THE DIAPASON DECEMBER 2013

Fordham University Church New York City Cover feature on pages 26–27 WINNERS 2013 THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fourth Year: No. 12, In this issue Whole No. 1249 This month we present Barbara Owen’s report on the 58th DECEMBER 2013 annual national convention of the Organ Historical Society, Established in 1909 which was held this June in Burlington, Vermont, and environs. Joyce Robinson ISSN 0012-2378 This year’s convention was on a geographically smaller scale 847/391-1044; [email protected] than some previous OHS conventions, though no less delight- www.TheDiapason.com An International Monthly Devoted to the Organ, ful, as Barbara Owen’s report makes clear. Many thanks to Bill the Harpsichord, Carillon, and Church Music Van Pelt, and also to Len Levasseur, for their photography. Gavin Black continues his organ method, this month’s Frank Resseler discusses a Leiden, Netherlands, organ proj- installment providing further explanation and examples of ect that used an 1892 Willis organ as the basis for an installation learning to play contrapuntal passages. CONTENTS at the Hooglandse Kerk (St. Pancras)—with its seven-second reverberation, the church will provide a fi ne home for the organ. In preparation FEATURES Our cover feature this month is the new Schoenstein instal- In the coming months, we will offer articles on the organ at Anglo-Dutch Organ Transplant lation at Fordham University Church in New York City. Jack St. James United Church in Montreal, Iberian battle music for A Henry Willis organ in Leiden, the Netherlands Bethards discusses the many issues involved in fi tting a pipe organ, reports on the French and British organ music seminars, by Frank Resseler 20 organ into an existing space and more. Albert Schweitzer Organ Festival Larry Palmer elucidates Padre Antonio Soler’s Fandango, Sixteenth Anniversary available in a new edition from Ut Orpheus. His discussion Happy holidays by David Spicer 21 includes how harpsichordists are dealing with the piece’s end- This issue will reach you during the holiday shopping OHS 2013: ing (on the dominant), focusing in particular on the young season—what better gift for an organist friend, colleague, or In the Green Mountain State Spanish harpsichordist Diego Ares. student than a subscription to The Diapason? Look for the Burlington, Vermont, June 24–29, 2013 by Barbara Owen 22 John Bishop’s column this month begins by discussing the subscription coupon in this issue, and give a gift that is just the “personality” one can feel with inanimate objects, and exam- right size for any organist. NEWS & DEPARTMENTS ines how styles in pipe organ design have evolved. He clarifi es We also take this opportunity to wish you and yours peaceful, Editor’s Notebook 3 how styles need to fi t into the right settings. restful, and joyous holidays. Q Letters to the Editor 3 Here & There 3 Nunc Dimittis 10 Letters to the Editor Harpsichord News by Larry Palmer 12 In the wind . . . by John Bishop 16 On Teaching by Gavin Black 18 Don Hustad comments. In addition, I have written a David Szanto mentions that “during This is just a quick note to say thank number of articles on the organ reform its 1960 installation, construction of the REVIEWS you for Elizabeth Naegele’s informa- in Canada, on the history of the organ basilica was still underway.” It might be Music for Voices and Organ 13 tive article about Don Hustad (The in Quebec (ISO Journal, #34 and #37), interesting to know that the acoustics Book Reviews 14 New Recordings 14 Diapason, November 2013). For many and on the relationship between Rudolf were much more reverberant when New Organ Music 14 years I have enjoyed playing Hustad’s von Beckerath and Charles Letestu, Beckerath visited the basilica three years New Handbell Music 15 straightforward hymn arrangements. I in which the ties between some lead- before shipping the organ. The builder also have used his worship textbooks for ing French organists, such as Letestu, of the future organ had not been told NEW ORGANS 28 college teaching. Vierne, Marchal and the builder from that openings in the walls were to be CALENDAR 29 Don Hustad’s life and career demon- Hamburg are elucidated. (http://www. fi lled with acoustical absorption material. ORGAN RECITALS 32 strate that it is possible to be an evan- uquebec.ca/musique/orgues/fqao20. Even during the organ’s installation the gelical Christian and a classically trained html#Beckerath). walls were covered with acoustical tiles. CLASSIFIED ADVERTISING 34 musician at the same time. I am most One omission in the articles is the To fi nd the basilica with dry acoustics was appreciative—of his life and of the good following: in my view the designer(s) therefore a shock to him when he arrived article in The Diapason. of this organ case should have been for voicing the organ. To cope with the Stephen Vincent mentioned. A few years ago I learned lack of power, Beckerath changed some Hillsboro, Kansas from Ruth Brunzema that the designer ranks with pipes of a larger scale. was her brother-in-law, architect Daniel Between 1966 and 1967 the basilica St. Joseph’s Oratory Brunzema (known for his book about was closed for renovations, during which The May issue of The Diapason proportions in organ cases), brother it was given a more contemporary look contains two excellent articles about the of Gerhard Brunzema . . . His name is . . . Beat Grenacher was sent by the organ at St. Joseph’s Oratory in Montreal. not mentioned anywhere and I have no Beckerath fi rm to go through the voic- One is by Stephen Sinclair, of the Juget- idea why his collaboration has been kept ing of the complete organ and adapt it to Sinclair fi rm who restored the organ, secret; neither can I fi nd the answer its new and more reverberant acoustical COVER the other by organist David Szanto. As from former Beckerath employees. We environment. Assisted by yours truly, the Schoenstein & Co., Benicia, California; I know the Beckerath organs well and might however fi nd the answer in the revoicing took a whole month . . . Fordham University Church, New York City 26 have worked on the three instruments archives of the Oratory, and/or of the Helmuth Wolff in Montreal I would like to add a few present Beckerath fi rm . . . Laval, Quebec, Canada

Editorial Director JOYCE ROBINSON [email protected] Here & There 847/391-1044 Editor-at-Large STEPHEN SCHNURR Events Praise Band; Saturday, 5/10, Marion St. Mary’s Cathedral, San Fran- [email protected] 219/531-0922 Christ Church, Bradenton, Florida, Civic Chorale. For information: cisco, continues its concerts, Sundays continues its concerts. December 1: www.fumcocala.org. at 3:30 p.m.: December 1, Christoph Sales Director JEROME BUTERA Richard Benedum, lecture on Handel’s Tietze; 12/8, Vytenis Vasyliunas; 12/15, [email protected] Messiah; 12/8, Lessons & Carols for St. Peter in Chains Cathedral, Advent Lessons & Carols; 12/22, 608/634-6253 Advent; January 18, Sarasota-Manatee Cincinnati, Ohio, presents music events: Angela Kraft Cross; 12/29, David Hatt; Designer DAN SOLTIS Bach Festival (1/19 at Church of the December 1, Advent Lessons & Carols; January 5, Epiphany Lessons & Car- Contributing Editors LARRY PALMER Redeemer, Sarasota); February 9, Huw 12/13, Choir of Clare College; 12/20, ols; 1/12, Gail Archer; 1/19, Anthony Harpsichord Lewis; 2/23, Ring Sarasota handbell Marco Panuccio, tenor; February 23, Williams (co-sponsored with the San ensemble; March 2, Mozart, Mass in C early music festival; March 10, Stile Francisco AGO Chapter); 1/26, Lyle JAMES MCCRAY Major; 3/9, István Ruppert; 3/23, Ahreum Antico; April 11, Chanticleer; 4/16, Sheffl er, classical guitar. For informa- Choral Music Han. For information: Ancient Offi ce of Tenebrae. For informa- tion: 415/567-2020, ext 213. BRIAN SWAGER www.christchurchswfl a.org. tion: www.stpeterinchainscathedral.org. Carillon Trinity Episcopal Church, Santa JOHN BISHOP First United Methodist Church, Holy Name Cathedral, Chicago, Barbara, California, presents its In the wind . . . Ocala, Florida, continues their Concerts Illinois, announces its Advent organ Advent organ recitals, Sundays at 3:30 with a Cause: December 1, Central recitals on Sundays in December at p.m.: December 1, Mahlon E. Balder- GAVIN BLACK On Teaching Florida Master Choir; 12/7, Marion 3:30 p.m., followed by Vespers at 4 p.m.: ston; 12/8, Kevin Rose; 12/15, Emma Civic Chorale; 12/8, Christmas Concert; December 1, Stephen Alltop; 12/8, Peter Lou Diemer; 12/22, David A. Gell. Reviewers Jay Zoller February 16, Gainesville Civic Chorus Kurdziel; 12/15, David Jonies; 12/22, For additional information: James M. Reed & Chamber Orchestra; April 6, Central Bruce Barber. For information: www.trinitysb.org. John Collins Florida Master Choir; May 4, FUMC holynamecathedral.org. ³ page 4 Robert Jan August

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2013. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 3 Here & There

Pieter Saenredam, The Interior of St. Odulphus Church in Assendelft

On Sunday, February 2, 2014, the Orgelpark in Amsterdam will present a “Composer’s Portrait” of Piet Kee. Colleagues and artists will perform works including Bios (organ), Flight (fl ute solo), Psalms (French harmonium), Ringing Jon Gillock (front row, center) and Andrew Scanlon (front row, right) with East Caro- Piece (carillon), Manual Pieces (box lina University students organ) and, as the “main dish,” The Organ, a key piece in Piet Kee’s East Carolina University hosted Jon Gillock for a short residency September 30 oeuvre. This composition will be to October 3. Dr. Gillock taught a masterclass, presented a lecture on “Mysticism in performed on all six organs of the French Organ Music from Titelouze to Messiaen,” and all organ students were able Orgelpark, inspired by an idea to have private lessons. Events were held at St. Paul’s Episcopal Church in Green- described by British organist Ste- ville, North Carolina, where C.B. Fisk Opus 126 resides. Pictured are organ students phen Farr in a review he wrote for and faculty with Jon Gillock and East Carolina University professor, Andrew Scanlon. the periodical Choir and Organ. The Organ is based on and inspired by “The Interior of the ³ page 3 Chicago Bronze, handbells; April 2, Saint Odulphus Church in Assen- The Church of St. Louis, King of Christopher Urban; 4/13, choral con- Piet Kee delft,” by Pieter Saenredam, a France, St. Paul, Minnesota, continues cert. For information: www.fpcah.org. famous painting from the Dutch its organ recitals, Tuesdays at 12:35 Golden Age, and “Bourges I” by contemporary Amsterdam artist Jan Dibbets. p.m.: December 3, Andrew Schaeffer; The Church of St. Luke in the Both paintings will be projected on a large screen in order to show listeners the 12/10, Jonathan Orwig; 12/17, Cath- Fields, New York City, continues its relationship with the music. There is no organ on Saenredam’s painting, while in erine Rodland; January 7, Karl Robson; concert series: December 5, A Baroque the music the sound of an organ is gradually built up. The concert will end with 1/14, Jams Bobb; 1/21, David Jenkins; Christmas in Rome; January 23, David Magic Pipes for panpipes and organ, one of Kee’s recent compositions. 1/28, Katherine Burk. For information: Shuler (works by Bach and Buxtehude); www.stlouiskingoffrance.org. February 20, Palestrina choral works; April 3, music based on the Passion story, December 6, Benjamin Sheen; 12/13, Chamberlain’s Consort; 12/15, 9th First Presbyterian Church, by Buxtehude and Schütz. For informa- Christopher Candela; 12/20, Anthony annual carol sing; January 19, Trio Cava- Arlington Heights, Illinois, continues tion: 212/414-9419; Rispo; 12/27, Craig Williams. For infor- tina; 1/26, cello and piano; February 9, its concert series: December 4, Michael www.stlukeinthefi elds.org. mation: www.actorschapel.org. Vassily Primakov, piano; March 2, cello Gagne; 12/8, The Glory of Christmas; and piano; 3/23, Andrew Henderson; February 5, Kris Ward, handbells; St. Malachy’s The Actors’ Chapel, St. Chrysostom’s Church, Chicago, 3/30, New York Bach Artists; April 2/9, 29th annual Organ Fest; March 5, New York City, presents its Pre-Theatre continues its concert series: December 13, Handel, Messiah; 4/25, 4/27, Juil- Christopher Urban, with piano; 3/16, Fridays organ recitals, at 6:30 p.m.: 6, Candlelight Carols; January 18, Way- liard415, Corelli sonatas; May 4, New ward Sisters; February 23, St. Chrysos- York City Children’s Chorus; 5/18, Saint tom’s Choir; March 23, Roger Stanley; Andrew Chorale and Orchestra, Bach May 11, early Baroque ensemble works; cantatas. For information: 212/288-8920; 5/18, parish recital; June 1, viol consort;. www.mapc.com/music/sams. A Precious Gift For information: www.saintc.org. Second Presbyterian Church, St. Inaugural celebrations continue for the Louis, Missouri, concludes its Couts from the Past new three-manual tracker-action Noack Music Series: December 8, Advent Ves- organ in Hertz Hall, University of Cal- pers. For more information: for the Present ifornia, Berkeley. December 7, works www.secondchurch.net. by Vivaldi, Pergolesi, and Domenico Paradies’ Organ Concerto; 12/13 and The Shadyside Presbyterian and the Future 12/14, Saint-Saëns, Third Symphony; Church, Pittsburgh, continues its 2013– Supremely beautiful and blendable 12/15, Davitt Moroney recital, followed 14 schedule: December 8, Poulenc, by Saint-Saëns, Third Symphony. For Gloria; 12/24, Candlelight Service; Feb- tonal color – a Gift from the Venetian information; music.berkeley.edu. ruary 23, baritone Daniel Teadt; March School of organbuilding, a monumental part of our 9, Virginia Glee Club; April 6, Choral JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH Madison Avenue Presbyterian Evensong; 4/27, Ahreum Han. For infor- SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN Church, New York City, continues its mation: www.shadysidepres.org. music series: December 8, My Lord ³ page 6 Intriguing? Let us build your dream. THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts Builders of Fine Pipe Organs to the World are featured at 5pm ET the first Sunday of www.ruffatti.com each month at wrti.org Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370

4 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Michael D. Boney Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organ/Choral Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Michael's, Boise, ID Battipaglia, Italy Paris, France Ann Arbor, Michigan

Paul Cienniwa Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Concert Harpsichordist Interpreter/Improviser Organist/Lecturer Organist/Pianist Organ/Carillon Organist Boston, Massachusetts Dijon, France Milwaukee, Wisconsin Bloomington, MN University of Florida Birmingham, England

Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Professor of Organ Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer University of Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California

David K. Lamb Mark Laubach Yoon-Mi Lim Christopher Marks Katherine Meloan Scott Montgomery Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Organist/Professor of Music Organist Organist/Presenter Columbus, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX U of Nebraska-Lincoln New York, New York Champaign, Illinois

Shelly Moorman-Stahlman Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Organist/Pianist Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Lebanon Valley College University of Kansas Atlanta, Georgia Southern Methodist University Luther College William Jewell College

Brennan Szafron Timothy Tikker Michael Unger Beth Zucchino Rodland Duo Vinaccesi Ensemble Organist/Harpsichordist Organist/Composer/Improviser Organist/Harpsichordist Organist/Harpsichordist/Pianist Organ and Viola Voice and Continuo Spartanburg, S. Carolina Kalamazoo College, MI Cincinnati, Ohio Sebastopol, California St.Olaf College/ San Francisco, CA Eastman School of Music www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Associate Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 26th year of operation Here & There

³ page 4 8–10, 2014, in Naples, Florida. The con- ference will include ideas on how to use social media with your church and choirs, choral technique classes, worship, con- certs, and reading sessions featuring new publications from Augsburg Fortress, Hinshaw, and MorningStar Music Pub- lishers. Classes will deal with growing the choir, attracting young adults into the music ministry, strategic planning, edu- cating the congregation about worship, and more. Presenters include Anton Armstrong, John Ferguson, and oth- ers. The conference is sponsored by the Association of Lutheran Church Musi- cians, the Presbyterian Association of Musicians, and the Fellowship of United Kent Tritle Methodists in Music and Worship Arts. For information: Musica Sacra, Kent Tritle, music www.augsburgfortress.org/ncsm/. director, continues its 2013–14 concert season in New York City: December First Presbyterian Church, “The 12 and 15, at Carnegie Hall, Handel’s Pink Church” in Pompano Beach, Messiah; March 31, at Alice Tully Hall, Florida, announces its Spire Series of Lincoln Center for the Performing Arts, concerts: January 12, Marilyn Keiser; Houston Chamber Choir works of Jocelyn Hagen (New York pre- February 23, Mark Jones, with Lynn miere of Jocelyn Hagen’s oratorio amass) Conservatory orchestra; March 12, The Houston Chamber Choir presents holiday concerts: December 7, Messiah, and Meredith Monk. For information: Mark Jones, with oboe; 3/19, Diana with the River Oaks Chamber Orchestra, 7:30 p.m. at the Church of St. John the www.musicasacrany.com. Aker; 3/26 Mark Jones, with piano; April Divine; 12/14 (3:30 p.m.) and 12/15 (7:30 p.m.), Christmas at the Villa, with guitarist/ 2, Mark Jones, with harp; 4/9, Mark lutenist Richard Savino, at the Chapel of the Villa de Matel. For information: www. CONCORA presents concerts during Jones, with saxophone. For information: houstonchamberchoir.org. this last season with Richard Coffey as www.pinkpres.org. conductor: December 14 and 15, Christ- mas with CONCORA; February 22, The Vienna University of Music restore the interior as it looked in 1872. Jens Lindemann, and joined conductor music of the Russian Orthodox tradition; announces the 2014 Laudate Dominum Hand-painted murals, a new Italian James Conlon, the Colburn Orchestra March 30, Bach, Mass in B Minor. For conference for organists, choral conduc- marble fl oor, refi nished pews, a new and others for performances of Benja- information: www.concora.org. tors, singers, and church musicians, to be Tabernacle, and compete repainting min Britten’s War Requiem. His summer held February 2–8 in St. Pölten, Austria, were completed. activities included organ concerts at the As part of its fi ftieth anniversary just west of Vienna. Classes include The cathedral is home to Aeolian- National Concert Hall in Taipei, Taiwan, celebration, the Choir of St. Paul’s in organ literature and improvisation in pri- Skinner Opus 1267, which was installed and the International Organ Festival in Cambridge, Massachusetts, will be in vate lessons and classes; choral conduct- in 1953, and tonally fi nished by Allen Düsseldorf, Germany, and recording concert at the Cathedral of the Holy ing in master class settings; and vocal Kinzey, and a 1989 McNeely tracker with in his hometown, Mannheim. Cross in Boston on December 21. (The ensembles and private study with some organ in the north transept. The origi- Future performances include: Feb- concert will be recorded for television of the leading singers in Austria. Classes nal organ was a large 3-manual tracker ruary 7, Northridge United Methodist broadcast.) The event includes a wine in Gregorian chant will also be offered. by an unknown builder, possibly from Church; 2/21, Christoph Bull & Norton and cheese reception at 3 p.m. followed English language study is available. Fac- New York. Four ranks—Pedal Bour- Wisdom, First Congregational Church, by a candlelight procession, the concert ulty include Wolfgang Reisinger, Erwin don, Dulciana, Stopped Diapason and Long Beach; 2/28, Modesto First Chris- featuring the boys and men of the Choir Ortner, Paul Crabb, Josef Habringer, Harmonic Flute—were reused by tian Reformed Church. For information: of St. Paul’s, and a Christmas Carol sing- and voice faculty members Ursula Lang- Aeolian-Skinner. www.christophbull.com. along. For information: mayr, Gerda Hondros, Thomas Künne, Music director Douglas Green Bull’s son Maximilian Adrian Sebas- ChristmasattheCathedral.com. and Gerd Kenda. recently celebrated his 37th year at the tian Bull, now over eight months old, In addition to conference activities, cathedral. His distinguished music pro- enjoys music, including Glenn Gould’s The Church Music Association of American attendees are eligible for gram includes multiple children’s choral interpretation of the Well-Tempered America Winter Chant Intensive will a musical sightseeing tour in Vienna, and handbell choirs, the Cathedral Clavier, Wings’ Red Rose Speedway, and be held January 3–4, 2014, at St. Clare including tickets to major Viennese Youth Singers, the Cathedral Choir and 70s disco. of Assisi Catholic Church in Surprise, operatic and concert venues. For infor- the Norwich Diocesan Choir. Arizona. This year’s intensive includes mation, contact Wolfgang Reisinger at two separate tracks for intermediate [email protected], or visit the confer- People to advanced chanters who are inter- ence web site, www.hiphaus.at. ested in furthering their studies of the Gregorian modes or developing their On July 27, the Cathedral of St. skills conducting chant (chironomy). Patrick in Norwich, Connecticut was Faculty includes Jennifer Donelson rededicated following a three-year major and Edward Schaefer. For information: building restoration. Originally built in musicasacra.com. 1872–73, its foundation was hand-dug by the Irish Catholics during Holy Week. The National Conference for The recent restoration-renovation was Sacred Music will be held January the result of an anonymous donation to

A. E. Schlueter Pipe Organ Company is pleased to announce the contract Elizabeth & Raymond Chenault to build a new 50-rank pipe organ for Iglesia ni Cristo, Central Temple, Duo-organists Elizabeth & Ray- in Quezon City, Philippines. The Christoph Bull gives son Maximilian his mond Chenault played the world resources of this instrument will fi rst organ lesson premiere performance of Conditor Alme be controllable from a IV-manual Siderum by Pamela Decker July 4 for the drawknob console. Several divisions Christoph Bull has been appointed Region IV AGO Convention in Colum- of the organ will have chamber organist-in-residence at First Congre- bia, South Carolina. The Chenaults openings into side chapels which gational Church of Los Angeles. He played organ duets by Litaize, Paulus, will present a solo organ concert there Briggs, Callahan, Sousa/Chenault, plus can be closed off from the main December 8 at 3 p.m. Formerly princi- the South Carolina premiere of An Temple to allow the organ to also pal organist (2007–2013) at First United American Suite by Atlanta composer be playable as two separate two- Methodist Church in Santa Monica, Melinda Lee Clark, and their new manual instruments. Bull has presented a Baroque-to-Jazz arrangement of Andrew Lloyd Webber’s program at Ascension Lutheran Church Phantom of the Opera. in Thousand Oaks with trumpet virtuoso ³ page 8

6 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM REJOICE! Here & There

³ page 6 The Chenaults have commissioned and premiered over 40 organ duets and concertize under the management of Phillip Truckenbrod Concert Artists. Gothic/Loft Recordings has re-released their 20th Century Organ Music for Two, and Christmas at Spivey Hall; a 2014 release will feature duets by Briggs, Decker, White, Callahan, and Phantom of the Opera, recorded on the 103-rank Opus 1024 Aeolian-Skinner at St. Andrew’s Episcopal Church, Ama- rillo, Texas, and on the 189-rank organ at Washington National Cathedral. The Triumph of the Saint, a three-movement organ duet written by Stephen Paulus for the Chenaults, will be released here for the fi rst time. The Chenaults’ organ Joe Utterback duets are available from their artist page at Phillip Truckenbrod Concert Joe Utterback completed a com- Artists (concertartists.com), and at mission by Thomas Marshall—faculty gothic-catalogue.com. member at the College of William & Organists and choirmasters of All Mary, Williamsburg, Virginia, and organ- Saints’ Episcopal Church in Atlanta for ist of the Williamsburg United Method- 38 years, the Chenaults will record their Evelyn Schlager, Emanuele Cardi, Joan Peck, and Jim Duff ist Church—to honor Marilyn Mason at fi fth organ-duet CD for Gothic/Loft her retirement concert, September 30, Recordings to celebrate the tenth anni- Emanuele Cardi played a recital October 20 in Santa Rosa’s Church of the 2013, in Hill Auditorium, Ann Arbor, versary of the 87-rank James G. Kenan Resurrection. Cardi is organist and choirmaster at the Ghilardi and Carli organs Michigan, as part of the 53rd Confer- Memorial Organ, Opus 29 of John-Paul of St. Maria della Speranza church and sanctuary in Battipaglia, Italy, southeast of ence on Organ Music. The work, Dance Buzard Pipe Organ Builders of Cham- Naples. The recital offered compositions of Pietro Alessandro Yon (1886–1943), an of Celebration (Mambo for Marilyn), paign, Illinois. American-Italian organist who worked in the Vatican and later as the music direc- ends with a pedal passage using the tor of St. Patrick’s Cathedral in New York City. Emanuele Cardi is represented by Michigan “Fight Song.” An ossia pedal Concert Artist Cooperative. score for the fi ght song is supplied with the score, available from Jazzmuze, Inc. for $10, plus $6 postage. For information and score samples: www.jazzmuze.com; 732/747-5227.

Ben van Oosten is featured on a new recording, Camille Saint-Saëns: Com- plete Organ Works, on the MDG Gold label (MDG 316 1767-2). The three-CD set was recorded on the Cavaillé-Coll organ at the Église de la Madeleine in Jonathan Dimmock Paris, France. For information: www.mdg.de. Jonathan Dimmock toured in Michael Hey and Ian Bousfi eld Europe, playing nine recitals in fi ve countries. Upon his return to the U.S., Juilliard organist Michael Hey per- he accompanied the Santa Fe Desert formed with the New World Symphony David Jonies Chorale, and Susan Graham, in two on September 15 in Miami Beach, Flor- performances of the Durufl é Requiem. ida, in the premiere of a new arrange- David Jonies played recitals this Dimmock has released a new Bach CD, ment of Wagner’s The Ring of Nibelung spring and summer at St. Josef in Bonn, “Bach in Haarlem,” recorded on the by Timothy Higgins, principal trombon- Germany; Muskegon, Michigan; the Christian Müller organ at the Bavo Kerk ist of the San Francisco Symphony. The Cathedral of St. John the Evangelist, Mil- in Haarlem, the Netherlands. The CD is suite, which comprises sections from the waukee, Wisconsin; Queen of the Rosary available on Loft and through Naxos. four-opera fantasy cycle, is arranged for Chapel, Sinsinawa, Wisconsin; St. James Organist and choir director at St. Igna- brass ensemble, percussion, and organ. Cathedral in Chicago; on the historic tius Church and Congregation Sherith This was the conducting debut of Ian Kilgen organ at Immaculate Conception Israel, both in San Francisco, Dimmock Bousfi eld, former principal trombonist Church in Chicago; and at the Lutheran won a Grammy Award for his work with of the Vienna Philharmonic Orchestra. School of Theology in Chicago. Jonies is the San Francisco Symphony. He has Michael Hey is a full-tuition recipient the associate director of music at Holy recorded nearly 40 CDs, and has founded in his fi fth and fi nal year of the BM/ Name Cathedral in Chicago. a new organization, entitled Resonance, MM accelerated degree program at the which uses music in international Juilliard School, and presently serves as confl ict resolution. For information: assistant organist at Fifth Avenue Pres- James Welch www.JonathanDimmock.com. byterian Church in Manhattan. On September 10, at California Lutheran University, Thousand Oaks, California, James Welch presented a lecture-recital on the organ works of Follow us on Dale Wood (1934–2003), marking the tenth anniversary of Wood’s passing. In Photo: Michael Timms Facebook 1993, the university had honored Dale Wood with its Exemplar Medallion, “in RGUES ÉTOURNEAU TÉE recognition of his forty years of joyful O L L service to the church and humanity James Kibbie through the inspiration of his music.” CANADA UNITED STATES Welch’s recital included arrangements 16 355 avenue Savoie 1220 L St NW, Ste 100, Box 200 James Kibbie continues his annual of American hymns, international folk St-Hyacinthe (Québec) J2T 3N1 Washington, DC 20005 holiday tradition of offering free down- hymns, chorales, gospel songs, and even Tel: 450-774-2698 Tel: 800-625-PIPE [email protected] [email protected] loads of a recording on his house organ, Wood’s theatrical setting of “Wonderful a 7-stop Létourneau tracker, as an “audio Words of Life.” Welch also performed holiday card.” This year’s recording is three pieces by Richard Purvis, Leroy Photo: David Morrison Jan Koetsier’s Partita on Wachet auf Anderson, and George Shearing, all of for trombone and organ, recorded with whom infl uenced Dale Wood’s compo- letourneauorgans.com David Jackson, professor of trombone at sitional style. James Welch has recorded the University of Michigan. It is available over 50 of Wood’s more than 125 hymn in MP3 and streaming audio formats at settings; he is now writing a biography www-personal.umich.edu/~jkibbie. ³ page 10

8 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM American Classic 770 Meet the king of instruments

The American Classic 770 is one of the newest crown jewels in the Johannus family. Draped in a console fi t for a king, this majestic organ is adorned with seven divisions, graced with an astonishing number of voices and enriched with such a full range of orchestrals that the unique 64-foot Diaphone seems merely an encore. Have a seat and meet the king of instruments. Here & There

Nunc Dimittis and nationally. He worked to save and refurbish historic railroads and steam Douglas E. “Doug” Bush died in his home engines, including volunteering at Golden’s Colorado Railroad Museum, where on October 4 after battling cancer. Born in 1947, he helped with locomotive and car restoration projects and with special exhibi- Bush grew up on a farm in western Montana; his tions at the museum. Michael A. Rowe is survived by sisters Janice Kraft and interest in music began while in his high school Regina Carter, both of Bailey, and Patricia Melby, of Conifer, as well as nieces and choir. Bush attended Ricks College (now Brigham nephews. Donations may be made in his name to the Organ Historical Society, PO Young University Idaho); after a year at Ricks Box 26811, Richmond, VA 23261. College, Bush was called on an LDS mission to Switzerland, following which he attended Brigham Joseph William “Joey” Smith died October 24 in Atlanta, Georgia, as a result Young University, earning a bachelor’s degree in of injuries sustained from a severe beating by three individuals. He was considered music performance in 1972 and a master’s degree to be brain-dead shortly after being admitted to the neurological intensive care in music in 1974. He received a Ph.D. in musicol- unit of the hospital. Although he was an organ donor, most of his organs were so ogy in 1982 from the University of Texas at Austin. badly damaged by the beating that they were no longer viable. Born in Fayette- Dr. Bush concertized extensively in the United ville, Georgia, on January 26, 1977, the son of Sarah Allen Anthony, Smith had States, Mexico, and Europe. He taught for many been employed by Michael Proscia Organbuilder, Inc., Bowdon, Georgia, since years at BYU and served as an organist for the Mor- Douglas E. Bush 2005, and was considered the “computer genius” of the fi rm. He loved all forms mon Tabernacle Choir at Temple Square. He con- of music and enjoyed playing the guitar. A person who was happy all the time, he ducted numerous masterclasses and workshops, and published organ and choral was happiest when he was with his two sons. In his spare time he loved hunting music for church use. His musicological research focused on the use of the organ and fi shing. Joseph William Smith is survived by his mother and stepfather, Sarah in the Roman Catholic and Protestant liturgies of the German Renaissance and Allen Anthony and Montgomery Anthony, Sr. of Woodland, Alabama; sons Cain Baroque periods, as well as the music of Samuel Scheidt, Nicolas de Grigny, and Fristad of Lithia Spring, Georgia, and Maliki Smith of Carrollton, Georgia; broth- Johann Sebastian Bach. Bush had received several grants for European research, ers Chris Smith of Piedmont, South Carolina, David Ball of Hogansville, Georgia, the Alcuin Fellowship for General Education at BYU (1991), several teaching and Montgomery Anthony, Jr. of Woodland, Alabama; and a host of other family awards, and BYU’s Alumni Professorship award in 2011. Douglas E. Bush is sur- and friends. vived by daughters Sarah Bush, Rebecca Buchert (Martin), Susan Bush (Joshua Trammell), Elizabeth Bush Campbell (Scott), and Christa Groesbeck (Garrett); Walter S. Teutsch passed away on September 12 grandchildren; father, Josiah Douglas Bush (Mary Bush); brother, Rick Bush 25 in Ghent, New York, seventeen days shy of his (Jackie) and sister, Dianne Reeder. 104th birthday. Born in Augsburg, Germany, on October 11, 1909, Teutsch was expected to follow Michael A. Rowe of Denver, Colo- in the footsteps of his father, a judge in the Bavarian rado, died on September 13. Chair of State Court System. After receiving his Doctor of the 1998 Colorado OHS Convention, Jurisprudence degree, the younger Teutsch prac- Rowe was active in the restoration, ticed law in Augsburg for twelve years, after which rebuilding, relocation, and appreciation he began studies at the Leopold Mozart Conser- of many pipe organs, including the 1919 vatory, where he earned a master’s degree. In the four-manual, 58-rank Austin organ at mid-1930s, Judge Teutsch felt that life in Germany Memorial Hall in Pueblo, Colorado, and under the Nazis was becoming diffi cult, and he the 1911 Kimball rebuilt at Immaculate arranged for his children to come to the United Conception Cathedral (RC) in Denver, States. Walter Teutsch, his brother, and sister all Walter S. Teutsch both projects undertaken by Rick Morel settled in Utah; Teutsch taught music at Westmin- of Morel & Associates in Denver. ster College, Salt Lake City. He married his lifelong sweetheart, Gertrude, in Salt Rowe was born January 29, 1945, in Lake City, and had two daughters. In 1954 Teutsch went to California Western Edgewater, Colorado, and majored in University, to develop a music and opera program. He served as organist and theater at the University of Colorado. Michael A. Rowe choirmaster at All Souls Episcopal Church, Point Loma, and Mission Hills United He subsequently received a teaching Methodist Church, San Diego; he also played numerous concerts on the Spreckels certifi cate from Regis College. He made Boulder his home and worked for the organ at Balboa Park. Teutsch was active in the AGO, as a member of the La Jolla Boulder Valley School District. His personal passions included advocating for and San Diego chapters. Walter S. Teutsch is survived by his daughter and son-in- Boulder-Denver commuter rail service, and historic preservation projects locally law, Karin and Daniel Haldeman. Q

³ page 8 Publishers melody of “A Mighty Fortress.” A duet Celebration Render, C. Michael Hawn’s of Dale Wood. Earlier this year Welch Michael’s Music Service announces version is also available (arranged for compilation of essays on congregational published an extensive biography new organ sheet music. A Tiny Liturgi- four hands). Michael’s Music Service is song in the twenty-fi rst century (G-7658, of Purvis. cal Year, twelve pieces from Advent to also offering a free organ dustcloth with $42.95). More than fi fteen years in the Premiered by Purvis in 1969, the All Saints by Olivia Margaret Ontko a $50 music order. For information: making, Hawn’s book comprises essays concerto had not been heard at the (b. 1947), began as three separate http://michaelsmusicservice.com. by James Abbington, John L. Bell, Cathedral since then. Joining James hymn-tune introductions composed Emily R. Brink, Kathleen Harmon, Lim Welch were members of the Master for Olivia’s friends, who suggested Swee Hong, Deborah Carlton Loftis, Sinfonia Chamber Orchestra under she expand the number of pieces. Ave David W. Music, Greg Scheer, and the direction of David Ramadanoff. Maria and Il Lamento, by Adolf von Pablo Sosa. The essays explore diverse Among friends, former students, and Henselt (1814–1889), are transcribed repertoire and practices that are avail- admirers of Purvis in attendance were by Herbert Brewer (1865–1928), and able to enliven congregational song. choristers who had sung under Purvis demonstrate imitating the sustaining An included compact disc features at the Cathedral from 1948 through pedal of the piano. Reformation Fan- musical examples. For information: the early 1950s. Calling themselves the tasie by Wilhelm Rudnick (1850–1927) www.giamusic.com. “Old Boys,” they continue to hold an is a three-movement dramatic fantasy annual reunion. in late-romantic style and includes the

MANDER ORGANS

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10 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM Here & There as a series of articles in The American Organ Builders Organist, the book discusses organs in more than 50 private homes, recounting a time when the organ was not only a symbol of those who had arrived socially, but was considered the ultimate appoint- ment of the luxurious home. Well-known subjects include Andrew Carnegie, Hor- ace Dodge, Marcel Dupré, George East- man, Henry Ford, Henry Clay Frick, Charles Gounod, John Hays Hammond, Robert Todd Lincoln, John D. Rock- Létourneau Opus 128, Church of St. efeller, Louis Comfort Tiffany, Wm. K. Joseph, Greenwich Village Vanderbilt, Charles-Marie Widor, and Frank W. Woolworth. Orgues Létourneau Limitée Designed by Len Levasseur and illus- announces the signing of a contract for trated with more than 250 photographs, a new pipe organ with the Church of St. this large-format, hardbound book docu- Joseph in Greenwich Village, New York ments the work of more than 25 organ- City. The III/39 organ will be built with builders in the United States, England, mechanical key action and electric stop France, and Germany; stoplists of each actions, and include a multi-level system instrument are included. of pistons. It will replace Aeolian-Skin- Publication date is May 2014 and the ner Opus 1225 (1952, rebuilt by Thomas Members of St. Bridget’s Boy Choir meet the new Buzard Opus 42 pipe organ subscription will close April 30. Sub- Martin in 1975). Marking Létourneau’s scribers receive a free copy of the book second instrument in New York City, The new Buzard Opus 42 organ at St. Bridget’s Catholic Church, Richmond, Vir- with their names printed. For informa- their Opus 128’s completion is expected ginia, was introduced to the choristers of St. Bridget Parish Boy Choir immediately tion: www.organsociety.org/ohspress/. before Christmas 2014. For information: following the instrument’s completion on October 1, as part of the choir’s ongoing www.letourneauorgans.com. education about pipe organs. Organist and Choirmaster Allen Bean explained the various families of tone and the excited youngsters displayed their enthusiasm for Recordings what they saw and heard. Allen Bean introduced the Buzard organ to the parish in concert on September 28, and an ongoing effort of “Organ Evangelism” is underway to interest young people in the workings and playing of the new organ. St. Bridget Parish Boy Choir is a non-auditioned parish choir for boys with unchanged voices in second grade and older. Choir membership remains steady at 10–12 choristers each year, who benefi t from the RSCM’s Voice for Life program. The choir rehearses one hour per week during the school year, sings at liturgies approxi- mately once a month, and for special liturgical and musical events. The Parish Boy Choir has sung with the Parish Girl Choir (of approximately 30 choristers) at the Kennedy Center for the Performing Arts in 2011 and as guests of the American Youth Harp Ensemble at Alice Tully Hall, Lincoln Center, in 2013. The organ was inaugurated by Ken Cowan in concert on November 15. Ecclesiasti- cal dedication of the organ will take place at the 5:30 Mass on Saturday, December 7. For information: www.buzardorgans.com.

Edwin Henry Lemare

Pro Organo announces that volumes I–III of the Lemare Affair series of CDs are now all available. Edwin Henry Lemare (1865–1934) lived during the golden age of the symphonic organ; THE OHS from 1895 to 1920, Lemare had played regularly to audiences numbering in the Johannus Ecclesia D-570, First United thousands upon large symphonic organs Methodist Church, Round Rock, Texas in concert halls in England, Australia, and the USA. His heyday just pre- Johannus Organs of Texas recently 2014 ceded the age of audio recording, but installed an Ecclesia D-570 church organ a glimpse into his artistry was preserved in the First United Methodist Church in in dozens of organ roll recordings he Round Rock, Texas. The Ecclesia D-570 made for Welte (of Freiburg, Germany) has an 18.3 audio system, four manu- CALENDAR in 1913. als, 80 voices, four 32-foot voices and a While earning his doctorate at the balanced set of speakers, well suited for Eastman School, Frederick Hohman accompanying the large congregation. EVERY DAY YOU WILL DELIGHT wrote a doctoral essay on Lemare, First United Methodist Church, or First in these wonderful organ photo- entitled The Art of the Symphonic Church, has a rich heritage spanning Organist, which analyzes Lemare’s over 100 years of ministry in the Round graphs when you use the NEW playing style as deduced from his Welte Rock community and beyond. Starting 2014 twelve-month calendar that organ recordings. One of the fi rst to in 1879 as a circuit church, First Church celebrates the 2014 Fingerlakes perform and record Lemare’s original has now grown to over 4,500 members. Region Convention, in Syracuse works in the late 1980s, Hohman has The Johannus Ecclesia series is avail- August 11–14. Len Levasseur’s recorded the Lemare performances able in fi ve different models. The digital of others, producing their albums for instrument is based on a revolutionary, photographs dance off the page Pro Organo. More than 15 albums in state-of-the-art audio system, and it JOIN THE OHS TODAY! and Greg Keefe’s welcoming arti- the Pro Organo catalog have Lemare is equipped with multiple amplifi ers, cle is a charmer! connections, containing one or more subwoofers and speakers. For informa- www.organsociety.org of his virtuoso transcriptions or original tion: www.johannus.com/en-us/nieuws/ concert organ works. For information: ecclesia-d-570-first-united-methodist- IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM OVER 5,000 TITLES! www.proorgano.com. church-round-rock-tx/. ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 11 Harpsichord News by Larry Palmer

Soler’s Fandango An urtext edition of Fandango (R146) by the Spanish composer Padre Antonio Soler (1729–1783) has been published by Ut Orpheus Editions of Bologna (ES67). Comprising 463 measures, the obsessively repetitive work is both lengthy and mesmerizing—truly a vir- tuoso exercise in baroque minimalism. The beautifully printed new publication is a careful transcription of the original manuscript. In his one-page Preface, editor Aapo Häkkinen lists a few of the “dozens, if not hundreds, of textual questions” facing a potential player, illustrating some of these by citing Diego Ares (photo credit: Mary Quintero) Ut Orpheus Fandango cover Diego Ares explains (photo credit: Susanna several of the measures in which they Drescher) occur: Where should one apply or disre- in the work’s home tonality. Since I found gard accidentals? How could one decide Puyana’s rendition eminently satisfying, I on possible errors in the source? And, decided to write Señor Ares to learn his perhaps most vexing of all, is the piece rationale for concluding the piece as he complete as published, since it ends did. With permission I quote from his abruptly on a single-beat A-major chord generous and eloquent responses: rather than the expected cadence in the tonic key of D? “The 18th century produced two fan- Häkkinen, playing from this edition dangos that have become well known: the for his recording of the work on com- one by Soler, and another by Boccherini; pact disc (Deux-Elles DXL 1083), quite unlike Soler’s, Boccherini’s ends on the naturally chose to present it exactly as he tonic. Two others, less known, are by José published it. So do other players such de Nebra and Domenico Scarlatti, both as Swiss master Andreas Staier (heard of whom are prominent among Soler’s on YouTube) and the brilliant young mentors. These two compositions both Ares Soler CD box cover Spanish harpsichordist Diego Ares, who end on the dominant. [The work attrib- included the Fandango in a beautifully uted to Scarlatti is included on Puyana’s would have suggested a lengthy ral- organized disc of works by Soler: “el Dia- disc. Both may be heard on YouTube.] lentando for the ending of such a long blo vestido de fraile” [“the Devil dressed Why? Perhaps one reason could be piece, but if this is applied to a fandango as a friar”] (PanClassics PC 10201). This the traditional choreography of the it would destroy the relationship to the Diego Ares at harpsichord artist’s thoughtful notes to his recording dance. The New Grove description of dancers’ movements. Ending with the should be required reading for those who the dance-form fandango has it end- dominant allows the quickening pace; on the dominant, it would relate more wish to learn more about Soler and the ing with an extreme accelerando. This ending in the tonic makes a slowing closely to the fandangos of de Nebra fascinating music he wrote. The sumptu- gradual increase in tempo leads to an almost obligatory. But who knows? I and Scarlatti. ous production includes complete texts explosive climax on the fi nal chord, leav- could even imagine that she might have The last chord of Fandango seemed in Spanish, German, French, and Eng- ing the dancers exhausted. The fandango liked the accelerando effect for this par- to me a bit empty. So for my record- lish, and is replete with illustrations. It was considered to be an extremely ticular type of piece! ing I thought some acciaccature would is highly recommended. Ares’s CD was sensual dance.1 Since it might be inap- When I [Ares] spoke with Puyana he give more color to the chord, and hav- honored with a prestigious Diapason propriate for a monk (Soler) to compose told me that on his fi rst recording he ing in mind how Soler knew its use (for d’Or award in 2010. such a thing, it might be that the ‘L.D.’ omitted some measures since he felt instance he uses this ‘ornament’ in his Another rousing performance by the (Laus Deo [Praise God]) immediately the piece was too long, and he played preludes and in some of his sonatas, the late Rafael Puyana is preserved on his following the dominant cadence in a da capo since it was in the Rubio one in C Minor, SR 100, for example), 1990 disc Fandango (L’Oiseau-Lyre Soler’s manuscript, was meant to certify transcription of the manuscript. This is and it was surely part of the Spanish 417 341-2), with a reading based on an his religious vocation, even though he not wrong! I would leave it to the taste keyboard tradition by his time. Some edition by musicologist Samuel Rubio, were momentarily to be seduced by such of the player: if the person repeats the other harpsichordists repeat the fi nal who solved the problem inherent in the sensual rhythms! opening and cadences on the tonic I chord in a ‘polonaise rhythm’ [long- ending by adding a return to the opening The pioneering 20th-century harp- would relate this piece to the one by short-long] (Bob van Asperen, for one), measures, thereby fashioning a cadence sichordist Wanda Landowska probably Boccherini; if the player ends the work or make free runs and arpeggiations (Nicolau de Figueiredo). I am thankful that there is no one “right or wrong” answer to this question!”2 Thousands of titles, top-tier publishers... Editor Aapo Häkkinen espoused this same sentiment, as well, concluding his Preface with these words: “My solution has been to provide a score entirely free of editorial emenda- tions. Some will deem it performable as such, while many will undoubtedly adjust it to their preferences. Previous editions based on the source (. . . by Frederick Marvin 1957 and Samuel Rubio, 1971) OneLicense.net have given fi ne solutions, unfortunately without revision details. With the pres- ent edition, performers will be able to forSUNDAY ANNUAL and ONE-TIME judge for themselves.” BULLETINS, CHURCH COPYRIGHT Notes WEDDINGandFUNERAL 1. In the Ut Orpheus edition, the editor quotes a paragraph from the Histoire de ma vie by Giacomo Casanova, concerning the las- PROGRAMS, civious nature of the fandango. For an English PERMISSIONS translation of this French text, see www.tecla. PROJECTION, com/extras/0001/0025/0025pref.htm, found as notes to Dionisio Aguado’s Variations on SPECIALSERVICE the Fandango, opus 16. 2 E-mail correspondence with Diego Ares BOOKLETS, received on October 21, 22, and 29, 2013. Log on and take the tour today! PRACTICE TRACKS, News items and comments are always and PODCASTS welcome. Address them to Dr. Larry Palmer, Division of Music, Southern 800.663.1501 Methodist University, Dallas, Texas 75275; [email protected].

12 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM Reviews

Music for Voices and Organ into a less-frantic pace as they enjoy the Although not technically a text for optional oboe or chamber orchestra, by James McCray lull before the buildup of Holy Week and Epiphany, this setting of the hymn Augsburg Fortress, 978-1-4514- Easter, which is not until the middle of Atkinson would serve musicians well, 6234-4, $1.95 (M). Christmastide and Epiphany April in 2014, so enjoy some relaxation. especially in those weeks following Jan- The popular Gustav Holst work has uary 6. The organ part is on two staves, a fl owing accompaniment, which will Every nation sees the glory of a star that pierced the night. Amid the Calm of Winter’s Rest, with the trumpet part included in the be especially effective if the strings and As we tell the wondrous story we are Raymond Weidner. Unison or SATB choral score. There are four verses; harp are used. The solo oboe has sensi- bathed in radiant light. and keyboard, Paraclete Press, the assembly sings on the fi rst and last, tive lines that play throughout most of Star sent forth from highest heaven, PPMO1242 (E). with the second for two-part voices and the arrangement. There is a brief unac- dancing light of God’s delight, Shine upon the gift that given: Word This very simple and brief setting, third verse for unaccompanied four- companied section. The music is warm made fl esh now born in time. with a text by the composer, has three part choir. In the Lutheran Hymnal this and expressively beautiful. —Francis Patrick O’Brien verses, which may be sung in unison hymn appears in the section marked Epiphany Carol with the keyboard playing a brief inter- “Word of God.” Joy to the World, arr. Douglas lude between verses. Useful for January Benton. SATB, organ, and optional The Epiphany story begins in the Old and February. Glory to God from The Christmas brass, percussion, and handbells, Testament and is foretold by prophets Story, Ron Nelson. SATB divisi and Hope Publishing Company, C 5897, in several of its books: Numbers 24:17, Peace Came to Earth, Carl F. Schalk. organ with optional brass/percus- $1.90 (M). Micah 5:2–45, Jeremiah 23:5, and Isaiah SATB and organ, Concordia Publish- sion, Boosey & Hawkes, M-051- Published as part of the Hymn Con- 7:13–14 and 9:7. There is even a refer- ing House, 98-4146, $1.75 (M-). 45321, $2.75 (D-). certato Series, this loud and joyful set- ence in what may be the most popular The tune was written by Schalk and This very exciting movement from ting of the Handel tune Antioch begins book of the Old Testament, Psalms: “May subtitled Donata New. In this arrange- Nelson’s cantata will require a big choir with a festive instrumental introduction. the kings of Sheba and Seba bring gifts! ment, each of the four verses is treated with solid voices. The music has driving The choral parts are on two staves and May all kings fall down before him, all differently, but always with the melody accented rhythms, sparse accompani- are fi lled with parallel thirds and numer- nations serve him!” (Psalms 72:10–11). clearly recognizable. The keyboard part, ment, and extended loud divisi areas; it ous repeated notes. Directors will need The amazing story of these kings travel- on two staves, is simple, with the second will make an exciting climax for a concert C 5827B, which includes a conductor’s ing about a thousand miles, following a verse intended to be unaccompanied. and is both repetitive and very dramatic. score and parts for three trumpets, three morning star that shines in the sky each This gentle anthem closes each verse Highly recommended for large commu- trombones, tuba, timpani, cymbals, and morning before dawn, is one of the most with “Immanuel, Immanuel.” nity choirs. handbells. The music is not diffi cult but celebrated events of the Epiphany season. will create a festive atmosphere for any In 2014, Epiphany (January 6) will What Strangers Are These?, arr. Dan While Shepherds Watched, arr. Ken service or concert. fall on a Monday, yet this might be the Forrest. SSA, keyboard, and optional Berg. Unison or two-part with piano year that very special music could be fl ute and/or guitar, Beckenhorst and optional fl ute and oboe, Choris- Christmastime, arr. Lloyd Larson. used. With careful rehearsal schedul- Press, BP 1994, $1.95 (M). ters Guild, CGA 1276, $2.10 (M). Two-part mixed, 3–5 handbells or ing, performing Bach’s Cantata 65, They Based on a Scottish folk song, this old There is a sharp contrast between piano, with optional children’s or Shall Come Out of Sheba Together (Sie carol is also available for SATB choir the lyric vocal lines and the staccato, unison choir, Hope Publishing Com- werden aus Saba alle kommen) would be (BP 1990). The melody has a folk-song accented accompaniment. The wood- pany, C 5828, $1.95 (M-). a wonderful contribution to the service. character with its jagged rhythms and wind music has individual lines in the The music is a combination of styles, This will be the 290th year since it was harmonies. There are three verses with choral score and separate parts for the pop music, and a mixed sacred intent. fi rst performed by Bach at St. Thomas in extensive unison singing and a keyboard performer at the back. This traditional The very simple melody is fi lled with Leipzig on January 6, 1724. part with fl owing arpeggios, which build British carol is delightful and will make repeated notes and phrases; it moves The cantata has three movements for to a more dramatic chordal ending. a happy, fun addition to Christmastide through a series of key changes before chorus, but two are very brief and include repertoire for a strong children’s choir. arriving at the Gloria in excelsis tune the chorale setting. The other move- Come to the Stable, Carol Brown- from the hymn Angels We Have Heard ments are separate recitatives and arias ing. SATB, keyboard, guitar, fl ute In the Bleak Midwinter, arr. Mark on High. The keyboard provides a jaunty for tenor and bass soloists. The tenor or oboe, cello, and 9 handbells, GIA Shepperd. SATB, keyboard, with ³ page 14 recitative explains the signifi cance of the Publications, G 5421, $1.40 (M-). gifts of the Magi: gold symbolizes faith, Each of the three verses has a refrain incense symbolizes prayer, and myrrh that is different from the others. A refrain symbolizes patience. This is a work suit- part for the assembly is on the back cover able for most average church choirs, but for duplication. The choral music has + will require accomplished soloists. and - signs indicating where instruments For less ambitious conductors, the are to play. This simple music urges Epiphany Carol (see review below) is those who are “tired and worn” to come very tuneful and easy. It is subtitled “An and see “this little winter child.” Epiphany Hymn Concerto” and will probably be a work that is frequently Epiphany Carol, arr. Francis Patrick used by the choir for their annual Epiph- O’Brien. SATB, keyboard, trumpet, any musical celebration. and assembly, GIA Publications, In many churches, Epiphany is cel- C-5909, $1.29 (M-). ebrated by having members dressed as Based on the tune Beach Spring, this the three Kings; their appearance usu- delightful melody is given new words by ally consists of a procession followed by the composer. There are four verses, with remarks about their purpose and their only one in SATB format; the others are journey. This small costumed drama adds unison or SB. The score contains separate greatly to the service and even serves as parts for trumpet and with duplication useful balance to the candlelighting cere- for assembly. The keyboard part is on two monies of Advent. However, be reminded staves and is very simple. that the offi cial season of Epiphany con- tinues for several Sundays and music will God’s Holy Son, Denice Rippentrop. be needed for other celebrations such as SATB and piano, Beautiful Star Pub- the Baptism of the Lord. lishing, Inc., BSP-263, $1.80 (M-). For many congregation members, the The gentle vocal lines quietly ask and Sunday of Epiphany serves as the end of then answer the question, “Why would the winter church holidays that began at you come to Bethlehem town that cold the end of November. Christmas trees winter’s night?” The 6/8 meter and are taken down in homes and stores, smooth piano accompaniment create a although most churches keep them up calm mood that keeps the emphasis on until Epiphany season offi cially con- the text. cludes. The somnambulant blanket of winter covers the congregation, so con- O God of Light, arr. Sebulon High- sider the Weidner work reviewed below ben. SATB, organ, assembly, and for these additional Epiphany Sundays. optional trumpet, Augsburg For- Choir directors and choirs tend to fall tress, 978-1-4514-6242-5, $1.29 (M).

Fruhauff Mussiic Publliicattiionss Compositions, Historical Transcriptions, Hymn Tune Settings & Liturgical Music  Scores for Organ, Voices, Carillon & Ensembles  www.frumuspub.net D P.O. Box 22043 E Santa Barbara, CA 93121-2043

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 13 Reviews

³ page 13 and standing are explained historically— and the pointing good (the Gloria Patri with variations. (The 1696 set of versets rhythmic accompaniment that doubles symbolic actions that we use in many again uses the traditional “Ghost” rather included a dance suite and four sets of the melody. This happy music will cer- churches today. than “Spirit” and, I am delighted to variations on Christmas songs and pas- tainly be a hit with the congregation or Several chapters teach how to sing see, ends with the pointing: | end. – | toral arias). school audiences. chant. Square notation is explained, A – | men.|) There is a good balance The eight arias published here show along with connected notes, special between well- and lesser-known chants, the infl uence of Pachelbel’s Hexachor- signs, clefs, and the system of bars. The and a signifi cant proportion stem from dum Apollinis of 1699 and also of his Book Reviews modes are explained as well, in a very Salisbury Cathedral musicians, past and chorale partitas, although with markedly The Song of Prayer—A Practical simple and understandable way. present: Alcock, Carpenter, Shephard, fewer variations, ranging from just one in Guide to Learning Gregorian Chant, A CD that comes with the book pro- South and Halls. the fourth, sixth, and eighth, two in the by the Community of Jesus. Para- vides a corresponding musical example The Salisbury organ is another fi ne third and seventh, three in the second, clete Press, Brewster, Massachusetts, for each mode and each example. This “Father” Willis instrument (1874) with and four in the fi rst. The fi rst and third $21.99, ISBN 978-1-55725-576-1, allows one to look at the notation while modifi cations by the same fi rm in 1934, are in the Dorian mode, fourth and fi fth www.paracletepress.com. listening to or singing with the CD—a and subsequent work by Harrison & in Ionian, and sixth and seventh are in Listening to Gregorian chant pro- most helpful addition! Harrison in 1978, and again in 2006 Aeolian, as is the eighth, but with an E vides time of quiet refl ection, a spiritual To make the book easier to use, (console rebuild). Details of the instru- fi nal. The third is in 3/8, and the seventh retreat from the beat of our world, Compline (“Putting the Church to bed”) ment are regrettably absent from the in 3/2, with similarities to the minuet calming for the mind and soul. I sup- is used as the example for the various booklet, but the synoptic specifi cation is and sarabande respectively, the remain- 2 pose it is that way for many people since offi ces. Compline is an offi ce that one as follows: Great: 16 8 8 8 8 4 4 4 2 ⁄3 2 IV ing arias being in C time. The second it refl ects an earlier age. It is not music could use with a small devotional group 16 8 4 / Swell: 16 8 8 8 8 4 4 2 III 16 8 8 variation of the second aria is in 12/8 and 2 3 that I have performed, and except for a or by oneself for meditation. Chanting 8 4 / Choir: 16 8 8 8 8 4 4 4 2 ⁄3 2 1 ⁄5 8 / headed Guique (i.e., Gigue); the third smattering that I have picked up over the Compline psalms, the modes used, Solo: 8 8 8 4 16 8 8 8 4 / Pedal: 32 16 16 is headed Double, and contains several the years, it has remained largely unex- and helpful suggestions for marking your 16 16 16 16 8 8 8 4 4 IV 32 16 8 sixteenth-note runs in thirds (these plored territory. copy of the Psalms for easier reading, are This disc is an absolute treasure—sen- also feature in the variation to the fi fth I was rather excited to read this little all included. With every step, listening to sitive, musical chanting by the choir, and and sixth aria, the latter also including volume, which is quite complete in its the CD is most helpful. fi rst-class organ accompaniment, which is sixteenth-note triplets and thirty-second history of, reasons for, and usage of I found this book to be most informa- sensitive, exciting, and perfectly aligned notes). The variation to the third aria Gregorian chant. From the beginning tive and instructive and recommend it with the texts. After several of the tracks, contains the unusual right-hand rhyth- question of “what is chant?” to the life highly for individual or small group usage. I simply had to go back and repeat them mic grouping of a sixteenth-note triplet of St. Benedict and his handbook for —Jay Zoller again, absolutely in awe of how well the followed by two sixteenth-notes to the how a community of monks and nuns Newcastle, Maine text had been presented, and how beauti- quarter note. The fi nal variation to the should live together, his pattern of sing- fully the accompaniment sat underneath fi rst aria is headed Cromatica, and is ing the chant offi ces has become the coloring it. This disc is a must-have for Murschhauser’s only use of this feature, basis of all Western monastic prayer. By New Recordings every lover of Anglican chant, and every used extensively by Pachelbel. All of the following the ancient biblical practice The Complete Psalms of David (The Episcopal musician should order a copy arias are in binary form. of prayer seven times a day, Benedict Second Priory Psalm Series)—Vol- for each and every member of their The Christmas songs are considerably balanced worship and manual work and ume Two. The Choir of Salisbury church choir—it will pay dividends! more extensive and complement the sang the entire Psalter once a week. Cathedral; Daniel Cook, organist; —James M. Reed four sets published in 1696, having many This was done with seven “offi ces” each David Halls, director. Priory Records Bergen, Norway stylistic similarities. Caelo Rores is fol- day. Matins, the Night Offi ce, was set in (PRCD1045), 3 Eden Court, Leighton lowed by twelve variations, Quis mutuos the middle of the night, with the Day Buzzard, Bedfordshire, LU7 4FU, amores by fourteen, and Dein grosse Offi ces set evenly throughout the day: England; www.prioryrecords.co.uk. New Organ Music Lieb O Jesulein by six. Quis mutuos is Lauds, at daybreak, followed by Prime, Priory Records’ psalm series goes Franz Xaver Anton Murschhauser: in ternary form, the other two in binary, Terce, Sext, None, Vespers, and fi nally from strength to strength, the second Acht Instrumental-Arien und drei and, like the 1696 variations, all are in Compline in the evening. Benedict did volume (psalms 20–36) being recorded Weihnachtslieder mit Variationen, triple time. allow for variation in different monastic by the men and boys of Salisbury Cathe- edited by Rudolph Walter. Musikver- Noteworthy points of Caelo Rores orders and so the practice has adapted dral choir. The fi rst disc in the series lag Alfred Coppenrath, €18. Available include the written-out oscillating thirds to modern life. Oral tradition in singing (from Exeter Cathedral) was very good, from www.carus-verlag.com. in thirty-second notes in the fourth varia- chants continued until the 1830s when this second recording is absolutely Murschhauser (1663–1738) was tion, also found in Pachelbel, and in both a young French monk, Dom Prosper outstanding! The accompaniments of organist in Munich, where he published hands simultaneously, single-note eighth Guéranger, standardized the chants. A Daniel Cook are incredibly good, and two collections of pieces based on the notes in the fi fth for alternating hands. growing appreciation has continued up just like the choir’s singing, dramatic, 12 tones (Octi Tonium novum organi- The tenth variation is through-composed. to the present day. exciting, and incredibly musical. On cum, 1696, and Prototypon longo-breve In Quis mutuos amores we fi nd long One chapter explains why chant is for very rare occasions, the organ drowns organicum of 1703 and 1707), followed written-out trills in each hand in the fi fth everyone and another concerns praying out a word or two of the choir (e.g.: in 1714 by this recently discovered variation, more oscillating trills in the with the body as well as with the voice. the Tuba counter-melody in psalm 22) volume containing eight arias with tenth, and imitation of the cuckoo in the Bowing, the sign of the cross, and sitting but otherwise the words are very clear, variations and three Christmas songs fi nal two variations. Each song has varia- tions that include runs in thirds. The edition has a most informative PIPE-DIGITAL COMBINATIONS • DIGITAL VOICE EXPANSIONS • SOLUTIONS FOR OLD PIPE ORGANS introduction, alas in German only; the original idiosyncratic ornament signs have been replaced by modern equiva- The beautiful Rodgers custom four-manual lents. The profusion of these in some console at Eun Peyong Jeil Church in Seoul, variations imply a slower tempo than South Korea was recently enhanced with the may be expected so that they sound well integrated into the line, but they addition of winded pipes built and installed increase the technical diffi culties quite by Consoli Giovanni of Locorotondo, Italy. considerably. While the arias deserve The Great division includes six ranks on to be played throughout the year, the three tuneful Christmas song sets will the left and five on the right. The Swell offer a special seasonal charm to con- division on the right has six ranks and the gregations. Since unlike other prints Choir division on the left adds five ranks. from Murschhauser (also available from Carus Verlag) there are no indications The Rodgers console, known as the “Royal for the use of the pedals, these arias IV,” was once installed in the Founders Hall and songs can all be played on a single- manual chamber organ or a stringed of Japan’s remarkable Shinji Shumeikai keyboard instrument; a specifi cation Temple as a temporary replacement for the of a small contemporary Munich organ even more massive “Royal V” organ during a will give ideas for registration, but the player of a larger instrument can experi- factory refurbishment project. ment to discover the potential for use of two manuals.

Rodgers invites you to call for details about new hybrid organ solutions. For more information, please contact Rodgers Marketing at 503-648-4181. www.rodgersinstruments.com

14 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM Reviews

Lasst uns das Kindelein wiegen, of vol. 4: Festive Proclamation for Solo O Come, All Ye Faithful, arranged these arrangements are great for ring- edited by Jörg Jacobi. Edition Organ; In Praise of Bach: A Fantasy for for 3–5 octaves of handbells by ing without tables. They are creatively Baroque eba4003, €7.5. Available Organ on Bach; Sonata for Organ Solo Michael R. Keller. Agape (a division arranged and can be assigned to three, from www.edition-baroque.de. (Toccata, Intermezzo, Scherzo, Gigue); of Hope Publishing Company), Code four, fi ve, or six ringers. This slim volume contains fi ve Partita for Organ (Overture; Minuet; No. 2645, $4.50, Level 3 (M+). pieces of Christmas music from South Piccolo Scherzo; Pavane; Tarantella). This uplifting setting of the Christ- Repeat the Sounding Joy, G. F. Germany and Austria, four of which Level: Medium to diffi cult; $50.00 each. mas favorite Adeste Fideles is Handel and J. S. Bach, arranged come from manuscripts and one from Available at www.wayneleupold.com. arranged with very syncopated and for 3–6 octaves of handbells with a printed collection. The fi rst item, by Wayne Leupold Editions has pub- rhythmic material against brilliant optional 2 octaves of handchimes Anton Estendorffer (1670–1711), organ- lished the complete works (through fl ourishes throughout. The fi nal sec- and orchestral chimes by Susan T. ist at various places in the Donau region, 2008) of Samuel Adler in four volumes. tion, featuring malleting on the table Nelson. Agape (a division of Hope is a Cappricio (sic) on Der Tag, der ist Volumes 1 (Wind Songs) and 2 (The and martellatos, brings the piece to a Publishing Company), Code No. so freudenreich. After the opening set- Organ Is King—Organ Demonstrator resounding conclusion. 2641, $4.95, Level 2+ (M). ting of the chorale melody there follow for high school and adults) are not as Bach’s Brandenburg Concerto No. 3 is fi ve variations, the fi rst four building in extensive as volumes 3 and 4. Early in Christmas Carols for Twelve Bells, molded into this piece and adds a whole intensity from eighth-note to sixteenth- his career, Adler served as music direc- arranged by Jason W. Krug. Choris- new dimension to Handel’s “Joy to the note passagework, with a chordal triple- tor at Temple Emanu-El in Dallas; the ters Guild, CGB790, $5.50, Level 2 World.” The concerto “frames” the carol, time variation to complete the set. limited organ repertoire for Jewish (E+ – M-). and, with handchimes and a malleted bass This is followed by a Ricercar on the worship prompted him to write a sub- Here are fi ve carols in F major using line, along with optional orchestral chimes, same subject by Alessandro Poglietti stantial number of organ works. After his 12 bells, F5–C7 (Good Christians All, this brilliant arrangement will be a hit in of Vienna (d. 1683); the eleventh of appointment as professor of composition Rejoice; Away in a Manger; In the Bleak any venue during the Christmas season. a manuscript set of twelve, it is quite at the Eastman School of Music, Adler Midwinter; Infant Holy, Infant Lowly; —Leon Nelson archaic in character and concludes with became close friends with faculty organ and Silent Night). With no bell changes, Vernon Hills, Illinois a triple-time section. professors David Craighead and Rus- The third piece is a set of variations sell Saunders, which resulted in several by Estendorffer on Joseph lieber, Joseph organ compositions, including his 1971 mein, with seven variations after the Organ Concerto, commissioned for statement of the melody. The fi rst varia- David Craighead, to commemorate the tion includes eighth-note runs in sixths 50th anniversary of the Eastman School. in the right hand; the second has a run- After 1971, numerous commissions ning eighth-note bass beneath quarter- generated an extensive output of organ NEW note and half-note chords; the third has works. These works are suitable for con- right-hand runs in thirds; the fourth has certs, as well as temple/church worship. CD! imitative fi gures that open in the left Though the price for vols. 3 and 4 might hand; the fi fth is simply harmonized with seem a bit steep, they are worth every more right-hand runs in thirds; the sixth penny. Highly recommended. consists of the melody in single notes in —Robert Jan August the right hand over a drone bass; and the Mansfi eld, Texas fi nal variation is another simple harmo- nization of the melody. Another Capritio (sic) by Estendorffer New Handbell Music follows, this being on Lasst uns das Long Ago, Prophets Knew (Personent kündelein (sic) wiegen and consisting of Hodie), arranged for 2 or 3 octaves a simple harmonization of the melody of handbells by Linda R. Lamb. followed by seven variations, of which the Choristers Guild, CGB808, $3.95, sixth is in 6/4; the fi fth and the fi nal one Level 1 (E+). are in triple time. Variations one and three This popular seasonal tune, also known have running eighth-note passagework, as “On This Day Earth Shall Ring,” is writ- two and four have sixteenth notes, and ten in a fanfare style throughout. Short in the fi fth is another simple harmonization. length, it would be a nice introit for wor- The collection closes with a set of six ship, or part of a collection of pieces. variations on the same melody taken from the Octi Tonium Novum Organi- Joy to the World, arranged for 3–5 cum of 1696 by Franz Xaver Anton octaves of handbells with optional Murschhauser, in which the melody is set brass/percussion by Douglas J. in 3/2 throughout and much use is made Benton. Agape (a division of Hope of the falling minor third to denote the Publishing Company), Code No. “imitation of the cuckoo”—a far more 5827HB, $4.50, 5827B (brass/per- approachable set based on bird song cussion $24.95, and C 5827 (SATB than other examples by Poglietti, Kerll, score $2.05), Level 2 (M-). Pasquini, Frescobaldi, and Steigleder. This piece, arranged for SATB voices These pieces are generally not diffi cult and organ with optional handbells, brass, and would be most attractive for the timpani, and congregation, is a wonderful Christmas period as a change from some setting for the Christmas season. Opening of more frequently played fare. with an eighth-note pattern resembling —John Collins tower chimes, the rest of the piece is essen- Sussex, England tially quarter and half notes, and is easily learned. The handbell arrangement can Samuel Adler: The Complete Works stand alone as a piece just for bells. for Solo Organ, vols. 3 and 4, edited by Christina Cogdill. Wayne Leopold The First Noel, arranged for 2 or 3 Editions, WL600197 and WL600238. octaves, or 3, 4, or 5 octaves of hand- Contents of vol. 3: Two Meditations for bells by Kevin McChesney. Choris- Organ (Arioso, Pastorale); Toccata, Reci- ters Guild, CGB199 (2–3 octaves), tation, and Postlude; The Feast of Weeks; CGB744, (3, 4, or 5 octaves), $4.50, The Lord of All; Welcoming the Sabbath; Level 2 (M). Refl ection; Fantasy on the Name Craig- This setting of the 17th-century Eng- head; Hymnset–Four Chorale Preludes lish carol is creatively arranged, with the on Old American Hymns (And Will the melodic material changed to elongate God of Grace Perpetual Silence Keep; the melody. This fresh approach, along Mark Steinbach plays Heiller on the newly Oh Thou Whose Hand the Kingdom with some special effects, makes this sea- Sways; How Firm a Foundation; Deep sonal favorite come alive. There are two restored 1962 von Beckerath organ (4/66) in Our Hearts); Epistrophe. Contents arrangements, for smaller or larger choirs. at St. Paul's Cathedral in Pittsburghüthe   Music of Ed Nowak 035DWKNH,QF ideal period instrument for this program. 3LSH2UJDQ%XLOGHUV Choral, hymn concertatos, psalm   CDs: www.gothic-catalog.com settings, organ, piano, orchestral 3RVW2IILFH%R[ and chamber ensembles 6SLFHODQG,QGLDQD86$ Concerts and Masterclasses: 7HO)D[ http://ednowakmusic.com ZZZUDWKNHSLSHRUJDQVFRP [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 15 In the wind...

It’s alive. engine. The boat surges forward—in There’s a small category of inanimate good wind, any sailboat is faster under objects that seem alive to those who sail than under power—and the sur- appreciate and use them. A friend is an rounding noise changes from that of the avid cyclist who rides hundreds of miles engine’s exhaust to that of the motion each week. He has a sophisticated bike of wind and water. The nature of the that was custom-built for him, and he machine shifts from mechanical to talks about it as though it is a living part- natural power. ner. He’s at one with the machine when he shifts gears, powers up a long hill, or Harnessing the wind throws it into a turn. The sound of the That magical shift is a little like start- wind in the whirling spokes is like a song ing the blower of a pipe organ. When to him. you touch the switch, you might hear the Harnessing the wind Schlicker organ at First Lutheran A parishioner at a church I served click of a relay, and depending on where as music director owned several vin- it’s located, you might hear the blower an organ lets the player know what it slider chests, low wind pressures, and tage Jaguar XKEs. Those are the sleek motor coming up to speed—but you likes and what it doesn’t. How many of open-toe voicing with few, if any, nicks little two-seater roadsters with twelve- certainly hear or sense the organ fi ll with us have put a piece of music back on the at the pipe mouths. There are plenty of cylinder engines that date from the mid air. It’s as though the organ inhaled and shelf just because the organ didn’t seem mutations and mixtures, and a higher- 1960s. The garage at his house was his is now ready to make music. You might to like it? than-usual percentage of tapered ranks workshop, where he had hundreds of hear a few little creaks and groans as res- And besides the idea that an organ like Spitzfl utes. high-quality tools hanging polished on ervoir springs take on tension, and while might have opinions as to what music it I felt that the Schlicker organ at St. labeled hooks. The workbench had obvi- most organists ask that step to be as quiet plays best, so a good instrument lends Mark’s was not a great success because ously seen a lot of use, but every time as possible, I like hearing those mechani- itself to a particular form of worship. the low wind pressure and relatively I saw it, it was neat and clean—except cal noises because they remind me of all My work in the Organ Clearing House light amount of deep fundamental tone for one time I visited, when he had one that is happening inside the instrument. is centered on fi nding new homes for meant that the organ could not project of those marvelous engines dismantled Many organists are unaware of what redundant organs, and by extension, well from the deep chamber. And all for an overhaul. Each part had been goes on inside their instrument when I’m always thinking about the strengths that upperwork meant there was not a degreased and was spotless. As he talked they start the blower. We’re all used to and weaknesses of each instrument we big variety of lush solo voices with soft me through his project, he handled the switching on appliances, noticing only handle, especially from the point of accompaniments that are so important parts, almost caressing them with his the simple difference between on and view of what type of church it might be to much of the choral literature featured fi ngers. One Sunday afternoon when off. But when you switch on that organ suited for. in Anglican and Episcopal churches. he took me for a long ride, I could see blower, air starts to move through the It’s a fi ne organ, but it was a boat in the how much he enjoyed his relationship organ as a gentle breath that soon builds A tale of two cities wrong water. with that machine. As an organbuilder, to a little hurricane. As each reservoir fi lls, St. Mark’s Episcopal Church in St. Mark’s was offering the Schlicker for I cringe when I hear the phrase “ama- it automatically closes its own regulating Glendale, California, is a peppy, active sale because they had acquired a beauti- teur labor.” But I wouldn’t hesitate for a valve. When all the reservoirs are full, the place with lots of young families. I got to ful three-manual organ by E. M. Skinner moment to put a Jaguar engine in John’s organ is alive and ready to play. There’s know it about four years ago when they from a church in Pennsylvania. Foley- amateur hands. a big difference between the sense you put their 1973 three-manual Schlicker Baker, Inc., of Tolland, Connecticut, Sailboats are another great example. get inside an organ when the blower is organ on the market. While I am not would renovate the Skinner and install it Our boat is made of fi berglass, but it running and all the reservoirs are full of able to visit each organ that comes in the same chamber then occupied by has lots of character. Although this was pressure, compared with the lifeless state across my desk, it happened that I was the Schlicker. (See “Skinner Opus 774 only the fi rst summer we’ve had her, I’ve when the blower is not running. in California on other business, and took Is Saved,” The Diapason, December noticed some fun little things she seems When I’m inside an organ with the the opportunity to see the instrument, 2012.) The Skinner organ (Opus 774), to like. On a port tack broad reach, she blower running, it feels alive to me. take measurements, and assess its qual- built in 1929, has higher pressures than makes a little skip each time the bow It’s almost as though it’s quivering with ity and condition. St. Mark’s building the Schlicker, two expressive divisions, rises to a wave on the port bow. I think excitement, waiting for someone to play. has pseudo-gothic lines, and is built of and of twenty-seven ranks, eighteen are that little skip tells me that she likes that I compare it to the collective inhalation of concrete reinforced with steel (it’s earth- at eight-foot pitch (including reeds), and particular motion. That skip doesn’t hap- all the wind players in a symphony orches- quake country). Most of the Schlicker there are three independent sixteen-foot- pen on a starboard tack, and it doesn’t tra. The conductor mounts the podium organ was located in a chamber on the ers, plus a sixteen-foot extension of the happen when waves cross the starboard and the players give him their attention. nave wall, in the place where a transept Swell Cornopean to produce a Trombone. bow on a port tack. He raises his baton and the instruments would be. The Positiv division was in a That’s a lot of fundamental tone. And if you think a fi berglass boat can are at the ready. He gives the upbeat and little cubby above the choir seats in the The people of St. Mark’s felt that the have personality, you should stand on a everyone inhales. The split second before chancel, twenty feet behind the rest of Skinner organ would be more useful dock surrounded by wooden sailboats air starts pouring through those instru- the organ, the exact opposite of tradi- for the particular liturgy they celebrate. and listen to their skippers. You’d think ments is like the organ with blower run- tional placement of a Positiv division. And because of the higher pressures and those guys had all just been out on a fi rst ning, reservoirs up, and windchests full Herman Schlicker was a third-gen- larger pipe scales, there is more energy date. There’s a special term for that— of air pressure, ready to blow air through eration organbuilder, born in Germany, to the sound, allowing it to travel more boatstruck. A boat lover can go simply those pipes when the organist opens the who immigrated to the United States in effectively out of the chamber and across ga-ga at the sight of a beautiful boat. valves by touching keys. the late 1920s. He founded the Schlicker the sanctuary. One of our friends did exactly that a few Besides the notion that the organ is a Organ Company in 1930, and along with weeks ago, and it was only a few days living, breathing thing is the personality Walter Holtkamp, was at the forefront § between his catching sight of this boat of a good instrument. There certainly of the revival movement that shifted and its presence on a trailer in his yard. are plenty of “ordinary” organs that interest toward the style of classic instru- Metropolitan New Jersey is a sprawl- One of the most magical moments don’t exhibit any particular personality. ments, and of course later to the powerful ing, bustling urban/suburban area just in any day in a sailboat is when you’ve But a well-conceived and beautifully revolution that reintroduced mechanical across the Hudson River from Manhat- motored away from the dock, raised made instrument almost always shares key action to mainstream American tan. Tens of thousands of people ride the sails, gotten the boat moving under its being with the players and listeners. organbuilding. Through the 1960s and hundreds of trains and thousands of the power of the wind, and shut off the Just as our boat tells us what it likes, so 1970s, Schlicker built instruments with buses across the river to New York each Saving organs throughout The right organ at the America....affordably! right price We’ll help you chose from the hundreds of vintage organs available through our website. We can deliver it to the organ builder of your choice or refurbish, revoice, and install it ourselves.

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16 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM By John Bishop day, traveling through the many tunnels. Fashion conscious experimentation have allowed Ameri- You never saw so many buses as pass I write frequently about the revolu- can organbuilders to become masters through the Lincoln Tunnel during any tion in American organbuilding in the in all styles of organ building. We have rush hour. These are the people whose second half of the twentieth century. fi rms that build tracker organs based on lives came to a standstill after Hurri- We celebrate the renewal of interest and historic principles, and tracker organs cane Sandy caused New Jersey Transit knowledge about building tracker-action inspired by the idea of eclecticism. to cancel train service for two weeks. organs while simultaneously lamenting Other fi rms build electro-pneumatic To add to the maelstrom, sixty percent the loss of those organs they replaced. At organs with symphonic capabilities, of the gas stations in New Jersey were the same time we should acknowledge or electro-pneumatic organs with the closed because fuel delivery systems that there was another twentieth-century “American Classic” ethic. And I love and storage facilities were damaged by revolution in American organbuilding them all. the storm. It took months to restore the that started and progressed exactly fi fty Looking back over forty years, I won- normal massive fl ow of traffi c. years earlier. If in 1950 we were building der if that Schlicker organ was the best Five years ago, I received a call from organs with classic stoplists and thinking choice for St. Mark’s. I have not read Will Moser, the pastor of the First about tracker action, in 1900 they were the documents from the organ com- Lutheran Church in Montclair, New Jer- building organs with romantic stoplists mittee to know what drove or inspired sey, in the heart of that area. His church and thinking about electro-pneumatic that choice, and I don’t know the history was home to an aging and relocated Aus- action. In 1970, dozens of new tracker surrounding it. But I bet that part of the of many organs that were acquired by tin organ that had, through some inexpert organs were being built and in 1920, decision was driven by the style of the churches at the instigation of persuasive handling earlier in its life, passed through hundreds of electro-pneumatic organs day. Everyone was buying organs like organists. Some of them were great suc- its period of greatest distinction. Much were installed. And as those electro- that, whether or not history has proven cesses. But some were under-informed later in this story I learned that Will had pneumatic organs had American organ- them all to be the right choice. And we mistakes based on the personal taste of grown up learning to play the organ, ists in their thrall, so many distinguished all wore paisley neckties. the musician without proper consider- and worked as a professional organist nineteenth-century organs were dis- I’d like to think that Mr. Schlicker ation of the architecture or liturgy of before going to seminary. He grew up in carded to make space. would be pleased with the new home the individual church. If an organ is to a church in Western Pennsylvania that What I celebrate about early twenty- we’ve given his organ. be a success, it needs to be a boat in the had a Schlicker organ, and as he matured fi rst century organbuilding is that the Through my travels during thirty right water. You’d never wear blue socks into his ministry, he dreamed of having last fi fty years of intense study and years in the organ business, I know with a pink shirt. Q a Schlicker in his church. (Can you tell where this is going?) I visited the church in Montclair and found a nice variance on the ubiquitous A-frame building. Rather than straight walls supporting the wooden pitched ceiling, the side walls are broken into roughly ten-foot sections, set in gentle parallel angles and divided by windows. The ceiling is supported by heavy beams of laminated wood. And there is a spa- cious balcony above the rear door—the perfect place for an organ with low North America’s Premier wind pressure, clear voicing, and well- Pipe Organ Building and Service Firms developed principal choruses. It was just a few weeks after my visit to Montclair that the Glendale Schlicker came on the market, and I immediately thought of Will. With three manuals The Pipe Organ and about thirty-fi ve stops, this organ was larger than what Will and I had Performance measured discussed, but it sure seemed as though in centuries, not years it would be a good fi t. I got back on the train under the Hudson and put the An affordable specifi cations and photos of the Glen- investment in pipes dale organ in Will’s hands. It wasn’t long before he got to California to see the organ, and we agreed pretty quickly that The sound that is often the church should acquire the organ. imitated - but never We dismantled the organ and placed duplicated it in storage while the people in Mont- clair gathered the necessary funds, The original “Green” and now, several years later, the organ solution is in place, complete, and sounding terrifi c. The organ’s tone moves easily and unobstructed through the sanctu- A “sound” financial ary. Each stop sounds great alone and investment in combinations. The full organ is impressive, but not overpowering. The reeds are colorful, and the bass tones An asset to your project beautifully. We might describe the result of the Worship Experience Glendale/Montclair caper as a Lutheran & your Balance Sheet organ in a Lutheran church and an Epis- copal organ in an Episcopal church. BUILDERS SUPPLIERS When smart organbuilders design ANDOVER LÉTOURNEAU A.R. SCHOPP’S new organs, they consider all the ele- BEDIENT NOACK HARRIS BERGHAUS PARKEY IOTI ments that make up the physical loca- BOND PARSONS SOLID STATE tion and acoustics of the room. They BUZARD PASI OSI calculate the volume, and consider the C.B. FISK PATRICK J. MURPHY PETERSON CASAVANT FRÈRES PAUL FRITTS lines of egress over which the organ DOBSON QUIMBY would have to speak. They divine how GARLAND RANDALL DYER much sound energy will be necessary GOULDING & WOOD SCHANTZ and calculate the pipe scales and wind HOLTKAMP SCHOENSTEIN ODELL TAYLOR & BOODY pressures accordingly. Each organ is KEGG designed for the space in which it is installed. I imagine that Mr. Schlicker felt that he was building an organ that would sound great at St. Mark’s. And APOBA.COM 800-473-5270 he was building it at a time when many organists and organbuilders felt that the ideal organ had low pressure and plenty of upperwork.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 17 On Teaching

Organ Method XIV passages of music, especially of trills, and as lightly as you can: a quick, light 7) The following “special cases” of This month’s column is a continuation other rapid ornaments, and rapid pas- two-note gesture. While you are playing the exercise require extra thought: of last month’s discussion of learning to sages in general. It is physically easy to these two notes, your hand and wrist the thumb, sharps and fl ats, and non- play contrapuntal passages. do, though it requires a certain kind of should feel more as if they are fl oating adjacent fi ngers. In these cases, par- focus that can take a while to achieve. upwards than as if they are bearing ticular care must be taken about hand In the second movement of Felix It is equally appropriate and helpful for down. This two-note gesture will leave position. Make sure that the alignment Mendelssohn’s Sonata in C Minor, Opus seasoned players, for absolute begin- you holding the same note that you of the fi ngers with respect to the notes 65, No. 2, the left-hand part is mostly in ners, and for anyone in between. It goes played fi rst, and it will have created at permits the hand to remain in (or con- two voices. Any part of that movement like this: least a little bit of tension in your hand. stantly regain) a tension-free state. For makes wonderful material for practicing 1) Choose two fi ngers on the same Once again you should wait for your example: using 2/1 on adjacent naturals multiple voices in one hand in the way hand. (The fi rst time you play this exer- hand, arms, etc., to completely relax. is usually too awkward to be good for that we have been discussing. Here are cise, the fi ngers should be 4/3 or 3/2, Then repeat the two-note gesture, this exercise; however, using 2/1 or 3/1 the fi rst several measures of that piece, in either hand. Later on it is especially and do this a few times in a row. It is on a natural and a sharp/fl at is often shown in Example 1. There are more than thirty measures that are constructed like this. Each of the two left-hand voices (marked Clav. I) is quite intricate by itself, so, in practicing each of them separated into two hands, you will have to take some care with the fi ngering and a fair amount of time. For using this piece to explore this method of practicing, it is not necessary to work on all of it at once: any few measures will be fruitful. Example 2 shows another Bach pas- sage with two voices in the right hand. It is from the Sinfonia in D Major, BWV 789, beginning just after the downbeat Example 1 of m. 5. In this passage, the two right-hand valuable to play it with 5/4, and any voices briefl y cross, and in one spot, one two fi ngers can be suitable, even non- voice passes through a note that is being adjacent fi ngers.) held by the other voice. In playing the 2) Choose two notes—at fi rst they two voices separately on two keyboards, should be adjacent naturals, but later on none of this causes any problems or is it is valuable to include sharps/fl ats as particularly noteworthy. Can you use well. As with some of the exercises from this exercise to make it possible—or earlier in this series, it is important that more natural—to hear those voices you choose notes that lie in the part of clearly as they cross, when you put them the keyboard where your arm and hand Example 2 back together? are naturally more-or-less straight when We now move on to three special you are playing (that is, your wrist not crucial to wait each time for your fi n- issues in manual playing. Two of them cocked or twisted). This is, of course, gers, hand, arm, shoulders, neck, back, are approaches to fi ngering that apply normally near the top of the treble clef etc., to completely relax. Thus, it is not to certain types of writing that are in the right hand and near the bottom of appropriate to develop a steady rhythm common in the repertoire. These are the bass clef in the left hand. It is a good or beat in doing this exercise. If you do, 1) the fi ngering of repeated notes, and idea to position the fi ngers near the you are probably not allowing yourself 2) substitution. The other is an exer- ends of the keys, and to let the thumb to relax thoroughly enough between cise designed to help with the playing fl oat in the air in front of the keyboard. playing notes. of trills and other passages that call for (But see below for using this exercise 5) After you have done this a few times rapid, light playing. I will describe the with the thumb.) with a particular pair of fi ngers and notes Example 3 trill exercise fi rst, and then move on to 3) Once you have chosen the two notes in one order, play it with the same fi n- the other two, which are in fact closely and the two fi ngers, rest the two fi ngers gers and notes in the opposite order. very comfortable, and indeed a good related to one another. on the notes and relax your hand, arm, It is important to stop before it begins thing to practice (thumb on the natu- This exercise is not written in music neck, shoulders, etc. Sit in a comfortable to feel “routine” and thus impossible to ral, obviously). Using 4/2 on F# and D notation, and does not involve playing position, and take a deep breath or two. achieve a combination of concentration (right hand) is usually fi ne, but using passages of music, but rather only simple Then play one of the notes—either and relaxation. Usually it makes sense to 4/2 on A and F# (right hand) is usually pairs of notes. Its purpose is to create an one—lightly and smoothly, and hold it. play it about 4 to 6 times each (up/down not. Using 3/2 on a natural and a sharp/ awareness of a feeling of lightness and When you feel completely relaxed, then: and down/up) and then leave it. This fl at is usually OK if 2 is on the natural, ease of touch, which can then be carried 4) Play the other note and the varies from one person to another. It is but not if 3 is on the natural. The point into the playing of other exercises and original note in succession, as quickly better to do a little bit of this often than is to make sure that the wrist is not to do a lot of it in one sitting. cocked or twisted outwards very much 6) It is not necessary to segue from (ideally not at all), that the fi ngers are this exercise directly into playing a trill not so curved that they don’t have good or other fast passage. Rather, the point leverage in pushing down the keys, and A gift subscription to is to remember the feeling of the that it is possible to remain near the exercise when you next play a trill or ends of the keys. (These are all normal The Diapason fast passage. If you do a little bit of this considerations in organ fi ngering, but exercise most days, spreading it around this exercise only retains its purpose The perfect gift for organist colleagues, students, teachers, choir to several pairs of fi ngers (not neglecting if the hands are very comfortable, directors, and clergy. 5/4), and working with both hands an whereas in playing repertoire, the approximately equal amount, the feeling complexity of the music often makes Each month your gift will keep on giving by providing the important of it will spill over quite naturally into some compromise in comfortable news of the organ and church music fi eld. Send in the form below your playing. fi ngering unavoidable.) with your check and know that your gift will be just right. For information, contact Jerome Butera, 608/634-6253; Whole & Fast [email protected]. Half Sizes in 3 Widths Shipping! $38 one year USA ($48 foreign) THE DIAPASON Try our suede soles and experience 3030 W. Salt Creek Lane, Ste. 201, Arlington Heights, IL 60005-5025 the perfect combination of slide and grip For (Name) ______on the pedals! Street ______Mens & Unisex City ______Women’s Mary Oxford $60.50* and up 50* Jane $52. *plus postage State ______Zip ______TOLL FREE: 1 (888) 773-0066 organmastershoes.com From: ______44 Montague City Rd, Greenfield, MA 01301 USA

18 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM By Gavin Black

An important note: In 4) above, I use the phrase “as quickly and as lightly as School of MUSIC you can.” The most important part of this is “as you can.” Quickness is the point, but it cannot be pushed. If you try to Wade Weast, Dean execute this simple gesture faster than you can comfortably do it, you will defeat the purpose of the exercise.

Playing repeated notes Repeated notes on the organ are often seen as something of a problem—and with some reason. In order to repeat a note on organ, you must release it all the way. This is also true on harpsichord, but not on piano, and not consistently on other instruments. When you combine the more at risk you are for introducing this need to release a note before you can tension into the hand. The paradox arises sound it again with the sustaining qual- that trying to make the repetition more ity of organ sound, you get a situation “legato” actually makes it more abrupt: in which repeated notes can stick out: more of a conspicuous break. they can sound disconnected from the If you repeat a note with a different rest of the sonority, texture, and musical fi nger, then you can be preparing the shape of a piece or passage. If a line or new fi nger to play the note before you passage is being played fully legato, then have released it with the old fi nger, two notes in a row that are the same will and you can release the note smoothly. be articulated differently from the non- Sometimes it will make sense to release Photography by Brent LaFever repeated notes around them. Repeated down and towards your body sitting notes cannot be fully legato. Even in a on the bench or off to one side, rather line or passage that is being played in an than straight up above the note that you CONCENTRATIONS overall detached style, repeated notes are holding and that you need to play can stand out, since the way in which they again. The new fi nger can move in and Brass, Collaborative Piano, Composition, are detached can sound different—more replace the old fi nger smoothly. This Guitar, Harp, Opera, Organ, Percussion, crisp or abrupt. gesture creates less tension and gives It is a reasonable goal to be able to you the greatest possible fl exibility in Piano, Strings, Voice, Woodwind play repeated notes as naturally as timing and articulation. The repeated possible, that is, to reduce as much as note still must be detached, but, if you FACULTY possible the extent to which they stand want, it can be only slightly detached— out or draw attention to themselves. It almost imperceptibly. Dr. Timothy Olsen, UNCSA Kenan Professor of Organ 2014 AUDITION DATES Instrumental and Composition: February 7*, 14*, 21*; April 4 *Scholarship Priority Auditions UNCSA SUMMER ORGAN WEEK FOR HIGH Example 4 SCHOOL STUDENTS: JUNE 29 – JULY 11, 2014 is also a good thing to be able to con- Start getting used to using differ- In this newly formatted two-week summer session, trol and shape the playing of repeated ent fi ngers on repeated notes with the students will delve into injury-preventive technique notes—timing, articulation, sonority— simplest possible exercises, such as that with as much fl exibility as possible. This shown in Example 3. through topics of service playing, repertoire, and is true of all notes and all playing, but You can move this to different notes basic improvisation. The magnificent collection of with repeated notes it calls for some and use different fi ngering patterns. extra thought. (For example, try 2-3-4-3-2-3-4-3, or instruments in Winston-Salem will be utilized In general, the discovery made by 2-1-2-1-3-1-3-1.) Remember to keep organists over many centuries and hands, arms, shoulders, and so on com- including organs by Fisk, Flentrop, through all sorts of different schools of pletely relaxed. Release notes smoothly Hook & Hastings, Noack, E.M. Skinner, and more. organ composition and organ playing is but cleanly: that is, do not inadvertently that it is a good idea, when possible, to slip the new fi nger onto the note prior to Limited tuition-reduction funds are available. play repeated notes with different fi n- releasing it. If you do that, you are in fact gers—to change fi ngers from one note practicing substitution—which we come WWW.UNCSA.EDU/SUMMER to the repetition of that same note. This to next—but not playing repeated notes is not always possible to do. Repeated with different fi ngers. Experiment with notes that are octaves or that are embed- different amounts of articulation, and ded in chords, especially four- or fi ve- with patterns of differing articulation note chords, sometimes must be played between the different notes. using the same fi ngers. However, the Another useful pattern for practicing changing of fi ngers on repeated notes is is illustrated in Example 4. The fi nger- a practice that is important to learn and ing given is just one set of possibilities. to get used to. You can devise and try others, preserving If you have just played a note with a the principle of changing fi ngers on the given fi nger and you are still holding it, repeated notes. Try different things with then in order to repeat it with that fi nger articulation: making the non-repeated Your passion today. you must do all of the work of releasing notes legato, with different amounts of Your profession tomorrow. and replaying the note with that fi nger. break at the repeated notes; articulating You need time to move the fi nger up off all of the notes the same; using varied the note, and then bring it back down. detached articulation for all of the notes, This sets a limit on how little time there and so on. Q WWW.UNCSA.EDU can be between the release of the fi rst note and the playing of the second. Not To be continued. [email protected] only must there be a break between the 336-770-3290 two (same) notes, but that break must be Gavin Black is Director of the Prince- a certain length. Also, the gesture of mov- ton Early Keyboard Center in Princeton, Winston-Salem, NC ing a fi nger up and back down is likely to New Jersey. He can be reached by e-mail produce tension. The shorter you try to at [email protected]. He writes a make the break between the two notes, blog at www.amorningfordreams.com.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 19 Pipe organ projects Anglo-Dutch Organ Transplant A Henry Willis organ in Leiden, the Netherlands Willis organ, current specifi cation By Frank Resseler GREAT 16′ Bourdon 8′ Open Diapason I 8′ Open Diapason II 8′ Hohlfl ute 4′ Principal 2 2⁄3′ Twelfth 2′ Fifteenth III Mixture 8′ Trumpet 4′ Clarion SWELL 16′ Lieblich Bourdon 8′ Open Diapason 8′ Lieblich Gedackt 8′ Salicional 4′ Principal 2′ Piccolo 8′ Trumpet 8′ Hautboy 4′ Clarion Willis organ in the Hooglandse Kerk, Leiden, Netherlands Hooglandse Kerk CHOIR oughly midway between Amsterdam and the U.S.A.: the Pilgrim Fathers set- transept, speaking south into the choir 8′ Claribel Flute 8′ Dulciana Rand The Hague lies Leiden, at one tled in Leiden (1609–1620) before sail- but reaching all parts of the church with 8′ Viola da Gamba time the second largest city in the Neth- ing to America. A museum dedicated to ease. The Great organ will be expanded 4′ Flute Harmonique erlands. Leiden boasts numerous monu- them is located opposite the Hooglandse by the addition of a Double Open Dia- 2′ Piccolo Harmonique mental buildings, typical Dutch canals, Kerk’s tower. pason 16′, forming the new front pipes. 8′ Corno di Bassetto ′ and world-famous museums. The city The foundation has been fortunate This division will be given a 16 reed PEDAL also has a number of old churches, two of in acquiring an original 1892, 30-reg- stop. The same applies to the Swell 16′ Open Diapason these being quite large, all of them with ister (Great, Swell, Choir, and Pedal) organ, which will be extended with a 16′ 16′ Violone interesting, historic organs, and all within “Father” Henry Willis organ, which is Contra Fagotto. A Vox Angelica 8′ and 16′ Bourdon 8′ Octave walking distance of one another. In fact, to form the basis of the Hooglandse tierce mixture will also be added. It is 8′ Bass Flute Leiden has the nickname ‘City of Organs.’ Kerk’s organ. This instrument was intended that the Pedal organ will have To be found in the heart of the city is the originally installed in St. Mark’s the 32′ Double Open Wood in phase Hooglandse (or St. Pancras) Kerk. The Church, Birkenhead (U.K.). When the one, funds permitting. The Great 16′ Willis organ, future specifi cation Gothic, cathedral-sized church, with its church closed in 1991, a Dutch organ reed will be made playable on the Pedal GREAT incredible seven-second reverberation, enthusiast bought the organ, which he organ. All these additions will be in true 16′ Double Diapason is the home of a project initiated by the then rebuilt in his specially constructed “Father” Willis style, and will be incor- 16′ Bourdon Stichting Cathedral Organ Leiden. private “concert barn,” as he called it. porated in the existing console. 8′ Open Diapason I This foundation’s aim is to install a After he moved, he offered the organ The second phase will include the 8′ Open Diapason II 8′ Hohlfl ute large English Romantic organ (IV/P/50) to the foundation, at whose request addition of the Solo division. Again, 4′ Principal 2 in the church. When completed, the organ builders and independent advi- this will be designed in Willis style, but 2⁄3′ Twelfth organ will be signifi cant, not only in sors examined the organ, confi rming besides having a second pair of string 2′ Fifteenth Leiden but also in the Netherlands—and its unique qualities. The instrument stops, it should also include a high-pres- III Mixture ′ 16′ Trombone perhaps even in the whole of mainland has many of the typical “Father” Willis sure Tuba 8 . The Pedal organ will be 8′ Trumpet Europe. The realization of this project features, including his famous Corno di expanded with independent reed stops, 4′ Clarion will permit the performance of the wid- Bassetto 8′, and will serve as an ideal including 32′ and 16′ Ophicleides. The est possible range of organ music. The basis for the proposed organ. Solo organ and Pedal will not be play- SWELL 16′ Lieblich Bourdon organ will not only be used in religious After several consultations it was able from the original console but from 8′ Open Diapason services, but also in a variety of other decided that, subject to the availability a new, four-manual mobile console. The 8′ Lieblich Gedackt events, for CD recordings, and for edu- of suffi cient funds, Henry Willis & Sons specifi cation of the original Willis organ 8′ Salicional cational purposes. Ltd.—who still have tools used at the is shown below. 8′ Vox Angelica 4′ Principal The church’s choir (the Leidse Can- time that the organ was built—would Despite the current diffi cult economic 2′ Piccolo torij), which will benefi t greatly from realize the project. As a result, in early climate, the foundation continues its III Mixture the installation of the instrument, is 2012, the “Father” Willis organ was efforts to secure suffi cient funds for both 16′ Contra Fagotto regularly invited to sing services in major moved to their Liverpool workshop for phases of the project. Readers are invited 8′ Trumpet 8′ Hautboy U.K. churches, such as York Minster, refurbishing and expansion. to visit the English section of website, 4′ Clarion St. Paul’s Cathedral, London, and St. The fi rst phase of the project will be www.cathedralorgan.nl, or to ask for fur- George’s Chapel, Windsor Castle. the installation of the restored Willis ther information via info@cathedralor- CHOIR It is worthy of note that Leiden has organ, complete with a new case. It will gan.nl. Donations will, of course, be most 8′ Claribel Flute 8′ Dulciana a strong connection with both the U.K. be located in the fi rst bay of the north welcome. The names of all donors will 8′ Viola da Gamba be listed on a special plaque attached to 4′ Flute Harmonique the organ. In case of a major benefactor, 2′ Piccolo Harmonique Celebrate the Legacy the organ might even be dedicated to this 8′ Corno di Bassetto donor. Remarkably enough, the founda- SOLO tion already has donors in more than ten 16′ Contra Gamba countries, including the United States 8′ Harmonic Flute and Canada, proving great international 8′ Gamba 8′ Voix Celestes interest in the project. 4′ Concert Flute It is hoped that the Willis organ 8′ Cor Anglais Skinner Organ Co. will be heard in 2015, the year that 8′ Tuba Opus 695 (1928) the Hooglandse Kerk celebrates its restored and PEDAL 700th birthday. Q 32′ Double Open Wood installed at St. Mark’s ′ Lutheran Church, 16 Open Diapason Frank Resseler is a tax lawyer specializing 16′ Violone Marion, Iowa in international VAT. He is also an organist in 16′ Bourdon Leiden, the Netherlands, at de ‘Regenboogkerk’ 8′ Octave ′ (‘Rainbow Church’), where he accompanies 8 Bass Flute 8′ Violoncello Specialists in Restoration, services on an 1875 Forster & Andrews organ, 4′ Principal Conservation, Voicing & Tonal Finishing imported from the U.K. (13/II/P). He is one of 32′ Double Ophicleïde of High-Pressure Pipe Organs the founders of the English organ project. 16′ Ophicleïde 1845 South Michigan Avenue #1905 16′ Trombone JL Weiler , Inc. Chicago, Illinois 60616 All photos are copyright Stichting 8′ Posaune PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS 312-842-7475 4′ Clarion [email protected] | www.jlweiler.com Cathedral Organ Leiden/Eric Brons; used with permission.

20 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM Festival Report Albert Schweitzer Organ Festival Sixteenth Anniversary

By David Spicer

hat a treat to hear such wonder- Wfully prepared young organists at the Albert Schweitzer Organ Festival in September! It speaks well of them devel- oping their God-given talents, and of their excellent teachers. That, combined with wonderful organ music, set the stage for the sixteenth annual festival, held at First Church of Christ in Wethersfi eld, Connecticut. We are grateful to be able to encourage young organists with this competition. We had some wonder- ful applicants who sent in outstanding CDs, and we thank Charles Callahan for serving as the screening judge for these applications. Judges for this year’s festival were Diane Meredith Belcher, Cherry Rhodes, and David Hurd. On Friday evening, September 6, the traditional opening concert was David Spicer, Anna Pan, Alexander Pattavina, Bryan Dunnewald, David Hurd, Diane Bryan Dunnewald (seated), fi rst place, held. The service/choral portions were Meredith Belcher, Cherry Rhodes, Derek Remeš, Patrick Kreeger, Alcée Chriss III, high school division, and Alcée Chriss played by this writer: Andante Espres- and Linda Henderson (photo by Marla Darius) III, fi rst place, young professional divi- sion (photo by Dave Gilbert) sivo (Sonata in G Major, op. 28), Elgar; Psalm 150, Franck; Christ Is Made the Choral No. 3 in A Minor; Langlais, Féte; high school division second place prize the Reverend Glen Halvorsen; First Sure Foundation (Christ Church), hymn tune, Diademata. of $1,000. Thanks go to John Gorton and Church of Christ, Glastonbury, Angela Dirksen; Kyrie (from Messe Solennelle, Patrick Kreeger—Bach, Toccata and Richard Pilch for providing $1,000 for Salcedo, director of music ministries; op. 16), Vierne; He Comes to Us (text Fugue in F Major, BWV 540; Franck, the David Spicer Hymn Playing Award; First Congregational Church, Southing- by Albert Schweitzer), Marshall; Go Ye Choral No. 3 in A Minor; Vierne, $500 was given to high school division ton, John Parsons, minister of music; and Into All the World, Wetzler; Let Heaven Finale (from Symphony No. 5); hymn fi nalist Bryan Dunnewald and $500 Trinity Episcopal Church, Wethersfi eld, Rejoice (Rock Harbor), (text by Hal M. tune, Slane. to young professional division fi nalist Father Scott Lee, rector. Helms), tune by Alan MacMillan. Later that evening, all fi nalists and Derek Remeš. Our 2013 fi rst-place winners, Bryan At the Friday evening opening concert, judges had a chance for interaction and Special thanks go to Bon Smith and Dunnewald and Alcée Chriss III, will each of the judges played selections of discussion over a delicious meal pro- Alex Belair of Austin Organ Service perform in recital on Sunday, March 23, their own choosing on the Austin organ. vided by Dana Spicer at Trinity Episco- Company of Avon, Connecticut, who 2014, at 4:00 p.m. at the First Church of A video camera, via closed-circuit televi- pal Church in Wethersfi eld. were on hand throughout the Saturday Christ, Wethersfi eld, Connecticut. sion, projected a view of the organists in On Sunday, September 8, the young competition to offer assistance, should Plans are underway for the 2014 the balcony onto a screen downstairs. The professional fi nalists played portions of the organ have needed it. (It did not!) Albert Schweitzer Organ Festival, selections: Salix (from Plymouth Suite), the 9 a.m. worship service. In addition, We are also grateful to Bon Smith for including the opening concert of the fes- Whitlock; Prelude and Fugue in G Minor, we thank Ezequiel Menéndez, who his gracious gift of maintenance for tival on Friday evening, September 5 at op. 7, no. 3, Dupré, played by Diane invited the fi nalists to play portions of this festival. Alex Belair and Michael 7:30 p.m. Information about the Albert Meredith Belcher; Variations sur un Noël the 11 a.m. Mass at the Cathedral of St. Tanguay of Austin Organ Service Com- Schweitzer Organ Festival and current bourguignon, Fleury; Toccata in B Minor, Joseph in Hartford. In Wethersfi eld at pany are the regular curators of this requirements for the competition are Gigout, played by Cherry Rhodes; Arioso 1:30 p.m., a masterclass with the three instrument. Thanks to Linda Hender- available by telephone at 860/529-1575, and Finale, Hurd, played by David Hurd. judges was held. Many topics were cov- son, festival coordinator and associate, ext. 209, by e-mail at music@fi rstchurch. Saturday morning, from 9 a.m. to 12 ered, and awards were presented. for so ably performing the organiza- org, or by viewing the ASOF website: noon, the high school division fi nalists tional work that made the festival run www.fi rstchurch.org/ASOF. Q played the required repertoire. At 2 The judges’ decisions smoothly and effi ciently. p.m. the young professional division High school division, fi rst place, Churches that allowed their instru- David Spicer began as Minister of Music fi nalists were heard. All fi nalists were Bryan Dunnewald from Arvada, Colo- ments to be used for additional practice and the Arts at First Church of Christ in Wethersfi eld, Connecticut, in 1986. In 1996, required to play the hymn tune St. rado (Interlochen Center for the Arts), included Bethany Covenant Church, he and Dr. Harold Robles founded the Albert Thomas (Williams). student of Thomas Bara; second place Berlin, Olga Ljungholm, minister of Schweitzer Organ Festival. Spicer is a gradu- The high school division fi nalists and (tie): Anna Pan from Burlington, Con- music; the Cathedral of St. Joseph, ate of the Curtis Institute of Music, where he the works they played were: necticut, student of Joseph Ripka; and Hartford, Ezequiel Menéndez, director studied with Dr. Alexander McCurdy, and the Anna Pan—Bach, Prelude and Fugue Alexander Pattavina from Stoughton, of music; Covenant Village of Cromwell, Eastern Baptist Theological Seminary. in G Major, BWV 541; Widor, Andante Massachusetts, student of Philip Jones. Sostenuto (from Symphonie Gothique); Young professional division, fi rst Demessieux, Te Deum, op. 11; hymn place, Alcée Chriss III from Oberlin, tune, Ar Hyd Y Nos. Ohio (Oberlin Conservatory), student Bryan Dunnewald—Bach, Prelude of James David Christie; second place, and Fugue in D Major, BWV 532; Widor, Derek Remeš from Rochester, New Adagio (from Symphony No. 2, op. 13); York (Eastman School of Music), stu- Durufl é, Fugue (from Prélude et Fugue dent of David Higgs; third place, Patrick sur le nom d’Alain, op. 7); hymn tune, Ar Kreeger from New Haven, Connecticut Hyd Y Nos. (Yale University), previously a student Alexander Pattavina—Bach, Fantasia of Alan Morrison at the Curtis Institute and Fugue in C Minor, BWV 537; Han- of Music, and currently studying with cock, Air for Organ; Widor, Meditation Martin Jean. (from Symphony No. 1, op. 13); hymn We are grateful to Robert Bausmith tune, Ar Hyd Y Nos. and Jill Peters-Gee, M.D., for giving the The Young Professional Division fi nal- young professional division fi rst prize of ists and the works they played were: $3,500; the young professional division Alcée Chriss III—Bach, Trio Sonata second prize of $1,500 came from sev- No. II in C Minor, BWV 526; Franck, eral individuals in the First Church fam- Choral No. 1 in E Major; Durufl é, Toccata ily and others; our thanks to Evelyn Lee AUSTINORGANS.COM (from Suite, op. 5); hymn tune, Slane. and Betty Standish for the $2,000 award 
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Derek Remeš—Bach, Prelude and for fi rst prize in the high school division, Fugue in G Major, BWV 541; Franck, and to Marilyn Austin and family for the

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 21 Convention report OHS 2013: In the Green Mountain State Burlington, Vermont, June 24–29, 2013

By Barbara Owen

he 58th annual Organ Historical Monday, June 24 Creator, performed liturgically with bari- their detriment), rounded out the day’s TSociety national convention differed The convention opened on the eve- tone John McElliott singing the appro- offerings. The resources of a small organ in several ways from some of the recent ning of Monday, June 24 in the Recital priate chants between the registration- in Hardwick by a little-known Vermont ones. Its hub, Burlington, is the largest Hall of University of Vermont’s Red- oriented organ movements. builder, Edward H. Smith (1887), were city in northern Vermont, but hardly stone Campus, with welcoming words capably employed by Robert Barney in in the same size league as Washington, by Executive Director James Weaver, Tuesday, June 25 a Bach concerto, a Mendelssohn sonata, Pittsburgh, or Chicago—the sprawling Convention Chair Marilyn Polson, and Tuesday morning we were off and and a short trio by Vermont native S. urban sites of recent conventions. Yet it is outgoing President Scot Huntington. running in buses heading for the east B. Whitney, while Samuel Baker also accessible via train, plane, and interstate, This year’s Biggs Fellows were intro- of Burlington, beginning with Hook & made excellent use of a larger 1868 culturally vital, and full of amenities from duced, and the 2013 Ogasapian Book Hastings organs in Plainfi eld (United Johnson organ in Greensboro, which good food to spectacular views of Lake Prize was awarded to David Yearsley Methodist, 1873) and Cabot (UCC, began and ended with 20th-century Champlain, not to mention parking. for his groundbreaking work on organ 1896)—coincidentally 1,000 opus num- works by Gawthrop and Willan, sand- Burlington has some important recent pedaling and its history. bers apart. Although of similar small wiching four varied Baroque and con- organs, although no really huge ones, This was immediately followed by size, their tonal philosophy differed temporary preludes on Wer nur den and is within easy distance to a pleas- a recital on UVM’s French-infl uenced noticeably, yet both were surprisingly lieben Gott by Bach, Krebs, Walcha, and ing array of smaller towns to the north, 1975 Fisk organ by well-known recital capable of varied repertoire tastefully Dupré in between. east, and south, with a corresponding and recording artist Joan Lippincott, registered and played by Lynnette The evening program was back selection of smaller and older organs, all who impressively displayed its French Combs (Plainfi eld) and Permelia Sears in Burlington at the Congregational of them discussed in interesting detail personality in works by Marchand (an (Cabot). In these two programs we heard Church. It was unique in that it featured in the substantial accompanying Atlas, opening and decidedly grand Grand excellent interpretations of music from two 21st-century continuo organs by edited and largely written by Stephen Jeu) and de Grigny, and its more hidden the Baroque (Pasquini, Boyce, Muf- A. David Moore and Scot Huntington, Pinel. However, that was bedtime read- German fl avor in works by Bach, which fat, Pachelbel, Homilius), 19th century plus an Estey reed organ, in a program ing for many of us, as all the programs, included a knowledgable performance of (Thayer and Buck), and 20th century of concerted works by Soler, Froberger, stoplists, and performer biographies the classic Prelude and Fugue in E-fl at (Murphy, Langlais, Huston, Sears). Caldara, Wagenseil, and Dvorák (this were contained in a well-organized and Major as the “sandwich” of a varied Two more organs, both somewhat last with the Estey), all admirably inter- more portable schedule booklet. program that included de Grigny’s Veni tonally altered (although not greatly to preted by organists David Neiweem and Mark Howe, with string players of the Burlington Ensemble.

Wednesday, June 26 Wednesday brought us to the Mont- pelier area and three larger two-manual organs, all by notable Boston builders. In

S. L. Huntington continuo organ (photo Introduction of 2013 OHS Biggs Fellows credit: Len Levasseur)

Joan Lippincott with 1975 Fisk Lynnette Combs at 1873 Hook & Hast- Permelia Sears at 1896 Hook & Hast- Robert Barney at 1887 Edward H. Smith, ings, Plainfi eld ings, Cabot Plainfi eld

22 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM Carol Britt at 1866 Stevens, Montpelier Paul Tegels at 1884 Hutchings, Montpelier John and Marianne Weaver, with 1885 Estey reed organ

Samuel Baker, with 1868 Johnson, Greensboro 1892 Ernest Desmarais, St. Albans 1893 Hook & Hastings, Congregational Church, St. Albans

Montpelier’s Unitarian Church, Carol Britt displayed the 1866 Stevens organ’s varied colors well in four chorale preludes by Willan and Brahms, and showcased the Oboe stop in a delightful Récit de hautbois by Emmanuel Chol, before closing with a robust transcription of an Elgar March. In the auditorium of the Montpelier College of Fine Arts, the 1884 Hutch- ings organ was expertly put through its paces by Paul Tegels in a varied program ranging from two of Haydn’s chirpy “Musical Clock” pieces to three movements of Mendelssohn’s Second Sonata, and closing with contrasted settings of Wer nur den lieben Gott by Böhm and Bach. In nearby Stowe, the 1864 Sim- mons organ in the Community Church, although twice rebuilt and enlarged (but Gregory Crowell at 1837 Henry Erben, retaining mechanical action), proved a Rosalind Mohnsen at 1889 Jardine in St. Luke’s Church, St. Albans Highgate Falls perfect vehicle for an engaging program by John Weaver and his wife, fl utist some little dances by Praetorius, she of the recently republished Reger From the Romantic and orchestrally Marianne. Beginning with a smashing segued into another set of short pieces and Straube organ expansions of Bach fl avored late 19th-century organs of St. Bach Toccata and Fugue in D Minor by contemporary Canadian composer harpsichord pieces, and Anderson did Albans, a fairly short trip to two nearby and ending with Franck’s Choral in E Rachel Laurin, and then a fi ne interpre- likewise in his closing selections. rural towns transported us back to the Major, it included two fi ne works by tation of Mendelssohn’s Fourth Sonata. The 1889 Jardine organ in St. English-inspired early 19th century, Weaver, plus his pleasing arrangement The real pièce de resistance, commented Luke’s Church was the fi nal St. Albans represented by two delightful and for organ and fl ute of an excerpt from upon by many, was her own transcrip- stop, and OHS favorite Rosalind more gently voiced organs by New Franck’s Fantasie in A, performed with tion of four excerpts from Prokofi ev’s Mohnsen did not disappoint in a varied York’s Henry Erben in the Episcopal a borrowed Estey reed organ. Although Cinderella (operatic transcriptions are full-scale program that began brightly churches of Sheldon (1833) and High- rain had been threatening all day, the not dead!), and was followed by a rous- with the solo organ version of Handel’s gate Falls (ca. 1837), both remarkable sky cleared that evening for an enjoy- ing performance of Dupré’s Prelude and Fifth Concerto. Works by Dubois and for being unaltered, sensitively restored, able and relaxing sunset dinner cruise on Fugue in B Major as a closer. Dvorák followed, authentically regis- and still in use liturgically. Most unusual beautiful Lake Champlain. Christopher Anderson led off his tered on this organ’s Romantic colors, was the Highgate Falls instrument, with program on the 1893 Hook & Hast- and a Fuga by Cernohorsky revealed only three stops—Stopped Diapason, Thursday, June 27 ings organ in the Congregational its classical side. Contrasting American Principal, and Trumpet (yes, you read On Thursday we journeyed north Church with four pleasingly light works were Elmore’s brash Alla Marcia, that right). Gregory Crowell made to towns near the Canadian border. St. pieces from Daniel Pinkham’s First and a sensitively performed Air from the imaginative and effective use of these Albans was the fi rst stop, with three pro- Organbook, followed by a sensitive Suite No. 1 by Florence B. Price, a gifted stops in “period” selections by Handel, grams. Isabelle Demers led off in Holy performance of two hitherto unknown African-American composer whose clas- Mozart, Loud, and Byrd, plus one of Guardian Angels Church in a full-scale and very contrasted works by the young sically crafted works have only recently Daniel Pinkham’s Saints’ Days pieces in program well suited to the resources of Charles Ives (only published in 2012): begun to appear on concert programs, honor of St. John, for whom the church the organ built in 1892 by Ernest Des- a sedate and melodic Canzonetta and a as have those of Anglo-African Samuel is named. marais, a Canadian who built organs for rather crazily bitonal smash on “London Coleridge-Taylor, whose Impromptu The Sheldon organ is larger, though a short time in Vermont. Beginning with Bridge.” Demers had included some closed Mohnsen’s program. still of only one manual, transplanted

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 23 Convention report

Detail of 1836 Hook, St. Mary’s Episco- Glenn Kime at 1894 Hutchings, Bethany pal Church, Northfi eld United Church of Christ, Randolph

George Bozeman at 1912 Estey, United Church of Randolph

1833 Henry Erben at Grace Episcopal Church, Sheldon (photo credit: Len Levasseur) James Cook at 1865 Simmons, St. John Tenor Edson Gifford with Lois Reges- the Evangelist, Northfi eld tein at 1836 Hook in Northfi eld many years ago from St. Paul’s in Burling- The next stop was Northfi eld, home ton. Period-appropriate works by Shaw, of a Hook and two Simmons organs—all, Taylor, Pasquini, Stanley, and Rinck again interestingly, “transplants” from other predominated in Peter Crisafulli’s nicely churches. The Hook in St. Mary’s Epis- varied program, but the organ also proved copal Church, dating from 1836 and the equal to a more Romantic Elevazione by builder’s earliest extant two-manual, took Peeters, and even Alec Wyton’s prelude us back to the gentler sounds heard the on “We Three Kings,” a tribute to its Ver- afternoon of the previous day. The Eng- mont-born author, grandson of Vermont’s lish fl avor of these early 19th-century fi rst Episcopal bishop. American organs was fully exploited by Evening brought us back to Burling- Lois Regestein in a program that began ton, and the fi ne 1864 Hook organ with varied works by Purcell, Stanley, of the First Baptist Church, where Samuel Wesley, S. S. Wesley, and Arne. Ray Cornils presented an imaginative The latter’s “Rule Brittania” was given an program of mostly shorter works by authentic performance with the verses American, German, French, and Span- sung by tenor Edson Gifford, with appro- ish composers designed to showcase priate interludes. The program concluded “The Colors of This Organ.” Beginning with a Trio by Vermont-born S. B. Whit- with Fanny Mendelssohn Hensel’s Pre- ney, and a selection from contemporary lude in F Major, it ran the gamut from composer David Dahl’s English Suite. Bach’s Prelude and Fugue in G Major to The versatility of the substantial 1855 works featuring fl ute and trumpet solos, Simmons organ in the United Meth- a French toccata by Bédard, and even odist Church was exploited in a varied a theatre-organ staple, Nigel Ogden’s program by Lubbert Gnodde that Christopher Marks, 1868 William Nutting, United Federated Church, Williamstown smile-producing Penguin’s Playtime. included two nicely registered works by Jehan Alain, and seemed quite ideal for on many programs. And in the fi nal tour feste’ Burg” and other themes are expertly Friday, June 28 two of Karg-Elert’s chorale preludes as stop in the Federated Church of Wil- canonically woven. Friday, the last full day, began with well as the smashingly executed Finale liamstown, on an organ originally built by Back in Burlington, we gathered for the two organs in Randolph. On the United from Vierne’s Symphony No. 1 that Vermonter William Nutting in 1868 and fi nal concert on the 1973 Karl Wilhelm Church’s 1912 organ by Vermont’s most closed the program. rebuilt by another Vermonter, Harlan organ in the modernistic and acousti- notable organ builder, Estey, George Another Simmons of a decade later in Seaver, in 1895, Christopher Marks cally fi ne St. Paul’s Cathedral that had Bozeman expertly brought out its warm St. John the Evangelist Catholic Church treated us to a program that was not only risen after a devastating fi re. While by and Romantic fl avor in his creative use also proved equal to a varied program based on works by American composers no means lacking foundation, the organ’s of its eight ranks (and various couplers) by James Heustis Cook that began born mostly in the middle decades of the tonal design is Baroque-based, and in decidedly “period” works by Honeg- with a fl owing Frescobaldi Toccata on 19th century, but works by these compos- James David Christie was in fi ne form ger (Two Pieces, 1917) and Frank Bridge the warm 8′ Principals and a bright ers—Yon, Lutkin, Whitney, Chadwick, for a varied program of Baroque works by (Three Pieces, 1905). A nicely varied pro- Albrechtsberger Prelude and Fugue Parker, and Buck—in which canonic forms Sweelinck, Schildt, Scheidemann, Vivaldi, gram of works by 20th-century American in B. Works different styles by 19th- of the classical style occurred. Yet the ways Krebs, Buttstett, and, of course, Bach. composers Nevin, Near, Thomson, and century composers Hauser, Lemaigre, that they did so also displayed great vari- High energy was displayed throughout, Pinkham played by Glenn Kime show- Mendelssohn, and Whitney followed, ety. Yon’s Eco was a double canon, Lutkin’s not only in the brilliance of Scheidemann’s cased the 1894 Hutchings organ in along with orchestrally inspired works a quiet Pastorale; fi ve of Chadwick’s Ten Alleluia! Laudem dicite Deo and works by Bethany UCC Church, and by conclud- by once popular 20th-century composer Canonic Studies displayed a variety of Krebs and Buttstedt, but also in the more ing with a well-paced performance of the Harry Vibbard. registrations, and even the hymn sung was somber Paduana Lagrima variations of Fugue in E-fl at Major proved the organ It will be observed that throughout the the well-known Tallis’ Canon. But the Schildt, the delicately registered little to be quite capable of convincing Bach week, works by 19th-century American climax was Marks’s brilliant performance dances from the Van Soldt manuscript, performance as well. composers, both early and late, appeared of Buck’s Choral March, in which “Ein and Christie’s own “Bachian” transcription

24 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM Demetri Sampas at ca. 1820 (anony- Margaret Angelini at 1862 Hook, St. mous) organ, Round Church, Richmond Philip Stimmel at 1927 Estey, Vergennes United Methodist Church Paul’s Episcopal Church, Vergennes

James Weaver at 1869 Derrick, Felge- Detail of 1869 Derrick, Felgemaker & Co. at Shelburne Museum Meeting House maker & Co. in Shelburne

Small Organ, which indeed worked well on this small organ. The fi nal stop was the sprawling and impressive Shelburne Museum, where 1973 Karl Wilhelm, St. Paul’s Cathedral, we had a leisurely time to wander around Burlington (photo credit: Len Levasseur) some of the exhibits and have lunch in its restaurant before the fi nal program of Vivaldi’s Concerto in D Major. A vigor- in the Meeting House, home of a small ous and driving interpretation of Bach’s transplanted fi ve-rank Derrick, Felge- Fantasia and Fugue in G Minor brought maker & Co. organ of ca. 1869, where WWW.ORGANSOCIETY.ORG/2014 the audience to its feet at the close, and the OHS’s current Executive Director, proved a fi tting conclusion to a week of James Weaver, also slightly “out of the fi ne organs, music, and fellowship. box,” treated us to a varied program of short works by Stanley, Pachelbel, Mer- 2014 Saturday, June 29 ula, and Bach, closing with Domenico But wait, there’s a bit more. Just as a Zipoli’s lively Toccata all’ Offertorio. E. POWER BIGGS shorter and quieter encore can complete a more vigorous concert, so does a lighter All OHS members, whether attendees optional coda often follow an intensive or not, received a copy of the impres- FELLOWSHIP OHS convention. So on Saturday a sively researched, written, and illustrated smaller number signed up for a brief 234-page Atlas, with its detailed history HONORING A NOTABLE ADVOCATE FOR tour south of Burlington. The fi rst stop of the organ in the State of Vermont. was in the unique Round Church (now a Non-members, including libraries and examining and understanding the pipe museum) in Richmond, where Demetri historical societies, may still obtain a organ, this year’s E. Power Biggs Fellows Sampas successfully coaxed short pieces copy from [email protected]. In will attend the OHS 59th Annual Convention by Zeuner, Whitney, and Krebs from a addition, the closing recital at St. Paul’s in the Finger Lakes Region of New York rather strange little 19th-century cham- Cathedral was digitally recorded, and ber organ of anonymous parentage. has become available. Q State, with headquarters in Syracuse, The next stop was in Vergennes, August 11–14, 2014. Hear and experience a where in a well-chosen program of works Barbara Owen holds degrees in organ and wide variety of pipe organs in the company by Bingham, Albright, Langlais, Yon, musicology from Westminster Choir College and Reger at the Methodist Church, and Boston University. She is the author of of professional musicians and enthusiasts. Estey expert Philip Stimmel impressed numerous periodical and anthology articles, The Fellowship includes a two-year entries in The New Grove Dictionary of us with what the (on paper) seemingly Music, and several books, including The membership in the OHS and covers these DEADLINE FOR APPLICATIONS limited resources of a nine-rank 1927 Organ in New England, E. Power Biggs: Con- convention costs: Estey were capable of in the hands of cert Organist, The Registration of Baroque is February 28, 2014. Open to women one who knows what can be done by Organ Music, The Organ Music of Johannes x Travel x Meals and men of all ages. To apply, go to judicious use of sub and super couplers. Brahms, and The Great Organ at Methuen. x Hotel x Registration Also in Vergennes is a pleasing one- She has served the American Guild of Organ- www.organsociety.org. manual Hook organ of 1862 in St. ists as regional councillor and chapter dean, is a past president of the Organ Historical Soci- Paul’s Episcopal Church, where Mar- ety, is a trustee of Methuen Memorial Music 2013 FELLOWS garet Angelini stepped a bit out of Hall, and is currently active as an organist, SARAH JOHNSON TIFFANY NG ORGAN HISTORICAL SOCIETY the expected box by proving it capable lecturer, and organ consultant. CHRISTOPHER KEADY MICHAEL PLAGERMAN of three short pieces by Jongen, a reed SAMANTHA KOCH PETER RUDEWICZ WWW.ORGANSOCIETY.ORG organ Service Prelude by W. H. Clarke, Photo credit (except as noted): William SILVIYA MATEVA ALEX SMITH and Daniel Pinkham’s six Versets for T. Van Pelt III

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 25 Cover feature

Schoenstein & Co., musical job done without any frills and Furthermore, there were clear glass own expression box, is also on the fi rst Benicia, California that would fi t the acoustic of this large windows on either side of the organ case. level but on the right-hand side. Fordham University Church, church was agreed on with nothing but These were not original to the building, When we outlined the planned struc- New York City great expectations that we could fi gure but were old and let in a fair amount of ture of the organ in blue masking tape some way to make it fi t! When a builder light. They were not to be disturbed. on the fl oor, it became terribly obvious Behind the Scenes is faced with this, he can either squeeze Hopeless, right? Well, not quite. Our that although enough room remained in the Drafting Room everything in and hope he is gone before fi rst thoughts were to offset bass pipes for choir and instrumentalists, it would the next generation of organ tuners and at the sides of the case and at both side be an unpleasant ordeal for them. Fr. But Will It Fit? mechanics throw epithets at him, or fi g- walls of the gallery and to bring the case McShane and Msgr. Quinn immediately The plan was to design an organ that ure out a way to expand the space. Having forward a bit. We kept trying rearrange- recognized the problem and solved it by would fi t in approximately the space seen far too many organs that die prema- ments and didn’t get very far. Then, authorizing an enlargement of the gallery occupied by the original 1879 Roosevelt turely because no one could reach things we employed the most important of all as shown in the fi nal layout plan. One organ, the façade of which remained. that needed fi xing, we chose the latter. engineering techniques—power from problem remained—the Roosevelt case. Despite trying every layout trick we could Here is how the layout design process the top. Fortunately, this project was We needed a wider central case and the think of, we couldn’t fi nd room for a stop worked. As seen in the photo of the Roo- under the personal supervision of the opportunity for more front pipes to help list large enough to satisfy the musical sevelt façade and the old gallery layout, President of the University, Fr. Joseph relieve the space constraints inside the requirements of this major university there was little space, if any, to expand McShane and the Vice President for instrument. It was fi nally agreed that if we program. (See The American Organist, the organ forward. Choir space was University Mission and Ministry, Msgr. could retain the spirit of the old case in a May 2013.) Working with Robert Minotti already constricted around the console Joseph Quinn. The project also had full new one, then the old one would be sold. (music director) and Richard Alexander and to the sides, with some extra space support from the administrative offi ces There were plenty of other technical (consultant), a stop list that would get the at the left for a few instrumentalists. under Vincent Burke. Our direct project issues. For example, the blower had to manager, Aldo Di Vitto, who is a trained be located in the bell tower behind the architect, lived with this project almost gallery, which was somewhat open to as a member of our team from beginning the elements. This was cleverly solved to end. After learning the specifi cs of the with the architect’s suggestion of a pre- situation, they cleared the way for block- fabricated walk-in refrigerator box— ing the windows and using the space at one of the most perfect blower rooms either end of the balcony, provided we we have ever seen. Another problem could retain enough space for a small was re-routing vents from rooms below choir and possibly some instrumentalists. the gallery and removing other obstruc- Our design director, Glen Brasel, in tions in order to provide a clear fl oor conjunction with plant superintendent on which we could install the organ. Louis Patterson, developed a layout A major concern was maintaining the placing the Swell at the far left of the bal- stairway access on the right-hand side of cony, the Great on the far right with the the balcony. Our idea of having people Choir and Pedal in the center. All chorus walk through the organ was greeted work for fl ues and reeds is on the second with skepticism, but was accepted when level. Flutes, mutations, and most of the we assured the lawyers that people color reeds and strings are on the fi rst wouldn’t have to climb over wind con- level. The Vox Humana, which is in its ductors or trip on cables!

Sanctuary organ case Old gallery layout

Schoenstein & Co.

Gallery Organ CHOIR (II) SWELL (III—Enclosed) 8′ Celli (II, Great) (3 manuals, 35 ranks) Unenclosed Stops 16′ Echo Bass 12 pipes 8′ Concert Flute (Swell) 16′ Bourdon (TC) 8′ Diapason 61 pipes 8′ Bourdon (Choir) GREAT (I) 8′ Diapason 61 pipes 8′ Concert Flute 61 pipes 4′ Super Octave 12 pipes Unenclosed Stops 8′ Harmonic Flute 61 pipes 8′ Voix sérénissime 61 pipes 4′ Fifteenth (Swell) 16′ Diapason (Ext. Choir) 12 pipes 8′ Bourdon 61 pipes 8′ Voix céleste 61 pipes 4′ Harmonic Flute (Choir) 8′ Grand Diapason (Ext. Ped) 17 pipes 4′ Principal 61 pipes 4′ Gemshorn 61 pipes 2′ Piccolo (Swell) 8′ Diapason (Choir) 4′ Chimney Flute 61 pipes 4′ Silver Flute 61 pipes 1′ Fife (Swell) 2 2 8′ Harmonic Flute (Choir) 2⁄3′ Twelfth 61 pipes 2⁄3′ Nazard (TC) 49 pipes 32′ Harmonics (V, Swell) 8′ Chimney Flute (Choir) 2′ Fifteenth 61 pipes 2′ Piccolo 12 pipes 32′ Contra Trombone (Swell) 12 pipes 3 4′ Principal (Choir) 8′ Tuba Major (FF#) 43 pipes 1⁄5′ Tierce (TC) 42 pipes 16′ Bombarde (Great) 2 2⁄3′ Twelfth (Choir) Tremulant 1′ Fife 16′ Trombone (Swell) 2′ Fifteenth (Choir) 8′ Corno di Bassetto (Great) 2′ Mixture (III–V) 263 pipes 8′ Harmonic Trumpet (Great) 8′ Tuba Major (Choir) Celesta Sub (digital, enclosed) 16′ Trombone 12 pipes 8′ Trumpet (Swell) Tremulant (Choir) Celesta (digital, enclosed) 16′ Fagotto (TC) 4′ Harmonic Clarion (Great) Enclosed Stops Sanctuary Stops 8′ Trumpet 61 pipes 4′ Corno di Bassetto (Great) 8′ Cello 61 pipes 8′ Open Diapason (unenclosed) 8′ Oboe 61 pipes Tower Bells (Great) 8′ Cello Céleste 61 pipes 8′ Harmonic Flute (unenclosed) 8′ Vox Humana f & p 61 pipes Sanctuary Stops 4′ Grand Octave 61 pipes 4′ Principal (unenclosed) 4′ Clarion 61 pipes 32′ Bourdon (resultant) 4′ Viola 12 pipes 16′ Bourdon Tremulant 16′ Double Bass 4′ Viola Céleste 7 pipes 8′ Salicional 8′ Tuba Major (Choir) 16′ Bourdon 2′ Grand Chorus (IV) 217 pipes 8′ Stopped Diapason Orchestral Harp (digital) 8′ Harmonic Flute 16′ Bombarde 12 pipes 8′ Echo Gamba 8′ Stopped Diapason 8′ Harmonic Trumpet 61 pipes 8′ Vox Angelica PEDAL 8′ Echo Gamba 8′ Corno di Bassetto 61 pipes 4′ Salicet 32′ Diapason (resultant) 4′ Harmonic Flute Chimes (digital) 4′ Flute 32′ Echo Bass (resultant) 8′ Trumpet Tower Bells (digital) 2′ Salicetina 16′ Contra Bass (wood) 12 pipes 4′ Rohrschalmei 1 1⁄3′ Mixture (II–V) 16′ Diapason (Great) 16′ Double Trumpet (TC) 16′ Echo Bass (Swell) 8′ Trumpet 8′ Octave 32 pipes 8′ Rohrschalmei (TC) 8′ Principal (Swell) Tremulant 8′ Harmonic Flute (Choir)

26 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM The layout has a few interesting fea- How Can We Dress It Up? tures to make it serviceable despite fairly The process of case design usually tight quarters, such as spring-loaded starts with a simple pencil sketch just walkboards that lift out of the way when to get an idea of the general proportion climbing between levels, and an L-shaped and massing of elements, the number of Swell box that provides just enough extra front pipes, etc. Usually this is given to room for the last Swell stop. The 32′ reed the church architect who makes com- in the Swell, by the way, is full length and ments and suggestions. Sometimes, is located at the back of the Swell box many levels of approval are involved along the left-hand side wall. and the sketch becomes more-and-more elaborate until a full mechanical drawing Organs Are Vertical— is made. When this is accepted, we often Not Horizontal! have the specialist pipe organ renderers, All the cleverness created a thoroughly Pipeshaders of Orem, Utah, do their horizontal instrument stretching from magic to interpolate our mechanical wall-to-wall, so our next challenge was to drawing into a photograph of the church. give it some sense of verticality and pay The mechanical drawing and rendering homage to the Roosevelt’s 19th-century are shown at right, for comparison with style. The obvious answer was to feature the fi nal product shown on the cover. Fordham University Church, gallery with 1879 Roosevelt organ the center portion of the organ and, even This project involved a second com- though it was a bit wider than normal, pletely separate but inter-connected emphasize height by selecting narrower organ in the sanctuary. The design pro- scale pipes and also making them over- cess was much simpler with the exception length, thus appearing taller. The over- that we had to develop a design within reach of center pipes in each fl at, as well two arches set at a 90° angle with the as the tall fi nials, adds to this impression. face of the organ projecting diagonally The next problem was de-emphasizing across the church, so that the case would the side sections. Our fi rst thought was to be attractive from many perspectives. use grille work only, but that just made the The organs were dedicated in a Mass side sections of the instrument appear to of Dedication and Celebration on April be more massive. The small, narrow-scale 21, 2013. The inaugural recital with Ken pipes at the forward corners of each side Cowan playing the works of Bach, Reger, were added to provide a bit of interest Willan, Vierne, Widor, Laurin, and Wag- and an explanation as to why there were ner was played to a very large and appre- large boxes on either side of the organ! ciative audience on September 8, 2013. As can be seen from the cover photo —Jack M. Bethards and from the plan of the enlarged bal- President and Tonal Director cony, there is now adequate room for a Schoenstein & Co. choir, and instrumentalists are not stuck Photo credit: Louis Patterson Mechanical drawing, gallery organ case back in the corner. Rendering by Pipeshaders

New layout, showing enlarged gallery Rendering, gallery organ case

The University Church, Fordham University, New York City

Sanctuary Organ CHOIR (II) (2 manuals, 14 ranks) 8′ Salicional (common bass) 49 pipes 8′ Stopped Diapason 61 pipes GREAT (I) 8′ Echo Gamba 61 pipes 8′ Open Diapason 61 pipes 8′ Vox Angelica 61 pipes 8′ Harmonic Flute 61 pipes 4′ Salicet 12 pipes 4′ Principal 61 pipes 4′ Flute 12 pipes 16′ Bourdon (Extend Choir) 12 pipes 2′ Salicetina 12 pipes 8′ Stopped Diapason (Choir) 2′ Mixture (II–V) 206 pipes 2′ Mixture (II–V, Choir) 8′ Trumpet 61 pipes 16′ Double Trumpet (TC, Choir) 8′ Tuba Major (Gallery Choir) 8′ Trumpet (Choir) 8′ Rohrschalmei (TC, Choir) 37 pipes PEDAL Tremulant (Choir) 16′ Double Bass (Harm. Flute) 12 pipes 16′ Bourdon (Choir) 8′ Harmonic Flute (Great) 8′ Stopped Diapason (Choir) 4′ Harmonic Flute (Great) 8′ Trumpet (Choir) 4′ Rohrschalmei (Great) Full array of couplers and mechanicals on both consoles Manual I/II Transfer and Pedal Divide on Gallery console

Gallery console

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 27 New Organs

Bigelow Opus 36, St. Ambrose Catholic Church, Salt Lake City, Utah (Photo credit: David Chamberlin)

Bigelow & Co., Inc., Organ Builders, Bigelow Opus 36 includes the console, American Fork, Utah chests, and 42 ranks of pipes from the St. Ambrose Catholic Church, Salt Holtkamp, all seven ranks from the pre- Lake City, Utah vious organ, and one new reed rank, for St. Ambrose Parish in Salt Lake City a total of 50 ranks. Only four ranks were has been blessed with a beautiful, large, substantially revoiced, otherwise revoic- and acoustically gracious worship space, ing was limited to minor adjustments a talented and ambitious director of required by changes in wind pressure music (Christopher Huntzinger), excel- and different acoustics. lent choirs, and supportive clergy (Rev. A handsome new oak case, including Andrzej Skrzypiec)—but, until recently, a Rückpositiv, harmonizes with the inte- only a seven-rank pipe organ (with no rior of the church and presents the organ reeds). When the 44-rank Holtkamp as a new instrument. organ from St. Mark’s Episcopal Cathe- The inaugural recital was played dral in downtown Salt Lake City became by Clay Christiansen of the Mormon available (replaced by a new Bigelow Tabernacle on January 25, 2013. Dr. instrument), St. Ambrose’s musicians Christiansen, who had served St. and clergy wasted no time in procuring Mark’s Cathedral for ten years when it. Having maintained the Holtkamp the Holtkamp was new, commented instrument for many years, and having afterward about the new instrument, dismantled and removed it to make way calling it a “very satisfying eclectic for the new organ, Bigelow & Co. was instrument, wonderfully well suited to the obvious choice to reconstruct it as a its environment.” new instrument for St. Ambrose. —David Chamberlin

Bigelow & Co., Inc. Opus 36, St. Ambrose Catholic Church, Salt Lake City, Utah

POSITIV – Man. I 2′ Nachthorn 8′ Prestant (ext, 1–6 = Copula) III Fourniture 8′ Copula 16′ Fagott 8′ Dolce (Gt) 8′ Cornopean 4′ Prestant 8′ Oboe 4′ Rohrfl öte 4′ Fagott (ext) 4′ Dolce (Gt) 2′ Principal PEDAL 2′ Blockfl öte 32′ Resultant (Bourdon) 1′ Octave 16′ Principal II Sesquialtera 16′ Bourdon (Sw, 1–12 unenclosed) III Scharf 16′ Bourdon doux (Bourdon, 1–12 A gift subscription to 8′ Cromorne lower pressure) Swell to Positiv 16′ Quintadena (Gt) 8′ Octave The Diapason GREAT – Man. II 8′ Flauto 16′ Bourdon (Sw, 1–12 = Ped Bdn doux) 4′ Choralbass 16′ Quintadena 4′ Bourdon (Sw) The perfect gift for organist colleagues, students, teachers, 8′ Open Diapason III Rauschpfeife choir directors, and clergy. 8′ Principal 16′ Posaune Each month your gift will keep on giving by providing the 8′ Gedeckt 16′ Fagott (Sw) important news of the organ and church music fi eld. Send in the 8′ Dolce 8′ Trumpet form below with your check and know that your gift will be just right. 4′ Octave 4′ Schalmey For information, contact Jerome Butera, 608/634-6253; 4′ Spitzfl öte Great to Pedal [email protected]. 2′ Doublette Positiv to Pedal IV Mixture Swell to Pedal $38 one year USA ($48 foreign) 8′ Trumpet Positiv to Great Electro-pneumatic and some Direct THE DIAPASON Swell to Great Electric® (Wicks) action 3030 W. Salt Creek Lane, Ste. 201, Arlington Heights, IL 60005-5025 Holtkamp console (1967) with additional SWELL – Man. III stop keys and pistons For (Name) ______8′ Viol-Principal New oak and oak veneer case 8′ Bourdon 128-level combination action Street ______8′ Flute Zimbelstern (5 bells) 8′ Salicional Three manuals, 50 ranks City ______8′ Celeste (FF) State ______Zip ______4′ Principal 4′ Harmonic Flute 2 From: ______2⁄3′ Nasat

28 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 21 DECEMBER Park Ridge Presbyterian Church This calendar runs from the 15th of the month Handel, Messiah; Avery Fisher Hall, New Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline York, NY 7:30 pm Pickle Piano & Church Organs is the fi rst of the preceding month (Jan. 1 for NEW YORK Lessons & Carols; St. Luke United Feb. issue). All events are assumed to be organ Bloomingdale, IL Church of Christ, Nazareth, PA 7:30 pm recitals unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO Jelani Eddington, silent fi lm accompa- chapter event, • •=RCCO centre event, +=new organ niment, A Christmas Carol; Phipps Center for the Arts, Hudson, WI 2 pm dedication, ++= OHS event. Christopher Babcock Information cannot be accepted unless it specifi es artist name, date, location, and hour in 22 DECEMBER writing. Multiple listings should be in chronological Candlelight Lessons & Carols; Holy Trin- St. Andrew’s by the Sea, ity Lutheran, New York, NY 5 pm order; please do not send duplicate listings. Hyannis Port THE DIAPASON regrets that it cannot assume Lessons & Carols; St. Luke United responsibility for the accuracy of calendar entries. Church of Christ, Nazareth, PA 3 pm Advent Lessons & Carols; St. John’s Episcopal, Hagerstown, MD 10:15 am UNITED STATES Lessons & Carols; Episcopal Church of GAVIN BLACK East of the Mississippi the Good Shepherd, Lexington, KY 5 pm Dean W. Billmeyer Bruce Barber; Holy Name Cathedral, Princeton Early Keyboard Center 15 DECEMBER Chicago, IL 3:30 pm University of Minnesota Holiday concert, with brass; First Unitar- 732/599-0392 ian, Worcester, MA 4 pm 23 DECEMBER Minneapolis 55455 • [email protected] www.pekc.org Christmas with CONCORA; Westminster Handel, Messiah; Carnegie Hall, New Presbyterian, West Hartford, CT 4 pm York, NY 8 pm Handel, Messiah; Church of St. Joseph, Bronxville, NY 3 pm 24 DECEMBER THOMAS BROWN Community Carol Celebration; Church of Byron L. Blackmore Lessons & Carols; St. Vincent Ferrer UNIVERSITY Church, New York, NY 3 pm the Resurrection, New York, NY 5 pm Carol Sing; Madison Avenue Presbyte- Festival of Nine Lessons & Carols; Grace Crown of Life Lutheran Church PRESBYTERIAN CHURCH rian, New York, NY 4 pm Church, New York, NY 8 pm Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Britten, A Ceremony of Carols; Grace Lessons & Carols; Camp Hill Presbyte- 623/214-4903 ThomasBrownMusic.com Church, New York, NY 4 pm rian, Camp Hill, PA 5 pm, 7 pm, 9 pm Tuomas Pyrhönen; St. Thomas Church Music for the Holiday Season; Christ Fifth Avenue, New York, NY 5:15 pm Church, Bradenton, FL 10:30 pm Handel, Messiah; Carnegie Hall, New C. Ralph Mills; St. Paul Lutheran, York, NY 8 pm Charleston, WV ROBERT CLARK DELBERT DISSELHORST Crescent Singers; Crescent Avenue John Linker; Episcopal Church of the Houston Texas Presbyterian, Plainfi eld, NJ 5 pm Good Shepherd, Lexington, KY 6:15 pm Master Classes, Consultation Professor Emeritus The Philadelphia Singers; Cathedral Ba- [email protected] silica of Sts. Peter and Paul, Philadelphia, 25 DECEMBER 513/478-0079 University of Iowa–Iowa City PA 3 pm Stephen Williams; St. John’s Lutheran, Christmas concert; St. Paul’s United Allentown, PA 3 pm Church of Christ, Trexlertown, PA 3 pm Christopher Betts & Benjamin Straley; Lessons & Carols; Doylestown Presbyte- Washington National Cathedral, Washing- JAMES DORROH, AAGO, PhD STEVEN EGLER rian, Doylestown, PA 4 pm ton, DC 5:15 pm Central Michigan University Lessons & Carols; St. Paul’s Episcopal, Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Greenville, NC 5 pm 27 DECEMBER Samford University Artist in Residence Pennsylvania State College Choral So- Craig Williams; St. Malachy’s, New York, Birmingham, Alabama First Congregational Church ciety; St. James Catholic Church, Charles NY 6:30 pm Saginaw, Michigan Town, WV 4 pm Organ Consultant Organ Recitals [email protected] Handel, Messiah; Christ Church Grosse 28 DECEMBER Pointe, Grosse Pointe Farms, MI 4:30 pm Eric Bowman; St. James Catholic John Linker; Episcopal Church of the Church, Charles Town, WV 6:30 pm Good Shepherd, Lexington, KY 4:15 pm JOHN FENSTERMAKER STEPHEN HAMILTON Lessons & Carols; Cathedral Church of 31 DECEMBER the Advent, Birmingham, AL 3 pm Cathedral Choir, with orchestra; Cathedral TRINITY-BY-THE-COVE recitalist–clinician–educator Holiday concert; Demmer Recital Hall, of St. John the Divine, New York, NY 7 pm www.stephenjonhamilton.com Ripon College, Ripon, WI 3:15 pm Saint-Saëns, Christmas Oratorio; Church NAPLES, FLORIDA David Jonies; Holy Name Cathedral, of St. Joseph, Bronxville, NY 8 pm Chicago, IL 3:30 pm William Trafka; St. Bartholomew’s Epis- copal, New York, NY 11 pm 16 DECEMBER Douglas Cleveland; Central Reformed Messiah Sing-In; Avery Fisher Hall, Lin- Church, Grand Rapids, MI 8 pm WILL HEADLEE ANDREW HENDERSON, DMA coln Center, New York, NY 7:30 pm Madison Avenue Presbyterian Church 2 JANUARY 1650 James Street 17 DECEMBER New York, NY Aula Harmoniae; St. Bartholomew’s Syracuse, NY 13203-2816 Ray Cornils, Christmas with Cornils; Ca- Episcopal, New York, NY 1:15 pm thedral of St. Luke, Portland, ME 7:30 pm (315) 471-8451 www.andrewhenderson.net Handel, Messiah; Avery Fisher Hall, New 5 JANUARY York, NY 7:30 pm The Adult Choir; Grace Church, New Lessons & Carols; St. John’s Lutheran, York, NY 4 pm Allentown, PA 7:30 pm Epiphany Lessons & Carols; Church of Jack Mitchener; Christ Episcopal, Ma- St. Joseph, Bronxville, NY 3 pm David Herman con, GA 7 pm Jeremy Filsell; Washington National Ca- Catherine Rodland; Church of St. Louis, thedral, Washington, DC 5:15 pm Trustees Distinguished Professor Emeritus of Music and University Organist King of France, St. Paul, MN 12:35 pm 7 JANUARY The University of Delaware Q [email protected] 18 DECEMBER Karl Robson; Church of St. Louis, King Handel, Messiah; Avery Fisher Hall, New of France, St. Paul, MN 12:35 pm York, NY 7:30 pm Christmas Carol Sing; Cathedral Basilica 11 JANUARY of the Sacred Heart, Newark, NJ 8 pm The Diapason Janet Yieh; St. Agnes Church, New York, Michael Rickman; Advent Lutheran, Mel- bourne, FL 12 noon NY 4:30 pm 2014 Resource Directory

19 DECEMBER 12 JANUARY Reserve advertising space now! Handel, Messiah; Avery Fisher Hall, New Melodeon; Church of the Epiphany, New Contact Jerome Butera • 608/634-6253 • [email protected] York, NY 7:30 pm York, NY 4 pm A Renaissance Christmas; St. Bar- Simon Leach; St. Thomas Church Fifth tholomew’s Episcopal, New York, NY 1:15 pm Avenue, New York, NY 5:15 pm LORRAINE BRUGH, Ph.D. Britten, A Ceremony of Carols; St. Thomas James Hicks; Washington National Ca- Church Fifth Avenue, New York, NY 5:30 pm thedral, Washington, DC 5:15 pm Christmas Carol Sing; Cathedral Basilica Marilyn Keiser; First Presbyterian, Pom- Associate Professor of the Sacred Heart, Newark, NJ 8 pm pano Beach, FL 4 pm University Organist Mary Mozelle; Christ Church, Braden- Men & Boys Choir; Christ Church Grosse ton, FL 12:15 pm Pointe, Grosse Pointe Farms, MI 4:30 pm Valparaiso University 20 DECEMBER 14 JANUARY Valparaiso, IN Handel, Messiah; Avery Fisher Hall, New James Bobb; Church of St. Louis, King www.valpo.edu York, NY 11 am of France, St. Paul, MN 12:35 pm Anthony Rispo; St. Malachy’s, New York, NY 6:30 pm 18 JANUARY 219-464-5084 Lessons & Carols; St. Luke United Carrollton Chorale; Morristown United [email protected] Church of Christ, Nazareth, PA 7:30 pm Methodist, Morristown, NJ 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 29 Gary L. Jenkins CALIFORNIA LUTHERAN UNIVERSITY Calendar Central Presbyterian Church Director, Schmidt Concert Series Kyle Johnson, DMA Baroque Chamber Orchestra; Christ Festival of Nine Lessons & Carols; St. Carmelite Monastery University Organist Church, Bradenton, FL 7:30 pm Mark’s Episcopal, Berkeley, CA 4:30 pm Curator of Organs 

r
LFKPIOT!DBMMVUIFSBOFEV Robert Gurney; California Palace of the Rose-Hulman Institute of Technology 19 JANUARY Legion of Honor, San Francisco, CA 4 pm www.callutheran.edu Terre Haute, Indiana Karen Beaumont; Calvary Baptist, New Advent Lessons & Carols; St. Mary’s Ca- York, NY 3 pm thedral, San Francisco, CA 3:30 pm Jens Korndoerfer; St. Thomas Church Advent Lessons & Carols (in German); KIM R. KASLING Fifth Avenue, New York, NY 5:15 pm Resurrection Lutheran, Oakland, CA 3 pm Brian Jones Carrollton Chorale; Calvary Lutheran, Emma Lou Diemer; Trinity Episcopal, D.M.A. Director of Music Emeritus Cranford, NJ 3 pm Santa Barbara, CA 3:30 pm St. John’s University Matt Glandorf, Alan Morrison, & Jef- Davitt Moroney; Hertz Hall, University of TRINITY CHURCH frey Brillhart, with chamber orchestra; California, Berkeley, CA 3 pm BOSTON Collegeville, MN 56321 Verizon Hall, Kimmel Center, Philadelphia, PA 2:30 pm 17 DECEMBER The Philadelphia Singers; Church of the Todd Wilson; Segerstrom Concert Hall, Holy Trinity, Philadelphia, PA 3:30 pm Costa Mesa, CA 7:30 pm JAMES KIBBIE Dexter Kennedy; Washington National Cathedral, Washington, DC 5:15 pm 18 DECEMBER The University of Michigan Baroque Chamber Orchestra; Church of David Higgs; Walt Disney Concert Hall, Ann Arbor, MI 48109-2085 the Redeemer, Sarasota, FL 5:15 pm Los Angeles, CA 8 pm ORGAN CONSULTANT 734-764-1591 FAX: 734-763-5097 Schola; Christ Church Grosse Pointe, www.gabrielkney.com Grosse Pointe Farms, MI 4:30 pm 19 DECEMBER email: [email protected] Choral Evensong; Cathedral Church of Evensong; Grace Cathedral, San Fran- the Advent, Birmingham, AL 3 pm cisco, CA 5:15pm David K. Lamb, D.Mus. A Professional Card in 21 JANUARY 20 DECEMBER The Diapason David Jenkins; Church of St. Louis, King Festival of Nine Lessons & Carols; Ca- Director of Music/Organist of France, St. Paul, MN 12:35 pm thedral Church of St. Mark, Minneapolis, For rates and digital specifi cations, MN 7:30 pm First United Methodist Church contact Jerome Butera Columbus, Indiana 23 JANUARY Christmas Carol Sing-Along; Trinity Epis- 608/634-6253 David Shuler; St. Luke in the Fields, 812/372-2851 [email protected] copal, Santa Barbara, CA 3:30 pm New York, NY 8 pm Chanticleer; Walt Disney Concert Hall, Ken Cowan, masterclass; Trinity United Los Angeles, CA 8 pm Methodist, Huntsville, AL 4 pm 21 DECEMBER 24 JANUARY John Karl Hirten; California Palace of Ken Cowan, with choir; Trinity United the Legion of Honor, San Francisco, CA Methodist, Huntsville, AL 7:30 pm 4 pm

25 JANUARY 22 DECEMBER Evensong; Christ & St. Stephen’s Episco- Festival of Nine Lessons & Carols; Ca- pal, New York, NY 5 pm thedral Church of St. Mark, Minneapolis, MN 5 pm 26 JANUARY Mark Fideldy, with Hymnus Angelicus; Super Bell XXII Handbell Concert; First ANDREW PAUL MOORE Church of Christ, Wethersfi eld, CT 4 pm Gethsemane Lutheran, Hopkins, MN 4 pm Angela Kraft Cross; St. Mary’s Cathe- A.S.C.A.P. Junior Choristers; Grace Church, New FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH York, NY 4 pm dral, San Francisco, CA 3:30 pm John Scott; St. Thomas Church Fifth Av- David Gell; Trinity Episcopal, Santa Bar- 345 SADDLE LAKE DRIVE bara, CA 3:30 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS enue, New York, NY 5:15 pm (770) 594-0949 Impulse Handbell Ensemble; Doylestown Presbyterian, Doylestown, PA 4 pm 26 DECEMBER David Arcus; Duke University Chapel, Evensong; Grace Cathedral, San Fran- Durham, NC 5 pm cisco, CA 5:15 pm LEON NELSON DOUGLAS O’NEILL Donald VerKuilen; St. Mary of the Lake, Gary, IN 3 pm 27 DECEMBER Director of Traditional Music Cathedral of the Madeleine Polyphony: Voices of New Mexico; Ca- Southminster Presbyterian Church Salt Lake City, Utah 27 JANUARY thedral of St. John, Albuquerque, NM 4 pm Arlington Heights, IL 60005 [email protected] Andrea Handley; Elliott Chapel, Presby- terian Homes, Evanston, IL 1:30 pm 29 DECEMBER 801/671-8657 David Hatt; St. Mary’s Cathedral, San 28 JANUARY Francisco, CA 3:30 pm MARILYN MASON Katherine Burk; Church of St. Louis, Keith Thompson; California Palace of CHAIRMAN, DEPARTMENT OF ORGAN King of France, St. Paul, MN 12:35 pm the Legion of Honor, San Francisco, CA UNIVERSITY OF MICHIGAN 4 pm ANN ARBOR 30 JANUARY “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it St. Thomas Choir of Men and Boys, with 31 DECEMBER with awesome technique and a thrilling command of its daring writing.” Juilliard415; St. Thomas Church Fifth Av- Ars Lyrica Houston; Zilkha Hall, Hobby The American Organist, 1980 enue, New York, NY 7:30 pm Center for the Performing Arts, Houston, Concitato; St. Bartholomew’s Episcopal, TX 9 pm New York, NY 1:15 pm James Welch; The Mormon Tabernacle, Salt Lake City, UT 5:30 pm SYLVIE POIRIER 31 JANUARY LARRY PALMER Tom Trenney, recital & silent fi lm accom- 5 JANUARY paniment; Faith Presbyterian, Cape Coral, Epiphany Lessons & Carols; St. Mary’s Professor of PHILIP CROZIER FL 7 pm Cathedral, San Francisco, CA 3:30 pm ORGAN DUO Luther College Nordic Choir; St. Mary’s Harpsichord and Organ Episcopal Cathedral, Memphis, TN 7 pm 6 JANUARY 3355 Queen Mary Road, Apt 424 Montevallo Early Music Ensemble; Ca- Tom Trenney, hymn festival; Church of Meadows School of the Arts Montreal, H3V 1A5, P. Quebec thedral Church of the Advent, Birmingham, St. John the Divine, Houston, TX 7:30 pm AL 12:30 pm SOUTHERN METHODIST UNIVERSITY Canada Charles Kennedy; Cathedral Church of 7 JANUARY (514) 739-8696 the Advent, Birmingham, AL 3 pm Tom Trenney, masterclass; Church of St. Dallas, Texas 75275 Fax: (514) 739-4752 John the Divine, Houston, TX 9 am Johann Vexo; Co-Cathedral of the Sa- Musical Heritage Society recordings UNITED STATES [email protected] West of the Mississippi cred Heart, Houston, TX 7:30 pm 8 JANUARY 15 DECEMBER Philippe Lefèbvre; Bates Recital Hall, Raymond Johnston, Messiaen, La Na- Rice University, Houston, TX 7:30 pm tivité du Seigneur; Cathedral Church of St. Mark, Minneapolis, MN 3 pm 9 JANUARY VocalEssence; Plymouth Congregation- Jungjoo Park; St. Barnabas Lutheran, al, Minneapolis, MN 4 pm Plymouth, MN12:30 pm Handel, Messiah sing-along; St. Olaf George Baker & Ken Cowan; Edythe Catholic Church, Minneapolis, MN 6:30 pm Bates Old Recital Hall, Rice University, WARREN D. HOOD II, DSM Choirs & instrumentalists of St. Paul’s; St. Houston, TX 7:30 pm Paul’s Lutheran, Des Peres, MO 4 pm Organist and Director of Music Singing Girls of Texas; St. Stephen Pres- 10 JANUARY Th e Historic Sharon Baptist Church byterian, Fort Worth, TX 7 pm David Cherwien, with Mount Olive Can- Houston Chamber Choir; Chapel of the Vil- torei, hymn festival; Mount Olive Lutheran, Baltimore, MD 21217 la de Matel, Houston, TX 3:30 pm, 7:30 pm Minneapolis, MN 7:30 pm Rose Ensemble; Christ Church Cathe- Gail Archer; Aspen Community Church, dral, Houston, TX 5 pm Aspen, CO 4 pm

30 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar BRUCE POWER Stephen G. Schaeffer Recitals – Consultations Nathan Laube; Christ Episcopal, Little 31 JANUARY Organist Director of Music Emeritus Rock, AR 8 pm James Welch; The Mormon Tabernacle, Christ Church Cathedral James Welch; University of California, Salt Lake City, UT 5:30 pm Cathedral Church of the Advent Santa Barbara, CA 7:30 pm Melody Steed, with trumpet; Samuel- Houston Birmingham, Alabama Christian Lane; Christ Church, Portola son Chapel, California Lutheran University, Valley, CA 7:30 pm Thousand Oaks, CA 7:30 pm

12 JANUARY INTERNATIONAL ROBERT L. •Craig Cramer; St Mark’s on the Cam- Nicholas E. Schmelter pus, Lincoln, NE 3 pm Director of Music and Organist Daryl Robinson; Christ Church Cathe- 15 DECEMBER SIMPSON dral, Houston, TX 4:15 pm Jean-Luc Ho, organ and harpsichord; First Congregational Church Christ Church Cathedral Choral Evensong; Christ Church Cathe- Collégiale, St-Ursanne, Switzerland 5 pm Saginaw, Michigan 1117 Texas Avenue dral, Houston, TX 5 pm Stephen Hamilton; St. Paul’s Cathedral, Houston, Texas 77002 David Higgs; Memorial Chapel, Univer- London, UK 4:45 pm sity of Redlands, Redlands, CA 3 pm Nicholas Sutton; Westminster Cathe- Gail Archer; St. Mary’s Cathedral, San dral, London, UK 4:45 pm Stephen Tappe Francisco, CA 3:30 pm Jonathan Ryan; St. James Episcopal, 17 DECEMBER Organist and Director of Music Joe Utterback Paul Dewhurst; Marlborough Road Los Angeles, CA 6 pm Saint John's Cathedral COMMISSIONS & CONCERTS Methodist, St. Albans, UK 12:30 pm Denver, Colorado 17 JANUARY 732 . 747 . 5227 Douglas Cleveland; First Congregation- 21 DECEMBER www.sjcathedral.org al, Boulder, CO 7:30 pm Choir of Kaiser-Wilhelm-Gedächtnis- Jonathan Wohlers; Christ Episcopal, Kirche; Kaiser-Wilhelm-Gedächtnis-Kirche, Tacoma, WA 12:10 pm Berlin, Germany 6 pm James Welch; Church of Jesus Christ of Patrick Wedd; Christ Church Cathedral, Marcia Van Oyen David Wagner Latter-day Saints, Newport Beach, CA 7:30 pm Montreal, QC, Canada 4:30 pm DMA First United Methodist Church Madonna University 18 JANUARY 22 DECEMBER Plymouth, Michigan +Ken Cowan; Lord of Life Lutheran, Sun Rheinberger, Der Stern von Bethlehem; Livonia, Michigan City West, AZ 2 pm Jesuit Church of St. Michael, Munich, Ger- mvanoyen.com [email protected] many 4 pm 19 JANUARY Martha Sandford; St. John’s Cathedral, 24 DECEMBER Denver, CO 3 pm Vespers, with trumpet; Altenberger Dom, +Ken Cowan; Lord of Life Lutheran, Sun Odenthal, Germany 9 pm Kevin Walters KARL WATSON City West, AZ 3 pm Hans-Dieter Meyer-Moortgat; Kaiser- •Anthony Williams; St. Mary’s Cathe- Wilhelm-Gedächtnis-Kirche, Berlin, Ger- M.A., F.A.G.O. SAINT LUKE’S dral, San Francisco, CA 3:30 pm many 9 pm Rye, New York METUCHEN 24 JANUARY 25 DECEMBER •Aaron David Miller, silent fi lm accom- Andreas Meisner; Altenberger Dom, paniment; First Lutheran, Duluth, MN 7 pm Odenthal, Germany 3:30 pm •Jonathan Dimmock; Doc Rando Re- cital Hall, University of Nevada, Las Vegas, 26 DECEMBER Alan G Woolley PhD Davis Wortman

NV 7:30 pm Rolf Müller, with violin; Altenberger Musical Instrument Research Dom, Odenthal, Germany 3:30 pm St. James’ Church 25 JANUARY Stefano Barberino; Kaiser-Wilhelm- Edinburgh

Nathan Laube; Augustana Lutheran, Gedächtnis-Kirche, Berlin, Germany 6 pm [email protected] New York Denver, CO 7:30 pm George Baker, improvisation workshop; 28 DECEMBER St. Edmund’s Episcopal, San Marino, CA Martin Rost; Kaiser-Wilhelm-Gedächt- 11 am, 2 pm nis-Kirche, Berlin, Germany 6 pm RUDOLF ZUIDERVELD 26 JANUARY 29 DECEMBER RONALD WYATT Craig Cramer; First & Calvary Presbyte- Parker, The shepherds’ vision; Ovansjö Illinois College, Jacksonville rian, Springfi eld, MO 2:30 pm Church, Kungsgården, Sweden 6 pm Trinity Church Janette Fishell; Episcopal Church of the Britten, A Ceremony of Carols; Alten- Galveston First Presbyterian Church, Transfi guration, Dallas, TX 7 pm berger Dom, Odenthal, Germany 3:45 pm Springfi eld Choral concert; St. Stephen Presbyte- Peter Holder; Westminster Abbey, Lon- rian, Fort Worth, TX 7:30 pm don, UK 5:45 pm Sharon Porter Shull; Trinity Lutheran, Lynnwood, WA 7 pm 31 DECEMBER Charles Dodsley Walker, FAGO David Franke; St. Wenzel’s Church, Na- Artist-in-Residence Founder/Conductor 28 JANUARY umburg, Germany 9 pm Saint Luke’s Parish Canterbury Choral Society Ken Cowan; St. Margaret’s Episcopal, Silke Hamburger; Kaiser-Wilhelm- 1864 Post Road 2 East 90th Street Palm Desert, CA 7 pm Gedächtnis-Kirche, Berlin, Germany 11 pm Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

William Webber, C.A.G.O. , Organist/Choirmaster, St. John s Episcopal Church, Versailles, KY Instructor of Music & Religious Studies, Maysville Community College Contact Bill at

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 Q 31 Calendar Organ Recitals

1 JANUARY 6 DECEMBER CHARLES BARLAND, Sinsinawa Mound, BWV 676, Bach; Praeludium in C, Bux WV Dirk Elsemann; Kaiser-Wilhelm- St. Chrysostom’s, Chicago, IL 5 pm, 7 pm Sinsinawa, WI, July 17: Triumphant March, 136, Buxtehude; Pæan, Leighton; A Gigge Gedächtnis-Kirche, Berlin, Germany 6 pm Tambling; Wondrous Love, Pinkham; Reverie (Doctor Bull’s my selfe), Bull; Voluntary for Rolf Müller & Andreas Meisner; Alten- 7 DECEMBER on Annie Laurie, Ashdown; Prelude and Fugue Double Organ, Purcell; Récit de Tierce en berger Dom, Odenthal, Germany 3:45 pm Christ & St. Stephen’s Episcopal, New in G, BWV 541, Bach; Sanctuary, Walker; taille (Gloria des Premier Livre d’Orgue), de York, NY 5 pm Fugue on B-A-C-H in B-fl at, Krebs; Andante Grigny; Grand Choeur, Reed. 5 JANUARY Corbett Auditorium, Cincinnati, OH 5 pm in A, Allegro in C (Three Canons for the Or- Le Musée Suisse de l’Orgue, Roche, Swit- Luke Bond; Westminster Abbey, Lon- gan), Wood; The Star-Spangled Banner Con- zerland, July 20: Chant de Mai, op. 53, no. 1, don, UK 5:45 pm 8 DECEMBER cert Variations, op. 4, Paine. Jongen; Ave Maris Stella, Titelouze; Deux- Grace Church, New York, NY 4 pm ième verset, Troisième verset, Conradus, Cho- 11 JANUARY Camp Hill Presbyterian, Camp Hill, PA DAVID BASKEYFIELD, Church of St. rea Ferdinandi, Proportio Ferdinandi Ulteri- David Baskeyfi eld; St. Albans Cathe- 8:30 am, 11 am Bavo, Haarlem, Netherlands, July 24: Sonate us, Tablature de Jan z Lublina; Dr. Bull’s Juell, dral, Hertfordshire, UK 5:30 pm Cathedral Church of the Advent, Bir- in d, Töpfer; Jesu, meine Freude, Müthel; Ada- Bull; Worster Braules, Tomkins; Symphonie mingham, AL 9 am, 11 am 12 JANUARY gio and Fugue in c, K. 546, Mozart; Prelude sur le bémol fa (Troisième Livre d’Orgue), Christ Church, Bradenton, FL 11 am and Fugue in B, op. 99, no. 2, Saint-Saëns; Lebègue; Pæan, Leighton; Epiphania Do- Daniel Cook; Westminster Abbey, Lon- Corbett Auditorium, Cincinnati, OH 2 pm, don, UK 5:45 pm Variations sur un Psaume Huguenot, op. 1, mini (L’Orgue Mystique, op. 55, no. 7), Tour- 5 pm Isoir; Passacaglia, BWV 582, Bach. nemire; Rhapsody on a Ground, Statham; Christ Episcopal, Tacoma, WA 5 pm Fugue à 5 (Gloria—Premier Livre d’Orgue), 14 JANUARY Christ Church Cathedral, Houston, TX 5 pm Clive Driskill-Smith; St. Lawrence Ca- JONATHAN BEZDEGIAN, Our Lady of de Grigny; Toccata, op. 104, Jongen. the Angels Church, Worcester, MA, June 21: thedral, Alton, UK 8 pm 11 DECEMBER Cathédrales (Pièces de Fantaisie, Suite IV, RAFAEL DE CASTRO with MARGA- Grace Church, New York, NY 12:15 pm 19 JANUARY op. 55), Feux Follets (Pièces de Fantaisie, RET DE CASTRO, St. James United Church, Martin Welzel; Westminster Abbey, Lon- 15 DECEMBER Suite II, op. 53), Vierne; Fanfare, Cook; Montreal, QC, Canada, July 9: Praeludium ex don, UK 5:45 pm St. Vincent Ferrer, New York, NY 3 pm Sonate I, Hindemith; Improvisation sur le Te C, LübWV 10, Lübeck; Capriccio III, Frob- Madison Avenue Presbyterian, New York, Deum (Cinq Improvisations), Tournemire, erger; Toccata in G, Scheidemann; Magnifi cat 22 JANUARY NY 4 pm transcr. Durufl é. II. Toni, Weckmann; Nun lob, mein Seel, den Eleni Keventsidou; Concert Hall, Read- Old West Church, Boston, MA, June 23: Herren, BuxWV 212, Buxtehude; Fantasia zu ing, UK 1 pm Doylestown Presbyterian, Doylestown, PA 4 pm Suite for Organ, op. 70, Creston; Sonata I, 4 Händen in d, op. 87, Hesse. Hindemith; Toccata (Pièces de Fantaisie, 26 JANUARY St. Paul’s Episcopal, Greenville, NC 5 pm Cathedral Church of the Advent, Bir- Suite II, op. 53), Vierne. NINA DE SOLE, St. James United James O’Donnell; Westminster Abbey, Church, Montreal, QC, Canada, July 2: Final London, UK 5:45 pm mingham, AL 3 pm MICHAEL & HYE-YOUNG BOTTEN- (Trois Pièces, op. 21), Franck; Andante soste- nuto (Symphonie Gothique, op. 70), Widor; 31 JANUARY 20 DECEMBER HORN, Sinsinawa Mound, Sinsinawa, WI, Ancol che col partire, Cabezón; Tiento partido Ay-Laung Wang, with trumpet; Holy Rosa- Trinity Episcopal, Santa Barbara, CA 7:30 pm July 24: Prelude and Fugue in D, BWV 532, de mano derecha, De Sola; Det Finns en Väg ry Cathedral, Vancouver, BC, Canada 8 pm Bach; Adagio and Rondo for Organ Duet, 22 DECEMBER K. 617, Mozart; Sonata No. 3 in a, Ritter; Till Himmelen, Tango över Psalm 303, Sixten; Holy Trinity Lutheran, New York, NY 5 pm Litanies, Alain; Interlude Symphonique: Allegro (Symphony No. 2, op. 20), Vierne. Lessons & Carols St. John’s Episcopal, Hagerstown, MD Redemption, Franck; Rhapsody for Organ 10:15 am Duo, Hakim. JONATHAN DIMMOCK, Mainzer Dom, 1 DECEMBER Cathedral Church of St. Mark, Minneapo- Mainz, Germany, July 6: Sonata IV in D, op. Vassar College, Poughkeepsie, NY 7 pm lis, MN 5 pm ELIZABETH & RAYMOND CHENAULT, 65, no. 5, Mendelssohn; Regina Pacis, Weitz; St. Mary’s Parish, Burlington, NJ 4 pm Shandon United Methodist Church, Colum- Psalm 84: How lovely is thy dwelling place, Rat- St. Peter in Chains, Cincinnati, OH 3 pm 24 DECEMBER bia, SC, July 4: Choral (Sonate a Deux), Lit- cliff; Fanfare for the Common Man, Copland. Grace Church, New York, NY 8 pm aize; Saint Anthony in Meditation, Paulus; Kloster Steinfeld, Kall, North Rhine- 3 DECEMBER Camp Hill Presbyterian, Camp Hill, PA 5 Conditor Alme Siderum, Decker; Variations Westphalia, Germany, July 7: Ciacona in e, Dominican University, River Forest, IL 5 pm pm, 7 pm, 9 pm on Veni Creator Spiritus, Briggs; Patriotic BuxWV 160, Buxtehude; Sonata II, Hin- Rhapsody, Callahan; Appalachian Air, Tango demith; Psalm 36: Des Boosdoenders wille seer quaet, Sweelinck; Nun bitten wir den (An American Suite), Clark; Phantom of the martin ott pipe Opera Medley, Webber, arr. Chenault; The Heiligen Geist, BuxWV 209, Buxtehude; Pre- organ Stars & Stripes Forever, Sousa, arr. Chenault. lude und Fuge in e, BWV 548, Bach. company inc. PHILIP CROZIER, Speyer Dom, Speyer, KURT-LUDWIG FORG, St. James 7408 Somerset Ave. St. Louis, MO 63105 Germany, July 12: Suite du deuxième ton, United Church, Montreal, QC, Canada, July 314-504-0366 Phone Bédard; Praeludium in C, Bux WV 136, Bux- 30: Toccata in d, BWV 538, Bach; Adagio 801-756-5777 Martin Ott [email protected] www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com tehude; Fantasie Choral No. 2 in f, Whit- for Glasharmonika, Mozart; Paraphrase du lock; Epiphania Domini (L’Orgue Mystique, Psaume 136, Saint-Martin; Variations sur op. 55, no. 7), Tournemire; Pæan, Leighton; ‘Frère Jacques,’ Hielscher. Member Firm: The Associated Pipe Organ Builders of America Rhapsody on a Ground, Statham; Toccata, op. 104, Jongen. PATRICIA GALLAGHER, O.P., with Ani- RANDALL DYER Barockkirche St. Franziskus, Zwillbrock, ta Smisek, O.P., soprano, Sinsinawa Mound, & ASSOCIATES, INC. Germany, July 14: Cantilena Anglica Fortu- Sinsinawa, WI, July 10: In dir ist Freude,

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32 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM Organ Recitals

Wie schön leuchtet der Morgenstern, Pachel- CALVERT JOHNSON, Centennial Asso- Sinsinawa Mound, Sinsinawa, WI, July 3: (Le Tombeau d’Olivier Messiaen), Hakim; bel; Da Jesus an dem Kreuze stund, Scheidt; ciate Reformed Presbyterian Church, Colum- Fanfare and Processional, Charpentier; In- Berceuse à la Mémoire de Louis Vierne, Co- Ach Herr, mich armen Sünder, Krebs; Offer- bia, SC, July 5: Suite No. 1, Price; St. Louis troduction and Allegro, Walond; Prelude on chereau; Final (Symphonie I, op. 14), Vierne. tory on O Filii, Guilmant; Toccata on Veni Blues, Handy; Obangiji, Joshua Fit de Battle RHOSYMEDRE, Williams; Mary Magadalene, Creator, Demessieux; Postlude pour L’Offi ce ob Jericho, Sowande; Nuptial Song (The Nup- Paviour; Prelude and Fugue in c, Bach; Ab- ANITA EGGERT WERLING, with de Complies, Alain. tial Suite), King; Impromptu in F, op. 78, no. stractions for Organ, Refractions of the Heart, Cristina Werling, horn, Sts. Peter and Paul 1 (Three Impromptus), Coleridge-Taylor; Toc- Paviour; Variations on America, Ives. Catholic Church, Nauvoo, IL, July 21: Toc- STEPHEN HAMILTON, Shrine of Our cata on a Spiritual, Braithwaite; Deep River, cata in e, Pachelbel; Toccata for the Elevation Lady of Guadalupe, La Crosse, WI, June 23: Burleigh; Deep River (Four Spiritual Pre- H. RICARDO RAMIREZ, First Lutheran (Fiori Musicali), Frescobaldi; Echo Fanta- Partite Sopra la Aria della Folia de Espagne, ludes), Hurd; This Little Light of Mine (Five Church, Iron Mountain, MI, June 26; St. sia in a, Sweelinck; No. 3 in E-fl at, No. 2 in Pasquini; La Romanesca con Cingue Mu- Spirituals for Organ), Taylor; Meditation on Paul’s Episcopal Church, Marquette, MI, g, No. 5 in c (Studies in Canonic Form, op. ‘Were You There,’ Simpson-Curenton; Fan- June 28; and St. Joseph’s Church, Lake Lin- tanze, Valente; Prelude, Fugue and Variation, 56), Schumann; Attende Domine, Domine tasy and Fugue on ‘My Lord, What a Mourn- den, MI, July 2: Hornpipe (Water Music), Franck; Joie et Clarté des Corps Glorieux Jesu (Chorale Preludes on Gregorian Chant ing,’ Simpson; A Spiritual Service, Inniss; Handel; Trio Sonata in G, BWV 530, Bach; (Les Corps Glorieux), Messiaen; Prelude and Themes for Organ), Demessieux; Von Gott Spiritual Set, Da Costa; Procession of the Prelude on TOKYO, Prelude on Bai, Prelude Fugue in c, BWV 546, Bach; Benedictus, Re- will ich nicht lassen, BWV 658, Komm, Gott, ger; Toccata, Villancico y Fuga, Ginastera. Gargoyles (Suite Sebastienne), Kerr; Pools of on Vietnam, Prelude on LE P’ING, Jones; Living Water, Weston; Three Organ Pieces, Canción de Cuna, M. de Elías; Jesus, Mi Schöpfer, heiliger Geist, BWV 667, Bach; I At- Fax; We Shall Overcome, Willis; Toccata on Amor, Ramirez; Toccata (Sonata), A. de Elías; tempt from Love’s Sickness to Fly, Purcell; La JAMES HAMMANN, Sinsinawa Mound, Hieronyma (Musicali Melodie), Cesare; Parti- Sinsinawa, WI, June 26: Passacaglia for ‘Veni Emmanuel,’ Hailstork. Lacquiparle, Kum ba Yah (Eight Preludes), Diemer; Variations on ‘The Last Rose of Sum- ta on Veni Creator Spiritus, Eggert; Refl ection Organ, Near; Trumpet Minuet, Hollins; and Ramble for Horn and Organ, Sibbing. Fountain Reverie, Fletcher; Fantasia and EDWARD LANDIN, Old West Church, mer’ for organ, op. 59, Buck; Scherzo, op. 2, Fugue in g, BWV 542, Bach; Sonata No. 6 Boston, MA, July 9: Grand Dialogue in C Durufl é; Prélude et fugue sur le nom d’Alain, GEOFFREY WIETING, Old West in d, op. 65, Mendelssohn; Scherzo (Sym- (3e Livre d’Orgue), Marchand; Bergamasca op. 7, Durufl é. phony No. 2 for Organ), Vierne; Pilgrims (Fiori Musicali), Frescobaldi; Praeludium Church, Boston, MA, June 30: Toccata alla in a, BuxWV 153, Buxtehude; Fantasia in c, Chorus and Grand March from the Opera ROBERT SIGMUND, St. James United rumba, Willscher; Berceuse sur deux notes BWV 562, Liebster Jesu wir sind hier, BWV Tannhaüser, Wagner. Church, Montreal, QC, Canada, July 16: Es- qui cornent, Choral cistercien, Postlude pour 731, BWV 732, Toccata in F, BWV 540, Bach. tampie ‘rétrové,’ Anonymous; Fantasy, Byrd; l’Offi ce de Complies, Alain; When the Lord An Wasserfl üssen Babylon, BWV 653, Fan- MATTHIAS HAVINGA, First Unitar- is pleased with a man and his ways (Proverbs OLIVER LATRY, Loyola University, Chi- tasy in G, BWV 572, Bach; Sonate Pontifi - ian Church of Worcester, Worcester, MA, III), Pinkham; Christe–Trio en passacaille cago, IL July 21: Marche des Marseillois et l’air cale, Lemmens. June 14: While the king sitteth at his table, (Messe de deuxième ton), Raison; Passacaglia Ça-ira, Balbastre; Pièce d’orgue, Calvière; Fi- in c, BWV 582, Bach. I am black but comely, Lo, the winter is nal (Première Sonate), Guilmant; Trois Pièces BRIAN SWAGER, California Palace of the past, How fair and pleasant art thou, As we de fantaisie, Vierne; Trois Prèludes, Leguay; Legion of Honor, San Francisco, CA, June CECILIA WINTER, with Valentín journey, aid our weak endeavor, Amen (15 Boléro sur un theme de Charles Racquet, pour 29 and June 30: Fanfare, Cook; Pastorale, Hernández, percussion, Catedral de Oaxaca, Versets sur les Vepres de la Vierge), op. 18, orgue et percussion, Cochereau; Improvisa- Bach; Two Offertories with Thunder Effects: Oaxaca, Mexico, July 1: Marcha Gira Triun- Dupré; Clair de Lune (Suite Bergamasque), tion, Latry. Grand jeu, Rondeau, Corrette; Rhosymedre, fal, Serna; Llévame Oaxaqueña, Mondragón; L’isle joyeuse, Debussy; Sonata de Chiesa, Vaughan Williams; Elegy, Thalben-Ball; Pre- Andriessen; Etoiles du soir, Impromptu, Car- COLIN LYNCH, Old West Church, Bos- lude and Fugue in G, BWV 541, Bach; Medi- Jarabe del Valle; Danza de la Pluma, Sánchez; illon de Westminster (24 Pièces de fantaisie, ton, MA, July 16: Boléro de concert, op. 166, tation from ‘Thaïs,’ Massenet; Carillon de Cantaro de Coyotepec, Mondragon; Can- Troisième Suite, op. 54), Vierne. Lefébure-Wély; Trio Sonata No. 4 in e, BWV Westminster, Vierne. ción Mixteca, Alavez; Jarabe Mixteco, Corro; Trinity Episcopal Church, Haverhill, MA, 529, Bach; Variations on a Theme by Paganini Himno al Rey Condoy; Jarabe Mixe, Roviroso; June 21: Psalm 24, Noordt; Passacaglia, for Pedal Solo, Thalben-Ball; Deuxième Fan- JOHN WALKER, St. James United Tortolita Cantadora, Mondragón; Sones de Welmers; Sonata da chiesa, Andriessen; 15 taisie, Alain; Prelude and Fugue in B, Dupré. Church, Montreal, QC, Canada, July 23: Hom- Pochutla; Pinotepa, Carrillo; La Martiniana Versets sur les Vepres de la Vierge, op. 18, age to Pérotin, Roberts; Marche Réligieuse on (traditional); El Feo, López; La Tortuga; La Dupré; Etoiles du soir, Impromptu, Caril- PAUL PAVIOUR, with John Lander, tenor, a Theme of Handel, op. 15, Guilmant; Fan- Llorona (traditional); La Sandunga, Ortiz; La lon de Westminster (24 Pièces de fantaisie, Ladonna Manternach, soprano, Rochelle Ro- taisie et fugue en si bémol, Boëly; Si c’est pour Tonalteca; Flor de Piña, Mondragón; Mi Linda Troisième Suite, op. 54), Vierne. chelle, piano, and Genevieve Gourley, violin: ôter la vie, Dandrieu; Par ma vie, par ma mort Oaxaca, Kendis; Dios Nunca Muere, Alcalá.

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Visit The Diapason website: Own a piece of history! www.TheDiapason.com The cover of the 100th Anniversary Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. Patrick j. Murphy The historic cover image in full color & associates, inc. is bordered in gold-colored metal, and organbuilders the high-quality plaque has a marble- ized black fi nish; a slot on the back 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 makes it easy to hang for wall display. 610-970-9817 • 610-970-9297 fax Made in the USA, The Diapason [email protected] • www.pjmorgans.com 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Jacques Stinkens The Organ Clearing House members of the 50-Year Subscribers Organpipes - since 1914 PO Box 290786 Club. Order yours today: Charlestown, MA 02129 [email protected] Flues - Reeds Ph: 617.688.9290 608/634-6253 Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl

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The Holtkamp organ Company wishes to hire Certifi ed appraisals—Collections of organ The OHS Organ Atlas chronicles the organs a voicer. Experience is preferred but not a must. books, recordings, and music, for divorce, Harpsichord Technique: A Guide to Expres- and the history of the area visited by OHS con- The ability to travel is essential. Pay will initially estate, gift, and tax purposes. Stephen L. Pinel, sivity—2nd edition with CDs, by Nancy ventions. Available since 2006, these beautiful be commensurate with skills with a good future Appraiser. [email protected]; 609/448-8427. Metzger, now reduced 30% at author’s full-color journals include stoplists, photographs, for advancement. Great working environment website: www.rcip.com/musicadulce. and well-researched articles on the organs and and good benefi ts. Send résumé to the Holtkamp venues visited during the convention. Of special Organ Company, 2909 Meyer Ave., Cleveland, Announcing a new book. Only His Organs interest is the recently-published Atlas from the OH 44109. Remain: The Life of New York State Pipe Organ- 58th convention of the OHS in 2013 celebrating builder Robert S. Rowland, by Richard Triumpho. OHS Convention CDs: Historic Organs of Balti- the bicentennial of the pipe organ in Vermont, ISBN: 978-0-9717214-8-7, 242 pages; $24.95 more, Historic Organs of Boston, Historic Organs 1814–2014. Researched and written by archi- Apprentice sought to train with and suc- + $4.00 S&H. Available from: Sunnyside Press, of Buffalo, Historic Organs of Chicago, Historic vist Stephen Pinel, this 235-page publication ceed Frederick Hohman as primary Producer/ 297 Triumpho Road, St. Johnsville, NY 13452; Organs of Colorado, Historic Organs of Connecti- includes evocative writing about the sate of Engineer and/or Director of Artists & Repertoire 518/568-7853. cut, Historic Organs of Indiana, Historic Organs music-making and organ building during a period for the American CD/DVD label PRO ORGANO. of Louisville, Historic Organs of Maine, Historic of two hundred years, as well as a particularly Applicant must display strong aptitude for acquir- Organs of Montreal, Historic Organs of New fi ne history of Vermont’s most famous and ubiq- ing modern skills in audio and video media Raven, America’s leading label for organ Orleans, Historic Organs of Pennsylvania, Historic uitous organ builder, the Estey Organ Company production and must possess a base level of recordings since 1978, offers one hundred CDs Organs of Portland, Historic Organs of Seattle, His- of Brattleboro. An extraordinary compendium by knowledge and some practical experience in and videos at RavenCD.com. Titles include toric Organs of SE Massachusetts. Visit the OHS E. A. Boadway, Jr. is a complete index of pipe sacred music, with a focus on classical organ the 5-disc DVD/CD set about Cavaillé-Coll, online catalog for over 5,000 organ-related books, organs found today throughout the state. Read- and choral literature. Applicant must be willing to the acclaimed Bach Art of Fugue DVD/CD set recordings, and sheet music: www.ohscatalog.org. commit to a seven-year apprentice program, the with George Ritchie, Ritchie’s 11-CD set of the able and entertaining—a collector’s item! Visit successful completion of which shall culminate complete organ works of Bach, and recent CDs www.ohscatalog.org. Ed Nowak, Chicago-area composer, arranger, with the eventual assumption of label operations recorded by Jeremy Filsell (National Cathedral), and church musician, announces his new web- in year 2020. Preference given to applicants Scott Montgomery (new 90-rank Reuter), Jona- site, featuring Nowak’s original choral works, Pro Organo presents Eric Plutz on a new who are U. S. residents of 30 years of age and than Ryan (new Parkey 3m organ, Shreveport hymn concertatos, chamber and orchestral recording, French Trilogy (Pro Organo CD younger as of July, 2013. Those interested are Cathedral), Barbara Raedeke (new Juget- Sinclair organ, St. Louis), Jack Mitchener, Adam works, organ hymn accompaniments, organ 7255). Recorded on the Aeolian-Skinner Opus invited to send an introductory cover letter by 1257 organ at Winthrop University, Rock Hill, Brakel, Maxine Thévenot, Harry Huff, Christina and piano pieces, electronic music, and psalm mail or FAX (574/271-9191)—no telephone or South Carolina, the program includes Pierné, Harmon, Carla Edwards, Damin Spritzer, Andrus settings. The website offers scores and recorded Internet inquiries, please—detailing reasons and Trois Pièces; Saint-Saëns, Three Preludes and Madsen, Jonathan Dimmock, James Hammann, examples that are easy to sample and can be motivation for pursuing this vocation, along with a Fugues, op. 99; and Vierne, Deuxième Sym- Ken Cowan, Daniel Sullivan, John Brock, many purchased in downloaded (PDF and MP3) or brief c.v., including contact information, to: Zarex phonie, op. 20. www.proorgano.com. more. www.RavenCD.com. printed form. Visit ednowakmusic.com. Corp, F. Hohman, P. O. Box 8338, South Bend, IN 46660-8338. 2014 OHS Organ Calendar featuring beautiful Holiday Organ Music from Fruhauf Music ELECTRONIC ORGANS FOR SALE color photographs of diverse instruments of Publications: Prelude on Rosa Mystica (Ger- PUBLICATIONS / RECORDINGS Syracuse area, including six instruments that manic Hymn Tune Settings); Seven Variations Ahlborn-Galanti model 3200 digital organ. have been awarded OHS Citations. Included on a Noel (Hymns for All Seasons); Prelude on Three manuals, full pedals, 62 speaking stops, Concert Overture in C Minor, by Herbert with the calendar will be an article with copious Greensleeves and Paraphrase on ‘God Rest You 376 independently voiceable stops, 90 stop Fricker, is an alternative to the three concert illustrations about the instruments and perform- Merry’ (Hymn Tunes from the British Isles, Vols. units. Combination action with 20 general overtures by Alfred Hollins. This one by Fricker is ers to be featured at the 2014 OHS Convention. 1 & 2); and abbreviated Advent and Christmas pistons, 8 divisional pistons each division, about the same length and opens your program Membership in the OHS includes a copy of the hymn settings (Free Harmonizations, Vols. 1 & 2). 500-stage piston sequencer. Custom speaker with a bang. Fricker was a municipal organist 2014 Organ Calendar. Visit the OHS Web site Visit www.frumuspub.net; write P.O. Box 22043, system. Purchased in 2006 for $55,000; asking and concert artist. michaelsmusicservice.com; for membership information and to purchase a Santa Barbara, CA 93121-2043 USA; or phone $27,500. Located in Gurnee, Illinois; contact: 704/567-1066. calendar: www.organsociety.org. 805/682-5727 (M–F AM Pacifi c Time). [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 editor 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 Editor, The Diapason, 608/634-6253; e-mail: [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 Phone (515) 964-1274 Fax (515) 963-1215

PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com

3030 W. Salt Creek Lane ph 847/391-1044 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

34 Q THE DIAPASON Q DECEMBER 2013 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

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

Page theatre pipe organ for sale. Ornate 1960 three-manual Reuter/Milnar organ 24 Quality pipework—Buy one rank, get one 3-manual console with 7 ranks and percussions ranks. Removal is scheduled for March of free. 16′: Bombarde, Bourdon. 8′: Doppelfl öte, Need help with your re-leathering project? and large toy counter. $6,800. Must be picked 2014. For more information please go to www. Vox Humana, Aeoline, Cornopean, Angelica All pneumatics including Austin. Over 45 up in York, Pennsylvania. Call 717/845-6504 for milnarorgan.com. Celestes. 4′: Hohlfl öte, Flûte D’amour, III Cornet. years experience (on the job assistance more information. Morel Co.; 303/671-6708. available). 615/274-6400. 1978 Reuter pipe organ, 22 stops, excellent condition. For information: www.milnarorgan.com. Wood pipes. Missing pipes made to match. HYBRID ORGANS FOR SALE Releathering all types of pipe organ actions Damaged pipes in any condition repaired. Over and mechanisms. Highest quality materi- 25 years experience. Filip Cerny, 814/342-0975. Three-manual Rodgers Hybrid with seven sets Holtkamp organ, 3 manuals, 43 stops, built als and workmanship. Reasonable rates. of Laukhuff/Stinkens pipes; all working. For more 1973. $50,000. Contact the Organ Clearing House Columbia Organ Leathers 800/423-7003. information please go to www.milnarorgan.com. at 617/688-9290; [email protected]. Consoles, pipes and numerous miscellaneous www.columbiaorgan.com/col. parts. Let us know what you are looking for. E-mail [email protected] (not comcast), Highest quality organ control systems since PIPE ORGANS FOR SALE 1967 Moller Artiste, 11 stops, in great condition phone 215/353-0286 or 215/788-3423. with a plug-in cable and casters. For information: 1989. Whether just a pipe relay, combination action www.milnarorgan.com. or complete control system, all parts are compat- 1964 M.P. Möller pipe organ. 36-rank American ible. Intelligent design, competitive pricing, custom ATTENTION ORGANISTS! Are you both- Classic specifi cation including two célestes, two software to meet all of your requirements. For ered by a pipe organ that is under too high enclosed divisions and 32′ reed. Three-manual Expressive and compact—3/27 Kilgen (1940). more information call Westacott Organ Systems, wind pressure? Would you prefer less ag- electro-pneumatic console. No casework or Two expressive divisions. 17 manual 8-foot fl ues. 215/353-0286, or e-mail [email protected]. gression in the reeds (and fewer little old façades; instrument is in good condition but Reeds include Tuba, Cornopean, Oboe, Clarinet, ′ ″, ladies jumping up when you solo out a will need re-leathering. New price: Asking Vox Humana. Harp. 16 Open Wood. H: 237 W: Aeolian/Robert Morton-style maroon ″, ″. hymn tune)? We have the answer! Our ex- $35,000 “as is” or can be rebuilt. For more infor- 170 D: 189 Stopkey console. Original restor- leather is now available from Columbia Organ able condition. $30,000. Organ Clearing House, clusive PressurePoint kit lets you channel mation, contact Létourneau Pipe Organs at Leathers! Highest quality. 800/423-7003, 617/688-9290, [email protected]. excess wind and use it to fi ll balloons (or [email protected] or 888/774-5105. air mattresses, or what have you). Using www.columbiaorgan.com. ultra-high-tech black-box technology, Pres- MISCELLANEOUS FOR SALE Complete Pipe Organ Services from the Organ 1980 two-manual organ by Steuart Goodwin surePoint siphons off the amount of wind that you choose and diverts it to a separate Clearing House: 450 vintage pipe organs avail- and Company. 14 ranks, dual casework, electro- able, renovation, tuning, consultation. Other pneumatic action. Located in Colton, California. Five ranks and electromagnetic chest built compressor. PressurePoint can be turned by Delaware Organ Co.: 8′ Flute, 4′ Flute, 4′ services include transportation, cleaning and May be seen and played by appointment. Make on and off, so you can use lower pres- Octave, 2′ Principal, II Mixture. Also available renovation of carvings, reredos, liturgical furnish- offer. 909/885-3951. sure for those small funerals, but still have is a reservoir and blower. Items located in enough power for the Christmas and Eas- ings. Call John Bishop at 617/688-9290. john@ southern Wisconsin. Interested parties please ter crowds. Optional app lets you select organclearinghouse.com. e-mail: [email protected]. E. F. Walcker organ, two manuals and pedal. just the right amount of air to divert. And Postal regulations require that mail to The Tracker action. Five manual ranks (2 on the fees generated from selling festive bal- Diapason include a suite number to assure lower and 3 on the upper), and one pedal rank. loons can help fund your music program. Organ Blower, Ventola. Use for one or delivery. Please send all correspondence Circa 1970. Located in San Diego, California. Order yours today! Box Pressure-Con, The two organ stops, or as vacuum for reed to: The Diapason, 3030 W. Salt Creek Lane, Asking price is $30,000. Phone 518/672-7594; Diapason, [email protected]. organ. $700. Photo available. 830/606-1838. Suite 201, Arlington Heights, IL 60005. cell 518/331-7055; [email protected]. [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2013 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 Daryl Robinson 2012 AGO National Competition Winner Available 2012-2014

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

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

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

Choirs

The Choir of Saint Thomas Church, NYC John Scott, Director March 2014

The Choir of Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Westminster Abbey, UK James O’Donnell, Director October 2014

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

Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Jonathan Ryan Ann Elise Smoot Donald Sutherland

Celebrating Our 92nd Season!

*=Artists based outside the U.S.A. Tom Trenney Thomas Trotter* Todd Wilson Christopher Young