.H., a piece made for a adding an antiphonal organ (in a case to their destinations in New York, Ohio, room like All Saints Cathedral. designed by Stephen Bicknell) with tonal Michigan, Indiana, Illinois and to the And that was just the first full day! finishing by Scot L. Huntington. We Casavant Frères, Ltée., 1966, St. Paul’s rest of the Western Reserve through heard it in a very fine concert by Profes- Episcopal Church, Albany these locks . . . [making] New York State Tuesday, June 27 sor Thomas Murray of Yale Universi- the organ building center of the U.S. The day dawned sunny and clear. On ty—a longtime champion of historic We boarded the buses for our next until well after the Civil War.” this day 50 years ago, the OHS was American organs and no stranger to the event. Everyone enjoyed the architec- A short ride took us to United Church founded, and on this day six years ago, organs of Ernest Skinner. ture of this historic city as we made our of Cohoes and our annual meeting, Westminster Presbyterian Church, a red He began with Handel’s Organ Con- way to St. Paul’s Episcopal Church for a where we were introduced to the new brick church on Albany’s Capitol Hill, certo in F, op. 4, no. 4, using the recital by Stephen Schnurr, chairman executive director of the OHS, Daniel signed a contract with the Austin Organ antiphonal organ (which stands above of the 2002 OHS convention in Chicago N. Colburn. Among other things, we Company to rebuild their 3-manual 1930 the main door to the church) as the and co-author of Pipe Organs of Chica- learned of upcoming conventions: 2007 E. M. Skinner organ, Opus 780. But “organ,” and the main part of the instru- go. St. Paul’s was established in 1827, Indianapolis; 2008 Seattle; 2009 Cleve- there is a great story here. By the 1970s ment in the chancel as the “orchestra.” It but worships in a new church complet- land. Sounds good to me! Daniel the Skinner needed cleaning, releather- was very effective, and the playing was ed in 1966—a white building with win- Schwandt, chairman of the Distin- ing and some renovations. Instead of clear and fine. His final piece was Duru- dows in a “sawtooth” pattern, à la the guished Service Award Committee, pre- doing that routine work, the church flé’s Prelude, Adagio et Chorale varié, new Coventry Cathedral, which throws sented this year’s award to Edna Van decided to spend the money on what was op. 4. I sat in the front row so that I light upon the altar. The 3-manual Duzee Walter for her 40 years of sig- then a state-of-the-art electronic substi- could observe his legendary console Casavant organ stands behind the altar nificant and distinguished service to the
NOVEMBER, 2006 27 organs. It was a fascinating tour of those Dressler played Percy Whitlock’s Folk countries’ organ cultures complete with Tune from Five Short Pieces showing slides and sound samples. many of the warm soft sounds of this treasure of an organ, and ended with a Wednesday, June 28 stirring performance of Jacques Lem- The day began with heavy rain and mens’s Fanfare for Concert Use. ominous flood warnings. We went ahead with a full day in the country, even crossing over to Vermont. One of the great and endearing charms of an OHS convention is a day spent in little rural churches listening to small historic organs. A friend called it “Melodia and Dulciana day.”
E. & G. G. Hook, 1855, St. Paul’s Epis- copal Church, Salem Giles Beach, 1866, United Church, Cohoes Tiffany windows? This one does. Bless Johnson & Son, 1896, First Baptist them!) While we did not get to hear Round Lake Auditorium organ and its Church, Manchester Center, Vermont much in the way of individual stops, we concert series. did hear various combinations of sounds Following the meeting, Peter Edwin The bus I was on got lost (!) so I on this sweet-toned and genteel Hook. Krasinski, 2002 first prize winner of the missed Grant Moss’s demonstration of It had the unusual feature of an attrac- AGO National Competition in Improvi- the Johnson & Sons Opus 843 from tive balustrade across the front, which sation, demonstrated the 2-manual Giles 1896 at First Baptist Church, Manches- supported the façade pipes. Tegels per- Beach organ from 1866 with an improvi- ter Center, Vermont. My apologies to formed the Passacaglia in D minor by sation in four movements on the hymn Dr. Moss and to the First Baptist Buxtehude as well as music by Vaughan we sang: “Holy, Holy, Holy!” (Nicaea). I Church. I was told that it went very Williams, Haydn, and a jolly march in F always enjoy hearing musical styles con- well. He performed Albert Bigollet’s major by Guilmant. temporary to our time played on historic Douze pièces pour orgue. The evening weather was perfect for instruments—thereby bringing the Woodberry & Harris, 1891, United Pres- We went to lunch at the palatial cocktails and a delicious dinner aboard instruments out of the museum-type byterian Church, Shushan Equinox Hotel in Manchester, Ver- the large riverboat Le Lac du Sacré- treatments we often give them. Krasin- mont—another yummy feast in historic ment, as we cruised the beautiful ski is a gifted and versatile musician. His My group went first to United Pres- Old World elegance. I remember well waters of Lake George. All 450 of us fit improvised tour of this fine and historic byterian Church in Shushan, New York, the OHS meals in the good old days very comfortably on this fine ship organ was most effective. where Thomas Dressler demonstrat- served in church basements. The OHS where we celebrated Michael Barone’s Our “free” evening began with an ele- ed a lovely unaltered 1891 2-manual by has come a long way! birthday in style! gant cocktail reception sponsored by Woodberry & Harris, Opus 92. As the several organ builders in the gorgeous now gentle rain fell outside and a pass- Thursday, June 29 1870 Canfield Casino in Saratoga’s Con- ing train joined in with its own bells and The day dawned with word of severe gress Park. The deliciously extravagant whistles, we were enchanted by the flooding in many areas. Our buses had Victorian building is now a museum. organ’s lovely tone. The Melodia was to make a few detours to avoid bridges Kelvin Hastie, secretary of the Organ especially good, but I really liked the that were out. At one point I saw a Historical Trust of Australia, gave a lec- fine Oboe. The Stopped Diapason on school with water up to the middle of ture on Australian and New Zealand the Swell had a full, room-filling quality. the first floor windows. HURRY! THE STORY OF THE MIGHTY WURLITZER Johnson & Son, 1884, United IS ALMOST HISTORY. Methodist Church, Rupert, Vermont My group then went to the United Methodist Church, Rupert, Vermont, to hear their historic 2-manual Johnson & The Wurlitzer Pipe Organ: Son organ, Opus 629, built in 1884, An Illustrated History demonstrated by Robert Barney. The by David L. Junchen church has wooden theatrical seats with elaborate wrought iron framing. The (reconstructed and edited by Jeff Weiler) Johnson organ stands in a corner to the right of the altar. Barney provided a Only 2,234 were printed, to commemorate handout detailing his registrations. He the number of organs built by the Rudolph began with Pilgrim’s Chorus by Richard Wurlitzer Manufacturing Co. The reception Wagner, which allowed us to hear a Augustus Backus, 1850, Christ has been tremendous, almost selling out in build-up of sounds as he layered stop Church, Episcopal, Duanesburg upon stop. It is always so enlightening to THIS BOOK the first few months of the book’s release. hear how much these marvelous old My group went first to Christ Episco- MAKES A GREAT Once they are gone, they're history. There instruments, limited in the number of pal Church in Duanesburg, New York, to HOLIDAY GIFT! will never be another first edition. stops (13), can do. The tonal properties enjoy Derek E. Nickels’ brilliant recital of a single open 8v stop in this period of on a tiny 3-stop organ by Augustus 800 pages, 1000+ illustrations, hard bound edition organ building are amazing! Next, we Backus from ca. 1850. This charming $125 US + shipping and handling. heard an Andante by Henry Stephen church, which resembles a New England Cutler on the 4v flutes—a lovely effect. meeting house, is the oldest ecclesiastical In James Woodman’s Variations on structure in the Diocese of Albany. The WURLITZER ART PRINTS “Fairest Lord Jesus” (St. Elizabeth), organ is quite soft spoken, but Nickels Poster set features Wurlitzer theatre consoles. Barney made fine choices of stops, end- made the most of its extraordinary sweet 12 poster set, 11“ x 14“...... $15 US + s&h ing with the Open Diapason 8v (one of tone. I especially admired his perfor- the best stops of the convention!). He mance of Pachelbel’s partita on Was Gott concluded the program with Bach’s Sin- tut, das ist wohlgetan. fonia to Cantata 29. We next visited Kingsboro Assembly THESE ART PRINTS The American Theatre Organ Society The day’s final recital was in the of God in Gloversville, New York, to MAKE GREAT The ATOS Marketplace, 28933 Wagon Road, attractive little Episcopal Church of St. hear Sebastian Glück demonstrate the STOCKING STUFFERS Agoura, California 91301-2735 Paul in Salem, New York. Paul Tegels, 1857 2-manual Giles Beach organ—the 818-889-8894, email: [email protected] assistant professor of music and univer- earliest known two-manual organ from sity organist at Pacific Lutheran Univer- the Beach shop. Before the concert sity in Tacoma, Washington, demon- Stephen Schnurr, chair of the OHS His- www.atos.org strated the E. & G. G. Hook, Opus 189, toric Organ Citations Committee, pre- from 1855. (Is it really fair for one sented the church’s minister with a His- church to have a Hook organ AND toric Organ Citation for its stewardship
28 THE DIAPASON technique, and plays with great passion. Torrents of sound came cascading down upon us from the lofty balcony of this acoustically live church. She opened with an expansive and powerful performance of Brahms’s Praeludium und Fuge in a- moll; next, her own transcription of Bach’s Konzert für zwei Violinen in d-moll, BWV 1043, which I found to be quite success- ful. The pedal part of the Vivace is not for the faint of heart; however, she tossed it off with total control. The elegant Largo was a study in grace, while the Allegro was pure virtuosic dazzle! Belcher followed with Calvin Hampton’s spellbinding Lul- laby from Suite No. 2. We heard the lush strings, flutes and soft reeds of this beau- tiful organ. She ended the first half with Dupré’s Prélude et fugue en sol mineur, op. 7, no. 3. The subdued prelude was fol- lowed by a truly thrilling and lightning- Giles Beach, 1857, Kingsboro Assem- fast performance of the famous fugue cul- bly of God, Gloversville minating in full organ. The second half began with the audi- of the Beach organ. These citations are ence singing Tantum Ergo in Latin—a given in recognition of instruments of classy touch! Then followed Franck’s exceptional historic merit. Giles Beach, Grande Pièce Symphonique, op. 17. I his father, and his grandfather were all confess that I’ve never been fond of this members of this church, making this particular work—it seems to outstay its citation even more meaningful. As well welcome—but I did appreciate that here as being a fine organ scholar and writer, room, organ, and player were well Sebastian Glück is artistic and tonal matched in a very good performance. director of Glück New York Pipe Organ Belcher then played her own transcrip- Restorers and Builders, who prepared tion of Ravel’s Pavane pour une infante the Beach organ for this recital as it had défunte. We heard from the abundant become unplayable. It has a lovely, deli- variety of solo stops on this organ includ- cate quality we hear in so many instru- ing a terrific and bold French Horn. For ments of this period. Glück’s program her final selection, she turned to George was well chosen for the instrument, T. Thalben-Ball for his Variations on a which, unfortunately, must speak into a theme of Paganini for pedals in a brilliant very dead acoustic. Especially good were performance that received a long and three selections from Twelve Short clamorous standing ovation. Pieces by Samuel Wesley. We also heard some Bach, Mozart, Lefébure-Wély, Casavant Frères, Ltée., 1931, St. James’ R. C. Church, Albany Friday, June 30 and the third movement from Sonata in The final day of the convention D Major by João de Sousa Carvalho. much of it. It had the usual solid sound Great mixture that Casavant installed in dawned with bright and abundant sun- one expects from Hutchings-Votey 1983, it is unaltered. Because of the shine—a welcome sight after all the rain. instruments, and what we did hear was flooding in the area, we did not arrive at The first event was a lecture by organ quite fine. The demonstration was given the church until after dark. The church scholar James Wallmann entitled “The by organist/composer Alfred V. Fedak, is famous for its many large stained OHS at Fifty! So What?”. He noted the who did a very fine job showing us what glass windows. I hope to return there Society’s accomplishments, citing espe- was available. He played his own Varia- someday to see them. cially the Archives and their growing tions on Pange Lingua as well as pieces Ms. Belcher possesses a formidable international significance in the world of by Litaize and Boëllmann. Our visit was all too brief; we left with the sincere hope that this organ will be restored. A few blocks away found us at Proc- tor’s Theater and Arcade, which opened The OHS Catalog in 1927—one of those grand old 2700- seat movie palaces. The original Wur- SHEET MUSIC N BOOKS N RECORDINGS litzer 3/15 Style F, Opus 1469, was sold in 1957. The present 3-manual instru- NEW 3-CD SET FROM SOLSTICE! ment, another Wurlitzer, Opus 2157 (“Goldie”) from 1931, was originally The Six Vierne Organ Symphonies built for the Paramount Theatre in Auro- ra, Illinois, and installed in Proctor’s in played by Pierre Cochereau at 1984. It has been much enlarged over the years, and is lovingly tended to by Notre Dame in Paris! members of the American Theatre Organ Society. We had the great good In 1975/6, with revisions of the fortune to hear the brilliant young Amer- famous organ at Notre Dame in ican theatre organist Jelani Eddington Pierre Cochereau perform a concert and accompany a place, recorded silent movie. It was one of the major the six organ symphonies of treats of the convention. He amazed us Louis Hutchings-Votey, 1904, St. John the with his extraordinary skills, split-second Evangelist R. C. Church, Schenectady stop changes, and color and shading in Vierne. places most would never imagine. After Now There is very little to prepare one for playing several great American songs St. John the Evangelist Catholic Church and pieces by Leroy Anderson (includ- released in Schenectady, New York. I confess ing a previously unpublished work for as a complete set, these recordings that the picture I saw of this church in organ), he accompanied the Laurel and The Tracker played a huge role in my Hardy 1928 classic Liberty. Eddington’s demonstrate the 1970’s sound of decision to come to the convention. Its playing was marvelously understated, the Notre Dame organ, and also style, which I named ‘Richardsonian which allowed the movie itself to shine, Gothic’, is striking. The exterior of the yet he followed each nuance and facial Cochereau’s vision of these 20th 1904 building is all red stone with a expression of the famous duo, always Century monuments. tower on each of the four corners and a deferring to them and underlining their SOCD911/3 $35.98 to OHS members, $39.98 to large dome/lantern tower over the cross- zany mayhem in continuous musical ing. The vast interior space boasts all- motion. He closed his program with CHOOSE FROM OVER 4,500 TITLES IN STOCK! white walls covered in plaster carvings. Tchaikovsky’s Waltz from Swan Lake. A There are images of 38 saints and 536 thundering ovation brought him back for images of angels inside the building! The a delightful encore, The Root Beer Rag Order online: http://www.ohscatalog.org peak of the dome rises 230 feet above by Billy Joel—firmly fixing the art of the Shipping to U.S. addresses is $4.00 for your entire order. the floor. The seating is in a semicircle theatre organ in the present and the Shipping outside U.S. is $4.00 plus postage charged to your VISA or with a horseshoe balcony. The main future. An amazed audience made its floor is raked toward the altar, which happy way back to the buses. MasterCard; specify airmail or surface. stands beneath an enormous gothic The evening saw us back in Albany arch. The 3-manual organ, also from for another major recital: Diane Organ Historical Society 1904, by Hutchings-Votey, Opus 1510, Meredith Belcher on the 1931, 4- • stands in the balcony on the left side of manual Casavant organ, Opus 1420, P. O. Box 26811 Richmond, VA 23261 Open Monday-Friday 9:30am - 5:00pm ET the room. It is an intriguing instrument which stands in the rear gallery of St. Telephone (804)353-9226 possessing a Saxophone 4v on the Choir. James’ Catholic Church. St. James’ was I was told that the organ needed quite a completed in 1929. The organ is a glo- E-mail: [email protected] bit of work, so we did not hear very rious instrument, and except for a new
NOVEMBER, 2006 29 Geo. Jardine & Son, 1890, St. Patrick’s R.C. Church, Watervliet organ research, as well as the influence Giles Beach, 1865, United Presbyterian the OHS has had on the organ world in Church, Schaghticoke general. He said that organs will continue to be built and continue to change. The Alfred V. Fedak, written especially for OHS will continue to observe and then this convention and this organ. Sebastian preserve and transmit information about Glück and Glück Orgelbau commis- these instruments, and honor the best sioned the work for the Society. It is a and most significant examples. fine composition that is by turns playful, Our first recital took place at St. quiet, restful and festive (published by J. H. & C. S. Odell, 1882, Troy Savings Bank Music Hall, Troy Patrick’s Catholic Church in Watervliet, Selah Publishing Co. #160-641). New York, on a large 3-manual 1890 A short bus ride back across the Hud- desk is situated on the left side of the and Adoration, op. 44, by Guilmant— Geo. Jardine & Son organ, much of son took us to Timothy Smith’s demon- case, which stands proudly on a raised more lovely, gracious sounds awaiting a which, we were told, actually dates from stration of the 3-manual E. M. Skinner platform at the back of the stage. complete restoration. We have so much the Civil War era. It has a huge, room- organ, Opus 770, in the United The concert featured Dana Robin- to learn from this amazing organ. The filling sound—like a warm embrace Methodist Church, Mechanicville, New son, who teaches organ at the Universi- first half ended with another inaugural from a loving grandmother. The recital- York. He began with Sea Sketch (“To T. ty of Illinois, along with the Franciscan recital piece: Marche Pontificale from ist was Randy Bourne, who began with Tertius Noble”) by Frank Howard Chamber Orchestra conducted by Widor’s Symphonie I, op. 13, no. 1, a Bach’s Prelude and Fugue in E minor, Warner, a beautiful piece summoning Ronald L. Feldman. Temperature and terrific opportunity to hear the justifiably BWV 533 (“The Cathedral”). The open- the depth and mystery of the sea. Next humidity were high. Windows were famous reeds of this organ—a rich, full- ing sound was quite arresting, and we was Fantasy of Moods by Charles Edgar open (no air conditioning), so there was throated bunch. knew we were hearing an uncommonly Ford, which showcased among other some breeze. The conductor told us The second half of the program fea- fine instrument. It rendered Bach’s things the Echo division’s Vox Humana. that the organ was tuned at a much tured Sinfonia Sacra, op. 81, by Widor music nicely on a fine, clear, and bright The strings of this organ are gorgeous higher pitch than the orchestra could for organ and orchestra—one of his five plenum. Next was Edward MacDowell’s (God bless Ernest Skinner!), and Smith reach. So we had more than a bit of a orchestral symphonies, three of which Woodland Sketches, which demonstrat- used them well. He ended with two celeste or schwebung effect going on all call for organ with orchestra. This is a ed a great variety of this organ’s wonder- movements of Seth Bingham’s Baroques night. I was told that because of the mature and meticulously crafted work ful sounds. Bourne played very well with (“to E. Power Biggs”): Rhythmic Trum- heat the organ’s pitch was probably that uses the chorale Nun komm, der charm, sweetness, and a well-placed pet and Voluntary—delightful music between A-456 and A-460 during the Heiden Heiland as its main theme. dash of nostalgia. proffering the tremendous wealth of concert! The orchestra could not dare Highly contrapuntal, with deeply felt The large gothic church, with its 100- tone in this fine organ that stands at the go above A-445. spirituality, it was a perfect choice for foot ceiling, soaring columns beneath a front of the church in a chamber behind However, once we were forewarned, the evening. The orchestra was splen- wraparound triforium gallery, and 56 a screen. The Echo division is at the rear we could just settle back and enjoy the did, and Feldman led all concerned with windows, has suitably grand acoustics in of the church recessed into the wall. All instrument for what it is—a very beauti- command and grace. I was quite taken which the full, bright-sounding reeds in all, a very well-produced demonstra- ful organ! Decisions will need to be with the oboist, whose lovely tone in could especially flourish. It is a 1/6 scale tion-recital of an organ one might not made about whether or not to repitch. that remarkable acoustic seemed to be replica of the church of our Lady of expect to hear in such a small town. That will be a tough call, because, in right in front of me in my balcony seat. Lourdes in Lourdes, France. The final evening’s festivities began terms of blend, it really sounds terrific The strings remained on stage the entire Bourne next offered Pachelbel’s Cia- with a sumptuous banquet of shrimp with an orchestra, but the tuning prob- evening, not daring to step into another cona in F minor, a great organ demon- and chateaubriand in the great Hall of lems are not to be taken lightly. temperature lest they lose what tuning stration piece. The hymn was “God Rest Springs in Saratoga: a magnificent space Robinson and the orchestra opened they had so carefully prepared. By this Ye Merry, Gentlemen,” and he closed with a vaulted 38-foot ceiling, 16 marble with a lovely quiet piece by Charles point in the evening the organ’s reeds with Myron Roberts’ Improvisation on columns, and huge Belgian and Czecho- Édouard Lefèbvre, Meditation, op. 68, a were showing the effect of the heat, but the same tune, a series of variations that slovakian crystal chandeliers. Many peo- beautiful, first-rate work I had never we all understood and did not mind. showed off more sounds of this amazing ple wore formal evening attire. It was heard before. It was a sweet introduction Dana Robinson is a very fine organist. organ: everything from a lovely Vox not your usual OHS banquet, but fifti- to the hall and to the gorgeous soft His playing brought out the best in the Humana to a thundering pedal! It was eth anniversaries only come once, so sounds of the organ. We were all left organ, and blended very well with the glorious, and our spirits were ebullient! why not?! somewhat lightheaded and limp by the orchestra, whose players were great But then, from the balcony, we were After dinner, we boarded the buses purity of the acoustic, the beauty of the sports to put up with the heat and tun- given sobering and terrible news from for a ride down to Troy for the main organ and the fine playing by all con- ing issues. Scot Huntington, whose organbuilding event of the convention: the reopening cerned. Many of us had tears in our eyes This organ is a singular musical trea- firm had sponsored this recital and pre- or “resurrection” of the 3-manual, 42- knowing how much that moment must sure. Much thought and much money pared the organ, that St. Patrick’s is very stop, 1882 J. H. & C. S. Odell organ in have meant to all the people in the hall will be required to bring it back fully close to being closed and the magnifi- the Music Hall, which occupies the who had donated months of love and with a complete restoration. Hats off to cent building demolished. His voice upper five floors of the 1875 Troy Sav- labor to finally make this sublime music all the men and women whose dedicated choking up, he asked us to look carefully ings Bank building—a magnificent possible. It was one of those unforget- work allowed us the privilege of hearing at the church, as it may be the last time structure built in the Italian Renaissance table, only-at-OHS moments. what it can be. Hats off, also, to the offi- we see it. O tempora, O mores. style. The hall has outstanding acoustics: Robinson then played Bach’s Prelude cials at Troy Savings Bank, who recog- With suddenly heavy hearts and shak- George Szell said “ . . . it is the finest and Fugue in A Minor, BWV 543, a nize and support this effort. ing heads we returned to the buses for a auditorium in the United States;” piece played by Samuel P. Warren at the Finally, hats off to the Organ Histori- ride to Saratoga’s Spa State Park where Harold Schonberg referred to it as “one organ’s inaugural program of November cal Society, which created a convention we were served a “Summer Grill” picnic, of the acoustical marvels of the world.” 5, 1890. It worked quite well on the worthy of its golden anniversary, worthy balm indeed for our troubled minds. We The organ is in need of a thorough Odell as Robinson gradually unveiled of the magnificent venues and instru- then crossed the Hudson River to restoration, but was made playable by a the instrument’s grace and power, ments it showcased, and worthy of the Schaghticoke, New York, and the 2- large crew of volunteer workers who adding more and more organ as he outstanding performers and technicians manual 1865 Giles Beach organ in The came from all over America, spending went—thrilling us at each step along the who brought them to life for us. The United Presbyterian Church. The organ months cleaning and repairing it for this way. We next heard Sigfried Karg- relaxed and gracious air they maintained was demonstrated by Christopher convention. The organ had not been Elert’s transcription of Wagner’s Pil- for the entire week made us feel truly Marks, assistant professor at the Uni- playable in nearly half a century. Along grims’ Chorus, followed by Scherzo welcomed, and that we had indeed versity of Nebraska at Lincoln. He with the 1864 Hook organ in Mechanics (from the Serenade), op. 35, no. 3 by come home. I opened with the charming Humoresque Hall in Worcester, Massachusetts, it Salomon Jadassohn, another piece from “L’organo primitivo” by Pietro A. Yon, stands as the only major 19th-century the 1890 inaugural concert. This was fun Frank Rippl is a graduate of Lawrence Uni- which highlighted the Stopped Diapa- concert hall with an original period because it used the Odell’s cheery Solo versity Conservatory of Music where he stud- son. Next was Dudley Buck’s Variations organ. But unlike the Worcester organ, Bells, described in the 2006 Organ Atlas ied with Miriam Clapp Duncan and Wolf- on a Scotch Air, op. 51, in which I took the Troy organ, except for a new blower, as “flat glockenspiel bars struck by hard gang Rübsam. He is co-founder of The Apple- ton Boychoir, coordinator of the Lunchtime great pleasure in the Clarionette and the is intact and unchanged. The bank felt piano-style hammers through an Organ Recital Series in the Appleton, Wiscon- Oboe! We then sang the hymn “God, acquired the organ in 1889. It had been escapement action.” We then enjoyed sin area, and has been organist/choirmaster at Whose Giving Knows No Ending” to the in a New York City mansion whose more of the soft sounds of the organ with All Saints’ Episcopal Church in Appleton for tune Beach Spring. Marks closed with owner declared bankruptcy. A wonder- the next two pieces: Rêverie du Soir 35 years. the world premier performance of Vari- ful Italianate case was designed for it, (from Suite Algérienne, op. 60) by Saint- ations on Beach Spring by composer and a few stops were added. The key- Saëns in a transcription by Guilmant, Photos provided by V. Hoyt.
30 THE DIAPASON Cover feature
Hupalo & Repasky Pipe Organs, were involved in this successful project: LLC, San Leandro, California Rick Celestino, Mark Dahlberg, John N. St. Maria Goretti Parish, Hupalo, Bill Klinger, Joe Lamberina, Scottsdale, Arizona Steve Repasky, Samuel Rohas, Jan Row- land, William Visscher, Shayne Ward, Hupalo & Repasky Pipe Organs Classic Organ Works, F. Booth & Son, bring Möller Opus 10,731 into the Ltd., P&S Supply Company, and Organ 21st century Supply Industries. Located due east of Phoenix, the —John Hupalo & Steve Repasky Scottsdale parish of St. Maria Goretti today boasts a healthy membership of Blessing and Program, December 1, 1,200 families. Established in 1967, by 2005 1971 the parish had constructed its pre- St. Maria Goretti Parish, Scottsdale, sent church building based on the floor Arizona plan of a Greek cross. Going up from Bishop Thomas Olmsted the cross arms of the floor are four Fr. Greg Schlarb, V.P., pastor hyperbolic arches, which meet to form a St. Maria Goretti Music Ministry center dome rising to a height of 70 Choir, Ann Weiss, director; David feet. In 1973 M. P. Möller, Inc. com- McDaniel, accompanist pleted its Opus 10,731 for St. Maria Robert Huw Morgan, organ recitalist Goretti parish consisting of 39 ranks in five divisions. Blessing Service Visually the Möller design at St. Let Us Go Rejoicing, B. Hurd Maria Goretti is reminiscent of the Psalm 66—Let All The Earth, M. Cadet Chapel organ in Colorado Haugen Springs. At St. Maria Goretti, the Great, Gloria, A. Vivaldi Choir, Swell, and Pedal are installed in a gallery over the north transept. Speak- Organ Recital ing from a balcony in the west transept Marcia from Symphony No. 3, C. M. is the Nave division. The large four- Widor manual console was placed in the choir Wie schön leuchtet der Morgenstern, area between the main part of the organ D. Buxtehude and the sanctuary. Fantasia in F minor, W. A. Mozart Unfortunately, the organ was installed Fantasia and Fugue on ‘Ad nos ad without service lights in the organ cham- salutarem undam’, F. Liszt bers. Any service person walking into the organ was not only faced with the formi- dable task of tuning a multi-layered GREAT organ, but also with attempting to fix 8v Principal 8v Bourdon numerous note failures. Without proper 8v Gemshorn lighting, these undertakings would have 4v Octave overwhelmed even the most seasoned 2v Waldflöte organ technician. The increasing inabili- IV Mixture ty to properly maintain the organ cou- Chimes pled with the popularity of guitar and MIDI piano accompaniments led the organ down a path toward oblivion. Its salvation CHOIR 8v Holz Gedeckt lay in the organ’s stunning visual design 8v Dulciana (a constant reminder to the parishioners 8v Unda Maris that they actually had a pipe organ) and 4v Koppelflöte the vision of a handful of people. 2v Flöten Principal 1 Inspired by the new guidelines on and provide a new console by Septem- make it a floating division. When com- 1 ⁄3v Larigot music for the Roman Catholic Church, ber 1, 2005? The answer was no. A com- pleted, the new three-manual console 8 Zajic Regal Ann Weiss, director of music and liturgy promise was therefore in order. We measured 47w from floor to the top of 8 Trompette en Chamade for the church, decided to take action. could releather the organ and have it the console lid. We installed a solid- Tremolo With the help and support of the pastor, playing by September. The new low- state switching and combination system MIDI Fr. Greg Schlarb, Weiss formed a plan to profile solid-state console would by in conjunction with optical key sensing. SWELL save the organ. A generous benefactor ready for the rededication on Decem- The cabinetry of the console incorpo- 16v Flute Conique (ext) was found within the parish who provid- ber 1. An agreement was reached, and rated the finest quality materials. They 8v Flute Conique ed the funds for a restoration and had the we started the work in May. were selected not only to match the case 8v Viole d’Gambe forethought to include provisions for The project began with the removal of the existing instrument, but also to 8v Viole Celeste future maintenance. With the blessings of the numerous reservoirs; there were blend with the details of the environ- 4v Geigen Octave 4v Flute Triangular of Bishop Thomas J. Olmsted, the pro- at least three per division. The term ment. The console shell is made from 2 2 ⁄3v Nazard ject to renovate the organ took shape. “impacted molar” took on an entirely quarter-sawn white oak with a tung oil 2v Harmonic Flute In April of 2005, Hupalo & Repasky new meaning. The intricate web of wind finish. A six-sided marquetry design 3 1 ⁄5v Tierce Pipe Organs (H&RPO) were contacted trunks was then removed. Next, all bot- taken from the church’s cast bronze III Plein Jeu to evaluate the organ’s condition. It was tom boards came down. All pipes were doors was incorporated into the upper 8v Trompette found that the Nave division, bearing the taken out for cleaning and fitted with side and back panels. The jambs and 4v Clarion (ext) full brunt of the late afternoon sun, had new stainless steel tuning slides. Wash- nameboard are European pear wood Tremolo suffered the most leather deterioration. ing of the pipes was begun outside the with a French polish. To accentuate the MIDI The remainder of the organ, located in church. As soon as the temperature connection between the organist’s fin- NAVE the north transept, was not far behind in reached 115°, Fr. Greg, acting like a gers and the keys, we prefer to use 16v Quintaten (prep) this respect. The church is cooled by a good shepherd, moved us into a more organic materials for key coverings. The 8v Montre large swamp cooler. Normally, an air- comfortable air-conditioned space in natural keys therefore were made of 8v Bourdon conditioning system reduces humidity in the parish hall. polished bone. The sharps are made of 8v Erzähler & Celeste a building, but the swamp cooler does By the end of the very hot summer of the darkest ebony known (diospyros 4v Italian Principal the opposite. This added humidity in the 2005, all the cleaned pipes with their mollis, often used in black dyes). Rose- 2v Flachflöte room caused severe corrosion on the new tuners were placed back in the wood key cheeks were chosen to con- III Cymbale (prep) metal tuners and the surface of the organ after service lights were installed trast with the pear wood. Ebony was MIDI exposed pipework. The large four-manu- and all the toe and rack boards were used for the hand-turned stop knobs. To PEDAL al console also exhibited typical leather vacuumed and cleaned. Before the distinguish the MIDI stops, mesquite, a 32v Untersatz (digital) failure, worn bushings, and corroded releathered pouch boards were native tree of the Southwest, was select- 16v Violone contacts. installed, all the pitman valves and ed. The console connects the organist 16v Bourdon By May of 2005, the church had decid- retainers were replaced. Next, the with the pipes in order to create music. 16v Flute Conique (Sw) ed to retain and restore the original numerous releathered regulators were Because of this, it is necessary for the 8v Octave Violone (ext) Möller chest actions and layout without put in place and wind lines reattached. console to be a pleasing and well- 8v Major Flute (ext) alterations. The console, however, was The organ was then made (minimally) planned tactile environment for the 8v Conique Flute (Sw) 4v Spitz Principal another matter. Due to its size, there was playable to the old four-manual console. musician. The music rack, stop faces, 2v Spitz Principal (ext) no sight line for the organist to any spot As far as the new console was con- pedalboard, and the adjustable bench 16v Contra Trompet (ext, Sw) in the church. A four-manual drawknob cerned, everyone at H&RPO agreed a must be all carefully and ergonomically 16v Zajic Regal (ext, Ch) console is not easy to see over. The bulky terraced drawknob console would solve located in order to work together and 8v Trompet (Sw) console also hindered the pianist’s view the sight line problems. A maximum assist the organist’s ability to communi- 4v Clarion (Sw) to the sanctuary. height of 48w was our goal. Mark cate through the instrument. MIDI Ann Weiss asked if we could build a Dahlberg, our design/engineer, was By November, the new console was smaller console yet have all the controls given the job of designing the console. in Scottsdale ready to be connected and NAVE PEDAL 16v Montre (ext) of the old Möller console. The new con- He developed a plan incorporating cast- by the first of December it was ready for 16v Subbass (main Ped Bourdon) sole would also need to be easily mov- ers directly inside the console thus elim- its debut. Dr. Robert Huw Morgan, 16v Quintaton (prep) able. Now for the question that may inating the need for a rolling platform. Stanford University Organist, was cho- 8v Octave Bass (manual) have been the deal breaker. Could we For the new console, it was decided to sen to be the rededication recitalist. 4v Super Octave (manual) finish releathering the entire instrument eliminate the top Nave manual and The following personnel and suppliers MIDI
NOVEMBER, 2006 31 New Organs
Orgues Létourneau Limitée, Saint- naturals with ebony accidentals. Stop Hyacinthe, Québec, Canada action throughout is electric, permitting The Pasquerilla Spiritual Center, a complete system of pistons with 32 The Pennsylvania State University, levels of memory. State College, Pennsylvania —Andrew Forrest The largest worship space of its kind in the United States, the Pasquerilla Photo credit: Andrew Forrest Spiritual Center at Penn State provides worship space for over 55 different reli- GREAT 16v Bourdon gious groups. Designed by Philadelphia 8v Principal architect James Oleg Kruhly, the wor- 8v Chimney Flute ship space evokes a sense of tranquility 4v Octave and dignity without appearing austere. 4v Spindle Flute Reflecting these same qualities, the visu- 2v Super Octave 1 al design of the new mechanical action 1 ⁄3v Mixture IV–V 2 pipe organ is the result of a joint effort 2 ⁄3v Cornet III between Mr. Kruhly and Létourneau. 8v Trumpet Tremulant Despite the challenge of designing the Swell to Great instrument around several large HVAC Petty-Madden Organbuilders, speech of the flue pipes; the reeds are ducts, the organ boasts a responsive key SWELL (enclosed) Hopewell, New Jersey, Op. 53 colorful, quick and consistent in attack action and excellent tonal projection into 8v Salicional Dobbs Chapel at Trinity Presbyter- and timbre; the ensembles are tight and the 700-seat worship space. 8v Voix Celeste (from G8) ian Church, Atlanta, Georgia cohesive, and the tonal style eclectic. The tonal design for the organ was 8v Lieblich Gedackt Petty-Madden has installed its second An organ should work as beautifully developed with the university’s former 4v Principal 4v Spire Flute organ at Trinity Presbyterian Church, as it sounds, too. The mechanical key- organ instructor, Ann Marie Rigler, and 2 2 ⁄3v Nazard Atlanta. The first, a large three-manual action is light and responsive, inasmuch the result is an instrument that can 2v Flageolet electro-pneumatic instrument built in as a smooth, sensitive tracker action was respond sensitively to both liturgical 3 1 ⁄5v Tierce 1 the 1980s, is located in the church’s pri- a “given” from the outset of the design requirements and organ repertoire. 1 ⁄3v Larigot mary worship space. The second instru- process. Instead of traditional wood, Subsequent to the completion of the 2v Mixture IV ment was commissioned for the recent- inert carbon fiber rods are used for the instrument, Dr. Rigler was appointed 16v Bassoon ly completed Dobbs Chapel at Trinity. trackers and the hornbeam tracker College Organist for William Jewell 8v Trumpet The new mechanical-action organ for squares are fitted with virtually friction- College in Liberty, Missouri, but 4v Clarion Dobbs Chapel is contained within a less acetal bearings, which ride on stain- returned to Penn State to perform the Tremulant case of painted and stained hardwoods. less steel axles. The wind chest pallets organ’s inaugural recital on November PEDAL In order to fulfill the church design and key channels are designed for opti- 6, 2005. Her program included works 16v Principal team’s vision of an organ with minimal mum wind supply to the pipes and min- by Craig Phillips, William Mathias (with 16v Subbass visual intrusion into the chancel, the imum “pluck.” Pneumatic tremulant the Penn State Concert Choir, Dr. Lynn 8v Octave organ case is unusually deep—eighteen controls are located outside the organ Drafall conducting), Jehan Alain, Hein- 8v Bass Flute feet to be exact—with the Swell division case in the blower room; thus, the trem- rich Reimann, Joe Utterback, J. S. Bach 4v Choral Bass 2 located behind the Great and Pedal. ulants are silent. The wind system for and Louis Vierne. 2 ⁄3v Mixture III Since most of the organ is tucked the organ is also silent. The wind trunks The organ features a two-manual and 16v Posaune 8v Trumpet behind a false wall, its physical massive- are constructed of birch and have multi- pedal console attached to the lower Great to Pedal ness is not apparent to the eye. ple-cut miters to minimize wind turbu- organ case. The manuals have bone- Swell to Pedal Planning, designing and producing an lence. Of particular interest is the con- covered naturals and ebony accidentals, organ typically present new challenges struction and location of the Swell divi- while the pedalboard features maple for the organbuilder. Throughout the sion. Positioned low in the rear of the entire project, mutual trust and respect case, the Swell must speak through the proved to be the coin of the realm, mak- Great, thereby creating a remarkable ing working conditions exceedingly cohesion with the latter. Second, the GREAT (Manual I) Mechanical key action pleasant and rewarding. The quality of thick walls and shutters of the Swell 8v Principal Electric stop action 8v Chimney Flute 8-level combination action talent and cooperation gathered around contain a dead air space sandwiched 4v Octave 8 general combinations the conference table produced extraor- between the inner and outer wooden 4v Hohl Flute 4 divisional combinations per division dinary results. The chapel architecture surfaces; all of this results in an extraor- 2v Block Flute 61-note manual compass 2 is lavishly elegant in its simplicity; the dinary expression rarely found in most 2 ⁄3 Sesquialtera II 32-note pedal compass acoustics—even for a space that seats organs. Indeed, with the shutters 2v Mixture IV Manual keys of laminated construction with less than 200—are as good as it gets; and closed, “full Swell” can only be heard 8v Trumpet polished bone covers on the natural keys the organ is ideally suited—both visual- faintly when coupled to the Great foun- Tremulant and polished ebony on the sharps ly and aurally—for its home. dation stops. A gradual pressure of the Swell to Great Pedal keys made of maple; sharps capped with African blackwood The quality of ingredients in large foot on the expression pedal unleashes a SWELL (Manual II) 70 mm (± 2.75w) wind pressure throughout part determines the quality of the fin- dramatic crescendo worthy of any 8v Viola ished product. Petty-Madden has long romantic literature ever written. 8v Viola Celeste Photo credit: Bynum Petty maintained and demonstrated that lead Finally, the organ case is totally inte- 8v Stopped Flute is a noble metal and that the popularity grated with the elegant and simple 4v Principal of organ pipes made with high tin con- architecture of the chapel. Graceful 4v Koppel Flute tent is based more on myth and miscon- Ionic columns on elevated pedestals 2v Octave Attention organbuilders: 1v Mixture IV For information on sponsoring a ception than common sense. All princi- support the entablature under the pedal 8v Trumpet pal pipework, including the polished towers, pipes of the Great Principal in 8v Oboe color cover of THE DIAPASON, façade, and open flutes are made from the center flat frame the window behind Tremulant contact Jerome Butera, Editor, an alloy that is 60% lead and 40% tin. the organ, and the raised panels of the THE DIAPASON, 3030 W. Salt The quantity of lead is further increased case mirror those found in the chapel PEDAL 16v Subbass Creek Lane, Suite 201, Arling- to 75% in the stopped flutes and the wainscoting. The recessed console is 8v Principal Bass ton Heights, IL 60005; Pedal Posaune. Of the flue pipes, only constructed of quarter-sawn red oak and 8v Gedackt Bass ph 847/391-1045; the Viola and Viola Celeste are made the pipe screens in the pedal towers are 4v Choral Bass fax 847/390-0408; predominantly of tin. The principal cho- bundles of metal cylinders held together 16v Posaune rus is at the same time bold yet gentle; with hand-carved wooden ribbons. Great to Pedal e-mail: [email protected] there is a certain vocal breathiness in the —Bynum Petty Swell to Pedal
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church Park Ridge, IL Pickle Piano & Church Organs 21 NOVEMBER Bloomingdale, IL This calendar runs from the 15th of the month Jonathan Dimmock; St. Luke Catholic of issue through the following month. The deadline Church, McLean, VA 7:30 pm is the first of the preceding month (Jan. 1 for Ryan Hulshizer; Church of St. Louis, King of Feb. issue). All events are assumed to be organ France, St. Paul, MN 12:35 pm recitals unless otherwise indicated and are grouped Christopher Babcock within each date north-south and east-west. •=AGO 22 NOVEMBER chapter event, • •=RCCO centre event, +=new Thanksgiving Evensong; Emmanuel Church, St. Andrew’s by the Sea, organ dedication, ++= OHS event. Chestertown, MD 6 pm Information cannot be accepted unless it spec- Ingrid Pierson; Cathedral of St. John the Hyannis Port ifies artist name, date, location, and hour in writ- Evangelist, Milwaukee, WI 12:15 pm ing. Multiple listings should be in chronological Lee Nelson; First Presbyterian, Arlington Christ the King, Mashpee order; please do not send duplicate listings. THE Heights, IL 12:10 pm DIAPASON regrets that it cannot assume responsi- bility for the accuracy of calendar entries. 25 NOVEMBER Marvin Mills; Franciscan Monastery, Wash- ington, DC 12 noon
UNITED STATES 26 NOVEMBER East of the Mississippi Bach, Cantata 26; Holy Trinity Lutheran, New York, NY 5 pm 15 NOVEMBER Anna Myeong; St. Thomas Church Fifth Russell Weismann; Battell Chapel, Yale Uni- Avenue, New York, NY 5:15 pm versity, New Haven, CT 12:30 pm Ben Woodward; Cathedral of St. Philip, K. Scott Warren; St. Ignatius Loyola, New Atlanta, GA 3:15 pm York, NY 7 pm Choral concert, with orchestra; St. Ignatius 27 NOVEMBER Loyola, New York, NY 8 pm Saint-Saëns, Christmas Oratorio; Trinity Unit- Jeremy Bruns; Princeton University Chapel, ed Methodist, New Albany, IN 7:30 pm Princeton, NJ 12:30 pm Andrew Peters, with trumpet and flute; Bel- John Weissrock; Cathedral of St. John the mont Heights Baptist, Nashville, TN 7:30 pm Evangelist, Milwaukee, WI 12:15 pm Katie Ann McCarty; Elliott Chapel, Presby- George Williams; First Presbyterian, Arling- terian Homes, Evanston, IL 1:30 pm ton Heights, IL 12:10 pm 28 NOVEMBER 16 NOVEMBER James Metzler; Park Congregational, Grand Schola Cantorum; Sprague Memorial Hall, Rapids, MI 12:15 pm Yale University, New Haven, CT 8 pm Laura Edman; Church of St. Louis, King of Brandon Dumas; Church of the Holy Family, France, St. Paul, MN 12:35 pm New York, NY 12:45 pm Choral concert, with organ and instruments; 29 NOVEMBER Church of St. Luke in the Fields, New York, NY Alistair Nelson; Dwight Chapel, Yale Univer- 8 pm sity, New Haven, CT 12:30 pm Choral concert; Mary, Queen of the Universe Lessons & Carols; Second Congregational, Shrine, Orlando, FL 7:30 pm Memphis, TN 11 am Douglas Williams; First Presbyterian, Arling- 17 NOVEMBER ton Heights, IL 12:10 pm Peter Richard Conte; Christ Church, Episco- pal, Cambridge, MA 7:30 pm 1 DECEMBER Chandler Noyes, silent film accompaniment; Christmas concert; Greene Memorial United Methuen Memorial Music Hall, Methuen, MA 8 pm Methodist, Roanoke, VA 6:30 pm, also 12/2 Bradley Hunter Welch; Storrs Congregation- Samuel Metzger; Immanuel Lutheran, Tav- al, Storrs, CT 8 pm ernier, FL 8 pm Marek Kudlicki; Westminster Presbyterian, Lessons & Carols; Holy Trinity Lutheran, Albany, NY 7:30 pm Akron, OH 7:30 pm Peter Dubois; Third Presbyterian, Rochester, Atlanta Schola Cantorum; St. Bartholomew’s NY 8 pm Episcopal, Atlanta, GA 8 pm Judith Hancock; St. Mark’s Episcopal, Handel, Messiah; Rockefeller Chapel, Chica- Philadelphia, PA 7:30 pm go, IL 8 pm Todd Wilson; Wertheim Performing Arts Center, Miami, FL 8 pm 2 DECEMBER Philip Brisson; St. Bartholomew’s Episcopal, Christmas concert; Methuen Memorial Music Atlanta, GA 7:30 pm Hall, Methuen, MA 7:30 pm Birmingham-First Chamber Choir; First Pres- Paul Bisaccia, piano; Seabury, Bloomfield, byterian, Birmingham, MI 7:30 pm CT 7:30 pm Bach, Christmas Oratorio (Part II); Belding Theater, Hartford, CT 8 pm 18 NOVEMBER Yale Camerata; Battell Chapel, Yale Universi- Kevin Clemens; Church of St. John the ty, New Haven, CT 8 pm Evangelist, Severna Park, MD 7 pm Steinbach and Helvey Piano Duo; Twelve Andrew Peters, with trumpet and flute; Bald- Corners Presbyterian, Rochester, NY 8 pm win Wallace College, Berea, OH 8 pm Atlanta Schola Cantorum; Holy Trinity Episco- pal, Decatur, GA 8 pm 19 NOVEMBER David Lamb; First Presbyterian, Franklin, IN Hans-Ola Ericsson; Woolsey Hall, Yale Uni- 5 pm versity, New Haven, CT 8 pm Handel, Messiah; St. Clement, Chicago, IL +Arnold Ostlund, Jr.; West Center Church, 7:30 pm Bronxville, NY 3 pm Guido Graumann; The Presbyterian Church, 3 DECEMBER Irvington-on-Hudson, NY 4 pm Paul Jacobs; Mead Chapel, Middlebury, VT Stephen Hamilton; Church of the Holy Trin- 3 pm ity (Episcopal), New York, NY 4 pm Richard Webster; Church of the Advent, Terrance Flanagan; Cathedral of St. Patrick, Boston, MA 4:30 pm New York, NY 4:45 pm Bach, Cantata 139; Holy Trinity Lutheran, Lessons & Carols; Church of the Advent, New York, NY 5 pm Boston, MA 5 pm Stephen Main; St. Thomas Church Fifth Paul Bisaccia, piano; The Arbors, Manches- Avenue, New York, NY 5:15 pm ter, CT 2:45 pm ROBERT GLASGOW David Schelat; Christ Church, New Bach, Christmas Oratorio (Part II); Belding Antone Godding Antone Godding Theater, Hartford, CT 3 pm Brunswick, NJ 6:30 pm, Vespers at 6 pm PROFESSORNicholsE HillsMERITUS Ken Cowan; Calvary Episcopal, Pittsburgh, Choral Evensong; Trinity Episcopal, Hartford, Nichols Hills PA 4 pm CT 5 pm TheUnited University Methodist of Michigan Church United Methodist Church Choral Evensong; St. John’s Episcopal, Steinbach and Helvey Piano Duo; Twelve OklahomaAnn Arbor City Oklahoma City Hagerstown, MD 5:30 pm Corners Presbyterian, Rochester, NY 10:30 am Karel Paukert; St. Paul’s Episcopal, Cleve- Handel, Messiah; The Presbyterian Church, land Heights, OH 4 pm Irvington-on-Hudson, NY 4 pm Atlanta Baroque Orchestra; Peachtree Road Bach, Cantata 140; Holy Trinity Lutheran, LORRAINELORRAINE BRUGH, BRUGH, Ph.D.Ph.D. United Methodist, Atlanta, GA 3 pm New York, NY 5 pm A two-inch +Marek Kudlicki, with orchestra; St. Stanis- Brian Swager; St. Thomas Church Fifth laus Kostka, Bay City, MI 4 pm Avenue, New York, NY 5:15 pm Associate Professor Handel, Messiah; Christ Church, New Professional Card Craig Cramer; Independent Presbyterian, University Organist Birmingham, AL 4 pm Brunswick, NJ 7:30 pm in THE DIAPASON Glen Ellyn Children’s Chorus; First Presbyter- Advent Carol Service; St. Peter’s Episcopal, ian, Arlington Heights, IL 4 pm Morristown, NJ 5 pm Valparaiso University For information on rates and Thomas Foster; St. Chrysostom’s, Chicago, Advent Lessons & Carols; Church of St. John Valparaiso, IN specifications, contact: IL 2:30 pm the Evangelist, Severna Park, MD 7 pm Stephen Betancourt; St. Josaphat Roman Britten, A Ceremony of Carols; Church of the www.valpo.edu Catholic, Chicago, IL 3 pm Covenant, Cleveland, OH 3 pm Jerome Butera Louise Bass, with brass; St. James Episco- Huw Lewis; Christ United Methodist, Mariet- [email protected] 219-464-5084 pal Cathedral, Chicago, IL 4 pm ta, OH 3 pm 847/391-1045 Michael Shawgo; First United Methodist, Advent Procession; Cathedral Church of St. [email protected] Oak Park, IL 4 pm Paul, Detroit, MI 4 pm
NOVEMBER, 2006 33 Advent Lessons & Carols; Cathedral Church Lessons & Carols; St. Peter’s Episcopal, Mor- of the Advent, Birmingham, AL 9 & 11 am ristown, NJ 11:15 am North Shore Choral Society; Saints Faith, Advent Lessons & Carols; Christ Church, Hope & Charity Church, Winnetka, IL 2:30 pm New Brunswick, NJ 6 pm Handel, Messiah; St. Clement, Chicago, IL Andrew Scanlon, with choir; Heinz Memorial 3:30 pm Chapel, University of Pittsburgh, Pittsburgh, PA Advent Lessons & Carols; St. James Episco- 3 pm pal Cathedral, Chicago, IL 4 pm Advent Lessons & Carols; St. John’s Episco- Advent Vespers; Rockefeller Chapel, Chica- pal, Hagerstown, MD 10:15 am go, IL 5 pm Mozart, Vesperae Solennes de Confessore; First Presbyterian, Lynchburg, VA 5 pm Brian Jones 4 DECEMBER Lessons & Carols; Grace Episcopal, The Brian Jones Sonia Kim; Woolsey Hall, Yale University, Plains, VA 5 pm Director of Music Emeritus New Haven, CT 8 pm Lessons & Carols; Cathedral Church of St. Paul, Detroit, MI 4 pm TRINITY CHURCH 5 DECEMBER Choral concert; Park Congregational, Grand BOSTON Paul Bisaccia; McAuley, West Hartford, CT Rapids, MI 5 pm 3 pm Holiday brass concert; First Presbyterian, John Mueller; St. Paul’s Episcopal, Winston- Birmingham, MI 7:30 pm Salem, NC 7 pm Choral concert; Cathedral of St. Philip, Jason Alden; Church of St. Louis, King of Atlanta, GA 3:15 pm Brian Jones France, St. Paul, MN 12:35 pm David Lamb; St. Meinrad ArchAbbey Church, Brian Jones St. Meinrad, IN 3 pm Director of Music Emeritus 6 DECEMBER South Bend Chamber Singers; Church of Our John Lowe Jr.; Morrison United Methodist, Lady of Loretto, Notre Dame, IN 7:30 pm TRINITY CHURCH Leesburg, FL 12 noon Anonymous 4; St. James Episcopal Cathe- Peter Richard Conte; All Saints Episcopal, dral, Chicago, IL 4 pm BOSTON Atlanta, GA 7:30 pm Jim Fackenthal, carillon; Rockefeller Chapel, Chicago, IL 5 pm 7 DECEMBER Carols for Christmas; Christ Church Cathe- 18 DECEMBER DAVID K. LAMB, D.MUS. DDAVIDAVID K.K. LLAMBAMB,, D.MD.MUSUS.. dral, Hartford, CT 12:05 pm Paul Bisaccia, piano; The Gables, Farming- Paul Bisaccia, piano; Covenant Village, ton, CT 2 pm Director of Music/Organist DirectorDirector ofof Music/OrganistMusic/Organist Cromwell, CT 7:45 pm Bradley Hunter Welch; Woolsey Hall, Yale 19 DECEMBER First United Methodist Church FirstFirst UnitedUnited MethodistMethodist ChurchChurch University, New Haven, CT 8 pm Columbus, Indiana Ray Cornils, with choir and brass; Portland Columbus,Columbus, IndianaIndiana City Hall, Portland, ME 7:30 pm 812/372-2851 812/372-2851812/372-2851 9 DECEMBER Choralaires; Park Congregational, Grand David Lang; Franciscan Monastery, Wash- Rapids, MI 12:15 pm ington, DC 12 noon David Lamb; Central Presbyterian, Louisville, Christmas concert; St. Lorenz Lutheran, KY 7 pm Frankenmuth, MI 6:30 pm 20 DECEMBER AMES ETZLER 10 DECEMBER J R. M John Scott; St. Thomas Church Fifth Christmas concert; St. Ignatius Loyola, New Avenue, New York, NY 6:15 pm TRINITY CATHEDRAL York, NY 2 pm, 4:30 pm Bach Vespers; Holy Trinity Lutheran, New LITTLE ROCK 21 DECEMBER York, NY 5 pm William Atwood; Church of the Holy Family Ben Woodward; St. Thomas Church Fifth (The United Nations Parish), New York, NY Avenue, New York, NY 5:15 pm 12:45 pm Vox Fidelis; Christ Church, New Brunswick, Todd Wilson, with Burning River Brass and NJ 6 pm Cleveland Orchestra Youth Chorus; Severance •Christmas concert; John Wesley United Hall, Cleveland, OH 8 pm JJAMES R. METZLER Methodist, Hagerstown, MD 4 pm Advent Lessons & Carols; Camp Hill Presby- 22 DECEMBER PARKTCRINITYONGREGATIONALCATHEDRALCHURCH terian, Camp Hill, PA 8:30 am, 11 am Paul Bisaccia, piano; Chatfield, West Hart- GRAND RAPIDS, MICHIGAN Handel, Messiah; Grace Lutheran, Lancaster, LITTLE ROCK PA 4 pm ford, CT 7:45 pm Lessons & Carols; First Presbyterian, Pitts- burgh, PA 4 pm 23 DECEMBER Cantate; First Presbyterian, Lynchburg, VA 3 Ronald Stolk; Franciscan Monastery, Wash- pm ington, DC 12 noon Steinbach and Helvey Piano Duo; First Pres- byterian, Gastonia, NC 7 pm 24 DECEMBER Christmas concert; Peachtree Road United Lessons & Carols; Camp Hill Presbyterian, Methodist, Atlanta, GA 5:30 pm Camp Hill, PA 5 pm, 7 pm, 9 pm Christmas concert; St. Lorenz Lutheran, Frankenmuth, MI 1:30 & 4:30 pm 31 DECEMBER Saint-Saëns, Christmas Oratorio; First United Lessons & Carols; Church of the Advent, Methodist Church, Columbus, IN 9 am Boston, MA 5 pm David Lamb; Howard Park Christian Church, Choral Evening Prayer; Church of the Immac- Clarksville, IN 7 pm ulate Conception, Montclair, NJ 8:30 pm Lessons & Carols; Church of Our Lady of Thomas DeWitt; Morrison United Methodist, Loretto, Notre Dame, IN 7:30 pm Leesburg, FL 8 & 10 pm Advent Lessons & Carols; Church of the Holy •Mary Vessels, Keith Norrington, Linda Comforter, Kenilworth, IL 5 pm DeRungs, David Lamb, Judith Miller, Gary Christmas concert; First Presbyterian, Arling- Pope, Theresa Bauer; St. Mary’s RC Church, ton Heights, IL 4 pm, also 12/17 New Albany, IN 7 pm Lessons & Carols; St. James Episcopal, Chicago, IL 4 pm UNITED STATES West of the Mississippi Cathedral Church of St. John 11 DECEMBER q q x Lessons & Carols; Morrison United Methodist, Mary Mozelle Albu uer ue, New Me ico Leesburg, FL 7:30 pm 15 NOVEMBER www.stjohnsabq.org Associate Organist 505-247-1581 Steve Gentile & Frances Nobert; Cathedral 12 DECEMBER of Our Lady of the Angels, Los Angeles, CA Ralph Johansen; Church of St. Louis, King 12:45 pm The National of France, St. Paul, MN 12:35 pm Presbyterian Church 17 NOVEMBER Wa shington, D C 13 DECEMBER James Welch; Trinity Episcopal Cathedral, Christian Lane; Woolsey Hall, Yale Universi- Reno, NV 7:30 pm 703.898.9609 ty, New Haven, CT 12:30 pm Dana Robinson & Paul Tegels; St. Mark’s Cathedral, Seattle WA 7:30 pm www.PipeOrganPro.com 14 DECEMBER Herald Vocal Arts Ensemble; Mary, Queen of 18 NOVEMBER “The Sights and Sounds Q x of the Pipe Organ” Iain uinn Ma ine Thevenot the Universe Shrine, Orlando, FL 7:30 pm Paul Jacobs; Mount Olive Lutheran, Min- Director of Associate Organist- neapolis, MN 4 pm Cathedral Music Choir Director 15 DECEMBER David Dahl, with violin; Christ Church Epis- Christmas choral concert; First Presbyterian, copal, Tacoma, WA 8 pm Birmingham, MI 7:30 pm Atlanta Boy Choir; Peachtree Road United 19 NOVEMBER Cathedral Church of StA. John four-inch Methodist, Atlanta, GA 7:30 pm, also 12/16 Marilyn Keiser; Bates Recital Hall, University Albuquerque, New Mexico A two-inch Sursum Corda; Cathedral Church of the of Texas, Austin, TX 3 pm www.stjohnsabq.org Advent, Birmingham, AL 12:30 pm La Follia; Christ the King Lutheran, Houston, 505-247-1581Professional Card TX 5 pm Professional Card 17 DECEMBER Choral concert; St. Stephen’s Presbyterian, in THE DIAPASON Lessons & Carols; South Church, New Fort Worth, TX 7:30 pm in THE DIAPASON Britain, CT 4 pm Laudamus Chamber Chorale; St. John’s Handel, Messiah; Trinity Church, New York, Lutheran, Fort Collins, CO 3 pm For information on rates and NY 3 pm Maxine Thevenot & Iain Quinn; Cathedral No additional charge forspecifications, photos contact: Lessons & Carols; The Presbyterian Church, Church of St. John, Albuquerque, NM 4 pm Irvington-on-Hudson, NY 4 pm Choral concert; Cathedral of the Madeleine, For information on rates and specifications,Jerome Butera contact Lessons & Carols; The Church of the Holy Salt Lake City, UT 8 pm Trinity (Episcopal), New York, NY 4 pm Angela Kraft Cross; Cathedral of St. Mary [email protected] Bach, Magnificat; Holy Trinity Lutheran, New Iain Quinn JeromeMaxine Thevenot Butera, 847/391-1045 of the Assumption, San Francisco, CA 3:30 Director of Associate Organist- 847/391-1045 York, NY 5 pm pm Cathedral Music [email protected] Director David Arcus; St. Thomas Church Fifth Steve Gentile & Frances Nobert; Trinity Avenue, New York, NY 5:15 pm Lutheran, Manhattan Beach, CA 4 pm
34 THE DIAPASON 25 NOVEMBER 17 DECEMBER Paul Jacobs; First Presbyterian, Livermore, David Higgs; Davies Symphony Hall, San CA 8 pm Francisco, CA 7 pm RICHARD M. PEEK 26 NOVEMBER 18 DECEMBER IN MEMORIAM Robert Clark; Pinnacle Presbyterian, Scotts- Christmas carol service; Cathedral of the dale, AZ 4 pm Madeleine, Salt Lake City, UT 8 pm May 17, 1927–November 28, 2005 Mark Bruce; Cathedral of St. Mary of the Assumption, San Francisco, CA 3:30 pm 19 DECEMBER Jane Parker-Smith; Walt Disney Concert Christmas carol service; Cathedral of the Hall, Los Angeles, CA 7:30 pm Madeleine, Salt Lake City, UT 8 pm
1 DECEMBER 20 DECEMBER Robert Morgan; St. Maria Goretti, Scotts- Christmas Lessons & Carols; Cathedral dale, AZ 7:30 pm Church of St. John, Albuquerque, NM 7 pm
2 DECEMBER 24 DECEMBER James Welch; The Church of Jesus Christ of Christmas carol service; Cathedral of the Latter-day Saints, Palo Alto, CA 4:30 pm Madeleine, Salt Lake City, UT 4 pm
3 DECEMBER 31 DECEMBER VocalEssence; Plymouth Congregational, Christmas Lessons & Carols; St. Stephen’s Minneapolis, MN 4 pm Presbyterian, Fort Worth, TX 10 am Joe Utterback Bach Choir and Orchestra; Christ the King James Welch; St. Mark’s Episcopal, Palo Lutheran, Houston, TX 5 pm Alto, CA 8 pm COMMISSIONS & CONCERTS Advent Lessons & Carols; Cathedral Church of St. John, Albuquerque, NM 4 pm 732 . 747 . 5227 Advent Lessons & Carols; All Saints’ Episco- INTERNATIONAL pal, Beverly Hills, CA 5 pm 15 NOVEMBER 4 DECEMBER Roderich Kreile; Kreuzkirche, Dresden, Ger- many 8 pm Ken Cowan; Ridglea Presbyterian, Fort Worth, TX 7:30 pm 17 NOVEMBER Gordon Atkinson; St Andrew’s Cathedral, 7 DECEMBER Sydney, Australia 1 pm VocalEssence; St. Andrew’s Lutheran, Mah- tomedi, MN 7:30 pm 19 NOVEMBER Mozart, Requiem; St. Katharinen, Oppen- 8 DECEMBER heim, Germany 6 pm Carlene Neihart, with choir; New Reform Eric Lebrun; St. Joseph, Bonn-Beuel, Ger- Temple, Kansas City, MO 6 pm many 7 pm Bernhard Foccroulle; St. Nikolaus, Bens- DONALD W. WILLIAMS 9 DECEMBER berg, Germany 8:30 pm VocalEssence; Normandale Lutheran, Edina, IN MEMORIAM MN 7:30 pm 20 NOVEMBER I M Ton Koopman, organ and harpsichord; Salle August 5, 1939–September 22, 2005 10 DECEMBER Métropole, Lausanne, Switzerland 8:30 pm VocalEssence; Plymouth Congregational, Minneapolis, MN 4 pm 21 NOVEMBER Bells in Motion; First Presbyterian, Davenport, Ton Koopman, organ and harpsichord; Salle IA 4 pm Métropole, Lausanne, Switzerland 8 pm Christmas concert; Cathedral Basilica of St. Davis Wortman RONALD WYATT Louis, St. Louis, MO 2:30 pm 22 NOVEMBER Advent Lessons & Carols; St. Stephen’s Samuel Kummer; Frauenkirche, Dresden, St. James’ Church Trinity Church Presbyterian, Fort Worth, TX 11 am Germany 8 pm Gerre Hancock, Choral Evensong; St. Mark’s New York Galveston Episcopal, San Antonio, TX 4 pm 26 NOVEMBER Douglas Cleveland; Rozsa Centre, The Uni- 11 DECEMBER versity of Calgary, Calgary, AB, Canada 3 pm Schola Cantorum of Texas; St. Stephen’s Presbyterian, Fort Worth, TX 7:30 pm 29 NOVEMBER Samuel Kummer; Kathedrale, Dresden, Ger- 13 DECEMBER many 8 pm Marcia van Oyen mvanoyen..com David Higgs; Walt Disney Concert Hall, Los Angeles, CA 8 pm 3 DECEMBER Handel, Messiah; Cathedral of Our Lady of Carolyn Shuster Fournier & Dominique Plymouth First United Methodist Church,,Plymouth,,Michigan the Angels, Los Angeles, CA 8 pm Fournier; Saint-André, Paris, France 6 pm
15 DECEMBER 5 DECEMBER John Scott; All Saints’ Episcopal, Fort Worth, Gillian Weir; Alton Parish Church, Alton, TX 7:30 pm Hants, UK 8 pm Britten, A Ceremony of Carols; Cathedral Church of St. John, Albuquerque, NM 7 pm 6 DECEMBER Christmas carol sing-along; Trinity Episcopal, Holger Gehring; Kreuzkirche, Dresden, Ger- Santa Barbara, CA 7:30 pm many 8 pm
Cathedral Church of St. John Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581
N Another Liszt List - #0645...exemplaryscoresbyatitanofthe O keyboard who liberated the organ in ways we are only beginning to V fully appreciate. E Hindemith, Howells and Hanson - #0646...wecelebrateaGerman, M Iain Quinn Maxine Thevenot B an Englishman and an American whose careers embraced the pipe Director of Associate Organist- Cathedral Music Choir Director E organ in different yet harmonious ways. R Postcards from a Tour- #0647. . . some lively aural reminders of the fun we had during our recent visit to southern Germany and beyond. 2 0 In Praise of Humanity - #0648...acommemorativetributeto Carol Williams 0 American composers Calvin Hampton, Chris DeBlasio and Kevin 6 Oldham, and a meditation for World AIDS Day 2006
Website: www.melcot.com E-mail: [email protected]
NOVEMBER, 2006 35 12 DECEMBER DAVID CARLE, St. James United du nun, Jesu, BWV 650, Bach; Chant de Paix, Sinfonia from Cantata No. 29, Trio Sonata in Donald Mackenzie; Alexandra Palace, Lon- Church, Montreal, QC, Canada, July 4: Vol- Langlais; The Ash Grove, Cherwien; Andante G, BWV 530, Bach; O wie selig seid ihr doch, don, UK 7:30 pm untary and Fugue in C (Twelve Voluntaries sostenuto (Symphonie Gothique, op. 70), ihr Frommen, Est ist ein Ros’ entsprungen and Fugues for Organ or Harpsichord, with Widor; Scherzo (Suite Modale, op. 43), (Chorale Preludes, op. 122), Brahms; Varia- 17 DECEMBER rules for tuning), Handel; The Good Shep- Peeters; Final (Symphony No. 1, op. 14), tions on America, Ives; Concerto in g, op. 4, Handel, Messiah; St. Katharinen, Oppen- herd (Wood Works on Original Themes), Vierne. no. 1, Handel; Sicilienne, Toccata (Suite, op. heim, Germany 6 pm Wood; Psalm Prelude (Set Two, No. 2), How- 5), Duruflé. ells; Introduction, Aria (Farewell to Arms), RODNEY GEHRKE, Grace Lutheran 20 DECEMBER Finzi; Finzi’s Rest (Howells’s Clavichord), Church, Tacoma, WA, June 25: Prelude, JAMES R. JONES, Grace Episcopal Carolyn Shuster Fournier; La Trinité Howells; Cortège Académique, Macmillan. Largo, and Fugue in C, BWV 545, Sei gegrüs- Church, Charleston, SC, June 6: Phoenix Church, Paris, France 3 pm set, Jesu gütig, BWV 768, Prelude in E-flat, Processional, Locklair; Präludium und Fuga PHILIP T.D. COOPER, Old Salem Inc., BWV 552.i, Kyrie, Gott Vater in Ewigkeit, in a, Buxtehude; Concerto in A-flat, Vivaldi; 31 DECEMBER Winston-Salem, NC, June 11: Toccata ex F BWV 669, Christe, aller Welt Trost, BWV Prayer of St. Gregory, Hovhaness; “ . . . Ralf Bibiella; St. Katharinen, Oppenheim, Dur, Fantasia ex Es Dur, Fuga ex C Dur, 670, Kyrie, Gott heiliger Geist, BWV 671, Dies beside the still waters.” (Windows of Com- Germany 8 pm Herr Gott, dich loben alle wir, Pachelbel; sind die heilgen zehen Gebot, BWV 678, Wir fort, Book I), Locklair; Choral varié sur le Aria Terza ex E Dur, de Neufville; Vom glauben all an einen Gott, BWV 680, Christ, thème du Veni creator, op. 4, Duruflé. Himmel hoch, da komm ich her, Du unser Herr, zum Jordan kam, BWV 684, Aus Friedensfürst, Herr Jesu Christ, J.B. Bach; tiefer Not schrei ich zu dir, BWV 686, Fugue MARILYN KEISER, Grace Cathedral, Organ Recitals Concerto in B Dur del Sigr. Taglietti, in E-flat, BWV 552.ii, Bach. San Francisco, CA, June 4: Fanfare, Wyton; Walther; Fugue in b on a Theme of Corelli, Prelude on Psalm 130:1, Howells; Vater BWV 579, Wir glauben all’ an einen Gott, CLAUDE GIRARD, St. James United unser im Himmelreich, Kyrie! Gott Heiliger MAHLON E. BALDERSTON, JR., Vater, BWV 740, Bach; Komm, O komm, du Church, Montreal, QC, Canada, June 6: Geist, Bach; Introduction and Passacaglia EMMA LOU DIEMER, & DAVID A. Geist des Lebens, Kirnberger; Trio in C Andante (Concerto No. 1 in G, op. 4), Han- (Sonata No. 8 in e), op. 132, Rheinberger; GELL, Trinity Episcopal Church, Santa Bar- Dur, Krebs; Es ist das Heil uns kommen her, del; Grand-Choeur, Chauvet; Étude, Loret; Choral Varié sur le Veni Creator, Duruflé; bara, CA, June 18: Ascription, Purvis; He is Anonymous; Concerto in C Dur nach Marche/Thème et variations, Lasceux; Sicili- . . . Hallowed be Thy Name, We owe Thee our God and Father, Veni Redemptor Gen- Johann Ernst, BWV 595, Bach. enne (Pélléas et Mélisande), Fauré; No. 4 thankfulness and praise . . . Let His work tium, Balderston; Joyful, Joyful, We Adore (Quatre Postludes pour orgue), Langlais; your pleasure be (Salem Sonata, Locklair); Thee, I Danced in the Morning, Though I KEN COWAN, First Presbyterian Prélude et fugue en mi mineur, Guilmant; Sur Carillon de Westminster (Pièces de Fan- May Speak, Ode to Beethoven’s Ninth, Ode Church, Neenah, WI, June 4: Introduction, les octaves (Six Études pour orgue, no. 6), taisie, op. 54), Vierne. to Simple Gifts (Elegy), Ode to Beethoven’s Passacaglia, and Fugue, Willan; Scherzo Demessieux. Ninth and Simple Gifts, Diemer; Livre Pre- (Symphony No. 6, Op. 59), Clair de lune JEAN-WILLY KUNZ, St. James United mier pour l’Orgue, Marchand; Le Coucou, (Pièces de Fantaisie), Vierne; Fantasia in f, K. GISÈLE GUIBORD, St. James United Church, Montreal, QC, Canada, June 20: Daquin; Variations on Rouen, Gell. 608, Mozart; Toccata in E, BWV 566, Bach; Church, Montreal, QC, Canada, July 25: Sonate, op. 65, no. 6, Mendelssohn; Varia- Salamanca, Bovet; Farewell to the Evening Fugue en do majeur, BuxWV 174, Buxte- tions sur un thème de Clément Janequin, JA CHARLES BARLAND, Queen of the Star (Tannhäuser), Prelude to Die Meis- hude; Ach wie nichtig, ach wie flüchtig, 118, Alain; Andante in F, K. 616, Mozart; Rosary Chapel, Sinsinawa, WI, July 5: Pièce tersinger, Wagner. Böhm; Andante Largo (Voluntary, op. 6, no. Scherzo, op. 2, Duruflé; Pièce Héroïque, d’Orgue, BWV 572, Bach; Amazing Grace, 5), Stanley; Concerto in F, HWV 295, Han- Franck. Hobby, Cherwien; Voluntary in G, Taylor; PHILIP CROZIER, Eglise Saints-Anges, del, arr. Biggs; Prière, Tanguay; Grand Cantabile, Zeuner; Festival Postlude in G, Lachine, Montreal, QC, Canada, June 7: Choeur, Reed. PETER KURDZIEL, Sinsinawa Mound, Thayer; O Beautiful for Spacious Skies, Pièce Héroïque, Franck; Six Interludes, Sinsinawa, WI, June 21: Toccata in Seven, Wold; Variations on America, Wesley; The Bédard; Sonata Eroïca, op. 94, Jongen. DAVID HATT, Washington State Univer- Rutter; Praeludium in e, Bruhns; Herr Jesu Peace may be exchanged (Rubrics), Locklair; sity, Pullman, WA, July 3: Toccata, Mixolydi- Christ, dich zu uns wend, Walther; Liebster Sonata No. 4 in B-flat, op. 65, Mendelssohn. JOSEPH DANIEL, Cathedral of St. John an mode, Frescobaldi; Allein Gott in der Höh Jesu, wir sind hier, Praeludium et Fuga in b, the Baptist, Charleston, SC, June 7: Lied, sei Ehr, Bach; Five Chorales on the Antiphon BWV 544, Bach; Intermezzo, Scherzo (Five THOMAS BROWN, The Temple, Inde- Berceuse, Scherzetto (Pièces en style libre, of the Magnificat, for the Feast of Corpus Pieces), Festival (Two Pieces), Willan; Trum- pendence, MO, June 4: Plain-chant du pre- op. 31), Vierne; Symphonie IV, op. 13, no. 4, Christi: Alleluia, Falcinelli; Donne Secours, pet Tune, Jansen; Flute Solo, Arne; Voluntary arr. Johnson; Remembrance, Kreck; Toccata, mier Kyrie, en taille, Fugue sur les Jeux Widor. on Nettleton, Jenkins; Voluntary on Simple op. 7, Barié; Paduana Lachrimae, Sweelinck; Gifts, arr. Fox; Sonata No. 2 in c, op. 65, no. d’Anches, Tierce en taille, Offertoire sur les Feux Follets, Testify!, Chorale Vierne; Lee; Triptych on Wondrous Grands Jeux (Messe Pour les Paroisses), MICHAEL J. ELSBERND, Sinsinawa Variations on Arlington, Hatt; Passacaglia, 2, Mendelssohn; Couperin; Andante sostenuto (Symphonie Mound Center, Sinsinawa, WI, June 28: Pre- Buxtehude; Introduction and Passacaglia, Love, Palmer; Fanfare, Lemmens. Gothique, op. 70), Widor; Scherzo (Dix lude and Fugue in g, Bruhns; Wachet auf, op. 63, nos. 5-6, Reger; Pedalexercitum on Pièces), Gigout; Variations sur un vieux Noël, ruft uns die Stimme, BWV 645, Meine Seele The Star-Spangled Banner, Hatt. ARTHUR LAMIRANDE, Basilica of Sts. Dupré; Cathédrales (Pièces de fantaisie, op. 55, erhebt den Herren, BWV 648, Christ, unser Peter & Paul, Lewiston, ME, June 24: Pre- Herr, zum Jordan kam, BWV 684, Kommst no. 3), Vierne; Toccata (Suite, op. 5), Duruflé. GREGORY HOMZA, Cathedral of St. lude and Fugue in A, Schmidt; Introduction Luke and St. Paul, Charleston, SC, June 1: and Fugue in Ite Missa est, Piché; Stèle pour Praeludium in d, BuxWV 140, Von Gott will un enfante defunte, Vierne; Exultet, ich nicht lassen, BuxWV 220, Buxtehude; O Kropfreiter; Prelude and Fugue in C, Lamm Gottes, unschuldig, S. 656, Bach; Schmidt; Three Japanese Sketches, Bovet; Mein Jesu, der du mich (Eleven Chorale Pre- Polish Fantasy, Nowowiejski; Rhapsodie du ludes, op. posth. 122), Brahms; Sonata in A, Pacques, Piché. op. 65, no. 3, Mendelssohn; Canto arioso (Te Deum Trevirense), Schroeder; Te Deum, ROBERT SUTHERLAND LORD, Grace Sulyok; Mozart Changes, Gárdonyi. Episcopal Church, Charleston, SC, June 2: Fantasia and Fugue in G, Parry; Nos. 1, 5 (Sei PAUL JACOBS, Forrest Burdette United Fioretti), Tournemire; Medieval Suite, Methodist Church, Hurricane, WV, May 21: Langlais; improvised fantasia on a chorale.
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36 THE DIAPASON RENÉE ANNE LOUPRETTE, Church SYLVIE POIRIER & PHILIP CROZI- of St. Ignatius Loyola, New York, NY, June 4: ER, Methuen Memorial Music Hall, Fantasia super: Komm, heiliger Geist, BWV Methuen, MA, June 14: Sonata in d, op. 30, CLASSIFIED ADVERTISING 651, Bach; Tiento sopra “Cum Sancto Spiri- Merkel; Fugue à six parties et deux sujets à 4 tu,” Cabezón; Komm, heiliger Geist, Herre mains, Loret; Mutations for One or Two Gott, Tunder; Veni Creator, de Grigny; Toc- Organs, Eben; Martyrs: Dialogues on a Scot- cata sur le Veni Creator, Litaize; Consécra- tish Psalm-tune, op. 73, Leighton; Petite POSITIONS POSITIONS tion (Le Don de sagesse), Communion (Les Suite, Bédard; Dance Suite for Organ Duet, AVAILABLE AVAILABLE oiseaux et les sources), Sortie (Le Vent de Kloppers. l’Esprit) (Messe de la Pentecôte), Messiaen; Choral varié sur le thème du “Veni Creator,” NAOMI ROWLEY, Sinsinawa Mound, op. 4, Duruflé. Part-time Organist/Music Associate (up to 28 Send résumé and references to by January 15 to Sinsinawa, WI, June 7: Voluntary in F, hours per week). Asylum Hill Congregational Steve Mitchell, Minister of Music & Arts or e-mail Smith; Voluntary in d, Stanley; Praeambu- Church, 814 Asylum Avenue, Hartford, CT [email protected]. For a more detailed job LAURENT MARTIN, St. James United lum, Lübeck; Aria, Carter; The Emperor’s 06105. 860/525-5696, www.ahcc.org. A vital, description, visit www.ahcc.org. Church, Montreal, QC, Canada, June 13: Fanfare, Soler, arr. Biggs; Prelude, op. 55, mainline, inclusive UCC congregation of about Prelude and Fugue in E-flat, BWV 552, Bach; no. 6, Göttsche; Variations on Jesus, Priceless 1800 with a strong endowment and distinguished Berghaus Organ Company has an immediate Adagio (Oboe Concerto in d), Marcello, Treasure, Drischner; Prelude and Fugue in g, worship music and sacred/secular concert tradi- opening for an experienced Technical Designer. tions seeks collaborative team player to be The successful applicant will be proficient in BWV 974, transcr. Bach; Allegro cantabile Willan; Two American Songs, Hielscher; “instrumental” in developing a model music and (Cinquième Symphonie, op. 42, no. 1), AutoCAD applications and possess the ability to Communion, Sortie (Liturgical Suite), fine arts program. The Organist/Music Associate interact comfortably with members of the artistic Widor; Allegro (Deuxième Symphonie, op. Bédard. will work with and be responsible to the Minister and production departments. Experience with 20), Vierne. of Music & Arts as they plan, coordinate and exe- console/façade design a plus. This is a key posi- ANDREW SCANLON, St. Mary’s cute the music ministry of the church. Sanctuary tion that provides a significant opportunity for Organ: Four-manual Aeolian-Skinner with 82 advancement. Berghaus offers an excellent com- AMANDA MOLE, Our Mother of Sor- Catholic Church, Martins Ferry, OH, June 4: ranks and 4200+ pipes. Built in 1962, the organ rows Chapel, Providence Place, Holyoke, Fanfare, Cook; Allein Gott in der Hoh sei pensation package including full benefits and is fully designed to perform pipe organ music matching 401K program. Send résumés in care MA, June 4: Toccata and Fugue in d, BWV Ehr, BWV 662, Bach; Scherzo, op. 2, Duru- from all major periods. New (2004) Austin con- of: Brian Berghaus, Berghaus Organ Company, 538, Bach; Cantabile, Franck; Variations on flé; Choral No. 3 in a, Franck; Aria, Manz; sole includes virtually unlimited piston/general 2151 Madison Street, Bellwood, IL 60104-1943. My Young Life Has an End, Sweelinck; Fan- Noël: Joseph est bien marié, Balbastre; Pas- memory capacity, transposer capability and Office telephone: 708/544-4052; office fax: tasia and Fugue in g, BWV 542, Bach; toral Dance on Simple Gifts, Clarke; The Lib- MIDI. Complete specifications available upon 708/544-4058. request. Chapel Organ: Two-manual Gress-Miles Chorale Prelude on Drop, Drop, Slow Tears, erty Bell March, Sousa. with 10 ranks and 615 pipes. Sanctuary pianos: op. 104, Persichetti; Final (Symphony No. 6, 9’ Steinway Grand and a Mason & Hamlin 7’ BB; op. 59), Vierne. STEPHEN A. STEELY, Sinsinawa Salon has Mason & Hamlin AA; Choir room has ATTENTION ORGANISTS! Do you have a Steinway grand. The Chancel Choir has 60 exposed swell shades? Your organ can be Mound, Sinsinawa, WI, June 14: Grand a new profit center! The same technology RAYMOND PERRIN, St. James United Choeur, Dubois; Three Renaissance Dances, singers (11 professional); its repertoire, while rooted in the classics, is quite diverse. The Chil- used at sports arenas and airports will let Church, Montreal, QC, Canada, June 27: Susato; Fantasia in f, K. 594, Mozart; Fugue dren’s music program includes a Cherub and a you sell billboard-sized advertising space Toccata in a, Froberger; Organoedia ad mis- in D, BWV 580, Bach; Meditation, Dupont; Children’s Choir and is growing. The existing to local businesses, raise money for the sam lectam, Kodály; Toccata sesta, Fres- Toccata, Leclerc. handbell choir is ready for expansion. Program organ fund, or any other purpose. Our new cobaldi; Choral No. 3 en la mineur, Franck. and ensemble leadership opportunities will be SWELL-SELL system uses three-sided slats to display multiple advertising mes- BRENNAN SZAFRON, First (Scots) assigned based on skills and interests. Candi- dates should have earned at least a bachelor of sages while retaining full functionality for NANCIANNE PARRELLA, with Arthur Presbyterian Church, Charleston, SC, June music degree in church/sacred music with a volume control. Displays can change Fiacco, cello, Cathedral of St. Luke and St. 9: Fantaisie, Bédard; Pastorale (Souvenir de major in organ and should have experience weekly or even during a service with a flip Paul, Charleston, SC, June 8: Sonata in e, France), Bingham; La Cathédrale Engloutie, accompanying choirs and soloists as well as of a switch from the console. For those Marcello; Dialogue de Récits, Boyvin; Pre- Just As I Am (Gospel Preludes, Book I), Bol- leading congregational song from the organ. The who insist on maintaining a minimum level successful candidate will demonstrate a high of tastefulness, one side can be left blank lude (Suite No. 2 in d), Bach; Prelude in D, com; Quem Pastores, Lasst uns all froelich for funerals and pontifical visits. Installs op. 159, no. 1, Glazunov; Recitative and Ada- sein, Mit Fried und Freud, Gelobt sei Gott level of musicianship, personal flexibility, an abil- ity to handle a wide range of musical styles, and easily in an afternoon using ordinary sac- gio, op. 9, C. Schumann; Choral Varié on Ave (Six Chorale Preludes, sets I and II), Willan; a compassionate understanding of the volunteer risty tools. Box Swell-Sell-Wel, THE DIA- Maria, Tanajew; Prière, op. 158, Saint-Saëns; Fanfare, Sowerby; Prelude in e, Bales; Pas- musician. Salary range: $28,000—$32,000 PASON. [email protected]. Präludium in b, op. 123, no. 2, C. Schumann. torale and Toccata, Conte. depending on education, skills and experience.
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NOVEMBER, 2006 37 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
MISCELLANEOUS PUBLICATIONS/ HARPSICHORDS/ PIPE ORGANS RECORDINGS CLAVICHORDS FOR SALE
Visiting London? Bed and Breakfast accom- 2003 built by Yves Beaupre/Flemish muselar Moller “Artiste” pipe organ. 11 stops, 2-1/2 modation available in large parish house min- Harpsichord Technique: A Guide to after Couchet. 47 notes C/E–c''' with split keys ranks, fits under 8v ceiling, excellent condition, utes away from Westminster Abbey, the Expressivity, 2nd edition with CDs, by for the short octave and arpicordum. Keyboard: walnut case, asking $5500. Contact Thames, St. James’s Park and the Under- Nancy Metzger. Still available and still Bone natural, ebony sharps. Pear wood jacks. [email protected] or 330/697-3169. ground. Modern kitchen and laundry available. the practical hands-on choice! Case in poplar. Stand: 4 turned legs in Flemish For information write: St. Matthew’s House, 20 www.rcip.com/musicadulce. style. Soundboard painting, case painting and Flemish papers in the style of Couchet. Price 1925 Moller 2/10, $8,000—still in place, buyer Great Peter Street, Westminster, London, SWIP to remove; 195? Reuter 2/9, $7,200—still in 2BU. Tel. 0171 222 3704, FAX 0171 233 0255, $16,000. [email protected]. place, buyer to remove; 1976 Berghaus 2/11, e-mail [email protected]. Historic Organ Surveys on CD: recorded dur- $8,800—still in place, buyer to remove; 1962 ing national conventions of the Organ Historical Harpsichords from the workshop of Knight Schantz 3/33, $26,400—still in place, buyer to Society. Each set includes photographs, stop- Vernon. Authentic replicas of historic instru- The Organist Entertained! Organists visiting remove; 1969 Moller 2/3, $4000—Finished lists, and histories. As many organists as organs ments carefully made and elegantly decorated. Moller Artiste in climate controlled storage. Part- England may stay at Sarum College, situated and repertoire from the usual to the unknown, 8201 Keystone, Skokie, IL 60076. Telephone inside the walled Cathedral Close, Salisbury, ed out: 1966 Moller 2/10—some pipework still Arne to Zundel, often in exceptional perfor- 847/679-2809. Web site: available, contact for details; Sold! 1949 Moller and use two new organs with mechanical mances on beautiful organs. Each set includes www.vernonharpsichords.mykeyboard.com. actions for private study. Options for lessons, 3/30; Sold! 1962 Wicks 2/4; Just reduced! 1964 many hymns sung by 200–400 musicians. His- Wicks 2/6, all new Peterson relay, new DC time on the Cathedral Father Willis organ, visits toric Organs of Louisville (western to local sights. Excellent food, welcoming staff. wiring, ready to ship now! $20,000! Fabry, Inc. Kentucky/eastern Indiana) 32 organs on 4 CDs, PIANOFORTE FOR SALE offers removal services and shipping F.O.B. Website: www.sarum.ac.uk e-mail: $29.95. Historic Organs of Maine 39 organs on [email protected] Tel: +44 1722 424805. Antioch, IL. Large used pipe inventory available 4 CDs, $29.95. Historic Organs of Baltimore 30 Brown and Allen/Boston square grand and ready for use. Contact for available ranks organs on 4 CDs, $29.95. Historic Organs of pianoforte. 73 keys. Very good condition. Best and specifications. Fabry, Inc. 974 Autumn PUBLICATIONS/ Milwaukee 25 organs in Wisconsin on 2 CDs, offer. Nelson, 847/367-5102 or 312/304-5287. Drive, Antioch, IL 60002, tel: 847/395-1919, fax: $19.98. Historic Organs of New Orleans 17 847/395-1991, e-mail: [email protected]. RECORDINGS organs in the Bayous to Natchez on 2 CDs, $19.98. Historic Organs of San Francisco 20 organs on 2 CDs, $19.98. Add $2.50 shipping in PIPE ORGANS 2002 portativ/Dutch builder. Compass: C–f'''. Learn Wagner’s REAL Bridal Procession! U S. per entire order from OHS, Box 26811, FOR SALE Transposable keyboard: A=415/440/465 Hz. From Lohengrin comes the authentic bridal Richmond, VA 23261, by telephone with Visa or Case in Cherry-wood, dimensions: 113x84x57 march, Procession to the Minster, MasterCard 804/353-9226; FAX 804/353-9266. cm. Fundamental keys: Ebony. Accidentals: transcribed for organ by the prolific and Excellent-sounding unenclosed classic-style Plum-wood. Disposition: Flute 8v, Regal 16v, respected English organ professor, Sir Alfred organ in excellent condition. Two manuals, Regal 8v, Regal 4v. All stops split in Bass/Treble. Herbert Brewer. This grand piece is not a Reflections: 1947–1997, The Organ Depart- seven ranks extended to 24 stops. Ideal for Each reed-stop their own character. Sale at cliché like the other and available exclusively ment, School of Music, The University of Michi- smaller church or home. Four ranks by Casa- 2002 price $28,000. [email protected]. from www.michaelsmusicservice.com. gan, edited by Marilyn Mason & Margarete vant (1978), three ranks from others. Peterson 704/567-1066. Thomsen; dedicated to the memory of Albert controls and combination action. $9,500. John Hoverland, 710 Waukegan Rd., Apt. 2, Beautiful 6-rank neo-baroque tracker organ Stanley, Earl V. Moore, and Palmer Christian. built in 1972. Perfect for home or small chapel. Includes an informal history-memoir of the Glenview, IL 60025. 847/724-5237 evenings/weekend. Pipework is mostly open-toe voicing with no CD Recording, “In memoriam Mark Buxton organ department with papers by 12 current (1961–1996).” Recorded at Église Notre-Dame nicking on about 2w wind pressure. Currently and former faculty and students; 11 scholarly playable in St. Cloud, MN. $16,000. Contact de France in Leicester Square, London, articles; reminiscences and testimonials by Bedient Positiv tracker #5, 1976, one man- between 1987 and 1996. Works of Callahan, David Geslin, 612/868-7827, or graduates of the department; 12 appendices, ual, one rank metal Gedeckt, 56 notes, [email protected]. Widor, Grunewald, Salome, Ropartz, and Boëll- and a CD recording, “Marilyn Mason in CC–gg'''. Unenclosed pipes rest on oak case. mann, along with Buxton’s improvisations. $15 Recital,” recorded at the National Shrine of the Height with tallest pipes is 7v4w width 3v4w. postpaid: Sandy Buxton, 10 Beachview Immaculate Conception in Washington, DC. Home or studio, early music repertory. For Flentrop two-manual and pedal three-rank Crescent, Toronto ON M4E 2L3 Canada. $50 from The University of Michigan, Prof. more information and photos, e-mail organ. Solid mahogany throughout. Beautiful 416/699-5387, FAX 416/964-2492; e-mail Marilyn Mason, School of Music, Ann Arbor, MI [email protected]; phone 734/546-0932. SE carvings and façade. Fits 8v ceiling. Phone [email protected] 48109-2085. Michigan. 434/977-6796; e-mail: [email protected].
Attention Organbuilders For information on sponsoring a color cover for THE DIAPASON, contact editor Jerome Butera, 847/391-1045 [email protected]
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PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
1860 Wm. A. Johnson 1/8, including 12-note Atlantic City Pipe Organ—Tellers 5-rank unit Highest quality organ control systems since Top Quality Releathering. Pouch rails, pri- 16v Subbass. Meticulously restored, $39,500; chest, regulator, $900 or best offer; C.S. 1989. Whether just a pipe relay, combination maries, reservoirs and any other pneumatic Pedal extension optional. Details: Andrew Smith Haskell—4-rank slider chest with 16v Bourdon, action or complete control system, all parts are action. Removal and installation service avail- Pipe Organs, 522 East Rd., Cornish, NH 03745. 16v Lieblich, 10-2/3v Quint, 5-1/3v Quint (pre- compatible. Intelligent design, competitive pric- able. Full warranty. Skinner, Casavant and 603/542-8316; [email protected]. pared), $1,200 or best offer. Moller 3-rank unit ing, custom software to meet all of your require- Kimball specialty. Spencer Organ Company, “Sputnik”: direct electric action, principal, rohr ments. For more information call Westacott Inc. Call, Fax or visit our website for quotation flute, larigot, detached console, very good con- Organ Systems, 215/353-0286, or e-mail and information. 781/893-7624 Voice/Fax, MISCELLANEOUS dition. Harp, capped oboes, more. Visit [email protected]. www.spencerorgan.com. http://mywebpages.comcast.net/acorgan. FOR SALE E-mail: [email protected]. Phone 609/641-9422. Consoles elegantly and reliably built and RELEATHERING: also Pipe Organ Rebuild- Two Moller shade actions (six engines ing, Repair and Maintenance Service in New each), $150 each, also pipes, consoles, rebuilt. Newly designed by a degreed architect and organist, or expertly refurbished and retro- England area. Years of experience, fine work- relays, and miscellaneous parts. Let us know SERVICES/ manship. Reading Organ Works, A. Richard what you are looking for. E-mail fitted using reliable technology from established suppliers. Prestigious references. Available Hunter, P.O. Box 267, 1324 Vermont Route [email protected] (not comcast), phone SUPPLIES 106, Reading, VT 05062. 802/484-1275. 215/353-0286 or 215/788-3423. nationwide. Glück New York. Telephone 212/608-5651 (office) or 917/903-8281 (general E-mail [email protected]. The Whistle Shop repairs and rebuilds pipe manager). Organ windchest for sale by Herb Huestis, organs. Southwestern U.S. Also, maintenance and tonal work. Finest materials, expert work- Austin actions recovered. Over 30 years #1502—1574 Gulf Road, Point Roberts, WA experience. Units thoroughly tested and fully 98281, phone 604/946-3952, e-mail: manship. K.E.M. Pipe Organ Builders, Austin, Columbia Organ Leathers sells the finest TX. 512/252-2212. guaranteed. Please call or e-mail for quotes. [email protected]. Shipping extra to U.S. or leathers available for organ use. We sell pre- Technical assistance available. Foley-Baker, Canada—no overseas. Casavant offset pedal punched pouches and pre-assembled pouches, Inc., 42 N. River Road, Tolland, CT 06084. chest 48w x 9.5w x 9w, 8 notes only, no rack- and we specialize in custom releathering ser- Phone 1-800/621-2624. FAX 860/870-7571. board. 6-1/2w spacing for 16v pedal reed. Price Pneumatic restoration available through our vices. Call today for a catalogue. 800/423-7003 [email protected]. $275, includes shipping. full-service releathering and conservation or e-mail: [email protected]. department. Meticulous work, quality hides, parts duplication, spring replication, special ser- Need help with your re-leathering Laptops and software for programmable tem- vices. Removal and reinstallation anywhere in Flue pipes in metal and wood–Mixtures peraments from Herb Huestis, 1502–1574 Gulf the nation. Glück New York. Telephone project? All pneumatics including Austin. Over 45 years experience and upperwork are available from stock or Road, Point Roberts, WA 98281. Phone 604/946 212/608-5651 (office) or 917/903-8281 (general specify custom orders to meet your exact 3952, Fax 604/946 5739, e-mail manager). (on the job assistance available). 615/274-6400. requirements. Tuning Sleeves with [email protected]. Laptop screen-based tuning flare–Order complete sets ready to install program that is sensitive to 1/10 cent, much or bulk quantities in each diameter. These greater than dial tuners. Over 100 programmable sleeves are guaranteed to fit and will not temperaments for harpsichord, clavichord and THE DIAPASON 2007 Resource tarnish or corrode. For excellent quality, pianos. On the web: www.tunelab-world.com. Directory needs you! ALL REPLIES great pricing and timely delivery contact: 8x10x2 small Toshiba laptop used for shop tun- International Organ Supply, P.O. Box 401, ing: $285 with shipping. Send your old laptop for Make sure your company is listed in TO BOX NUMBERS Riverside, IL 60546. 800/660-6360. FAX reconditioning and installation of tuning software the industry’s only comprehensive that appear 708/447-0702. to make it one of the best musical tools in your kit! guide to products and services. I will load Tunelab97 software, road test it, and without an address return your laptop for $135 including shipping, plus any parts. Any repairs or replacements, hard Visit TheDiapason.com to add your should be sent to: Postal regulations require that mail drive, etc are extra. Options: Register your soft- firm’s information. Click on Supplier to THE DIAPASON include a suite num- ware, $35; spreadsheets of historical tunings, no Login, then click on “How can my THE DIAPASON ber to assure delivery. Please send charge; manual, no charge. Send your old laptop company get listed?” 3030 W. Salt Creek Lane, Suite 201 all correspondence to: THE DIAPA- for evaluation only: $85 (with return shipping). For assistance, contact Install registered software: $50; Nylon case: $20; [email protected]. 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NOVEMBER, 2006 39 KKararenen McFMcFarlanearlane ArArtististsts 2385 Fenwood Road, Cleveland, OH 44118 Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels Thierry Escaich* László Fassang* David Goode* Gerre Hancock
CHOIRS AVAILABLE The Choir of Westminster Cathedral, UK Martin Baker, Director October 2006 SOLD OUT
Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Olivier Latry* The Choir of Saint Thomas Church, NYC John Scott, Director Spring 2007 SOLD OUT
The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of St. John’s College Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Cambridge, UK David Hill, Director West Coast USA Tour Spring 2009
*=European artists available 2006-2007
Simon Preston Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland Thomas Trotter*
WEB SITE: www.concertorganists.com.concertorganists.com
John Weaver Gillian Weir* Todd Wilson Christopher Young