THE DIAPASON SEPTEMBER 2015

St. Mel’s Cathedral Longford, Ireland Cover feature on pages 26–27 Anthony & Beard James David Christie Peter Richard Conte Lynne Davis

Isabelle Demers Clive Driskill-Smith Jeremy Filsell Michael Hey

Christopher Houlihan David Hurd Paul Jacobs Simon Thomas Jacobs

Martin Jean Huw Lewis Bruce Neswick Organized Rhythm

Raúl Prieto Ramírez Jean-Baptiste Robin Benjamin Sheen Herndon Spillman (860)-560-7800 PO Box 6507, Detroit, MI 48206-6507 Detroit, 6507, PO Box Phillip Truckenbrod - [email protected] Truckenbrod Phillip WWW.CONCERTARTISTS.COM Charles Miller, President - [email protected] President Miller, Charles

Carole Terry Bradley Welch The Chenaults Duo MusArt THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Sixth Year: No. 9, In this issue Whole No. 1270 In this issue we focus on composers. Edie Johnson intro- SEPTEMBER 2015 duces us to the organ works of Pamela Decker (whose record- Established in 1909 ing of some of her works was reviewed by David McKinney Joyce Robinson ISSN 0012-2378 in the June issue of The Diapason). Decker’s works refl ect a 847/391-1044; [email protected] myriad of infl uences, including the music of Olivier Messiaen. www.TheDiapason.com An International Monthly Devoted to the Organ, Ann Labounsky discusses two new books, which deal with the Harpsichord, Carillon, and Church Music recent research on Charles Tournemire and the life and music As we go to press we have learned of the untimely death of of Olivier Messiaen. These volumes would make worthwhile John Scott. Further information will appear in our next issue. CONTENTS reading for any of you interested in liturgy, music, and theology, FEATURES as well as Tournemire and Messiaen. 2016 20 under 30 The Organ Works of Pamela Decker John Bishop presents his views on the implications of recent As the academic year begins, we encourage you to begin by Edie Johnson 19 regulations for the use of ivory; they will affect many of us. (See thinking of young people—perhaps past or current students— Tournemire and Messiaen also Anne Beetem Acker’s article in our September 2014 issue.) to nominate for our 20 under 30 Class of 2016. Nominations Recent research Larry Palmer recalls the East Texas Pipe Organ Festival will open earlier this year, so why not get a start working on by Ann Labounsky 22 held in November 2014, and gives a preview of the upcom- this important recognition of our future leaders? (Click on “20 NEWS & DEPARTMENTS ing 2015 edition of the festival. This festival features a star- under 30” at TheDiapason.com for a list of this year’s winners.) Editor’s Notebook 3 studded list of performers, and the 2015 guest of honor will Here & There 3 be Albert Russell. 2016 Resource Directory Appointments 8 Our cover feature this month is the new organ by Fratelli We remind you of the upcoming publication of The Diapa- Nunc Dimittis 10 Ruffatti at St. Mel’s Cathedral in Longford, Ireland. The son 2016 Resource Directory. Notify us if any of your company Harpsichord News 11 cathedral was damaged by fi re on Christmas morning in 2009, or organization’s information has changed, and make plans to In the wind . . . by John Bishop 12 and its previous instrument destroyed. advertise in the 2016 Resource Directory. Q REVIEWS Music for Voices and Organ 14 Here & There Book Reviews 14 New Recordings 16 New Organ Music 17 Events New Handbell Music 18 Peachtree Road United Methodist Church, Atlanta, Georgia, announces ORGAN PROJECTS 28 its 2015–16 music events: September 15, CALENDAR 29 Ken Cowan; October 25, Coro Vocati; ORGAN RECITALS 32 November 1, Leon W. Couch III and CLASSIFIED ADVERTISING 34 Feast of All Saints Evensong; 11/15, The Atlanta Singers; December 6, Carols by Candlelight; 12/13, The Many Moods of Christmas; 12/18 and 12/19, The Georgia Boy Choir; January 30, Nicole Marane, with John Lemley, narrator, Prokofi ev, Peter and the Wolf; February 9, Scott Atchison, Nicole Marane, Randy Elkins, Fisk Opus 126, St. Paul’s Episcopal Michael Shake; 2/20, The Georgia Boy Church, Greenville, North Carolina Co-Cathedral of St. Joseph Choir Festival; March 3, Three Choirs Festival; 3/13, Passion of the Christ: St. Paul’s Episcopal Church, Green- The Co-Cathedral of St. Joseph, The Musical Stations of the Cross; 3/18, ville, North Carolina, announces music Brooklyn, has changed Christopher 3/19, Atlanta Gay Men’s Chorus, Atlanta events: September 19, Andrew Scan- Houlihan’s dedication recital of the Women’s Chorus; April 5, Caroline lon; October 30, Organ Spooktacular; Peragallo organ (featured on our June Robinson, Derek Remeš; 4/17, Voices in November 6, Janette Fishell; December 2015 cover) to September 20 at 3 p.m. Bronze, handbell concert; 4/24, Jeremy 7, Choirs of St. Paul’s Episcopal Church For information: stjosephs-brooklyn.org. McElroy, Clarke Harris, countertenor; and East Carolina University with North July 27, Martin Baker. For information: Carolina Baroque Orchestra, Bach, Camp Hill Presbyterian Church, COVER Fratelli Ruffatti, Padua, Italy; www.prumc.org. Christmas Oratorio; 12/13, Nine Les- Camp Hill, Pennsylvania, announces St. Mel’s Cathedral, Longford, Ireland 26 sons & Carols. These events celebrate music events: September 20, Alan Morri- Campbellsville University, Camp- the tenth anniversary of the C. B. Fisk son; October 7, Anthony Ciucci; Novem- bellsville, Kentucky, announces its 8th Opus 126 in the church. For information: ber 4, Christopher Prestia; December 2, Annual Noon Organ Recital Series, at stpaulsepiscopal.com. T. Herbert Dimmock; 12/6, Advent Les- Editorial Director JOYCE ROBINSON 12:20 p.m. in Ransdell Chapel or Our sons & Carols; 12/24, Lessons & Carols and Publisher [email protected] 847/391-1044 Lady of Perpetual Help: September East Carolina University and St. (with David Binkley, organist/choirmas- 15, Zach Klobnak; October 20, Marcelo Paul’s Episcopal Church, Greenville, ter, brass, and Donald Golden, organ); VP/Group Publisher DIANE VOJCANIN Giannini; November 10, Doug O’Neill; North Carolina, are jointly celebrating February 3, Eric Riley; March 2, Debo- [email protected] February 2, Louie Bailey; March 1, the tenth anniversary year of the Perkins rah Dillane; April 6, Aaron Sunstein. For 847/391-1046 Kevin Faulkner; April 12, Wesley Rob- & Wells Memorial Organ, C.B. Fisk Opus information: www.thechpc.org. Editor-at-Large STEPHEN SCHNURR erts. For information: 126 (see also events in previous notice): [email protected] www.campbellsville.edu/keyboard. September 19, Andrew Scanlon, ECU 219/531-0922 organ professor and St. Paul’s Organist- Sales Director JEROME BUTERA Christ Episcopal Church, Easton, Choirmaster, inaugurates a new swell [email protected] Maryland, announces its 2015–16 con- division Voix Humaine stop; November 608/634-6253 certs: September 17, Christoph Bull; 6, Janette Fishell, former ECU organ Circulation/ 9/27, Ronn McFarlane and Ayreheart, faculty, performs the tenth anniversary Subscriptions DONNA HEUBERGER Renaissance music from the British Isles; gala concert; December 7, St. Paul’s Par- [email protected] October 22, Michael Britt accompanying ish Choir, ECU Chamber Singers, and 847/954-7986 Phantom of the Opera; November 22, the North Carolina Baroque Orchestra Designer DAN SOLTIS Maryland State Boy Choir; December perform Bach’s Christmas Oratorio. The 13, Advent Lessons & Carols; January 2005 Fisk organ at St. Paul’s Church is Contributing Editors LARRY PALMER 31, Peter DuBois; February 21, Mat- the primary teaching and performing Madonna della Strada Chapel, Loyola Harpsichord thew Daley, piano; March 20, Bach’s St. instrument for East Carolina University. University, Chicago JAMES MCCRAY John Passion; April 3, Edward Taylor The two entities enjoy a fruitful part- Choral Music from Carlyle Cathedral, England; May nership; St. Paul’s serves as a practical Loyola University, Chicago, Illinois, BRIAN SWAGER 1, Wes Lockfaw, with Christopher Sala, training ground for students in the sacred announces organ recitals, third Sunday of Carillon trumpet. For information: music degree programs. For information: the month at 3 p.m.: September 20, Stan www.christchurcheaston.org. www.ecu.edu. ³ page 4 JOHN BISHOP In the wind . . .

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. GAVIN BLACK Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2015. Printed in the U.S.A. On Teaching 5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $38; 2 yr. $62; 3 yr. $85 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Reviewers Sebastian M. Glück Foreign subscriptions: 1 yr. $48; 2 yr. $75; 3 yr. $96. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading James M. Reed Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: at the rate of one copy for every fi fteen students. Such copies may be reused for other Steven Young Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington courses or for the same course offered subsequently. John Collins Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the Jay Zoller issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, Leon Nelson should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 3 Here & There

³ page 3 April 24, 2016, a ticketed e0vent): Sep- Jones; October 18, Andrea Handley; tember 25, Roderick George, tenor, and November 15, Barry Wenger; December Cynthia MacCrae, piano; October 11, 20, Eric Budzynski; January 17, Daniel Thomas Murray; 10/23, Michael Patilla, Schwandt; February 21, Carl Chadek; classical guitar; November 3, Highland March 20, Minkyoo Shin; April 17, Consort; 11/20, Kristine Hurst, soprano; Derek E. Nickels; May 15, Gabriel May- December 4, Frederick Teardo; 12/20, hugh. For information: www.luc.edu. Cathedral Ringers Handbell Ensemble; January 29, 2016, Philip Brisson; March Arts & Faith St. Louis presents 20, Frederick Teardo; April 15, Univer- its Fifth Annual Interfaith Concert on sity of Montevallo Concert Choir; 4/24, September 20 at the Sheldon Concert Saint Thomas Choir of Men and Boys; Hall. The free concert will feature May 20, Christopher Henley; June 12, soprano Christine Brewer, jazz and soul The Cathedral Choir. For information: Spivey Hall Children’s Choir vocalist Brian Owens, gospel choir In adventbirmingham.org. Unison Chorus, St. Louis Youth Chorus, In June, Atlanta’s Spivey Hall Children’s Choir embarked on a nine-day perfor- Courage Counts, a vocal ensemble of Cathedral Church of St. Paul, mance tour of Spain. Starting in Barcelona and fi nishing in Madrid, the 50-member young people from Ferguson, Catholic Detroit, Michigan, announces its music Tour Choir performed six concerts in historic cities like Covarrubias, Medina de Hispanic ensemble, Rabbi James Stone events: Choral Evensong, Sundays at 4 Rioseco, El Espinar, and Lerma. The choir also had the chance to sing a few a cap- Goodman, and Muslim, Hindu, Sikh, p.m., September 27 (followed by James pella performances along the tour route in the beautiful Benedictine monastery and and Mormon groups. For information: Kibbie in recital, 5:30 p.m.), October 11, basilica in Montserrat. The choir’s fans were able to follow its adventures via social www.artsfaithstl.org. 10/25, November 22, January 10, 2016, media sites, where choir members posted videos, photos, and comments with the February 28, April 10, 4/24, and May hashtag “#SHCCOle.” The Max Reger Foundation of 5 (7 p.m.), 5/22. Other events include Founded under the direction of Martha Shaw, the Spivey Hall Children’s Choir America holds its fi rst Max Reger Festival November 8, Veterans’ Day Service of Program consists of three choirs and draws from 17 metro-Atlanta counties. In in partnership with the Jacobs School Remembrance; 11/29, An Advent Pro- February, the choir performed in Salt Lake City at the national conference of the of Music at Indiana University Sep- cession; December 19, Nine Lessons & American Choir Directors Association, appearing at Abravanel Hall and the Mormon tember 25–27. The event will focus on Carols. For information: Tabernacle. For information: www.spiveyhallchildrenschoir.org. different aspects of Reger’s compositions www. detroitcathedral.org. and look back at the composers who inspired his musical style. Lectures, Stephen Hamilton will play a recital relating to historical keyboard instru- masterclasses, and performances will be on September 27 at Christ United ments, their use, and repertories from presented by Jacobs School musicians Methodist Church, Rochester, Minne- the Middle Ages to the twenty-fi rst cen- and scholars and guests, including Chris- sota, on the church’s Wicks organ, Opus tury can be submitted by September 30 topher Anderson, Walter Frisch, and 6476, of four manuals, 60 ranks, and 17 to [email protected]. For informa- Nathan Laube. All events will be open digital voices. The program includes tion: www.historicalkeyboardsociety.org. to the public and free of charge. For works by Messiaen, Pasquini, Valente, information: music.indiana.edu. Franck, Alain, and Bach. Madison Avenue Presbyterian Wicks contracted to rebuild the organ Church, New York City, announces The Cathedral Church of the of the church in January 2013. A new its concert series: October 4, Andrew Advent, Birmingham, Alabama, four-manual console was custom built, Henderson; 10/18, Andrew Henderson, announces its 2015–16 music events, along with new chests, new solid-state with students from Mannes College; all free and open to the public (except combination action and relay system, 10/20, Andrew Henderson; November 15, Fauré, Requiem; December 13, 11th Annual Carol Sing, with St. Andrew Cho- rale and New York City Children’s Cho- rus. For information: www.mapc.com.

Stephen Hamilton at the Wicks organ, Advent Lutheran Church, Mel- Christ United Methodist Church, Roch- bourne, Florida, announces its 2015–16 ester, Minnesota organ concert series, Sundays at 3 p.m.: October 4, John Ferguson, hymn fes- and all the winding systems were tival; February 15, Sarah Hawbecker; reworked. Wicks rescaled some of the May 17, Alcee Chriss. Free tickets are principal choruses, cleaned and revoiced available by calling 321/426-9378. For all the reeds, tonal fi nished the entire information: www.adventsuntree.com. organ, and added Walker digital voices. The project was fi nished in 2014. For Baroque Band announces its 2015– information: www.cumethodist.com. 16 concerts, to be held at Symphony Center, Chicago, Music Institute of Chi- Yun Kyong Kim recital The Historical Keyboard Society cago, Evanston, Illinois, and Augustana of North America (HKSNA) will hold Lutheran Church, Chicago: October 7, The Cathedral of Christ the King in Lexington, Kentucky, presented Yun Kyong its annual meeting March 21–23, 2016, 10, 11, Harpsichord vs. Fortepiano; Jan- Kim in recital on May 8. Pictured in the photo are (from left) Robert Whitaker, direc- at the Oberlin College Conservatory of uary 15, 16, 20, Duel at the Devil; March tor of music, Yun Kyong Kim, Brian Hunt, cathedral organist, and Randall Dyer, Music, Oberlin, Ohio. The theme is “The 11, 12, 16, Leipzig’s Got Talent; June 1, organbuilder, following her concert. The program included works by Walton, Bonnet, Compleat Keyboardist: harpsichord, 3, 4, L’Arte del Violino. For information: Alain, Liszt, Prokofi ev, Karg-Elert, Glass, and Landmann. The organ is Dyer’s III/45 fortepiano, organ, clavichord, continuo.” www.baroqueband.org. instrument, built in 2012. The cathedral has an ongoing concert series. Proposals for presentations or sessions ³ page 6

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4 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Michael D. Boney Daniel Bruun Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Presenter Organist/Conductor Organist Organist/Harpsichordist Indiana University Montevideo, Uruguay Charlotte, North Carolina Indianapolis, Indiana Copenhagen, Denmark Ann Arbor, Michigan

Leon W. Couch III Joan DeVee Dixon Rhonda Sider Edgington Laura Ellis Henry Fairs Faythe Freese Organist/Lecturer Organist/Pianist Organist Organ/Carillon Head of Organ Studies Professor of Organ Birmingham, Alabama Hutchinson, MN Holland, Michigan University of Florida Birmingham Conservatoire University of Alabama

Simone Gheller Sarah Hawbecker Johan Hermans James D. Hicks Michael Kaminski Sarah Mahler Kraaz Organist/Recording Artist Organist/Presenter Organist/Lecturer Organist Organist Professor of Music/Organist Oconomowoc, WI Atlanta, GA Hasselt, Belgium Bernardsville, NJ Brooklyn, New York Ripon College

Angela Kraft Cross David K. Lamb Mark Laubach Colin Lynch Yoon-Mi Lim Philip Manwell Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Conductor Assoc. Prof. of Organ Organist San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania Boston, Massachusetts SWBTS, Fort Worth, TX Reno, Nevada

Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stahlman Anna Myeong David F. Oliver Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Organist/Lecturer Organist U of Nebraska-Lincoln Manhattan School of Music Champaign, Illinois Lebanon Valley College Mission, Kansas Morehouse College

Ann Marie Rigler Brennan Szafron Edward Taylor Michael Unger Rodland Duo Christine Westhoff Organist/Presenter Organist/Harpsichordist Organist/ Choral Conductor Organist/Harpsichordist Viola and Organ & Timothy Allen William Jewell College Spartanburg, S. Carolina Carlisle Cathedral, UK Cincinnati, Ohio Eastman School of Music/ Soprano & Organ St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 a non-traditional representation celebrating its 28th year of operation Here & There

³ page 4 A pre-academy excursion to Östergöt- will select up to twelve competitors People Crescent Avenue Presbyterian land to celebrate the 100th anniversary based on audio CD recordings that Church, Plainfi eld, New Jersey, of Pehr Schiörlin’s death will take place must include a complete organ sonata announces its 34th season of concerts: October 17 and 18. For information and by Bach and the Prelude ‘Ein feste Burg’ October 11, Solid Brass; November 14, an application form: www.organacademy. by Zoltán Gárdonyi. Applications must Crescent Choral Society, Divine Dvoʼnák; se, or e-mail [email protected]. be postmarked by January 15, 2016. For December 13, Christmas Carol Sing; information: www.hochschule-herford. February 21, Competition Winners’ Several organists from the Naples, de and www.gardonyi.de. Recital; March 13, Festival of Organ- Florida, area were presented in recital ists; 3/25, Good Friday Tenebrae; April on June 7 at Artis—Naples (home of The Conference of Roman Catho- 9, Crescent Choral Society, Simply the Naples Philharmonic), on the con- lic Cathedral Musicians (CRCCM) Schubert; May 22, Crescent Singers. For cert hall’s four-manual Casavant organ. announces a competition for newly com- information: crescentconcerts.org. Seven hundred people attended this posed settings of the proper texts of the year’s concert. Organists James Cochran, Entrance and Communion Antiphons Ronald Ebrecht VocalEssence announces its 47th Brice Gerlach, John Fenstermaker, Lee with psalm verses from the Roman Mis- concert season: October 11, Dreams of Cobb, Reidel Martinez, Joyce Finlay, Ric sal (2010) for the Chrism Mass. Ronald Ebrecht presents his tradi- the Fallen (Runestad, Barber, Williams); Jaeggi, Jerome Cole, and Mary Joy Sil- A single prize of $1,500 will be tional annual recital, “Bach to School,” November 15, Voz en Punto; December maro played works by Buxtehude, Bach, awarded for the winning settings. The at Wesleyan University’s Memorial Cha- 5–6, 11–13, Welcome Christmas; 12/12, Mozart, Strauss Jr. arranged by Cobb, texts are to be scored for congregation, pel on September 11 in Middletown, Star of Wonder; January 30, April 8–9, Gigout, Bélier, Vierne, Langlais, Alain, choir, organ, and optional instruments. Connecticut. The program will include 16, River Songs and Tales with Mark and Widor. Submission deadline is November 30, works by Mendelssohn, Bach, Franck, Twain; February 21, Witness; March 2015. A detailed explanation of the con- Widor, and Neely Bruce. The program is 19–20, Thomson, Four Saints in Three test rules, full texts, instrumentation, and a preview of his appearance in concert at Acts; April 22, 24, Listeners’ Choice Live; submission requirements can be found the Minsk Philharmonic, September 24, May 23, ¡Cantaré! Community Concerts. at www.crccm.org. in Belarus. VocalEssence will stage the Midwest premiere of Dreams of the Fallen, an The Saginaw Valley Chapter of David Fedor has retired as director award-winning piece for chorus, piano, the American Guild of Organists of music/organist at St. Cassian Catholic and orchestra written by Iraq war veteran announces the 2016 Kent S. Dennis Church in Upper Montclair, New Jersey. and poet Brian Turner and young com- Memorial Endowed Scholarship Fedor began organ studies in 1960 with poser Jake Runestad. For information: made available from the Midland (Mich- Robert Kendall, and received B.A. and www.vocalessence.org. igan) Area Community Foundation. M.Div. degrees from the Rochester Cen- The purpose of the Dennis Scholarship ter for Theological Studies (formerly St. Music & Arts at St. Luke’s in the is to encourage and enrich the musical Bernard’s Seminary) in Rochester, New Fields announces its 2015–16 concert education of present and future church York. He also studied at the Eastman series, featuring the choir of St. Luke’s in or synagogue organists. The scholarship School of Music and the University of the Fields, New York City: October 15, is open to keyboard students of any age Notre Dame, where he received gradu- Splendor of the Spanish Renaissance, enrolled in high school or college, and ate degrees in music and liturgical stud- including Victoria’s Requiem; December also adult students, residing in the area ies and studied choral conducting and 3, French Baroque Christmas Music, served by the Saginaw Valley Chapter or composition with the late William Ferris. including Charpentier’s Midnight Mass, studying with a teacher who is a member In 1986, Fedor was appointed director with period instruments; January 28, The of the chapter. Awards totaling $750 of music and organist for the Cathedral Joyful Mysteries, featuring Biber Mys- Grace Lutheran Church, River Forest, to $1,250 will be given for beginning Basilica of the Sacred Heart in Newark, tery Sonatas for violin and Muffat toc- Illinois study or continuing study of the organ. New Jersey. From 1998 to 2013, Fedor catas for organ; February 25, Kings of the For more information, contact Nicholas was director of music and organist for Earth/Queen of Heaven, featuring works Grace Lutheran Church, River For- Schmelter at 989/980-9912. ³ page 8 written for King Philip II; and April 28, est, Illinois, announces its 2015–16 Bach Schütz Resurrection Historia and motets Cantata Vespers, Sundays at 3:45 p.m.: for the Easter season, with the Parthenia September 20, Cantata 99; October 25, Viol Consort. For information: www. Cantata 120; November 22, Cantata 61; stlukeinthefi elds.org/music-arts/concerts. January 31, Cantata 125; February 28, Cantata 199; March 20, Cantata 182; The Göteborg International April 24, Cantata 86; May 22, Cantata Organ Academy, “French Crescendo 129. In addition, each of the six sections and German Diminuendo: Character of Bach’s Christmas Oratorio will be and Context in 19th-Century European presented in worship services between Organ Art,” will take place October December 25 and January 26. For infor- 19–23 in Göteborg, Sweden. Faculty mation: www.graceriverforest.org. includes Hans Davidsson, Annelies Foc- quaert, Niclas Fredriksson, Per Högberg, Sverker Jullander, Ludger Lohmann, Competitions Kurt Lueders, Paul Peeters, Joel Speer- The International Organ Com- stra, Axel Unnerbäck, and Joris Verdin. petition Herford is accepting appli- The schedule includes masterclasses led cations. The competition will be held by Ludger Lohmann (19th-century Ger- October 5–6, 2016, and is open to organ- man repertoire) and Joris Verdin (19th- ists born after January 1, 1986. Prize century French repertoire), plus lectures amounts are €5,000 for fi rst, €4,000 for and concerts. second, and €3,000 for third. The jury

16355, avenue Savoie Saint-Hyacinthe (Québec) J2T 3N1 Canada Davide Mariano, David Cassan, Artistic & Executive Director David Titterington, Jo- hannes Zeinler, IOFS Chairman Sir Peter Gregson, Thomas Gaynor, Zita Nauratyill T 450 774-2698 [email protected] The St. Albans International Organ Competition has announced its winners www.letourneauorgans.com from the July 2015 competition. First Prize Interpretation and Gold Medal winner is Johannes Zeinler of Austria; Second Prize Interpretation and Peter Hurford Bach Prize winner is Davide Mariano of Italy. The Tournemire Prize for Improvisation was presented to David Cassan of France. The Paul Patterson Prize (for the best performance of the commissioned work) and Audience Prize went to Zita Nauraty- F O L L O W U S O N F A C E B O O K ill of Hungary. The Douglas May Award was presented to Thomas Gaynor of New Zealand. For more information, visit www.organfestival.com.

6 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM IT’S ALL IN THE DETAILS.

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www.johannus.com Here & There Appointments Charles Miller has served as coordinator of the 2005 Joey Brink has been named American Guild of Organists regional convention in Hart- ³ page 6 sixth university carillonneur ford, Connecticut, and as program chair of the 2010 national St. Cassian Catholic Church. In 2001, for the University of Chicago, AGO convention in Washington, D.C. He served for over the 45-voice Parish Choir and the Early Chicago, Illinois, beginning eight years as booking director of Phillip Truckenbrod Con- Music Schola were invited to Rome, October 2015. He succeeds cert Artists. He brings to his agency work 35 years of church where they sang a Solemn Mass at St. Wylie Crawford, who retires music experience and, in addition to his primary position Peter’s Basilica and performed in the after 41 years of performing with the agency, will serve as associate organist at the Cathe- presence of Pope John Paul II. The choir on the university’s Laura Spel- dral of St. Paul (Episcopal) in Detroit. also performed concerts in Rome and man Rockefeller Carillon and Assisi. For his retirement, the parish hon- 31 years as university carillon- Jean-Baptiste Mon- ored him with a reception celebrating his neur. Brink, a member of the not was named co-titular 15 years of music ministry at St. Cassian. Guild of Carillonneurs of North Joey Brink (photo credit: organist of the Cavaillé- America, will perform for major Bok Tower Gardens) Coll organ of St. Ouen university events and for daily Church in Rouen on recitals and will teach students. Brink began his carillon June 27 by Jean-Charles training at Yale University, where he earned a Bachelor Descubes, Archbishop of of Science degree in mechanical engineering. His thesis Rouen. Members of the focused on the design of realistic-touch practice carillon jury for the fi nal round of claviers. After his undergraduate work, Brink studied at the the international competi- Royal Belgian Carillon School at Mechelen through a Bel- tion included representa- gian-American Educational Foundation fellowship. More tives of the archdiocese, recently, he has taught carillon while pursuing a Master of the regional director of Science degree in mechanical engineering at the University cultural affairs, the mayor, of Utah. In 2014, he received fi rst and audience prizes at the and organists including Seventh International Queen Fabiola Carillon Competition. François-Henri Houbart, In addition, he is an active composer for the instrument. titular organist of the Marie-Andrée Morisset and Brink is a member of the 2015 class of The Diapason’s “20 Madeleine Church (Paris) Jean-Baptiste Monnot under 30.” The Laura Spelman Rockefeller carillon is the and Daniel Roth, titular Barbara Harbach second-heaviest instrument in the world with 72 bells and organist of St. Sulpice Church (Paris). Monnot will share 100 tons of bronze, installed in 1932 by Gillett & Johnston responsibilities with Marie-Andrée Morisset, who has Barbara Harbach is featured on new of Croydon, England, and restored between 2006 and 2008. served as co-titular organist of St. Ouen for many years. recordings. Organ Music for the Syna- He studied with Michel Bouvard, Olivier Latry, and with gogue (Album 13 of Volume 4: Cycle of Dennis Janzer was Bernard Haas at the Hochschule für Musik in Stuttgart Life in Synagogue and Home), and Bach: appointed organist-choir- and with Jean Guillou in Zurich. Monnot served as the Art of the Fugue and Pachelbel: Canon, master of St. Mary’s Epis- 2010–11 Young Artist in Residence at the Basilica of St. Chaconnes & Chorale Preludes, 2-CD copal Cathedral of Mem- Louis, King of France, in New Orleans. He has appeared set, MSR Classics 1442. For information: phis, Tennessee, this past in recital throughout Europe, Japan, and Australia and has www.barbaraharbach.com. January. In celebration served as titular organist at the Collégiale Notre-Dame de of completing six months Mantes-la-Jolie and of the church St. Louis of Bordeaux. He at the cathedral, Janzer currently serves as professor of organ at the Conservatoire à presented a concert, Rayonnement Départemental de Mantes-en-Yvelines. “Fanfares and Fireworks,” which included Janzer’s Naomi Rowley was recently original compositions as appointed principal organist well as transcriptions and Dennis Janzer at the First United Methodist arrangements of patriotic Church, La Grange, Illinois. A selections, including his Yankee Doodle Variations and past winner of the Gruenstein Intrada and Trumpet Tune on NATIONAL HYMN (Wayne Organ Competition (Chicago) Leupold Editions). Julia Pilgrim, pianist at Second Baptist and recitalist for three national Church, Memphis, joined in Janzer’s piano/organ version conventions of the Organ His- of Handel’s “Fireworks Music,” Simple Gifts (MorningStar torical Society, she has served as Music), and his original Adagio Lyrico. In addition to the organist for St. John’s Lutheran cathedral position, Janzer continues to compose, perform, Church, Des Moines, Iowa; and teach private students. First United Methodist Church, Appleton, Wisconsin, and Naomi Rowley Charles Miller has assumed Shepherd of the Bay Lutheran the leadership and basic opera- Church, Ellison Bay, Wisconsin. Rowley has served on the Paul Jacobs at Birmingham Town Hall tion of Phillip Truckenbrod faculties of Elmhurst College, Elmhurst, Illinois; Drake Concert Artists, moving its offi ce University, Des Moines, Iowa; and the Lawrence Academy Paul Jacobs spent time in England to Detroit, Michigan. Phillip of Music, a division of the Lawrence University Conserva- this summer. During a week at Oxford, he Truckenbrod, who founded the tory of Music, Appleton, Wisconsin. Dr. Rowley has served performed a program of German Roman- agency and has operated it for as national Director for Educational Concerns for the Asso- tic music (Bach, Brahms, and Reger) on the past 48 years, will remain ciation of Lutheran Church Musicians, chairperson for the the new Dobson organ at Merton College active as a consultant and for American Guild of Organists’ national Committee for the (Oxford) Chapel, and led a masterclass special agency projects. He will New Organist for six years, and as Dean of the Fox Valley for several Oxford organ scholars. In remain a board member of the (suburban Chicago), Central Iowa, and Northeast Wiscon- Birmingham, Jacobs performed at the Albert Schweitzer International sin AGO chapters. A graduate of Valparaiso University, Val- Town Hall (Mendelssohn, Mozart, and Organ Festival and competition Charles Miller paraiso, Indiana, Rowley earned M.A. and D.M.A. degrees Guilmant) and at Symphony Hall (Bach in Hartford, Connecticut. from Stanford University, Stanford, California. Q and Reger), and presented a class to several organ students at the Birmingham Conservatory. Upon his return, Jacobs “Bach and Sons” as the opening concert program of vocal and bell choirs; concerts was involved with the Organ Institute of of the BYU Organ Workshop August 5 at featuring local, national, and interna- the Oregon Bach Festival. Brigham Young University. They will per- tional artists, supervising the renovation form their program “From Sea to Shining of the church’s 1949 Aeolian-Skinner Sea” this fall: September 18, First Baptist organ, commissioning a new two-manual, Church of America, Providence, Rhode 32-rank A. E. Schlueter organ in the Island; October 21, Wooster United Morrison Chapel, and the acquisition Methodist Church, Wooster, Ohio; and installation of a two-manual, ten- November 6, First Christian Church, rank Flentrop organ in the music studio. Peoria, Illinois; November 15, First Pres- During their tenure, they made three byterian Church, Kennewick, Washing- CD recordings of the Covenant Choir, ton. For information: www.bachandsons. the organ, and various instruments. com or www.fromseatoshiningsea.net. Susan and Stephen Talley Jeremy David Tarrant, Canon Susan and Stephen Talley were Precentor of the Cathedral Church of honored on April 12 by Covenant Pres- Designed to help students prepare for St. Paul, Detroit, Michigan, will present byterian Church in Charlotte, North ministry in traditional church music, the recitals: October 16, Plymouth Congre- David and Jeannine Jordan Carolina, for their forty years of full-time fund was established with over $45,000 gational Church, Lansing, Michigan, 7:00 music ministry. At a retirement recep- in contributions. p.m.; April 12, 2016, Central Synagogue, Jeannine Jordan, organist, and tion, the Susan F. and Stephen J. Talley The Talleys began their ministry at the New York City, 12:30 p.m. For informa- David Jordan, media artist, performed Music Scholarship Fund was announced. church in 2001, which included a graded tion: [email protected].

8 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM Here & There

Michael’s Music Service announces the Boston Organ Club chapter of the collection of 14 settings by C. Griffi th new sheet music restorations: Robert Organ Historical Society. It featured the Bratt; Three Organ Preludes on Psalm Elmore’s Retrospection, a quiet, sen- fi rst published, annotated opus list of an Tunes, and Five Plainsong Preludes by timental piece for service or recital; American organ builder and included Robert J. Powell. For information: Mendelssohn’s Song without Words: The all 860 of his organs. Barbara Owen has www.paracletesheetmusic.com. Duett, arranged by S. B. Whitney (op. 38, re-annotated the Johnson list in greater book 3, no. 6, Andante con moto in A-fl at detail and brought it up to date. The major); I. V. Flagler’s Paraphrase on Robin 250-page volume includes dozens of fac- Recordings Adair; Wagner’s Introduction and Bridal similes, a year-by-year accounting of the Chorus from Lohengrin, transcribed by fi rm, and a detailed restoration report S. P. Warren; and René Becker’s Third by organ restorer Scot L. Huntington; Sonata the last and least known of his $24.95 (OHS members, $19.95). published sonatas. Other works include OHS Press has also released Law- Choral with Variations, by Henry Smart; rence Phelps, Organbuilder, by Burton Christos Patterakis, by Roy Perry, a lush, Tidwell. The book chronicles the pro- Kent Tritle (photo credit: Jennifer Taylor) chromatic, atmospheric piece; Fantasia lifi c work of Phelps (1923–99) from his on “My Old Kentucky Home,” by J. E. W. beginnings in Boston, his tenure as tonal Kent Tritle will perform organ recit- Lord; the duet Introduction and Fugue, director for Casavant Frères, Limitée, als: September 15–16, (with choral by Henry S. Cutler; Evening Bells and as well as his work for his own fi rm in workshop), Stetson University, Deland, Cradle-Song, by Will C. Macfarlane, in Erie, Pennsylvania. The author worked Florida; 9/29, First United Methodist which chimes are an integral part of the with Phelps in the fi rst drafts of the book. Church, Newnan, Georgia; October 26, piece; Nymphs, by Gatty Sellars; Scenes Price is $29.95. For information and First United Methodist Church, Iowa on the Downs, by Frederic H. Wood. For orders, visit www.ohscatalog.org. City, Iowa; November 18, Cathedral of information: michaelsmusicservice.com. David Enlow, Piano à l’Orgue St. John the Divine, New York City. For Paraclete Press announces new information: www.kenttritle.com. OHS Press announces the re-release organ music releases: Meditation on Pro Organo announces new record- of John Van Varick’s The Johnson ‘Down Ampney,’ and Chorale Voluntar- ings. Piano à l’Orgue features David Organs, originally issued in 1984 by ies Based on Familiar Hymn Tunes, a ³ page 10 Publishers

Looking Up

Dr. J. Butz Musikverlag announces the publication of Looking Up, a hard- cover book presenting numerous pho- tographs by Jenny Setchell, which will appeal to connoisseurs both of church organs and architecture. The cases of major instruments are presented here in the larger spatial context of the vault- ing and ceilings around them. The book presents pictures of major organs from four continents. ISBN 978-3-928412-17- 9; for information: www.butz-verlag.de.

Edition Walhall announces new publications. A new critical edition of Handel’s Alexander’s Feast (HWV 75, for soprano, tenor, bass, choir, 2 record- ers/fl utes, 2 oboes, 2 bassoons, 2 horns, trumpet, harp, timpani, organ, and strings), by Michael Robertson, is based on the manuscript copy by John C. Smith, which was made during Handel’s lifetime and contains alterations in the composer’s hand. Taken into account for the fi rst time was the autograph organ part, which yielded valuable information. The edition contains numerous pieces of information disregarded in editions until now. Score, EW904, €88.50; parts (strings: 5-4-3-4), EW248, €398; piano score, EW 910, in preparation. Bertoldo Sperindio’s Tocate, Ricercari et Canzoni Francese intavolate per sonar d’organo, for organ, Venice 1591, has been edited by Jolando Scarpa. Sperin- dio, who was cathedral organist in Padua, is no less interesting than such personali- ties of his time as Padovano, Merulo, and above all, Gabrieli. (Urtext edition, Series Frutti Musicali, EW940, €17.50.) For information: www.edition-walhall.de.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 9 Here & There Nunc Dimittis Roger Goodman died June 19, 2015. Born in New York City in 1946, ³ page 9 Price is €40 plus shipping. For ordering he attended Oberlin College and Trinity College of Music in London for his Enlow of the organ faculty at the Juilliard and details, e-mail: [email protected]; undergraduate degree (B.Mus), earned an M.Mus. at Northwestern University, School playing the 1916 Casavant Opus for information: www.marceldupre.com. and an M.Div. at Chicago Theological Seminary. He was trained in spiritual 665, as repurposed by the Organ Clearing direction at Seabury-Western Theological Seminary in the 1980s. Goodman House, at the Church of the Resurrection was an international concert harpsichordist, teacher, and recording artist, per- in New York City, where Enlow serves as forming in such venues as Alice Tully Hall and Carnegie Hall in New York City, organist and choirmaster. The program Wigmore Hall in London, the Ordway Center for the Performing Arts in St. features Enlow’s organ transcriptions Paul, Minnesota, and Orchestra Hall in Chicago. He also made four appear- of piano literature, including Debussy’s ances on the Dame Myra Hess Memorial Concert Series broadcast live over Petite Suite and Grieg’s Holberg Suite, WFMT-Chicago. He retired from music in 2010. and Schumann’s Six Canonic Studies for Upon his retirement, he performed benefi t concerts for various AIDS service Pedal-Piano, op. 56. The third of the six organizations in Chicago. From 1987 through 2010, Goodman was in a private studies is available as a free MP3 down- practice as a spiritual director doing chaplaincy work in two hospitals in Chicago. load at ProOrgano.com. Roger Goodman is survived by his partner, Jerry Scholle; his brother, Len (Susan) of Santa Fe, New Mexico; and his two nephews, Joshua and Eli and their families.

Horace W. Sellers, III, 81, died June 22 in his home. Born in New London, Connecticut, Sellers graduated from Phillips Andover Academy and Organ and Double Bass earned a bachelor’s degree in music with a minor in organ from Bucknell University. He earned a mas- Raven announces new recordings. ter’s degree in elementary education from Eastern Organ and Double Bass features organist Connecticut State University and taught music Donald Sutherland and bassist Mas Pod- in Glastonbury schools for several years. Sellers gorny (OAR-965, $15.98 postpaid world- served as the minister of music at St. Mary Church wide from RavenCD.com). Sutherland in Norwich, and enjoyed repairing and restoring also plays organ repertoire on the CD, on bellows-style organs. He was a member of the the 1998 Holtkamp organ at the Peabody American Guild of Organists, the Organ Histori- Horace W. Sellers, III Conservatory of Johns Hopkins Univer- cal Society, The New London Guild of Organists, sity in Baltimore. Works include Quatre Society of the Cincinnati, and the Connecticut Landmarks Society. Jonathan Rudy, Three Halls Morceaux d’Eglise by Swiss composer Horace W. Sellers, III, is survived by his caregiver and partner for over 37 Joseph Lauber (1864–1952), an arrange- years, Daniel M. Piotrowski of Woodstock; his sister, Susan (Pendelton) Sellers Three Halls is a new debut CD by Jon- ment for double bass and organ of the of E. Woodstock; and his nephew Paul Charles Sellers of Sydney, Australia. Q athan Rudy, winner of the AGO National Adagio of Widor’s Symphony No. 5 for Young Artists Competition in Organ organ, and works by Guilain, Andriessen, Performance. Rudy is an organ student and Reger. Music: 66 Masterclasses (Indiana Uni- were added nine ranks of used pipework of Janette Fishell at Indiana University, versity Press, 2010). For information: and a new hooded trumpet. Bloomington; two IU venues are used ravencd.com. Fabry has also assembled an 11-rank for this recording. Tracks 1–4 are played instrument for the United Methodist on the Fisk Opus 91 at Alumni Hall, and To Hear the Music is a documentary Church in Antioch, Illinois. Using the tracks 5–8 are played on the Fisk Opus fi lm by Dennis Lanson that is available pipework from two Wicks instruments, the 135 at Auer Hall. The third “hall” refers on select PBS stations throughout the remainder of the instrument is new work. to Pamela Decker’s organ work Faneuil United States. The documentary traces For information: www.fabryinc.com. Hall, the fi nal track of Jonathan Rudy’s the life of Charles Brenton Fisk, C. B. program. The recording is available as a Fisk, Inc., and the fi rm’s Opus 139, built compact disc, packaged with a 12-page for the Memorial Chapel of Harvard full color booklet, or can be downloaded University, Cambridge, Massachusetts. from ProOrgano.com as an MP3. Indi- Copies of the documentary may be pur- vidual MP3 tracks from the album can chased on DVD and Blu-ray. For more be purchased for $1 per track. Audio information: www.tohearthemusic.com. samples of all tracks are available. Pro Organo has produced audio Organ Builders albums of all NYACOP First Prize Winners Jon Gillock, Livre du Saint Sacrement since 2004. To see all the NYACOP titles, search “NYACOP” at ProOrgano.com. Raven’s Livre du Saint Sacrement, the second in a series of recordings of On September 18 the Association Olivier Messiaen’s complete organ works des Amis de l’Art de Marcel Dupré as played by Jon Gillock, a former stu- Nidaros Cathedral, Trondheim, Norway will release a set of compact discs, having dent of Messiaen, is a 2-CD set (Raven restored the original tapes of the Mer- OAR-982). The series features the 111- Johannus Orgelbouw recently cury Living Presence recordings of Mar- rank pipe organ built in 2011 by Pascal installed a Monarke Präludium at Nidaros cel Dupré at New York City (St. Thomas Quoirin of Saint-Didier, France, at the Cathedral in Trondheim, Norway. Built Episcopal Church), Detroit (Ford Audi- Church of the Ascension in New York over the burial site of St. Olav, the King of torium), Paris (St. Sulpice), and Rouen City. The organ was largely conceived Trinity Lutheran Church, Burr Ridge, Norway in the 11th century, who became (St. Ouen). Selections include works of to play the works of Messiaen specifi - Illinois the patron saint of the nation, it is the Bach, Franck, Saint-Saëns, and Dupré. cally, with Gillock greatly involved in the traditional location for the consecration The box set of ten discs includes fi ve design of the instrument. Gillock is the Fabry Inc. has recently completed of the King of Norway. Built from 1070 discs of music never previously released. author of Performing Messiaen’s Organ two rebuilding projects: St. Mary’s to 1300, it was designated as the cathe- Catholic Church, Huntington, Indiana, dral for the Diocese of Nidaros in 1152. and Trinity Lutheran Church, Burr After the Protestant Reformation, it was Ridge, Illinois. Using only the original taken from the Roman Catholics by the pipework from each existing organ and Lutheran Church in 1537. It is the north- a few rebuilt wind supply reservoirs, ernmost medieval cathedral in the world. everything else was new, including three- Two authentic pipe organs and a manual consoles built by Fabry, blowers, Monarke organ are installed in the and new digital voices. cathedral. The old Baroque organ was The Huntington project started with built by Johann Joachim Wagner. The 21 existing ranks of pipes, to which used main organ was built by the Steinmeyer and new ranks of pipework were added. fi rm in 1930. Because the main organ A new set of 21 Mayland chimes was was being restored, the cathedral chose included. The Burr Ridge project started a Monarke organ. For information: with 19 existing ranks of pipes, to which www.johannus.com.

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10 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM Harpsichord News By Larry Palmer

Broadening a harpsichordist’s horizons: Remembering the East Texas Pipe Organ Festival, November 2014 It was a somewhat unusual beginning for a fascinating week in November: a two-hour Sunday-morning drive from west Dallas to the east Texas Charles town of Kilgore, with my 1939 John Callahan Jimmy Culp Challis clavichord occupying the car’s back seat. The purpose of the trip: to present a program inaugurating the David Baskeyfi eld downtown offi ce space for the East Texas Pipe Organ Festival, with a short Thursday’s excursion to Shreveport, recital and brief preview of a work by Louisiana, and the neo-Gothic splendor Herbert Howells scheduled to be sung of St. Mark’s Episcopal Cathedral was during the festival’s day trip to Dallas! another “embarrassment of riches,” with After my quiet clavichord opening, the a trio of superb organists making memo- Michael rousing Sunday evening concert by duo- rable music on the magnifi cent instrument Kleinschmidt Larry Palmer organists Elizabeth and Raymond there. Michael Kleinschmidt’s perfor- Chenault was a complete contrast. The mance of Durufl é’s Prelude and Fugue Chenaults performed on the magnifi - on the Name ALAIN and his architectural cent Aeolian-Skinner organ of Kilgore’s mastery of Widor’s fi nal organ symphony First Presbyterian Church, the profes- (“Romane”) particularly stand out in mem- sional home of Roy Perry (1906–78), ory, but Frederick Swann and Richard whose life and work provides the focus Elliott gave memorable recitals as well. Jan Statman for these annual gatherings. Not to be forgotten were the “words of (Photo courtesy Monday’s schedule began in nearby wisdom” delivered by veteran Shreveport Lorenz Frederick Tyler, Texas, with some welcome insights organist William Teague in conversation Maycher) Swann into Jewish worship music (Ann Froh- with Lorenz Maycher—a charming (and bieter) and a riveting presentation by practical) interlude. Listed in the program concert by Mark Dwyer (both concerts copy of The Diapason for November local author Jan Statman. Statman read book as “Little Nuggets I Have Picked at First Presbyterian, Kilgore). Dwyer’s 2014. It was a much-discussed item at from her book Raisins and Almonds . . . Up Along the Way,” Teague reminded program was the fourth annual concert in the popular evening “After-Glow” cama- and Texas Oil: Jewish Life in the Great his listeners to “always check the pistons; honor of James Lynn (“Jimmy”) Culp, raderie that marked the end of each East Texas Oil Field (Austin, Texas: play for God and not yourself; [do] not organist emeritus of the church. musically rewarding day. Sunbelt Eakin Press, 2004), relating the . . . play too fast because in the details The 120-page spiral-bound festival pro- 2014 artists who will return for the background story of the 1930s economic one hears the music.” He reminded us gram book sported a genial photograph of November 2015 festival include David boom that provided the funds for pur- of Dora Poteet [Barclay]’s quote from Roy Perry on its front cover. Special guest Baskeyfi eld, Charles Callahan, and Mark chasing the outstanding American Clas- Marcel Dupré: “Find the fastest it can go, of honor for 2014, Frederick Swann, was Dwyer; they will be joined by Bradley sic pipe organs to be found in this part of and play less fast.” Other reminders were: portrayed in multiple photographs and Welch, Todd Wilson, Scott Dettra, Adam Texas. Further down the road, George employ meditative music for church, program facsimiles from various stages of Pajan, Caroline Robinson, Jelani Edding- Bozeman demonstrated several his- rather than recital repertoire; do not his life and illustrious career. The book, ton, and Ken Cowan. Special guest of toric organs in Palestine. The evening forget that hymns belong to the congre- available through the ETPOF website, honor will be Albert Russell, whose Kilgore program, back in Kilgore, offered choral gation; and, perhaps most important as would be worth its price even if it con- residency coincides with the release of dig- repertory from the Aeolian-Skinner advice for male organists: never wear tails tained nothing more than the fascinating ital discs produced from the original tapes recording Music of the Church, a much- if the organ bench has a back! “Reminiscences” (1989) by Robert Owen, of his two Aeolian-Skinner recordings. praised 1950s disc recorded by Roy Aural (or at least “organ-al”) fatigue another iconic organist remembered for I highly recommend this regional Perry and his choir. was setting in by Friday, the fi nal day, but his recordings. Of interest to harpsichord- festival. Travel to Texas and marvel at A briskly cold day in Dallas produced Jeremy Filsell’s concert at First Baptist ists is a short reference to Owen’s study in G. Donald Harrison’s and Roy Perry’s some of the hottest musical perfor- Church in Longview was made memo- France with Landowska student Marcelle legacy of American Classic organs as mances of the festival, especially in the rable when he mistakenly stepped into de Lacour, as well as his delightful memo- found in these charming and hospitable fl awless playing of three Leo Sowerby the baptismal font on his way to the organ ries of Dupré, Marchal, Demessieux, East Texas venues. Most guests who masterpieces by festival director Lorenz console in this stunningly original sanctu- Noelie Perront, and other mid-20th- attended one of these musical feasts have Maycher on the Aeolian-Skinner chancel ary! All was made better by that day’s lunch century French musical luminaries. returned in succeeding years, for second, organ in Lovers Lane United Methodist at Longview’s Johnny Cace’s Seafood and I am pleased to report that, among the third, fourth, and now, fi fth helpings. Q Church and the perfectly planned and Steak House, a soothing organ and harp “goodies” included in the registration executed Evensong at the Episcopal recital by Charles Callahan and Ste- packet presented to each participant, Photo credit: William Leazer unless Church of the Incarnation, where organ- phen Hartman, and a brilliant closing there was a pristine “just-off-the-press” otherwise noted ist Graham Schulz and music director Scott Dettra offered incandescent renderings of the Dallas Canticles by Herbert Howells as well as a new prelude by Dallas organist and composer George Baker on Howells’s hymn tune Michael. There were exciting surprises even for longtime residents of Big D. For instance, I had never heard recital programs on two of the city’s outstanding Aeolian-Skinner organs at Kessler Park United Method- ist Church and at the Fifth Church of Christ, Scientist, lacunae ably remedied by organists Casey Cantwell and Joby Bell. Many festival attendees were heard to opine that a “Dallas Day” would be well received as an annual event, even though the round trip to and from the city Jerusalem - Gethsemane Church of All Nations - 2015 takes four hours! Bookending Wednesday’s events were two highly contrasting musical offer- Rieger builds classics ings. An early morning recital by David Baskeyfi eld on Roy Perry’s Presbyterian for the Holy Land. masterpiece displayed lovely registra- tion choices and musical suavity in two Mozart pieces originally composed for mechanical clock organ and stunning virtuosity in works by Tournemire and Widor. In the evening, a brilliant accom- Rieger-Orgelbau GmbH paniment by Walt Strony for Buster A-6858 Schwarzach-Vbg., Hofsteigstraße 120 Keaton’s hilarious silent fi lm The Gen- T +43 (0) 5572/58132-0, US: 212-289-0615 eral was very much appreciated by the www.rieger-orgelbau.com, [email protected] capacity audience. Jerusalem - Holy Sepulchre Church - Choir Organ - 2015

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 11 In the wind...

Awareness in the wild of privately owned ivory. If you want to Cecil the Lion was a famous and bring your grandmother’s harmonium favorite icon of Zimbabwe’s safari tour- home, there are no federal restrictions, ist industry. He was beloved by thou- unless your grandmother lived outside sands who visited his home in Hwange the United States.1 No importing of ivory National Park, and his photos were is permitted, period—except sports- published around the world. He was thir- hunted trophies. There is no restriction teen years old and was central to a long- on importing sports-hunted trophies. standing conservation study by biologists Hang that on your wall. at Oxford University who had fi tted him with a tracking device when he was six Citing CITES An ivory-laden E.M. Skinner console years old. He was huge and majestic, and On July 1, 1975, the Convention on he was easily recognizable because of big International Trade in Endangered lines” includes an exemption for certain black streaks in his mane. Species of Wild Flora and Fauna John Bishop at the Elephant Nature manufactured items that include a small In the last days of July 2015, Cecil (CITES, pronounced sight–eze) was Park, Chiang Mai, Thailand, in Septem- (de minimis) amount of ivory. Here’s became an instant posthumous global implemented, the culmination of nearly ber 2009 the section from that PDF that defi nes celebrity when he was killed by Walter fi fteen years of international negotiation. de minimis:3 Palmer, a dentist and skilled trophy hunter The text of the treaty had been fi nal- These events were controversial— from Minnesota. International news ser- ized two years earlier by eighty nations. cheered by conservationists who believe “What is the de minimis exemption? vices and social media have been crack- Today, more than 180 nations enforce that eliminating the commercial value of The proposed rule provides an exemp- ling with the story, Palmer is in hiding, the terms of CITES, which oversees the ivory is the strongest tool for the elimina- tion from prohibitions on selling or offer- the guide and landowner who had been protection of more than 30,000 species tion of illegal poaching, and decried by ing for sale in interstate and foreign com- paid to help with the hunt have appeared of animals and plants. You can see a list others who claim that such destruction merce certain manufactured items that in court and been released on bail, and of protected species at www.fws.gov/ will not bring back dead elephants, and contain a small (de minimis) amount of Cecil’s remains have been returned to the endangered/species/us-species.html. that diminishing the value of the ivory ivory that meet the following conditions: Zimbabwean government. They are categorized as “E” (endan- will diminish the care of the animals Palmer had paid for a license for gered), “T” (threatened), “SAT” (threat- in the wild and drive the ivory market A. If the item is located in the United such a hunt, but allegedly illegally lured ened because they’re similar in appear- underground, likely leading to higher States, the ivory must have been Cecil outside the park, and as of this ance to an endangered species), etc.2 prices for illegal ivory. Still others feel imported prior to January 18, 1990, writing on August 1, the United States Loxodonta africana (the African that destruction of beautiful artifacts or imported under a CITES pre- and Zimbabwean governments are dis- elephant) is the source of the most highly may make an emotional or political Convention certifi cate with no limita- cussing Palmer’s extradition. Thanks to prized ivory, and that species was added point, but would never have any impact tion on its commercial use. social media, donations are pouring into to Appendix I of CITES on January 18, on illegal poaching in Africa. B. If the item is located outside of the wildlife conservation funds in six-fi gure 1990. USFWS regulations currently in United States, the ivory must have clumps. Jane Goodall, who famously has effect allow trade in ivory that was legally Who uses elephant ivory? been removed from the wild prior to spent more than fi fty-fi ve years studying removed from the wild before that date. Readers of The Diapason will natu- February 26, 1976. chimpanzees at Gombe National Park in With Obama’s Kenyan announcement, rally think of musical instruments. Piano, C. The ivory is a fi xed component or Tanzania, released a statement lamenting the clock started ticking. The USFWS organ, harpsichord, and harmonium key- components of a larger manufactured Cecil’s death that concludes, “Only one released the latest version of the new boards were most typically made of ivory. item and not the primary source of good thing comes out of this—thousands ban on trade and movement of ivory. The Ivory veneers on natural keys are prized the value of the item. of people have read the story and have also agency is receiving comments from the because as a natural grained material, D. The ivory is not raw. been shocked. Their eyes opened to the public until September 28, 2015, after ivory absorbs moisture, so the perspira- E. The manufactured item is not made dark side of human nature. Surely they will which the regulation will be amended tion from the performers’ fi ngers doesn’t wholly or primarily of ivory. now be more prepared to fi ght for the pro- once more and put into force. The ver- build up into slick pools on the keys. F. The total weight of the ivory component tection of wild animals and the wild places sion now open to comment includes Ivory is also the most durable natural or components is less than 200 grams. where they live. Therein lies the hope.” revisions of that published in Feburary substance used on keyboards and argu- G. The item must have been manufac- You can read the full statement on Dr. 2014 (that you’ve already read). You can ably one of the most beautiful. And many tured before the effective date of the Goodall’s blog at www.janegoodall.org. read the latest proposed revisions at organ consoles have engraved ivory knob fi nal rule.” And by now, her “thousands of people” www.fws.gov/international/pdf/african- faces, knob heads, and coupler tablets. must be many millions. elephant-4d-proposed-changes.pdf. Many guitars, violins, and other Item “F” in that list is directed at musi- The timing of Cecil’s death was exqui- Again, it’s a neat summary, comparing stringed instruments have small ivory cal instruments. The USFWS acknowl- site. Just a few days earlier, on July 25, the present proposal with that of 2014, parts such as the bridges and nuts that edges that 200 grams is the typical weight while traveling in Kenya, President and it’s easy to read. While commercial bear the strings, where it is prized for its of the ivory veneers on a piano keyboard, Obama released a statement that would imports are entirely prohibited, sports- acoustical properties. Ivory is also used and as that would allow the usual effectively ban commercial trade in Afri- hunted trophies would now be limited to for decorative elements on many musi- amounts of ivory found in stringed and can elephant ivory in the United States. two per hunter per year, a big improve- cal instruments, and some wind instru- wind instruments, it seems a fair number. That announcement follows Obama’s ment over no limit at all, but if you maxed ments, both western and non-western, But let’s talk about the organ. A stan- executive order of July of 2013, in which out the limit year after year, you’d need a are made entirely of ivory. dard 88-note piano keyboard has 52 nat- he declared that the United States should mighty big house in which to hang them. Artisans who fashion high-quality pool ural keys—the average weight of ivory “lead by example,” encouraging other cues are the largest consumers of new for each natural key is about 3.8 grams. A nations to step up their active participa- The Times Square Crush ivory (except in China, where carving standard 61-note organ keyboard has 36 tion in the preservation of that majestic Anyone who has navigated the side- remains prevalent), which is used in the naturals, which at 3.8 grams each would species. The United States Fish and walks and pedestrian walkways in New tip (where the cue meets the ball) and total about 137 grams for each keyboard. Wildlife Service (USFWS) followed on York’s Times Square knows about the the ferrules that join sections of the cue. And here’s where the math fails for the February 25, 2014, by proposing a new crush of humanity that throbs twenty- Master players feel that those ivory parts pipe organ: rule affecting the trade and movement four hours a day. On June 19, 2015, the give the ideal strike of cue to ball. No pia- of ivory. You can see a simple summary USFWS staged a different Times Square nos and only a very few pipe organs are • Most organs have at least two key- of the specifi cs of the 2014 rule at www. Crush. A huge industrial rock-crushing built with new ivory on the keyboards. boards—ivories on a two-manual fws.gov/international/travel-and-trade/ machine, the hulking behemoth that Builders of custom fi rearms use large organ would weigh a total of 272 ivory-ban-questions-and-answers.html. crushes boulders into gravel at highway- pieces of ivory for rifl e stocks, pistol grams, well over the limit. For more background, I recommend you construction sites, was driven into the grips, and many forms of ornamentation. • Many fi ner organ keyboards have refer to the excellent article written by center of the square, and a ton of ivory And there is an active community of special thick-cut ivory, at least twice as harpsichord specialist Anne Acker and artifacts that had been seized in an carvers and sculptors who specialize in thick as that found on a piano. published in the September 2014 issue undercover operation was sent up into working with ivory. • Many organ consoles have ivory knobs of The Diapason. Ms. Acker did a great the machine on a conveyor belt and and tablets. The elegant 1¼″ ivory deal of excellent research and was gener- crushed to powder. Secretary of the Inte- What does it have faces found on older E.M. Skinner ous with her time talking with me. rior Sally Jewell presided over the event. to do with me? organs weigh about 10 grams each. Two years earlier, the USFWS staged The proposed ban on trade and move- • Using those facts, a four-manual This is a subject very important an ivory crush in Denver, Colorado, at ment of ivory would have a big effect on console with a hundred knobs would to builders, restorers, and users of which six tons of artifacts were destroyed. the manufacture, restoration, sales and contain nearly 1400 grams of ivory, musical instruments. Please take the A statement published on the website of purchases of musical instruments. The which is almost 3¼ pounds! time to follow the several links I’m the USFWS reads, “Since that crush, American Institute of Organbuilders (AIO) offering. Inform yourself and form several governments throughout Europe, has engaged a lobbyist, and the Associated That may seem like a lot of ivory. a thoughtful opinion. Africa, the Middle East, and Asia, have Pipe Organ Builders of America (APOBA) But let’s go back to the sports-hunting also destroyed ivory, joining with us is participating in a larger lobbying effort exception. According to the website to highlight this worldwide crisis and spearheaded by the National Association www.fieldtripearth.org, the average The specifi cs are presented in a chart. emphasizing that only a worldwide solu- of Music Merchants (NAMM). weight of an African elephant’s tusk is They include exemptions for any ivory tion will stop wildlife poaching.” You can There is a revision aimed at musical around 135 pounds. A trophy hunter more than one hundred years old (diffi cult read the full statement and view videos of instruments. In the “Proposed Changes” could legally bring home four tusks a to prove in many cases) and light exemp- the Times Square Crush at www.fws.gov/ PDF that you’ve just read, the section of year—that’s 540 pounds hanging over tions for the domestic transportation le/elephant-ivory-crush.html. the chart devoted to “Sales across state someone’s fi replace.

12 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM By John Bishop

Under the proposed restrictions, it I wonder if the USFWS can sug- subsequent presidential administration would be illegal to buy, sell, or transport gest ways that legitimate craftsmen would weaken or reverse these rules, organ consoles, it would be illegal to fi le could help watch for disguised there’s less than a month left as you read or sand existing ivory during restora- illegal material. this to comment before they take effect. tion of a console, and it would be illegal • There’s an exception in the proposed While I believe that ivory is the pre- to use replacement ivories salvaged rules for museums, allowing the dis- mium material for use on keyboards, I from other keyboards to replace those play of ivory artifacts in their galler- know very well that there are other suit- chipped or cracked. “Working” ivory, ies, or as part of traveling exhibitions. able, even desirable materials. Cow bone altering existing and otherwise legal arti- Religious, educational, and other has natural grain and therefore similar facts, would be completely prohibited. not-for-profi t institutions could be absorbing properties, though quality var- If your church hired an organbuilder granted similar exemptions for the ies, and I know of bone keyboards that from another state to restore the Skin- preservation of their existing musi- haven’t held up well. Many tropical hard- ner organ, they would be prohibited cal instruments. woods (some of them endangered spe- from transporting the console back to • If the regulation allows even one self- cies) work well, though they don’t wear as their workshop. They’d have to leave the indulgent trophy hunter to bring home a well as either ivory or bone. Fruitwoods keyboards and stop jambs behind. carcass or part of one, it shouldn’t restrict are great, and you can throw the scraps the sale of an historic organ console. in your barbeque grill to fl avor the meat. Notes What’s the solution? And pretty much every modern concert 1. I’m discussing only federal restrictions. Earlier, I mentioned that the clock is My several conversations have made it piano has plastic keys. Scores of great It’s important to note that some states are en- acting more restrictive rules, possible criminal- ticking while the USFWS receives com- clear that whatever revisions are made, musicians play on plastic before huge izing possession of ivory, including mammoth ments from the public. The USFWS no new use of ivory and no importation audiences every day. It would be hard to ivory, which is not an endangered species. website has clear instructions about how will be permitted. That’s off the table. maintain that it’s impossible to build pipe 2. Go to www.fws.gov/endangered/species/ to submit your opinion: This will devastate some businesses, organs without new working of ivory. us-species.html, and click on “mammals.” and severely limit others. It’s likely that The 1990 rule works for me. If musi- You’ll see that the African elephant is listed as We have published a proposal to revise no new “working” of ivory that’s less cal instruments built since then included threatened, not endangered. the African elephant rule under section 3. According to the dictionary imbedded in 4(d) of the ESA [50 CFR 17.40 (e)]. This than a hundred years old will be per- ivory harvested earlier, they should be my laptop, de minimis is an adjective defi ned proposed rule is open for public comment mitted, including material dating from exempted. But from now on, no new as “an amount too trivial or minor to merit until September 28, 2015. To view a PDF before 1990. While it’s possible that a cutting of any ivory. Q consideration, especially in law.” of the proposed rule, go to http://www.fws. gov/international/pdf/african-elephant-4d- proposed-rule-copy.pdf. To read the proposal and provide com- ments upon publication, please go to the Federal eRulemaking Portal at http://www. regulations.gov. In the search box, enter FWS-HQ-IA-2013-0091 (the docket num- ber for this proposed rule). You may sub- mit a comment by clicking on “Comment Now!” The Service will review and consider all comments received by September 28, 2015 before publishing a fi nal rule. Get Real While preparing this essay, I’ve spoken with the presidents of the American Insti- BUILDER MEMBERS tute of Organbuilders and the Associated Pipe Organ Builders of America, the ANDOVER attorney engaged by the National Asso- BEDIENT BERGHAUS ciation of Music Merchants, a supplier AreAre yyouou purchasingpurchasing realreal sounds, BOND of ivory, and an environmental journalist, BUZARD and I’ve heard confl icting opinions. C.B. FISK oror recordedrecorded sounsounds?ds? Some conservationists hold an extreme CASAVANT FRÈRES position that all trade in ivory should be DOBSON ...real...real ppipesipes ccanan last for centuries. banned without any exceptions. Others GARLAND feel that some kind of middle ground GOULDING & WOOD is reasonable, and the USFWS seems HOLTKAMP to be receptive to such input. The 200- ODELL gram exception shows that. Still others KEGG feel that the proposed restrictions are LÉTOURNEAU Call today for counter-productive and could actually NOACK result in harming the stability of the PARKEY APOBA’s free elephant population while encouraging PARSONS illegal trade. PASI 66+ page color PATRICK J. MURPHY What’s the answer? PAUL FRITTS I will go to www.regulations.gov, enter QUIMBY prospectus FWS-HQ-IA-2013-0091 into the search RANDALL DYER fi eld, and submit these suggestions: SCHANTZ SCHOENSTEIN & CO • On January 18, 1990, the African TAYLOR & BOODY elephant was added to Appendix I SUPPLIER MEMMBERS of CITES. The current regulation allows trade of de minimis amounts A.R. SCHOPP’S of ivory that was legally removed HARRIS from the wild before that date. IOTI The spirit of the 200-gram excep- SOLID STATTE tion is to exempt ivory as found in SYNDYNE musical instruments. OSI Pipe organs require more natural PETERSONO keys than pianos. Because the use Please watch and share of ivory as found in organ consoles our short video at: is identical to that in pianos, any www.apoba.com/video amount of ivory found in pipe organ consoles, legally removed from the wild before January 18, NORTHNORTH 1990, should be exempted. AMERICA’SAMERICA’ S • Much of the impetus behind the bans and the staged crush events is PREMIERPREMIER the possibility of new ivory being dis- ORGANORGAN BBUILDINGUILDING guised as antique and slipped into the & SSERVICEERVICE FIFIRMSRMS market. (Anyone who has spilled cof- fee or tea on a keyboard knows it can APOBA.COM 800-473-5270 be done!) But I doubt such disguise is possible with older organ keyboards.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 13 Reviews

Music for Voices and Organ For a consistent theme, choirs could Introits and Anthems for Voices and The orchestra includes strings, clari- by James McCray sing one of these settings in each of Bells, Volume I (Advent through net, trumpet, French horn, electric bass, the four Advent Sundays. Note that the Baptism of the Lord), Clark Kimber- and percussion. The accompaniment has Advent messages fourth Sunday is just four days before ling. SATB and two handbells, GIA a pulsating rhythmic background in 12/8 Christmas Eve, so the setting by Zach- Publications, G-8426, $5.00 (E). for the voices, which are mostly in unison Prepare ye the way of the Lord, make straight in the desert a highway for our God. ary Wadsworth might be best then, since There are nine works in this fi rst as they tell of Gabriel’s visit. It builds to Every valley shall be lifted up, and every it includes poetry by Christina Rossetti volume; each begins with one or two a loud “Gloria” closing. A conductor’s mountain and hill be made low; the uneven that mentions Christ’s birth. handbells to establish pitch, tempo, and score and parts are available as C-59120. ground shall become level. Another suggestion: if your church has general spirit. Traditional Advent texts —Isaiah 40: 3–5 not done this previously, it may be a good include “Prepare the Way,” “Drop Down Gabriel’s Message, Nancy Grundahl. year to have a candle-lighting ceremony O Heavens,” and “People of Zion Your SATB and keyboard, MorningStar While it may seem to be early to con- that involves choir and congregation. Salvation Comes.” Each is one to four Music Publishers, MSM-50-0102, sider the Christmas season, I beg to dif- See Joel Raney’s anthem Christ Be Our pages in length with the two handbells $1.70 (M). fer. In 2015 Advent starts on November Light, which is discussed below. playing through; different handbells are After a narrative opening that has two 29, the Sunday following Thanksgiving. My point is that the choir should help used in each setting. Easy music that verses, the women sing, taking the part Since that holiday might disrupt the congregations fi nd fresh approaches may be used in many ways throughout of Mary and proclaiming a modifi ed music schedule that week, there is to their Advent worship. We have an the liturgical seasons. Magnifi cat text. This develops into a cel- likely a need for useful, easy Advent obligation to direct thinking away from ebrative “Gloria” in 12/8. The keyboard music that can be inserted for that fi nal “Santa Claus Is Coming to Town” toward The King Shall Come When Morn- music is not diffi cult and provides a sub- November Sunday. infi nitely more signifi cant thoughts. ing Dawns, Alistair Coleman. SATB stantial accompaniment. Thinking of calendars, one of my fond- In these days when religion is being and organ or piano, E. C. Schirmer, est memories is giving my children an challenged on a variety of levels, music 8144, $2.25 (M). Gabriel’s Message, Frank Pesci. Advent calendar. These calendars have can be the healer and connector for Also available for SSA (8143), this SATB and organ, E. C. Schirmer little paper doors that are to be opened many in the congregation. We should may be used on the Fourth Sunday of Music Co., 7991 (M+). each day during the Advent season, with fi nd ways to help focus the congrega- Advent or even Christmas Eve. The This setting and that of the following the fi nal door opening to reveal a picture tion’s journey to Christmas Eve. Church organ part is independent yet supportive review are arrangements of a traditional of the Nativity. These calendars are both choir directors can truly prepare the way for the voices, which have some divisi. Basque carol melody and text. The organ educational and an important diversion for the Lord. The opening theme is used in all four score is on three staves and is somewhat for youngsters during the waiting period verses, but each verse features a differ- busy throughout, although there is a of the days leading to Christmas. Open- Prepare the Way of the Lord, Michael ent section of the choir. The organ plays passage where the choir sings unac- ing these doors together with them when Larkin. SATB and piano, Morning- short solo passages between the verses; companied. The fi rst section is in unison, they were very young was a joy for me Star Music Co., MSM-50-0435, $1.70 there are registration suggestions. Beau- and Gabriel’s arrival from heaven is that I still miss today. (M-). tiful music. explained. Later Mary responds to him, The Advent season comprises four Subtitled “Canticle for Advent,” Lar- then the work closes with a contrapun- Sundays preceding Christmas. Church kin’s work is a solid anthem for the fi rst Prepare the Way, O Zion, arranged tal “Gloria.” Well-crafted music that is choir directors may be interested in Sunday in Advent. In addition to the text, by Jason Overall. SATB, bar chimes, strongly recommended. fi nding fresh musical settings for their its easy fl owing music has a feeling of hand drum, and piano, Paraclete congregations. For example, consider calm anticipation and even may be used Press, PPM01539, $2.20 (M). Gabriel’s Message, adapted by Zachary Clark Kimberling’s Introits and Anthems during a procession. The choir parts are This anthem looks more complicated Wadsworth. SATB/SATB and organ, for Voices and Bells, Volume I, which is on two staves with lots of unison pas- than it is. The bar chimes’ notation is a ECS Publishing, 8176, $4.10 (M+). reviewed below. This brief pamphlet of sages and joyful rhythms. The easy piano series of septuplets with headless stems, This setting combines the traditional music contains nine settings that cover music enhances the 6/8 meter. and they indicate “general range.” The Baring-Gould text and a poem by “Advent through Baptism of the Lord,” piano part starts with a left-hand rhyth- Christina Rossetti. It is probably more which will help congregations to have Four Prayers for Advent, Tom Coun- mic pulse, then later continues with for Christmas since the opening part of a connected feeling for these Sundays, cil. SATB unaccompanied or with sixteenth notes in septuplets in fl owing the text (Rossetti) goes beyond Gabriel, with the same format used for several organ, Concordia Publishing House, lines. The very easy choral music is his message, and even Mary’s response, weeks. Short, easy introits with 2–3 98-4173, $1.75 (E). always in unison or two parts. The hand mentioning the birth. The two choirs handbells will give a special quality to Each prayer setting is about one page drum may be played with mallets or sometimes sing alone, but when they the service. (Also note that Volume III in length, on two staves, and designated hands. This is a joyful, yet easy setting combine it is in an eight-part texture. features eleven general praise settings.) for each of the four Advent Sundays. The that will not tax the choir, but provide The organ music, on three staves, is One of the great biblical events fourth Sunday’s is two pages long and solid interest for the congregation. independent of the choir. This 24-page usually celebrated in Advent is that of somewhat more involved, but not truly work will be a challenge for most average Gabriel’s visit to Mary. There are four diffi cult. All four settings are identifi ed Christ Be Our Light!, Joel Raney. church choirs. recommendations below of works by with texts that are traditional collects. SATB, readers, and piano with different composers that could be used. These are easy, yet attractive works. optional 7 handbells and congrega- tion, Hope Publishing Co. C-5851, Book Reviews $2.10 (E). Pipe Organs of the Rich and Famous, Subtitled “A Candle Lighting Cer- by Rollin Smith. OHS Press; $49.95, emony for Advent,” this will bring the www.organsociety.org. A Precious Gift choir into a direct relationship with Noteworthy pipe organs are almost readers from the congregation. Each invariably tethered to intriguing char- of the verses is followed by a call and acters. It requires peculiar types of from the Past response litany with the congregation. intellect and vision (and considerable After the readings (which are included funds) to commission an artistic instru- for the Present in the score) and candle lighting, the ment, requirements that often have choir closes with a repeat of the hymn brought the protagonists into close refrain verse. This will certainly add a contact with the rich. There has always and the Future feeling of dignity to the service and is been a subset of the rich that builds our highly recommended. concert halls, museums, libraries, per- Supremely beautiful and blendable forming arts centers, universities, and tonal color – a Gift from the Venetian The Angel Gabriel’s Visit research hospitals. School of organbuilding, a monumental part of our The Angel Gabriel, Joel Raney, SATB In recent years, Rollin Smith’s serial- JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH and piano with optional orchestra, ized articles about the residential pipe SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN Hope Publishing Co., C-5912, $2.10 organs of the Gilded Age and the Progres- (M-). sive Era garnered anticipatory dévotés Intriguing? Let us build your dream.

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14 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM Reviews from the readership of The American It is easy to romanticize the exclusivity The 1929 collapse of the stock market While there are discussions of technical Organist magazine, and it was inevitable of organs in the houses of the rich, yet resulted in the ruination of industrial developments, the mechanisms are not that they should form the basis of a book. music in the home was a feature of the barons and stock speculators. Extravagant the thrust of the book. For this reason, Dr. Smith’s engrossing monograph, Pipe period when there were neither iPods, houses and their accoutrements became there are no specifi cations, but there are Organs of the Rich and Famous, lures nor televisions, nor Internet to numb our impossible to support. During the Great stoplists for each instrument, stripped to myriad audiences because it fulfi lls our minds. Great railroads delivered mass- Depression, the motion picture industry the minimum, even omitting foot mark- curiosities. Rare archival photographs manufactured pianos to the homes of the entertained and distracted, the newsreel ers. Set in a delicate font in a very small of these organs in their resplendent set- middle class, and a by-product of the tim- informed, and the radio waves began to point size, they nearly vanish into an oys- tings feed a trio of fantasies: I live here; I ber industry brought sheet music, printed crackle, as paper organ rolls sat idly in ter grey background, often dividing the am “within the circle” and socialize here; on cheap pulp paper, to every aspiring their elegantly detailed cabinets. Many stoplist into two sections dispersed to the I am a harmless intruder, hiding behind musician who could afford it. Modernity, great houses were dismantled, their deco- outside margins of facing pages. Aside the potted palm trees while watching the mechanism, and music were a fascinat- rative arts sold at auction, and the build- from wind pressures, one will fi nd a rich at play. ing combination, with player organs and ings subsequently razed, many with pipe dearth of pipe-related information about This thoughtful study is not cheap voy- Victrolas sharing the limelight. organs still inside. Others were purchased materials, morphology, base scales, halv- eurism, and the rich are rarely revealed The pipe organ was part of secular by developers, corporations, universities, ing ratios, or mixture compositions. The to be silly or even remotely idle. Despite culture as well as a fi xture of the Ameri- and religious groups, who maintained stoplists are meant to be glanced at, but their extreme privilege, earned or inher- can concert hall, hotel, commercial the houses but frequently destroyed the not studied, always taking a back seat to ited, they were all imperfect mortals. enterprise, municipal auditorium, and organs or let them fall to ruin. This past the wonderful stories of the organ’s own- Smith provides captivating biogra- secondary school. By 1921, experimen- January 28, 2015, Winfi eld Hall, Frank W. ers and the people who played them. phies of fascinating people through an tation with recorded sound for fi lm had Woolworth’s large and elegant house in Three hundred illustrations beckon enlightening account of a time that will begun in earnest, and by 1927, silent Glen Cove, with its IV/107 Aeolian organ, the magnifying glass. Many have not not, and cannot, be repeated. What is fi lms, and the pipe organs that were succumbed to a blaze. been published before, and if they have, “old money” now was new money then. played to supply their musical scores, Pipe Organs of the Rich and Famous they have not been presented as such It was an era in which hard work— were doomed. As cities developed was created for a wider audience, not a coherent collection. There are rare very hard work—paid off, resulting in conservatories and established orches- just for organists and organbuilders. casualties, such as the two-page spreads many fi rst-generation fortunes, which tras, the municipal organ concert faced It appeals equally to readers inter- for Guilmant’s music room and Henry could be lost, squandered, or inher- extinction. The organ would become ested in economic and social history, Clay Frick’s Aeolian console, which bear ited. The Industrial Revolution, rapid associated with prayer. architecture, and the decorative arts. ³ page 16 population growth, and unrestricted opportunity converged to change the world, especially in the United States, as immigrants with intense personal initiative came ashore, and the nation expanded westward. Residential organbuilding, in this particular context, began during the second half of the 19th century as God is in fortunes from natural resources and manufacturing began to accumulate. It essentially ground to a halt by 1930. If one could not play the organ, the organ would perform by itself through a library of perforated paper rolls recorded by noteworthy organists. Extensive catalogs of rolls were devel- the details. oped to keep up with changing tastes in music. For those with the most money in the bank, a professional organist would be hired. A handful of house organists, also serving as consultants and salesmen, became rich and famous in their own right, amassing uncommon wealth. They were not servants, but rather were in service to their clients, moving somewhat freely through high society. A rare commodity, the fi nest of the house musicians could be “bor- rowed” or change allegiances. As mod- ern recording technique evolved, fi ne performances were recorded on some of these organs for us to hear today. As organbuilders and organists seek appreciation for the craft outside of the church or synagogue and harbor an imagined nostalgia for a time in which they never lived, we must not be tempted to view this as a great period of secular organbuilding. It was a simultaneous and specialized episode of “domestic” organbuilding, fueled by money, while the church organ market continued to fl ourish. There were likely about 3,000 house organs built world- wide at the height of this fashion, but we cannot think of it as a movement of erudition and high culture, although there were clients who were fi ne organ- ists. These organs (some quite large, but mostly small), became expected fi xtures, alongside dramatic fountains, grand staircases, and perfectly planned gar- dens. They rarely, if ever, were consid- The quote is attributed to the architect, Mies van der Rohe, but it’s a belief we live ered homeward extensions of religious life. Clientèle ran the gamut from the by. After 40 plus years of handcrafting bells, we understand that the signature atheist industrialist Andrew Carnegie, to Malmark tonal quality can all come down to 1/64 of an inch. So while we may the agnostic comedian Charlie Chaplin, craft the largest range of handbells in the world, we put just as much emphasis on to the Jewish organist, banker, philan- the smallest of details. Because we know that can make all the difference between thropist, and public health and child a performance that’s just ok and one that’s, well, heavenly. malmark.com welfare advocate Paul M. Warburg, who considered his hours at the organ con- sole his greatest relaxation.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 15 Reviews

³ page 15 and compelling from his every perfor- piano. Albany Records, Troy1502, German-style specifi cation, is especially splendid photographs, expertly restored, mance, and this Pro Organo disc (his $16.99, www.albanyrecords.com. appropriate for the Toccata with its neo- with the center of the image lost to the fourth) is certainly no exception. In fact, Celestial Wind is the fi rst recording to classical bent and for the Four Pieces, gutter. This is the book designer’s gnaw- it would be no exaggeration to say that feature several of Robert Sirota’s liturgi- which make use of Klangfarbenmelodie. ing quandary and trade-off: smaller this is the best yet! cal works for the organ. Although he has The rich, romantic sounds of the Aeolian- image, costly foldout, or loss of center. The program presented here has great had a long association with the instru- Skinner and the large, spacious acoustic Len Levasseur’s dynamic visual design integrity and comprises three sets of ment, Sirota has composed only a small of St. John add poignancy to the physical keeps the eye in motion across the works, as the disc title suggests—Trois body of solo music for the organ. The separation that inspired Letters Abroad, images that he helped to collect, con- pièces, op. 29 (Prélude, Cantilène, and works presented here draw from both and allow for the colorful expression of serve, and present. Scherzando de Concert) composed by his sacred and secular compositions. All the arrival of the Holy Spirit. Sirota’s House organs spanned the centuries a little-known student of César Franck, the selections were written for his wife, notes state that the piece was written for and appeared in all countries, so Dr. Gabriel Pierné (1863–1937); Camille the Reverend Dr. Victoria Sirota, a con- “a grand organ in a majestic space.” Smith faced the numbing task of select- Saint-Saëns’ Trois préludes et fugues, cert artist of high caliber. Victoria Sirota’s performances demon- ing about fi ve dozen exemplary clients, op. 99; and Louis Vierne’s Deuxième Sirota himself describes the open- strate her solid technical skills, her con- three dozen of whom were American; symphonie in e, op. 20 (Allegro, Choral, ing Toccata (1979) as his most diffi cult summate musicality, and her intimate the nation was home to the Aeolian Pipe- Scherzo, Cantabile, and Final). The rep- work for organ. The opening fi ve-note understanding of her husband’s compo- Organ Company, the première builders ertoire fl ows seamlessly from one piece motive comes from an unspecifi ed ari- sitions. Truly a match made in heaven. of residence organs, who selected their to the next, and the 1955 G. Donald oso by J. S. Bach. The multi-sectioned upper echelon clientèle as much as the Harrison Aeolian-Skinner Opus 1257 piece requires virtuoso technique and a French Organ Music on the Great buyers chose the fi rm. A handful of the (restored 2009, Orgues Létourneau) versatile instrument. One immediately Organ of Saint-Etienne-du-Mont, wealthiest commissioned more than rises beautifully to the challenge of emu- hears Sirota’s neo-classic bent in the Paris. Music of Dupré, Duru- one instrument and even had them lating a French romantic organ. tightly controlled counterpoint as well as fl é, Messiaen, Tournemire, and moved, serially rebuilt, or enlarged. Vierne’s symphonies will be familiar piquant harmonies. Vierne, Pétur Sakari, organist. Smith also presents a half-dozen clients to enthusiasts of the French organ Four Pieces for Organ (1975), written BIS–1969|7328599919690, $21.99, each in England (nobility) and France repertoire and require no introduction; for the dedication of a Bozeman-Gibson naxosdirect.com. (musicians), and one each in Canada, equally so the Saint-Saëns preludes and organ in East Northport, New York, Recordings by rising stars are cer- Germany, and India. A revelatory article fugues. But the three pieces by Pierné are brief selections intended to demon- tainly abundant, many associated with chronicles the life of Sarah Walker, the are absolute gems—the powerful and strate the tonal possibilities of this small the numerous national and international daughter of freed African slaves whose emotive Prélude; a lovely, delicate Can- but versatile instrument. Once again, competitions in the organ world. This determination made her one of the tilène; and the virtuosic Scherzando de Sirota’s penchant for counterpoint is debut compact disc features one such great entrepreneurs of her generation, Concert, opening with a delightfully immediately obvious, as is his fascination up-and-coming performer. Pétur Sakari, a and whose New York mansion featured playful section (not entirely dissimilar with syncopated rhythmic fi gures. The 21-year-old Finnish organist who studies a pipe organ. Another fascination is the to Joseph Bonnet’s Elfes), with a slower, composer refers to the fi nal piece as a with Thierry Escaich, has won numerous organ designed by Norbert Dufourcq gentle middle section, culminating in a “negative” toccata, one which, instead of competitions and has been celebrated as and André Marchal for industrialist reprise of the fi rst section, which builds building to a climax, disintegrates into a a rising artist. Here he performs a tech- Henry Goüin and his wife Isabelle Lang to a glorious, compelling climax. quiet peroration. nically brilliant program on the organ Goüin, installed in the Art Déco music Plutz is a master craftsman, there can Commissioned in 1993 by cellist Nor- at the church of St.-Etienne-du-Mont, room they added to their Parisian house be no doubt! His performances are sensi- man Fischer, Easter Canticles is a triptych where Escaich is the titular organist. The in 1932. The fi rst instrument built inde- tive, emotional, stunningly accurate, and of pieces inspired by an iconostasis of the well-chosen repertoire from the French pendently by Victor Gonzalez, its neo- spectacularly musical; his technical skill Orthodox Church, which depicts scenes symphonic organ tradition suits the instru- Baroque disposition, a nascent study in and dexterity put him inside the small of Christ’s agony in the garden, death on ment perfectly. One immediately hears the classical revival, was unlike anything circle of leading international organists. the cross, and miraculous resurrection. Sakari’s masterful technique in his brilliant that preceded it. A colleague recently remarked that (J.S.) Letters Abroad, for organ and piano, performance of Durufl é’s reconstruction The “stars” of this book are the clients: “Bach never wrote a bad note,” and it may be the most personal work on this of Tournemire’s Improvisation sur le Vic- their hard work, vision, achievements, would be fair to raise equal plaudits to recording. Written in the summer of timae paschali and the Prelude et Fugue tastes, and eccentricities. It is an absorb- Plutz’s musicianship and technical mas- 1980, these works are “musical post- en Si Majeur from Dupré’s op. 7. Sakari’s ing social history, punctuated by musical, tery here. His virtuosity appears to know cards” Sirota wrote to his wife while musicality comes through in his sensitive technological, and architectural delights. no bounds, as he nurtures us effortlessly she was away in Europe doing research. registration and use of dynamic shading in As with all of Rollin Smith’s books, Pipe through this program of superbly color- According to the composer, “Piano and Messiaen’s sumptuous Le Banquet céleste. Organs of the Rich and Famous is one ful and exciting French repertoire on organ are a potentially diffi cult combina- Much of the disc is taken up by the to which you will return repeatedly, this remarkably convincing instrument; tion; and that is the point. The acoustic music of Vierne and Durufl é, master whether for in-depth reading or leisurely it is truly a world-class performance by a disparity and distance . . . is the central and student, with performances of four perusal. Its large format and high-quality world-class musician. metaphor of the work.” The piece con- of the former’s Pièces de Fantaisie and coated stock may make it the heaviest The accompanying booklet is excel- cludes with a tender moment of unity for the latter’s Suite, all performed on the book in your library, but it is my sugges- lent, with copious notes and bursting the two instruments. instrument that inspired Durufl é’s small, tion that you pick it up and read it. with information about performer, The fi nal three selections are liturgical. yet signifi cant, body of organ music. One —Sebastian M. Glück instrument, repertoire, and even a word The Two Lenten Chorale Preludes use would like to hear a bit more maturity New York, New York or two about the engineering details that the familiar tunes Herzliebster Jesu in these interpretations as the music have enabled Pro Organo to capture such and An Wasserflüssen Babylon. The is so expressive, but the youthful vigor a crystal-clear and intimate recording. title track, Celestial Wind, uses Acts 2:2–3 and éclat in these performances justifi es New Recordings This must be, without a doubt, the French as its inspiration, a text that dramatically Sakari’s well-deserved acclaim. French Trilogy: Eric Plutz plays organ music CD of the year. Bravo! describes the arrival of the Holy Spirit on the Aeolian-Skinner organ of Win- —James M. Reed the fi rst Pentecost. The images of rushing Jean-Jacques Grunenwald, Oeuvres throp University, Rock Hill, South Worksop, England winds, tongues of fi re, and the descend- pour orgue, Jean-Luc Etienne, Carolina. Pro Organo (CD7255), ing Spirit can be heard in the powerful organist. Festivo 6962422, €19.95, www.proorgano.com. Celestial Wind, Organ Works by Rob- and vivid sounds of the organ. www.festivo.nl. Those familiar with organist Eric Plutz ert Sirota. Victoria Sirota, organ, Nor- This recording features two distinct Festivo continues to bring the great know to expect something extraordinary man Fischer, cello, and Robert Sirota, instruments: a Holtkamp organ housed music of European organ composers to at the Peabody Conservatory (for Toc- the public with this new recording of the cata, Four Pieces, Easter Canticles, and organ works of Jean-Jacques Grunen- Two Lenten Preludes) and the Aeolian- wald (1911–82), who, late in his career Skinner organ in the Cathedral of St. (1973–82), served as organist of Saint- John the Divine, New York (Letters Sulpice, Paris, France. The recording Abroad and Celestial Wind). Both features the earliest organ compositions instruments and spaces were chosen for of this fi ne composer, whose music is the repertoire. The Holtkamp, with its neither well known nor often performed.

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(He may be better known as a composer biographer of many renowned French intimate playing style draws the listener preserved (one in Basel and one in the of fi lm scores.) As a student of Marcel organists, wrote in glowing terms about into the mysticism and spirituality of Civico Museo Bibliografi co, Bologna), Dupré, titular organist of Saint-Sulpice one of Grunenwald’s improvisations at the more restrained compositions. His contains two toccatas, three ricercars, from 1936–72, Grunenwald certainly the end of a service, describing his use virtuosity and fi re make the drama and and just one canzon francese. The two comes from the French symphonic of counterpoint, his control of form brilliance of the more ecstatic pieces toccatas as well as ricercars on the fi rst organ tradition that is known throughout and structure, and the originality of the palpable. As much of this music is not and third tones were also copied into the the world, yet he later embraced more closing improvisation, stating that Grun- readily available, and as it is rarely heard voluminous manuscript now preserved modern techniques such as serialism and enwald was indeed a worthy successor to in performance, it is a great pleasure to in Turin. This edition supersedes the polytonality. These early pieces, which the established French tradition. hear these works. It is hoped that Eti- volume edited by Klaus Speer for the date from 1937–56, refl ect Grunen- Also featured on this recording are enne, in collaboration with Festivo, will American Institute of Musicology in wald’s keyboard studies with Dupré, his the Quatre Élévations (1942), the Cinq continue to record the remaining works 1969 and 1993, which also contains the composition lessons with Henri Busser Pièces pour l’Offi ce Divin (1952), and of this neglected French master. book of pieces of 1604 by Padovano, but while at the Paris Conservatory, and his the Diptyque liturgique (1956). The Élé- —Steven Young which reduced note values by a half and affi nity for the virtuosic improvisations of vations are brief musical moments using Bridgewater State University included numerous errors. Charles Tournemire on religious themes. quiet sounds befi tting their place in wor- Pages 1–13 of the music section of The disc opens with the Deux Suites ship. The Cinq Pièces were composed this new edition include the contents of pour orgue, Grunenwald’s fi rst published for a smaller organ and could be used New Organ Music the fi rst print, pages 14–28 include the organ works. (His earliest published as a Messe basse or Low Mass (a Mass Sperindio Bertoldo: Opera per contents of the second print, and pages piece was a Prélude for piano from 1936.) without singing). The structure of the Tastiera, edited by Luigi Collarile. 30–61 provide a facsimile copy of the Due to the specifi c registration chosen fi rst three of these pieces is reminiscent Andromeda Editrice, No. 16 of the two sources. As ever, it is well worth the by the composer, these pieces require of French Classical music, with a récit de series “Tastature,” €25. Available time to compare the original prints with a very versatile and colorful instrument. cornet in the Entrée, the ricercare tech- from La Stanza della Musica, www. the editor’s transcriptions. Similar in outline, the suites each nique of the Offertoire, and the tiento lastanzadellamusica.com. The four chansons from the fi rst book consist of fi ve movements. Suite I con- style of the third movement. This modern edition includes all the include Un gai berger, Or vien ça vien, tains programmatic movements such The fi nal two movements, “Commu- known works for keyboard composed by Petit fl eur, and Frais et gaillard, which at as “Nativité” and “Les Divins Espoirs,” nion” and “Sortie,” are reminiscent of Sperindio Bertoldo (ca. 1530–70), who 60 bars is quite the longest. All open imi- while Suite II employs more traditional the late-Romantic tradition contrasting took up the position of organist at the tatively, progress with voices dropping titles such as “Procession” and “Toccata.” with the earlier styles found in the open- Duomo, Padua, in 1552. In addition to out at will, and include some chordal Within the more subdued movements, ing movements. Diptyque liturgique two collections of madrigals published passages and some fast sixteenth-note the composer makes exceptional use of is dedicated to St. James Episcopal in 1561 and 1562, two volumes of his divisions and cadential trills, mainly in individual solo stops, whose colors aid in Church, New York, commemorating its keyboard compositions were printed in the treble, with just a few in the tenor creating a sublime, mystical mood that 150th anniversary. Its two movements Venice by Giacomo Vincenti, but only in and the very occasional instance in the was typical of Grunenwald’s improvisa- could not be more contrasting in style 1591, some 21 years after the composer’s bass. Un gai berger includes a triple-time tions during the liturgies at Saint-Sul- and texture. “Preces” uses fi nely honed death. The sole instrument mentioned for section. These pieces bear comparison pice. One also hears the craftsmanship of contrapuntal writing featuring a brief, performance is the organ, although such with Andrea Gabrieli’s intabulated chan- tightly controlled contrapuntal writing so two-note theme, while “Jubilate Deo” is pieces would undoubtedly have been per- son settings, particularly the fi rst and last often found in neo-classic compositions an energetic expression of pure joy. formed on stringed keyboard instruments. which the Venetian also set. of the 1920s and 1930s. The robust toc- Organist Jean-Luc Etienne, professor These two slim volumes contain just The fi rst toccata opens in D minor catas that close each suite demonstrate at the Conservatoire à Rayonnement ten works. The fi rst volume, of which and fi nishes in G. After an opening in the immense power and force of the Régional in Tours, demonstrates a clear only the copy in the University Library, which lengthy trills pass from tenor to magnifi cent Cavaillé-Coll organs that affi nity for this music. His registrations Basel, has been preserved, contains bass against held tonic chords, it con- were the foundation of the French organ beautifully display the wonderful col- four chanson settings. The second vol- sists of chordal passages, with cadential tradition. Bernard Gavoty, critic and ors of this instrument. His elegant and ume, of which two copies have been ³ page 18

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³ page 17 Wilbur Held, New Every Morning: Antioch and progresses in a softer vol- version for 2–3 octaves of bells: sixteenth-note passagework in the form Six Settings of Morning Hymns for ume through the tunes Gloria, Il est Code No. 2698, $49.95, L2 (E+ - M). of trills and the occasional eighth-note Organ. MorningStar Music Publish- né, and Mendelssohn, and includes a Written with the volunteer handbell scalar links. The second toccata, in F, ers MSM-10-618, $12.00; www.can- short surprise with “Jingle Bells.” choir in mind, these settings of familiar opens with held chords and also proceeds ticledistributing.com. Another piece of the season is O Come, hymn tunes should have great appeal for in a stately manner with some written-out I received this music around the time O Come, Emmanuel. I had trouble relat- both ringers and listeners. Titles include trills in various voices. They were clearly of Wilbur Held’s death at age 100. My ing the tempo instructions (quarter = Angels We Have Heard on High, Come, not infl uenced by the toccatas of Andrea knowledge of Held was mostly limited 120–126) with the music. At that tempo Ye Thankful People, Come, He Is Born, O Gabrieli and are far removed from the to reading in organ journals about his it seemed too fast for the tune. Slower Little Town of Bethlehem, O Love That mercurial toccatas by Merulo. longevity—Dr. Held had a long and speeds made it too plodding in my mind. Will Not Let Me Go, Still, Still, Still, We The ricercars, on the sixth, fi rst, and varied career in church music, and wrote It also had a dark, almost brooding, qual- Gather Together, and When the Saints third tones, move mainly in half notes an enormous amount of music. It was ity to it, which seemed out of character Go Marching In. You need buy only one with some quarter-note movement, with much enthusiasm therefore that I for the expectation of the season. book; all the music can be copied for use enlivened by the written-out cadential received a copy of New Every Morning. Other pieces showed a great deal by your choir. trills. The subject of the Ricercar on the I was struck by the clear structures, of creativity. For example, A Mighty sixth tone (among the earliest examples the traditional yet refreshing harmonies, Fortress Is Our God is based on and has Savior, Like a Shepherd Lead Us, of monothematic ricercars) with a and the simple approach to each chorale major quotations from both movements arranged for 3–6 octaves of handbells sequence of ascending fourths shows a in these settings. At the bottom of each of Bach’s Toccata and Fugue in D Minor. by Joel Raney and Arnold B. Sher- great similarity to the “St. Anne” subject. page is the notation, “Newly composed, Opening with the thunder of the well- man. Agape (a division of Hope Pub- There is a triple-time section in the and copyright, 2014,” which leads me to known descending scales, it moves into lishing Company), Code No. 2721, Ricercar on the fi rst tone. The Ricercar believe these are relatively late works. the triplets quoting Bach exactly, but $4.50, Level 3 (M-). on the third tone employs the fl attened The fi rst piece, New Every Morning Is suddenly there is the “Mighty Fortress” This transcription of a Joel Raney second, not uncommon in pieces on this the Love, is a short set of variations on Mel- tune and the triplets no longer fi t under piano setting provides a fresh new tone; there are fewer written-out orna- combe. Straightforward and gentle, the your fi ngers in the usual manner. And arrangement for handbells in this well- ments in this piece. variations take about three minutes to play, this was my trouble all the way through. known hymn by William Bradbury. The There are also comparisons with the average time for most of these pieces. The music and my mind wanted to play “let vibrate” technique is used through- several of the less heavily ornamented Settings of Morning Hymn, Christe one thing and my fi ngers wanted to go in out most of the piece giving it a gentle, keyboard ricercars by Andrea Gabrieli Sanctorum, Bunessan (Morning Has a more familiar direction. I think, once fl owing feeling, providing a very satisfy- published in the 1590s by his nephew Broken), and Splendor Paternae fol- learned, it could be an encore piece that ing addition for worship repertoire. Giovanni. The original print of this vol- low. Melody motives sometimes introduce a knowledgeable audience would enjoy. ume, which is now in Basel, contains a the tune, but when the tune enters it is What fun! Would the D-minor Toccata Ring, Zing, Swing, for 3, 4, 5, or 6 note by pen that sections were “stolen” easily recognizable. Morning Has Broken, and Fugue ever be the same again? octaves of handbells, by John A. from ricercars included in a published particularly elegant and two minutes long, Other pieces include Crown Him Behnke. Choristers Guild, CGB904, set of ensemble ricercars by Annibale is perfect for an offertory. The fi nal piece, with Many Crowns, Holy, Holy, Holy, $4.95, Level 3 (D). Padovano, organist in Venice. Bertoldi’s Laudes Domini (When Morning Gilds Lord God Almighty!, Rise Up, O Saints Here is a wildly rhythmic piece that use of this material is discussed in the the Skies), makes several dramatic key of God!, and You Are Holy. All of these will capture the listener’s attention from introduction. The vocal model for the changes and builds to a crescendo with are “big” pieces calling for a plenum the fi rst few measures. It is a syncopated Canzon francese has not been identifi ed. double pedaling as it returns to the open- with mixtures and/or reeds, in keeping “calypso-type” melody that is set in the The texture is almost entirely homopho- ing key. All the settings can easily be played with the title, Postludes. However, they key of C minor; with its several special nically chordal, with divisions for the on a two-manual organ. As the melodies are also “big” pieces in that their average effects, and multiple layers of rhythm right hand in eighth notes and the usual are clear enough, with some judicious length is around eight minutes. The dif- and chords, it will bring down the house cadential sixteenth-note extended trills. registrations, they could also be played on fi culty level is medium with sections that . . . guaranteed! With just a couple of these divisions a one-manual and pedal instrument. could be described as diffi cult; much of in the tenor, there are also passages in All the pieces in this book are appeal- it is not hard to play, but there are chal- Repentance, for 2–3 octaves of hand- quarter-note chords, which can be hap- ing, although for me Morning Has lenging passages that need careful work. bells, handchimes optional, by Ron pily grouped in threes, phrased across Broken and When Morning Gilds the Some of this music would also be appro- Mallory. MorningStar Music Publish- the barlines. Skies certainly stand out. These pieces priate for recital use. I am pleased with ers, MSM-30-851, $4.50, Level 2 (E). The printing is clear, with six systems would also be perfect for a student, or the music in this volume and recommend This little gem begins and ends with to a page in portrait format. Original if you need a quick fi ller on short notice. it for the adventurous church organist. a motif played just on handchimes, with note values have been retained. The I cannot recommend this volume highly —Jay Zoller handbells weaving their way into the introduction, in Italian and English, enough. It makes me want to explore Newcastle, Maine texture of this original piece. It builds includes a detailed account of the more of Wilbur Held’s music. from simple melodic material to a nice sources and the compositions. There is a full climax, before returning back to a most thorough critical commentary and Rick Seaton, Go Out With Joy! Post- New Handbell Music gentle close. a useful bibliography. Some information ludes for Organ. Augsburg Fortress For All the Saints, arranged for 3, 4, on potential registration according to ISBN 978–1-4514-7954-6, $21.00; or 5 octaves of handbells by Dan R. Percussive Praise, Mallet Melody, contemporary treatises would have been wwww.augsburgfortress.org. Edwards. Choristers Guild, CGB905, for 2 or 3 octaves of handbells, by most helpful to the less experienced Colorado native Rick Seaton lives with $4.50, Level 3 (M+). Kevin McChesney. Choristers Guild, player. These pieces will require consid- his family in Highlands Ranch, Colo- This setting of the familiar tune CGB311, $4.50, Level 1+ (E+). erable dexterity from the player to shape rado. His compositions are creative with Sine Nomine stays true to the melody This is a piece for bells played by mal- the divisions without losing the impetus. a touch of popular appeal included. throughout and is presented in a rich, leting the bell as it rests on the padded Possibly of greater interest to specialists When I received this volume, I was festive, straightforward style with a table, with a lyrical melody in 3/4 time. in, and students of, the Italian Renais- immediately struck by how appropriate change of rhythm from 4/4 to 3/4. This is unusually attractive setting, as sance keyboard repertoire, these pieces two of the pieces would be for the Christ- the entire piece is played with mallets. have considerable merit and add to our mas season. One in particular, the Carol Reproducible Rings for 3–5 Octaves of A great piece with a different “twist,” not knowledge of this fi eld. Rhapsody, appeared to be eminently suit- handbells, arranged by Lloyd Larson. only for the players but for the listener. —John Collins able for a Christmas concert. The piece Agape (a division of Hope Publishing —Leon Nelson Sussex, England opens with a French-style toccata on Company), Code No. 2733, $49.95; Vernon Hills, Illinois

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18 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM Contemporary organ works

The Organ Works of Pamela Decker Example 1. One of Pamela Decker’s modes, a transformed Dorian mode

By Edie Johnson

rom saucy tangos to chant-based Fworks, expertly fashioned counter- point, and everything in between, the organ works of Pamela Decker run the gamut of style and variety. Her composi- tions and recordings have received high and well-deserved acclaim in recent years. Decker has had a variety of experi- ences that shape her compositions—from theater organist to Fulbright Scholar. She has been commissioned by regional and national American Guild of Organists conventions, and her works have been performed around the world. Pamela Decker (photo credit: Ingvi Kallen) Background I fi rst became acquainted with Deck- Her parents thought she might have er’s works as a graduate student at Jacobs a specifi c talent for dance, but when at School of Music at Indiana University. nine she was given the choice among My professor, Larry Smith, suggested dance, ice skating, or music, she quickly that I learn her three-movement work, and without hesitation chose music Río abajo río (1999, Wayne Leupold lessons. She has had formal lessons in Editions, WL610004). I became enam- piano, organ, and harpsichord. Her ored with the excitement and fi re in the fi rst organ teacher was Jean Morgan, a music, as well as her colorful, yet acces- concert organist with a large studio in sible harmonic language. Since then, Alexandria, Virginia. I have learned several other Decker When Decker was thirteen, her father Example 2. Albarda (Flores del Desierto, I), measures 64–70 (©1998, Wayne Leupold works, for both church and concert received a promotion that required the Editions, Inc., WL610006) use. In addition, I had the privilege of family to move to the San Francisco premiering her fi rst organ concerto, El Bay Area. This move was signifi cant to Tigre, at the Region IV AGO convention her development as a composer, as it in 2011. introduced her to the world of the the- Music and movement have always ater organ. Her fi rst teacher in the Bay had a close connection to Decker. While Area, Galen Piepenburg, was trained she did not grow up in a family of musi- as both a classical and theater organist. cians, her earliest memories are of a The Avenue Theater in the Bay Area home in which music frequently came hired organists to play half-hour recitals from the record player, and she danced before movies began. By the time she and performed living-room gymnastics was fi fteen, Decker was showcased as Example 3. Pamela Decker’s synthetic Phrygian mode whenever it was on. As a child, Decker one of these performers. She both made and her family lived in Falls Church, her own arrangements of “twenties- and a published composer. While an day with Jean Langlais and Marie Lou- Virginia, where her father was a naval style” music and used reputable versions undergraduate at Stanford, she had a ise Jaquet-Langlais. research contractor. They attended a by other performers. The theater also church position and made the decision Decker recounts this fond memory of Methodist church there, and Pamela hosted concerts by renowned organ- to focus on classical training. As she her day with Langlais: recounts this story: ists from around the world. One of the developed, she concentrated equally recitals she considered memorable was on both composition and performance In the early evening, Mr. Langlais had I recall a Sunday morning when my par- by Korla Pandit, a theater organist from practice. Her desire to study perfor- to go to Ste-Clotilde to play for a funeral. ents were taking me to church, and we were He took me with him. On the streetcar, he about to enter the narthex. Someone at that India. Decker’s experience with the the- mance practice led to a Fulbright schol- kept pointing to landmarks and telling me moment opened the big double doors to ater organ scene greatly infl uenced her arship to study in Lübeck, Germany, to look at them. Even though he was blind, the sanctuary, and I remember an expanse desire to create and “re-create.” at the Musikhochschule Lübeck. This he knew exactly where everything was and of white wood and columns and a torrent of Decker moved from the San Fran- experience gave her the opportunity to how to tell me important bits of informa- organ music pouring down the center aisle. tion in connection with what he was point- I was entranced, and I thought that I would cisco Bay Area to Stanford University, learn from and perform on many his- ing out. I realized that I was on a “sightsee- very much like to play the grand instrument where she studied with Herbert Nan- toric instruments. In addition, she was ing” tour with Jean Langlais! At the church, that could produce those sounds. ney, an experienced concert organist able to travel to Paris and even spent a there was some time before the service, so A New Song In Switzerland

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 19 Contemporary organ works

Example 5. Scale types in fl amenco music

Example 4. Jesu, dulcis memoria, measures 64–69 (©2011, Wayne Leupold Editions, Inc., Example 6. Río abajo río (©1999, Wayne Leupold Editions, Inc., WL610004) WL710010)

he allowed me to play several pieces. I re- call that I played the Bach 9/8 Prelude and Fugue in C Major, and some of my own mu- sic. It is a treasured memory for me that he said very positive things about my work in both areas and encouraged me to continue composing as well as performing.

Harmonic style The music of French organ compos- ers has had a tremendous infl uence on Decker’s compositional output and her tonal language. She is particularly fond of Olivier Messiaen’s music. His modes of limited transposition have infl uenced Example 7. Tango rhythm from Río abajo río, III (©1999, Wayne Leupold Editions, Inc., WL610004) the development of her own individually designed synthetic modes. The most infl u- Study of Messiaen’s modes has led Phrygian mode that adds F-sharp and material within the context of designing ential of Messiaen’s works for Decker has Decker to transform church modes, C-sharp. These are just two examples original forms.” been La Nativité du Seigneur. In learning adding one or two pitches to the collec- of the synthetic modes that Decker Example 2 shows an example of the and studying this work, she was struck by tion of a specifi c mode. She frequently works with, and she believes that each synthetic Dorian, used in mm. 64–70 of the lush harmonies and rich chromati- incorporates a transformed Dorian that one has its own “pitch-class personal- Albarda, the fi rst movement of Flores cism that the modes yield. This, in turn, adds F-sharp and B-fl at to the basic ity.” She works with the modes both del Desierto (1998, Wayne Leupold Edi- inspired Decker to explore and discover Dorian mode. (See Example 1.) One of individually and in combination and tions, WL610006). Decker’s synthetic her own unique harmonic language. her other favorite modes to employ is a fi nds it interesting to use this “modal Phrygian mode, which adds F-sharp and C-sharp to the basic Phrygian mode, is shown in Example 3. Decker uses this mode in Jesu, dulcis memoria (2011, Wayne Leupold Editions, WL710010), mm. 64–69, as shown in Example 4. Decker has also worked with scale types in fl amenco patterns (see Example 5). The intervallic patterns of the fl a- menco modes play a prominent role in her new work, Fanueil Hall (2013, Wayne Leupold Editions, WL610014), which was premiered at the 2014 AGO national convention, held in Boston.

Rhythmic infl uences Messiaen’s creative rhythmic struc- tures also have inspired Decker’s com- positions. Decker states, “Messiaen also choreographs expressive nuance through additive rhythms and multi-metrical constructions. I have also found this ele- ment to be infl uential; I have used meter changes and shifting accents to place emphasis in my music.” For example, American Institute of Organbuilders this passage in 2/4 from the fi nal move- San Francisco Convention ment of Río abajo río, shown in Example October 3-8, 2015 6, illustrates these shifting accents, which www.pipeorgan.org provide a strong syncopated effect. The captivating rhythms that Decker employs are also largely infl uenced organs by Aeolian Skinner, Harrold, Noack, Noehren, Létourneau, Rosales, Taylor and Boody, Woodberry & Harris, and Wurlitzer by Latin American dances. She fi rst became interested in Spanish and South American music after hearing Alicia de Larrocha perform Iberia by Isaac

20 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM Example 8. Jesu, dulcis memoria (prelude) (©2011, Wayne Leupold Editions, Inc., WL710010)

Example 10. On This Day, passage treating ANTIOCH (©2009, Wayne Leupold Editions, Inc., WL610005)

performer must pull stops by hand. Her Her compositions are both engaging and registrations might call for combinations accessible to a wide audience, especially such as a voix celeste accompanying a when the audience is educated about the solo reed, a clear plenum, or combina- construction and program behind the tions up to full organ. piece. Decker states:

Traditional forms I believe that music should have intel- lectual substance, pure emotion, and unde- Decker also employs more traditional niable communicative ability in equal mea- forms, such as the prelude and fugue. sure. Even if a passage or section sounds She composes counterpoint as a “proce- improvisatory, I think that upon analysis, dural basis” and expands the form with a performer or theorist should be able to discern evidence of substance and “intelli- contemporary harmonic and formal gent design,” if I may borrow a phrase from structures. She also frequently integrates another discipline. I also think that while Gregorian chant into her works. Her program notes are fascinating, they should collection entitled Retablos incorporates not be necessary for the composition to achieve its goal of making a visceral impact the chants Pange lingua, Ubi cari- on the listener. tas, and Victimae paschali laudes. Jesu, Dulcis Memoria is a prelude and For those who have never explored fugue based on the chant for which it is Decker’s works, I encourage you to inves- titled; Example 8 shows a passage from tigate her compositions. Pamela Decker the prelude, and Example 9 a passage has recorded her own works on the fol- from the fugue. lowing Loft recordings: Decker Plays German chorale and Protestant hymn Decker: Sacred to Secular (Volume 1), tunes also play a major role in Decker’s LRCD 1053, Decker Plays Decker: Des- works. She has written a chorale prelude ert Wildfl owers (Volume 2), LRCD 1076, Example 9. Jesu, dulcis memoria (fugue) (©2011, Wayne Leupold Editions, Inc., WL710010) on Herzlich tut mich verlangen, and Decker Plays Decker: Suite Dreams and her collection On This Day (2009, and Fantasies (Volume 3), LRCD 1130 Albéniz. After this discovery, she began “color and form-defi ning factor.” Her Wayne Leupold Editions, WL610005) (www.gothic-records.com). A complete to immerse herself in Spanish and South scores are very clear in calling for spe- features popular Advent and Christmas list of her works may be found at her American literature. She has done much cifi c registrations that are adaptable to tunes such as Personent Hodie, website, pamela-decker.com. Q reading and research into Latin Ameri- most instruments. As a performer, she Antioch, and Cranham. On This Day can dance forms. She has incorporated understands the need to make registra- would be an excellent collection with Edie Johnson is music associate and many dance rhythms into her works, tion changes work on both electro-pneu- which to begin studying Decker’s works; organist at Church Street United Meth- including the samba, charrada, rondena, matic and mechanical-action instru- Example 10 shows a passage from her odist Church in Knoxville, Tennessee. She tarantella, boliviana, and many others. ments, and as a composer takes into setting of Antioch. also teaches private organ and courses in Example 7 shows an example of a tango account that sometimes a combination Many of Decker’s works can serve organ literature and church music at the rhythm from the third movement of Río action may not be available and that the both a concert and a liturgical purpose. University of Tennessee in Knoxville. abajo río.

Other South American Infl uences Another infl uence on Decker has faculty been Ástor Piazzolla, a composer from graduate study in Argentina who studied in Paris with Thomas Murray Nadia Boulanger. Boulanger encouraged organ performance Professor of Organ Piazzolla to compose works that would refl ect his native Argentinian culture. at Yale Institute of Sacred Music and Yale School of Music Martin Jean Piazzolla was a virtuosic performer on Professor of Organ the bandonéon, the main instrument of the South American tangueros (students Jeffrey Brillhart of tango). Decker states: Organ Improvisation

This instrument was invented in Germa- Walden Moore ny in 1854 by Heinrich Band, as a substi- tute for a pipe organ for churches without Liturgical Keyboard Skills the fi nancial resources to purchase and in- stall a pipe organ. The instrument gradu- ally made its way to South America, as mu- sicians emigrated from Europe, and after the passage of time, it was adopted by the degrees offered tangueros and the street musicians. Thus, Master of Music there is a connection between Piazzolla’s primary instrument (he was a virtuoso-level Artist Diploma performer on the bandonéon) and my own Doctor of Musical Arts primary instrument. I love the fact that there is precedent for performing tango music at the organ.

Registrations Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511 Institute students receive full While Decker’s harmonic language tuition scholarships. Generous and rhythmic energy are progressive, tel 203.432.9753 fax 203.432.9680 · ism.yale.edu/musicprograms she tends to stay with traditional use of [email protected] awards available to qualified the organ in terms of registration. She applicants. uses registrational changes as both a

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 21 Review feature

Tournemire

Recent research &Messiaen Mystic Modern (cover design by Tennille Shuster, courtesy Church Music Association of By Ann Labounsky America)

Mystic Modern: The Music, the coincidence in publication dates, Tournemire imagined the musical devic- Tournemire knew and loved and often Thought and Legacy of Charles Tour- what is remarkable about the two books es representing ‘passion’—chromaticism, played the Eli, Eli, lamma sabacthani polytonalism, and the perceived resulting nemire, edited by Jennifer Donelson is the relationship between Tournemire ‘dissonance’—as the most appropriate ma- from the Sept Paroles of Tournemire. and Stephen Schloesser. Church and Messiaen. Tournemire infl uenced terial carriers of the ‘eternal’ and unchang- This blind teacher taught me the fi rst Music Association of America, P.O. Messiaen to a much greater extent than ing Latin forms. Images of dress abounded movement and the last movement (Con- Box 4344, Roswell, NM 88202 (musi- is normally assumed; but Messiaen in ancient chants were imagined to be summatum est) at Sainte-Clotilde during 1 casacra.com), 2014, $40.00, ISBN eclipsed his mentor by gaining greater ‘clothed’ in ‘modern’ musical fashions. late Wednesday evenings in a dimly lit, 978-0-9916452-0-6, 456 pages. fame during his lifetime. Book after book The main Tournemire scholarship empty church with the incomparable Visions of Amen: The Early Life and has been written about Messiaen, while consists of a doctoral dissertation by sounds of the Cavaillé-Coll organ. And Music of Olivier Messiaen by Stephen Tournemire has remained in relative Ruth Sisson, a picture book of photos by he spoke about Tournemire as someone Schloesser. William B. Eerdmans obscurity until fairly recently. Ianco Pascal, and the notated catalogue he knew well—little things about how Publishing Company, Grand Rapids, A fi rst glance at both of these books of his works by Joël-Marie Fauquet from he taught, how his personality was par- Michigan, 2014, $40.00, ISBN 978-0- reveals that there is much more to under- 1979.2 Stephen Schloesser devotes a large ticularly quirky and unpredictable. He 8028-0762-5, 572 pages. stand about Charles Tournemire and part of Jazz Age Catholicism to the study encouraged me to meet Tournemire’s Olivier Messiaen than one can know only of Tournemire. Lastly, Marie-Louise second wife, Mme. Alice Tournemire, hese two new books present the through a study of their musical scores. Langlais has published on the Internet in her apartment—the apartment where Tresults of academic research on This “much more” element encompasses portions of Tournemire’s Memoires that her late husband had lived and taught. Charles Tournemire and on the life and knowledge of the personal lives of the specifi cally address music (http://ml- She read portions of his Memoires works of Olivier Messiaen. Through the two men and the personal relationship langlais.com/Tournemire). The French regarding the Symphonie-Choral, which efforts of Jennifer Donelson, the guid- between them. It also focuses on how journal L’Orgue is in the process of issu- I was planning to perform at Sainte- ing light behind the academic outreach history, culture, theology, literature, ing the complete Tournemire Memoires. Clotilde. The more I played and heard of the Church Music Association of symbolism, and aesthetics affected them The editors of Mystic Modern had access Tournemire’s music, the more fascinated America and the managing editor of both. Mystic Modern and Visions of Amen to the complete version and quoted I became with it. His music was not Sacred Music (the offi cial publication are a must read not only for scholars or extensively from it in their essays, The instantly appealing; rather, it permeated of the CMAA), there have been two devotees of Tournemire and Messiaen, Composer as Commentator: Music and my being slowly and compellingly. conferences on Tournemire, the fi rst but for those interested in liturgy, music, Text in Tournemire’s Symbolist Method in Miami in 2011 and the second in and theology. Fortunately both books can and How does Music Speak of God. Mystic Modern Pittsburgh in 2012. Mystic Modern is be read in small sections, slowly and with Charles Tournemire (1877–1939) died The contents of Mystic Modern a reproduction of the papers given at the help of excellent indices. In the case in the same year that I was born, and per- are divided into three sections, which the Miami and Pittsburgh conferences. of Visions of Amen, Messiaen’s important haps for this coincidence, I felt a special develop the theme of Tournemire’s Stephen Schloesser, author of Visions duo-piano work from 1943, a link to an connection to this man. My fi rst expo- legacy as liturgical commentator, music of Amen: The Early Life and Music of audio recording of a live performance is sure to the “mystic modern” Tournemire inventor, and littéraire. In the preface, Olivier Messiaen, is a Jesuit priest and included in the text. was during the 1950s, in hearing my fi rst “Tournemire the Liturgical Commenta- professor of history at Loyola University, Tournemire was certainly a modern organ teacher Paul Sifl er play some of tor,” Donelson discusses Tournemire’s Chicago, and also the author of Jazz Age composer who infl uenced Messiaen, Tournemire’s music on several recitals. role as organist in the Roman Catholic Catholicism: Mystic Modernism in Post- Langlais, and many other 20th-century I remember the music sounded strange Church and especially his place in the war Paris, 1919–1933. French composers. The extent of his and exotic, like the music of Olivier long line of composers incorporating Mystic Modern was published in the “modernism” led many to dismiss his Messiaen that Sifl er played, which I, as Gregorian chant into both their com- summer of 2014 in time for the annual music as obtuse, and his mysticism a teenager, did not understand. It was posed works and their improvisations. CMAA Colloquium in Indianapolis. certainly was another reason that many later, as a pupil of Jean Langlais in Paris Schloesser’s Messiaen book was also dismissed his music as unapproachable. during the early 1960s, that I came to The liturgical commentator published in July 2014, coinciding Stephen Schloesser explains Tour- know Tournemire’s music in a different “The Organ as Liturgical Commenta- with the American Guild of Organists’ nemire’s “modernism” in his 2005 book, way. Langlais often played Tournemire’s tor—Some Thoughts, Magisterial and national convention in Boston. 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22 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM plan in the choice of chants. The chants and Mulier, ecce fi lius tuus, Ecce Mater Charles Tournemire’s L’Orgue mystique” from the Liber Antiphonarius (Solesmes, tua, from Sept Chorals-Poèmes, op. 67) continues the discussion of the confl ict 1897) were the sources of most of the were pieces that I also had studied with between the diatonic and chromatic dia- chants that Tournemire used for the Langlais, and I agree with his conclu- lectic in Tournemire’s L’Orgue mystique. Elevation. This volume of chant is out of sions. Tikker gives detailed graphs with Raba uses the term dialectic as follows: print, but Lord obtained a copy from the measure numbers indicated and, in former assistant organist at Notre Dame, some places, metronome markings. Of Tournemire’s musical poetics in L’Orgue mystique are constructed by means of a di- Paris, Pierre Moreau. Lord includes cop- particular interest in this essay is Tikker’s alectical process of diatonic and chromatic ies of these chants in the article. extensive discussion of the Sainte-Clo- textures. This procedure (along with its In “The Twentieth-Century Franco- tilde organ. Tournemire’s specifi c regis- symbolic functions) seems to be inherited Belgian Art of Improvisation: Marcel trations in L’Orgue mystique include the from the Romantic Liszt-Franck tradition and is used in the service of a large narra- Dupré, Charles Tournemire, and Flor use of sub couplers and the term petites tive formal structure.7 Peeters,” Ronald Prowse discusses dif- mixtures, which indicates soft mutation ferences in techniques between written stops such as gamba with a nazard. It Raba equates diatonicism with “eternal compositions and improvisations in the is interesting to note that Tournemire peace” and chromaticism with emotional works of Dupré, Tournemire, and Flor played all of L’Orgue mystique on his “passion.” For Raba, the melding of Peeters and cites musical examples from nine-stop house organ, regrettably never these two elements creates pandiatonic the chant Ave Maris Stella. Using works at Sainte-Clotilde. Tikker quotes this textures, which he believes are Tour- by those three composers, Prowse deftly specifi cation from Tournemire’s Précis. nemire’s legacy to Messiaen. Finally, compares the techniques that all three of One of Tikker’s particularly insightful Raba confesses that Tournemire’s style Visions of Amen (photo courtesy of Wm. B. them used in treating the same chant. He points is his comparison of German goes beyond any structural system, and Eerdmans Publishing Co.) often cites his own experiences studying Romantic organs and their infl uence on he calls this a “mystical musical eschatol- improvisation with Pierre Toucheque, the compositions of Reger and Karg- ogy.” Raba makes interesting parallels who had been a pupil of Peeters. He Elert, which used the full organ in the between Tournemire’s use of dissonance Wadsworth, begins with Wadsworth’s often quotes Tournemire, from his book lower registers, and Tournemire’s use of and that of Scriabin and earlier compos- recollections of Messiaen’s improvisa- on improvisation, Précis d’exécution, de full organ that was based on the “treble- ers such as Frescobaldi in the Elevations tions during a Low Mass at La Trinité registration et d’improvisation à l’orgue, ascendant voicing for its success.”5 from his organ Masses. and then discusses the liturgical norms stating that a master improviser creates “Catalogue of Charles Tournemire’s Raba’s observations on dissonance with an historical overview of the docu- illusions.4 The issue of the difference ‘Brouillon’ [Rough Sketches] for from the numinous leads into the next ments pertaining to them. He implores between written composition and L’Orgue mystique BNF, Mus., Ms. essay, “From the ‘Triomphe de l’Art organists to follow Tournemire’s example improvisation echoes throughout this 19929,” by Robert Sutherland Lord, is Modal’ to The Embrace of Fire: Charles in L’Orgue mystique: to improvise on the collection of essays and remains in some the result of Lord’s studying the 1,282 Tournemire’s Gregorian Chant Legacy, chants proper to each Sunday’s liturgy. ways an unanswered question. pages of rough sketches of Tournemire’s Received and Refracted by Naji Hakim” “Joseph Bonnet as a Catalyst in the L’Orgue mystique found in the Biblio- by Crista Miller. Miller’s article locates Early-Twentieth-Century Gregorian The musical inventor thèque Nationale after Lord had written Middle Eastern elements and Arabic Chant Revival,” by Susan Treacy, Prowse’s essay leads logically into the an extensive article on this seminal work improvisation (taqasim) present in explains Bonnet’s decisive role in encour- second section, “Tournemire the Musi- of Tournemire. From these sketches Hakim’s organ works with common ele- aging Tournemire to write L’Orgue mys- cal Inventor,” which deals with Tour- Lord was able to determine the exact ments with Tournemire’s Sitio (I thirst) tique. Through explanations of Bonnet’s nemire’s musical language, including his date of each offi ce and how Tournemire from the Sept Paroles and Hakim’s work as a liturgical organist in churches choice and sense of tempo—as well as departed from his original plan. Lord’s Embrace of Fire. Miller compares these where he served, Treacy explains why his compositional process and impact, conclusion stated: techniques with Langlais’s Soleil du Soir. Bonnet did not write any chant-based not merely on the Sainte-Clotilde school, She also probes the creative process of organ music. Although Bonnet was an but on modern French organ repertoire After having completed the manuscript these composers. Were they aware of catalogue, we can verify that the “Rough abbot in the Benedictine order and was in general. Sketches” document—in sharp contrast to the techniques that they were using? devoted to the propagation of Gregorian In his essay “Performance Practice the “Plan” considered in my 1984 study— In interviews with Hakim, she explains chant, he made a distinct difference for the Organ Music of Charles Tour- is far more than a mere framework for that Hakim claimed that his process was between his published secular pieces nemire,” Timothy Tikker describes his L’Orgue mystique. The “Rough Sketches” “subconscious”—in other words, he was provide the harmonies, the rhythms, and for recital use and his improvised chant- lessons with Langlais and Langlais’s the paraphrases for forty-two of the fi fty- not consciously aware that he was using based pieces for the liturgy. As a pupil reports of his study with Tournemire. one offi ces. The BNF Ms. 19929 remains a particular technique, so much was it a of Charles Tournemire and fellow native Tikker’s account matched what I had the only evidence we have of Tournemire’s part of his psyche. musical preparation for any organ work he of Bordeaux, Bonnet’s relationships with learned from Langlais, including the 6 I had also asked this question regarding Dom Mocquereau and Justine Ward story of Langlais’s meeting with Tour- composed. synthetic and octatonic scales with both were also important in the founding of nemire and the invitation to become From the harmonic and rhythmic Langlais and Daniel Lesur, both of whom the Gregorian Institute. Even Bonnet’s the latter’s successor at Sainte-Clotilde. details of Tournemire’s plan for L’Orgue reported that they were unaware that church wedding, with a schola from The two works Tikker analyzes in detail mystique, Bogusław Raba’s article, “Cre- they were using these scales. The ques- the Gregorian Institute and with Tour- regarding interpretation (No. 7 from ating a Mystical Musical Eschatology: tion of awareness is one that pervades nemire as one of the organists, refl ected L’Orgue mystique, Epiphania Domini, Diatonic and Chromatic Dialectic in our study of these composers’ works and his devotion to the propagation of Gre- gorian chant. In “Tournemire’s L’Orgue mystique and its Place in the Legacy of the Organ Mass,” Edward Schaefer gives an EAST TEXAS PIPE ORGAN FESTIVAL exhaustive summary of the development of the organ Mass, its specifi c usage in various countries, and the ecclesiastical November 8-12, 2015 documents governing organ Masses. A number of charts give illustrations of the use of the organ at the various parts of the Mass. There is a long list of the eccle- Honoring the Life and Work of siastical ceremonials governing the use Roy Perry of music in the Mass and a chronological list of organ settings of the Mass. Schae- fer concludes that with the renewed Thirteen recitals interest and practice of the Extraordi- on five Aeolian-Skinners nary form of the Mass, the practical use of Tournemire’s L’Orgue mystique is with possible. This was demonstrated during the fi rst Tournemire symposium. Some David Baskeyfield, Charles Callahan, of the material is based on Schaefer’s dis- Ken Cowan, Scott Dettra, Mark Dwyer, sertation from Catholic University.3 Jelani Eddington, Matthew Lewis, Adam Pajan, “Liturgy and Gregorian Chant in East Texas Pipe Organ Festival Caroline Robinson, Damin Spritzer, L’Orgue mystique of Charles Tour- P. O. Box 2069 Bradley Welch, Todd Wilson, nemire,” by Robert Sutherland Lord, was Kilgore, Texas 75663 originally published in 1984 in The Organ and special concerts, presentations, and exhibits Yearbook, edited by Peter Williams. The honoring the life and career of seminal importance of this article lies Albert Russell. in Lord’s identifi cation of all the chants www.EastTexasPipeOrganFestival.com from L’Orgue mystique and their origin, [email protected] Tournemire’s original plan for the com- position of the work, and the ways in which the composer departed from his

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 23 Review feature is especially relevant to their improvisa- Ernest Hello’s writings and Tournemire’s references in all his organ works and tions. Miller also examines the specialized eschatological reading of history. The explains how Messiaen was indebted to use of the Vox humana in works by Tour- editors took great care with the ordering Tournemire for this example. Schloesser nemire, Langlais, and Hakim. of the essays to provide cohesion to the subsequently refers to numerous recital Miller and Vincent E. Rone both dis- book, and the end of each essay includes programs of Tournemire in which the cuss the use of octatonic and synthetic a summary. term paraphrase is used in the program. scales in their complementary writ- Stephen Schloesser’s fi rst essay, “The The notion of symbolism, for Schloesser, ings. Rone’s essay “From Tournemire Composer as Commentator: Music and comes from Tournemire’s models, to Vatican II: Harmonic Symmetry as Text in Tournemire’s Symbolist Method,” Claude Debussy and Richard Wagner. Twentieth-Century French Catholic shows the importance of the texts in Dom Evidence of Tournemire’s deep involve- Musical Mysticism, 1928–1970” focuses Guéranger’s L’Année liturgique to Tour- ment in the symbolist movement is on the means by which Tournemire, nemire. So what then is this symbolist carefully presented in the next six pages. Durufl é, and Langlais expressed Catho- method? Schloesser describes it simply Schloesser documents examples of Tour- lic musical mysticism and, in the case of as “ . . . an essential relationship between nemire’s extensive use of the Wagnerian the two younger composers, the ways in a work and the literary text upon which it style of leitmotif, with the chant Ego which they did so in response to their is based.”9 And he further states: Dormivi, the antiphon from Holy Sat- frustrations during the period of the urday based on Psalm 3, used in ten of Vatican II council. Rone concentrates For the symbolists, realism, naturalism, the L’Orgue mystique offi ces. Schloesser Cover of Tournemire conference booklet and positivism evacuated human existence on the use of octatonic and whole-tone of any mystery, fantasy, imagination, or goes beyond what others have previ- scale patterns in the three composers’ dream world. In opposition to the positiv- ously explained regarding Tournemire’s examples from the orchestral version of music; he uses examples from the fi nal ists’ exclusive privileging of the visible, Sym- use of this leitmotif, relating the com- the work and clear structural and har- pieces in Tournemire’s Nativitas and bolists gave pride of place to the invisible.10 poser’s decision both to personal and monic analyses of the entire work. Resurrectionis offi ces. As examples of professional circumstances. Schloesser “Desperately Seeking Franck: Tour- post-Vatican II disillusionment, Rone As has been stated, Schloesser’s refers to other music programs and nemire and D’Indy as Biographers” cites Durufl é’s Messe ‘Cum Jubilo’ and research on Tournemire was fi rst pub- cites the texts that Tournemire used to by R. J. Stove is the shortest of all the Langlais’s Imploration pour la croyance, lished in Jazz Age Catholicism (2005). plan those programs. Particularly mov- essays, but it is a fascinating compari- referring to the former as privileging the As a historian with appealing linguistic, ing is the intent behind his concert at son between Tournemire and D’Indy’s Ordinary’s “transcendent and eschato- writing, and musical skills, Schloesser has the church of Saint-Vincent-de-Paul in biographies of Franck. Anyone who has logical imagery through harmonic sym- a gift of getting behind the events he is 1932, which opened with a tribute to read any of Tournemire’s own writings metry and stasis, combining a synthetic describing and going to the heart of their Leon Boëllmann, the deceased organist can certainly agree with Stove’s descrip- scale with subtle linear unfolding of two meaning. Here Schloesser shows how of the church. The program is a good tion of Tournemire’s writing style as an whole-tone collections, third-related, the literary texts in Guéranger’s L’Année example of Tournemire’s manner of pre- “exotic jungle.” And further, “His high- and bitonal harmonies.”8 In the latter, liturgique directly inspired L’Orgue mys- senting an organ recital; it included three fl own French is a burden to imitate in however, the expression is pure anger. tique. Schloesser hand-copied one exam- selections from L’Orgue mystique with any other language, let alone a language Rone refers to Ruth Sisson’s dissertation ple from Guéranger’s work—the Introit explanations of the importance of the which lays as much stress on under- and the discussion of the “Tournemire for the Feast of the Assumption—to texts behind them. Tournemire’s choice statement, irony, and clarity as modern chord,” which employs a C#-major triad demonstrate this important link between of works by other composers showed his English usually does.”12 Stove’s critical with a G-major 6/3 chord over it. The the text and the music. (It is possible to sense of his place in history alongside assessment of the two biographers, musical examples are particularly help- study the entire Guéranger work hand Bonnet, a musicologist (Bonnet was edi- themselves students of Franck, explains ful to the reader in understanding these in hand with L’Orgue mystique and eas- tor of the multi-volume set of Historical much about the differences in their compositional and aesthetic concepts. ily follow the plan for the entire work.) Organ-Recitals), a symbolist, and a truly personalities and a possible jealousy on The important point is that the music modern composer. Also touching was the part of Tournemire toward D’Indy, The littéraire is a commentary or a paraphrase of the Schloesser’s description of the reasons on account of the differences in the suc- The fi nal section, “Tournemire the linguistic text. All the tone painting and for Tournemire’s choice of themes for cesses of their respective careers and Littéraire,” deals with the literary aspect symbols that Tournemire uses are related the last offi ce of this great work and his their relationship to Franck. D’Indy had of Tournemire’s music and dwells on the to the texts, and it is important to study four-year struggle to complete it. It is known Franck for two decades, while relationship of the symbolic character the texts fi rst. Lest there be any confu- clear in studying Schloesser’s excellent Tournemire had known him for only of Tourmemire’s musical “commentar- sion, Schloesser quotes Tournemire’s essay that any serious student of L’Orgue two years. ies” (and the legacy of this role in Mes- preface, which clearly states: “ . . . plain- mystique must become intimately In her essay, “How Does Music Speak siaen’s oeuvre). It also includes Charles chant is, in sum, freely paraphrased for acquainted with Guéranger’s 15-volume of God? A Dialogue of Ideas between Tournemire’s obtuse and convoluted each piece in the fl ow of the works form- pivotal work, which is available in several Messiaen, Tournemire, and Hello,” language in his biography of Franck. ing this collection.”11 English translations. Jennifer Donelson compares in great Finally, it analyzes Tournemire and Mes- Schloesser then contrasts Mes- Again, acknowledging the superb depth the approaches to addressing siaen’s shared inspiration, drawn from siaen’s straightforward use of textual manner in which this book is organized, God through music in the writings of it is appropriate that Elizabeth McLain’s Tournemire, Messiaen, and the mystic Messiaen-oriented essay “Messiaen’s writer from Brittany, Ernest Hello Scattered leaves ... from our Scrapbook L’Ascension: Musical Illumination of (1828–1885). She explains how the writ- Spiritual Texts After the Model of Tour- ings of Hello, particularly his 1872 work nemire’s L’Orgue mystique” follows that L’Homme: La Vie—La Science—L’Art, of Schloesser, whose discussion of Mes- “encapsulates an understanding that siaen’s early life and infl uences in Visions was friendly to the Symbolist and anti- From a review of the integrity of the of Amen is also covered in this review. positivist tendencies of both compos- McLain’s main point is that Tournemire’s ers.”13 Hello’s infl uences on Tournemire Stuart Forster’s music. Forster is clearly use of commentaries on sacred texts in are found in Tournemire’s writings, Symphonic Quest (Pro at home on this grand his compositions profoundly infl uenced particularly in his unpublished memoirs Organo CD7228) symphonic instrument, Messiaen, but that unlike Tournemire, and correspondence between the two which shines under Messiaen’s quest was to take music composers. Donelson explains with “…Forster elicits a his capable command. inspired by sacred texts out of the church great care the differences in philosophy and into the concert hall. McLain’s essay between Messiaen, seeking a perfect multitude of colors to Performer, music and explains that this early opus of Messiaen expression of the Catholic faith, and that match every phrase… instrument combine had its birth as an orchestral work, pre- of Tournemire. In conclusion she sums these are compelling to make this a highly miered in Paris before he had arranged up the answer to the title of her essay in performances. He gives enjoyable recording.” it for organ. McLain gives many musical quoting Hello: the music a personal touch and makes opti- James Hildreth Whole & Fast Half Sizes mum use of the instru- The American Organist Shipping! ment’s vast resources in 3 Widths without compromising Try our suede soles and experience the perfect combination of slide and grip on the pedals!

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24 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM In a “clear vision of the role of the Their original plan was to produce a her husband Pierre is explained in great Schloesser (Church Music Association of Catholic faith in art and culture, Hello compact disc with liner notes written detail. In the introduction, Schloesser America, 2014), 131. saw spiritual realities as more real than 6. Lord, in Mystic Modern, 137. material (indeed, as their source) and con- by Schloesser. The Messiaen centennial explains his approach as a “history of 7. Raba, in Mystic Modern, 186. cluded that, for art to be truly beautiful or in 2008, however, yielded a plethora of emotion.” In this age of a “confessional” 8. Rone, in Mystic Modern, 230. ‘sincere,’ the artist must have a clear vision new material for Schloesser, and the approach to biography, it is impressive 9. Schloesser, in Mystic Modern, 266. of the world as redeemed by God with the project subsequently grew into the pres- how Schloesser combines very personal 10. Ibid., 267. Incarnate Christ at the center of God’s 11. Ibid., 257. plan for salvation.”14 ent book format, with a link to the audio material with scholarly writing. 12. Stove, in Mystic Modern, 312. recording on the Internet. A detailed Visions of Amen can be read on two 13. Donelson, in Mystic Modern, 317. Peter Bannister’s essay, “Charles Tour- analysis of the work with timings from levels: fi rst, theological—the birth of 14. Ibid., 318. nemire and the ‘Bureau of Eschatology’” the recording makes it possible to follow creation, the passion of Christ, angels, 15. Hans Urs von Balthasar, “Some Points of Eschatology” in Explorations in Theology, explains the meaning of eschatology in the work without the score. saints, birdsong, judgment; and second, Vol. I: The Word Made Flesh (San Francisco: the historical context of the fi rst half of The title of the book leads one to as a personal statement of Messiaen’s Ignatius Press, 1964), p. 255, translated by the twentieth century in France. Ban- believe that Schloesser focuses on the love for Yvonne Loriod. In general, Bannister. nister quotes frequently from the 20th- early life and music of this composer. But “Amen” signifi es “So be it,” but for Mes- 16. Bannister, in Mystic Modern, p. 352. 17. Stephen Schloesser, Visions of Amen: century Swiss Catholic theologian Hans the extent and depth of the material goes siaen and other French composers, it The Early Life and Music of Olivier Messiaen Urs von Balthasar. The author’s reference far beyond a discussion of Messiaen’s was also a code name for an expression (Grand Rapids, Michigan: William B. Eerd- to “Bureau of Eschatology” refers to early years. Schloesser examines Mes- of love. This code reference using his mans Publishing Company, 2014), p. 230. Balthasar’s quote from Troeltsch’s dic- siaen’s entire life, giving explanations of second mode of limited transposition tum, “The bureau of eschatology is usu- literary, symbolist, surrealist, mystical, is also found frequently in Messiaen’s Ann Labounsky earned a Ph.D. in ally closed,” explaining that “this was true and theological forces that inspired his Turangalila Symphony and throughout musicology from the University of Pitts- enough of the liberalism of the nineteenth compositions. In many of Messiaen’s Messiaen’s oeuvre. Q burgh, an M.Mus. from the University century, but since the turn of the century biographies and his own writings, the of Michigan studying with Marilyn the offi ce has been working overtime.”15 writers Paul Éluard, Dom Columba Notes Mason, and a B.Mus. from the Eastman Bannister explains the notion of life as a Marmion, and Ernest Hello are men- 1. Stephen Schloesser, Jazz Age Catholi- School of Music, studying with David tioned, but Schloesser goes farther with cism: Mystic Modernism in Postwar Paris, progression from darkness to light, often 1919–1933 (Toronto: University of Toronto Craighead. She studied in Paris with quoting from Léon Bloy, the French extensive quotations from these authors, Press, 2005), 281. André Marchal and Jean Langlais on agnostic who converted to a strict form showing their infl uence on Messiaen’s 2. Ruth Sisson, “The Symphonic Organ a Fulbright Grant and holds diplomas of Roman Catholicism, and Tournemire’s music. For example, in the discussion of Works of Charles Arnould Tournemire” from the Schola Cantorum and Ecole unpublished memoirs, and symphonies. Messiaen’s Nativity of the Lord (1935), (Ph.D. dissertation, Florida State University, Normale. Author of the biography 1984). Ianco Pascal, Charles Tournemire ou le Bannister laments the paucity of writ- Messiaen frequently quotes Marmion’s mythe de Tristan (Geneva, Editions Papillon, Jean Langlais: the Man and His Music ings about Tournemire, citing the lack of book Christ in His Mysteries: 2001). Pascal knew Madame Odile Weber, the (Amadeus Press, 2000), she recorded the primary source material. Bannister does niece of Tournemire’s second wife Alice Tour- complete organ works of Jean Langlais not mention that this problem will soon But the main reason for keeping alive nemire, who shared many of her photographs for the Musical Heritage Society (reis- such feelings within us is our status as chil- with him. Joël Marie Fauquet, Catalogue be rectifi ed; a forthcoming issue of the dren of God. The Divine Sonship of the de l’œuvre de Charles Tournemire (Geneva, sued on the Voix du Vent label) and nar- French review L’Orgue will be devoted Father’s only-begotten is of the essence Minkoff, 1979). rated and performed in a DVD of his life to the diffi cult and highly secretive diary and eternal. But, in an infi nitely free act 3. Edward Schaefer, “The Relationship based on this biography, a project spon- of Tournemire, Memoires. of love, the Father has willed to add a son- Between the Liturgy of the Roman Rite and sored by the Los Angeles AGO Chapter. ship, a childship, of grace.17 the Italian Organ Literature of the Sixteenth I, for one, am not as pessimistic as Ban- and Seventeenth Centuries” (Ph.D. disserta- Labounsky is chair of organ and sacred nister when he states: “The likelihood Schloesser divides the book into four tion, Catholic University of America, 1985). music at Duquesne University, active in is that for years to come, Tournemire sections. The fi rst, dealing with Mes- 4. Charles Tournemire, Précis d’exécution, the American Guild of Organists, the will sadly continue to be regarded as an siaen’s parents, Pierre Messiaen and de registration et d’improvisation à l’orgue National Pastoral Musicians, and the obscure fi gure outside the (dwindling) Cécile Sauvage, covers 1883–1930. This (Paris, LeMoine, 1936). Church Music Association of America, 16 5. Tikker, in Mystic Modern: The Music, organ world . . . ” The two Tournemire section can be read by itself without Thought and Legacy of Charles Tournemire, and serves as organ artist in residence at conferences and these essays belie his reference to Messiaen’s compositions edited by Jennifer Donelson and Stephen First Lutheran Church, Pittsburgh. conclusion. Consider that such compos- as an introduction to the psychological ers as Bach, Mendelssohn, Rheinberger, underpinnings of his personality. Part and Langlais were less appreciated dur- two, “Budding Rhythmician, Surreal- ing their lifetimes than after their deaths, ist Composer, Mystical Commentator: and certainly today they are not consid- 1927–1932,” continues this psycho- ered as “obscure fi gures.” logical approach and discusses in some Tennille Shuster’s cover, a surrealis- detail his earliest works. The third part, tic picture of the front of the Basilica “Theological Order, Glorifi ed Bodies, of Sainte-Clotilde with dramatic red- Apocalyptic Epoch, 1932–1943,” delves dish-brown clouds in the background, into a detailed description and analysis of refl ects the book’s mystical nature. The Visions of Amen. For musicians, a study typeface and illustrations are exqui- of Messiaen’s score is helpful, but even sitely reproduced. without the score, Schloesser gives a AND Drs. Donelson and Schloesser are to detailed analysis of each movement, with BACH LUTHER be commended on the physical beauty timings from the recording in an appen- of the book and the depth of scholarship dix. Part four, “Legacy, 1943–1992,” ON THIS FANTASTIC that the book represents. includes a discussion of Messiaen’s last work: Et Exspecto Resurrectionem 2-disc recording OHS member Visions of Amen Mortuorum. Throughout the book, Messiaen’s Visions de l’Amen is an Schloesser’s use of extensive footnotes David Hildner plays a selection esoteric, extremely diffi cult seven- on the same page as the text is helpful. of organ settings by Johann movement work for two pianists at two The appendix of scriptural references is separate pianos, and its diffi culty lies logical and welcomed. Sebastian Bach based on both in its technical demands (requiring The recording by pianists Kim and extremes in dynamic range and tessitura) Lemelin is of high quality, with a wide the hymns of Martin Luther. and in its obscure symbolism (which range of dynamics and tessituras. This deals with astrology, theology, angels, is a work that Messiaen and his second Included with this CD set saints, and birds). In the biographical wife Yvonne Loriod played together fre- aspect of this latest book on the early quently, and it is dedicated to her. Much is an extensive book of life of Messiaen, Stephen Schloesser of Messiaen’s piano music is extremely commentary, notes, texts develops the themes surrounding the diffi cult technically and demands the composer’s connections with the mystic utmost in coordination between the two and melodies that spans 336 Charles Tournemire. performers here on two pianos. One NON-MEMBER PRICE: $35.00 The driving force behind the book could wish that a compact disc had been MEMBER PRICE: $30.00 pages written by the organist. came from Schloesser’s collaboration included with the book, so that one could with pianists Hyesook Kim (Calvin Col- listen to the performance without using lege) and Stéphane Lemelin (University a computer. IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM 4,367 SELECTIONS! of Ottawa), with whom Schloesser But even if the reader has no interest received a $5,000 grant from the Calvin in this diffi cult piano work, composed ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG Center for Christian Scholarship for during the darkest period of World a project entitled “Olivier Messiaen’s War II when Paris was occupied by Religious Perspective and Performance the Nazis, there is more than enough ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we of Visions of l’Amen.” In 2004–2005 material about Messiaen’s personal life P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. Media Mail shipping is $5.00 for your entire the two pianists performed the work at and that of his parents to engage the Telephone: (804) 353-9226 a number of locations in the U.S. and reader. It is well known that Messiaen’s order. Shipping outside U.S. is $4.50, plus Monday–Friday 9:30am–5:00pm ET the cost of air postage, charged to your VISA Canada, with Schloesser giving lecture mother was a poetesse; the drama of her [email protected] SHIPPING or MasterCard. notes on the work and Messiaen’s life. life and the struggles she endured with

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 25 Cover feature

Fratelli Ruffatti, Padua, Italy latest pneumatic-action technology that saw history repeating itself, as Fratelli St. Mel’s Cathedral, had so impressed Bewerunge in the Ruffatti has also recently completed the Longford, Ireland Maynooth instrument. major restoration and renovation of the By the 1970s it had clearly served its Maynooth College Chapel organ, just as From the organ consultant time and had become unreliable in func- Stahlhuth had similarly worked in May- The present organ is the fourth to be tion, and its location, long a problem in nooth before coming to Longford over a built for the cathedral. The fi rst instru- terms of participative liturgy, had now century ago. ment was built by the highly respected become anachronistic in the context of In seeking to provide a new organ Victorian fi rm of Bevington & Sons of the cathedral’s major reordering accord- for the restored cathedral, the primary London in 1857. This organ served the ing to the liturgical norms of Vatican II. aims were to secure an instrument that cathedral for 56 years, being replaced in It was, therefore, decided to replace the would at least be of the same high qual- 1913 by a new instrument made by the Stahlhuth installation with a new organ, ity as the Jones organ, while providing a German fi rm of Stahlhuth of Aachen, which, however, was to retain the best richer palette of tonal colors that would on the advice of the Reverend Profes- of the pipes of the original instrument. make the instrument more suited to a sor Heinrich Bewerunge of St. Patrick’s This was commissioned from Kenneth wider range of repertoire, and enhance College, Maynooth, Ireland’s national Jones & Associates of Bray, County its accompanimental capacity for choir seminary for the training of priests for Wicklow. It was to be a two-manual and and congregation. The new Fratelli the Roman Catholic Church since 1795. pedal organ with mechanical action. Ruffatti organ is sited in a case of strik- St. Mel’s Cathedral, Longford, Ireland Some 14 years earlier Bewerunge had While the pipes and soundboards of the ing design—placed to the right of the commisioned the same fi rm to build an new instrument remained in the origi- altar, apparently suspended between while also enabling it to cope with both instrument for the new College Chapel nal high gallery, they were sited more columns as it follows and echoes the romantic and contemporary repertoire on the Maynooth campus. This was an advantageously and with less obstruc- cathedral’s architectural elegance of with a degree of authenticity and color innovative instrument for its time and tion to tonal egress. A new, generously line. It is thus a visual and musical that the previous organs lacked. one that clearly impressed and satisfi ed proportioned gallery was built at a lower enhancement of the “new” St. Mel’s, The tonal ethos of the instrument is Bewerunge; hence his recommendation level to provide comfortable accommo- positioned in a manner that clearly eclectic, with a bias towards the romantic that the same fi rm from his native coun- dation for both choir and organist. This gives witness to its key role in providing and symphonic style of organ design. For try should be commissioned to build organ served the cathedral well until the music for the liturgy, suited to its func- example, 14 of the stops are at 8′ or 16′ the new organ for Longford’s St. Mel’s disastrous fi re of Christmas 2009, which tions in accompanying choirs, cantors, pitch, thus providing solid tonal founda- Cathedral. It was a substantial three- saw its complete destruction. and congregation, while its sonic design tions of varying intensity and fl exibility, manual and pedal organ, but its position- The contract was put out to interna- gives the range of color and dynamics while seven reed stops provide both vari- ing in the cathedral was problematic, tional tender, with three eminent organ necessary to perform with fi delity the ety of color and grandeur as required. having to be “shoe-horned” onto the building fi rms making it to the short list. centuries-old solo repertoire of the The expressive Choir division with its small, high west gallery of the building, The contract was ultimately awarded to “king of instruments.” American-style Celeste stop is a bold tight up against the barrel of the ceiling, Fratelli Ruffatti of Padua, Italy, a fi rm The present organ is the largest in statement of the instrument’s expressive leaving only cramped accommodation with a long history of organ building the cathedral’s 160-year history. The romantic intent. for what must have been a small choir. It in various styles on both sides of the instrument now numbers 39 stops, and Ruffatti opted to manufacture the was housed in grilled timber enclosures Atlantic. In a sense, the commissioning its enclosed Choir division enhances the divisional soundboards and other internal without visible pipes, and employed the of this instrument from the Italian fi rm accompanimental capacity of the organ, components using Sipo mahogany from

Fratelli Ruffatti, Padua, Italy St. Mel’s Cathedral, Longford, Ireland

GREAT ORGAN (Unenclosed – Manual II) SUMMARY COMBINATION ACTION 16′ Bourdon 61 pipes 1–24 mahogany, 25–61 52% tin 40 pipe ranks Generals 1–10 Thumb and toe 8′ Principal* 61 pipes 1–30 95% tin, 31–61 52% tin 39 speaking stops, including 2 transmissions, Great 1–6, C Thumb 1–17 and 21–30 façade 3 extensions, 1 wired stop Swell 1–6, C Thumb 8′ Harmonic Flute 61 pipes 1–28 façade 95% tin, 29–61 30% tin 2,307 pipes Choir 1–6, C Thumb 8′ Dulciana 61 pipes 1–12 95% tin, 13–61 52% tin Pedal 1–6, C Toe 4′ Octave 61 pipes 75% tin COUPLERS Tilting tablets General Cancel Thumb 4′ Transverse Flute 61 pipes 30% tin Swell to Great 16 - 8 - 4 Set Thumb 2′ Super Octave 61 pipes 75% tin Choir to Great 16 - 8 - 4 Insert Thumb 1 1⁄3′ Mixture IV 244 pipes 75% tin 8′ Trumpet 61 pipes 1–12 95% tin, 13–61 52% tin Swell to Choir 16 - 8 - 4 Sequencer (Next and Previous) Thumb and toe Tremulant Undo Thumb Great 16 Great to Pedal 8 - 4 Unison Off Swell to Pedal 8 - 4 PEDALS Great 4 Choir to Pedal 8 - 4 Choir *Low C (center pipe of façade) embossed with diamond pattern Swell REVERSIBLES Crescendo pedal with standard setting and SWELL ORGAN (Enclosed – Manual III) Swell to Great Thumb and toe additional open settings available to the 8′ Stopped Diapason 61 pipes 1–12 95% tin, 13–61 52% tin Choir to Great Thumb and toe organist. 8′ Viola da Gamba 61 pipes 1–12 95% tin, 13–61 52% tin Swell to Choir Thumb and toe 8′ Viola Celeste 49 pipes 52% tin CONTROL PANEL 4′ Principal 61 pipes 75% tin Great to Pedal Thumb and toe The control panel gives access to the follow- 4′ Venetian Flute 61 pipes 30% tin Swell to Pedal Thumb and toe ing features: 2 2⁄3′ Nasard 61 pipes 30% tin Choir to Pedal Thumb and toe • Folders and memory levels for combina- 2′ Blockfl öte 61 pipes 30% tin tion action 3 1⁄5′ Tierce 61 pipes 30% tin 32′ Resultant Toe • Personalized Crescendo and Tutti settings 2′ Plein Jeu IV 244 pipes 75% tin Tutti Thumb and toe • Diagnostics 16′ Basson-Hautbois 61 pipes 1–24 95% tin, 25–61 52% tin • Transposer 8′ Trompette Harmonique 61 pipes 1–12 95% tin, 13–61 52% tin CANCELS Tilting tablets • Recording and Playback Tremulant All reeds Swell 16 All mixtures RECORDING AND PLAYBACK SYSTEM Unison Off High-resolution record and playback. Export/ Swell 4 import recordings with compact fl ash memory cards. “Play along” with previous CHOIR ORGAN (Enclosed – Manual I) recording and editing functions. 8′ Holzgedeckt 61 pipes 1–44 mahogany, 45–61 30% tin 8′ Gemshorn 61 pipes 1–12 95% tin, 13–61 52% tin 8′ Gemshorn Celeste 49 pipes 52% tin 4′ Koppelfl öte 61 pipes 52% tin 2′ Blockfl öte 61 pipes 30% tin ADDITIONAL FEATURES 2 ′ 2⁄3 Sesquialtera II 122 pipes 30% tin Restore function by thumb piston (Undo) 1 ′ 1⁄3 Quintfl öte 61 pipes 30% tin Storage of combination settings on fl ash memory 8′ Clarinet 61 pipes 1–12 95% tin, 13–61 52% tin Unlimited number of “users’ folders,” each containing 99 memory levels for combination action, Tremulant 4 settable Tuttis and 4 settable Crescendos, with password protection. Choir 16 Factory default Tutti setting Unison Off Factory default Crescendo setting Choir 4 Additional Crescendo sequences and Tutti confi gurations are possible by modifi cation of exist- ing default settings through “copy and paste” function. PEDAL ORGAN MIDI: Console can connect up to eight separate MIDI devices, confi gurable through simple 32′ Resultant administration panel controls. 16′ Open Wood 32 pipes Mahogany Complete diagnostics available from the administration panel. Updating of the system can be 16′ Subbass 32 pipes Mahogany performed from a remote station via a direct internet connection to the console. 16′ Bourdon Great Three-manual console, on movable platform with hardwood parquet fl oor and adjustable bench 8′ Octave 32 pipes 1–28 façade 95% tin, 29–32 52% tin Stops controlled by quality drawknob units 8′ Bourdon 12 pipes 52% tin Couplers controlled by tilting tablets 4′ Super Octave 12 pipes 52% tin 61-note tracker-touch keyboards. Naturals covered with bone, sharps made of solid ebony 16′ Trombone 32 pipes Mahogany resonators 32-note pedalboard, concave and radiating, AGO design with European oak naturals and Nige- 16′ Basson Swell rian ebony sharps 8′ Tromba 12 pipes 52% tin 4′ Schalmei 32 Pipes 52% tin

26 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM The burned-out shell of the building, from the fi re on Christmas morning, 2009 Organ consultant Gerard Gillen at the console

Central Africa, as it was felt that this vari- installation successful were achieved: ety of wood would guarantee maximum ideal location of pipes and access for stability in varying climatic conditions. maintenance needs. New pipes have been cast in the Ruf- We were asked to design and build fatti workshop in Padua, some using the organ case, including the cover of an alloy of 95% tin to ensure optimal the steel frame. Although the cathe- tonal and structural properties, not only dral had to be rebuilt exactly the way for the crafting of the display pipes, it had been before the fi re, the general but also for all internal pipes of large restoration philosophy called for any dimensions. Other pipes have been artwork, all furniture, and the organ to manufactured utilizing selected alloys be contemporary in design. Although we to achieve the best tonal properties for have created many organs of traditional each individual stop. design, we at Ruffatti are particularly The playing action of the instrument is pleased when we can use creativity and electric, yet with an application of tradi- innovation in a design, creating instru- tional procedures that look to the future. ments with personality that can be The three-manual playing console is on a remembered as unique. moveable platform with hardwood par- We chose a symmetrical concept in the quet fl oor, providing fl exibility for both central bay and an asymmetrical concept varying liturgical demands and concert in the side bays that put a visual empha- usage. In addition, the console acces- sis on the central bay. The design is a sories include a generous provision of combination of straight vertical lines and Close-up view of console both general and divisional combination curved horizontal lines, which are tradi- pistons, a sequencer system, and record/ tionally seldom used. The curved lines playback connections to MIDI. Organ- work well with the arches over the organ, ists can also store a very large number of which are a prominent architectural fea- stop combinations within personalized ture recurring throughout the building. password-protected memory folders, to The two enclosed divisions are located facilitate ease of performances. in the side bays. They are very effective, The organ was installed in the fi nal incorporating the unique Ruffatti hyper- months of 2014, with tonal completion dynamic expression system. The Great taking place in April 2015. The dedica- and part of the Pedal are in the central tion and inauguration took place on bay. To save space inside the case, and Sunday, May 24, 2015. to limit its depth, we decided to install —Gerard Gillen the large wood pipes on the back of the Titular Organist, Dublin Pro-Cathedral organ case, effectively creating a front Professor and Head of Music, façade and a rear façade, which turned Maynooth University, 1985–2007 out to be very successful both aestheti- cally and tonally. The architecture —Piero Ruffatti of the Longford organ The organ in St. Mel’s Cathedral was The tonal design originally located in the rear balcony. It of the Longford organ was decided that a new position in the Expression is the key to this approach. rebuilt cathedral, in the front of the In using this word, we do not mean building, would better suit the liturgical merely introducing enclosed organ divi- needs of the worship space. In its new sions as a form of control over the volume location, the organ is elevated from fl oor of sound. Making the organ an expressive level, under three arches in the right instrument means, primarily, creating the side transept. With this confi guration conditions by which every single voice, or Choir pipework the choir sits at the end of the right side stop, can be successfully combined with nave, in front of the organ. Here, the all others. If this condition is met, the produced an innovative system for dra- character and volume of a Principal, big organ’s presence is signifi cant without number of possible tonal combinations matically increasing the dynamic range enough to act as the natural foundation being prominent. becomes huge even in a relatively small of the expression enclosures. Far beyond of a Positiv division, knowing that, with It was required that the two columns instrument, thus creating the conditions the simple possibility of providing a the box closed, such a stop could also in the right side transept be free of any to “express” music more freely and cre- wider differentiation between “the soft- be used, in conjunction with the Gems- load, and that they remain visible. A atively. This is being achieved, in Ruffatti est” and “the loudest,” this feature is the horn Celeste, as an elegant, quiet Flute steel structure with two long beams was instruments, by the careful dimensioning key to a wider degree of freedom both Celeste-like stop. built behind the columns, spanning 34 and voicing of every single stop. for the tonal designer and the performer. The same dynamics apply to all stops feet and supported by the side pilasters. The creation of different volume levels A practical example of this concept can under expression, in particular the fl utes, Since most of the organ’s weight hangs also contributes, of course, to making the be found in the Choir division of this strings, and reeds, which have been from these main beams, an additional organ an “expressive” instrument. In the instrument, where a Gemshorn stands voiced to function both as assertive solo steel structure was built about ten feet Longford Cathedral organ, two of the alone (possibly with a bit of help from a stops and in contexts requiring moderate above the bottom structure to help three manual divisions, the Choir and the Holzgedeckt) as the foundation for the volume levels. support the load. This complicated Swell, are each located inside an expres- secondary Principal chorus of the organ. —Francesco Ruffatti steel structure further limited the avail- sion box. While this feature does not rep- The possibility of reducing volume to able space and presented a problem resent anything new, there is something a dramatic degree with the box closed Photo credits: Cover façade photo, for winding and access. Nevertheless, in this instrument that makes it unique. allowed the tonal designer to “scale” and Tiernan Dolan; all others by Francesco the most important goals to make an Research conducted by Ruffatti has voice the Gemshorn almost to the tonal and Piero Ruffatti

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 27 Organ Projects

Michael Proscia Organbuilder, Inc., Bowdon, Georgia First United Methodist Church, Roanoke, Alabama Construction of the sanctuary of the First United Methodist Church of Roa- noke, Alabama, concluded sometime in 1906 and included a large, very elaborate, fl oor-to-ceiling, fi fteen-foot-wide stained glass window in the choir loft, located at the front of the sanctuary, twelve feet above and behind the altar. A few years later, circa 1909, the pipe organ was installed. Records from that time are long gone, and anecdotal information is sketchy at best. However, we do know the Pilcher pipe organ was purchased with aid from the Carnegie Fund. Based on ranks that have survived and the typical stoplists of the day, the organ was six ranks in size and hand pumped, with a façade that was The fi nished project 22 feet wide, completely obstructing the view of the stained glass window. Miss Fannie Dobbs, whose father, Reverend S. L. Dobbs, was pastor of the church from 1908 until 1912, was the fi rst organist. The large façade partially contained two ranks, the Great 8′ Open Diapason and 8′ Dulciana, with remaining spaces occupied by non-speaking pipes. In 1926, the hand-pumping mechanisms were replaced with an electric blower, and in 1928, through the generosity of Mr. and Mrs. Frank Hornsby, chimes were added, although the type of action Examining the façade pipes used for the chimes is unknown. Console From 1928 until 1974, the organ Proscia Organbuilder, Inc., as curator into place. The church is thankful to remained untouched except for routine of the organ. A thorough inspection Terry Barnes and Leeds Stained Glass tunings and maintenance as could be revealed several areas of degradation, for their work. afforded. Then, in 1974, the Greenwood i.e., failing leather in the stoppers, fallen At this time as well, through capital Company of Charlotte, North Carolina, languids, wire corrosion inside the fundraising, the church underwrote approached First UMC, Bowdon, Geor- console, and many years of dirt accu- repairs to the leaking roof and walls, new gia, First UMC, Roanoke, Alabama, and mulation. Additionally, the plaster in the risers for the choir, leveling the fl oor of First Presbyterian, Union City, Alabama, Swell chamber was separating from the the balcony, and a complete and proper with an unusual proposal, that Green- walls and falling onto the pipes as a result rebuilding of the organ, which included wood would rebuild all three organs of roof leakage. seven new ranks, solid-state components (which just happened to be Pilcher From that time until 2012, we for the conversion of the console from instruments) of the churches named, maintained, tuned, and repaired as the stop tab to draw knob, including the simultaneously—thus affording the church’s budget would allow. Then in speaking pipes of the façade into the new churches a reduced price as a result of 2012, we discovered that the wood sup- stoplist (Pedal division), and re-engineer- Board of trustees member Kevin Beigh- less travel time and consolidating the ports (framework) of the large, stained ing the instrument into divided casework, tol tries out the organ rebuilding of all three instruments. The glass window had begun to fail, allowing thus allowing the stained glass window to rebuilding included, for the most part, glass to fall out and rainwater to get into be seen from inside the sanctuary for the a special attachment to the organ as he providing new electric-action chests, the organ area. The church consulted fi rst time in 104 years! spent over a year with it, and it featured electric-action consoles (prepared for several stained glass window companies, This project is dedicated to the several of his recommendations. further additions), and removing from and after reviewing their proposals, they memory of our employee Joseph William —Michael Proscia operation all the speaking stops of the chose the bid of Leeds Stained Glass, Smith, who lost his life shortly after the façades and eliminating some older ranks Inc., Leeds, Alabama. The work done completion of the installation. Joey felt Photo credit: Michael Proscia within the organs, while providing newer included taking the many hundred small ranks refl ecting changes in voicing styles. individual panes of glass out, cleaning In November 1986, First UMC Roa- them, placing them in new metal frame- noke retained the services of Michael work, and then lifting the window back Michael Proscia Organbuilder, Inc. First United Methodist Church, Roanoke, Alabama

2 GREAT – Manual I (unenclosed) 2⁄3′ Nazard * 61 pipes 16′ Violone * (ext 8′ Viole) 12 pipes 2′ Flauto Principal * 61 pipes 3 8′ Prinzipal √ 61 pipes 1⁄5′ Tierce (from Nazard) (13–49) 8′ Viole * (en façade) 61 pipes V Cornet decomposé (13–49) 8′ Erzahler * 61 pipes 8′ Krummhorn √ 61 pipes 8′ Erzahler Celeste * (tc) 49 pipes 8′ Trompet (Great) 8′ Hohl Flute √ 61 pipes Tremulant 4′ Oktav √ 73 pipes Sw/Sw 16 4′ Spitz Flute * 61 pipes Sw Unison Off 2′ Fifteenth (ext 4′ Oktav) Sw/Sw 4 1 1⁄3′ Mixture III * 183 pipes Cymbalstern (console prep only) 8′ Trompet * 73 pipes 4′ Clairon (ext) PEDAL (unenclosed) Chimes √ 21 tubes 32′ Untersatz (from Subbass) Gt/Gt 16 16′ Violone (Great) Gt Unison Off 16′ Subbass √ 44 pipes Gt/Gt 4 16′ Lieblich Gedeckt (Swell) Sw/Gt 16 8′ Prinzipal √ (en façade) 32 pipes Sw/Gt 8 8′ Bordun (ext Subbass) Sw/Gt 4 8′ Gedeckt (Swell) 8′ Viole (Great) SWELL – Manual II (expressive) 4′ Choral Bass * 44 pipes 16′ Lieblich Gedeckt √ 12 pipes 4′ Spitz Flute (Great) (ext 8′ Gedeckt) 2′ Octavin (ext Choral Bass) 8′ Salicional * 61 pipes 8′ Trompet (Great) (replaces Aeoline) Gt/Pd 8 (reversible) 8′ Voix Celeste √ 49 pipes Gt/Pd 4 (from Aeoline, replaces Flute Sw/Pd 8 (reversible) Celeste) Sw/Pd 4 8′ Gedeckt √ 61 pipes 22 ranks 4′ Praestant √ 61 pipes 4′ Harmonic Flute * 61 pipes * MPOB √ extant Detail of pipework

28 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Craig Cramer; First Congregational, Park Ridge Presbyterian Church This calendar runs from the 15th of the month Hudson, OH 8 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Nathan Laube, masterclass; Auer Hall, Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Indiana University, Bloomington, IN 11 am Feb. issue). All events are assumed to be organ Bloomingdale, IL recitals unless otherwise indicated and are grouped 27 SEPTEMBER within each date north-south and east-west. •=AGO Robert Bates; Vassar College Chapel, chapter event, • •=RCCO centre event, +=new organ Poughkeepsie, NY 3 pm dedication, ++= OHS event. Katherine Meloan, with trumpet; Ford- Christopher Babcock Michael J. Batcho Information cannot be accepted unless it specifi es artist name, date, location, and hour in ham United Methodist, New York, NY 4 pm Jonathan Ryan; Austin Auditorium, Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, order; please do not send duplicate listings. Wingate University, Wingate, NC 4 pm CATHEDRAL OF ST. JOHN Stefan Engels; Spring Valley Presbyte- Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. rian, Columbia, SC 3 pm Bruce Neswick; Wesley Memorial Unit- ed Methodist, Savannah, GA 5 pm UNITED STATES Jeremy Filsell; Emory University, Atlan- East of the Mississippi ta, GA 4 pm Dean W. Billmeyer Choral Evensong; St. Paul Episcopal Ca- 15 SEPTEMBER thedral, Detroit, MI 4 pm University of Minnesota Ken Cowan; Peachtree Road United James Kibbie; St. Paul Episcopal Ca- Methodist, Atlanta, GA 7:30 pm thedral, Detroit, MI 5:30 pm Minneapolis 55455 • [email protected] Kent Tritle; Stetson University, DeLand, FL 7:30 pm 28 SEPTEMBER Yun Kyong Kim; Alumni Hall, Indiana David Fienen; Elliott Chapel, Presbyte- University, Bloomington, IN 8 pm rian Homes, Evanston, IL 1:30 pm Zach Klobnak; Ransdell Chapel, Camp- GAVIN BLACK Byron L. Blackmore bellsville University, Campbellsville, KY 29 SEPTEMBER Princeton Early Keyboard Center Crown of Life Lutheran Church 12:20 pm Christopher Houlihan; Mount St. Mary’s Thomas Hamilton; University of Wis- Seminary, Emmitsburg, MD 7 pm 732/599-0392 Sun City West, Arizona consin-Superior, Superior, WI 7:30 pm Kent Tritle; First United Methodist, www.pekc.org 623/214-4903 Newnan, GA 7 pm 16 SEPTEMBER Choir of Trinity College, Cambridge, UK; 2 OCTOBER St. George Episcopal, Nashville, TN 7 pm Jeremy Filsell; St. John Episcopal, Portsmouth, VA 7 pm THOMAS BROWN ROBERT CLARK 17 SEPTEMBER Tom Trenney, recital and silent fi lm; St. UNIVERSITY Houston Texas Christoph Bull; Christ Episcopal, Luke Presbyterian, Dunwoody, GA 7 pm PRESBYTERIAN CHURCH Master Classes, Consultation Easton, MD 7 pm CHAPEL HILL, NORTH CAROLINA [email protected] Chelsea Chen 3 OCTOBER ; Rollins College, Winter ThomasBrownMusic.com 513/478-0079 Park, FL 12:30 pm composition class, re- Stephen Hamilton, church music reper- cital 7:30 pm toire class; First Unitarian, Wilmington, DE 10 am 18 SEPTEMBER Jack Mitchener; Zion Episcopal, Pal- AMES ORROH, AAGO, PhD David Carrier; Methuen Memorial Music myra, NY 7 pm J D Hall, Methuen, MA 8 pm Stephen Alltop, harpsichord, with piano, DELBERT DISSELHORST Saint Luke’s Episcopal Church Jeannine Jordan, with media artist; First works of Bach; Winnetka Congregational, Samford University Baptist, Providence, RI 7:30 pm Winnetka, IL 10 am Professor Emeritus Randall Sheets; National City Christian, University of Iowa–Iowa City Birmingham, Alabama Washington, DC 12:15 pm 4 OCTOBER Organ Consultant Organ Recitals Choir of Trinity College, Cambridge, UK; St. Christopher Houlihan; Newman Con- Philip Episcopal Cathedral, Atlanta, GA 8 pm gregational, East Providence, RI 4 pm Todd Wilson; St. Paul’s Episcopal, India- Andrew Henderson; Madison Avenue napolis, IN 7:30 pm Presbyterian, New York, NY 3 pm STEVEN EGLER JOHN FENSTERMAKER Nathan Laube; Fordham University Central Michigan University 19 SEPTEMBER Church, Bronx, NY 4 pm School of Music TRINITY-BY-THE-COVE Andrew Scanlon; St. Paul’s Episcopal, Stephen Hamilton; First Unitarian, Greenville, NC 7:30 pm Mt. Pleasant, MI 48859 Wilmington, DE 4 pm APLES LORIDA James Welch; Cadet Chapel, United [email protected] N , F 20 SEPTEMBER States Military Academy, West Point, NY +Christopher Houlihan; Co-Cathedral 3 pm of St. Joseph, Brooklyn, NY 3 pm Todd Wilson, silent fi lm; St. John Epis- Norberto Annie Laver; St. Paul Cathedral, Pitts- copal, Georgetown, Washington, DC 6 pm burgh, PA 4 pm STEPHEN HAMILTON Rutter, Mass of the Children; St. John’s Guinaldo Alan Morrison; Camp Hill Presbyterian, Episcopal, Hagerstown, MD 4 pm recitalist–clinician–educator Camp Hill, PA 4 pm John Ferguson, hymn festival; Advent His Music Jonathan Rudy; Forrest Burdette Memo- Lutheran, Melbourne, FL 3 pm See—Listen—Buy rial United Methodist, Hurricane, WV 3 pm www.stephenjonhamilton.com Alan Morrison; Westminster Presbyte- www.GuinaldoPublications.com Todd Wilson; St. John United Methodist, rian, Dayton, OH 4 pm Augusta, GA 3 pm Karen Beaumont; St. Hedwig Catholic, Nathan Laube; Vineville United Method- Milwaukee, WI 2 pm ist, Macon, GA 4 pm Stephen Alltop, Philippe LeRoy & Ja- Isabelle Demers; Stambaugh Audito- son Moy rium, Youngstown, OH 4 pm , harpsichord, with Carol Breck- David Herman enridge, fortepiano, Bach works; St. Chrys- Ken Cowan; Christ Lutheran, Athens, Trustees Distinguished Professor Emeritus of Music and University Organist OH 4 pm ostom’s Episcopal, Chicago, IL 2:10 pm Choral Evensong; Cathedral Church of The University of Delaware Q [email protected] 5 OCTOBER the Advent, Birmingham, AL 3 pm Diane Meredith Belcher, masterclass; Stan Jones; Madonna della Strada Cha- pel, Loyola University, Chicago, IL 3 pm Hill Auditorium, University of Michigan, Ann Arbor, MI 4 pm Bach, Cantata 99; Grace Lutheran, River A Professional Card in Forest, IL 3:45 pm 6 OCTOBER 21 SEPTEMBER Stephen Hamilton; St. Paul Chapel, Co- The Diapason Marilyn Keiser; Church Street United lumbia University, New York, NY 6 pm For rates and digital specifi cations, contact Jerome Butera Methodist, Knoxville, TN 7:30 pm Diane Meredith Belcher; Hill Auditorium, University of Michigan, Ann Arbor, MI 8 pm 847/391-1045; [email protected] 22 SEPTEMBER Isabelle Demers, with Madison Sym- Karen Beaumont; King’s Chapel, Bos- phony Orchestra; Overture Hall, Madison, ton, MA 12:15 pm WI 7:30 pm LORRAINE BRUGH, Ph.D. Gail Archer; St. Paul’s Chapel, Columbia University, New York, NY 6 pm 7 OCTOBER Anthony Ciucci; Camp Hill Presbyte- Associate Professor 25 SEPTEMBER rian, Camp Hill, PA 12:15 pm University Organist Joanne Peterson; National City Chris- 9 OCTOBER tian Church, Washington, DC 12:15 pm Valparaiso University TENET; St. Malachy’s, New York, NY 7 pm Bradley Hunter Welch; U.S. Naval Valparaiso, IN Academy, Annapolis, MD 7:30 pm John Russell; First Presbyterian, Nathan Laube; Auer Hall, Indiana Uni- Wooster, OH 7:30 pm www.valpo.edu versity, Bloomington, IN 8 pm Beethoven, Missa Solemnis; Hilbert Cir- cle Theater, Indianapolis, IN 8 pm 219-464-5084 26 SEPTEMBER Scott Dettra; Shryock Auditorium, Ken Cowan; Merrill Auditorium, Port- Southern Illinois University, Carbondale, IL [email protected] land, ME 7:30 pm 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 29 Calendar WILL HEADLEE ANDREW HENDERSON, DMA 1650 James Street Madison Avenue Presbyterian Church 10 OCTOBER 21 OCTOBER New York, NY David Higgs, workshop; Holy Trinity Lu- Musica Sacra; Cathedral of St. John the Syracuse, NY 13203-2816 theran, Lynchburg, VA 10:30 am Divine, New York, NY 7:30 pm (315) 471-8451 www.andrewhenderson.net Beethoven, Missa Solemnis; Hilbert Cir- Jeannine Jordan, with media artist; cle Theater, Indianapolis, IN 7 pm Wooster United Methodist, Wooster, OH 7 pm Marcelo Giannini, masterclass; Camp- CALIFORNIA LUTHERAN UNIVERSITY 11 OCTOBER bellsville University, Campbellsville, KY 4 pm Gary L. Jenkins Peter Richard Conte; Woolsey Hall, Yale University, New Haven, CT 7:30 pm Director, Schmidt Concert Series 22 OCTOBER Kyle Johnson, DMA Solid Brass; Crescent Avenue Presbyte- Roberto Antonello; Fountain Court, Me- Director of Music, Carmelite Monastery University Organist rian, Plainfi eld, NJ 3 pm morial Art Gallery, Rochester, NY 7:30 pm Curator of Organs 

r
LFKPIOT!DBMMVUIFSBOFEV Eric Plutz; Trinity Episcopal, Solebury, Michael Britt; Christ Episcopal, Easton, Rose-Hulman Institute of Technology PA 4 pm MD 4 pm Terre Haute, Indiana www.callutheran.edu David Higgs; Holy Trinity Lutheran, Marcelo Giannini; Gethsemani Abbey, Lynchburg, VA 4 pm Trappist, KY 6:30 pm Evensong; St. Paul Episcopal Cathedral, Detroit, MI 4 pm 23 OCTOBER Brian Jones KIM R. KASLING Alan Morrison; Memorial Chapel, Cul- Christopher Houlihan; Methuen Memo- D.M.A. ver Academies, Culver, IN 4 pm rial Music Hall, Methuen, MA 8 pm Director of Music Emeritus Thomas Murray; Cathedral Church of St. John’s University Armando Carideo, Frescobaldi master- TRINITY CHURCH the Advent, Birmingham, AL 3 pm class; Fountain Court, Memorial Art Gal- Collegeville, MN 56321 Marsha Foxgrover, with bassoon & piano; BOSTON lery, Rochester, NY 9 am First Covenant Church, Rockford, IL 3 pm Edoardo Bellotti, organ and harpsi- chord; Fountain Court, Memorial Art Gal- 12 OCTOBER lery, Rochester, NY 7:30 pm Bryan Ashley ; Church of Christ, Scien- Scott Dettra; Calvary Episcopal, Pitts- tist, Boston, MA 2 pm JAMES KIBBIE burgh, PA 8 pm The University of Michigan 13 OCTOBER Jonathan Ryan; St. Paul Reformation Ann Arbor, MI 48109-2085 Lutheran, St. Paul, MN 7:30 pm ORGAN CONSULTANT John Paradowski; Church of the Gesu, 734-764-1591 FAX: 734-763-5097 Milwaukee, WI 7:30 pm www.gabrielkney.com 24 OCTOBER email: [email protected] 14 OCTOBER Roberto Antonello, Zipoli masterclass; Cathedral Choir; St. James Chapel, Ca- Fountain Court, Memorial Art Gallery, thedral of St. John the Divine, New York, Rochester, NY 10 am David K. Lamb, D.Mus. NY 7:30 pm Nathan Laube, with Publick Musick and William Neil, with brass & timpani; Ken- Christ Church Schola Cantorum; Fountain Director of Music nedy Center, Washington, DC 8 pm Court, Memorial Art Gallery, Rochester, Trinity United Methodist Church NY 7:30 pm New Albany, Indiana 15 OCTOBER Huw Lewis, with orchestra; Dimnent 812/944-2229 Choir of St. Luke in the Fields, music of Chapel, Hope College, Holland, MI 7:30 pm Victoria; St. Luke in the Fields, New York, NY 8 pm 25 OCTOBER Charlotte Beers Plank; St. John Episco- 16 OCTOBER pal, West Hartford, CT 4 pm Stephen Tharp; Christ United Methodist, Annie Laver; Fountain Court, Memorial A.S.C.A.P. Greensboro, NC 7:30 pm Art Gallery, Rochester, NY 3 pm FELLOW, AMERICAN GUILD OF ORGANISTS Stephen Hamilton; Lutheran Seminary, David Higgs, Hans Davidsson, & Wil- Columbia, SC 7:30 pm liam Porter; Fountain Court, Memorial Art 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 Jeremy David Tarrant; Plymouth Con- Gallery, Rochester, NY 5:30 pm (770) 594-0949 gregational, Lansing, MI 7 pm Raúl Prieto Ramírez; Wilson College, Gail Archer; Cathedral of the Assump- Chambersburg, PA 3 pm tion, Louisville, KY 7:30 pm Olivier Latry; Church of the Redeemer, Baltimore, MD 5 pm 17 OCTOBER Coro Vocati; Peachtree Road United Stephen Hamilton, church music reper- Methodist, Atlanta, GA 3:30 pm toire class; Lutheran Seminary, Columbia, Christian Lane; University Auditorium, Professor Emeritus – University of Michigan – Ann Arbor SC 10 am University of Florida, Gainesville, FL 2 pm Professor of Organ for 67 years Peter Richard Conte; St. Norbert Abbey, Todd Wilson, silent fi lm; Stambaugh Au- MarilynThe University’s longest-serving faculty memberMason De Pere, WI 2 pm ditorium, Youngstown, OH 4 pm Choral Evensong; St. Paul Episcopal Ca- 18 OCTOBER thedral, Detroit, MI 4 pm Marilyn Keiser; Dennis Union Church (Congregational), Dennis, MA 3 pm Nicholas Schmelter; St. Paul’s Episco- LARRY PALMER Thomas Murray; Woolsey Hall, Yale Uni- pal, Flint, MI 3:30 pm PHILIP CROZIER versity, New Haven, CT 7:30 pm Marcelo Giannini; Cathedral of Christ the King, Lexington, KY 7:30 pm CONCERT ORGANIST Harpsichord – Organ Andrew Henderson, with instrumental- Cantata 120 ists; Madison Avenue Presbyterian, New Bach, ; Grace Lutheran, Riv- ACCOMPANIST York, NY 3 pm er Forest, IL 3:45 pm Professor of Music, Emeritus Jonathan Rudy; Westminster Presbyte- 3355 Queen Mary Road, Apt 424 Carole Terry; Grace Episcopal, Brooklyn Heights, NY 3 pm rian, Rockford, IL 3 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Christopher Houlihan; First Presbyte- Anthony & Beard; Auburn United Meth- Canada rian, Ilion, NY 3 pm odist, Auburn, AL 3 pm Tom Trenney, choral festival; First Pres- (514) 739-8696 Recitals — Lectures — Consultancies byterian, Northport, NY 4 pm 26 OCTOBER [email protected] Craig Cramer; Performing Arts Center, Gail Archer; Cathedral of the Immacu- [email protected] + 214.350-3628 Hosmer Hall, SUNY, Potsdam, NY 3 pm late Conception, Syracuse, NY 7:30 pm Daryl Robinson; St. Paul Parish, Prince- Julia Brueck; Elliott Chapel, Presbyte- ton, NJ 2:30 pm rian Homes, Evanston, IL 1:30 pm Marcelo Giannini; Cathedral Basilica of the Sacred Heart, Newark, NJ 4 pm 27 OCTOBER Alan Morrison; Bomberger Hall, Ursinus Thiemo Janssen; St. Paul Cathedral, College, Collegeville, PA 4 pm Pittsburgh, PA 7:30 pm The Diapason Isabelle Demers; Christ Episcopal, Pen- sacola, FL 4 pm 28 OCTOBER 2016 Resource Directory Todd Wilson; Most Blessed Sacrament Stephen Tharp; First Presbyterian, Phil- Parish, Toledo, OH 4 pm adelphia, PA 7 pm Blake Callahan; St. Peter in Chains TENEBRAE; St. Peter in Chains Catholic Catholic Cathedral, Cincinnati, OH 3 pm Cathedral, Cincinnati, OH 7:30 pm • The only comprehensive directory for the organ and Olivier Latry; All Saints Chapel, Se- church music fi elds wanee, TN 3 pm 30 OCTOBER Andrea Handley; Madonna della Strada Tom Trenney, silent fi lm; Merrill Audito- • Includes listings of associations, suppliers, and the Chapel, Loyola University, Chicago, IL 3 pm rium, Portland, ME 7:30 pm Organ Spooktacular; St. Paul’s Episco- products and services they provide 19 OCTOBER pal, Greenville, NC 6:30 pm Stephen Tharp; St. James’ Episcopal, Nathan Laube; Bensen Great Hall, Reserve advertising space now! New York, NY 7 pm Bethel University, St. Paul, MN 7:30 pm Deadline: November 1 20 OCTOBER UNITED STATES Marcelo Giannini; Our Lady of Perpet- West of the Mississippi ual Help Catholic Church, Campbellsville, To reserve advertising space, contact Jerome Butera KY 12:20 pm 608/634-6253; [email protected] Marcelo Giannini; Ransdell Chapel, 17 SEPTEMBER Campbellsville University, Campbellsville, Stephen Tharp; First Presbyterian, Tul- KY 8 pm sa, OK 7:30 pm

30 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Scott Montgomery 18 SEPTEMBER Rex Rallanka; Cathedral of St. Mary of Concert Organist Susanna Valleau; Christ Episcopal, Ta- the Assumption, San Francisco, CA 4 pm coma, WA 12:10 pm www.ScoMo.org 6 OCTOBER [email protected] 19 SEPTEMBER David Jonies; St. James Catholic Cathe- James Welch; Bethania Lutheran, dral, Seattle, WA 7 pm Solvang, CA 1 pm 9 OCTOBER 20 SEPTEMBER Christopher Houlihan; Dr. Rando Guil- ANDREW PAUL MOORE LEON NELSON Stephen Hamilton ; First United Method- lot Recital Hall, Las Vegas, NV 7:30 pm Director of Traditional Music ist, Ames, IA 3 pm CHRIST CHURCH Choir of Trinity College, Cambridge, UK; 11 OCTOBER Southminster Presbyterian Church Incarnation Episcopal, Dallas, TX 11 am Aaron David Miller, hymn festival; Beth- SHORT HILLS Arlington Heights, IL 60005 Choral Eucharist, 4 pm concert lehem Lutheran, Minneapolis, MN 4 pm Stephen Tharp; Highland Park United Stephen Tharp; First United Methodist, Methodist, Dallas, TX 6 pm Shreveport, LA 3 pm Paul Jacobs; Broadway Baptist, Fort Andrew Peters; Second Presbyterian, Stephen G. Schaeffer Nicholas E. Schmelter Worth, TX 7 pm St. Louis, MO 4 pm Recitals – Consultations Andrzej Szadejko; Cathedral of St. Mary Gail Archer; St. Thomas Episcopal, Director of Music of the Assumption, San Francisco, CA 4 pm Houston, TX 5 pm Director of Music Emeritus Immaculate Conception Paul Tegels, with trumpet; Lagerquist Cathedral Church of the Advent Catholic Church 22 SEPTEMBER Hall, Pacifi c Lutheran University, Tacoma, Birmingham, Alabama Lapeer, Michigan Choir of Trinity College, Cambridge, UK; WA 3 pm First-Plymouth Congregational, Lincoln, Philip Manwell; Cathedral of St. Mary of NE 7: 30 pm the Assumption, San Francisco, CA 4 pm ROBERT L. 25 SEPTEMBER 16 OCTOBER Andrew Peters; Third Baptist, St. Louis, Christopher Houlihan; First United MO 12:30 pm SIMPSON Mark Steinbach Methodist, Lincoln, NE 7:30 pm Brown University Scott Dettra; University Park United Joseph Painter, with harp; Belin Cha- Christ Church Cathedral Methodist, Dallas, TX 7:30 pm pel, Houston Baptist University, Houston, 1117 Texas Avenue Houston, Texas 77002 26 SEPTEMBER TX 12 noon George Baker; Kerr Gothic Hall, Univer- 18 OCTOBER sity of Oklahoma, Norman, OK 8 pm Chelsea Chen; Highland Park Presbyte- Stephen Tappe ORGAN MUSIC OF THE SPANISH BAROQUE rian, Dallas, TX 7 pm 27 SEPTEMBER Organist and Director of Music David Troiano Stephen Hamilton; Christ United Meth- John Cannon; Cathedral of St. Mary of the Assumption, San Francisco, CA 4 pm Saint John's Cathedral DMA MAPM odist, Rochester, MN 4 pm Denver, Colorado Isabelle Demers; Christ United Method- Timothy Allen, with soprano; Resurrec- 586.778.8035 ist, Plano, TX 7 pm tion Parish, Santa Rosa, CA 3:30 pm www.sjcathedral.org [email protected] Elna Johnson; Cathedral of St. Mary of the Assumption, San Francisco, CA 4 pm 23 OCTOBER Olivier Latry; Bales Recital Hall, Univer- 28 SEPTEMBER sity of Kansas, Lawrence, KS 7:30 pm Marcia Van Oyen James Welch; Christ Episcopal, Eureka, Joe Utterback CA 7:30 pm 25 OCTOBER First United Methodist Church Gail Archer; Cathedral Basilica of the COMMISSIONS & CONCERTS Plymouth, Michigan 29 SEPTEMBER Immaculate Conception, Denver, CO 3 pm 732 . 747 . 5227 Frederick Teardo; Organ Recital Hall, mvanoyen.com Colorado State University, Fort Collins, CO INTERNATIONAL 6 pm

2 OCTOBER 16 SEPTEMBER Isabelle Demers; St. Alban’s Episcopal, Thiemo Janssen; Frauenkirche, Dres- Kevin Walters Arlington, TX 7 pm den, Germany 8 pm David Wagner Alan Morrison; First United Methodist, David Newsholme; Town Hall, Reading, DMA M.A., F.A.G.O. Wichita Falls, TX 7 pm UK 1 pm www.davidwagnerorganist.com Rye, New York 4 OCTOBER 17 SEPTEMBER Aaron David Miller, with trumpet; House Gereon Krahforst; St. Nikolaus, Bergen- of Hope Presbyterian, St. Paul, MN 2 pm Enkheim, Germany 5 pm Bruce Neswick; First Presbyterian, Port- land, OR 2 pm 19 SEPTEMBER Alan G Woolley PhD KARL WATSON Isabelle Demers; California State Uni- Ensemble Il Giardino Barocco; Chiesa di Musical Instrument Research versity, Fresno, CA 3 pm San Pietro, Gubbio, Italy 9 pm SAINT LUKE’S Edinburgh

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RONALD WYATT RUDOLF ZUIDERVELD Illinois College, Jacksonville : Trinity Church Galveston First Presbyterian Church, , Springfi eld 7 3URPLQHQW3LSHVFODVVLFUHSHUWRLUHLPSURYLVDWLRQV DQGDQXQXVXDOFRQFHUWRSURYLGHRSSRUWXQLWLHVIRUVRORLVWV ; RQWKHPLJKW\5R\DO$OEHUW+DOORUJDQDWWKH%%&3URPVLQ /RQGRQ A two-inch Professional Card , in The Diapason 2XU)DWKHURQHRIWKHZRUOG¶VEHVWNQRZQWH[WV 4 SURYLGHVXVZLWKJOLPSVHVLQWRWKHFRPSRVHU¶VFUDIWDQGWKH For information on rates and specifi cations, contact Jerome Butera: ) RUJDQEXLOGHU¶VDUW [email protected] 608/634-6253 , ,Q(YHU\&RUQHU6LQJUDLVLQJWKHURRIZLWKVRXOIXO DQGVRQRURXVVFRUHVIRUFKRLUVFRQJUHJDWLRQVVRORVLQJHUV ArtistArtist Spotlights Spotlightspotlight s 9 DQGRUJDQV DAVID SPICER First Church of Christ 0RUH2UJDQ3OXVLQWULJXLQJFRPELQDWLRQVRIRWKHU Artist Spotlights  PXVLFDOIULHQGVDGGLPSRUWDQWO\WRWKHRUJDQ¶VµSXEOLF¶ are available on Wethersfi eld, Connecticut  UHSHUWRLUH The Diapason website and  e-mail newsletter.  Contact Jerome

7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK Butera for rates [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM and specifi cations. [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY 608/634-6253 ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZŽ HWVIHJVT House Organist [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

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Christophe Mantoux; St. Albans Cathe- 2 OCTOBER 16 OCTOBER CHARLES BARLAND, St. Joseph Catho- dral, St. Albans, UK 5:30 pm Christophe Mantoux; Michaeliskirche, Margaret Phillips, complete Bach organ lic Church, Appleton, WI, June 24: Prelude Erfurt, Germany 9 pm works series; St. George’s Church, Ha- and Fugue in C, BWV 547, Bach; Sarabande 22 SEPTEMBER Margaret Phillips, complete Bach organ nover Square, London, UK 6 pm (Baroques Suite), Bingham; Passacaglia in c, Stephanie Burgoyne & William works series; St. George’s Church, Ha- BWV 582, Bach. Vandertuin; St. Paul’s Anglican Cathedral, nover Square, London, UK 6 pm London, ON, Canada 12:15 pm 17 OCTOBER Margaret Phillips, complete Bach organ MÉLANIE BARNEY, Methuen Memorial 3 OCTOBER Music Hall, Methuen, MA, June 10: Toccata 23 SEPTEMBER works series; St. George’s Church, Ha- Renato Negri; Chiesa di S. Antonio and Fugue in d, BWV 565, Bach; Concerto in Hartmut Siebmanns; Hofkirche, Dres- Abate, Miagliano, Italy 9 pm nover Square, London, UK 6 pm den, Germany 8 pm b (LV 133), Walther; Nimrod (Enigma Varia- Arthur LaMirande; Notre Dame Cathe- tions), Elgar, transcr. Gower; Carillon-Sortie, Simon Johnson; Westminster Cathe- 18 OCTOBER dral, London, UK 7:30 pm dral, Paris, France 8 pm Mulet; Finlandia—Symphonic Poem (op. 26, Margaret Phillips, complete Bach organ Philip Crozier; Grand Séminaire de no. 7), Sibelius, transcr. Fricker; Allegretto 24 SEPTEMBER works series; St. George’s Church, Ha- Montréal, Montréal, QC, Canada 3 pm (Symphony No. 7 in a, op. 92), Beethoven, Ronald Ebrecht; Vitebsk Philharmonic nover Square, London, UK 6 pm transcr. Trovato; Toccata (Suite Gothique, Hall, Minsk, Belarus 8 pm Janette Fishell; Bridge Street United 21 OCTOBER op. 25), Boëllmann; Vorspiel, Langsam und Margaret Phillips, complete Bach organ Church, Belleville, ON, Canada 7 pm Hans Gebhard; Kreuzkirche, Dresden, schmachtend (Tristan und Isolde), Wagner, works series; St. George’s Church, Ha- Germany 8 pm transcr. West; Toccata (Dix Pièces), Gigout. nover Square, London, UK 6 pm 7 OCTOBER Gordon Stewart; Westminster Cathe- Irena Renata Budryte-Kummer; dral, London, UK 7:30 pm BR. BENJAMIN BASILE, C.PP.S., Christ 25 SEPTEMBER Frauenkirche, Dresden, Germany 8 pm Church—First Congregational Church, Christophe Mantoux; North Cathedral 22 OCTOBER Michigan City, IN, June 10: Rigaudon, Cam- of Beijing, Beijing, China 7:30 pm 8 OCTOBER Margaret Phillips, complete Bach organ pra, transcr. Purvis; Adagio con Espressione, Francesco Cera; Chiesa Cattedrale dei Margaret Phillips, complete Bach organ Wickede; Prelude, Corelli, arr. Clokey; Chan- works series; St. George’s Church, Ha- SS. Mariano e Giacomo, Gubbio, Italy 9 pm works series; St. George’s Church, Ha- son de Matin, op. 15, no. 2, Elgar, arr. Brewer; Margaret Phillips, complete Bach organ nover Square, London, UK 6 pm nover Square, London, UK 6 pm Voluntary No. 1 (Sixteen Pieces or Voluntar- works series; St. George’s Church, Ha- Stephanie Burgoyne & friends; St. ies for the Organ), Guest; Meditation on How nover Square, London, UK 6 pm 9 OCTOBER Paul’s United Church, Paris, ON, Canada Great Thou Art, Linker; Five Postludes for Margaret Phillips, complete Bach organ 3 pm Organ, Lee. 26 SEPTEMBER works series; St. George’s Church, Ha- Roberto Marini; Chiesa di Santa Maria nover Square, London, UK 6 pm 23 OCTOBER al Corso, Gubbio, Italy 9 pm DIANE MEREDITH BELCHER, St. Margaret Phillips, complete Bach organ Mary Catholic Church, New Haven, CT, Margaret Phillips, complete Bach organ 10 OCTOBER works series; St. George’s Church, Ha- June 30: In Celebration (Bethesda Evensong), works series; St. George’s Church, Ha- Margaret Phillips, complete Bach organ nover Square, London, UK 6 pm nover Square, London, UK 6 pm Walker; Miniature Suite, Ireland; O God works series; St. George’s Church, Ha- of Love (“Quintet and Miserere” from The nover Square, London, UK 6 pm 27 SEPTEMBER 24 OCTOBER Ghosts of Versailles), Corigliano, arr. Dirk- Andreas Rothkopf; Saint-Sulpice, Par- sen; Prelude on an Old Folk Tune (“The Fair 14 OCTOBER Margaret Phillips, complete Bach organ is, France 4 pm Hills of Eire, O”), Beach; Sonata VIII in e (op. Christian Schmitt; Kathedrale, Dres- works series; St. George’s Church, Ha- 132), Rheinberger. 30 SEPTEMBER den, Germany 8 pm nover Square, London, UK 6 pm Holger Gehring; Kreuzkirche, Dresden, CHRISTOPHER BERRY, Shrine of Our 15 OCTOBER 28 OCTOBER Germany 8 pm Lady of Guadalupe, La Crosse, WI, June 14: Martin Baker; Town Hall, Reading, UK Samuel Kummer; Frauenkirche, Dres- Allein Gott in der Höh’ sei Ehr’, BWV 662, 7:30 pm 1 OCTOBER den, Germany 8 pm Bach; Angelus (op. 34, no. 2), Dupré; Sonata Margaret Phillips, complete Bach organ Margaret Phillips, complete Bach organ II, op. 65, no. 2, Mendelssohn; Chorale Pre- works series; St. George’s Church, Ha- works series; St. George’s Church, Ha- 29 OCTOBER lude on ‘Down Ampney,’ Sumsion; Prière (op. nover Square, London, UK 6 pm nover Square, London, UK 6 pm Margaret Phillips, complete Bach organ 20), Franck; Sortie sur l’hymne ‘Ave Maris works series; St. George’s Church, Ha- Stella,’ Guilmant. nover Square, London, UK 6 pm PETER STOLTZFUS BERTON, 30 OCTOBER Methuen Memorial Music Hall, Methuen, Samuel Kummer & Holger Gehring; MA, May 20: Intrada, Ives; Duo, Basse de Kreuzkirche, Frauenkirche & Kathedrale, Cromorne, Récit de Nazard, Caprice sur Dresden, Germany 8 pm les Grands Jeux (Suite du Deuxième Ton), Clérambault; Tuba Tune in D, op. 15, Lang; Margaret Phillips, complete Bach organ Arabesque (Vingt-quatre Pièces en style libre, works series; St. George’s Church, Ha- op. 31), Vierne; Passacaglia, op. 20, Berton; nover Square, London, UK 6 pm Prelude and Fugue in e, BWV 548, Bach; Her- eford Variations, op. 22, Berton. 31 OCTOBER Margaret Phillips, complete Bach organ HEINRICH CHRISTENSEN, with Jodi works series; St. George’s Church, Ha- Hagen, violin, Methuen Memorial Music nover Square, London, UK 6 pm Hall, Methuen, MA, June 24: Chaconne in g

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32 Q THE DIAPASON Q SEPTEMBER 2015 WWW.THEDIAPASON.COM Organ Recitals for violin and continuo, Vitali; Pictures at an ruf zu dir, Herr Jesu Christ, Wenn meine DENNIS JANZER, with Julia Pilgrim, ADAM PAJAN, Unitarian-Universalist Exhibition, Mussorgsky, transcr. Guillou; Suite Sünd mich kränken, Walcha; Lotus Blossom, piano, St. Mary’s Episcopal Cathedral, Mem- Meeting of South Berkshire, Housatonic, in c for violin and organ, op. 166, Rheinberger. Strayhorn, arr. Wyton; Fantasia on Sine No- phis, TN, June 28: Fanfare (Suite Semplice), MA, June 29: Cantilena in G, op. 71, no. 1, mine, Phillips. Intrada and Trumpet Tune on National Foote; Trio super Herr Jesu Christ, dich zu JAMES DAVID CHRISTIE, with Robert Hymn, Simple Gifts for Piano/Organ Duet, uns wend, BWV 655, Bach; Herzlich tut mich Sheena, oboe and English horn, and Cynthia THOMAS DRURY, with Andrea Drury, Yankee Doodle Variations, Janzer; Music for verlangen, Herzlich tut mich erfreuen, op. Myers, fl ute, Koussevitzky Music Shed, Tan- soprano, First Presbyterian Church, Spring- the Royal Fireworks for Piano/Organ Duet, 122, nos. 10 and 4, Brahms; Allegretto (So- glewood, Lenox, MA, June 29: Praeludium in fi eld, IL, June 19: Joie et clarté des corps glo- Handel, arr. Janzer; Fanfare for the Common nata IV, op. 65, no. 4), Allegro (Sonata V, op. d, Böhm; Nocturne, Roesgen-Champion; Trio rieux, Messiaen; Angels, ever bright (Theodo- Man, Copland; Adagio Lyrico, Janzer; 1812 54, no. 5), Mendelssohn. Sonata I, BWV 525, Bach; Canticle, Callahan; ra), Ombra mai fu (Xerxes), Oh, had I Jubal’s Overture, Tchaikovsky, arr. Kraft. Ciaconna in B-fl at, Joh. Bernhard Bach; Ave lyre (Joshua), Handel; Schmücke dich, o liebe JOHN W. W. SHERER, Fourth Presby- maris stella, Victimae pascali, Berthier; In- Seele, Es ist ein Ros’ entsprungen, O Welt, ich YUN KYONG KIM, Cathedral of Christ terian Church, Chicago, IL, May 29: Volun- cantation pour un jour saint, Langlais. muss dich lassen, Brahms; Les Angélus, op. the King, Lexington, KY, May 8: Spitfi re Pre- tary in D, Largo (from Xerxes, arr. Pasquet), 57, Final (Symphony No. 1 in d), Vierne. lude and Fugue, Walton, transcr. Winpenny; Handel; The Lord Mayor’s Swan Hopping DOUGLAS CLEVELAND, St. Paul Elfes, Bonnet; Fantasmagorie, JA 63, Alain; Trumpet Tune, Anonymous; Menuetto, Alle- Episcopal Cathedral, San Diego, CA, June JOEY FALA, St. Paul Catholic Church, Evocation à la Chapelle Sixtine, Liszt; Toccata gro di molto, C. P. E. Bach; Toccata for the 28: Fantasy for Organ on the Tune ‘Kaytlyn,’ Springfi eld, MA, June 30: Sinfonia (Cantata in d, op. 11, Prokofi ev, transcr. Guillou; Freu Elevation, Frescobaldi; March, Haydn; Ada- Butler; Fantasia in f, K. 608, Mozart; Jesu, 29), Bach, transcr. Dupré; Prélude (Prélude, dich sehr, o meine Seele, Macht hoch die Tür gio, Mozart; Sonata in G, Scarlatti; Berceuse, dulcis memoria, Decker; Elegy for Organ Fugue, et Variation, op. 18), Franck; Hyfry- (Chorale Improvisations, op. 65), Karg-Elert; Grand Choeur, Franck. and Saxophone, Mollicone; Four Concert dol (Three Preludes on Welsh Hymn Tunes), Mad Rush, Glass; Variations on a theme by Etudes, Briggs. Vaughan Williams; Miroir, Wammes; Te Handel, op. 29, Landmann. CHARLIE W. STEELE, with Patti Black, Deum, op. 11, Demessieux. piano, and Wendy Jones, vocalist, Brevard- JOHN COLLINS, St. George Church, NATHAN LAUBE, St. Paul Catholic Ca- Davidson River Presbyterian Church, Bre- Worthington, UK, May 1: Toccata Segunda, JÉRÔME FAUCHEUR, Methuen Memo- thedral, Pittsburgh, PA, June 22: Toccata in E, vard, NC, May 25: Fanfare, Cook; Chant de Ricercar Terza, Frescobaldi; Aria in G with rial Music Hall, Methuen, MA, May 27: Lied BWV 566, Bach; Psalm 24 (Tabulatuur-Boeck Paix, Langlais; Eternal Father, Strong to Save, 7 variations, Pachelbel; Iste Confessor, Ti- (Vingt-quatre Pièces en style libre, op. 31), van Psalmen en Fantasyen), Noordt; Corrente Schwoebel; The Fourth of July, Hewitt, arr. telouze; Galliarda Dulenti–10 variations, Vierne; Allegro symphonique en ut mineur Italiana, Cabanilles; Upon La Mi Re, attr. Spong; God Save the King, Wesley; Concert Scheidt; Meio Registo 2 Tom, de Conceição; (Dix pièces, op. 48), Salomé; Communion en Preston; The Rev’d Mustard His Installation Variations on ‘The Star Spangled Banner,’ Sonata 9 in C, Seixas; Sonata 73 in a, anon., la majeur (Douze pièces), Loret; Marche en Prelude, Muhly; Toccata in d, BuxWV 155, Paine; American Anthem, Scheer; Psalm 34:6 18th-century Portugal; Voluntary no. 6 in G, ré majeur, op. 9, Deshayes; Pastorale (Cinq Buxtehude; Funérailles (D’Après Lamartine, (Three Psalm Preludes, Set I, op. 32), Howells; S. Goodwin; Voluntary VII in C, anon, 18th- pièces), Marty; Postlude Festival, Reuchsel; Harmonies Poétiques et Religieuses, S. 173, How Firm a Foundation, Shall We Gather at century England; Voluntary II in G, op. 1, Première Symphonie en mi bémol majeur, op. no. 7), Liszt, transcr. Laube; Sonata in c (Der the River (American Folk Hymn Suite), Burk- Walond; Preludio, Fuga e Tarantella, Ferrari; 20, Maquaire. 94ste Psalm), Reubke. hardt; Hark! The Jubilee Is Sounding (Six Sonata in C, Handel. Preludes on Old Southern Hymns, Set 2), STEPHEN HAMILTON, First Lutheran FREDERICK A. MACARTHUR, Methuen Read; Nimrod (Enigma Variations), Elgar, MATTHEW DIRST, Trinity Lutheran Church, Sioux Falls, SD, March 29: Choral Memorial Music Hall, Methuen, MA, June arr. Jennings; Litanies, Alain. Church, Peoria, IL, May 31: Prelude in E-fl at, Variations on Veni Creator, Durufl é; Cho- 17: Prèlude (Trois pièces, op. 29), Pierné; BWV 552/1, Trio in c, BWV 21/1a; Fugue in ral in E, Franck; Litanies, JA 119, Le Jardin Aria, Manz; Andantino (Trois Rhapsodies sur TIMOTHY TIKKER, Memorial Mu- E-fl at, BWV 552/2, Bach; Trio Sonata, op. 18, Suspendu, JA 71, Alain; Toccata, Villancico y des Cantiques Bretons, op. 7), Saint-Saëns; sic Hall, Methuen, MA, June 3: Prelude no. 2, Distler; Concerto in C, Rüppe; Excerpts Fuga (BACH), Ginastera; Joie et Clarté des “God Save the King,” with Variations and Fi- and Fugue in G, BWV 541, Bach; Varia- from The Art of Fugue (Cp. I–IV), Bach; Corps Glorieux (Les Corps Glorieux), Mes- nale (Der Pracktishe Orgel-Schule, op. 55, no. tions on the Russian National Hymn, op. 12, Variations sur un thème de Clément Janequin, siaen; Jesus Is Condemned to Death, Jesus 183), Rinck; Rhapsody on Gregorian Motifs, Thayer; Cantabile in B (Trois Pièces pour le Alain; In festo corporis Christi, Heiller. Comforts the Women of Jerusalem, Jesus Titcomb; Trio in a Style of Bach: Alles was du Grand Orgue), Franck; Sonata for Organ, Is Nailed to the Cross, Jesus Dies upon the bist (Jerome Kern’s “All the things you are”), op. 86, Persichetti; The Leaves on the Trees DELBERT DISSELHORST, Grace Cross (Le Chemin de la Croix, op. 29), Pre- Nalle; Allegro vivace (Symphony no. 5 in f, op. Spoke (Five Fantasies for Organ), Finney; Episcopal Church, New York City, NY, April lude and Fugue in B, op. 7, no. 1, Dupré. 42, no. 1), Widor. L’Ascension, Messiaen; Final (Symphony for 18: Toccata tertia (Apparatus musico organ- Organ), Ahlstrom. isticus), Muffat; Tiento pequeño y facil de CHRISTOPHER HOULIHAN, St. Mi- DEREK NICKELS, St. Adalbert Catholic septimo tono, Tiento segundo de medio reg- chael the Archangel Catholic Cathedral, Church, Chicago, IL, June 14: Prelude in C, JAMES WELCH, Notre Dame Cathedral, istro de tiple de quarto tono, Arauxo; Allein Springfi eld, MA, June 28: Prelude and Fugue BWV 547i, Bach; Schmücke dich, o liebe Seele, Paris, France, June 6: Toccata parisienne, Gott in der Höh sei Ehr (a 3, Canto fermo in a, WoO 9, O Welt, ich muss dich las- op. 122, no. 5, Brahms; Préambule, Scher- Christiansen; Fantaisie en mi bémol majeur, in alto, a 2 Clav. e Pedale, Fughetta), Bach; sen (op. 122, no. 11), Brahms; Prelude and zetto (24 Pièces en style libre, op. 31), Vierne; Saint-Saëns; Divinum Mysterium, Purvis; Allegro, Chorale, and Fugue, Mendelssohn; Fugue in B-fl at, Martin; Prelude and Fugue O Gott, du frommer Gott, Alles ist an Gottes Chant héroïque, Langlais; Fiesta, Diemer; Prelude à 5 (Grave) in E-fl at, Lemmens; in e, BWV 548, Bach; Symphonie IV in g, op. Segen (Choral-Improvisationen für Orgel, op. Mouvement, Berveiller; How Great Thou Art, From Generation to Generation, Adler; Ich 32, Vierne. 65), Karg-Elert; Fanfare, Lemmens. Wood; Final (Symphonie III), Vierne.

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Wanted: Organists visiting Maui. Lahaina’s The OHS Organ Atlas chronicles the organs Certifi ed appraisals—Collections of organ THE DIAPASON 2016 Resource Directory is Holy Innocents Episcopal Church invites visit- books, recordings, and music, for divorce, the most complete listing of products and and the history of the area visited by OHS con- ing organists to play its Beckerath Positiv organ services for the organ and church music ventions. Available since 2006, these beautiful estate, gift, and tax purposes. Stephen L. Pinel, at Sunday services. Built in 1972 by Rudolf von fi elds. Make sure your ad is included. Con- full-color journals include stoplists, photographs, Appraiser. 629 Edison Drive, East Windsor, NJ Beckerath and then-apprentice Hans-Ulrich tact Jerome Butera, [email protected] and well-researched articles on the organs and 08520-5205; 609/448-8427. Erbslöh for Honolulu’s Lutheran Church, the 408- or 608/634-6253. pipe Shrankpositiv has a 54-note “split” manual, venues visited during the convention. Of special Atlas 30-note pedal, 11 stops, 8 ranks, and 6 registers. interest is the recently-published from the PIPE ORGANS FOR SALE Holy Innocents acquired the instrument in 1977 58th convention of the OHS in 2013 celebrating Of all the organ music I’ve restored, I really don’t and moved it to Maui where it has been played the bicentennial of the pipe organ in Vermont, know why the Concert Etudes by George Kimball Pipe Organ, Opus 7133, c. 1933: by parish musicians such as Carol Monaghan 1814–2014. Researched and written by archivist Whiting fell into obscurity. They’re outstanding 3 manuals, 52 ranks, 41 stops, 3,556 pipes; and visiting artists including Angus Sinclair of Stephen Pinel, this 235-page publication includes three divisions, plus Echo. This historic and Canada and Dalibor Miklavcic of Slovenia. The pieces by an AGO founder published by sub- Etude IV evocative writing about the state of music-making monumental Kimball organ is in excellent instrument is extremely responsive and fi lls the scription. Visit my website to hear on and organ building during a period of two hun- condition with restoration in 1967 and 1985. worship space beautifully. The parish community the Hook and Hastings in Holy Cross Cathedral. dred years, as well as a particularly fi ne history Photographs, documents, original Kimball is “exemplary in its hospitality to all visitors,” and michaelsmusicservice.com 704/567-1066. of Vermont’s most famous and ubiquitous organ correspondence, blueprints, and performance that especially includes visiting organists. For recordings available. Contact Mr. Crockett, builder, the Estey Organ Company of Brattleboro. information: 808/661-4202; holyimaui.org 214/991-1009, [email protected]. See Christmas is just around the corner! Spiff An extraordinary compendium by E. A. Boadway, up your services and concerts with fresh photo and stoplist at http://www.thediapason. Jr. is a complete index of pipe organs found today PUBLICATIONS / RECORDINGS music. Sixteen Christmas titles to choose from. com/classifi ed/kimball-opus-7133. throughout the state. Readable and entertain- www.guinaldopublications.com. ing—a collector’s item! Visit www.ohscatalog.org. Raven, America’s leading label for organ record- 1957 M.P. Möller—13 ranks, all straight. Great: ings since 1978, offers one hundred CDs and ′ ′ ′ Consoliere Classic Series for Organ: Complete Open Diapason 8 , Bourdon 8 , Gemshorn 4 , videos at RavenCD.com. Titles include the 4-disc ′ ′ Set of Six Books. An outstanding collection com- Ed Nowak announces his new website, featur- Fifteenth 2 , Mixture III. Swell: Spitzfl ute 8 , Viola DVD/CD set about César Franck, 5-disc DVD/ 8′, Voix Celeste 8′, Harmonic Flute 4′, Trumpet 8′. piled from World Library Publication’s extensive ing his original choral works, hymn concertatos, CD set about Cavaillé-Coll, the acclaimed Bach/ Pedal: Open Diapason 16′ & 8′ from the Great, organ library. A must for any church organist. chamber and orchestral works, organ hymn Art of Fugue/DVD/CD set with George Ritchie, Bourdon 16′, 8′, 4′. Buyer to remove. Contact 003067, $54.00, 800/566-6150, Wlpmusic.com. accompaniments, organ and piano pieces, Ritchie’s 11-CD set of the complete organ works K. W. Hyre at St. Johns’, Olympia, WA: 360/352- electronic music, and psalm settings. Scores and of Bach, and recent CDs recorded by Jeremy Fil- 8527 or [email protected]. sell (Epiphany Church, Washington, DC; National recorded examples are easy to sample and can OHS Convention CDs: Historic Organs of Cathedral, National Shrine), Todd Wilson (Gerre be purchased in downloaded (PDF and MP3) or Baltimore, Historic Organs of Boston, Historic Hancock Organ Works at St. Thomas, NYC), Jon printed form. Visit ednowakmusic.com. Randall Dyer organ, 4 ranks, all-electric action Organs of Buffalo, Historic Organs of Chicago, Gillock (Messiaen on the new Quoirin organ, with expansion channel, solid-state relay; 9′ tall Ascension, NYC), Anthony Hammond (Coventry Historic Organs of Colorado, Historic Organs of x 7′ wide, 4′6′′ deep with bench. randalldyer@ Cathedral, UK), Mark Brombaugh (David Dahl Connecticut, Historic Organs of Indiana, Historic The new Nordic Journey series presents CD bellsouth.net, 865/475-9539. See photo and organ works on the Christ Church, Tacoma, John Organs of Louisville, Historic Organs of Maine, recordings of symphonic organ music—much stoplist at www.TheDiapason.com/classifi ed/ Historic Organs of Montreal, Historic Organs of Brombaugh organ) Jack Mitchener, Stephen Wil- of it still unpublished—from Nordic composers, dyer-4-rank-organ. liams, J. Thoams Mitts, Adam Brakel (Beckerath, New Orleans, Historic Organs of Pennsylvania, played by American organist James Hicks on a Pittsburgh Cathedral), Peter Sykes (Bach, clavi- Historic Organs of Portland, Historic Organs of chord), Maxine Thévenot, Damin Spritzer, Faythe Seattle, Historic Organs of SE Massachusetts. variety of recently restored Swedish organs. It’s 1938 Kimball studio/practice organ, 4 ranks, Freese (Magdeburg Cathedral), Rachel Laurin, Visit the OHS online catalog for over 5,000 a little bit like Widor, Reger, and Karg-Elert, but 21 stops, excellent condition, 91″ H, 85″ W, Colin Lynch, Ken Cowan, Daniel Sullivan, John organ-related books, recordings, and sheet with a Nordic twist. Visit www.proorgano.com 56″ D (+pedalboard). Organ Clearing House, Brock, many more. www.RavenCD.com. music: www.ohscatalog.org. and search for the term “Nordic Journey.” 617/688-9290, [email protected].

TOTAL PIPE ORGAN RESOURCES

2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com

Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, contact Jerome Butera, For advertising information contact: 608/634-6253 THE DIAPASON [email protected] 608/634-6253 voice Send a copy of THE DIAPASON to a friend! [email protected] e-mail Contact THE DIAPASON at 608/634-6253; [email protected]

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 PIPE ORGAN BUILDERS, LTD. Phone (515) 964-1274 Fax (515) 963-1215 LAKE CITY, IOWA 51449 (712) 464-8065

Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

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

1981 Casavant tracker—3 manuals, 23 1988 2M/11R Electric Action Pipe Organ Consoles, pipes and numerous miscellaneous Professional organ consultants assist stops, 30 ranks. Footprint 10′ x 14′; height 18′. includes two blowers. Chicago church closing; parts. Let us know what you are looking for. with your church’s pipe organ project. New Good working order. Available now. Seller will inquires contact Levsenorgan.com or 1-800-397- E-mail [email protected] (not comcast), organs, rebuilding, renovations, repairs, tonal designs. Contact: Audio Forum, 254/230-8476, consider offers on a competitive basis. For 1242 for details. Stoplist and photo on request. phone 215/353-0286 or 215/788-3423. details, contact consultant Dr. David Lowry at [email protected]. [email protected]. ′ HYBRID ORGANS FOR SALE Schantz 16 Bourdon, 32 stopped wood pipes, Releathering all types of pipe organ actions scale 1, with chest, rack, and stand, $8,000. 1981/2015 BIGELOW tracker, II+Ped, six stops: and mechanisms. Highest quality materi- ′ 8′, 4′; 8′, 4′; 16′, 8′. Excellent for a small chapel, Three-manual Rodgers Hybrid with seven Schantz 16 Gedeckt, 18 capped metal pipes, als and workmanship. Reasonable rates. residence, or practice room. www.bigeloworgans. sets of pipes; all working and in excellent CC–F, with chest, rack, and stand, as is, $2,000. Columbia Organ Leathers 800/423-7003. com. Click on News. condition. For more information please go to Chimes and harp. Miami, Florida, 305/649-2194. www.columbiaorgan.com/col. www.milnarorgan.com. Do you have a pipe organ that you would Casavant pipe organ, completely restored with SERVICES / SUPPLIES like to interface with an electronic or digital fi ve new stops by Létourneau in 1987. Two manu- ELECTRONIC ORGANS FOR SALE organ? We can interface any digital organ or als and pedals, 24 ranks. Organ is in excellent Aeolian/Robert Morton-style maroon any organ console with any pipe organ. For more condition and is a good candidate for solid-state Allen MDS 8: 2 manuals, Midi, transposer, leather is now available from Columbia Organ information e-mail [email protected] (not conversion. Asking $65,000 “as is” or can be 2 HC-15 speakers, internal speakers, AGO Leathers! Highest quality. 800/423-7003, Comcast) or call 215/353-0286. rebuilt with modifi cations. For more information, specs, in very good condition. Ideal for small www.columbiaorgan.com. contact Létourneau Pipe Organs at mail@letour- church, chapel, or home. [email protected] neauorgans.com or 888/774-5105. 609/641-9422. Complete Pipe Organ Services from the Organ ATTENTION ORGANISTS! Are you looking Clearing House: 450 vintage pipe organs avail- to welcome guests as only an organist able, renovation, tuning, consultation. Other Werner Bosch tracker organ, 1969. Two manu- MISCELLANEOUS FOR SALE can? The Organist’s Doorbell is a kit with services include transportation, cleaning and als and pedal, 9 stops. Case of African mahogany, pipes, and a tiny blower and windchest renovation of carvings, reredos, liturgical furnish- ′ ′ ′ ings. Call John Bishop at 617/688-9290. john@ 12 wide, 8 high, 4 deep. Self-contained 110-volt Möller 16′ Principal (32 pipes) in zinc. Suit- (tracker version), or wind-emitting diodes (ultra-high-tech-black-box technology), all organclearinghouse.com. blower. $30,000. The Organ Clearing House, able for a façade with over-length bodies. Asking 617/688-9290, [email protected]. easily mounted near your door. Choose $5,000. For information: mail@letourneauorgans. from reeds, a Cornet, or Principal Chorus. Advertise in THE DIAPASON 2016 Resource Direc- com or 450/774-2698. Special programs available (a seven-note tory—[email protected]; 608/634-6253. Expressive and compact—3/27 Kilgen (1940). confi guration plays the fi rst phrase of the Two expressive divisions. 17 manual 8-foot fl ues. Doxology, or four notes plays the opening Atlantic City Pipe Organ Company: Stinkens ′ of Widor’s Toccata). Optional 1 Sifflöte Postal regulations require that mail to THE Reeds include Tuba, Cornopean, Oboe, Clarinet, II–III Mixture and chest, 8′ Prestant, 2′ Principal, accessory with a separate switch can be DIAPASON include a suite number to assure Vox Humana. Harp. 16′ Open Wood. H: 237″, W: 1-1/3′ Quint. Beautiful 1955 broad scale Möller used for calling your dog. Order yours delivery. Please send all correspondence to: 170″, D: 189″. Stopkey console. Original restor- pipework: 1/3-tapered 8′ Diapason, strings, 16′ today! Box Doorbell-Con, THE DIAPASON, THE DIAPASON, 3030 W. Salt Creek Lane, Suite able condition. $30,000. Organ Clearing House, Rohrfl ute unit and more. E-mail acorgan@com- [email protected]. 201, Arlington Heights, IL 60005. 617/688-9290, [email protected]. cast.net or phone 609/432-7876.

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2015 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Jonathan Rudy 2014 AGO National Competition Winner Available 2014-2016

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2017

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Choirs

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison Thomas Murray The Choir of Saint Thomas Church, NYC John Scott, Director April 2016

James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Daryl Robinson Daniel Roth* Jonathan Ryan Celebrating Our 94th Season!

*=Artists based outside the U.S.A.

Ann Elise Smoot Tom Trenney Thomas Trotter* Todd Wilson Christopher Young