THE DIAPASON FEBRUARY, 2006
St. Joseph’s Catholic Church “On the Hill,” Camillus, New York Cover feature on pages 26–27 Oct/Nov 2006 & Feb/Mar 2007 ensemble amarcord Men’s a cappella vocal quintet, Leipzig
“Move over King’s Singers, Hilliard Ensemble, and Chanticleer: There is a new male a cappella group on the international classical music scene...as pleasing as it was sophisticated.” (The Salt Lake Tribune, UT)
“The five alumni of Leipzig’s St. Thomas Boys Choir (as in, the one Bach used to direct) sing together about as well as anybody I’ve ever heard....world-class. If you’re looking for classical a cappella, it just doesn’t get much better than this.” (Hanna Stotland, Recorded A Cappella Review Board)
“Great popular success.” (Green Bay Press-Gazette, WI)
“One of Europe’s top vocal groups.” (The Barrie Examiner, Ontario, Canada)
“From start to finish this was virtuoso music making.” (The Diapason, Chicago)
“Performed flawlessly.” (Richmond Times-Dispatch, VA)
“These guys can do anything.” (Leipziger Volkszeitung)
“The singing is beyond criticism.” (Choir & Organ, England)
“One of Europe’s finest a cappella quintets. Ravishing performances.” (The American Organist, New York)
February 2007 Texas Boys Choir Gold Medal Winner, 2004 Choral Olympics, Bremen, Germany
The Texas Boys Choir, which Igor Stravinsky called “the best boys choir in the world,” has been a professional touring organization for well over half a century and operates its own school in Fort Worth. This Grammy Award winning choir has added changed voices to its treble choir to greatly increase its range of performance, which includes its trademark songs of the American west and patriotic songs.
“FINESSE AND VERSATILITY: The Texas Boys Choir functions within the secular tradition of the Vienna Choir Boys but with a vivacity that only can be described as American....As Cowboy Choirboys the young musicians really tickled the imagination. The boys danced with glee and made a point of communicating delight at every theatrical moment.” (Worcester Telegram, MA)
“Almost excruciating purity.” (The New York Times)
“A burst of Texas exuberance...Patriotic songs brought the concert to a rousing conclusion.” (Pittsburgh TribuneReview)
“Angels probably sound like the Texas Boys Choir.” (The Washington Post)
concertartists.com [email protected] • towerhill-recordings.com toll-free (888) 999-0644 US/Canada • phone (860) 560-7800 • fax (860) 560-7788 1 Gold Street #R, Hartford CT 06103-2914 laikirche was the church of the city Bach Organ in its north gallery was council and one of the four Hauptkirche dedicated. THE DIAPASON (main churches) of Leipzig in Bach’s When one thinks of Bach, the visual A Scranton Gillette Publication day, where first performances did occur image is inevitably of St. Thomas and the Ninety-seventh Year: No. 2, Whole No. 1155 FEBRUARY, 2006 and cantatas alternated there with St. imposing Bach monument by Carl Established in 1909 ISSN 0012-2378 Thomas. But I think it’s fair to say that Seffner (1908). History changes perspec- in the mind of most people historically tive. Yes, St. Nicholas played an impor- An International Monthly Devoted to the Organ, and today a majority thinks of St. tant role in Bach’s time and in the Peace the Harpsichord, the Carillon and Church Music Thomas as Bach’s church. Bach’s job Movement. You can read about this in description was “Cantor zu St. Thomae English on the church’s website et Director Musices Lipsiensis” and he
FEBRUARY, 2006 3 York City, continues its music series: St. Matthew Passion; 4/30, Ars Lyrica series: March 20, Bach birthday bash national convention in Chicago, July February 12, Marek Kudlicki; March 5, Houston; May 21, Mozart, Bruckner, with Todd Wilson and organ majors 2–6, 2006. Regional second place win- William Entriken; April 30, Gerre Han- Bach, Reger. For information: 713/524- from the Cleveland Institute of Music, ners received cash awards of $500. cock, hymn festival; May 7, Brahms: A 8744;
(back row, l to r) Gerard Pagano, Tod Bowermaster, Susan Slaughter, Lynn Trapp, Timothy Myers, Thomas Drake; (front row) Marianne Webb, David N. Bateman Robert Bates Craig Cramer Aaron David Miller Lynn Trapp and the St. Louis Sym- nois University at Carbondale on Sep- phony Brass performed the 14th annual tember 16, 2005. A pre-concert dinner recital of the Marianne Webb and included a presentation by Lynn Trapp, 425.745.1316 [email protected] www.organists.net David N. Bateman Distinguished principal artistic director of the series. Organ Recital Series at Southern Illi-
4 THE DIAPASON Region IX—Far West: Kevin Kwan, a the groups and explore possibilities for director of music at the Cathedral of master’s student at the Cleveland Insti- greater collaboration. They also the Madeleine, Salt Lake City, where tute of Music; no second prize awarded. approved in principle a proposal for a he was also the director of the Eccles joint project to evaluate the current Organ Festival and choral teacher of Leaders of music ministry associ- state of music ministry formation and the Madeleine Choir School, the only ations from seven Christian churches explore new models. co-educational Roman Catholic choir met at Calvin College in Grand Rapids, school in the United States. He has per- Michigan, October 17–19, 2005. The 35 Corrections and clarifications formed throughout U.S., Europe, and participants represented American Bap- The article, “John Thomas Widener, South Korea, and remains an active tists, Episcopalians, Lutherans, Presby- Jr., Organbuilder,” by Thomas L. clinician, teacher and improvisateur. In terians, Roman Catholics, United McCook (THE DIAPASON, December 2004, he was a finalist in the AGO Methodists, and the United Church of 2005) omitted one of the participants in National Competition in Organ Impro- Christ. The American Guild of Organ- the memorial concert for Mr. Widener: visation and has performed at various ists was also represented. James A. Taylor, Jr. national conferences including the The purpose of the conference was to 2005 National Association of Pastoral explore issues common among all the Musicians and the Royal School of denominations: church life and mission, Church Music Carolina’s Course at the role of musicians, the impact of cul- Appointments Duke University. tural shifts, the formation of musicians, Robert Ridgell Ridgell is well known as a conductor and repertoire for worship. Short pre- of children’s choirs and has prepared sentations on these topics were followed Robert P. Ridgell has been select- Pennsylvania, where he established choristers for performances with the by small group discussions. ed as the twenty-first assistant organist neighborhood-outreach concerts, the Mormon Tabernacle Choir, the Royal At the conclusion of the meeting the of historic Trinity Church (Wall Street), Cathedral Choir School for Girls, and School of Church Music in America, the delegates endorsed a proposal to form a New York City. Prior to his appoint- guided one of the newest Episcopal Utah Symphony, as well as several network of national church-related ment in New York, Ridgell was director cathedral foundations (1992) in the celebrity events including Robert Red- music ministry associations that will of music at the Cathedral Church of the areas of modern liturgical renewal. ford’s Holiday Party in Sundance, Utah continue to facilitate a dialogue among Saviour in the Episcopal Diocese of From 1997–2001, Ridgell was associate and the 2002 Winter Olympics. He is ConcertArtistCooperativeOne
Colin Andrews Cristina Garcia Banegas Scott Bennett Maurice Clerc Joan DeVee Dixon Organist/Lecturer/ Organist/Harpsichordist/Conductor Organist/Recording Artist Interpreter/Improviser/ Pianist/Organist/ Recording Artist Organ Faculty and Chair Organist and Choirmaster Recording Artist Recording Artist Solo Recitals University of the Republic Grace Episcopal Church Titular Organist Associate Professor of Music Solo/Duo with Janette Fishell Conductor, De Profundis Charleston, South Carolina St. Benigne’s Cathedral Frostburg State University Greenville, North Carolina Vocal/Instrumental Ensemble Faculty Frostburg, Maryland London, England Director, International Organ Festival National Conservatory Montevideo, Uruguay Dijon, France
Olivier Eisenmann Janette Fishell Faythe Freese Michael Gailit Michael Kaminski Organist/Pianist/Lecturer/ Organist/Lecturer Organist/Lecturer Organist/Pianist Organist Recording Artist Professor of Music Associate Professor of Organ Organ Faculty Conservatory Director of Music Ministries Freelance Recitalist East Carolina University School of Music of Music Saint Francis Xavier Church Organ and Flute Greenville, North Carolina University of Alabama Piano Faculty University of Music Brooklyn College Faculty with Verena Steffen Tuscaloosa, Alabama Organist St. Augustine’s Church St. Francis College Faculty Lucerne, Switzerland Vienna, Austria Brooklyn, New York Also: Tong-Soon Kwak David K. Lamb Maija Lehtonen Jack D. Miller Larry Palmer Gregory Peterson Stephen Roberts Kevin Komisaruk Angela Kraft Cross William Kuhlman Bach Babes Clair Rozier Organist/Performance Clinician Organist/Pianist/Composer/ Organist Baroque Music Ensemble Vicki J. Schaeffer Assistant Professor Recording Artist College Organist Variable Groupings Lisa Scrivani-Tidd Organ Faculty Organist Professor of Music Soprano, Strings, Flute, Oboe, Continuo Jeremy David Tarrant University of Toronto Congregational Church Luther College Milwaukee Symphony Orchestra Associates Heinrich Walther Toronto, Ontario, Canada San Mateo, California Decorah, Iowa Martha H. Stiehl, Artistic Director Organ and Harpsichord Jane Watts University of Wisconsin-Milwaukee Duo Majoya
ConcertArtistCooperative.com Beth Zucchino Organist/ Harpsichordist/Pianist Beth Zucchino, Director Founder, Director, 7710 Lynch Road, Sebastopol, CA 95472 and Former Associate Concert Artist Cooperative PH: 707-824-5611 FX: 707-824-0956 Sebastopol, California [email protected]
FEBRUARY, 2006 5 also founding director of the Alumnae ly built in 1818 by H. C. Lincoln for the Cantores, a component of the Princeton Royal Pavilion, Brighton, the organ was Girlchoir. In 2003 he founded the reconstructed in Buckingham Palace by Cathedral Choir School for Girls at the Gray & Davison in 1855. It was recently Cathedral Church of the Saviour. A restored by William Drake of Buck- major focus of Ridgell’s ministry at fastleigh in Devon. The program includ- Trinity will be to enrich the spiritual, ed Bach’s Passacaglia and Fugue in C musical, emotional, and social develop- minor, the Reubke Sonata on the Nine- ment of the parish’s children and youth. ty-fourth Psalm, and excerpts from A native of Charlotte, North Carolina, Dance Suite by Noel Rawsthorne. Ridgell studied organ at the Indiana Nolan will also record the three palace University School of Music, Blooming- organs for commercial release. He is ton, and Westminster Choir College, represented in the United States by Princeton. His organ teachers include Kingsdale Artist Management, 888/346- David M. Lowry, Marilyn Keiser, and 4132;
Joyce Jones with Naples, Florida AGO members
Joyce Jones played a concert on the played by Dr. Jones were those at Abid- 5-manual Ruffatti organ at First Presby- ing Presence Lutheran Church in San terian Church in Naples, Florida, on Antonio and Tates Creek Presbyterian November 13, 2005, and gave a work- Church in Lexington, Kentucky. In the shop for the AGO there. The following summer of 2005, she led hymn festivals day she played a concert on the Taylor and organ and piano workshops for & Boody organ in the chapel at Moor- church music seminars presented by ings Park, a retirement community in Augsburg Fortress in the St. Paul, Naples. She played the dedication con- Chicago, Columbia, South Carolina, cert of the new 4-manual Ruffatti organ Columbus, Ohio, and Philadelphia at Immanuel Baptist Church in Little areas. Joyce Jones is the Joyce Oliver Rock November 6—totaling three dif- Bowden Professor of Music, Professor ferent programs within nine days. of Organ, and Organist in Residence at Among other fall dedication concerts Baylor University in Waco, Texas.
6 THE DIAPASON February 13, 2006
February 26, 2006*
The Gem Polished A visit to northeastern Pennsylvania to explore the Berghaus pipe organ at St. Stephen’s Episcopal Pro Cathedral in Wilkes-Barre, PA.
Pipedreams Program Schedule: John Ayer: Fanfare in G Major** Antonio Vivaldi (trans. Bach): Allegro, from Concerto in A Minor (S. 593)*** Charles Tournemire: Choral-Fantasy, Victimae Paschali *** Felix Mendelssohn: Organ Sonata No. 2 in C Minor, Op. 65 no. 2** Marcel Dupré: Antiphon, While the King Sitteth, Op. 18, no. 1 Herbert Howells: Psalm Prelude No. 2 (Psalm 37) J. S. Bach: Chorale prelude, Herr Gott, non schleuss den Himmel auf, S. 617 Craig Phillips: Prelude on Hyfrydol Rulon Christiansen: Prelude on Three Spirituals** Edward Diemente: Prelude No. 2** Mark Laubach: Hymn Prelude, Jesus Christ is Risen Today Healey Willan: Hymn prelude, Gelobt sei Gott Dupré: Antiphon, I am Black but Comely, Op. 18, no. 3 David Willcocks: Fanfare on Gopsal John Goss: Hymn, Lauda Anima Edward Elgar: Imperial March
This 87 rank pipe organ, completed in 2002 by the Berghaus Organ Company of Bellwood, IL, is played by resident music director Mark Laubach, his former pupil Kevin O’Malia***, and colleague John Ayer**.
*Michael Barone will appear as host for ‘Pipedreams Live!’ on Sunday, February 26 at 4 p.m. at St. Stephen’s Episcopal Pro Cathedral, Wilkes-Barre, PA.
Pipedreams online can be found at http://pipedreams.publicradio.org Pipedreams is an American Public Media Program.
The Art of Organbuilding
Quality Pipe Organ Building & Maintenance Since 1967
2151 Madison Street, Bellwood, IL USA 60104-1932 | berghausorgan.com For further information, please contact: Dave McCleary | phone: 708-544-4052 | email: [email protected] Handel, Mozart, Poulenc, Fauré, Pucci- Presbyterian Church in Chicago from ni, and a set of spirituals. James Welch 1961–67. She also taught organ, theory, has been on the music faculty of Santa and directed the glee club at the Uni- Clara University since 1993. versity of Northern Iowa in Cedar Falls. From 1968–1987 she was organist and choir director of the Winnetka Congre- gational Church, Winnetka, Illinois. She recorded regularly for Chicago’s fine arts radio station, WFMT, and per- formed numerous recitals and concerts. For the past four years, Ms. Chalupka was a resident of the Presbyterian Homes in Evanston. Funeral services were held December 10 at St. Peter’s Lutheran Church in Arenzville. A memorial service will be held at a later date at the Winnetka Congregational Church.
Richard Webster Ronald Wyatt Richard Webster is featured on a new recording, Brass, Organ, Quires! declared October 8th as “Ronald Wyatt The Music of Richard Webster, on the Day” in recognition of his years of ser- Advent Press label. Recorded at the Carol Williams vice to the community. Parish Church of St. Luke, Evanston, Mr. Wyatt came to Trinity Church Illinois, the program features 19 selec- Carol Williams has recently given after spending a year abroad as a stu- tions, including hymn settings, anthems, concerts at the State University of New dent of Marie-Claire Alain, Marie- a carol, Baroque Suite for Brass and York in Potsdam, New York; The Com- Madeleine Duruflé, and Michael Organ, Triptych for Transfiguration, munity Church of Durham, New Schneider. Previously he had received a and Missa Dorica. For information: Hampshire; and at Bates Recital Hall at B.M., B.B.A., and M.A. from the Uni- Advent Press, 138 Cushing Ave., the University of Texas. In 2006, Dr. versity of Texas and Trinity University. Boston, MA 02125; 617/288-1927; Williams will be recording at the Since 1987, Mr. Wyatt has played an
1184 Woodland St. SW, Hartville, Ohio 44632 330-966-2499 www.keggorgan.com
8 THE DIAPASON
United States of America. The joint damus” (K. 141), and “Jubilate” from Bédard, Bridge, Buck, Buxtehude, Dig- ence. And aren’t some of our best committee produced The Worship- “Benedictus sit Deus” (K. 117). George gle, Dinelli, Guilmant, Pasquet, Scarlat- learned lessons those that rise from the book—Services and Hymns, published Frideric Handel: Anthem for the Funer- ti, Yon and Vierne, played on the organs smoldering coals of our mistakes? in 1972. He was twice dean of the Char- al of Queen Caroline HWV 264 (BA of the First Presbyterian Church, Jeffer- The master watches the motions of lotte AGO chapter, and for four years 4267), edited by Annette Landgraf, is a sonville, Indiana (1994 Schantz 2/22) the apprentice and reaches for the he served as a faculty member of the full anthem consisting of an instrumen- and the First Baptist Church of Jeffer- Band-Aids® minutes before they are Montreat Music Conference. He was tal introduction and thirteen interlinked sonville, Indiana (1923 Hinners/1988 needed. The parent wishes to be able to the North Carolina state chairman of choruses, but without sections for solo Miller Pipe Organ Co. 2/14). spare the child inevitable pain, realizes the AGO and their elected regional voice. The edition contains the original The recording was made in celebra- that advice will not be heard, and has chairman for the southeastern region, unabridged version with English text; tion of the 30th anniversary of Miller the Kleenex® on the kitchen table an and was elected twice to the national Martin Focke’s piano reduction follows Pipe Organ Company, Louisville Ken- hour before the school bus arrives. council of the AGO. the Urtext of the Halle Handel Edition. tucky. James E. Miller, President/CEO I started by noting that the more you As a composer, Dr. Peek wrote more George Frideric Handel: The Lord is my is also the regional representative for know, the less you know. A cubist view of than 300 pieces for organ, choir and light HWV 255 (BA 4268), edited by the Schantz Organ Company. Keith E. that statement says that experience in a instruments, including the Chorale and Gerald Hendrie, is the longest (with Norrington, Executive Assistant, was field reveals more questions than Toccata for orchestra, which was per- eleven movements) of the Chandos the project coordinator. The CD is answers. If you really understand the formed by the Charlotte Symphony Anthems; it is noteworthy for its orches- available for $20 postpaid. Miller Pipe questions, then you are getting some- Orchestra. He received a number of tral accompaniment and festive solo Organ Company, 3332 Gilmore Indus- where. Often as I write I suppose I’m awards from the North Carolina Feder- numbers. George Frideric Handel: Con- trial Blvd., Louisville, KY 40213-4107; giving answers, or at least relating my ation of Music Clubs for his composi- certo in F major for Organ and Orches-
10 THE DIAPASON overtone of 32v pitch—that series con- arpeggios next to Krummhorns). Sever- Some of these questions have real often increases further into April and 2 1 tinues with 8v, 6 ⁄5v, 5 ⁄3vetc. The overtone al of the churches I visit are presenting answers. Some of these questions have May so that by early summer, the days series was perhaps first heard clearly in “Messiah Sings.” Handel’s masterpiece different answers, depending on whom of a crowded choir loft are but a faded the tone of a big bell. The experienced is a fantastic artwork. It’s easy to under- you ask. I’ve given comments to intro- memory. It is these kinds of situations listener can hear fifths and thirds clearly stand how it would filter down through duce each of the questions that may that contribute to the loss of good in the tone of such organ stops as an generations as a perennial international lead a reader to deduce that I have an church choir directors. Oboe, Clarinet, Krummhorn, or Trum- favorite. But it’s very difficult music. opinion. And those of you that know me So, heading into the Easter season, be pet—in fact, those stops get their color The choir members in these churches personally may be able to read what you reminded of Alice Parker’s enthusiasm from those strong overtones. That’s why have no idea how difficult it is. I’m sure know to be my opinions, whether I for singing. Gerri Wilson, who was a you can hear the pitch of a Tierce so they wouldn’t dream of tackling Han- know them or not. Why is that? member of the church choir for the much more clearly against a reed than del’s Israel in Egypt, another master- The questions frame the debate. If 1978 premiere of Parker’s Easter against warm and fuzzy Gedackt. (When work that’s equally majestic and equally there’s a debate over a specific question, Rejoicing, fondly remembers a rehearsal I’m tuning those stops I have the habit of difficult to perform. Why is that? does it follow that there is no right or when the choir made a silly error of an humming and singing parallel intervals Many parish organists will agree with wrong answer? easy rhythmic final phrase. Wilson and arpeggios inspired by the overtones my assertion that you could successfully Here’s an exercise that illustrates the describes the scene as follows: —another example of the little voices in plan and play a thousand weddings, fully elusiveness of correct answers. Take a my head.) But the real question is how pleasing all the families involved, with a well-known church building: St. She directed our attention to Isaac Watts’ the perception of those overtones in the repertory of ten pieces. We could all Thomas Church, Fifth Avenue, New text: “And there the Father—smiles.” Urging us to speak the words as if person- sound of an organ pipe led the early name the same list: Wagner, Mendels- York. Consider two well-known and ally recounting the sight of God’s smile, builders to experiment with creating sohn, Schubert’s Ave, Jesu Joy, Clarke, successful organbuilders, respected for she helped set the scene: a sharp intake of individual stops that doubled overtones. Purcell, Stookey (“there is love . . . ”). the toil and moil of their respective breath, followed by the slow apprehension You play through ten unfamiliar pieces careers: Ernest Skinner and Taylor & of His smile; and remember that the word 5. Is chiff a good thing? for a bride and groom with no response, Boody. Imagine what each would con- ‘smiles’ has six syllables, not one. Try it: s- During the aforementioned Revival and they light up with the first six notes sider the ideal organ for the space. Now m-ah-ee-l-s. How quickly and economical- many organbuilders experimented with of Jesu Joy (boom-da-da dee-da-da . . . ). tell me, who’s right? I ly Alice coaxed us to match the feeling and “chiff, ” that characteristic chiffy conso- It doesn’t matter if you’re in Boston, sound of the text in our mouths to its apt musical setting and, with not a word of nant that starts the speech of an organ Seattle, San Antonio, Milwaukee, or philosophy, to transcend it all. That was in pipe. Every musical tone has some sort London. Why is that? 1978, yet I recall the experience still as a of attack that precedes the vowel of the How many of us look forward to play- Music for Voices vivid reminder to teach the essentials, not note, and an organ pipe can be voiced to ing those wonderful sassy French noël the mechanicals, no matter who your have lots of chiff or virtually no audible variations—the ones with the non-exis- and Organ singers are. chiff. It’s a matter of personal prefer- tent pedal parts? I see volumes of by James McCray ence, but if some people like it can it be Daquin and Balbastre on organ consoles That is a great lesson for all of us! The all bad? all across New England. How many music reviewed this month is a combi- congregants recognize them as seasonal Easter and Post-Easter nation of settings for Easter and after. 6. How does a modern church music? We erudite organists associate Directors must remember that both are justify the cost of purchasing and them with Christmas as readily as rein- Jesus’s resurrection makes it impossible important to successful worship of their maintaining a pipe organ? deer and O, Holy Night. Why is that? for man’s story to end in chaos—it has to congregations. Happy Easter! move inexorably towards light, towards Hardly an organ committee comes life, towards love. and goes without grappling with this 8. Why did it take so long to —Carlo Carretto A Hymn of Glory, Derek Healey. one. A committee member asks, “with develop equal temperament? The Desert in the City SSATB and organ, ECS Publishing all the hunger and suffering in our com- (Please do not interpret this as an Co., No. 6204, $2.05 (M). munity, why shouldn’t we use the indication of personal preference!) The drive to Easter for choir direc- The setting is perfect for Ascension money for a food pantry?” Our church Equal temperament is the most com- tors and singers demands much energy. Day, but could also be used on Easter buildings with their fancy windows, sil- mon system of tuning keyboard instru- With the numerous events of Holy Sunday. The three verses are like a ver chalices, statuary, paintings, and ments and was not commonly used until Week that tax church musicians, they hymn anthem and are separated by pipe organs are expressions of our faith. at least the late nineteenth century. often arrive at that exciting morning of organ interludes. The organ music is Our culture is loaded with examples of Pythagoras (6th century, BC) is credited multiple services in a state of near challenging and soloistic, but the historical expressions of faith through with the development of the concept of exhaustion. With Maundy Thursday and choral parts are structured so that they art—think of the liturgical music of tempering, of dividing the circle of fifths Good Friday often needing special are easier, with the dissonances provid- Mozart and Bach, the sculptures of into the octave, a feat that is technically attention from the choir, the amount of ed by the organ. The text, by Venerable Michelangelo, the buildings designed impossible. If you start on a single note repertoire, rehearsal, and committed Bede, is also very attractive. Highly by Bernini and Henry Vaughan. Are we and tune pure fifths around the circle of time places extensive demands on them. recommended. better able to fund a soup kitchen from fifths, when you complete circle returning Even if this results in something less a building that makes obvious to our to C from F, you have nothing like a fifth. than stellar on Easter Sunday, what will My Good Lord Done Been Here, neighbors the strength of the bonds that So over the centuries, various musicians, follow in the weeks beyond will be Glenn Burleigh. SATB unaccompa- tie us together as a community of faith? mathematicians, and theorists toiled and worse: history shows that the defection nied, Burleigh Inspirations Music, moiled developing systems that would of choir members after Easter is $2.00 (M). 7. How does a chestnut become a divide that discrepancy over more and inevitable. This rousing spiritual has a limited chestnut? more of the intervals, allowing more of the Those first weeks after Easter should variety of chords, several repeated sec- Given the production cycle of this twelve possible keys to be useful—or be a time of singing familiar music or, at tions, and a call/response passage with a publication, I am writing in mid- usable. The advent of Pythagorean tuning least, music that is very easy. Easter ser- soloist. The basic text is “he has been December, these few hours was natural, but I wonder why he or one vices usually attract numerous extra here, blessed my soul, and is gone.” The sequestered, escaping the tyranny of of his contemporaries didn’t solve the singers who want to be a part of the ranges are comfortable and most phras- commercialized versions of our favorite problem by dividing the difference over choir, but they tend to disappear after es are short with repeated rhythms. This Christmas carols. Otherwise, I’m racing all the intervals from the very beginning. that. Another problem is that as the is a work the choir and congregation will around the countryside tuning organs That would have changed the develop- weather turns warmer, there is lower love. It would be an exciting setting for (plenty of opportunity to be humming ment of music dramatically. attendance at rehearsals. That problem the post-Easter season. Amazing Love!, arr. Ken Berg. SATB and keyboard with optional brass and organ, National Music Log On and take the tour! Publishers, CH-162, no price given (M). Full score and parts are avail- able separately (CH-162A). The choral parts are not difficult: two ANNUAL AND ONE-TIME COPYRIGHT of the four verses are in unison, another has a descant, and one is in four parts. PERMISSIONS WITH THE The piano accompaniment is very CLICK OF A MOUSE soloistic with busy arpeggios and big
THE DIAPASON 2006 Resource Direc- tory was mailed with the January issue of THE DIAPASON. To request additional copies ($5 each), contact editor Jerome Butera, 847/391-1045,
• EASY—online permission and reporting • ECONOMICAL—based on average weekend attendance • THOROUGH—your favorite songs • CONVENIENT—includes a growing list of publishers
LOG ON TODAY! WWW.ONELICENSE.NET
12 THE DIAPASON GRAND ORGUE Flûte Harmonique 8' Cymbale III Montre 16' Flûte Céleste II 8' Contra Bassoon 32' Violonbasse 16' Octave 4' Contra Trompette 16' Bourdon 16' Unda Maris II 4' Basson 16' Montre 8' Flûte Traversière 4' Trompette 8' Dulciana 8' Nazard 2-2/3' Trumpet 8' Prinzipal 8' Octavin 2' Hautbois (mp) 8' Viole de Gambe 8' Choeur Fourniture V Hautbois (mf) 8' Flûte Harmonique 8' Cymbale III Cor d’Amour 8' Bourdon 8' Tierce 1-3/5' Orchestral Oboe 8' Chimney Flute 8' Plein Jeu IV Clarinette 8' Quinte 5-1/3' Voix Humaine 8' Prestant 4' Clairon 4' Oktav 4' Tremulant Flûte 4' Some of the stops on Octaves Graves 16' Solo Flute 4' Some of the Muet Tierce 3-1/5’ Octaves Aiguës 4' Quinte 2-2/3' Doublette 2' Hector Olivera’s BOMBARDE Octavin 2' Grand Diapason 8' Tierce Fourniture IV-VI Flûte Majeur 8' Cornet V national tour Cellos Célestes II 8' Tierce 1-3/5' Soprano Ah 8' Fourniture XI Grand Octave 4' Cymbale IV Grand Jeu VII Bombarde 16' Grave Mixture IV Trompette 8' Bombarde 16' Trumpet 8' Corno di Bassetto 16' Clairon 4' Trompette Harmonique 8' Tremblant French Horn 8' Chamade 8’ POSITIF Tuba Anglais 8' Quintaton 16' Cor Anglais 8' Bourdon 16' Clairon Harmonique 4' Erzähler 16' Chamades 16+8+4+2 IV Principal 8' Flûte de Bois 8' PÈDALE Holzgedackt 8' Montre 32' Unda Maris II 8' Contra Violone 32' Viole Céleste II 8' Contre Bourdon 32' Prestant 4' Bourdon Doux 32' Flûte d’amour 4' Contre Basse 16' Koppelflöte 4' Principal 16' Nazard 2-2/3' Contre Gambe 16' Doublette 2' Subbasse 16' Octavin 2' Bourdon (G.O.) 16' Tierce 1-3/5' Violone 16' Larigot 1-1/3' Gambe Celestes II 16' Septieme 1-1/7' Quintaton (Pos) 16' Piccolo 1' Bourdon Doux (Rec) 16' Sesquialtera II Erzähler 16' Grave Fourniture IV Montre 8' Cymbale IV Prinzipal (G.O.) 8' Jeu de Clochette II Violoncelle 8' Basson 16' Cellos Céleste II (Bomb) 8' Corno di Bassetto 16' Unda Maris II (Pos) 8' Trompette 8' Flûte 8' Dulzian 8' The Masterpiece Touring Organ by Rodgers Bourdon (Rec) 8' French Horn 8' Octave 4' Clarinette 8' Cor de Nuit 4' Cromorne 8' The Virgil Fox Tradition Continues Fourniture IV Chamades II 8' Ophicleide Heroique 64' Tuba Anglais 8' Contre Bombarde 32' Chamade 8' Contra Basson 32' Petite Clairon 4' Bombarde 16' Rohrschalmei 4' Basson (Rec) 16' Tremulant Trombone 16' Octaves Graves 16' Corno di Bassetto 16' Muet Contre Trompette 16' Octaves Aiguës 4' Bombarde 8' Chamade (Pos) 8' RÉCIT Rodgers Instruments LLC Tuba Anglais (Pos) 8' Bourdon Doux 16' 1300 NE 25th Avenue Trompette 8' Contre Gambe 16' Hillsboro, Oregon 97124 Trumpet 8' Diapason 8' 503.648.4181 Clairon 4' Gambe 8' fax: 503.681.0444 Rohrschalmei (Pos) 4' Voix Céleste 8' www.rodgersinstruments.com Zink 2' Bourdon 8' Email: [email protected] chords in both hands. This majestic set- part is on two staves and contains regis- tos of the significant Germanic project ments at Église du Coeur Eucharistique ting will make the choir sound good. tration suggestions. at St. Louis and a discussion by de Jésus and in the columbarium of Père The arrangement is based on Parry’s Aubertin about his work there. The Lachaise Cemetery? the Skinner-Picaud “Jerusalem.” Light’s Glittering Morn, Robert remainder of the book is roughly equal- in the school chapel at St-Louis de Gon- Buckley Farlee. Two-part mixed ly divided among extended chapters on zague? or the city’s Rieger organs (two Easter Day, Dominick Argento. choir and organ, MorningStar the technical evolution and esthetics of early twentieth-century instruments at SATB unaccompanied, Boosey and Music MSM-50-4048, $1.75 (E). the French organ (focusing, of course, the Evangelical Baptist Church and St- Hawkes, B6604, no price given Although the text is the same, the on Parisian organbuilding) and on the Michel-des-Batignolles, and one from (M+). musical interpretation/setting is place of the organist in society (again, in 1991, expanded in 2002, at the Conser- Argento has set a Richard Crashaw markedly different from the preceding particular, in the musical culture of vatoire National Supérieur de Musique text in a sensitive and solemn style. Its composition. The role of the organ is Paris), ending with a ‘gazetteer’ or dic- et de Danse)? Even for those who have fresh yet challenging harmonies are syl- greatly increased and is at times solois- tionnaire of approximately 250 signifi- visited Paris and played or heard organs labic. With precise rhythms and chang- tic. The choral parts are very easy, usu- cant organs in Paris. there, this chapter contains a wealth of ing meters, the music builds. There are ally diatonic with measures in 12/8. The section dealing with the develop- information typical of Coignet’s three verses, with the first and last set to Based on the hymn tune Duke Street. ment of the French pipe organ compris- researches into French organbuilding. similar music. This will require a sophis- es three fact-filled and comprehensive The photographs in this volume (more ticated choir, although the individual Resurrection Suite, arr. Mark essays by Norbert Dufourcq (1498–1792, than 150, about 50 in color) may alone be parts are not difficult. Hayes. SATB and keyboard with drawn in part from his massive study, worth the publisher’s price: Rarely will optional brass choir/percussion and Livre de l’orgue français), François any visitor see these organs so well light- Easter Sequence (Victimae Paschali optional congregation, Alfred Pub- Sabatier (1792–1900), and Jean Galard ed and from such perfect vantage points. Laudes), arr. Richard Proulx. SA/TB lishing Co. 11422, $2.50 (M). (1900–2005), and ends with a section by Most have been photographed ‘head on’ with 16 handbells and tambourine, This suite is an extended medley of Bernard Brochard on the development from a location level with the organ case GIA Publications, G-2382, no price well-known hymns especially appropri- of the French organ case. and display great amounts of detail that given (E). ate for Easter Sunday. Most are tri- The second section, ‘L’organiste dans are almost never visible in the dim light- This chant setting, in the Dorian umphant in nature, but in the middle of la société’, also includes four chapters ing of most Parisian churches. Like Pipe mode, is primarily in unison and taken the suite a slow, quiet setting of “Were dealing with organists and their contem- Organs of Chicago (Schnurr and North- from Proulx’s music drama The Pilgrim. You There” is effectively inserted. The porary cultures from 1500–1660 (Michel way), this volume literally illuminates The bells play throughout, often in osti- music is not difficult; the medley builds Le Moël), 1660–1792 (Marcelle Benoit), these instruments and provides a non- nato patterns. With various repeated to a loud and majestic “Alleluia” ending. 1793–1914 (Claude Noisette de pareil visual cornucopia. sections, which could aid in its use as a Crauzat), and 1914–1992 (Jean-Michel —G. Nicholas Bullat processional, the music has a gentle, Louchart). This material presents a fasci- River Forest, Illinois haunting character. There is only one nating survey of the evolving role of brief section where the choir sings in Book Reviews organists and their work through the two parts. centuries, with extracts from the records Susan Hayes Hitchens, Ross Lee of (frequently major) churches and the Finney: A Bio-Bibliography. West- A Joyful Alleluia, Gary Walth. SATB Les Orgues de Paris, Collection letters and diaries of organists both port, Connecticut and London, divisi, unaccompanied, Roger Dean Paris et son Patrimoine, dirigée par famous and virtually unknown. E.g., the England: Greenwood Press, 1996. x Publishing Co., 15/2078R, $1.95 Béatrice de Andia (Action artistique duties of Adolphe Miné, organist at the + 191 pp. ISBN-0-313-28671-X. (M). de la Ville de Paris, 2005, 256 pp., church of St-Roch in 1830, include ISSN-0742-6968 $65 (cloth). This is “Alleluia” is the total text. After a free, French text only, 40 euros). Avail- detailed instructions not only for the Number 63 in the Bio-Biography in chant-like introduction, the music able from the Organ Historical Soci- order of service, but for whether a given Music series and may be ordered moves into rhythmic, articulated state- ety ($57.95 plus shipping), 804/353- improvisation during the Kyrie or other with a credit card by calling ments. There are several alternating 9226;
For all your pipe organ service concerns, contact Charlie Dickson, Service Manager 800.814.9690 • [email protected]
823 Massachusetts Ave. • Indianapolis, IN 46204 • www.gouldingandwood.com
14 THE DIAPASON PEDAL 32 Contre Bourdon 32 Contra Violone 16 Diapason 16 Bourdon Pipe and Digital 16 Lieblichgedeckt (Swell) 16 Antiphonal Viole 16 Violone 8 Octave 8 Principal (Great) 8 Gedacktflöte 8 Salicional (Swell) Sounds Combined 4 Octave 4 Choralbass (Great) SOLO 4 Flûte (Swell) 16 Gamba Celeste II IV Mixture 8 Flauto Mirabilis 32 Contre Bombarde 8 Solo Gamba 32 Contre Double Trumpet (Great) 8 Gamba Celeste 16 Bombarde 4 Gambette Celeste II 16 Waldhorn (Swell) 16 Tuba Mirabilis 16 Double Trumpet (Great) 8 Tuba Mirabilis 16 Cornopean (Great) 8 French Horn 8 Trompette 8 Corno d’Bassetto 8 Waldhorn (Swell) 8 Cor Anglais 4 Clarion 4 Octave Mirabilis Tremulant SWELL Celesta 16 Bourdon doux 8 Geigen Diapason CHOIR 8 Bourdon 16 Erzähler 8 Flute Celeste II 8 Principalino 8 Salicional 8 Voce Umana 8 Voix Celeste 8 Gedeckt 8 Erzähler Celeste II 8 Concert Flute 4 Octave Geigen 8 Viola 4 Flute Harmonique 8 Dulciana 4 Traverse Flute 8 Aeoline Celeste 2 2/3 Nasard 4 Oktav 2 Piccolo 4 Flute 1 3/5 Tierce 4 Viola IV Fourniture 2 2/3 Twelfth III Mixture 2 Fifteenth 16 Contre Trompette 2 Waldflöte 8 Trompette 1 1/3 Quintflöte 8 Waldhorn IV Mixture 8 Oboe III Sharp Mixture 8 Hautbois 8 Cornopean (Great) 8 Vox Humana 8 Krummhorn 8 Voix Humaine 8 Clarinet 4 Clairon Tremulant Tremolo ANTIPHONAL GREAT 16 Contra Viole 16 Double Diapason 8 Principal 8 Principal 8 Holzgedackt 8 Diapason 8 Viole 8 Claribel Flute 8 Viole Celeste 8 Gemshorn 4 Prinzipal 4 First Octave 4 Koppelflöte 4 Second Octave 4 Violes II 4 Spitzflute 2 Oktav 2 2/3 Twelfth 1 1/3 Quintflöte Christ Church, 2 Super Octave III Cymbale 1 3/5 Tierce 8 Trumpet III First Mixture Tremulant III Second Mixture United Church of Christ 16 Double Trumpet 8 Tromba BETHLEHEM, PENNSYLVANIA Tremulant Chimes A handsome cherry and colonial white two-tone finish Four-Manual Renaissance™ console controls the addition of seven pipe ranks and more than seventy digital voices (including a full antiphonal organ) to the existing 1930 Möller Opus #5727 pipe organ.
Designed to the specifications of organist and music director Adam Koch, www.allenorgan.com the organ console includes Allen’s MIDI Division II, an adjustable-height bench and a matching cherry-finish dolly. The beautiful edifice is the 150 Locust Street, P.O. Box 36 congregation’s third church building. The combined organ is now the largest Macungie, PA 18062-0036 USA Phone: 610-966-2202 ~ Fax: 610-965-3098 in the historic “Christmas City” of Bethlehem, Pennsylvania. International E-mail: [email protected] concert artist Carlo Curley performed at the Dedicatory Concert. evolved into an influential educator and the imitation of sounds of chamber ornamented top voice in Binchois’ The first volume was recorded on the a prolific American composer. instruments. Hand pumping is possible, Adieu mes tres belle. The 8v Praestant is organ of Bristol Cathedral, but for the Among the composer’s works are as was the case in this recording! used by itself in Portugaler, again with second recording Mr. Partington has Five Fantasies for Organ. For a discus- The CD contains 26 tracks taken from great charm and confirming that full gone further north to the Birmingham sion of these, see “The Five Fantasies six of the main sources, which together ranks were unlikely to have been used at Oratory. The Oratory Church of St. for Organ by Ross Lee Finney,” by present a kaleidoscopic picture of the all times. The regal comes into its own Philip Neri in Birmingham was founded Anne Parks (THE DIAPASON: Part I, wonderfully varied organ music from the in the largely two-part Jay pris amours. in 1848 by John Henry Cardinal New- December 1976; Part II, April 1977). mediaeval world. The opening piece, a The recording concludes with a Kyrie man. The present Oratory organ is a Hitchens proffers that the purpose of setting of the Kyrie, from the Faenza and Gloria, again with chants inter- very fine four-manual instrument, built the book is “to provide a guide to his Codex of ca. 1400, allows us to hear the spersed, the first Kyrie being written in 1909 by the Worcestershire firm of compositions and recordings, together full flue chorus in the opening verse in most unusually in four parts. It is a most Nicholson & Co. and last rebuilt by the with a comprehensive survey of the writ- which the plainchant in the left hand is felicitous idea to open and close the CD same company in 1987. In 1909, the ings about Finney and his work.” Not accompanied by flowing passagework in with the liturgical settings, allowing us same year that the organ was originally attempting to be a detailed biography, the right hand. Rhythmic variety includ- to chart the increasingly sophisticated built, Basil Harwood shocked the Eng- this small volume contains a biographical ing cross-rhythms enhances the sound, settings over a course of some 60–75 lish musical establishment by resigning sketch (constructed from an interview and by the addition of Cappella years. The shimmering clarity of the full his post as organist of Christ Church and containing much of his composition- Romana’s alternatim chanting, the lis- flues still fills the listener with wonder Cathedral in Oxford at the comparative- al philosophy); an exhaustive list of his tener is brought straight into the heart of today, as it must have done almost 600 ly early age of fifty. He retired to his works, arranged by genre, and their per- the liturgical frame. Two secular pieces years ago, the alternatim chanting being family estate, Woodhouse in Glouces- formances; a discography; and two lists from the manuscript follow, Bel fiore taken more slowly than many recent tershire, and devoted the remaining of his compositions—one arranged dança being played on the flute and Or recordings, and sounding all the more forty years of his life to composition. alphabetically and the other, chronolog- sus, vous dormés trop on a light chorus powerful for that. Basil Harwood’s music can perhaps be ically; and the aforesaid comprehensive and birdsong. There follow two pieces This recording presents a repertoire characterized as being similar to Elgar survey of writings. With the exception of from the Robertsbridge Codex: the com- that is almost unknown today; unfortu- but with a slight German accent—like the biography, each section of the book plex Retrové is based on an estampie that nately many of the works from these Dudley Buck, Harwood spent a couple is cross-referenced with the others. features repeated endings, much of the sources are available only in old editions of years studying at the Leipzig Conser- This reviewer is aware of no other full movement in fifths giving the work a feel that are out of print, as well as no longer vatory. He belongs to a twentieth-cen- volume devoted to Finney (he and his recognizable by most listeners as truly fulfilling the requirements of modern tury Gloucestershire group of com- music are discussed in various histories medieval, the refrain with its false rela- scholarship, thus inhibiting the student’s posers that also includes Ralph Vaughan of 20th-century music), and the value of tion being quite catchy! The motet set- further exploration of much of this Williams, Herbert Brewer and Herbert this volume is not so much for its bio- ting features a decorated upper line in repertoire. Apparently the organ record- Howells. Both the repertoire and the graphical detail, which is less than what triplets and dotted rhythms against a ing was made as early as 1993, and since instrument are little-known master- a full-length biography would contain, slower moving bass, with an occasional then Ms. Marshall has brought out her pieces, and it is good to hear them but for the detailed listing of his compo- addition of a second part a fourth below own anthology in the Wayne Leupold together on this recording. sitions, their performance history, and the upper line. Two short arrangements series; taken together, this is an excellent The major work on this second com- the discography and the exhaustive bib- of French songs from a manuscript at introduction for the student to the late- pact disc is Harwood’s Sonata No. 2 in liography. Finney died at his home in Groningen continue this compositional mediaeval world, as well as the experi- F-sharp minor, op. 26. It bears the sub- Carmel, California, on February 4, 1999 pattern, in the second of which the regal enced performer in other fields looking title “For a Chamber Organ.” The sub- at age 90. (As an aside, this reviewer was is heard to good effect. for fresh challenges. Some of this music title somewhat belies the character of most surprised [and pleased] to see that The rest of the recording is devoted contains features that will tax even the the piece, since the instrument it was two items he had written in 1963 about to sources from Germany, in which we latter, and much of it would make an written for was the comparatively sub- Finney, from whom he had taken a hear a much greater incidence of three- exciting addition to a concert or liturgy stantial three-manual and pedal Bishop composition course, are included in the part writing. In the tablature written by today. The accompanying booklet offers & Son organ in Harwood’s own country bibliography.) Adam Ileborgh in 1448, double pedal- an excellent description of the organ and house in Gloucestershire. The Sonata is Susan Hayes Hitchens has been a ing is called for in some of the short pre- pieces that are played with exemplary in four sections, beginning with the music librarian for more than twenty ludes, although only as long sustained attention to detail, although I wonder longest, a rather lush Lento ma non years, working in libraries in West Vir- basses against which a free flowing whether a case can be made in the Bux- troppo movement that builds up to full ginia, Georgia and Kansas. She current- melisma unfolds. The pieces entitled heim works for tying some notes where organ and then down again to end in a ly resides in Cincinnati and is active in mensura divide the tenor notes into dif- rests are written. The varying registra- whisper. The second movement, the Music Library Association. ferent numbers of beats respectively. tions, entirely appropriate to the partic- marked Allegretto serioso—perhaps it is —Jeffrey K. Chase, M.Mus, J.D. Each upper line is introduced by a turn- ular genres, allow us to hear the quality a little too jaunty to be described as Ann Arbor, Michigan like figure that also features in later of the voicing of all ranks. This CD is serioso—is a finely crafted trio very sources, and repeated sixteenth notes highly recommended, and it is to be much in the “British Imperial” tradition make their appearance. A short untitled hoped that it provides an impetus for of composers like Edward Elgar and piece from the Munich treatise De some of this marvelous music appearing Herbert Brewer. This leads on to an New Recordings Musica Arte provides an illustration of in concert programs. Allegro moderato where Harwood’s points discussed in the treatise on —John Collins German training shows a little more, adjusting certain patterns to fit the tenor Sussex, England displaying some parallels to the style of Gothic Pipes—The Earliest Organ over which they sound. Josef Rheinberger. It builds into an Music. Kimberly Marshall, organ, From the Buxheim Orgelbuch of ca. exciting climax that gives the performer and Cappella Romana, plainchant. 1460, a voluminous collection of over The Complete Organ Works of Basil an opportunity to show off the organ’s Recorded 2004, TT 72:05, Loft 260 pieces in all genres, Kimberly Mar- Harwood (1859–1949), Volume very fine Tuba. The Sonata ends softly Recordings LRCD1047; shall plays a selection of both secular Two. Adrian Partington, organist, as it began with a very restful Arietta.
16 THE DIAPASON the composer surprises us by really let- majeur, Choral en si mineur, Choral en to the music of Franck. Nothing is out of dale provides an explanation of forces ting rip in the final quarter with a bril- la mineur. place or convoluted. Landale plays this and factors that guided her throughout liant fugue that brings the Rhapsody to Susan Landale, organist of the church music from her heart—what more could this monumental project. There are also a massive conclusion. During his own of Saint-Louis des Invalides, Paris, fac- anyone ask for? detailed histories of each organ and lifetime this was Harwood’s most popu- ulty member at the Royal Academy of The two-CD set features three mag- comprehensive stoplists for each. As an lar composition, and it is long overdue Music in London, and professor emeri- nificent Cavaillé-Coll organs—St. additional plus, the liner notes are laced for a revival. The Rhapsody is followed tus at the National Regional Conserva- Sulpice (Paris, France), the Abbey with beautiful photographs of the three by a meditative work entitled In an Old toire in Rueil-Malmaison, France, has Church of St. Étienne (Caen, France), organs. Kudos to Susan Landale and Abbey, op. 32. Originally composed for realized a beautiful recording project to and the Basilica of Santa Maria del Coro Calliope for producing such a wonderful organ and ’cello, later transcribed for which few aspire and even fewer suc- (Donostia-San Sebastian, Spain), which recording, which is a definite must for piano and ’cello, and finally for solo ceed—recording César Franck’s Six lend particularly authentic and beautiful any serious organist’s library. However, organ, the piece is redolent with the Pièces, Trois Pièces, and Trois Chorals. I sounds to this recording. Landale the amateur organist and connoisseur influence of Brahms, once more reflect- first experienced Landale’s approach to expertly matches these three organs to will also find much to enjoy, thus secur- ing Harwood’s German training. Again Franck’s organ music in 1996 when I the repertoire, trying, as she indicates, ing this recording’s appeal for many the composition begins softly, works up attended the dedication festivities for “to highlight . . . nuances of color and years to come. to a grand climax on the Tuba, and the Hellmuth Wolff organ at the Uni- atmosphere by choosing the organs —David C. Pickering, DMA drops down to a gentle conclusion. versity of Kansas, my alma mater. Lan- which seem to convey them the most Graceland University Basil Harwood was a close friend of dale was a visiting artist for this occa- faithfully:” Grand Pièce Symphonique, Lamoni, Iowa Herbert Brewer, organist and master of sion, playing recitals and teaching mas- Finale, Trois Chorals (Abbey Church of the choristers at Gloucester Cathedral. terclasses that included Franck’s music. St. Étienne), Fantasy en ut, Prière, Pas- Brewer taught Herbert Howells and Landale’s recording of Franck’s major torale, Prélude, fugue et variation (Santa was also the Lord Mayor of Gloucester organ works reaffirms the feelings I had Maria del Coro), and Trois Pièces (St. New Organ Music in his spare time. In 1920, Arthur Har- when I first heard her play and teach Sulpice). The organs are recorded won- rison built a magnificent new organ at Franck—her understanding of this liter- derfully and the resulting sound is truly Gloucester Cathedral incorporating ature bears the unmistakable mark of a impressive. Although Landale’s playing Emma Lou Diemer, Psalm Interpre- pipework from the previous Willis seasoned professional who has studied, of Franck would be exciting on almost tations for Organ, Volumes I and II. organ. The instrument was the gift of lived with, and explored these works for any instrument, it is most gratifying to The Sacred Music Press, 70/1317 milk products magnate James Horlick many years. Landale is arguably one of hear her play this repertoire on these and 1319 S, $12.50 each. and his wife, in memory of their son the most important interpreters of fine examples of Cavaillé-Coll’s work. Once again Emma Lou Diemer has Gerald Horlick who gave his life in French Romantic organ music of our The accompanying 32-page liner put together enticing pieces, wholly World War I. Sadly it was destroyed time, and this recording demonstrates notes, in both French and English, con- imaginative and of free compositional and replaced by a new, more why. A former student of the late André tain much information about Franck, style, interpreting seventeen psalms, and “baroque,” organ in 1971. For the ded- Marchal, Landale brings to this record- the organ of Sainte-Clothilde, Franck’s not based upon hymn or psalm tunes. ication of the Harrison organ, Harwood ing a genuine understanding of rhythmic compositional technique, the symphon- The pieces reflect the spirit of verses wrote an extended fantasia entitled flexibility and its place in 19th-century ic organ, and the interpretation of the from the selected psalms and were com- Christmastide, op. 34. Here Harwood music as well as an emotional dedication Franck organ works. In addition, Lan- posed for Dr. Joan DeVee Dixon, pro- reveals his extensive scholarly knowl- edge of medieval plainsong in his use of such thematic material as the Sequence ANDOVER BEDIENT BERGHAUS BIGELOW BOND for Christmas Day, Laetabundus exsul- tet fidelis. The arpeggiated chords in BUZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD the introduction are reminiscent of some of Schumann’s pedal-piano sketches, but the animation of the beginning soon gives way to a more meditative mood, and the use of plain- song themes gives a mystical feeling to the composition, as well as providing an opportunity to show off some of the solo stops on the organ. Toward the end of the piece the melody of the well- known Christmas carol Adeste fideles appears and leads to a final climax on full organ. This was my favorite of the compositions on this recording, and I think it is a piece that deserves to be much more widely known. After Christmastide come Basil Har- wood’s Two Sketches, op. 18, dedicated to the memory his friend Frank Bevis Ellis, who also lost his life in World War I. They are gentle, charming and ele- gantly crafted miniatures, possessing a certain pathos and wistful sadness. The final piece on the recording, Wedding March, op. 40, was dedicated to Basil Harwood’s wife Mabel Jennings, like her husband a talented composer, on the occasion of their twenty-fifth wed- ding anniversary in 1924. It is a fine march in ternary form in the British Imperial style, and would furnish a very suitable alternative to the Mendelssohn as a wedding voluntary. I thoroughly recommend both the repertoire and Adrian Partington’s fine playing on this recording. It is high time that Basil Harwood was given the credit A Week in These Can Change a Lifetime he is due for being one of the outstand- ing English composers of organ music in the first half of the twentieth century. In just a short week, young people attending a Pipe Organ Encounter were inspired For anyone interested in playing them, the scores of Basil Harwood’s complete to become the next generation of organists and church musicians. organ works are available in a six-vol- ume set published by Stainer & Bell. —John L. Speller Join APOBA in welcoming these talented young musicians, as they dedicate their St. Louis, Missouri lives to expressing themselves through the Pipe Organ!
César Franck L’oeuvre d’Orgue. Played by Susan Landale on the Cavaillé-Coll organs of Abbatiale To receive information about pipe organs Saint-Étienne, Caen; Église Saint- Sulpice, Paris; and Basilique de A and recognized pipe organ builders Santa Maria del Coro, Donostia-San P write or call toll free 1-800-473-5270 Sebastian (Spain). Calliope 9941.2 (2-CD set), [email protected]. O or on the web @ www.apoba.com Available from the Organ Historical BA Associated Pipe Organ Builders of America Society ($35.98 plus shipping), 804/353-9226; P.O. Box 155 • Chicago Ridge, Illinois 60415
FEBRUARY, 2006 17 fessor of music at Frostburg State Uni- Quentin Faulkner, ed., Historical Jon Spong’s Classic-Style Variations on Cross, a brief Gospel Fanfare, a quirky versity in Maryland. Dr. Dixon suggest- Organ Techniques and Repertoire, Ellacombe, Robert Speed’s Fanfare and scherzo with lots of meter shifts and ed the idea for the project. These pieces vol. II. J. S. Bach, Basic Organ Variations on Wareham, Carol asymmetrical meters, an ethereal set- are of moderate difficulty and can be Works, Orgelbüchlein and Three Muehlig’s Prelude on Hyfrydol, ting of Veni Creator Spiritus that would performed on organs of all sizes. Free Works. Wayne Leupold Edi- Edmund Haines’ Promenade, Air and present a rare opportunity to use a —David A. Gell tions WL 500006, $29.00. Toccata, Alice Jordan’s Two Pieces for celesta or harp stop, and a concluding Trinity Episcopal Church There are not enough superlatives to Organ Duet, and Janet Linker’s Varia- Toccata in French romantic style. The Santa Barbara, California describe this essential volume and its tions on Greensleeves. The most exten- spirit of Vierne and Dupré also hovers usefulness for both students and sea- sive piece in the set is a reprint of very near in the splendid Toccata on soned professional organists. It is Pulitzer laureate and Mason’s fellow Veni Emmanuel, the final piece in the Ennis Fruhauf, Welsh Hymn Tune designed to assist organists in learning University of Michigan faculty colleague collection in which the familiar plain- Preludes. Concordia 97-6671, and performing Bach’s Little Organ Edmund Haines’ Promenade, Air and song is set against some rather pre- $10.00. Book, the little G-minor Fugue, the E- Toccata that was initially published in dictable toccata figuration that is peri- Traditional baroque rhythmic figures, minor Prelude and Fugue “The Cathe- 1948. Although reviews from the late odically interrupted by a fanfare-like a bit on the dry side, animate most of dral,” and the Toccata and Fugue in D- 1940s dismissed this work as too modern motto. This is a moderately difficult these moderately easy settings of five minor, S. 565. These pieces are com- and “cubist,” most performers today will work that would make an effective con- familiar Welsh tunes. Ar hyd y nos, pletely fingered according to commonly find the harmonic language and general clusion to an Advent recital or service. Rhosymedre and The Ash Grove are set accepted 18th-century practice and compositional style no more strident Having all of these noteworthy pieces with little or no pedal. Hyfrydol requires there is a copious preface that deals with than the sonatas of European contempo- collected in a single volume makes this a pedal for the tune. By far the most suc- registration, articulation, meter and raries Hindemith, Distler or Milhaud, real bargain. cessful is the Prelude and Carillon on St. tempo, posture and hand position, fin- with little more adventuresome than Denio, in which the composer’s imagina- gering, pedaling and ornamentation, all some parallel triads, a few added tones, Dennis Janzer, Partita on Dix. H. W. tion, inspired by the opening measures distilled and derived from historical some quartal structures, and a few shift- Gray GSTC01124, $3.50. of the tune, breaks out of the mold. sources and treatises by Agricola, Kirn- ing meters. The initial promenade is in This winsome bit of neo-baroque fluff berger, Forkel, Praetorius, Quantz and ABA form; the air is a pastorale that is could easily be mistaken for one of Mark Lochstampfor, ’Twas in the Petri. An appendix of relevant essays also in ABA form; this is followed by a Pachelbel’s chorale partitas. Based on Moon of Wintertime. Augsburg (“The Thuringen Organ 1702–1720” by moto perpetuo toccata in sonata form. If the familiar Dix tune, it consists of an Fortress 11-10613, $6.00. Lynn Edwards, “The Registration of J. S. you enjoy the suave, sophisticated har- intonation, a 4-part harmonization, two The first Christmas carol written in Bach’s Organ Works” by Quentin monies of mid-twentieth century neo- 2-part variations, two 3-part variations, North America was created around 1640 Faulkner, and “Griepenkerl on J. S. classicism, then this nicely composed and a final verset with the cantus in the in the Huron Indian language by Father Bach’s Keyboard Technique: A Transla- piece will surely appeal to you. It com- pedal against running sixteenth-note fig- Jean de Brébeuf, Jesuit missionary to tion and Commentary” by Quentin pares very well with any organ pieces uration in the manuals. If not great the Hurons in Ontario, using imagery Faulkner) further elaborates on several produced in the USA in the 1940s and music, it is attractive and effective and common to the native people. For the of the points that are dealt with in syn- deserves performance. could provide an Epiphany service tune he adapted the French noël Une optic fashion in the preface. All of the The remaining five pieces in this piece without having to waste any jeune Pucelle. This peripatetic tune repertoire in this collection is clearly anthology are all chorale-based and will Christmas vacation time practicing. appears in Bach’s organ chorales as Von worth learning (or relearning) with the probably receive more performance in Gott will ich nicht laßen. No less trav- suggested early fingerings that encour- the church than the concert hall. Alice Barbara Harbach, Hosanna, Loud eled than the tune, the text was put into age the use of historically informed hand Jordan’s two pieces, based on St. Hosanna: Organ Settings for Lent French many years later and became a position (even on modern keyboard Columba and “Thine is the Glory” from and the Passion. Augsburg Fortress staple of the French Canadian noël liter- dimensions), allow quick lateral position Judas Maccabaeus, are for organ four ISBN 0-8006-7692-0, $12.50. ature. Still later, in 1926, in a fascinating shifts, and greatly facilitate idiomatic hands and two feet. It is an interesting Eastman School of Music graduate interplay between text and tune, the articulation and ornamentation. It is sur- addition to the two-performer litera- and contemporary American organist/ poet Jesse Middleton created in English prising how effortless and relaxed the ture. Carol Muehlig’s Prelude on Hyfry- composer Barbara Harbach has pro- “’Twas in the Moon of Wintertime,” to technique becomes with a bit of patient dol presents the familiar melody three duced a very useful set of hymn and accommodate Brébeuf’s adaptation of practice and how little arm weight is times, culminating in a effective perora- chorale preludes on six familiar tunes. the tune Une jeune Pucelle. Middleton required to perform this literature. tion. The remaining variation sets by Two of the settings, Were You There? left the Huron expression for the Great Jon Spong, Robert Speed and Janet and Christ lag in Todesbanden, are trio Spirit, the mighty Gitchi Manitou, in the Gerre Hancock, Variations on “Ora Linker are all highly recommended settings with the cantus in the middle native tongue. Sadly for ecumenism Labora.” Oxford University Press 0- examples of very high quality, if conser- voice. The descanting voice is rather those words have been replaced in some 19-386761-3, $11.95. vative, church pieces that fall within the uninvolved in the former, and a quasi- modern hymnals by less imaginative Since many of master improviser technical grasp of most organists. In baroque, mostly sixteenth-note obbliga- English words. Lochstampfor’s unclut- Gerre Hancock’s published organ works summary, this valuable collection of to in the latter. The setting of What tered organ setting portrays the simplic- are sufficiently daunting to preclude pieces is a must-have for all serious con- Wondrous Love Is This? is composition- ity of the winter lodge of broken bark frequent performance, it is most wel- cert and church organists. ally intriguing, because the second half where chiefs found a baby wrapped in come to see that he has produced a consists of an identical repetition of the rabbit skin. work directed at performers with more Andrew Carter, Andrew Carter two-voice first half with the addition of a moderate technical abilities. This set of Organ Album. Oxford University third soprano voice. The settings of Robin Dinda, Ev’ry Time I Feel the variations on T. T. Noble’s hymntune Press 0-19-375322-7, $14.95. Hosanna, Loud Hosanna and All Glory, Spirit, Variations for Organ Op. 14. Ora Labora comprises a theme with an Contemporary British composer Laud and Honor (Ellacombe) are both Wayne Leupold Editions, Inc. interesting pedal ostinato motive, a can- Andrew Carter is probably best known toccatas that sound much more difficult WL600159, $9.00. tus en taille verset, a scampering neo- in the United States for his many fine than they actually are because there are “ . . . On the mountain my Lord baroque two-part invention, a hemiola- short choral works, but this compilation no hand position changes for the tocca- spoke. Out of His mouth came fire and infused gigue with the cantus in the of previously released organ material by ta-like accompaniment figuration. This smoke . . . ” These six variations lift that pedal, a broadly lyrical setting with an Oxford University Press demonstrates obviously static harmonization in both old tune laden with memories of ornamented melody in the treble, and a that he is also a first-rate organ compos- pieces is given relief by fanfare-like church camp into brilliant focus. Build- concluding toccatina in French style. er. His Trumpet Tune from 1986 is in zwischenspiele and by constantly shift- ing on the tune’s inherent rhythmic Possible uses for this would be as a ternary form and was originally intend- ing keys with each new phrase, respec- syncopation, Dinda adds harmonic teaching piece that addresses several ed as a wedding processional. Two tively. The prelude and fugue based on richness and his own warm humor. A different styles within a single work, as a pieces in a quieter style include the St. Drostane (Ride on, Ride on in touch of the blues and a touch of rumba recital filler, or even as a service piece in Christmas Canon on Forest Green and Majesty) has a somewhat stern or aus- sneak into the texture. Eminently suit- Labor Day weekend services. Aria from 1995, a perfect service pre- tere mood that suits the initiation of able in its entirety for a recital, selected lude or communion piece with a throb- Holy Week perfectly. I plan on using all variations may also be used for service Marilyn Mason Music Library, vol. bing, repeated eighth-note pattern that six settings during Holy Week next year, music. The dreamy celeste variation 2. MorningStar Music Publishers accompanies a beguiling vocalise and strongly recommend this collection suggests the smoke and the final varia- MSM-10-991, $25.00. melody. The most substantial piece in to other organists. tion in 7/8 meter brings on the fire! This is a volume of organ pieces com- the anthology in terms of duration is St. —Warren Apple —Gale Kramer missioned by Marilyn Mason between Wilfrid’s Suite of 2002, which compris- Venice Presbyterian Church Ann Arbor, Michigan the 1940s and the present and includes es a processional based on Lift High the Venice, Florida
MANDER ORGANS
New Mechanical St. Peter’s Square Action Organs London E 2 7AF • England Organ Recitals [t] 011 44 20 7739 4747 [f] 011 44 20 7729 4718 [email protected]
Exquisite North American Representative Continuo Organs Malcolm Wechsler
Workshops & Masterclasses 1 Flak Lane New Fairfield • CT 06812-2406 [t] 203 746 7709 www.SusanJaneMatthews.com [f] 203 746 2180 [email protected]
www.mander-organs.com Imaginative Reconstructions Photo: Lorraine Dotson
18 THE DIAPASON The First Europa Bach Festival in Paris Carolyn Shuster Fournier
he Neue Bachgesellschaft has orga- Martin Petzoldt summed up his wish- Tnized a series of Europa Bach Festi- es for this first Europa Bach Festival in vals, which will take place periodically in Paris by citing several lines of Johann large European cities. The first festival Christoph Gottsched’s funeral ode writ- occurred in Paris and its region from ten for the funeral in 1727 of Christiane September to December 2005. It was Eberhardine, the Princess of Saxony: organized by Martin Petzoldt, the pres- ident of the Neue Bachgesellschaft in May Bach’s music Leipzig; Rudolf Klemm, director of the Resound within us each day And bring to all of Europe French Section of the Neue Bachge- An expression of our joy. sellschaft; and notably by its director, the musicologist Gilles Cantagrel, a For more information: Bach specialist, author of Bach et son
If your company was not listed in THE DIAPASON 2006 Resource Directory, visit Five top organists will
WWW. JOHANNUS .COM
FEBRUARY, 2006 19 Dresden’s Frauenkirche Once a Silbermann, now a Kern Joel H. Kuznik
resden has a new Frauenkirche would serve as a model. Kern’s plans Dwith a new organ. The original and concept raise questions, which are “Church of Our Lady” was a striking best answered in his own words, out- architectural achievement by Georg lined in an informative commentary on Bähr, city architect and master builder, the organ’s design at whose design dominated the Dresden
The magnificent restored interior of the Frauenkirche looking toward the altar and the organ above (Frauenkirche, Dresden)
close to Silbermann’s layout: the Brust- 20th-century repertoire, Kern believes werk and Pedal at the bottom, the it is possible to integrate a large Swell Hauptwerk high in the façade with the without compromising the historical Oberwerk above that and the Récit core of the organ. By providing princi- directly behind it. pals, wide flutes, narrow strings and a The suspended tracker action for all Voix Celeste, he feels it is possible to four manuals was built in the “classical” create a stylistic breadth that also style and with solely “classical” materi- embraces the Romantic and symphon- als. [Where Kern uses the word classi- ic repertoire. The results draw not only cal, we might understand historical.] on the inclusion of the Récit, but also The manuals can be coupled mechani- “on our experience with scaling and cally, but an assist can also be used, voicing” in creating a comprehensive especially in the large Romantic pieces tonal palette. where many stops and couplers are “The instrument is, structurally and needed. For the Brustwerk there is a tonally, in decisive respects (including mechanical transposer that shifts the wind supply from six bellows, internal pitch to 415 Hz to accompany older layout and intonation), closely based on music. The Silbermann was tuned in the Silbermann organ. It has, however, meantone, while the Kern is in equal been modified to meet contemporary temperament. requirements . . . . The Kern organ The pipework for the three historic combines numerous virtues of a historic manuals (HW, BR and OW) and pedal organ with technical advantages of a is made according to the “classical mod- modern concert instrument. Thus an els and scales” of Gottfried and Andreas organ has been created which meets Silbermann. The principals and reeds both the new and the historic require- are of 87.5% tin, while the flutes and ments for church music in the Gedackts contain more lead. For the Frauenkirche.”5 pipes of the Récit, Kern used Cavail- The Kern Company was founded in lé–Coll’s scaling and alloys. The princi- 1953 by Alfred Kern, whose work was pals and reeds are 75% tin, the Bour- warmly supported by Dr. Alfred don and flutes 33%. The Swell is mod- Schweitzer. The company is interna- eled after Cavaillé–Coll’s organ of St. tionally known due to its restoration and Sernin in Toulouse.4 The organ is tuned reconstruction of many instruments by at 442 Hz at 18° Celsius (64.4° F), Clicquot, Cavaillé-Coll, and Andreas whereas Silbermann used chamber Silbermann. They have also new instru- pitch 410–415 Hz.1 ments in France, Germany, Japan, and In voicing the organ, Kern has given one in the USA at University Park Unit- himself a complex, challenging balanc- ed Methodist Church, Dallas. In 1977 ing act of creating “a classical brilliance Alfred Kern’s son, Daniel, who had in the mixtures for the plenum, a apprenticed in other firms, took over singing strength in the principals, gravi- the company. tas in the reeds and bass stops, color and ORGAN HISTORICAL SOCIETY poetry in the mutations and reeds, and Frauenkirche Dresden—Organ BOX 26811 RICHMOND, VA 23261 subtlety and clarity in the flutes and Music: Bach & Duruflé. Samuel Order 24 Hours Daily www.ohscatalog.org strings.” Kummer, organist. Hybrid Multi- 804-353-9226 (REAL PEOPLE 9:30 TO 5 EST MON - FRI) This builder has great confidence in channel Surround-Sound. Carus FAX 804-353-9266 e-mail [email protected] his ability and the success of the CD 83.188, ©2005. Available Frauenkirche organ. For Romantic and through Albany Music Distributors,
20 THE DIAPASON piece, a favorite among Germans. The 1 Frauenkirche, Dresden Daniel Kern, IV/65, 2005 room has a reverberation of 7 ⁄2 seconds, Church of Our Lady 3 but Kummer’s Bach is nonetheless • Gress, Frank-Harold, “Die Orgeln Gott- Hauptwerk (Manual I, C–a ) brisk, energetic, and articulate with a fried Silbermanns,” Dresden: Michel Sand- 16v Principal stein Verlag, p. 153–-56. +16v Bourdon straightforward rhythm that could ben- • Silbermann contracted by Dresden City 8v Octave efit from a dash of Viennese warmth. By Council April 1, 1732 for 43 stops for 5,000 8v Viola di Gamba contrast, his Duruflé has a musical Thaler. 8v Rohrflöte sweep and unfolding shape that • Organ dedicated November 25, 1736, 4v Octave engages the ear. As much as he may and Bach played a recital December 1, 1736. 4v Spitzflöte love Bach, his heart, his passion, seems 2 • Church collapsed February 15, 1945, +2 ⁄3v Quinte to be French Romantic. after bombing; reconstructed 1992–2005; 2v Octave 3 Registration. Registrations are dedicated 10/30/2005. 1 ⁄5v Terz 6 • New organ by Daniel Kern, Strasbourg, V Cornet (from cv) carefully documented, and Kummer dedicated 10/30/05, 1.8 million euros; speci- V Mixtur strives to meet the composer’s expecta- fications: CD brochure. +IV Zimbel tions with interesting results and by the 16v Fagott idiomatic inclusion of tierces to enrich Gottfried Silbermann, III/43, 1736 8v Trompete Saxon plenums and of flutes to mellow +4v Clarine 3 French solo reeds. For Bach, Kummer Hauptwerk (II. Manual C, D–d ) uses the transparent, bright resources 16v Principal Oberwerk (Manual II) of the Silbermann HW/OW, whereas 8v Octav Principal 16v Quintade 8v Violdigamba 8v Principal the Cavaillé-Coll Récit dominates and 8v Rohr Flöte 8v Quintade richly colors the Duruflé, proving the 4v Octava +8v Salicional organ to be something of an ingenious, 4v Spitz Flöte 8v Gedackt ingratiating chameleon. “A program 3v Qvinta 4v Octave rich in stylistic contrasts demonstrates The organ casework restored exactly 2v Octava 4v Rohrflöte the amazing tonal versatility of this according to the 1736 design of 3 2 [1 ⁄5v] Tertia (from cv) 2 ⁄3v Nasat organ.”7 Georg Bähr that originally housed the V Cornet 2v Octave Production. Carus has presented Silbermann, but now the new Kern IV Mixtur I Sesquialtera instrument (Frauenkirche, Dresden) III Cymbel IV Mixtur an attractive, well-engineered multi- 16v Fagott +8v Trompete channel surround-sound SACD/CD 8v Trompette *8v Chalumeau that will delight audiophiles and rattle bass woofers, making it possible to Oberwerk (III. Manual) Brustwerk (Manual IV) count the beats of the 32v Fagott at the 16v Qvinta dena 8v Gedackt end of the Bach Pièce. This issue by 8v Principal 4v Principal Carus is distinguished by a clarity of 8v Qvinta dena 4v Rohrflöte 2 ambient sound and a brochure with 8v Gedackts 2 ⁄3v Nasat 4v Octava 2v Octav beautiful photos, informative essays, 4v Flöte (Rohrflöte) 2v Gemshorn and helpful notes. Refer to the Ger- 3 3v Nasat +1 ⁄5v Terz man or French text for full comments 1 2v Octava 1 ⁄3v Quinte with a structural diagram on “Sei 4 3 ⁄5v 1 ⁄5v Sechst Qvint altra 1v Sifflet gegrüsset.” Overall—splendid contri- IV Mixtur III Mixtur bution and an admirable debut for the 8’ Vox humana *8v Vox humana Frauenkirche organ and organist I Brustwerk (I. Manual) Pedal (C–g1) Samuel Kummer. v v 8 Gedackts 32 Untersatz Notes 4v Principal 16v Principal 1. Gress, Frank-Harold, “Die Orgeln Gottfried 4v Rohr Flöte +16v Subbass Silbermanns,” Dresden: Michel Sandstein Verlag, 3v Nasat 8v Octavebass pp. 153–56. Silbermann was contracted by Dres- 2v Octava +8v Bassflöte den City Council April 1, 1732 for 43 stops for 2v Gemshorn 4v Octavebass 5,000 Thaler. The church and organ were dedicat- 1 1 ⁄3v Qvinta VI Mixturbass ed November 25, 1736. 1v Sufflett +32v Fagott 2. Landler, Mark, The New York Times, Octo- v ber 30, 2005. III Mixtur 16 Posaune 3. Reconstructed by Jehmlich Orgelbau Dres- The reconstructed Frauenkirche dedi- 8v Chalmeaux (from g°) 8v Trompetenbass den 2001–2002. For information and specifications cated October 30, 2005 after thirteen 4v Clarinenbass go to
FEBRUARY, 2006 21 Challenging the culture: A conversation with Paul Jacobs Joyce Johnson Robinson
aul Jacobs is no stranger to anyone he left Yale with his Artist Diploma and Pwho knows the organ world, and of Master of Music degree in 2003, he was late he is gaining exposure to a broader adding Brahms and Reger to his agenda. audience through the mass media. The With this as his core repertoire, he is fas- tidious about what he adds for “lighter subject of numerous newspaper, profes- music.” He knows how to popularize the sional journal, and public radio inter- organ in other ways. In fact, he was a very views (The Wall Street Journal, The New effective “pied piper” while at Yale, inten- York Times, The Los Angeles Times, tionally drawing large numbers of under- Choir and Organ, National Public graduates and non-concert-going people to Radio’s Morning Edition, to name just a his programs. Much of that he does with a few), Jacobs is a musician of passionate personal, one-to-one, friendly rapport. and devoted intensity. One of the first When he played his E. Power Biggs Memorial Recital at Harvard, for example, mentions of him in these pages was as he calmly greeted members of the audi- the college division prize winner of the ence as they arrived! So in large measure, Albert Schweitzer Organ Competition his approach has not been on the well-trod (see THE DIAPASON, November 1998); path of competitions or with showy music.6 his Messiaen Marathon performance in Chicago was chronicled by Frank Ferko Phillip Truckenbrod, whose agency in THE DIAPASON in May 2002, and his manages Jacobs’ engagements, first numerous achievements and honors heard of Paul Jacobs via his playing at an have often been reported here. AGO convention and subsequently Jacobs’ current high media profile is when Jacobs won the college division due in part to his position as head of the award of the Albert Schweitzer competi- organ department at Juilliard—at age 26 tion. Truckenbrod has mentioned how he became the school’s youngest At the Cathedral, Los Angeles (Los Angeles Times photo by Beatrice de Gea) Jacobs has been noticed by the broader department chair ever. He has also gar- musical community, remarking that nered attention for his Bach and Messi- Certainly one of his strengths was a great weeks or so into his first year, he came to aen marathons, though these certainly seriousness, which is still a hallmark of his me and said, “well, would it be all right”— A lot of the kudos which have come his playing, and of his personality. He really is he was very timid about this—“do you way are not from organ sources, they’re are serious and concentrated encoun- deeply devoted to excellence in perfor- ters with the music of these composers think it would matter, would people be from critics who don’t usually do much mance. What did he need to work on? upset, would it be all right if I were to play with organ, and people who have simply and not to be considered stunts. Well, he was not at the top of his form in TWO pieces each week?” (laughter) And recognized a real talent—a talent compa- A native of Washington, Pennsylva- the social graces. Not that he was inappro- so I thought that would be just fine, and rable to some of the best talents in other nia, Paul Jacobs studied organ with priate, but I think he was a little nervous told him so, and so he did. From that time fields of classical music. Resonating is one George Rau, John Weaver, and Thomas about conversing with people; and inter- on, for the rest of his four years at Curtis, of the favorite words today—but he’s sort Murray. His teachers attest to his intel- acting with people was a skill that he had he played at least one new piece each of resonating on that level.7 ligence, great capacity for learning, and not developed terribly well at that point, week, plus another piece and sometimes hardy work ethic; these were noticeable but that he now has more than compen- repeating a piece from another time. Well We wished to discover for ourselves a sated for.2 the interesting thing is, it wasn’t very many even as he began his organ studies. weeks after that, one of his fellow students bit of what makes this fervent musician George Rau, Jacobs’ first organ teacher, At Rau’s suggestion, Jacobs began mas- who’d become equally notorious in the tick, and also to explore some of his remembers that even at his first lesson, tering early on the skill of memorization. organ world, Ken Cowan, wasn’t about to views on the role of the organ and its his talent was obvious; he learned very be upstaged. He started memorizing two music in the face of the popular culture quickly, and worked very hard. I would always tell him that it’s a skill that pieces each week too! (laughter) It was juggernaut that challenges us all. if developed now, you’ll have it for the rest quite a class—to have Paul Jacobs and Ken I knew that his was an extraordinary tal- of your life, and it’s a skill that you want to Cowan both studying at the same time.4 develop young, so that it becomes a natur- ent, and also not only that, he works hard- 3 er than any musician that I know; and hav- al part of your playing. Following Curtis, Jacobs went on to ing the two—not only this great talent, but study at Yale. His teacher at Yale, also this great work ethic—really, you just Rau’s nudging to memorize was taken to Thomas Murray, found Jacobs to be “a knew that he was going to go far.1 heart; John Weaver elaborates: genuinely modest and seriously com- mitted artist.” 5 By age 15—when he took his first The tradition at the Curtis Institute that church position—he had learned much goes back to the days of Lynwood Farnam Perhaps the greatest strength a musician of the standard repertoire and was and was maintained for many years by can have is to be truly individual, and that working on larger Bach works. Jacobs Alexander McCurdy, and I inherited and surely describes Paul and the way he maintained, [was] that each student shall approaches everything. He identifies the studied with John Weaver at the Curtis play a new piece from memory in organ music of specific composers as being the Institute of Music; Weaver’s first class each week. And nothing like this most enduring and ennobling, and then impression noted the “security of his exists any place else in the world, as far as devotes himself to that music without playing and the musicianship.” Weaver I know. Paul wasn’t fazed by this at all. But reservation. In Paul’s case, that has meant also commented that after he’d been at Curtis, oh, perhaps six Bach and Messiaen especially. By the time
The Royal School of Church Music, in conjunction with the St Giles International Organ School, presents: Paul Jacobs enjoying nature in Ripon, SUMMER COURSE FOR ORGANISTS 2006 England Monday 31 July-Saturday 5 August in London, England JR: In your very full life you have Whatever your standard – beginner, intermediate or advanced – this course offers you the opportunity teaching at Juilliard, and recitals to play, which involve a good deal of to develop your skills. You can: travel. How do you balance these y Build your own course from the many activities on offer many demands? y PJ: I look to the life of George Fred- Enjoy several performance opportunities (all optional) erick Handel for inspiration. Handel y Practise daily on a wide range of interesting pipe organs in the City of London was not a man of leisure—he was very y Receive individual and group tuition from the tutors of St Giles International Organ School much married to his art. There are not y enough hours in the day, and I feel Attend classes and workshops with students at exactly your level obligated to my work, which is so fulfill- y Stay in the course accommodation in central London, or opt for a non-residential package ing. Actually this ties in with my not y Mingle with a large number of student organists from all over the world owning a television, too. Who has the time? While I’m home visiting my mother and family in Pennsylvania, of Directed by Anne Marsden Thomas and Rosemary Field course I do occasionally watch televi- Tutors include Kevin Bowyer, Gerard Brooks, Henry Fairs, Alison Hogg, Daniel Moult, Simon Williams sion. And you know, the more stations there are, the less that’s worthwhile. I For further details of this and other courses for organists and singers, actually have encouraged people to get rid of their television and get out there contact us (quoting ref: 06/SCO1) at the following address: and live. Live deliberately! Chris Wardle, RSCM, Cleveland Lodge, Westhumble, Dorking, Surrey, RH56BW, United Kingdom JR: I’ve read that you first heard organ music when you were young, Tel: +44 (0)1306 872807 Fax: +44 (0)1306 887260 at church—a nun was playing and it E-mail: [email protected] Web: www.rscm.com/courses inspired you. Prior to that, were you already listening to serious music? What sort of family culture do you come from?
22 THE DIAPASON shall we say, with music, one must because I’m seldom there due to my become as intimate with it as possible, performance schedule. I’m very fond and that demands many hours of the of the people there, though, and I very day—hours that could be spent doing much enjoy playing for services; it just other things with other people. I sup- is something I’m unable to do regular- pose it’s an abstract point, but it’s a very ly. Being artist in residence and playing important point—musicians need that a few times a year seems to work well. solitude. My solitude has always been very important to me, because it has JR: You have done Bach and Messi- allowed me to become very close with aen marathons. What made you the art. It’s not necessarily loneliness— want to play their entire works for it can be, at times, but solitude doesn’t organ? necessarily equal loneliness. PJ: I see Bach and Messiaen as per- haps two incomparable composers for JR: Yes—alone is not equal to lone- the organ. They also happen to be per- ly. But I think of you as quite gra- haps two of the most overtly religious cious. At the 2004 AGO convention composers in Western history, if you you were at the door greeting peo- think about it. That has always been an ple as they entered the church for enormous source of stimulation, and your recital. That seemed very open that element alone has attracted me to and confident, not what I would their music. Then on a purely composi- associate with someone who was an tional level they are two of the greatest introvert. composers to have lived—every note of PJ: Yes, I feel genuinely obliged to Bach and Messiaen is in its proper thank people and to be gracious to them Playing his first wedding place. They never waste a note; it’s Paul in fifth grade (photo credit: Mrs. because they’re giving of themselves. music that is perfectly crafted. It is Pritchard) Good musicians want to become vulner- JR: And I would imagine now that’s music that is as close to God as we could able to an audience. You get out there not as possible as it used to be? possibly experience in this life, and I PJ: Surprisingly, I do not come from and pour your heart and soul out, and PJ: It sometimes is not, that’s right, wanted to become intimate with as a musical family, nor from a musical you hope an audience will do the same: especially during the school year. How- much of it as I could—and that meant community, for that matter. As you that they will allow the barriers to come ever, this relates to organists, because the entire canons of these composers. know, I’m from Washington, Pennsylva- down—emotional barriers, spiritual we as organists often have to wear many nia. My father is deceased; my mother is barriers, intellectual barriers, and just hats—I should say those of us who are JR: You have said that you like to a nurse, and, while not musical herself, be there in the moment. It has to be this church musicians. One sometimes has just enjoy nature. That makes me she did all that she could to support my mutual vulnerability; everyone must be to work with choirs, prepare music, and think of Messiaen—what an amaz- fascination with music. She recognized very giving and human and sensitive to be an administrator, all of these sorts of ing mind there, so far-reaching: early on that I possessed a very strong what’s going on. So it’s important that things—and practice is neglected. And Greek music, Indian modes, bird- attraction to music. Even when I was the performer be approachable and not practice needs to be a crucial part. I song, other sounds in nature, that three, she noticed that I would listen to aloof. Again, I don’t think I’m contra- might even say that practice needs to be play into his concept of music. Do classical music, or if there was a con- dicting myself. One can still have the THE crucial part of an artist’s life—a you incorporate any of this into ductor on television, an orchestra con- solitude and not be aloof—you can still significant priority—every day, just as your approach to Messiaen’s cert, I was entranced. And I expressed relate to people. eating, sleeping, breathing. music? interest at age five to study the piano. PJ: Very much! Messiaen had the All of that led way to more serious study JR: Yes! Do you routinely greet peo- JR: Prior to Curtis, were you musi- soul of a poet, there’s no question about of music. ple before a performance? cally active in your church or at that that. And we as musicians need to have PJ: It varies, depending on how I feel. point were you focused on being an this insatiable desire, to be drawn to JR: And you began piano study I like to, but not always. Quite frankly, organist? Were you in your church beauty. It’s not enough to sit down and when you were about six? oftentimes I like to take a walk— choir? play the organ well—and then go about PJ: Yes, at six, and continued that depending on where the venue is. One PJ: Well, I actually became the life. Playing music should be an end in through my first year at Curtis. Thirteen time, last season, the church was locat- organist of my home church when I was itself, not a means to an end. When I sit was when I began playing the organ. ed in a wonderful neighborhood—it was 15, and that was a very large church. at the organ and play the Book of the And I was fortunate in a relatively small very scenic. And I wanted to take a walk The position was quite demanding; I town to have both a first-rate piano about an hour before. And—I got lost! I had to play for six Masses a weekend, teacher and an organ teacher who nur- didn’t get back into the church until over 60 weddings a year—this was a tured my zeal for music and my musical about two minutes before the concert. parish of over 3500 families. And I had education. People were concerned! to accompany the choir; I was not the choir director, but I was there for all JR: Is that how your practice habits JR: During your training years, choir rehearsals, interacting with people got a good start? what would be a typical amount of much older than I was. But I loved it! I PJ: Yes, I would say so. For a young practice in a given day? I know you was in my element. person to have strong feelings for classi- emphasize not merely the quantity cal music in the United States is gener- but also the quality of it, but quanti- JR: Did you also have a church job ally not held in high regard by the young ty needs to be there too. in New York? person’s peers. PJ: Sure, absolutely, it does, and PJ: I did. And I still do. I was organ- that’s an important point—you do have ist and choirmaster at Christ and St. JR: Indeed! I take it that you were to have the quantity as well. I would Stephen’s Episcopal Church for two not on three or four sports teams? like to get in between six to eight hours years; however, I became artist in resi- PJ: Not only that—I’m as unathletic a day if I could. dence beginning in the fall, mainly Paul with grandparents as one could be. But you know, I didn’t really have any friends, growing up. I had difficulty, even through most of my time at Curtis, because I was an intense Handbuilding Musical Masterpieces in Nebraska Since 1969 introvert. I’ve lightened my personality a bit over the last several years. And I don’t regret any of this, by the way—but Quality... I had no time for taking part in the Our experienced woodworkers and pipemakers use banalities of life; and partying, or drink- ing, or just idle talk—it was of no inter- only the finest materials to create exceptionally est to me. I would much prefer to be playing and studying beautiful music. beautiful and joyous sounding works of art. Friday nights, even through Curtis, were spent practicing, late into the night, not out with friends. Service... One has to become the music. You Bedient is a full-service pipe organ company have to want it to become part of you, you have to go through an incredibly offering complete building, tuning, maintenance, intense, rigorous lifestyle to get to this and restoration services. point, to earn the right to confidently express yourself. JR: That’s a very interesting idea— Expertise... that as an introvert you would Our expert designers are here to provide solutions bypass social opportunities, so that that will exceed your expectations. Call us to you could dig in deeper and express yourself publicly through music. schedule a meeting about your unique organ needs. PJ: Oh, I think that’s absolutely the case. I think keyboardists tend to lead the most insular existences—pianists, organists, because our instruments are so complete. But the nature of being a serious musician demands a lifestyle Bedient Pipe Organ Company est.1969 that is centered around not only musical analysis but also self-analysis, and self- 800.382.4225 bedientorgan.com 1060 Saltillo Rd., Roca, NE 68430 reflection—all of these things are inter- twined. If one is to have a love affair,
FEBRUARY, 2006 23 Blessed Sacrament of Messiaen, the time? How do you remember that Livre du Saint Sacrement, it’s the end of on this instrument “I need to hit the the world, in the most glorious sense. Great to Pedal toe stud” and on the One forgets about time, one forgets next instrument there is none? How about all of these things—and there’s a do you remember all the mechanics, purity of nature, a reality. As much as I since you don’t use a registrant? adore the culture of the city, it’s artificial, PJ: Well, that’s a bit of an enigma to on one level, because it’s all man-made. me. Obviously, I become familiar with But nature is made directly by God. the instrument before the concert— You know, I did recently take one day then I associate the sound with my mus- off to go to Valley Forge Park, which I cles—I don’t really know! adore, and just walk and hike up the It MIGHT BE a little bit psychologi- mountains and through the fields and cal, particularly if you can memorize into the woods. And it was balmy and notes. I find that students can usually do humid and hot and quite cloudy as well. far more than they think they can. There About halfway along my walk, the heav- are teachers who unintentionally beat ens opened up, and it started to pour. I students down, even intimidate, and have didn’t have an umbrella, and I got them frightened to take risks or chal- soaked; but it wasn’t long before I real- lenges, or be creative, but I try to pull out ized that this is something to relish! It the potential of students. Nothing is more wasn’t a thunderstorm, I wasn’t in any rewarding than when they’re surprised danger of being struck by lightning; but about what they CAN do—for instance, just being showered upon, it was actually memorization. I have some students who very wonderful; it was a beautiful experi- say, “Oh, I just can’t memorize,” and ence. I always have a deep yearning to some students that it comes easy to. Well, spend time in nature; that never ends. there are ways to work at this—there Recently I was in Australia. I encoun- aren’t short cuts, it’s difficult—but there tered some glorious birds and bird- are ways that one can improve. song—in particular, on one SPECTAC- ULAR occasion, I confronted a lyre- Paul at age 15 JR: I remember being told that you bird. My first introduction to the lyre- have to practice the button-pushing bird was through Messiaen’s symphonic the player, but sometimes for the audi- JR: Do you read about the com- as much as the key-pressing. work, Illuminations of the Beyond, the ence, and even music historians. It’s dif- posers whose music you play? What PJ: I focus with students on playing Éclairs sur l’au-delà. It’s the third move- ficult to comprehend technically and do you do besides study scores? the organ beautifully. Not only the ment that’s called “The Superb Lyre- musically, and it’s often played in a PJ: Absolutely. Attempting to under- music, but the instrument, the console. Bird.” I was taking a walk with two of my heavy-handed way that can make it unat- stand the personality behind the music is You watch pianists or violinists—the hosts in a wooded area outside of Syd- tractive, and this need not be the case. fascinating and illuminating. You want to grace with which they play! And many ney; to encounter this lyre-bird, that I have broad interests in music—I understand everything you can about organists sit up there looking rather rigid inspired Messiaen, was an immensely play contemporary art music. I do have what you’re pursuing, not just sit down and stiff. Particularly with consoles that moving experience. an interest in 20th-century music, not and crank out notes. are more visible these days, we have to just with Messiaen, but also Hindemith, physically be confident when we play. JR: What are you working on now in Langlais, Duruflé, Alain, and others. It is JR: Yes, and if you can understand We don’t want to be overwhelmed by terms of adding to your repertoire? also important to support the creative the person and their time, it really the organ, we want to be in perfect align- What would you like to focus on in spirit of contemporary times and I helps shed light on the music, or the ment with it. And you’re right—the idea the future? intend to commission works from sever- music shed light on the time. of practicing pushing pistons, and push- PJ: Even though I haven’t pro- al modern composers. I also delight in PJ: That’s right! And not necessarily in ing them at the right time—these tech- grammed much German Romantic music earlier than Bach—Buxtehude, a stylistic sense, although it can some- nical things have to be practiced. But repertoire—Brahms, Mendelssohn, Couperin, De Grigny—exquisite music! times. I’m revisiting some older reper- when you actually play them, you want Schumann—in the last few months, it’s I rejoice in playing the whole canon of toire now, and I think I’m going to pro- the timing to be musical. You want to music of the highest quality. I have the organ repertory. I would never want gram some Franck this season or next. push them gracefully. All of these things become quite attracted to Reger’s to be labeled a specialist; my interests One of the first pieces I learned was the have to serve the music; they can’t just music. I think that it is sorely underesti- are too extensive for that. I savor the Prelude, Fugue and Variation—it’s a gor- be technical exercises. mated, because it is difficult, not only for ability to play a vast array of music. geous work. And I might do some differ- ent things; I’m conceiving of the piece in JR: You spoke of people who are stiff a different way, perhaps with some dif- sitting at the organ. Have you ever ferent articulations, colors and sounds. If had a problem with muscle tension? First Congregational Church one were playing a Cavaillé-Coll, one PJ: Well, I haven’t, other than maybe P A L O A L T O , C A L I F O R N I A could follow exactly what Franck indicat- practicing. When one does a lot of prac- ed, and it’s wonderful. But there’s noth- ticing, fatigue can set in, muscles can ing wrong, too, with developing a differ- become a little sore. There are organists ent, even unorthodox concept of a piece, who think that you have to sit complete- as long as the playing is expressive and ly still, that you have to be able to bal- compelling. That’s really the ultimate ance a glass of milk on your hand, you goal—it’s not about right and wrong, or don’t want any unnecessary movements. what one should or shouldn’t do. Rule Well, some people are naturally quieter No. 1 is to MOVE the listener, and if the at the console, and some people are a lit- subsequent rules need to be broken to tle freer, they move more. And that’s ok! serve this first rule, so be it. You have to do what is comfortable. Certainly with beginners you have to JR: How do you prepare a piece? Do be very careful about extraneous motion you have any specific practice tech- and movement. At a more advanced niques? Transferring your knowledge stage, you develop your own musical of how to play on one instrument to personality, and your physical personali- another, in a very short span of time— ty when you’re playing, and it’s ok to is there anything specific you do? move. Just move the body! Just as long as PJ: Well, one needs to sleep with the you’re relaxed. And if being relaxed score. That is to say, you need to study it means being still, so be it. If it means away from the keyboard. Know it inside moving, that’s fine too. But there are and out—live with the music. Under- many organists that sit almost as if stand what the music means on spiritual they’re frightened to move, they’re levels, philosophical levels, aesthetic lev- intimidated by pushing buttons, making Image courtesy of John Miller Architects © 2005 els—one needs to be able to look at sure everything’s right on. If you don’t music in so many ways. I do a lot of work revel in what you’re doing, if the techni- E ARE pleased to announce the design and construction of a new pipe at the piano, particularly much of the cal demands of playing the organ are Worgan for First Congregational Church of Palo Alto, California. The preliminary work—phrasing, or learning overwhelming you, you won’t enjoy it. instrument’s two cases were penned in consultation with John Miller Architects of notes, things such as that. And some- And you need to enjoy! It seems so obvi- Mountain View and will be a significant element in the church’s redesigned times one can discover new ideas about ous and logical—you need to not only chancel. With 49 stops on electric slider windchests, the organ’s stoplist was how to interpret a piece on a different musically and mentally enjoy the music, developed in close collaboration with the church’s Assistant Music Director and instrument, then transfer those concepts but you need to physically enjoy the Organist, Joe Guthrie. The instrument is currently being constructed in our to the other instrument. And one isn’t music while you’re playing. There’s distracted, too, by all of the gadgets on nothing wrong with that. workshops and will be completed during the summer of 2006. the organ. When sitting at a piano or harpsichord, any instrument is sparse JR: Our culture trivializes music— Orgues Létourneau Ltée compared to the pipe organ. I think it is for the most part, it’s considered easier to focus with the piano or the harp- background noise, playing while one sichord than it is with the organ, because does something else. People prefer there’s so much to consider: not only music that is short, simply construct- In the USA: 1220 L Street N.W. In Canada: 16355, avenue Savoie notes, but also registration, and all the ed, and any melody must be very Suite 100 – No. 200 St-Hyacinthe, Québec J2T 3N1 other technical and mechanical aspects. simple and accessible. Given this, Washington, DC 20005-4018 Telephone: (450) 774-2698 how can we as organists reach peo- Toll Free: (800) 625-PIPE Fax: (450) 774-3008 JR: But at some point, the organ’s ple? Schools are eliminating music Fax: (202) 737-1818 e-mail: [email protected] gadgets will require your attention. instruction; serious organ music is e-mail: [email protected] www.letourneauorgans.com How do you memorize registrational scarcer in churches—there are a lot changes on an unfamiliar instru- of organists who can’t play it, or ment, when you have very little won’t; and fewer people are going to
24 THE DIAPASON That was something that I learned a great We don’t want any clones in the depart- deal from both John Weaver and Thomas ment—and there are none. I think if one Murray—with regards to console control, visits the school and hears the depart- and how to bring out the best from an ment play, one will encounter rich vari- instrument. Both John Weaver and ety and imagination in playing and in Thomas Murray allowed me to be my styles. And I encourage this—I insist own musical voice; they didn’t try to upon it. I believe that a teacher at Juil- impose their own style upon me. And that liard needs to be quite demanding with is something that I have taken from them, the students, but the students are highly and applied to my own style of teaching. motivated and always rise to the occa- I’m very grateful to both of them. sion. I’m very proud of them. JR: How are you enjoying teaching JR: Do you have any big projects at Juilliard? planned? Any more marathons, any PJ: Very much. And I should add that more things of that nature? with the current situations of schools— PJ: I performed the Messiaen cycle such as Northwestern and of course the again in Los Angeles, at the end of Octo- New England Conservatory—the situa- ber, at the Cathedral of Our Lady of tion at Juilliard could not be any better. Angels. But with regards to something The president of Juilliard, Joseph Polisi, different, I look forward to pursuing new has been extremely supportive of my repertoire. Actually I am considering Paul with mentor, Father John Bauer Paul, age 18, with mother vision for the department. And the talent offering a Reger marathon, a Reger that exists in the department is formida- cycle—but not in the immediate future! church. So the opportunities for very patient initially. If the person said ble. During a visit last year to organ exposure to things like Bach and “I don’t understand that,” or “I don’t class, Michael Barone referred to the JR: Will you be making any more Messiaen are fewer and fewer. How appreciate that,” that’s a fair statement, department as a “hot shop!” recordings? do we react to that? What can we do? and it’s not making a judgment. It’s even PJ: Oh, yes, yes! I’ve neglected PJ: Anyone who says that he or she fair to say “I don’t care for that.” But JR: You have indicated that the recording, simply because of other pro- cares about music or values it has an judging something that you don’t under- department would not really be jects and such. But I am very keen on obligation to take action. And what I have stand isn’t fair, and I guess I would growing in numbers, that it would recording Messiaen and Reger in the found is that many people do acknowl- attempt to help the person see this. be limited to a certain size. Is that near future. edge these problems—at least those of us I remember having an interview for correct? I want to concentrate on other things who play music and listen to music. So NPR’s Morning Edition, last year before PJ: It fits in with the school, because right now, these being performing and what is the next step? I see most of pop- my Messiaen program. And it was very the school itself is small. Juilliard prides certainly learning other repertoire. The ular culture as extremely corrosive to clear to me that the person who inter- itself on being a small school, and our snowball keeps growing larger, but I love what we try to accomplish as musicians. viewed me did very little preparation for department is the size of some of the it. This work provides such joy and ful- And I think we organists first need to put the interview. I think she knew practical- wind departments—flute, oboe—rela- fillment in my life, and meaning. ourselves in a larger context, and start ly nothing about the organ, knew even tively similar in size. Ten organ majors is thinking in broader terms. I do find that less about the composer. And she said to generally a good number for the Juilliard JR: Well, Paul, I will let you go get a our profession is far too isolated. We me, “There are those who don’t like the community. It could be bumped up a lit- cup of tea! Thank you so much for organists need to get out of the loft and organ. I’m wondering what you might tle, I suppose, and it might be, but not your time. listen to operas, listen to chamber music, say to that.” And my feeling was, you much. PJ: It’s been a pleasure talking with go to hear the symphony—we need know, we live in a culture that sits back you. I music, in all of its manifestations. It is, and says, “Prove to me that this is worth- JR: Do you find any difference however, possible to really like music and while”—that X is worthwhile, or that this either in outlook or ability or Notes 1. Telephone conversation, Sept. 23, 2005. to be intrigued by it at a high level, with- has value, or that I should do this. Prove approaches between your students 2. Telephone conversation, Aug. 26, 2005. out being passionate about it. Those of us to me, show me—and they don’t take and those that you work with in mas- 3. Telephone conversation, Sept. 23, 2005. who are passionate about music need to any initiative. And my feeling is, pick up ter classes? 4. Telephone conversation, Aug. 26, 2005. challenge those who are merely intrigued a book yourself and read. Or take an PJ: With master classes, one can be all 5. E-mail message, Aug. 23, 2005. 6. Ibid. by it, to make them even more sensitive. organ or piano lesson. YOU have to take over the map; there’s such variety. One 7. Telephone conversation, August 26, 2005. This is what we have to do: build an army some initiative. You’re right, we’re so thing that I insist on with each of my stu- of individuals who possess an unwavering used to diluting everything these days. I dents is that they develop their own Joyce Johnson Robinson is associate editor commitment to the creation of a musical- find it troubling that many organists musical signature, right from the start. of THE DIAPASON. ly literate society. don’t seem to possess this zeal, this call Popular culture is extremely destruc- to action. They possess it at some level, tive to beauty because it serves the there’s some awareness of it, but it does- opposite purpose of what true music and n’t determine their behavior, or their art serve—and that is, it numbs us. actions, or their everyday conversations Because music is in the background and with people, I don’t know how else to say Refinement, Grandeur, not the foreground, one is not expected it. There’s no fire in the belly—there has to listen to it with this full spirit, being, to be. mind—whatever term you wish to use. Delicacy, & Grace And that essentially desensitizes. Art JR: You mentioned that we organists music is supposed to make one more need to get out and listen to other sensitive to beauty and life. That is to musical forms, such as the sympho- say, we learn how to listen carefully and ny. What other music do you listen deliberately—for there are so many to? alluring details in the music that desire PJ: We could be here all night! I will our full undivided attention. say quite clearly, I do not listen to pop- ular entertainment. I have no interest JR: If we say we care, then we have in that sort of thing. I see that as corro- an obligation to take action. sive, and as an artist and a musician, I PJ: And that is to say, to challenge the feel obligated to challenge what our culture. I see my obligation as an artist— culture accepts as music. What do I lis- I should say, one facet—is to challenge ten to? I listen to six centuries of aggressively this corrosive popular cul- music—from plainchant and Ock- ture. What does that mean? Write letters eghem through Dallapiccola and to newspapers and other organizations, Debussy. Recently, I’ve been listening a make noise about what you do. If you great deal to Mozart, perhaps more care, do you care enough to share what than I ever have in my life—specifically you profess to care about? Do you want to the piano concerti and the sonatas. to share it with someone else? If we value This summer I’ve rediscovered this something, and we see the good in some- music—specifically Ashkenazy playing thing, isn’t it logical to want to share it? the piano concerti, DeLarrocha the I’ve become dismayed because I see sonatas. And I’m very fond of the great quite clearly the enormous potential of a Romantic repertoire—Mahler’s sym- society which truly values music—the phonies, Verdi’s operas, and Brahms’s potential is there, and we see it on an chamber music. In the twentieth centu- individual level; we see what happens ry, I find Alban Berg’s music quite when a young person discovers the power voluptuous. But yes, I have very broad of music in a very real and profound way. tastes, with the exception that I’m not It’s something to celebrate. I have NO fond of most popular music. I maintain faith in the popular culture, but I have that Western art music is the pinnacle. boundless faith at the individual level. I But of course, that would be challenged St. Bede Catholic Church, Williamsburg, VA think that keeps me going, keeps me by more and more people today. Neil Kraft, Music Director inspired, and wanting to continue living. JR: During your time at Yale and at Member, Associated Pipe Organ JR: Well, all right. If an audience Curtis, what were you able to learn? John-Paul member heard a serious program, I have the feeling that you were Builders of America and wasn’t used to that, how would already technically skilled by the Buzard 112 West Hill Street you respond if they said they wanted time you got to Curtis, so you didn’t Pipe Organ Builders Champaign, Illinois 61820 to hear something that was easier to need to work on technique. Is that listen to? correct? 800.397.3103 • www.Buzardorgans.com PJ: Well, I would have a conversation PJ: No, not really. Certainly I would with that person, first of all. I would be consider registration part of technique.
FEBRUARY, 2006 25 Cover feature
Lewtak Pipe Organ Builders, Camillus, New York, 2005 St. Joseph’s Catholic Church “On the Hill,” Camillus, New York The Church The history of St. Joseph’s Church in Camillus, New York, goes back to 1852, when the first resident pastor came to the parish and began to care for the reli- gious needs of local Catholics. The orig- inal St. Joseph’s Church in the village of Camillus was built in 1867. The congre- gation eventually outgrew the small space of the old church, and in 1965 construction started on a new build- ing—the cross-shaped church, with par- abolic arches rising 90 feet and dramat- ic windows at the ends of each wing. As is often the case when substantial funds are required for construction, the pur- chase of a new pipe organ had to wait its turn. The delay turned out to be a long one—almost 40 years! For years the rich and varied music program of St. Joseph’s Parish was sup- Tomasz Lewtak ported by an electronic organ substitute and a Kawai grand piano. During the The addition of a new first manual fall of 2001, an opportunity came along, (the Grand Orgue) allowed not only for and finally the decision was made to keeping the stop configuration as close begin the construction of a new pipe to the original as possible, but also organ that would fulfill the musical opened completely new sound needs of the congregation and would prospects to build on and to draw from. aesthetically complete the sanctuary of This is the division that is by far the St. Joseph’s. That year, another church strongest. It is rather basic in terms of in the Diocese of Syracuse—St. Louis in utilized ranks, not too far from the tonal Oswego, New York—was closed and the character of the old instrument and yet pipe organ from this church was pur- created with the sole purpose of giving a chased with the thought that it would complete Principal chorus to the entire become a jump-board for a much larger instrument. The Cornet Harmonique instrument at St. Joseph’s. III deserves special mention. It is a 2 3 three-rank cornet (2 ⁄3v, 2v and 1 ⁄5v) con- sisting of widely scaled, overblown flute pipes with two small holes midway through the body length. The aural effect is quite unusual: the cornet com- bination has a far greater penetration and clarity of timbre thanks to the char- acteristic “hollow” sound of the harmon- ic pipes. Obviously the Pedal division required Lewtak Opus 1 more power. This was simply achieved by adding to the original three stops (Double Open 16v, Bourdon 16v and Violoncello 8v) a new Octave 8v, Cor de Nuit 4v and a round-sounding 16v Buzène, a reed stop with leathered shal- lots. It would have been an asset to have a mixture in the Pedal; however, the Casavant Opus 69 financial constraints made it impossible. The total number of new pipes added is The Old Organ 1,100. The old organ, a tracker consisting of two manuals with 21 stops, was built by The New Façade Casavant Frères in 1896 as their Opus The difficult task of designing the 69. It was the first organ from this façade for this organ fell on our shoul- builder imported in the United States. ders after we approached various out- At the time of acquisition, the Casa- side architects and artists. The problems vant organ was in a state of complete dis- we encountered with the architects repair. It was obvious that a true histori- were their lack of understanding the cal renovation was not feasible for two principles of how the organ works, not primary reasons: the cost and the size of knowing what is and what is not attain- the instrument. Even if the parish were able. There was also the lack of positive to allocate the funds, St. Joseph’s has a and healthy aesthetics. The objectives cubic volume approximately four times were quite simple: first, to fit the organ that of St. Louis Church. The volume of into the arch shape of the ceiling, and sound required to fill this large space View from below second, to show that this instrument could not possibly be achieved from a blends the old with the new. An addi- rather small and softly voiced instru- both manual windchests, which were changes necessary to move the timbre tional requirement came from the fact ment. With heavy hearts and facing no also transported to St. Joseph’s. From out of the dark and 8v-heavy character. that it had been explicitly requested that other options, the old organ from four pedal chests only two were salvage- The original configuration did not have the console must stay on the main floor Oswego was dismantled and moved to able, with the remaining two damaged any fifths or thirds among its stops. In of the church while the rest of the organ St. Joseph’s in Camillus. Only the sal- beyond any reasonable repair. addition, the first manual (the Great) rests on a 10-foot high loft. The reason- vageable parts would be used in a new had four 8v stops and one 4v stop; the ing for this came from the liturgical doc- instrument. Virtually all of the old The New Tonal Design second manual (the Swell) had a 16v uments of the Second Vatican Council, pipework was saved. A total of 1,202 Even though the old organ had to be Bourdon and a sub-octave coupler to which dictates that the music ministry is pipes were moved to Camillus, most of dismantled, it became the backbone the Great. New ranks were added with not to be separated from the congrega- which were in shoddy physical condi- for—first and foremost—the tonal the purpose of not just strengthening tion. In the case of a tracker organ, it tion; some were badly damaged due to design of the new instrument. Professor the volume, but more importantly immediately makes things a lot more poor maintenance and careless handling. Ulrik Spang-Hanssen from the Royal brightening the sound of the organo complicated simply because the linkage For example, an existing Mixture III on Danish Music Conservatory in Aarhus, pleno in these two divisions. The old becomes dangerously long. the second manual had twelve original Denmark was consulted, and a plan was Great (current Positif) received the 2v The design of this church building pipes missing in the center, the sign of devised for the preservation of the orig- Piccolo from the old Swell, and the cannot be classified as “contemporary” an obvious “tuning accident” occurring inal stop configuration, augmenting it original Dulciana 8v was moved to the but it may be described as “modern.” many years ago. These were replaced with a new third keyboard that would new Grand Orgue division. The old However, all throughout the building with “stock” pipes that did not make any serve as the foundation for the “big Swell (current Récit) received a new there are many elements of traditional 2 3 sense in terms of either scaling or in the sound.” Very few old ranks have been Nasard 2 ⁄3v, Principal 2v and Tierce 1 ⁄5v. architectural design: harmonious lines, proper Mixture repetition sequence. shifted. What was acquired from From the same division, the Trumpet 8v time-honored proportions, and a lot of Many wooden pipes also had visible Oswego became the second and third and Bourdon 16v were moved to the symmetry. The answer to all of these water damage. The same was true for manuals (Positif and Récit) with some new Grand Orgue. challenges came from my brother,
26 THE DIAPASON venience of 1,280 memory levels for thank the parishioners of St. Joseph’s even the most demanding performer. Church of Camillus, New York, for Half of the levels are lock-protected. their continuing understanding, The layout of thumb and toe pistons is patience and support. very simple and offers some necessary —Tomasz Lewtak redundancy. Couplers can be operated Organbuilder either by thumb pistons or toe studs. Also, the navigation through the system’s The following craftsmen took part in memory levels can be done either by the construction of the organ for St. hand, by foot or on the side by an assis- Joseph’s Church in Camillus, New York: tant. There is one expression pedal for Tomasz Lewtak – mechanical design, the Récit and a Crescendo pedal. The pipe scaling, voicing, woodworking Crescendo, in order to work, first must Pawel Lewtak – façade design, wood- be activated by a toe stud. It is fully pro- working, traction grammable and has a digital level display Gerry DeMoors – electronics, caril- from 0 through 30. A similar kind of dig- lon, general construction ital level display is in place for the Kevin Reedy – general construction expression pedal of the Récit. The shut- John Fergusson – woodworking. ters are operated by a 30-stage, digitally controlled electric motor. The organ utilizes a three-phase 1.5 Lewtak Opus 1 hp electric blower with slow RPM. St. Joseph’s Church “On the Hill” There are two reservoir bellows—one Camillus, New York old one and one new— providing ample GRAND ORGUE air supply to the whole instrument. 16v Bourdon* There are three tremolos, one for each 8v Grand Principal manual. Two of them have electronically 8v Dulciane* adjustable speed of undulation right at 8v Flûte à Cheminée the console. 4v Octave 4v Flûte à Fuseau The Voicing 3v Quinte 2v Doublette Any organ is only as good as it sounds. 2v Flûte Therefore, even though we spared nei- III Cornet Harmonique ther time nor money on mechanical IV Mixture details, the most important element 8v Trompette* remained the voicing. All of the old Tremblant Fort ranks received some sort of voicing re- vamp. They had all previously been POSITIF 8v Montre* voiced down for a much smaller build- 8v Mélodie* ing. We made them more free speaking, 8v Gambe* definitely less obstructed at the toe. All 4v Prestant* of the old ranks were heavily nicked, 2v Piccolo* which made things difficult at times. The Carillon a22–f42 new ranks were voiced with a little bit of Tremblant Doux chiff, just enough to make their speech RÉCIT more pronounced in the large acoustics 8v Viole de Gambe* of St. Joseph’s Church. The old reeds 8v Principal* needed to be re-tongued in order to gain 8v Flûte Harmonique* a larger sound. The Trumpet 8v, espe- 8v Bourdon* cially, required more brilliance and vol- 8v Voix Cèleste* ume in order to balance well with the 4v Flûte Harmonique* 4v Fugara* rest of the Grand Orgue. The organ is 2 Console tuned to a Tartini-Vallotti temperament, 2 ⁄3v Nasard 2v Principal which gives it a pleasant color and tonal 3 1 ⁄5v Tierce architect Pawel Lewtak. He is the cre- run is 33 feet and yet the average weight personality. The instrument has much to III Mixture* ator of the design that became a real of the key—when the chests are under offer in terms of variety of sound colors 8v Basson-Hautbois* head-turner among parishioners and pressure—is only 120 grams. The action as well as the dynamics and individual 8v Cor Anglais* visitors alike. In his words, his worst fear is not the least sluggish thanks to the stop character. Tremblant Doux was to create another organ that would employment of a pressure rail on the be sitting “up there” with the console back of each keyboard with springs that From an organbuilder’s perspective, PÉDALE 16v Flûte Basse* that is placed “down there,” and one has remove some of the key weight. Each taking a vintage 1896 organ and bringing 16v Bourdon* little to do with the other. Instead, he division has its own floating rail allowing it up to present day expectations, and 8v Octave created a homogenous shape that ties for climatic changes of the wood of the having an organ that could be used for 8v Violoncello* the top with the base in a seamless man- trackers, which are made of red cedar. church services as well as concert per- 4v Cor de Nuit ner. The tower-like structure of seg- The squares are fashioned out of alu- formances has been a personally 16v Buzène ments gives it slenderness and allows for minum as are the rollers and roller arms. demanding and ingratiating experience. traditional pipe grouping. To reflect On the longest rollers, needle bearings In organ building, the idea is always to * Original Casavant stop what is inside the organ case, the origi- were utilized to support the weight of be creative while retaining the original Mechanical key action Electric stop action nal façade pipes were kept in their dis- each roller. elements and merging them with new Electronic register presets, 1280 memory tinctive clusters, and new groups of The keys are made of tight-grained technologies. It is rewarding beyond levels double flamed copper pipes were pine covered with black African wood words when an artist sits down at the Wind pressure: 90 mm Positif, Récit & added. Copper was definitely the mate- (grenadilla) for the naturals, and bone- console and you begin to see the smiles Pédale; 82 mm Grand Orgue rial of choice for its perfect blend with on-maple for the sharps. The cheeks of of pleasure. It means you have accom- Couplers: III-I, II-I, III-II, III-P, II-P, I-P the surrounding color scheme. the keyboards are white oak with plished your goal of creating the finest Tuning A34=438 Hz at 18ºC There is one special feature of this ebony inlays. organ from available sources. Temperament: Tartini-Vallotti façade that separates it from all others: All windchests are of slider and tone- Lewtak Pipe Organ Builders wishes Photo credit: Hawley Studio, Syracuse, New mirrors, more specifically, forty of them! channel construction. Two old wind- to extend our sincere thanks to all vol- York (except for Casavant Opus 69 photo by Hardly noticeable at first glance, they chests (Positif and Récit) have been unteers who gave their time and energy Tomasz Lewtak) add light, depth, spark, and elegance. completely taken apart and restored to to this most worthy project. We also The mirrors are only four inches wide, mint condition. In both, the pallets used and are of various lengths. They are are of a so-called “relief” type: in placed in wooden frames in the spaces essence, each pallet consists of two between the pipe clusters. They pieces, one of which is being pulled enhance the design by offering a true down first thus releasing the pressure three-dimensional effect. As people and breaking the initial resistance. After walk through the church they are always cleaning, releathering and complete re- viewing a distinctive picture with varie- regulating of all the parts, they work gated light reflections, innumerable flawlessly. New windchests are made shadows and highlights, an array of geo- out of select yellow pine and have single metrical shapes, yet all elements are pallets in all but the lowest octaves. In well organized with pleasing aesthetic the bass, we installed two pallets per integrity. tone channel, but with sequential open- The be s t of the European tradition The façade is made of white ash with ing, which causes the touch to be the mahogany ornaments, and the case same as the rest of the keys. Proudly made in America behind it is made from birch and care- Pedal pipes are split diatonically and fully selected white poplar. stand on either side of the case. The open 16v flute stands on its own two 1003 Barnwood Lane The Mechanics and Materials chests (C side and C# side). The The key action is purely mechanical. remaining pedal pipes received two new Camillus, New York 13031 It is referred to as a suspended action windchests with space for both the old and was the only logical choice given our and the new ranks. (315) 751-0505 circumstances. Long distance between The stop action is state-of-the-art www.lewtakorgan.com the keyboards and the windchests dictat- electric. The stop plates, made of ed absolute precision in the making of grenadilla, hide behind them contact- the tracker action. The longest linkage less switches. The system offers full con-
FEBRUARY, 2006 27 New Organs Calendar
17 FEBRUARY Cj Sambach; Westminster Presbyterian, This calendar runs from the 15th of the month Albany, NY 7 pm of issue through the following month. The deadline Marek Kudlicki; Church of the Ascension, is the first of the preceding month (Jan. 1 for Clearwater, FL 7:30 pm Feb. issue). All events are assumed to be organ Douglas Cleveland; Mees Hall, Capital Uni- recitals unless otherwise indicated and are grouped versity, Columbus, OH 7:30 pm within each date north-south and east-west. •=AGO Choral concert; First Presbyterian, Birming- chapter event, • •=RCCO centre event, +=new ham, MI 7:30 pm organ dedication, ++= OHS event. Information cannot be accepted unless it spec- 18 FEBRUARY ifies artist name, date, location, and hour in writ- Alistair Nelson; Battell Chapel, Yale Universi- ing. Multiple listings should be in chronological ty, New Haven, CT 3 pm order; please do not send duplicate listings. THE Timothy Weisman; Dwight Chapel, Yale Uni- DIAPASON regrets that it cannot assume responsi- versity, New Haven, CT 8 pm bility for the accuracy of calendar entries. Missa Gaia; St. Bartholomew’s, New York, NY 2 pm, 4:30 pm Marvin Mills, with Ritz Chamber Players; Church of the Good Shepherd, Jacksonville, FL UNITED STATES 8 pm East of the Mississippi Motet Choir; Rockefeller Chapel, Chicago, IL 8 pm 15 FEBRUARY Cj Sambach, INformance; Westminster Pres- 19 FEBRUARY byterian, Albany, NY 9:30 am, 1 pm John Scott; St. Paul Episcopal, Concord, NH Gail Archer; Holy Apostles Church, New 3 pm York, NY 8 pm Abbey Siegfried; St. Michael’s, Marblehead Ben van Oosten; Finney Chapel, Oberlin MA 5 pm College, Oberlin, OH 8 pm Jason Roberts; First Church of Christ, Gerre Hancock, improvisation workshop; Wethersfield, CT 7 pm Knowles Chapel, Rollins College, Winter Park, Robert Grudzien; St. Paul’s Chapel, Colum- FL 3:30 pm bia University, New York, NY 4 pm David Rogers; Cathedral of St. Patrick, New 16 FEBRUARY York, NY 4:30 pm Voces Nordicae; St. Bartholomew’s, New Bach, Cantata 18; Holy Trinity Lutheran, New York, NY 7:30 pm York, NY 5 pm Choral concert; St. Luke in the Fields, New Nigel Potts; St. Thomas Church Fifth Avenue, York, NY 8 pm New York, NY 5:15 pm Gerre Hancock; Knowles Chapel, Rollins Ben van Oosten; Brick Presbyterian, New College, Winter Park, FL 7:30 pm York, NY 8 pm (lecture by Jean-Louis Coignet at Douglas Cleveland, masterclass; Mees Hall, 7 pm) Capital University, Columbus, OH 1 pm Bradley Althoff; Christ Church, New Marilyn Biery; Cathedral of St. Paul, St. Paul, Brunswick, NJ 6:30 pm, Vespers at 6 pm MN 7:30 pm Valerie Lefever; Holy Trinity Lutheran, Lan- caster, PA 4 pm Gordon Turk; United Church of Christ at Val- ley Forge, Wayne, PA 4 pm Karl Wilhelm, Inc., of Mont-Saint- chapel features hard, reflective interior ed mechanical key action, electric stop Bruce Neswick; First Baptist, Chattanooga, Hilaire, Quebec, Canada, has built a new surfaces, yet with sufficient moldings action; single-fold bellows with flexible TN 6 pm organ for Paris-Yates Chapel at the Uni- and openings to avoid undue concentra- winding. Principal pipes are 75% tin, Trey Clegg; St. Philip’s Cathedral, Atlanta, GA versity of Mississippi. The firm’s opus tion of sound at focal points, and is in a flute pipes 28% tin. Open pipes are 3:30 pm, Evensong at 4 pm 152 is built on classical principles and is classical basilica plan consisting of a cone-tuned, stopped pipes with soldered Clive Driskill-Smith; All Saints Cathedral, flexible enough to play a large and varied high, narrow nave with side aisles. caps. Natural keys are plated with bone, Episcopal, Milwaukee, WI 3 pm repertoire of solos and accompaniment. The organ is located at the east end, sharps of ebony. Casework is of solid VocalEssence; Ordway Center, St. Paul, MN The builder was chosen early enough to and comprises 26 stops on two manuals white oak with moldings and gilded pipe 4 pm collaborate with the architect on the and pedal: 32 ranks, 1,642 pipes. Manu- shades. Temperament is after Vallotti. 20 FEBRUARY tonal conception of the chapel. The new al/pedal key compass is 56/30; suspend- —Karl Wilhelm Ben van Oosten, masterclass; Brick Presby- terian, New York, NY 9 am GREAT SWELL PEDAL Jean Galard; Brick Presbyterian, New York, 16v Bourdon 8v Salicional (FF) 16v Subbass NY 4:15 pm 8v Prinzipal 8v Hohlflöte 8v Offenflöte Stephen Cleobury, keynote lecture, open 8v Rohrflöte 8v Celeste (TC) 4v Choralbass choral rehearsal and choral Evensong; McCal- 4v Oktave 4v Prinzipal 16v Posaune lum Ballroom, Rhodes College, Memphis, TN 4v Spitzflöte 4v Rohrflöte 8v Trompete (Gt) 2 2 ⁄3v Quinte 2v Waldflöte Sw/Ped 21 FEBRUARY 2 2v Superoktave 2 ⁄3v Sesquialtera II (TC) Gt/Ped Margaret Angelini; King’s Chapel, Boston, 3 1 1 ⁄5v Terz 1 ⁄3v Larigot MA 12:15 pm 1 1 ⁄3v Mixtur IV 1v Scharf IV John Scott; Adolphus-Busch Hall, Cam- 8v Trompete 16v Dulzian bridge, MA 8 pm Sw/Gt 8v Oboe Adam Koch; Central Synagogue, New York, NY 12:30 pm Greg Homza; St. Luke’s Chapel, Medical Uni- versity of SC, Charleston, SC 12:15 pm Judy Campen; Church of St. Louis, King of France, St. Paul, MN 12:35 pm
22 FEBRUARY ensemble amarcord; University of North Car- olina, Pembroke, NC 10 am Jim Pluer; The Cathedral of St. John the Evangelist, Milwaukee, WI 12:15 pm
23 FEBRUARY Choral concert; St. Ignatius Loyola, New York, NY 8 pm ensemble amarcord; Brevard-Davidson River Presbyterian, Brevard, NC 7:30 pm James Biery; Cathedral of St. Paul, St. Paul, MN 7:30 pm
24 FEBRUARY Heinrich Christensen; Old West Church, Boston, MA 8 pm Mozart choral works; Woolsey Hall, Yale Uni- versity, New Haven, CT 8 pm Peter Richard Conte; Trinity Episcopal, Vero Beach, FL 7 pm Mazaika; First United Methodist, Fort Walton, FL 7:30 pm Timothy Tuller, with soprano; Cathedral Church of the Advent, Birmingham, AL 12:30 pm
25 FEBRUARY Cj Sambach, INformance; First Presbyterian, Bristol, TN 9:30 am Mazaika; First Methodist, Gulfport, MS 7 pm Choral concert; Rockefeller Chapel, Chicago, IL 8 pm •Anita Werling, workshop; St. John Lutheran, Joliet, IL 10 am The Texas Boys Choir; St. Christopher Epis- copal, Carmel, IN 7 pm
28 THE DIAPASON 26 FEBRUARY Mazaika; Nardin Park United Methodist, David Kazimir; Ascension Memorial Church, Farmington Hills, MI 2 pm Bert Adams, FAGO Ipswich, MA 4:30 pm The Purdue Bells; First Presbyterian, Arling- Paul Bisaccia; Farmington Library, Farming- ton Heights, IL 4 pm Park Ridge Presbyterian Church ton, CT 2 pm Choral Evensong; St. James Episcopal Park Ridge, IL Fred Teardo; Woolsey Hall, Yale University, Cathedral, Chicago, IL 4 pm New Haven, CT 8 pm Ken Cowan; First United Methodist, Peoria, Pickle Piano & Church Organs Boguslaw Grabowski; First Presbyterian, IL 3:30 pm Bloomingdale, IL New York, NY 4 pm Cj Sambach, Pipe Organ INformance; Cal- Bach, Cantata 127; Holy Trinity Lutheran, vary Lutheran, Brookfield, WI 9:40 am, recital at New York, NY 5 pm 3 pm Kent Tritle; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 6 MARCH Justin Hartz; Christ Church, New Brunswick, Stephen Tharp; Brick Presbyterian Church, NJ 6:30 pm, Vespers at 6 pm New York, NY 8 pm Bel Canto Children’s Chorus; Doylestown Peter Richard Conte; West End United Presbyterian, Doylestown, PA 4 pm Methodist, Nashville, TN 7:30 pm David Arcus; Duke University Chapel, Durham, NC 5 pm 7 MARCH Donald Sutherland; Peachtree Christian, Kola Owolabi; Central Synagogue, New Atlanta, GA 2 pm York, NY 12:30 pm Huw Lewis; Trinity English Lutheran, Fort Sophie-Véronique Cauchefer-Choplin; St. Wayne, IN 4 pm Ignatius Loyola, New York, NY 7 pm Cj Sambach; First Presbyterian, Bristol, TN Choral concert; St. Ignatius Loyola, New 3 pm York, NY 8 pm The Texas Boys Choir; Church of the Holy The Texas Boys Choir; The River Road Spirit, Episcopal, Lake Forest, IL 4 pm Church, Baptist, Richmond, VA 7:30 pm Yoon-Mi Lim; Kenilworth Union, Kenilworth, The Choir of St. Thomas Church, New York IL 5 pm City; All Saints Episcopal Church, Richmond, Bach, St. John Passion; First United VA 7:30 pm Methodist, Evanston, IL 8 pm The Inman Piano Trio; St. Paul’s Episcopal James Russell Brown; St. Chrysostom’s, Church, Augusta, GA 8 pm Chicago, IL 2:30 pm Daniel Roth; St. Joseph’s Catholic Church, •Anita Werling; The Episcopal Church of the Orlando, FL 7:30pm Holy Family, Park Forest, IL 3 pm Laura Edman; Church of St. Louis, King of France, St. Paul, MN 12:35 pm 27 FEBRUARY Jason Roberts; St. Peter’s Episcopal, Mor- 8 MARCH ristown, NJ 7:30 pm •Sophie-Véronique Cauchefer-Choplin; ensemble amarcord, masterclass; Wright improvisation masterclass; St. Thomas Fifth State University, Dayton, OH 9 am Avenue, New York, NY 7 pm Yoon-Mi Lim; Elliott Chapel, The Presbyter- Thomas DeWitt; Morrison United Methodist, ian Homes, Evanston, IL 1:30 pm Leesburg, FL 12 noon
28 FEBRUARY 9 MARCH Desiree Hines; Central Synagogue, New The Choir of St. Thomas Church, New York York, NY 12:30 pm City; Abingdon Episcopal, Gloucester, VA 8 pm Robert Gant; St. Luke’s Chapel, Medical Uni- versity of SC, Charleston, SC 12:15 pm 10 MARCH The Texas Boys Choir; Faith Lutheran, Peter Planyavsky; Portland City Hall, Port- Knoxville, TN 7:30 pm land, ME 7:30 pm ensemble amarcord, masterclass; Performing Pergolesi, Stabat Mater; Church of St. Arts Center, Rio Grande, OH 4:30 pm, perfor- Joseph, Bronxville, NY 8 pm mance at 8 pm Florence Jowers; Brevard-Davidson River Dean Billmeyer; Church of St. Louis, King of Presbyterian, Brevard, NC 7:30 pm France, St. Paul, MN 12:35 pm The Choir of St. Thomas Church, New York City; Trinity Episcopal Cathedral, Columbia, SC 1 MARCH 7:30 pm Martin Haselböck; First Baptist Church of The Texas Boys Choir; St. Thomas Episco- Greater Cleveland, Shaker Heights, OH 7:30 pm pal, Coral Gables, FL 7:30 pm The Texas Boys Choir; Faith Lutheran, Martin Jean; Trinity Lutheran, Akron, OH 8 Knoxville, TN 10 am, 7:30 pm pm Yoon-Mi Lim; First Presbyterian, Columbus, 2 MARCH IN 7:30 pm ensemble amarcord; Shell Point Retirement Daniel Roth; St. Chrysostom’s Episcopal, Center, Fort Myers, FL 7:30 pm Chicago, IL 7:30 pm
3 MARCH 11 MARCH Daniel Roth; The Cathedral of St. Joseph, Thomas Murray, masterclass; Ridgewood Hartford, CT 8 pm United Methodist, Ridgewood, NJ 9 am Carlo Curley; Slee Hall, University at Buffalo, Erik Suter; Grace Evangelical Lutheran, Win- Buffalo, NY 8 pm chester, VA 7 pm Choral Concert; Cathedral of Mary Our Queen, Baltimore, MD 5:30 pm 12 MARCH ensemble amarcord; Messiah College, Carol Weitner; St. Peter’s Episcopal, Bay Grantham, PA 8 pm Shore, NY 4 pm Christopher Harrell; Immanuel Lutheran Weil Sawyer; St. Bartholomew’s, New York, Church of the Upper Keys, Tavernier, FL 8 pm NY 4:30 pm The Texas Boys Choir; First Presbyterian Bach Vespers; Holy Trinity Lutheran, New Church School, Nashville, TN 1:30 pm York, NY 5 pm The Texas Boys Choir; First Presbyterian Barbara Bruns; St. Thomas Church Fifth Church, Nashville, TN 7 pm Avenue, New York, NY 5:15 pm Thomas Murray; Ridgewood United 4 MARCH Methodist, Ridgewood, NJ 4 pm Daniel Roth, accompaniment for worship ser- Robert McCormick; Christ Church, New vice; The Cathedral of St. Joseph, Hartford, CT Brunswick, NJ 6:30 pm, Vespers at 6 pm 3:30 pm Bradley Hunter Welch; Washington Cathe- Paul Jacobs, masterclass; Spivey Hall, Mor- dral, Washington, DC 5 pm row, GA 11 am Paul Jacobs; St. Mark’s Lutheran, Baltimore, ensemble amarcord; McGlohon Theatre, MD 3 pm Charlotte, NC 7:30 pm Brennan Szafron; Fuller Auditorium, Lime- stone College, Gaffney, SC 3 pm 5 MARCH Cj Sambach, Pipe Organ INformance; First Paul Bisaccia, piano; Wood Memorial Baptist Church, Easley, SC 4 pm, recital Library, South Windsor, CT 2 pm at 6 pm Antone Godding William Entriken; Church of St. Vincent Fer- Peter Planyavsky; First Presbyterian, Nichols Hills rer, New York, NY 3 pm Gainesville, FL 4 pm Choral Evensong; Grace Church, New York, Alan Morrison; First Presbyterian, Pompano United Methodist Church NY 4 pm Beach, FL 4 pm Oklahoma City Ahreum Han; St. Bartholomew’s, New York, The Choir of St. Thomas Church, New York NY 4:30 pm City; Bower Chapel, Moorings Park, Naples, FL Bach Vespers; Holy Trinity Lutheran, New 4 pm York, NY 5 pm Atlanta Baroque Orchestra; Peachtree Road LORRAINELORRAINE BRUGH, BRUGH, Ph.D.Ph.D. John Brock; Christ Church, New Brunswick, United Methodist, Atlanta, GA 3 pm NJ 6:30 pm, Vespers at 6 pm Ken Cowan; First Presbyterian, Somerset, Lenten Choral Concert; Cathedral of Mary KY 4 pm Associate Professor Our Queen, Baltimore, MD 6:30 pm Daniel Roth; First United Methodist, Johnson Thomas Baugh; Christ Episcopal, Roanoke, City, TN 4 pm University Organist VA 4 pm Mozart, Missae Breves; Independent Presby- The Texas Boys Choir; First Congregational, terian, Birmingham, AL 4 pm Valparaiso University Hendersonville, NC 3 pm Valparaiso, IN Peter DuBois; Jacoby Hall, Jacksonville, FL 14 MARCH www.valpo.edu 3 pm William Entriken; Central Synagogue, New www.valpo.edu Paul Jacobs; Spivey Hall, Morrow, GA 3 pm York, NY 12:30 pm ensemble amarcord; St. James’ Episcopal Peter Planyavsky; Collegedale Church, Col- Church, Fairhope, AL 4 pm legedale, TN 7:30 pm 219-464-5084 Gillian Weir; St. Lorenz Lutheran, Franken- Jean Krinke; Church of St. Louis, King of [email protected] muth, MI 4 pm France, St. Paul, MN 12:35 pm
FEBRUARY, 2006 29 16 MARCH Richard Pilliner; St. Thomas Church Fifth Carissimi and Charpentier oratorios; Church Avenue, New York, NY 5:15 pm of St. Luke in the Fields, New York, NY 8 pm Richard Heschke; Christ Church, New Cj Sambach; St. Petersburg College, St. Brunswick, NJ 6:30 pm, Vespers at 6 pm Petersburg, FL 7:30 pm The Singing Boys of Pennsylvania; St. John Lutheran, Nazareth, PA 3 pm 17 MARCH Robert Parkins; Duke University Chapel, Pieter van Dijk; Miller Chapel, Princeton The- Durham, NC 5 pm ological Seminary, Princeton, NJ 7:30 pm Ken Cowan; First Presbyterian, Naples, FL Jay Peterson; First Presbyterian, Springfield, 7 pm IL 7 pm James David Christie; Church of the Redeemer, Sarasota, FL 7:30 pm Brian Jones 18 MARCH Carol Williams; Hyde Park Community Unit- Director of Music Emeritus Choral concert; St. Peter’s Episcopal, Morris- ed Methodist, Cincinnati, OH 4 pm town, NJ 7:30 pm Bach, Mass in b; St. Andrew’s Episcopal, Ann TRINITY CHURCH Peter Richard Conte; The Bryn Mawr Pres- Arbor, MI 4 pm byterian Church, Bryn Mawr, PA 10 am Grand Rapids Cantata Choir; St. Mark Epis- BOSTON Marilyn Keiser, with orchestra; Thomas copal, Grand Rapids, MI 4 pm Wolfe Auditorium, Asheville, NC 8 pm Steinbach and Helvey Piano Duo; First Wayne Paul Jacobs; Christ United Methodist, St. St. United Methodist, Fort Wayne, IN 7 pm Petersburg, FL 3 pm Bach, Ach Gott, wie manches Herzeleid; St. Gail Archer; St. Andrew’s Episcopal, Madi- Luke Church, Chicago, IL 4 pm son, WI Kammerchor; Concordia University Wiscon- Northwest Choral Society; Edison Park sin, Mequon, WI 3:30 pm Lutheran, Chicago, IL 7:30 pm University of Minnesota Choirs; Cathedral of St. Paul, St. Paul, MN 3:30 pm 19 MARCH Nancy Lancaster; House of Hope Presbyter- Vincent Carr; Woolsey Hall, Yale University, ian, St. Paul, MN 4 pm New Haven, CT 8 pm Paul Murray; St. Bartholomew’s, New York, 27 MARCH NY 4:30 pm The Choir of St. John’s College, Cambridge; DAVID K. LAMB, D.MUS. Bach Vespers; Holy Trinity Lutheran, New St. Paul’s Episcopal, Troy, NY 7:30 pm York, NY 5 pm Anthony Pinel; St. Peter’s Episcopal, Morris- Director of Music/Organist Jeremy Bruns; St. Thomas Church Fifth town, NJ 7:30 pm Avenue, New York, NY 5:15 pm Margaret Kemper; Elliott Chapel, The Pres- First United Methodist Church Ken Cowan; Our Lady of Sorrows, South byterian Homes, Evanston, IL 1:30 pm Columbus, Indiana Orange, NJ 3 pm 812/372-2851 Christopher King; Christ Church, New 28 MARCH Brunswick, NJ 6:30 pm, Vespers at 6 pm The Choir of St. John’s College, Cambridge; Nathan Laube; Holy Trinity Lutheran, Lan- Christ Church, Greenwich, CT 7:30 pm caster, PA 4 pm Patrick Kabanda; Central Synagogue, New Joan Lippincott, with strings; Greene Memo- York, NY 12:30 pm rial United Methodist, Roanoke, VA 4 pm Kirsten Uhlenberg; Church of St. Louis, King JAMES R. METZLER Cj Sambach; First Baptist Church, Lexington, of France, St. Paul, MN 12:35 pm NC 3 pm TRINITY CATHEDRAL Rutter, Requiem; Brevard-Davidson River 29 MARCH LITTLE ROCK Presbyterian, Brevard, NC 4 pm Andrew Pester; Woolsey Hall, Yale Universi- Paul Jacobs; St. Boniface Episcopal Church, ty, New Haven, CT 12:30 pm Sarasota, FL 4 pm Anthony Newman, with flute; St. Todd Wilson, with orchestra; Umstattd Per- Bartholomew’s, New York, NY 7:30 pm forming Arts Hall, Canton, OH 7:30 pm Choral Evensong, The Choir of St. John’s Jamie Garvey, with voices and piano; St. College, Cambridge; St. Thomas Church, New John United Methodist, Augusta, GA 3 pm York, NY 5:30 pm Eric Plutz; St. Philip’s Cathedral, Atlanta, GA Laura Ellis; Morrison United Methodist, Lees- 3:30 pm, Evensong at 4 pm burg, FL 12 noon David Higgs; St. Mark’s Episcopal, Grand David Schrader, Dupré, Les Chemins de la Rapids, MI 8 pm Croix; St. Chrysostom’s, Chicago, IL 7 pm Choral Evensong; Cathedral Church of the The Basilica Contemporary Ensemble; Queen Advent, Birmingham, AL 4 pm of All Saints Basilica, Chicago, IL 7:30 pm Choral concert, with orchestra; St. James Episcopal Cathedral, Chicago, IL 4 pm 31 MARCH William Berg, with orchestra; St. Raphael Roland Martin; Slee Hall, University at Buffa- Catholic Church, Naperville, IL 4 pm lo, Buffalo, NY 8 pm Ed Zimmerman; Grace United Methodist, Chapel Choir of Winchester College; St. Naperville, IL 4 pm Bartholomew’s, New York, NY 7:30 pm The Choir of St. John’s College, Cambridge; 20 MARCH St. Paul’s Cathedral, Buffalo, NY 7:30 pm Todd Wilson and students; The Church of Marilyn Keiser; Princeton University Chapel, the Covenant, Cleveland, OH 7:30 pm Princeton, NJ 8 pm David Higgs, masterclass; St. Mark’s Episco- Frederick Swann; St. Luke’s Episcopal, pal, Grand Rapids, MI 8 pm Atlanta, GA 8 pm Tallis Scholars; Rockefeller Memorial Chapel, 21 MARCH Chicago, IL 8 pm McNeil Robinson; St. Mary the Virgin, New Bruce Neswick; Shryock Auditorium, Car- York, NY 7:30 pm bondale, IL 7:30 pm William Gudger, with baritone; St. Luke’s VocalEssence; Ordway Center, St. Paul, MN Chapel, Medical University of SC, Charleston, 8 pm SC 12:15 pm Charles Tompkins, with trumpet; Furman University, Greenville, SC 8 pm UNITED STATES Anne Phillips; Church of St. Louis, King of West of the Mississippi France, St. Paul, MN 12:35 pm 15 FEBRUARY 22 MARCH Pierre Pincemaille; Memorial Church, Stan- Stephen Fraser; Dwight Chapel, Yale Uni- ford, CA 8 pm versity, New Haven, CT 12:30 pm 16 FEBRUARY 23 MARCH Malcolm Archer; St. John’s United The Choir of St. John’s College, Cambridge; Methodist, Lubbock, TX 7:30 pm St. Paul’s Episcopal, Chattanooga, TN 7 pm Anthony & Beard; First Baptist, Hobbs, NM 7:30 pm 24 MARCH The Choir of St. John’s College, Cambridge; 17 FEBRUARY Trinity Episcopal, Vero Beach, FL 7 pm Organized Rhythm; Pittsburg State Universi- Bach, Mass in b; First Presbyterian, Birming- ty, Pittsburg, KS 7:30 pm ham, MI 7:30 pm William Ferris Chorale; Our Lady of Mt. 18 FEBRUARY Carmel Church, Chicago, IL 8 pm Rodrigo Guitar Trio; St. John’s Lutheran, Des Moines, IA 7:30 pm 25 MARCH Malcolm Archer, workshop; Bates Recital Paul Bisaccia, piano; St. Peter’s Lutheran, Hall, The University of Texas, Austin, TX 9:30 Cathedral Church of St. John Lancaster, PA 7:30 pm am, masterclass at 1 pm Albuquerque, New Mexico A two-inch www.stjohnsabq.org 26 MARCH 19 FEBRUARY 505-247-1581 David Kazimir; Ascension Memorial Church, Pierre Pincemaille, masterclass; Central Professional Card Ipswich, MA 4:30 pm Presbyterian, Des Moines, IA 7 pm Carl Klein, followed by Evensong; Church of Rodrigo Guitar Trio; Dundee Presbyterian, in THE DIAPASON the Advent, Boston, MA 4:30 pm Omaha, NE 7 pm Heinrich Christensen; King’s Chapel, Malcolm Archer; Bates Recital Hall, Univer- For information on rates and Boston, MA 5 pm sity of Texas, Austin, TX 3 pm specifications, contact: Choir of St. John’s College, Cambridge; Gerre & Judith Hancock; St. Mark’s Episco- South Church, New Britain, CT 4 pm pal, San Antonio, TX 4 pm Jerome Butera Paul Jacobs; First United Methodist, Sche- Douglas Cleveland; Kane Hall, University of [email protected] nectady, NY 3 pm Washington, Seattle, WA 3 pm Iain Quinn Maxine Thevenot Paul Reese; St. Bartholomew’s, New York, Tamara Still; Grace Lutheran, Tacoma, WA 3 Director of Associate Organist- 847/391-1045 NY 4:30 pm pm Cathedral Music Choir Director Bach Vespers; Holy Trinity Lutheran, New Christoph Tietze; Cathedral of St. Mary of York, NY 5 pm the Assumption, San Francisco, CA 3:30 pm
30 THE DIAPASON ensemble amarcord; Church of St. James-by- 10 MARCH the-Sea, La Jolla, CA 4 pm Joseph Adam; University of Puget Sound, Tacoma, WA 12:10 pm RICHARD M. PEEK 20 FEBRUARY Craig Cramer & Gail Walton; Christ Church, Pierre Pincemaille; Central Presbyterian Episcopal, Tacoma, WA 8 pm IN MEMORIAM Church, Des Moines, IA 7:30 pm Carol Williams; Church of St. Paul in the ensemble amarcord; St. Michael’s Cathedral, Desert, Palm Springs, CA 7:30 pm May 17, 1927–November 28, 2005 Episcopal, Boise, ID 7 pm Mozart, Mass in c; St. Thomas Aquinas 11 MARCH Church, Dallas, TX 8 pm VocalEssence; St. Olaf Catholic Church, Min- neapolis, MN 8 pm 21 FEBRUARY The Inman Piano Trio; First Presbyterian, Liv- The Texas Boys Choir; Wichita State Univer- ermore, CA 8 pm sity, Wichita, KS 7:30 pm 12 MARCH 24 FEBRUARY Craig Cramer; Cathedral of St. Paul, Yakima, Malcolm Archer; Trinity Episcopal Cathedral, WA 3 pm Little Rock, AR 7:30 pm Raymond Garner; Cathedral of St. Mary of Stephen Cleobury; St. Paul’s United the Assumption, San Francisco, CA 3:30 pm Methodist, Houston, TX 7:30 pm Gillian Weir; Concert Hall, Fresno State Uni- Jeffrey Campbell; St. Philip’s in the Hills versity, Fresno, CA 3 pm Episcopal, Tucson, AZ 7:30 pm Wesley Roberts; Neighborhood Unitarian Universalist Church, Pasadena, CA 4 pm 25 FEBRUARY Carol Williams; Balboa Park, San Diego, CA ensemble amarcord; Church of the Transfigu- 2 pm ration, Dallas, TX 7:30 pm 13 MARCH 26 FEBRUARY •Craig Cramer, workshop; Christ Episcopal, Choral Evensong; Christ Church Cathedral, Tacoma, WA 7:30 pm St. Louis, MO 5 pm Stephen Cleobury, conducting Mozart choral 15 MARCH concert; St. Paul’s United Methodist, Houston, Maxine Thevenot, with flute; The Cathedral TX 6 pm Church of St. John, Albuquerque, NM Malcolm Archer; Cathedral Church of St. 12:30 pm John, Albuquerque, NM 4 pm Jeffrey Campbell; Arizona State University, 17 MARCH Tempe, AZ 2:30 pm Bradley Hunter Welch; St. James United Paul Roy, with flute; St. Mark’s Cathedral, Methodist, Little Rock, AR 7:30 pm Seattle, WA 2 pm Pärt, Passio; All Saints’ Episcopal, Beverly Bradley Hunter Welch; First Congregational, Hills, CA 8 pm Los Angeles, CA 4 pm 18 MARCH Carol Williams; Balboa Park, San Diego, CA Bells in Motion; St. John’s Lutheran, Des 2 pm DONALD W. WILLIAMS Moines, IA 7:30 pm
1 MARCH 19 MARCH IN MEMORIAM Missa Mystica; All Saints’ Episcopal, Beverly Barbara Harbach; Christ Church Cathedral; August 5, 1939–September 22, 2005 Hills, CA 7:30 pm St. Louis, MO 2:30 pm Chanson; Shrine of the Sacred Heart, St. 3 MARCH Louis, MO 3 pm University of New Mexico Choirs; Cathedral Bells in Motion; Dundee Presbyterian, Church of St. John, Albuquerque, NM 7:30 pm Omaha, NE 7 pm Kimberly Marshall; St. Philip’s in the Hills Compline; St. Stephen’s Presbyterian, Fort Davis Wortman RONALD WYATT Episcopal, Tucson, AZ 7:30 pm Worth, TX 7 pm Choral Evensong; Christ Church Cathedral, St. James’ Church 5 MARCH Houston, TX 5 pm Trinity Church Choral Evensong; Trinity Episcopal Cathe- Founders Day Concert; Cathedral of the New York Galveston dral, Little Rock, AR 5 pm Madeleine, Salt Lake City, UT 8 pm Gerre Hancock; Bates Recital Hall, Universi- Choral Evensong; Episcopal Church of the ty of Texas, Austin, TX 3 pm Resurrection, Eugene, OR 5 pm Choral Evensong; Christ Church Cathedral, John Stuntebeck; Grace Lutheran, Tacoma, Houston, TX 5 pm WA 3 pm Kimberly Marshall; Arizona State University, Christoph Tietze; Cathedral of St. Mary of Tempe, AZ 2:30 pm the Assumption, San Francisco, CA 3:30 pm Marcia van Oyen mvanoyen..com Paul Roy, with flute; St. Mark’s Cathedral, Thomas Murray; First Congregational, Los Seattle, WA 2 pm Angeles, CA 4 pm Peter Planyavsky; St. Paul’s Episcopal, •Bach Birthday Concert; Trinity Episcopal, Salem, OR 4 pm Santa Barbara, CA 3:30 pm Plymouth First United Methodist Church,,Plymouth,,Michigan August Humer; Pacific Lutheran University, Carol Williams; Balboa Park, San Diego, CA Tacoma, WA 3 pm 2 pm Choral Evensong; All Saints’ Episcopal, Bev- erly Hills, CA 5 pm 21 MARCH Martin Jean; St. Mark Evangelical Lutheran, Steve Gentile; St. Helena, Minneapolis, MN Anchorage, AK 4 pm 7:30 pm Choral concert; Christ Church Cathedral; St. 8 MARCH Louis, MO 7:30 pm Iain Quinn; Cathedral Church of St. John, Burton Tidwell & Melody Steed; Westwood Albuquerque, NM 12:30 pm United Methodist, Los Angeles, CA 7:30 pm
F Domestic Bliss - #0606. . . we try not be jealous while visiting E some snazzy 'house organs' in Connecticut, Maine and B California. R The Gem Polished - #0607. . . Mark Laubach and friends U celebrate the new Berghaus pipe organ at St. Stephen's A Episcopal Church in Wilkes-Barre, Pennsylvania. R Y Spiritual Values - #0608. . . embellished by the pipe organ's many colors, these compositions were inspired by African 2 and Afro-American themes. 0 0 Organ Plus - #0609. . . glorious sounds result when a pipe 6 organ is joined by other instruments, as in music by Barber, Dubois, Piston, and Corrette, etc.
FEBRUARY, 2006 31 22 MARCH 21 FEBRUARY 13 MARCH and Fugue in c, BWV 546, Bach; Impromptu Cathedral Chamber Choir; Cathedral Church Malcolm Archer; Westminster United Margaret Phillips; All Souls, Langham Place, (Pièces de Fantaisie), Adagio (Symphonie No. of St. John, Albuquerque, NM 12:30 pm Church, Winnipeg, MB, Canada 8 pm London, UK 7:30 pm 3), Vierne; Symphonic Poem Prometheus; Liszt, transcr. Guillou; Popular Song 24 MARCH 22 FEBRUARY 14 MARCH (Façade), Walton, arr. Gower; Sonata No. 1, Jeffrey Campbell; St. Philip’s in the Hills Andrew Sheranian; Minato Mirai Hall, Yoko- Catherine Ennis, with uilleann pipes; St. op. 42, Guilmant; improvisation. Episcopal, Tucson, AZ 7:30 pm hama, Japan 12:10 pm Lawrence Jewry, London, UK 1 pm TIMOTHY BURKE, St. Mary the Virgin, 26 MARCH 23 FEBRUARY 15 MARCH Ewell, Epson, UK, October 15: Passacalles Lent Evensong; Christ Church Cathedral; St. Stephen Farr; St. John’s Smith Square, Lon- James Burchill; Cathedral Church of All del primer tono, Cabanilles; Prelude and Louis, MO 5 pm don, UK 1 pm Saints, Halifax, NS, Canada 12:15 pm Fugue in b, BWV 544, Bach; Cortège et McNeil Robinson; Cathedral Church of St. Litanie, op. 19, no. 2, Dupré; Toccata quarta John, Albuquerque, NM 4 pm 24 FEBRUARY 16 MARCH David Scott; St. Matthew’s Westminster, cromatica con durezze e ligature, Kerll; Jeffrey Campbell; Arizona State University, Claire Innes-Hopkins; Marlborough Road Sonata in f-sharp, op. 33, Reger. Tempe, AZ 2:30 pm Methodist, St. Albans, UK 12:30 pm London, UK 1:05 pm Tom Joyce, with sopranos; St. Mark’s Cathe- John Scott; Christ Church Cathedral, Van- dral, Seattle, WA 2 pm couver, BC, Canada 8 pm 18 MARCH CHARLES CALLAHAN, Shrine of the David Hatt; Cathedral of St. Mary of the Donald Mackenzie; Victoria Hall, Hanley, Immaculate Conception, Atlanta, GA, Sep- Assumption, San Francisco, CA 3:30 pm 25 FEBRUARY Stoke-on-Trent, UK 12 noon tember 13: Rondeau and Trumpet Tune, Pur- Alan Morrison; First Congregational, Los David Hill; St. Albans Cathedral, St. Albans, Mark Brafield; St. George’s Cathedral South- cell; Allegro (Concerto in g), Handel; Sonata Angeles, CA 4 pm UK 5:30 pm wark, London, UK 1:05 pm IV in e, Prelude and Fugue in b, Bach; Solo de Robin Jackson & Maureen McAllister; St. Lewis Brito-Babapulle; St. John the Evan- Flute, Offertoire pour une messe en l’honneur 27 MARCH Mary’s, Chesham, UK 7:30 pm gelist, Upper Norwood, UK 6:30 pm de la Sainte Vierge, Lemmens; Grand Tri- Dennis James, silent film accompaniment; David Sanger; St. Saviour’s, St. Albans, UK umphal Chorus, Guilmant; Praeludium in a, Washington Center for the Performing Arts, 28 FEBRUARY 5:30 pm Eddy; Marche Champêtre, Boex; Night in Olympia, WA 7 pm Naomi Matsui, Minato Mirai Hall, Yokohama, Monterrey, Capriccio on the notes of the Japan 7 pm 19 MARCH Cuckoo, Purvis; Psalm of Praise (Toccata on 29 MARCH Guido Graumann; St. Lawrence Jewry, Lon- David Scott; Our Lady of Grace, London, UK Old 100th), Aria, Fanfares and Riffs, Callahan. John Buck; Cathedral Church of St. John, don, UK 1 pm 4 pm Albuquerque, NM 12:30 pm Malcolm Archer; Grace Presbyterian, Cal- PETER RICHARD CONTE, First United gary, AB, Canada 8 pm 22 MARCH Methodist Church, Schenectady, NY, Octo- 30 MARCH James Burchill; Cathedral Church of All ber 16: Bridal March (The Birds of Aristo- Alan Morrison; Davis Concert Hall, Fair- 1 MARCH Saints, Halifax, NS, Canada 12:15 pm phanes), Parry; Concerto in G, Ernst, transcr. banks, AK 8 pm Marjorie Bruce; Reading Town Hall, Read- Ryoki Yamaguchi; Minato Mirai Hall, Yoko- Bach; Concert Variations on The Last Rose of ing, UK 1 pm hama, Japan 12:10 pm Summer, Buck; Scherzo (Sonata VIII), Guil- 31 MARCH mant; Comes Autumn Time, Sowerby; Varia- James David Christie; Pittsburg State Uni- 2 MARCH 23 MARCH tions on a Theme of Arcangelo Corelli, versity, Pittsburg, KS 7:30 pm Martin Ellis; St. Martin’s, Dorking, UK 1 pm James Hearn; St. John’s Smith Square, Lon- Kreisler, transcr. Conte; Graceful Ghost Rag, don, UK 1 pm Bolcom, transcr. Conte; Final, Franck. 3 MARCH INTERNATIONAL 26 MARCH Stephen Binnington; SS. Peter and Paul, Nigel Ogden; Alexandra Palace, London, UK KEN COWAN, St. Raphael, the Godalming, UK 1 pm 16 FEBRUARY 3 pm Archangel Church, Naperville, IL, October Ben Sheen; St. Martin’s, Dorking, UK 1 pm 2: Sonata No. 1 in f, Mendelssohn; Trio Paul Stubbings; St. Matthew’s Westminster, 5 MARCH 28 MARCH Sonata VI in g, BWV 530, Bach; Pageant, London, UK 1:05 pm Rachel Alflatt, with orchestra; Queen’s Gerard Brooks; St. Lawrence Jewry, Lon- Sowerby; Fantasie in f, K. 608, Mozart; Avenue United Church, New Westminster, BC, don, UK 1 pm Scherzo, op. 2, Duruflé; Valse Mignonne, op. 17 FEBRUARY Canada 7:30 pm 142, no. 2, Karg-Elert; Fantasia on Hallelu- Philip Crozier; Redpath Hall, McGill Universi- 29 MARCH jah, Gott zu loben, Reger. ty, Montreal, QC, Canada 12:15 pm 8 MARCH James Burchill; Cathedral Church of All Pierre Pincemaille; Holy Rosary Cathedral, James Burchill; Cathedral Church of All Saints, Halifax, NS, Canada 12:15 pm Saints, Halifax, NS, Canada 12:15 pm SUSAN FERRÉ, First Presbyterian Vancouver, BC, Canada 8 pm Church, Springfield, IL, October 14: Tiento 30 MARCH Lleno de 4° tono, Heredia; Tiento de medio 18 FEBRUARY 12 MARCH Joseph Fort; St. Martin’s, Dorking, UK 1 pm registro de dos tiples de segundo tono, Tod van den Berg; St. George’s Cathedral Helmut Deutsch; Abteikirche, Hamborn, David Goode; Reading Town Hall, Reading, Southwark, London, UK 1:05 pm Germany 4:30 pm Arauxo; Ave Maria von Arcadelt, Liszt; Fan- UK 7:30 pm tasia in c, Prelude and Fugue in c, Bach; Jesus Falls from the Weight of the Cross (Le 31 MARCH Chemin de la Croix, op. 29), Dupré; Eli, Eli, Edward Norman; Christ Church Episcopal, lamma sabacthani, Consummatum est (Sept Vancouver, BC, Canada 7:30 pm Chorals-Poëmes d’Orgue pour le sept parôles du Christ, op. 67), Tournemire; Mors et res- urrectio, op. 5, no. 1, Langlais; Choral varié Organ Recitals sur le thème du Veni Creator, Duruflé. THOMAS FOSTER, with Mark Cleve- MARILYN BIERY, Third Reformed land, flute, St. John’s Cathedral, Albu- Church, Holland, MI, October 23: Toccata, querque, NM, October 9: Praeludium in g, Dubois; Concerto in a, BWV 593, Bach; BuxWV 149, Buxtehude; Mein junges Leben Cajun Strings (Home Suite Home), Decker; hat an End’, Sweelinck; Sonata in g, BWV Aberystwyth, Llanfair (Preludes on Welsh 1020, Prelude and Fugue in C, BWV 547, Tunes), Thomas; Fantasie in G, BWV 572, Bach; Scherzo (Dix Pièces), Gigout; Prélude Bach; Sing with All the Saints in Glory, au Kyrie, Theme et Variations (Hommage à Biery; Rose Window, In Paradisum (Byzan- Frescobaldi), Langlais; Three Movements for tine Sketches), Carillon-Sortie, Mulet. flute and organ, Alain; Intermezzo, Cantabile, Finale (Symphonie VI, op. 42), Widor. SCOTT BRADFORD, St. James United Church, Montreal, QC, Canada, August 23: SUSAN FRIESEN, Chapel of the Church Suite Modale, op. 43, Peeters; Passacaglia of the Brethren, Elgin, IL, October 16: Lo NEW INSTRUMENTS and Fugue No. 2 in e, Willan; Fantazia of Ballo dell’Intorcia, Valente; Kyrie, Canzon MAINTENANCE Foure Parts, Gibbons; Rhapsody, op. 17, no. dopo l’Epistola, Canzon post il Commune RESTORATIONS 3, Howells. (Fiori Musicali), Frescobaldi; Partite sopra la Aria della Folia da Espagna, Pasquini; Werde 974 AUTUMN DRIVE ANTIOCH, ILLINOIS 60002 DAVID BRIGGS, St. Paul’s-by-the-Sea, munter, mein Gemüte, Pachelbel; Variations ABR 847-395-1919 Jacksonville Beach, FL, October 23: Prelude on Adeste Fideles, Taylor; Pastorale, Clarke; F INCY PIPE ORGANS FAX 847-395-1991 www.fabryinc.com David Petty & Associates Organbuilders
27 Marlboro Lane • Eugene, OR 97405 (541) 521-7348 [email protected]
WOLFF & ASSOCIÉS Facteurs d’orgues Organbuilders
[email protected] www.orgelwolff.com 450-661-2073
1260, rue Tellier, Laval QC Canada H7C 2H2
32 THE DIAPASON Oh, Blest the House, Whate’er Befall, Jenne; Saint Sacrement), Messiaen; Toccata (Suite), op. 19, Höpner; Sonate g-moll, op. 50, de Lune (Pièces de Fantasie), Finale (Sym- Gloria, Wyton; Let Us Ever Walk with Jesus, Duruflé; Allegro Vivace (Symphony No. 5 in Baumert; A Fancy for Two to Play, Tomkins; phony 1, op. 14), Vierne. Hillert. f), Widor; Prière après la communion (Livre A Verse, Carleton; Lied (Petite Suite), du Saint Sacrement), Messiaen; Fantasy and Bédard; Fuge g-moll, Mozart; Sonate d-moll, CAROLE TERRY, Deer Park United DAVID A. GELL, Cathedral of Our Lady Fugue on Wachet auf! ruft uns die Stimme, op. 30, Merkel. Church, Toronto, ON, Canada, October 1: of the Angels, Los Angeles, CA, October 5: op. 52, no. 2, Reger. Sonata III in A, op. 65, Mendelssohn; B Plein Jeu de Premier Ton, Prélude du MARY PRESTON, Yale University, New minor, A-flat Major (Six Studies in Canonic Troisième Ton, Dialogue de Premier Ton, HERMAN JORDAAN, First (Scots) Pres- Haven, CT, October 2: Crown Imperial, Form for Pedal Piano, op. 56), Schumann; Nivers; Toccata and Fugue in d, Eberlin; byterian Church, Charleston, SC, October 6: Walton; Pièce Héroïque, Franck; Prélude, Scherzo, op. 59, Introduction and Pas- Carillon (Douze Pièces), Boëllmann; Short Three Organ Pieces, Temmingh; Scherzo Adagio et Choral varié sur le thème du Veni sacaglia, Reger; Prelude and Fugue in G, Fanfare No. 3, McCabe; A Franciscan Pas- (Douze Pièces), Litaize; Introduction and Creator, Duruflé; Variations on America, BWV 541, Bach; Konzert-Stück, A.W. Bach; torale based upon St. Francis of Assisi’s All Passacaglia in d, Reger; Song of an old Ives; Claire de lune, Feux follets (Pièces de Intermezzo, Adagio, Finale (Symphony No. Creatures of Our God and King, Ashdown; woman in her hut at dawn (Afrika Hymnus), Fantaisie), Vierne; Sonata Eroïca, Jongen. III), Vierne. En Seguido Liturgico, Gell. Grové; Concerto in d, BWV 596, Bach; Prélude, Adagio et Choral Varié dur le thème CHRISTA RAKICH, Trinity Lutheran JOHANNES UNGER, Valparaiso Uni- STEPHEN HAMILTON, with Donald du Veni Creator, op. 4, Duruflé; Les cloches Church, Lynnwood, WA, October 9: Prae- versity, Valparaiso, IN, September 18: Tocca- Fischel, flute, Hill Auditorium, The Univer- de Hinckley (24 Pièces de Fantaisie, op. 55), ludium in a, BuxWV 153, Buxtehude; Sonata ta, Adagio und Fuge C-Dur, BWV 564, sity of Michigan, Ann Arbor, MI, October 9: Vierne. No. 5 in C, BWV 529, Bach; Von Himmel Wachet auf, ruft uns du Stimme, BWV 645, L’Ascension, Messiaen; Hymne d’action de hoch, da komm’ ich her, In dulci jubilo, Puer Wo soll ich fliehen hin, BWV 646, Meine Grace “Te Deum” (Trois Paraphrases Gre- ROBERT SUTHERLAND LORD, natus in Bethlehem, Wer nur den lieben Gott Seele erhebt den Herrn, BWV 648, Ach bleib goriennes), Langlais; Trois Mouvements Christ Episcopal Church, Pittsburgh, PA, lässt walten, Lobet den Herrn, Senfter; bei uns, Herr Jesu Christ, BWV 649, Bach; pour orgue et flute, Alain; Prelude and Fugue October 16: Trumpet Tune in D, Lang; Improvisation on Nun danket alle Gott; An Sonate, op. 65, Rheinberger; Les Ressuscités English Suite Art in B, op. 7, no. 1, Dupré. Chanty (Plymouth Suite), Whitlock; Toccata , Dahl; Contrapunctus XI ( et la lumière de vie (Livre du Saint Sacre- of Fugue), Bach. and Fugue in d, Bach; Gothic Sketch No. 2 ment), Messiaen; Deuxième Symphonie, op. for Two Organs, Langlais; Sei Fioretti: No. 5, 20, Vierne. CHARLES HUDDLESTON HEATON, JOHN SCOTT, Derry Presbyterian Heinz Memorial Chapel, University of Pitts- Tournemire; Trumpet Minuet, Hollins; The Answer Third Organ Church, Hershey, PA, September 30: Sinfo- Rhap- , Wolstenholme; Dolce ( burgh, Pittsburgh, PA, October 23: Symphony), Toccata (Fifth Organ Sympho- nia from Cantata No. 29, Bach, arr. Dupré; MAXINE THEVENOT, St. Michael’s sodie III, Saint-Saëns; Comes Autumn Time, ny), Widor; improvisation. Vater unser im Himmelreich, Böhm; Concer- Cornhill, London, England, July 11: Prae- Sowerby; Prelude on a Melody by Sowerby, to in F, op. 4, no. 5, Handel; Prelude and ludium in G, Fanny Mendelssohn; Prelude, Simmons; Transcription on Swanee River, Fugue in a, BWV 543, Bach; Andante in C, Fugue and Variation, Franck; Antienne, Lemare; Three Preludes and Fugues, op. 7, DEREK NICKELS, St. Elizabeth’s Epis- Over- K. 356, Fantasia in f, K. 608, Mozart; Varia- Danse (Suite Mariales), Hakim; Joie et Dupré. copal Church, Glencoe, IL, October 2: ture in C, K. 399, Mozart; Voluntary in d, op. tions de Concert, Bonnet; Andante with Clarté (Les Corps Glorieux), Messiaen; 5, no. 8, Stanley; Von Gott will ich nicht Variations in D, Mendelssohn; Handel in the Sonate 2, Hindemith; Early One Morning, RICHARD HOSKINS, St. Chrysostom’s lassen, Ach Herr mich armen Sünder, Krebs; Strand, Grainger, arr. Stockmeier; Scherzo, Grainger, arr. Quinn; Dance, Burge. Church, Chicago, IL, October 2: Prelude in E- Prelude and Fugue in a, BWV 543, Bach; Bossi; Carillon de Westminster, Vierne. flat, Kyrie, Gott Vater in Ewigkeit, Christe, Chorale with Variations (Sonata in d, op. 65, JOHN WALKER, Shadyside Presbyter- aller Welt Trost, Kyrie, Gott heiliger Geist, no. 6), Mendelssohn; Sarabande, Rhythmic KENNETH SOTAK, Queen of All Saints ian, Pittsburgh, PA, October 2: Tuba Tune, Bach; Trio (Orgelsonate), op. 18, no. 2, Dist- Trumpet (Baroques), Bingham; Prelude on Basilica, Chicago, IL, October 25: Offertoire Cocker; Prelude on Psalm 34, verse 6, How- ler; Benedictus, Reger; Prélude (Suite), Duru- Land of Rest, H. 329, Sowerby; Moto ostina- sur les Grands jeux (Messe pour les paroiss- ells; Herr Gott, nun schleuss den Himmel auf, flé; Prelude and Fugue in f, Dupré; Allegro to (Sunday Music), Eben. es), Couperin; Nun bitten wir den heilgen BWV 617, In dulci jubilo, BWV 608, Chris- risoluto (Deuxième Symphonie), Vierne. Geist, Buxtehude; Trumpet Voluntary, Tra- tum wir loben sollen schon, BWV 611, Bach; SYLVIE POIRIER & PHILIP CROZI- vers; Sonata IV in e, BWV 528, Prelude and Andante sostenuto (Symphonie Gothique), PAUL JACOBS, Severance Hall, Cleve- ER, Cathedral, Brandenburg an der Havel, Fugue in e, BWV 548, Bach; Romanze for Widor; Prelude and Fugue in B, op. 7, no. 1, land, OH, October 2: Sinfonia from Cantata Germany, August 10: Praeludium und Fuge Violin and Organ, Phantasie on the Name Dupré; Variations on Adeste fideles, Dethier; No. 29, Bach; Adoro te (Livre du Saint Sacre- in C-dur, Albrechtsberger; Fugue á six par- BACH, op. 46, Reger; Sunrise on Sunset Hill Soul of the Lake (Seven Pastels from the ment), Messiaen; Prelude and Fugue in a, ties et deux sujets á 4 mains, Loret; Vier vari- (Views from the Oldest House), Rorem; Lake of Constance), Karg-Elert; Roulade, BWV 543, Bach; Le Dieu caché (Livre du ierte Choräle für die Orgel zu vier Händen, L’Orgue Mystique: 11, Tournemire; Claire Bingham; Sine Nomine, Weaver.
FEBRUARY, 2006 33 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 33.
POSITIONS PUBLICATIONS/ PIPE ORGANS PIPE ORGANS AVAILABLE RECORDINGS FOR SALE FOR SALE
Looking for experienced pipe organ tuners, THE DIAPASON 2006 Resource Directory Wicks Organ, ca. 1970, 17 ranks, 2-manual One-of-a-kind opportunity. Gabriel Kney service technicians and builders to start work was mailed to all subscribers with the January and pedal. Available early 2006, buyer to (1991) tracker organ. II/Pedal, 12 stops. Cabinet immediately in the New York area. Immediate 2006 issue. Additional copies are available at a remove. Make offer. Mt. Pleasant Lutheran style, solid walnut casework; AGO standard. benefits including paid holidays, paid vacation cost of $5.00 postpaid. Contact the Church, Joshua Brown, Music Director, 1700 S. Designed for residence, chapel, or studio. For and a health care package. 631/254-2744, editor, Jerome Butera, at 847/391-1045, Green Bay Road, Racine, WI 53406, 262/634- further information: www.gabrielkney.com. [email protected]. [email protected]. 6669, [email protected]. 10-stop Estey organ, perfect for home or PUBLICATIONS/ Historic Organ Surveys on CD: recorded dur- 1966 Sipe 3-manual organ, 1966. Eight ranks chapel use, ca. 1940; This organ is available “as ing national conventions of the Organ Historical include 8v Principal and 16v Reed, cleverly uti- is” for $7,500, or may be professionally restored RECORDINGS Society. Each set includes photographs, stop- lized. Tripper combination action, crescendo by our firm. Asking $75,000 restored, plus ship- lists, and histories. As many organists as organs and sforzando. Organ is 76w deep, 138w wide, ping. The windchests must be direct electrified, and repertoire from the usual to the unknown, 113w tall; console: 57w x 84w x 51w. Price $25K and a new relay system installed. Excellent con- Think you know the harpsichord? Expres- or best offer. Buyer to remove. Full specifica- sive, historically informed playing for the dis- Arne to Zundel, often in exceptional perfor- dition. Contact Anthony Meloni at mances on beautiful organs. Each set includes tion available. Contact Melissa Hancock, 914/843-4766. Please visit our website at cerning player. Harpsichord Technique: A 214/768-2530, [email protected]. Guide to Expressivity, 2nd Ed., with CDs. Sale many hymns sung by 200-400 musicians. His- www.meloniandfarrier.com for other “for sale” price at www.rcip.com/musicadulce. toric Organs of Louisville (western listings. Kentucky/eastern Indiana) 32 organs on 4 CDs, Farrand & Votey op. 758, 1899, 2/24. From $29.95. Historic Organs of Maine 39 organs on Ringling home, Baraboo, WI. In storage. Wahl 2-stop practice organs for sale. OHS Catalog 2006 of organ and theatre organ 4 CDs, $29.95. Historic Organs of Baltimore 30 Hendrickson Organ Company, St. Peter, MN. Custom casework available. Fall 2006 delivery. CDs, books, sheet music, DVDs, and VHS organs on 4 CDs, $29.95. Historic Organs of [email protected]. 507/931-4271. Best offer. Prices start at $34,500. Visit videos. Free. Thousands of items. Mailed gratis Milwaukee 25 organs in Wisconsin on 2 CDs, www.wahlorganbuilders.com or call upon request to Organ Historical Society, P.O. $19.98. Historic Organs of New Orleans 17 1970s Moller, electro-pneumatic action, three 920/749-9633. Box 26811, Richmond, VA 23261, or request organs in the Bayous to Natchez on 2 CDs, manuals, drawknob console, 37 ranks, currently $19.98. Historic Organs of San Francisco 20 the printed catalog at www.ohscatalog.org. in use at First Presbyterian Church, Fargo, ND. 1952 Wicks organ. 18 ranks, 26 stops including organs on 2 CDs, $19.98. Add $2.50 shipping in Buyer to remove between April 16 and May 8, U.S. per entire order from OHS, Box 26811, mitred 16v Open Diapason and Trombone in 2006. Best offer. Contact Scott R. Riedel and pedal. 3-manual drawknob console with pre- New classified advertising rates went into Richmond, VA 23261, by telephone with Visa or Associates Ltd., 11040 W. Bluemound Road, MasterCard 804/353-9226; FAX 804/353-9266. pared antiphonal. Original installation divided in effect January 1, 2006. See page 33 for Wauwatosa, WI 53226, 414/771-8966, e-mail: balcony in Cleveland area. $20,000 complete information. [email protected]. minus blower; buyer to remove. May be seen Request a free sample issue of The Diapason and played. Call Greg Sparks at 216/252-8264 for a student, friend, or colleage. Write to the Fabry Inc. has the following instruments for evenings for details. Attention organ teachers! Do you dread Editor, The Diapason, 380 E. Norhwest Hwy., sale on consignment: Wicks 1964, 2 manuals, 6 those embarassing questions about organ Suite 200, Des Plaines, IL 60016-2282; or ranks, in storage; Moller 1966, 2 manuals, 10 Wicks practice organ—Three stops under components? It’s sometimes difficult to e-mail: [email protected] ranks, in storage; Moller 1925, 2 manuals, 10 expression. Would make a good practice organ. talk about those “body parts”—cheeks, ranks, in church; Moller 1949, 3 manuals, 30 Needs some work. Asking $3,500. For more chests, ears, and even more. Then you ranks, in church; Reuter 1950s, 2 manuals, 9 information call 615/274-6400. need our new book, GUIDE TO PIPE HARPSICHORDS/ ranks, in church; Moller/Kimball/Kilgen 2 manu- ORGAN ANATOMY. This helpful volume CLAVICHORDS als, 16 ranks, in church; Kimball 1940s, 2 manu- explains all the terms an organist needs to als, 4 ranks, in storage; Berghaus 1976, 2 manu- ELECTRONIC ORGANS understand, and includes anatomically als, 11 ranks, in church. Purchase instruments in Harpsichords from the workshop of Knight “as is” condition or Fabry Inc. offers removal, FOR SALE correct drawings. (Not for students under Vernon. Authentic replicas of historic instru- the age of 18.) Get your copy today! rebuilding, new DC electric systems, and installa- ments carefully made and elegantly decorated. tion at new location. For specifications please e- 1971 Wurlitzer organ—one of the largest that Box Anatomy-con, THE DIAPASON. 8201 Keystone, Skokie, IL 60076. Telephone [email protected]. mail, fax, or write our office. Fabry Inc., 974 can fit in an apartment. Asking 847/679-2809. Web site: Autumn Dr., Antioch, IL 60002, fax 847/395- $1000 or best offer. 347/229-7000; www.vernonharpsichords.mykeyboard.com. 1991, e-mail [email protected]. [email protected]. glück newyork orgaNbuilders
170 Park Row, Suite 20A New York, NY 10038
212.608.5651 www.glucknewyork.com
Send a copy of THE DIAPASON to a friend: Editor, The Diapason, 847/391-1045; e-mail:
Visit THE DIAPASON website at TheDiapason.com
34 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 33.
MISCELLANEOUS MISCELLANEOUS SERVICES/ SERVICES/ WANTED FOR SALE SUPPLIES SUPPLIES
Motor-generator wanted. Combination unit Reuter 3-manual console and bench, dark Columbia Organ Leathers sells the finest Top Quality Releathering. Pouch rails, pri- with drive motor and generator on same drive oak, $500. Contact Tim Kammeyer, leathers available for organ use. We sell pre- maries, reservoirs and any other pneumatic shaft in a common housing. Required specs: 563/652-6134, St. John’s Lutheran, Monticello, punched pouches and pre-assembled pouches, action. Removal and installation service avail- motor side—110 Volts, A.C., 1/4 H.P.; Iowa. and we specialize in custom releathering ser- able. Full warranty. Skinner, Casavant and generator—15 Volts, D.C., 10 Amps. vices. Call today for a catalogue. 800/423-7003 Kimball specialty. Spencer Organ Company, [email protected]; 219/932-2322. or e-mail: [email protected]. Inc. Call, Fax or visit our website for quotation Atlantic City Pipe Organ—Tellers: 5-rank unit and information. 781/893-7624 Voice/Fax, chest with regulator, played 4v, 12th, 15th, 19th, www.spencerorgan.com. and 22nd—$1,000; Oboe, Cornet, strings. MISCELLANEOUS Tuning with your laptop—Send $5 for a CD- Moller: 3-1/2w wp: 4v Oboe Clarion, 2v Block FOR SALE Flute, II Rausch Quint, 2v Principal; 1924 ROM that features articles on temperaments, tuning, and reed pipe construction. RELEATHERING: also Pipe Organ Rebuild- Moller 4-3/4w sc Trumpet, Capped Oboe, 8v ing, Repair and Maintenance Service in New 1985 Austin tripper combination action for five Gemshorn, Durst III pedal mixture/chest—12, Contact: www.mdi.ca/hhuestis or e-mail: [email protected]. Herbert L. Huestis, 1574 Gulf England area. Years of experience, fine work- divisions, $350. 1985 Austin pedal contact assem- 15, 19; II Mixture. For more info visit manship. Reading Organ Works, A. Richard bly with 25 switches, $150. Klann complete three- http://mywebpages.comcast.net/acorgan. Rd., #1502, Pt. Roberts, WA 98281. Phone 604/946-3952. Hunter, P.O. Box 267, 1324 Vermont Route division console system wired, $200. Relays, E-mail: [email protected]. Phone 106, Reading, VT 05062. 802/484-1275. combo actions, pipes and other parts available. 609/641-9422. E-mail [email protected]. Inquiries: e-mail [email protected], phone 215/353-0286 or 215/788-3423. Highest quality organ control systems since Sets of organ pipes for sale by Herb 1989. Whether just a pipe relay, combination Austin actions recovered. Over 30 years Huestis, #1502—1574 Gulf Road, Point action or complete control system, all parts are experience. Units thoroughly tested and fully Pipe Organ Technicians—Give your keyholder Roberts, WA 98281, 604/946-3952, e-mail: compatible. Intelligent design, competitive pric- guaranteed. Please call or e-mail for quotes. something to do! Have your helper monitor your [email protected]. Shipping extra to U.S. or ing, custom software to meet all of your require- Technical assistance available. Foley-Baker, tuning from the console with a laptop tuning Canada—no overseas. $600—4v Stopped ments. For more information call Westacott Inc., 42 N. River Road, Tolland, CT 06084. device, so that unstable pipes (especially reeds) Flute made by Detlef Kleuker, 1964 from a 2- Organ Systems, 215/353-0286, or e-mail Phone 1-800/621-2624. FAX 860/870-7571. may be readily identified and corrected. Also rank continuo organ. Bottom 7 pipes slightly [email protected]. [email protected]. catches temperature changes and other factors damaged and difficult to repair. Very good con- that can affect tuning while in progress. Never dition from g to fvvv 47 notes, suitable as 3v leave a job wondering if something changed Nazard. Very nice tone at 60mm or greater. Need help with your re-leathering while you were tuning! Software also great for $1200—8v Regal made by Detlef Kleuker, 1964 project? All pneumatics including Flue pipes in metal and wood–Mixtures tuning historical temperaments. Comes with from a 2-rank continuo organ. Very good con- Austin. Over 45 years experience and upperwork are available from stock or tutorial info on temperaments. $300 Special— dition throughout. Bottom two octaves open (on the job assistance available). specify custom orders to meet your exact Toshiba Pentium 266 notebook, thin 9wx11wx3/4w shallots, Bertouneche shallots from cv upwards. 615/274-6400. requirements. Tuning Sleeves with with shipping. $150 Special—Toshiba Pentium Very nice tone at 60mm or greater. $600—4v flare–Order complete sets ready to install 120 with CD-ROM, 9wx11.5wx2.5w with shipping. Gamba made by Stinkens of Holland, c. 1970. or bulk quantities in each diameter. These $225 Sale—Compact Toshiba Pentium 150 with Very good condition throughout, 49 notes from sleeves are guaranteed to fit and will not CD-ROM, 8wx10wx2w with shipping. Programma- Tenor C upwards. Very nice tone at 60mm to tarnish or corrode. For excellent quality, ble tuning software for harpsichords, organs and 70mm. $900—Bottom 12 notes of Oboe/Bas- ALL REPLIES great pricing and timely delivery contact: pianos. These pentiums run TuneLab97 very soon, made by Casavant Frères c. 1970. Orig- International Organ Supply, P.O. Box 401, well! Register for $34 at www.tunelab- inally from a Fagott 16v (half length). Very suit- TO BOX NUMBERS Riverside, IL 60546. 800/660-6360. FAX world.com. Send for pix. Programmable tem- able for extending 4v Oboe to 8v pitch where 708/447-0702. peraments! Complete with Excel spreadsheets bottom octave is needed. Good tone at that appear of historical tunings. Batteries work, but time not 70–80mm. $800—Meidinger blower. 2w static without an address guaranteed. Ready to go with pressure, for continuo type organ, 1 or 2 stops. Win98+Word+Excel. Options: Nylon Case—no Housed in silencing box, outside dimensions: should be sent to: Postal regulations require that mail charge, included! Mouse—no charge, included! 14-3/4w x 16-3/8w x 11-1/2w. Very compact! to THE DIAPASON include a suite num- Floppy drive—no charge, included! CD-ROM— $600—54-note tracker wind chest. 2 stops. THE DIAPASON ber to assure delivery. Please send included! (Except Ultra Thin Notebook) Network Send for pix. Heavy, about 100 lbs. Complete 380 E. Northwest Hwy., Suite 200 card and modem—included! Hard drive upgrade with pallets, sliders and pull down levers. Orig- all correspondence to: THE DIAPA- (4 gb)—$75 Extra power supply—$35. 10db inally built for 2-stop continuo organ. May be Des Plaines, IL 60016-2282 SON, 380 E. Northwest Hwy., Suite Mike Amplifier—$65 (for remote sensing). Web: modified for use in small home organ. Original- 200, Des Plaines, IL 60016-2282. [email protected]; www.mdi.ca/hhuestis. ly made by Detlef Kleuker.
CHARLES W. M CMANIS In Memoriam March 17, 1913–December 3, 2004
FEBRUARY, 2006 35 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 2385 Fenwood Road, Cleveland, OH 44118 Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Yoon-mi Lim AGO National Competition Winner Available 2004-2006
Stefan Engels Thierry Escaich* David Goode* Gerre Hancock Judith Hancock Martin Haselböck*
Vincent Dubois Calgary 2002 Recital Gold Medal Winner
David Higgs Marilyn Keiser Susan Landale* Olivier Latry* Joan Lippincott Alan Morrison
László Fassang Calgary 2002 Improvisation Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Simon Preston George Ritchie Gold Medal Winner Grand Prix de Chartres, 2004
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Westminster Cathedral, UK Martin Baker, Director October 13-24, 2006 Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland Thomas Trotter* John Weaver The Choir of Saint Thomas Church, NYC John Scott, Director March 1-8, 2007 WEBWEB SSITE:ITE: The Choir of Winchester Cathedral, UK wwwwww.concertorganists.com..concertorganists.coconcertorganists.com Andrew Lumsden, Director October 17-29, 2007
Gillian Weir* Todd Wilson Christopher Young *=European artists available 2006-2007