THE DIAPASON JUNE, 2009
Zion Lutheran Church Piedmont, California Cover feature on pages 26–27
June 09 Cover.indd 1 5/13/09 10:21:49 AM “The 50th anniversary celebration of the Bach Festival culminated in a very impressive organ recital by Huw Lewis. A performer with an international reputation, he presented an almost-all-Bach program of thoroughly challenging works....With panache, Lewis deftly negotiated the many moods and rapid-fire register changes that make this work (Liszt BACH) such a dynamic closing number.” (Kalamazoo Gazette MI)
“Dr. Lewis played with great authority, but also with an elegance and sensitivity to style, room, and instrument, and received the first standing ovation of the [AGO] convention.” (The American Organist)
“Superb music, superbly executed...His repertoire includes the greatest, most demanding of the master works for organ and he plays them with great understanding, technical mastery and sensitivity....Lewis, with incredible technical skill, kept everything under control and tasteful.” (The Holland Sentinel MI) “Apart from being immensely enjoyable, it was an object lesson in how to prepare for, and give, a performance at the highest level on an instrument not of your choosing. Another memorable feature was the marvelous freshness of [his] playing following so many hours of grinding practice.” (K. B. Lyndon, RCCO, London ON)
HuwHuw LewisLewis Concert Organist Faculty, Hope College, Holland, Michigan
“I must tell you how delighted we were with the masterful performance by Huw Lewis...I am thrilled with the musicality of his playing. Anyone who can command the attention of an audience made up of non-concert- goers on the most gorgeous Sunday afternoon of the fall while playing a Bach Trio-Sonata is an artist indeed.” (Larry L. Wheelock, recital at St. Mary’s Episcopal Church, Haddon Heights NJ) “I could not have been more pleased with Dr. Lewis and his performance. His outstanding musicianship and thorough understanding of this varied and difficult music were wondrous to behold. His lucid program notes made even the more weighty pieces easier to follow by the musical lay person. I shall look forward to hearing him again.” (Dennis W. Zimmer, St. John Lutheran Church, Forest Park IL)
“It was a delight to present Huw Lewis...The audience responded enthusiastically to his performance, which was at once energetic and sensitive.” (Robert Lee, St. James’ Episcopal Church, Jackson MS)
(860) 560-7800 • (888) 999-0644 Toll-Free [email protected] CONCERTARTISTS.COM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundredth Year: No. 6, Whole No. 1195 JUNE, 2009 Longtime subscribers altar, dates from 1766 and has been pre- Established in 1909 ISSN 0012-2378 You have asked for notes from read- served in its original state. Its bright ex- An International Monthly Devoted to the Organ, ers who have subscribed to The Dia- ultant tone contrasts with the more solid, the Harpsichord, Carillon, and Church Music pason for more than 50 years (“Editor’s rather somber tone of the great organ. Notebook,” April, p. 3). I have been a Both organs are in good condition, and I subscriber continuously for almost 60 have played concerts on these organs. years, beginning in 1949, when I joined In Olomouc, Moravia, there are two CONTENTS Editor & Publisher JEROME BUTERA [email protected] the DePauw University Chapter of the monumental organs: the Michael En- 847/391-1045 AGO. In 1953 I transferred to the Bos- gler organ at St. Maurice’s Church, from FEATURES ton AGO Chapter, and in 1961 to the 1745, enlarged by Rieger-Kloss, and the A Conversation with Composer Associate Editor JOYCE ROBINSON Indianapolis AGO Chapter, in which I remarkable organ at The Virgin Mary Craig Phillips [email protected] am still active. Of course for many years in the Snow (see “The restoration of by David Kelley 19 847/391-1044 The Diapason was the offi cial maga- the Baroque organ in the Cathedral of The organ by Giuseppe Testa, 1676, zine of the American Guild of Organists, The Virgin Mary in the Snow, Olomouc in Serra San Quirico: An incredible sound Contributing Editors LARRY PALMER sent automatically to all members. When [Moravia], Czech Republic,” The Dia- by Francesco Cera and Andrea Pinchi 22 Harpsichord the AGO created a new magazine to be pason, June 1996). In addition, I can its offi cial publication, I continued sub- recommend a number of outstanding From the Dickinson Collection: JAMES MCCRAY Speech to the St. Louis Chapter of the American Choral Music scribing to The Diapason in addition, historic organs of the Czech Baroque Guild of Organists by Clarence Dickinson and have done so ever since. located in smaller towns throughout Bo- edited by Lorenz Maycher 24 BRIAN SWAGER From 1961 to 2002 I was Minister of hemia and Moravia. Carillon Worship and the Arts at North United Dr. Jiri Reinberger has recorded on NEWS & DEPARTMENTS Methodist Church in Indianapolis. Czech organs in Bohemia, Moravia, Editor’s Notebook 3 JOHN BISHOP At the time of my retirement I had a and Slovakia: Czech Organ Music of the In the wind . . . Letters to the Editor 3 nearly complete 41-year collection of 18th Century, Panton 110419 (Czech a Here & There 4, 5, 6, 8, 10, 12 GAVIN BLACK The Diapason on shelves in my offi ce Moravske Barokni Varhany), Stereo ikii Appointments 5 On Teaching at the church, but had to dispose of 1241-44, Gramofonovy Klub; and the Nunc Dimittis 8 most of them (and many other maga- two-record album: Organ Fugues of the zines) when vacating my offi ce, for lack Czech Baroque and Classical Periods, Looking Back 12 Reviewers John Collins John L. Speller of space at home. I offered my collec- Panton, 1972. In the wind . . . by John Bishop 12 Charles Huddleston Heaton tion to various libraries and individu- It is hoped that future organists and On Teaching by Gavin Black 14 David Wagner als, but unfortunately had no takers. I organ devotees will have an opportunity James Callahan REVIEWS did keep the Fiftieth Anniversary issue to experience the remarkable Czech or- (December 1959), however, and still gan, not only in Prague, but throughout Music for Voices and Organ 16 THE DIAPASON (ISSN 0012-2378) is published monthly have it in my offi ce here at home. It is the country. Book Reviews 16 by Scranton Gillette Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. a treasured memento! Mary Moore Skalicky New Recordings 17 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 I happily read The Diapason from Odessa, Texas New Organ Music 18 MSG RLY. E-mail:
JUNE, 2009 3
June 09 pp. 2-18.indd 3 5/13/09 10:22:42 AM confi dential clerk of the Dept. of the 8/26, Marillyn & Ralph Freeman, St. 3 pm: June 21, Gregory Peterson; July week is devoted to improvisation, and Interior, who died in December 1835, Paul Lutheran Church, Neenah. For in- 12, Daniel Laginya; July 26, H. Ricardo one week to interpretation: early and and Clémentine Saint-Saëns, née Col- formation: 920/734-3762. Ramirez; August 9, Bruce Bengtson; Romantic Italian music; works by Jehan lin, the adopted daughter of the Parisian August 23, Randolph Lyden. The series Alain on the 4-manual, 43-stop organ bookseller E. Masson). By the way, the St. James United Church, Montre- celebrates the shrine’s new three-manu- built by his father Albert; harmonium dieresis (ë) above the letter “e” was not al, Quebec, Canada, presents its summer al, 54-rank Noack organ (see The Dia- course, Spanish music, and Bach. Fac- accepted until 1830. organ recital series on Tuesdays at 12:30 pason, October 2008). For information: ulty includes Marie-Claire Alain, Luigi The composer was organist at the pm: June 9, Andrew Ager; 6/16, Monta- 608/782-5440; Ferdinando Tagliavini, Joris Verdin, Em- churches St. Séverin, St. Merri, and La no Cabezas; 6/23, Wesley Warren; 6/30,
Schübler Chorale masterclass
On February 28, Syracuse AGO cantata scores. Headlee explored a wide Santa Barbara Bach Birthday Bash concert chapter members and guests convened range of topics, including phrasing, ar- at Park Central Presbyterian Church for ticulation, ornamentation, tempo, and The Santa Barbara AGO chapter rales, a fantasy and the English Suite. a masterclass on Bach’s Schübler Cho- instrumentation/registration. Perform- presented a Bach Birthday Bash con- Shown in the photo, front row (l–r): rales. Will Headlee, who led the pro- ers included Daniel Brownell (front 7), cert on March 15 at Trinity Episcopal William Beasley, Carol Schaeffer, Betty gram, discussed editions of the pieces, Debbie Cunningham (back 2), Jim Potts Church, Santa Barbara, California. Sev- Oberacker, Carl Swanson; back row (l–r): interpretation and performance practice (front 3), Jean Radice (front 2), and Bess en organists, a pianist, and a clavichord- Kevin Rose, David Gell, Mahlon Balder- possibilities through details of notation Sproul (middle 3). ist performed a variety of works of J. S. ston, Patrick Lindley, and Mylene Furey from surviving sources in the original Bach, including preludes, fugues, cho- (photo by Doug Fossek).
4 THE DIAPASON
June 09 pp. 2-18.indd 4 5/13/09 10:23:05 AM ganist Jason Roberts, a 2005 winner of nowned De Swart/Van Hagerbeer organ. stein & Co. Trenney will lead the choral the Albert Schweitzer Organ Festival, However, partly because of its specifi c Appointments programs at the church, where he joins harpist Susan Knapp Thomas, and per- tuning, this Dutch Baroque instrument associate minister of music Jeremy Bank- cussionist Edward Fast. Alleluia, by Ran- is less suitable for accompanying English son, and will serve as artistic director of dall Thompson, was also on the program, choral music or performing later English the Abendmusik Concert Series. Tren- as well as Bernstein’s “A Simple Song” organ works. ney previously served for seven years as (from Mass), sung by soprano Nancy An- The organ will have at least 55 reg- director of music and organist at First dersen. Following the concert, the audi- isters, over four manuals and pedal, Presbyterian Church in Birmingham, ence was treated to a special all-choco- crowned by a full-length Double Open Michigan, where he led fi ve choirs, an late reception. Wood 32′, a 32′ reed, and a high-pres- extensive music outreach program, and sure Tuba 8′. The instrument will be the church’s concert series. The Stichting Cathedral Organ used for choral and organ concerts, ra- The 2006 winner of the American Leiden has secured an 1892 Henry “Fa- dio and television broadcasts, CD and Guild of Organists Competition in Organ ther” Willis organ for installation in the DVD recordings, festivals and competi- Improvisation, Trenney has performed Hooglandse Kerk in Leiden, the Nether- tions, and will be made available to or- at such notable venues as Benaroya Sym- lands, in 2010. When restored and with gan teachers and students. Fund-raising phony Hall (Seattle), Ocean Grove Audi- its range expanded, the organ will enable continues, and information on the organ torium (New Jersey), Portland Municipal the optimum interpretation of choral and fi nancial sponsorship can be found Auditorium (Maine), Spreckels Organ and organ music in a suitable setting; at
Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Organist/Lecturer/ Organist/Conductor/Lecturer Organist/Lecturer/ Cauchefer-Choplin Organist/Harpsichordist/ Recording Artist Organ Faculty and Chair Recording Artist Interpreter/Improviser/ Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Lecturer/Recording Artist Music Director and Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Titular Organist First Congregational Church East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Jean-Baptiste de la Salle Toledo, Ohio School of Music Director, International Organ Festival St. Maria della Speranza Deputy Titular Organist Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy St. Sulpice, Paris, France
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Catherine Ennis Interpreter/Improviser/ Organist/Lecturer Organist/Pianist/ Organist Organist/Lecturer/Recording Artist Recording Artist College Organist Recording Artist Associate Professor of Director of Music Titular Organist Assistant Professor of Organ Professor and Chair Organ and Carillon St. Lawrence Jewry, London UK St. Benigne’s Cathedral and Music Theory Frostburg State University University of Florida Trinity Laban Organ Professor Faculty Converse College Frostburg, Maryland Gainesville, Florida Irish Piper & Organ Duo National Conservatory Spartanburg, South Carolina The Reduced Handel Company Dijon, France London, England
Henry Fairs Faythe Freese Johan Hermans Michael Kaminski Angela Kraft Cross Organist Organist/Lecturer/ Organist/Lecturer/Recording Artist Organist Organist/Pianist/Composer/ 2007 International Recording Artist Conservatory of Music Director of Music Ministries Recording Artist Competition Winner Associate Professor of Organ Cathedral Organist Saint Francis Xavier Church Organist Odense, Denmark School of Music Artistic Director Brooklyn College Faculty The Congregational Church Head of Organ Studies University of Alabama International Organ Festival St. Francis College Faculty San Mateo, California Birmingham Conservatoire Tuscaloosa, Alabama Civic Organist Brooklyn, New York England Hasselt, Belgium
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
JUNE, 2009 5
June 09 pp. 2-18.indd 5 5/13/09 10:23:38 AM often feature large-scale improvisations Gavin Black, director of the Prince- and Scandinavia. The fi rst tour took by St. John’s Baptist Church, Charlotte, on submitted themes, poetry or artwork. ton Early Keyboard Center in Princeton, place in May and included recitals at the in celebration of the 2008 installation of Trenney is also known for his silent fi lm New Jersey, fi rst performed The Art of Basilika of the Kloster Steinfeld in the the church’s new Létourneau pipe organ. accompaniments, hymn festivals, cho- the Fugue—on organ—in 1985. He has Eifel region of Germany on the König For information:
6 THE DIAPASON
June 09 pp. 2-18.indd 6 5/13/09 10:24:00 AM Blessed Kateri Tekakwitha Roman Catholic Church
L A GRANGEVILLE, NEW YORK
lessed Kateri Tekakwitha BRoman Catholic Church, originally started as a mission church, recently finished construction of their new church building. Blessed Kateri has grown to be one of the most significant churches in the Archdiocese of New York. His Eminence, Edward Cardinal Egan, dedicated the new church building in November, 2008.
The Diane Bish Signature Series 80 Stop, Three-Manual Quantum instrument recently installed in Blessed Kateri features many custom stops, including a Pontifical Trumpet speaking from the rear gallery at 16-8-4 foot pitches. Allen’s “Arp Schnitger” (North-German Baroque) stop list is used every Sunday for Mass. The organ boasts three complete audio systems, each installed in different parts of the sanctuary. Ms. Diane Bish performed
SOUND I QUALITY I VERSATILITY the dedication concert, amazing the audience with her fiery technique and diverse repertoire. Peter Krauss, Blessed Kateri’s accomplished organist, who attended both Juilliard and Oberlin, is impressed by the authenticity of the stops in each Stoplist Library™ suite, www.allenorgan.com / [email protected] commenting that he is “totally 150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 USA blown away” by the sound of Ph: 610-966-2202 / Fax: 610-965-3098 this fine instrument. documents the most recent thirty years of the oldest and largest organ factory Nunc Dimittis in the western United States: from the sale of the fi rm to Jack Bethards in 1977 through well-known projects renovating Stefania Björnson Denbow died the organ of the Mormon Tabernacle October 18 in Athens, Ohio. She was 91. and building the new 130-rank organ for Born in Minneota, Minnesota, to Icelan- the Salt Lake City Conference Center of dic immigrants, she earned BA and MA the Latter-Day Saints to the present. degrees from the University of Minne- Dr. Ochse describes in detail Bethards’ sota, where she studied organ with Arthur many special designs, including his tonal Poister, and where she established an concept of symphonic organs, double ex- organ scholarship a decade ago. A home- pression, French Choir Organs, and the maker, organist, scholar of Greek history multum in parvo design, of which the and art history, and composer, Denbow Conference Center organ is an example. based a number of her compositions on The book includes 41 illustrations and Icelandic poetry. Her works included the stoplists of 23 organs; 160 pages; Surtsey String Quintet, Four Songs of softbound $25.99; hardbound $45.99; the Eremite Isle, Magnifi cat, an anthem
Joel H. Kuznik
Joel H. Kuznik, 72, died on April 3 at St. Vincent’s Hospital in Manhat- tan, where he had been since suffering a stroke in late February. Born June 29, 1936 in Waukegan, Illinois, he began his education at the local public school, but then attended Northwestern Prep and College in Watertown, Wisconsin to RONALD CAMERON BISHOP begin studying for the ministry, later at- Consultant tending Concordia Senior College in Ft. Wayne, Indiana, where he received a BA Pipe Organs summa cum laude in 1959. Digital Enhancements Realizing that he was called to the All-digital Instruments ministry of sacred music, he entered 8608 RTE 20, Westfield, NY 14787-9728 Concordia Seminary in St. Louis, Mis- Tel 716/326-6500 Fax 716/326-6595 souri, where he received a Master of Divinity in 1962. Joel often spoke of his Vicarage year at Bethlehem Lutheran Church in Sheboygan, Wisconsin, as one of the best years of his life. During his last year at seminary, he studied at the Eastman School of Music in Rochester, New York, where he received a Master of Music degree in 1963. Kuznik was ready for a call in 1963, but the seminary offered a year-long fel- Brent Hylton, John Brombaugh, Stephen Tharp and Homer Ferguson lowship that led to his Master of Sacred THE WANAMAKER ORGAN Theology in 1969. He was ordained a Listen to it worldwide over the As part of the 60th anniversary cele- Scottsdale, Arizona. Along with music by pastor at Redeemer Lutheran Church Internet! Hourlong streamcasts brations for the Greater Central Arizona Bruhns, Bach, Mendelssohn and Reger, in Waukegan, Illinois, in August 1964. are featured at 5pm ET the first AGO chapter, Stephen Tharp played his concert featured the North American He began his career as a professor at Sunday of each month at wrti.org a concert on the Richards/Fowkes or- premiere of Swedish composer Fredrik Concordia College, St. Paul, Minnesota, gan at Pinnacle Presbyterian Church, Sixten’s Triptyche from 2008. where he was assistant professor of reli-
8 THE DIAPASON
June 09 pp. 2-18.indd 8 5/13/09 10:24:29 AM Limited Time Offer
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JOHANNUS Visit us at www.johannus.com gion and conductor of the college choir. display posters, organ pipes, musical ex- simple continuo organ, Bedient has de- In 1966 he received a call from his alma cerpts, and simple explanations, Sambach veloped The Lancaster. The instrument mater, Concordia Senior College, where provided a basic understanding of the in- has a durable oak cabinet; there are no he became associate professor of music strument from both the performer’s and visible façade pipes and therefore no and college organist through 1976. In the listener’s viewpoints. He also worked pipes to be damaged during moving and 1975 he spent a sabbatical leave in Paris, at Ocean County College and at Ocean use of the organ. The stoplist comprises Haarlem, and Cambridge. County Vocational and Technical School Gedackt 8′, Flute 4′, and Octave 2′. All When the college closed in 1976, Joel in their accounting department. Cj Sam- pipes except the highest pipes of the moved to New York. In 1979 he began his bach is predeceased by his parents, War- Octave 2′ are made of wood. The instru- career in the insurance industry, retiring ren and Thalia Sambach; he is survived by ment is therefore lightweight, and tun- in 1995 from MetLife. Most recently, he his brothers Warren and Dean, cousins, ing will not be signifi cantly affected by served as assistant pastor at Holy Trinity and longtime friend Anthony Snyder. changes in humidity. It can be moved Lutheran Church, New York City, until by two people. The compass is C, D–d3. August 2008. At the time of his death, he In lieu of a transposing mechanism and was serving as an assistant priest at St. the problems of temperament associated Luke in the Fields Episcopal Church. Here & There with transposing, this instrument will Joel’s love affair with organ music (and be tuned to a440 but can be retuned to Bach in particular) began very early in a417. It is self-contained and has a quiet his life. He would call Bach “The fi fth JAV Recordings announces the re- wind system. For information: 800/382- Evangelist,” and once he retired he be- lease of Organ Rolls Played on the Toledo 4225;
PIPE ORGAN COMPANY 800.382.4225/Bedientorgan.com
10 THE DIAPASON
June 09 pp. 2-18.indd 10 5/13/09 10:25:05 AM RODGERSNOW AVAILABLE:CHURCH ORGAN ZERO FINANCING! INTEREST
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Gold Level Corporate Sponsor AGO International Year of the Organ A Member of the Roland Group 1300 NE 25th Avenue • Hillsboro, Oregon 97124 503.648.4181 • 503.681.0444 fax Email: [email protected] CHURCH OF THE ASSUMPTION, SAN LEANDRO, CALIF. STACY PIONTEK, ORGANIST AND DIRECTOR OF MUSIC www.rodgersinstruments.com Gabrieli, lots of organists play Widor. But Looking Back one of our country’s most singular Easter In the wind . . . Sunday musical celebrations occurred by John Bishop on April 9, 1939, when Marian Anderson 10 years ago in the June 1999 sang a recital at the Lincoln Memorial issue of THE DIAPASON in Washington, D.C. Ms. Anderson was Cover: Paul Fritts & Co., Pacifi c Lu- perhaps the most famous serious singer theran University, Tacoma, Washington of the time—star of the international Janice Beck honored with Alumni solo and operatic stage. A couple years Achievement in Music Arts Award, Rol- earlier, her agent Sol Hurok had tried lins College, Winter Park, Florida to promote her presenting a recital at C. Griffi th Bratt retires after 52 years Constitution Hall in Washington, strong- at St. Michael’s Episcopal Cathedral, hold of the Daughters of the American Boise, Idaho Revolution (DAR). But because Marian Robert Faucher appointed Curator Anderson was an African-American, she for Kotzschmar Memorial Organ, Port- was denied. land, Maine Eleanor Roosevelt, that most spunky Mark Thallander appointed organist, of activist women, was outraged by this Glendale Presbyterian Church, Glen- denial. She resigned from the DAR in dale, California protest and joined Secretary of the In- Feature articles: “Lawrence I. Phelps, terior Harold Ickes to promote Ander- 1922–1999, a Tribute,” by Ken W. List; son’s appearance at the Lincoln Memo- “Canadian Organbuilding, Part 2,” by rial—not a bad venue for back-up. That James B. Hartman; “Six French or- was the fi rst time that iconic place was gans and the registration indications in used as a stage for the civil rights move- L’Oeuvre d’orgue de Jehan Alain,” by ment, paving the way for one of the Linda Dzuris Circumstantial pomp greatest speeches in the history of the New organs: Fritz Noack, Geddes Music is the stuff of ceremony. For human condition, Martin Luther King’s Charles Ruggles at his Opus 1 Pipe Organs scores of generations our graduations, I have a dream. And it was a serious mu- coronations, installations, and celebra- sical event with seventy-fi ve-thousand was relocated to the new church build- 25 years ago, June 1984 tions have been accompanied by musi- people in attendance. Get that? 75,000 ing, which was designed around the Herman Berlinski is recipient of the cal fl ourish. Music is with us when we people. She sang O, mio Fernando from organ. The two-manual and pedal in- Marjorie Peabody Waite Award marry and when we die—it marks our Donizetti’s La Favorita, and Schubert’s strument comprises 25 stops, with me- Paul Callaway retires as conductor of personal and public milestones. It ex- Ave Maria as well as spirituals and other chanical key and stop action; manual the Cathedral Choral Society, Washing- presses our joy, our dissonance, our well-known selections. compass 58 notes, pedal 30 notes. The ton, D.C. unity, and our dissidence. Civil rights historian Raymond Arse- organ was featured during the Organ John Scott makes his fi rst major per- Musicians who work for the church nault has recently published a book about Historical Society’s 2007 convention in formance tour in the U.S. and Canada know this as well as anyone. Each liturgi- this pivotal musical experience. In The the Indianapolis/Central Indiana area. under representation of Phillip Trucken- cal celebration has its particular hymns, Sound of Freedom: Marian Anderson, the Opus 1 is currently being housed at brod Concert Artists anthems, and incidental music. Trium- Lincoln Memorial, and the Concert That St. Laurence Episcopal Church in Co- Feature articles: “Pistoia and Its His- phant ceremonial pieces announce the Awakened America (Bloomsbury, 2009), nifer, Colorado. Charles Ruggles played torical Organs,” by Umberto Pineschi; great festivals of the Church. Contem- Arsenault discusses the events that led for the morning service on Sunday, “A Comprehensive Index of J. S. Bach plative, even mournful music accompa- to the presentation of the concert and March 29. For the offertory, he played Books in English—An Addendum,” by nies sacraments and Passions. the impact it had on the early struggle the Trio in A on Allein Gott in der Höh’ Palmer D. Lowry; “A Cavaillé-Coll Sa- It is both the privilege and the bane for civil rights in America. Dwight Gar- sei Ehr’ by J. S. Bach, and for the post- fari,” by Charles Callahan; “Stanford: A of the church organist to participate in ner of the New York Times wrote, “Ray- lude, the Prelude in C Major, BWV 545, Rare Opportunity for Organ Building,” countless family celebrations, meet with mond Arsenault delivers . . . a tightly by Bach. by Robert Cornell young couples preparing for marriage, focused look at the political and cultural In addition to building new organs and New organs: van den Heuvel, Ter- and present music for weddings and fu- events that led up to and came after her doing selective restorations and repairs, rence P. Schoenstein nerals marking the events in the lives of famous 1939 concert. It’s a story that’s Ruggles offers subcontracting services to the families. Families are at their best well worth retelling.” You can fi nd the other builders, including making metal 50 years ago, June 1959 or their worst during these life experi- book at
www.mander-organs.com Imaginative Reconstructions
12 THE DIAPASON
June 09 pp. 2-18.indd 12 5/13/09 10:25:32 AM ty-fi ve schools, after-school programs in Anderson. On the 70th anniversary of her Arriving at a White House event is As I write I’m fl ipping through the eight Chicago neighborhoods and the in- historic Lincoln Memorial Concert, the something of a production, even in the website of the Marine Band,
Investing in Worship
At Goulding & Wood, we understand the difficulties facing churches as economic stagnation results in lowered pledges, shrinking budgets, and restricted resources. We honor the ef- forts of church musicians throughout the country who must now fulfill their duties and enhance worship with fewer funds. We also recognize that problems with aging or inadequate pipe organs do not slow down even though finances are tight.
Even in the present state of the economy, we believe this is an excellent time to invest in a pipe organ. A fine instrument can enrich a worshiping community as well as represent a com- mitment to musical liturgy that can nourish congregations during times of crisis. A pipe organ is a long-term investment that is of great value, one that will contribute richly to the life of a congregation for generations.
Goulding & Wood stands ready to support your congrega- tion. We understand budgets and know how to work with less than optimum conditions. Our chief goal is to provide you, the musicians and worship leaders, with the tools you need to minister to your congregations, providing them with comfort and hope. Whether you are in need of refurbishment, repair, replacement, or some project that eludes a clean categoriza- tion, we stand ready and committed to help you. 823 Massachusetts Avenue Indianapolis, Indiana 46204 voice: 800.814.9690 or: 317.637.5222 facsimile: 317.637.5236 www.gouldingandwood.com
JUNE, 2009 13
June 09 pp. 2-18.indd 13 5/13/09 10:25:49 AM House. He regularly conducts the Ma- comparing the life of Thomas Jefferson Example 1 rine Band at the Executive Mansion and to the development of the music we love at all Presidential Inaugurations. He also On Teaching serves as music director of Washington, so much: D.C.’s prestigious Gridiron Club, a posi- 1743: Thomas Jefferson and Luigi by Gavin Black tion held by every Marine Band Director Boccherini were born and Francesco since John Philip Sousa, and is a member Stradivari died. Handel’s Samson re- of the Alfalfa Club and the American ceived its fi rst performance at Covent More about pedals: Bandmaster’s Association. Garden. J. S. Bach was 58 years old. looking at heels historical situation, and what we do know 1760: Jefferson entered the College of This month I am returning to the contains intriguing anomalies. These in- He must be a pretty dependable per- William and Mary, Luigi Cherubini was subject of pedal playing, this time to dis- clude, for example, the Schlick work former, used to playing under pressure. born, and Franz Joseph Haydn wrote his cuss heel playing. I have some general Ascendo ad Patrem from about 1512, The Marine Band may be a world symphonies 2–5. thoughts to share with students, and a which has a four-voice pedal part clearly away from the lives of most readers of 1770: Jefferson took up residence at few practical suggestions and exercises. requiring the use of heels, and the (mid- The Diapason, but it sure is a profi cient Monticello, Beethoven was born, and It is interesting that the use of the heel to-late-nineteenth century) organ play- ensemble with an undisputed ceremo- Handel’s Messiah was performed in New in pedal playing is an artistic issue that ing of Saint-Saëns, who apparently never nial edge. (And they have a couple very York for the fi rst time. has a history of lending itself to contro- used heels. snazzy buses!) 1776: Jefferson drafted the Declara- versy, becoming a political and, almost, (If the one surviving pedaling by Saint- § tion of Independence, Charles Burney an ethical matter. I have had students Saëns,1 along with contemporaries’ com- On April 29, 1962, President John F. published History of Music, and Mozart come to me who believed—or who had ments on his playing, were all that we Kennedy hosted a dinner at the White composed Serenade in D Major, K. 250 heard—that it was out of the question to knew about nineteenth-century organ House for Western Hemisphere winners (Haffner). use heels in music written before a cer- playing, we would assume that Franck, of the Nobel Prize. Addressing the guests, 1779: Jefferson was elected governor tain date: that is, essentially in Baroque Widor, Reger, and the rest all used only the President famously quipped, “I think of Virginia, and William Boyce died. music. On the other hand, I have heard toes! If the Schlick Ascendo were the this is the most extraordinary collection 1784: Jefferson began diplomatic ser- students and others say that failure to only surviving organ piece from before, of talent, of human knowledge, that has vice in France, and Wilhelm Friedemann use the heels in Baroque music could say, 1610, we would assume that in the ever been gathered together at the White Bach died. only be motivated by a pedantic insis- late Renaissance, multi-voiced pedal House, with the possible exception of 1791: Mozart died, Carl Czerny was tence on academic correctness at the parts and heel-based pedal playing were when Thomas Jefferson dined alone.” born, and Beethoven became Haydn’s expense of artistic considerations. I once the norm!) Last week, driving our sunburns out of pupil. heard two musicians passionately agree- When I was fi rst getting interested in Washington, we went on to Monticello, 1796: Jefferson was elected Vice-Pres- ing with each other that “heel and toe” the organ in the early 1970s, I did not, for the home of Thomas Jefferson. Here is ident of the United States under John was the only way to play the organ, even a long time—a year or two at least—be- a magnifi cent homestead, beautifully Adams. though neither of them was an organist! come aware that there were these sorts preserved and presented, allowing us a 1801: Jefferson was elected third Pres- I thought that this was—quite apart from of historical or musicological polemics— glimpse into the life of a brilliant Ameri- ident of the United States, and Haydn the merits of the notion—a fascinating or such strong feelings—surrounding can. Jefferson was a statesman, politi- completed his oratorio, The Seasons. example of how ideas or ideologies can heel playing. I did absorb, however, the cian, architect, musician, botanist, and 1803: Jefferson commissioned the spread beyond their original home turf. idea that it was more diffi cult to create who knows what else. Most fascinating Lewis & Clark expedition and complet- It was also revealing how heated this clarity and precision with the heels than was the presentation of the relatively ed the Louisiana Purchase (paying about discussion was and how angry (good-na- with the toes, and that, any concern for recent (DNA-substantiated) revelation $15 million for 828,800 square miles, turedly angry, as I remember it, but still authenticity aside, a player has to be sure that Sally Hemings, one of Jefferson’s roughly a third of the modern United angry) the two of them seemed at people that heel pedalings in any given situation slaves, was also his mistress, and that he States), and Adolphe Adam (O Holy who might disagree. really work to create the desired effect. fathered children by her. (When you’re Night) and Hector Berlioz were born. I have also had students come to me This is an issue with heel pedaling in a at the bookstore, ask for a copy of The 1809: Jefferson retired to Monticello, convinced that “heel and toe” pedaling way that it is not with toes. Hemingses of Monticello: An American Beethoven composed Piano Concerto is intrinsically legato, whereas “alternate I recall hearing that Helmut Walcha Family by Annette Gordon-Reed, win- No. 5 in E-Flat Major (The Emperor), toe” pedaling is intrinsically detached. insisted, with his students, that the fa- ner of the 2009 Pulitzer Prize for History Haydn died, and Mendelssohn was (I’m not sure about the concept of “al- mous pedal solo in Buxtehude’s G-minor and the 2008 National Book Award for born. ternate heel”!) In fact, alternate toe ped- Praeludium, BuxWV 149, be played with non-fi ction.) We thought the tour guide 1817: Jefferson designed and planned aling is usually capable of creating a full all toes, the left toe moving up to play who showed us through the house was an “Academical Village” in Charlottes- (even overlapping) legato. It has trouble the off-beat F-sharps. (See Example 1.) uncomfortable having to talk about that. ville, Virginia, the inception of the Uni- doing so only in some patterns involving The purpose of this was to achieve the Jefferson seems to have been a con- versity of Virginia, and Rossini composed sharps and fl ats. It is same-toe pedaling greatest possible crispness and accuracy summate control-freak. He designed ev- La Cenerentola. (using the same toe on successive notes) of timing, not necessarily to be histori- ery detail of the buildings and grounds— 1826: Thomas Jefferson died on July that is inherently detached. Also, while cally accurate, although it probably was plenty of his architectural drawings are 4, extraordinarily coincidentally the 50th heel and toe pedaling can often create that too, or at least might well be. (Other on display. On one, I read in his hand anniversary of the signing of the Decla- legato—and sometimes in places where players might use the right foot to play that the height of a Greek-inspired pedi- ration of Independence, Mendelssohn all-toe pedaling cannot—it is also true all of the upper notes—heel and toe— ment was to be two-ninths its width. The composed Incidental Music to A Mid- that the use of the heel is often most while the left foot remains in the lower vegetable garden, carpenter’s shops, saw- summernight’s Dream, and Carl Maria natural in detached situations, where the half of the pedal keyboard rather se- mill, nailery, even the kitchen were built von Weber died. heel can be used without resorting to an renely catching what might be called the according to his exacting specifi cations. 1827: Beethoven died. uncomfortable foot position. melody of the passage. It is an interest- He developed cisterns to collect rain- ing exercise to work the passage up both water by the ton, protecting household So Thomas Jefferson’s life at the gra- Stylistic authenticity ways and listen to the difference(s) in life against the dry Virginia climate, and cious home at Monticello spanned the Questions about heel pedaling are articulation, timing, and pacing between an ice house that could store thousands life of Beethoven almost exactly. Inter- bound up, as are many other techni- the two.) of pounds of ice harvested from neigh- esting. Q cal matters, with questions of histori- boring ponds during the winter, ice that cal authenticity. These apply in several Anatomical issues lasted through the summer. Notes ways, of which the most prevalent is the The fact that playing with the heel is, We lived for a while in Lexington, 1. From Concert Program, Marian Ander- above-mentioned concern about using in general, harder to control with great Massachusetts, the home of the Ameri- son Tribute Concert, April 12, 2009, The Lin- the heel in older music. Questions of precision than playing with the toe stems can Revolution. As you might expect, the coln Memorial, Washington, D.C. authenticity do arise in connection with from the basic anatomical fact that the town is very history-conscious, and while later music as well, for example, whether foot is hinged in a way that gives the living there I got interested in noting the a legato achieved using alternate toes is toes more leverage, a better mechani- parallels and differences between Amer- Check out classifi ed ads or isn’t acceptable in music written by a cal advantage. In other words, the heel ican colonial life and the concurrent life and artist spotlights on THE composer who is known to have used, or is closer to the ankle than the toes are: of society in Europe—while Mozart was explicitly called for, heels. Is it enough simple, but very important for organ prancing around Vienna in a powdered DIAPASON website: for the player’s judgment—or that of a playing. To some extent, whereas the wig, the Minutemen were slinking along teacher or any listener—to conclude that toes play a pedal key through the fl exing behind stone walls taking pot-shots at www.TheDiapason.com the effect is suitable or perhaps actually of the ankle, there is a tendency for the British troops. I though I’d close by identical to what the composer intended, heel to play a key by dropping the leg or is it in some sense necessary (ethically, onto the key. artistically) for the composer’s technical The approach to teaching pedal play- suggestions to be followed literally? ing that I outlined in four columns in It is certainly generally true that ear- The Diapason (November 2007–Feb- Atlanta First United Methodist Church lier organ playing probably made less use ruary 2008) relies on using the instinctive of the heels (short pedal keys, giving lit- pointing gesture of the toes as a starting A.E. Schlueter Pipe Organ Company and Atlanta First United tle room for the heels; relatively restrict- place for developing a strong kinesthetic Methodist Church are pleased to announce the recent com- ed use of sharps and fl ats, and of pedal sense of the pedal keyboard. It is mainly pletion and dedication of their new pipe organ. scale passages; non-legato style attested for this reason that the various strategies through surviving fi ngerings, among oth- deployed there and the various exercises er things) and later organ playing more suggested do not include any work with This instrument features (big and, eventually, “AGO”-type pedal heel. In spite of this, however, the ap- a 5-manual console and boards; more sharps and fl ats and scale proach laid out in those columns actually 93 ranks of pipes in 9 passages; legato style; the need, some of sets a student up to learn heel playing ef- divisions. The complete the time, to assign one foot to the swell fi ciently and with great security. This can pedal), though, as with so many issues, happen best after the student has become specification is available we do not know everything about the truly comfortable with the techniques at www.pipe-organ.com for this and other pro- jects. The Organ Clearing House PO Box 290786 A.E. Schlueter Pipe Organ Co. Charlestown, MA 02129
P.O. Box 838, Lithonia, GA 30058 Ph: 617.688.9290 800-836-2726 www.pipe-organ.com www.organclearinghouse.com
14 THE DIAPASON
June 09 pp. 2-18.indd 14 5/13/09 10:26:16 AM Example 2 Example 4 Example 7
Example 5 ing from the E to the B. Really what this Example 3 means is practicing moving the right heel from the position in which it rests while the right toe is playing the E to the position in which it (itself) plays the B, while turning the foot so that the toes are poised to play the C-sharp. This is a Example 6 bit more abstract than moving the toe of one foot from one note to another, but equally subject to being analyzed and practiced systematically. developed through that approach. Students themselves, and their teach- Each student—each player, in fact— ers, can create little exercises like this, has a somewhat different physique, and can extract bits of pieces with which which suggests a somewhat different (left fi rst) except for left heel/left toe here are 1) to orient the left foot in such to try out the use of the heel. I want to physical orientation towards the pedal going across the bar line. It is also pos- a way that the toe is aimed easily at the reiterate that the key to integrating heel keyboard. Some people can more com- sible, however, to make more extensive F-sharp after playing the D; 2) to reori- playing comfortably into pedal playing is fortably play off the inside of the foot, use of the heel, for example, using left ent the left foot to execute the more dif- to pay attention to—and make choic- some the outside; some people can most heel on all of the C’s and fi tting the other fi cult G–A with heel-toe; and 3) to move es about—the position and angle of comfortably keep the knees fairly close notes around that. The student can try the right foot securely to the B after leav- the feet as they address the keys. together, some people are more com- it a number of ways. For using this as a ing the E. This should be done, in the manner dis- fortable with the knees farther apart, learning tool, it is crucial to remember to In beginning to practice playing with cussed at length in my earlier columns, and so on. The key to incorporating heel keep it slow and light. the heels, as with any pedal practicing, without any particular preconceptions. playing into this overall approach is to re- Example 7 is a somewhat arbitrary it can be useful to practice separate feet, It is in the end up to the student to de- mind the student always to monitor and heel-based pedaling for a scale. I’m not in the manner that I have discussed in termine what is comfortable and what make decisions about the exact physical sure that I would use it in “real life,” but earlier columns. In the above scale, for works. The teacher can certainly make approach of the heels to the keys: which it works as an exercise. The challenges example, the right foot can practice mov- suggestions, and can help evaluate the side of the heel for which notes, where on the keys the heels should land (per- haps different for each key or different ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
depending on previous or subsequent DOBSON CASAVANT FRERES notes), where the knees should be in re- lation to the feet in a given passage, etc. These are things that only the student can judge, since that judgment depends on how things feel. Some practice exercises The fi rst step in practicing heel play- ing is to choose a simple passage—taken BOODY TAYLOR from a piece or written as an exercise— APOBA and to play some of the (appropriate) notes with heel, trying out different po- sitions and placements along the lines mentioned above. It is by far the easiest to use the heels on a natural key that is Get the Best being played just before or just after a sharp or fl at, so it is best to start with such
a passage. The Buxtehude quoted above From the Best. DYER R. is a good example. It is clear that, if the right heel is going to be used in this pas- sage, it will be used on the G that is the second overall note and its reiterations. A Then student can try—slowly and keeping ev- erything physically relaxed, as always—to play G–F#–G with heel-toe-heel, using Rest Assured. GARLAND FISK fi rst the inside of the foot, then the out- side, letting the knee move to where it is most comfortable. (To play on the out- side of the right foot the right knee will probably need to be farther out—to the FRITTS right—than to play on the inside of the foot.) A player with slender feet might fi nd that the center of the foot works. For Whether your new organ is to be most players, one of these confi gurations will be the most comfortable and should small or large, electric be practiced until it feels reliable. If more than one feels equally comfortable, then or mechanical action, both, or all, should be practiced.
A short exercise like Example 2 can be APOBA members are GOULDING & WOOD used in the same way, again trying out different angles and positions for the feet proven, ethical firms. and keeping track of what is comfort- able. (Note that this, on its own, can well be played like Example 3. It is interest- ing to compare the differences in sound And we’ll be here tomorrow and and feeling, if any, between the different for generations of pedalings. In the context of a longer pas- sage, one or the other might be better or tomorrows to meet your needs. actually necessary.) Here are two matching exercises for heel at the extremes of the keyboard. (See QUIMBY REDMAN SCHANTZ SCHOENSTEIN & Examples 4 and 5.) Again, they should HENDRICKSON be tried with every different alignment To receive information about pipe organs of inside/outside and knees. The teacher and recognized pipe organ builders can help the student remember what all the possibilities are, but only the student AP write or call toll free 1-800-473-5270 can tell for certain what is and what isn’t or on the web @ www.apoba.com comfortable. They should be tried both PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America fully legato and lightly detached. BO The well-known Vierne theme, from A P.O. Box 155 • Chicago Ridge, Illinois 60415 the Carillon from Op. 31, is an interest-
ing one on which to try various different OTT PARSONS heel-based pedalings.2 (See Example 6.) It is possible, while keeping this NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP completely legato, to use alternate toes
JUNE, 2009 15
June 09 pp. 2-18.indd 15 5/13/09 10:26:35 AM results, but only the student can actually the service to help engage the congrega- are brief, with a total performance time This Nigerian choral anthem has tell how it feels. Q tion and choir. If the music the choir per- under six minutes. Some dissonance is both English and Nigerian texts. The forms each week is primarily in only one used, and choral passages often move music is mostly unison above a sparse, Gavin Black is director of the Prince- style, then directors are urged to branch in parallel fourths. This is an interesting yet bouncy, rhythmic accompaniment. ton Early Keyboard Center in Princeton, out in the coming year; order some new setting that, while somewhat diffi cult, It is particularly useful for youth choir New Jersey. He can be reached by e-mail at music that expands their musicality and will require a solid church choir for an on international Sundays.
16 THE DIAPASON
June 09 pp. 2-18.indd 16 5/13/09 10:26:55 AM compasses of all four organs (there is a pression and the Second World War also rangement of Herbert Howells’s Chosen mative program notes. discrepancy between the forty-one notes caused some disruption to the choir, as Tune is very effective and would be suit- A buoyant two-minute work, Le Chant in the text MS and the drawings from they did to most institutions. Much of the able for use as a voluntary on many oc- de la Resurrection by Charles Koechlin, folios 20/21 and 26/27, reproduced in secret of getting the choir onto a sound casions. The recording concludes with a is worth the price of admission, requir- the body of the book), the composition fi nancial basis was a question of getting splendid performance of Jeanne Demes- ing a virtuoso trumpeter. Elgar’s familiar of the mixtures, the dispositions of the the board to listen to the director. sieux’s complicated Te Deum, said to Imperial March showcases English pag- uppermost chests of the transept organs, From early on it was apparent to a have been inspired by the State Trumpet eantry at its most majestic. The conclud- the pitches and pipe forms of the vari- succession of very able directors that a in New York’s Cathedral of St. John the ing composition is a 1950 Cortège by ous reeds assigned equivocal names, and number of simple practicalities, such as Divine. This is a very fi ne recording. Gaston Litaize, a lovely piece for a stately fi nally the ambiguities surrounding the when and where rehearsals were held, occasion. This is a wonderful recording. pitches of the organ (the organs being concert venues and programs, the choice From Age to Age. The Denver Brass, tuned in pairs, the north transept and of guest soloists, and such could be used Lowell Graham, conductor, Joseph Andover Opus 114, Paul Davis, or- south choir organs being of a higher pitch to maximize the fi nancial viability of the Galema, organ; Newman Center for ganist; Christ Lutheran Church, Bal- than the other two). A further chapter choir. Unfortunately the board rarely lis- the Performing Arts, Denver, Colo- timore. Andover organ, three manu- gives clearly arranged dispositions ar- tened to sense, and the choir struggled rado; 2002 Schuke organ, 56 ranks. als, 82 ranks. AFKA, SK 562, BKM ranged by chests, with the original Span- from one crisis to the next, only saved Klavier Music Productions, Boca Ra- Associates. ish stop names and probable English from oblivion by regular bailouts by its ton, FL 33481-0157, The CD can be ordered from the equivalents and pitches; the transept or- members and friends.
JUNE, 2009 17
June 09 pp. 2-18.indd 17 5/13/09 10:27:13 AM Lutheran Church has a distinguished or- African-American sacred folk music, and and 1953, was the fi rst black woman to (strings), and A Subway (full organ). gan and organist in the building! ethnomusicology. This is Abbington’s have a symphony performed by a pro- Richard Leach’s text is minimal. No men- seventh publication, and with this collec- fessional orchestra, the Chicago Sym- tion is made about the organ stops that A Musical Feast. Grant Edwards, tion of organ music of black composers phony Orchestra. are used for each movement. The music organist; St. Stephen’s Episcopal he has made available once again fi rst- This is a fi ne publication of serious and is quite simple and could be played by Church, Seattle; 2-manual Bond or- class music that ranges in style, length very accessible organ music that will in- a fi rst or second year organ student. It gan. Pro Organo CD 7181,
18 THE DIAPASON
June 09 pp. 2-18.indd 18 5/13/09 10:27:33 AM A Conversation with Composer Craig Phillips David Kelley
the tool that allows you to look at and the fantasy pieces such as you’re talking understand something of how the great about. So it doesn’t bother me if these masters put their scores together, which pieces come off as improvisatory, I think in turn can provide an underpinning and that is just the way my imagination tends foundation for your own work. That be- to work. ing said, once you have that foundation, I think it ultimately frees you to “break DK: It gives them a spontaneity that is all the rules” as it were and forge your very enticing. own path. CP: Yes, I think that’s right, and I’ve written several pieces in that same vein DK: To my ear, one of the things that I actually—some recently—that aren’t yet admire about your style is its very fl u- in print. It seems to be a successful for- ent and mobile harmonic language. You mula for me in terms of organ pieces. travel very quickly to different places and move very easily. DK: You compose on commission quite CP: Yes. a bit. Craig Phillips CP: Yes. I am lucky to have pretty DK: How would you describe your own At the organ of the Dreikönigskirche, much a steady stream of commissions. n increasingly popular composer of style? Frankfurt, ca. 1991 Aorgan and choral music, Craig Phil- CP: Well, I don’t think it’s anything DK: How do you go about tailoring a lips was born in Louisville, Kentucky in you could put a label on—yes, there are music had an infl uence I would say, so piece for a commission? I would imag- 1961. By the time he was in his early thir- modal infl ections and that sort of thing, . . . who knows! ine your own technical ability might lead ties, Phillips had won First Prize in the perhaps a sort of romantic, lyrical lean- you astray if you’re writing for a particu- Clarence Mader Competition for organ ing. I think it’s really an amalgamation of DK: (laughs) lar audience. Is that ever a problem or composition (in 1994). Since then, he a lot of my infl uences: the music that I’ve CP: You know, I don’t sit down and something you keep in mind? has published works with increasing fre- loved growing up and as an organist as analyze my own music that often. CP: Sometimes they stipulate the dif- quency, and has completed commissions well. I think a lot of the organ composers fi culty level of a piece or specifi c voic- for the American Guild of Organists, infl uenced me to a large degree. DK: There probably isn’t time for that! ing and so forth. The commissions I’ve the Association of Anglican Musicians, CP: (laughs) This is true, and I’d just had don’t often put limits on me—but several American cathedrals, and such DK: I have often heard a little whis- as soon leave that to others! I tend to be I think it’s great discipline to be able notable performers as the Chenaults pering of Herbert Howells, perhaps, in very instinctive and intuitive about the to write something that’s very simple if and Tom Trenney. Phillips’s composi- there; maybe a little Durufl é . . . whole process. that’s what they’re looking for. I remem- tions are engaging and satisfying, and CP: Absolutely, others have said that ber the Torah Song fantasy: I think the they demonstrate his understanding not as well. I play their music, I know their DK: Your organ works are very idiom- rules specifi ed that it would be a concert only of the voices and instruments for music—so that becomes a part of me. atic, and they lie under the hands quite piece, but of moderate diffi culty, which which he writes, but also his audience. well. is kind of an odd combination—I think He recently launched a website about DK: Are there any other composers that CP: I hope so! (laughs) I managed to strike a happy medium in his work:
JUNE, 2009 19
June 09 pp. 19-21.indd 19 5/13/09 10:28:20 AM about doing something a certain way I’d CP: I think you could possibly say like to leave a certain amount of freedom that. (pauses) Not to say anything nega- to the performer. But I usually suggest tive about the English at all! various colors or the kind of sound I’m thinking about, and a lot of my pieces do DK: No, no. Well, there’s that classic have that sort of French romantic regis- Anglican restraint, which sometimes we tration ideal behind them. Americans don’t do quite as well. CP: Probably we’re less restrained. DK: How much does the instrument at Perhaps. (laughs) I don’t know! All Saints’ [Beverly Hills] infl uence— CP: Oh, probably it does! (laughs) DK: Do you have particular favorites among your own works, pieces that came DK: That’s where you spend most of off particularly well in terms of your ex- your time, I imagine. pectations when you sat down to write CP: So it does, I think—the colors them, or perhaps an organ piece that you that are on that particular instrument like to play a lot? often infl uence what I indicate in my CP: One of my special pieces is not pieces—it’s a pretty comprehensive in- a solo organ work, but the Concertino strument, I might add! But they can be for Organ and Chamber Orchestra, expanded on. which was my fi rst big commission, and it led to all sorts of other things and DK: Well, every organ’s different. opened a lot of doors—I think of that CP: Yes. as an extremely special piece. Well, I As a young composer, Nashville try to make every piece (laughs) some- DK: I know you have been commis- Brooding composer at home in Beverly thing to think of in that way. The cho- DK: When you get a commission, how sioned by the Association of Anglican Hills, early 1990s rale preludes are in some ways among do you decide what to do? I’m sure some Musicians, by Washington National Ca- the most popular things that I’ve done, of these commissions can be very specif- thedral, and your works are often per- choral accompanying instruments, and and I use those all the time. The Toc- ic, but others may be rather general. formed at All Saints’. Do you feel that that certainly has affected many of the cata on Antioch, for instance: I sat down CP: It depends. If it’s, for instance, you are part of a continuing Anglican composers coming out of those places; and wrote that little set of pieces [Joy a choral piece like what I’ve just been musical tradition in the church? do you think that that’s something that to the World: Three Preludes for Christ- working on, the primary task is to come CP: I think I could put myself into that you relate to as well, or are you more in mas] a few years ago, but I use them all up with a good text. The people who category. Most of my choral commissions that French category where the instru- the time, they’re very popular, they get commission a piece are usually looking have been from Episcopal churches or ment is more soloistic? played often. Also the Triptych [for Or- for something for a particular occasion, cathedrals. And the choir that I work CP: I think maybe I’m a hybrid as far gan] that I wrote in the mid ’90s I use so [we have to fi nd] an appropriate text; with here at All Saints’ is one of the as that goes as well, perhaps leaning to frequently. Those can be played togeth- usually something in the public domain, best—I don’t mind saying that I think the French side. A lot of my commissions er or separately; I use them separately or, once or twice, we’ve done things it’s one of the best choirs in the country have pretty substantial organ parts—a lot all the time. They’re quite effective in where the text was commissioned simul- in the Anglican tradition, so that’s had a of my choral pieces in general: I like to the service context, and I’ve used them taneously. So that can be fun, too. big infl uence on me, and on my choral think of the organ and choir as basically as recital pieces as well. Of my pieces writing. We perform a great deal of the equal partners most of the time, unless for organ and instruments, the Suite for DK: That would be a rather rare oppor- English repertoire, as well as American specifi cally it’s not intended to be that Organ, Brass [Quintet] and Percussion tunity. music that fl ows from that tradition, and way. But, generally speaking, that’s the has certainly been one of the most suc- CP: I wrote a big Easter anthem a few I think my own music certainly falls into way I like to treat the organ. cessful for me. years ago called On This Bright Easter that continuum. Morn, which has been very popular. The DK: Do you think that there are spe- DK: We spoke earlier about your Fan- text was also commissioned and written DK: How would you describe the essen- cifi cally American traits to the Anglican tasy on Torah Song, which is one of my by a poet named Janine Applegate, who tial elements of that style? tradition here that distinguish it from favorites; another I particularly like is lives in Portland. I collaborated on two CP: In terms of the way that I write our British counterparts, and perhaps in your Fanfare. Can you tell me a little pieces with her, which was a lot of fun. for the choir, I’m used to a straight-tone your works in particular? about the origin of that work—it was a But generally speaking I tend to go with sound, and really favor that sound. In CP: I’m sure. I think we take their commission, wasn’t it? things that are in the public domain. the Anglican approach to choral singing tradition and make it our own in certain CP: It was commissioned by Pat Gillis, there is also a great attention to word ac- ways, because we have our own unique a parishioner at All Saints’, Beverly Hills DK: That’s always a safe bet. centuation or localized word stress, and set of infl uences—American folk tunes, when we installed a new fanfare trum- CP: It’s a safe bet—less complicated. that is something that I pay a great deal jazz, spirituals, and popular music. I’m pet on the organ. It’s a big high-pressure I’ve set a couple of works to texts by more of attention to in my setting of texts. And thinking of the New York composers hooded trumpet—it’s quite a brilliant recent poets—secular pieces—whose as far as texture goes, I use a combina- Calvin Hampton, Larry King, and all stop—and he actually was the one who foundations, alas, don’t yet allow their tion of polyphonic and homophonic tex- sorts of people . . . David Hurd and paid to have it added to the organ. It was texts to be set to music for publication. tures that ebb and fl ow—and not strictly others. I think a lot of that music fl ows his wish to commission a piece to feature But they generally specify a length of a one or the other. out of that Anglican tradition but is also the new trumpet; also it was dedicated to piece, and I ponder . . . (laughs) . . . pon- highly original and very much Ameri- his mother, who was a long-time church der the text or whatever the idea for the DK: A hybrid. can, I pretty much see myself falling organist. So I designed this work to re- piece is, and then just get going. Coming CP: It is sort of a hybrid in a way. into that tradition. ally “show off” the new trumpet stop. It’s up with the initial idea for a piece, I think, basically a rondo with a “big tune” on is always the most diffi cult part—once DK: Many English organs are designed DK: Perhaps there’s a little more adven- the solo trumpet making several appear- you have it, and you know it’s right, things primarily as liturgical instruments and turesome spirit in the American style? ances, and other splashy, colorful things begin to fl ow. With most commissions in between. That’s another piece that I usually people have a general idea of what think works extremely well as either a re- they’re looking for. I received one recent- cital piece or in the context of a big ser- ly through a church and an arts founda- vice or what have you—if you have the tion: they’re going to send me some paint- A Precious Gift right organ. ings from local artists to look at and then devise a set of pieces based on probably DK: So, what’s next for you? What’s on two or three of these paintings— it will from the Past your horizon? be something totally different; I don’t yet CP: Well, I just got today—believe it know what I’ll do with that! or not, it was today—confi rmation of a for the Present commission for the 2010 AGO conven- DK: It will be your own version of Pic- tion in Washington, D.C. This is for a tures at an Exhibition. new work for organ and instruments. It CP: Very much; that’s the idea they and the Future looks like it will be a piece for chamber had in mind. So that will be something organ and four winds, probably ten min- quite different, at least something I have Supremely beautiful and blendable utes in a single movement . . . the idea not done before. tonal color – a Gift from the Venetian is still under development! (laughs) So, that’s kind of a big thing that’s coming DK: Is there anything that you would School of organbuilding, a monumental part of our up, and there are some other interesting communicate to a young crop of organ- great heritage. The result: a versatile and Áexible things in the works. ists, given the chance? palette to make possible your Ànest work. CP: I don’t know if many of them are DK: And I believe you told me that interested in composition or not, but you’re launching a website? I would say it’s good to stay open—to Intriguing? Let us build your dream. CP: Yes, it’s actually up and running new organ compositions in general, and now, and has a complete list of my com- to the idea that being an organist and a positions, both published and unpub- composer is a long, long tradition. Be- lished, as well as a list of current com- ing a performer and a composer was re- missions and other information. You ally the norm until fairly recently in the can fi nd it at scheme of things, and there’s no reason
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20 THE DIAPASON
June 09 pp. 19-21.indd 20 5/13/09 10:28:41 AM Psalm 103 (Trinitas, 4507), SATB and organ A Festival Song: The Music of Craig Phillips Ride on in Majesty (Trinitas, 4580), SATB an- (2004) (Gothic, G-49207), The Choir of All them with organ Saints’ Beverly Hills; Tom Foster, conduc- The Risen Sun (Selah, 420-337) tor; Craig Phillips, organist. Rorate Caeli (Trinitas, 4500), SATB a cappella Song of Zechariah: Benedictus Dominus So Much to Sing About (E. C. Schirmer, Deus #5365), SATB and organ Teach Me, My God and King Teach me, my God and King (Paraclete, Serenade for Horn and Organ PPM00303), SATB motet, unaccompanied Psalm 34 Thee Will I Praise (E. C. Schirmer, #5718), Pastorale for Bassoon and Organ SATB and organ The House of Faith Has Many Rooms Version with organ and brass quintet (E. C. And I Saw the Holy City Schirmer, #5719 & 5719A) Ride On in Majesty There’s a Voice in the Wilderness Crying (Se- Fanfare for Organ lah, 422-903), two-part choir and organ Keep Watch, Dear Lord Transfi guration (Selah, 405-390), SATB and A Song Without Words for Cello and Organ organ A Festival Song Two Advent Anthems (Selah, 405-146), SATB, Be Still My Soul (2006) (Gothic, G-49251), organ and oboe The Choir of All Saints’ Church, Beverly The Unsearchable Riches (Paraclete, Hills, Dale Adelmann, conductor. The Ris- PPM00625), SATB and organ en Sun, Transfi guration, We Walk by Faith We Walk by Faith (Trinitas, 4611), SATB di- Blasts from the Past Century (2006) (Pro Or- visi and organ gano, CD 7197), David Heller, organ. Fan- tasy Toccata Unpublished Choral Works Burnished Bright (2006) (Paraclete, GDCD Come, my Way, my Truth, my Life (2005), 040), Gabriel V Brass Quintet, David SATB motet, unaccompanied Chalmers, organ. Suite for Organ, Brass Eastman School of Music, class of Russell Saunders, ca. 1985; Craig Phillips pic- Lord, You now have set your servant free and Percussion tured second from left (2006), SATB anthem, with organ, brass Easter (1997) (Gothic, G-49097), The Choir quintet and timpani of All Saints’ Church, Beverly Hills, Thom- Magnifi cat (1993) c. 9 minutes, score and as Foster, conductor. On this bright Easter opinion. Being an organist and a per- Suite for Organ and Brass Quintet and Per- parts available on rental, SATB chorus, morn former and a composer . . . it all works cussion (Selah, full score 160-981, organ string orchestra and organ On A Sunday Afternoon (2005) (JAV Record- together for me, so . . . (laughs) I think score 160-982, instrumental parts 160-983) Magnifi cat and Nunc Dimittis in D (2003), ings, JAV 149), Todd Wilson, organ; Yvonne it’s a great combination. SATB canticles with organ Caruthers, cello. A Song Without Words for Unpublished Works for Organ Solo or Magnifi cat and Nunc Dimittis in D-fl at (2002), Cello and Organ DK: Well, it’s working for a lot of other Organ and Instruments SATB canticles with organ Organ Americana (2004) (Pro Organo, CD people, too: they think it’s a good combi- Concertino for Organ and Chamber Orches- O Light Invisible (2003), SATB motet, a cap- 7196), Tom Trenney, organ. Toccata on tra (1995) c. 13 minutes. 2 fl utes, clarinet in pella “Antioch,” Prelude on “Kremser,” Fantasy nation for you (laughs) as well! A, bass clarinet, bassoon, horn in F, 2 trum- The Preces and Responses (A-fl at) (2002), on “Torah Song” CP: It’s a good combination for me, pets, trombone, strings. Score and parts SATB, unaccompanied Seasons of Festivity (1997) (Arkay Records, but others can do it! available on rental. Rune of Hospitality (2003), SATB anthem, AR6162), Marilyn Keiser, organ. Prelude Sonata for Cello and Organ (2004). Score unaccompanied on “Kremser” DK: Thanks very much for speaking with available for sale. Send forth your light (2002), SATB anthem Silence & Music (1993) (Gothic, G-49064), me today, and keep up the good work! Sonata for Organ (1983). Score available for with organ, based on Psalm 43 The Choir of All Saints’ Church, Beverly CP: Well, thank you very much! Q sale. Sweet Music, Heavenly Rare (2006), SATB Hills, Thomas Foster, conductor. Hodie, Second Sonata for Organ (2001). Score avail- motet, unaccompanied Christus natus est able for sale. The Passion According to St. John (2008), SATB Sinfonia Festiva (2005) (Summit Records, David Kelley is Director of Music at Con- chorus, three soloists, unaccompanied DCD 436), Paul Skevington, organ; Wash- cordia Lutheran Church in Wilmington, Variations on a Kyrie (1995). Concert work for organ duet. Score available for sale. Though every tongue shall spend its fi re ington Symphonic Brass. Psalm Prelude, Delaware, and Assistant Conductor of Coro- (2003), SATB anthem with organ Fanfare, Suite for Organ, Brass and Per- Allegro, Delaware’s premier chamber choir. You Shall Know the Truth (2005), SATB an- cussion His compositions have been included in The Choral A Festival Song (E. C. Schirmer, #5440 & them with organ Small Wonder (2003) (Pro Organo, CD 7190), Crowning Glory, a collection of hymn des- Christmas at St. Paul’s, K Street, Washing- cants, and the Delaware Organ Book, a col- #5441), SATB chorus, soprano and baritone soli, and orchestra Recordings ton, D. C. The Holly and the Ivy (arr. Phil- lection of solo organ works by Delaware com- A Choral Feast (2001) (Gothic, G-49126), lips) posers. Mr. Kelley recently began doctoral A True Hymn (Selah, 418-624), SATB and or- gan (text of George Herbert) The Choir of Men & Boys, Washington Na- Spiritual Pairs (1996) (Pro Organo, CD 7067), study in organ at Peabody Conservatory in tional Cathedral, Douglas Major, conduc- Marilyn Keiser, organ. If you will only let Baltimore, Maryland. And I Saw the Holy City (Oxford, ISBN 0-19- 386712-5), SATB and organ tor. “Gloria” from Missa Brevis God guide you Antiphon: Let All the World in Every Corner Sing (Paraclete, PPM00435), SATB and Craig Phillips Organ and Choral Works, organ and Recordings The Beatitudes (Selah, 410-516), SATB and Organized by scoring and title, with publisher organ and catalog number Benedictus Dominus Deus (A Song of Zecha- riah) (Selah, 410-887), SATB and organ Organ Solo Christ, mighty Savior (Paraclete, PPM00538), Fanfare (Selah, 160-640) SATB and organ (alternate version with Eloquence and Artistry Fantasia on the tune Finnian (Selah, coming strings and organ) soon) Dies Gratiae (Requiem Refl ections) (Selah, Fantasia on Sine Nomine (Selah, 160-676) 440-901), SATB, soprano and baritone soli, in Organ Building Fantasy Toccata (Selah, coming soon) and orchestra Fantasy: Torah Song (Yisrael V’oraita) (Selah, Festival Eucharist (Paraclete, PPM00624), 160-857) choral score with congregational parts, with Fantasy: Terra Beata (Paraclete Press, organ PPM00431) Festival Eucharist (Paraclete, PPM00624FS), Festival Piece (Selah, 160-860) SATB, congregation, descant, brass quintet, Glad Praises We Sing (Selah, 160-814). Four timpani and organ Preludes for Organ: Kremser, Hyfrydol, For God So Loved the World (Paraclete, Nettleton, Engelberg PPM00606), SATB a cappella with solo Joy to the World (Selah, 160-815). Three Pre- soprano ludes for Christmas: Divinum Mysterium, Glorious Things of Thee Are Spoken (hymn Forest Green, Toccata on Antioch concertato) (Selah, 425-888), SAB, 2 trum- Organ Music for the Seasons, Vol. 4 (Augs- pets, timpani and organ burg Fortress, 9780800637507). Prelude Gracious God (Paraclete, PPM00132), SATB, on Richmond organ and fl ute Partita on Lobe den Herren (Selah, 160-691) Great Is the Lord (Paraclete, PPM00813), Partita on Veni Creator Spiritus (Selah, 160- SATB and organ 440) Hodie Christus Natus Est (Trinitas, 4502), Prelude on Victimae paschali (MorningStar, SATB and organ MSM-10-513), from Three Plainchants for The Holly and the Ivy (Paraclete, PPM00018), Organ, ed. Lynn Trapp SATB and organ Psalm Prelude (Selah, 160-875) The House of Faith Has Many Rooms (Selah, Toccata on Hyfrydol (Selah, 160-675) 410-691), SATB and organ Tribute (A lullaby for organ) (Selah, 160-682) How the Grandeur of Creation (Selah, 410- Triptych for Organ (MorningStar, MSM-10- 639), SATB, organ (optional strings) 941) I Love All Beauteous Things (Trinitas, 4610), Trumpet Tune (MorningStar, MSM-10-926) SATB and organ Wondrous Love (Fred Bock Music Co., Keep Watch, Dear Lord (Selah, 420-526), BG0945). 12 Preludes for Organ (includes SATB and organ “Aria”) Light’s Glittering Morn (Paraclete, 25 Harmonizations and Descants (Selah, PPM00427), SATB and organ 160.731). Volume XI of series (A version with brass quintet and timpani is also available from the publisher) All Saints Episcopal Church, Atlanta, GA Organ and Instruments Missa Brevis (Washington National Cathe- Raymond & Elizabeth Chenault, Music Directors A Song Without Words (E. C. Schirmer, dral) (Trinitas, 4583), SATB and organ #6750), for cello and organ Morning Glory, Starlit Sky (Paraclete, March for Trumpet & Organ (Selah, 160-970) PPM00835), SATB a capella Night Song for Oboe and Organ (or harpsi- On This Bright Easter Morn (Trinitas, 4501), Member, Associated Pipe Organ chord) (Selah, in preparation) SATB, organ, brass quintet Pastorale & Dance (Selah, 160-975), for bas- People, Look East! (Selah, 405-103), unison, John-Paul Builders of America soon & organ organ, and optional descant 112 West Hill Street Prelude & Exultation for Organ, Brass Quin- The Preces and Responses (Paraclete, Buzard tet, and Percussion (Selah, full score 160- PPM00211), SATB and organ Pipe Organ Builders Champaign, Illinois 61820 985, organ score 160-986, instrumental Psalm 34 (E. C. Schirmer, 5364), two-part 800.397.3103 • www.Buzardorgans.com parts 160-987) treble and organ Serenade for Horn and Organ (Oxford, 0-19- Psalm 84 (Paraclete, PPM09729), SATB and 386763-X) organ
JUNE, 2009 21
June 09 pp. 19-21.indd 21 5/13/09 10:29:01 AM The organ by Giuseppe Testa, 1676, in Serra San Quirico: An incredible sound Francesco Cera and Andrea Pinchi
fter more than thirty years and Ahundreds of instruments restored with the highest technical qualities, the restoration of historical organs in Italy still holds surprises and offers us op- portunities for growth and knowledge. In the last few years, our view of the antique Italian organ has become even larger and more diversifi ed, not simply in the general structure of the instru- ments, but mostly in the tonal concept adopted throughout Italy over the cen- turies by organbuilders. In the church of Santa Lucia, in Serra San Quirico, an old village in the moun- tains near Ancona (Marche region), it was possible to discover a particularly rare instrument. It is an organ dated 1676, signed by Giuseppe Testa, a fa- mous organbuilder from Rome. Scholars knew about the existence of such an or- gan, but since no evident signature was ever found, its attribution was still uncer- tain, also considering that it was in quite a different style from that which defi ned the organs made in the Marche region. Background of the instrument During the restoration process, con- Stop knobs ducted by the Ars Organi company, located in Foligno and owned by An- drea and Barbara Pinchi, an inscription on the top of a languid was found: “Io Giuseppe Testa Romano feci in Roma Anno 1676” (“I, Giuseppe Testa, Ro- man, made this in Rome in the year 1676”). Giuseppe Testa is surely to be considered the most important organ- builder in Rome in the mid-17th cen- tury; he maintained the organs in the basilicas of San Pietro and Santa Maria Maggiore, and built numerous organs now placed in the churches of Rome. Unfortunately, many of the instruments he built that are still extant have been greatly modifi ed throughout the centu- ries; thus, there is little historical evi- Pedalboard dence of his work. This is why the organ in San Quirico is of such extraordinary why it is more penetrating and clear. The importance: an organ by Giuseppe Tes- fi ve ripieno ranks follow the same style of ta that was quite well preserved. Case and façade the 4′ Octave, and their sound is similar Most of the elements are still origi- to strings, very open and brilliant. nal: 95% of the pipes, the keyboard and Stoplist and sonorities baldi did not have the Voce Umana for The Voce Umana has a sound that pedalboard, casework, windchest, even The stoplist of the Testa organ pres- his Toccate per l’elevazione). Therefore, matches better with the main Principal 2 the stool for the organist! Particularly ents different elements of originality. this stop in the organ of San Quirico is than with the second. The 2 ⁄3′ Flute is beautiful are the three central pipes of There are two 8′ Principals, of which the the oldest that we know of among all the among the most surprising stops of the the façade, modeled in a spiral, typical second is of sweeter tone; the fi rst inner instruments built in Rome in the 17th organ: its sound is strong, round and of the Roman school. In the 19th cen- pipes were made in metal, and so they century, and perhaps suggests that this projects well in the church. It is only a tury, drawknobs and bellows had been have been rebuilt this way. There are two stop was known by the organists of the hypothesis that the size of the other 2′ 2 changed and were rebuilt during the fl utes, one 2 ⁄3′ and the other 2′ (called Eternal City (we hope this hypothesis Flute recalls the Roman organs of 16′ 1 recent restoration job, modeled after by the builder Flautino), instead of the will be confi rmed by other discoveries that had 2′ and 1 ⁄3′ fl utes. Its timbre is 2 originals from the Roman School of the more common 4′ one. A 16′ Controbassi in the future). The effect of the drum is different from the 2 ⁄3′ one, less round, period. The pipes had suffered some in spectacular chestnut wood, from C1 interesting and unusual; activated by the but does not lack sound. The 16′ Contro- bad nicking, but many pipes were still to C2, is coupled to the keyboard (the last pedal in the pedalboard, without its bassi is also very clear and does not have intact in the mouths and helped furnish pedalboard is simply linked to the keys own pipes, it acts on the D1 and F1 notes a booming effect in the acoustic. the model for the general voicing of the without an independent stop). The rar- of the keyboard. The restoration by Ars Organi has had instrument. The reason this instrument est stop is the 8′ Voce Umana, from F2. The organ by Giuseppe Testa in Serra the delicate responsibility to re-estab- is about 200 km from Rome is that the This well-known Italian stop, designed San Quirico offers us the possibility of lish the original pitch with the best ap- Marche region, in the 17th century, be- to beat in combination with the Princi- fi nally hearing the tonal concept of this proximation possible, and to recreate the longed to the Papal States, and the rea- pal, was widely used in northern Italy very important organbuilder from Rome, original sound of the instrument through son for the choice of Santa Lucia in San since around 1550, but it had never been whose personality and craftsmanship are an in-depth study and patient work of Quirico is probably due to the fact that used in Rome nor in other parts of cen- well evident not simply in the manufac- voicing, achieving surprising and very this village is on the way to the Sanctuary tral Italy until the beginning of the 18th ture of the pipes and the mechanical convincing results. This organ allows us of Loreto. century (apparently in Rome, Fresco- parts, made with great knowledge, but to discover the sound conceived for the also in the sound itself. At the time of organ works of Bernardo Pasquini, and Visit Us Online: the organ’s construction, Rome was an to execute with great taste all the litera- Organmaster Shoes www.organmastershoes.com important center for organ music; it was ture of the 17th-century Italian masters Fast Service · Ship Worldwide dominated by Bernardo Pasquini, fol- as well as the German composers who The Right Shoe On The Pedals! lower of the master Girolamo Frescobal- took their inspiration while in Rome. di. Many organists from Germany came —Francesco Cera Women’s Mary Jane x Whole & Half Sizes to Rome to learn the latest organ style. Translation by Zoila Donati Size 4-11, $50* x 3 Widths (N, M, W) The measurements and the propor- x Genuine Leather tions of the pipes are such that their ef- The fi rst time I saw the organ in the fect can be well appreciated by the ear. magnifi cent church of Santa Lucia, in The sound is quite clear, bright and full 1987, I was aware that I was looking at of harmonics, even if not completely an organ of rare beauty belonging to the transparent but matched with a good Roman School, but I had no idea I was Black Navy fundamental and with generous speech. looking at the last masterpiece produced Men’s Classic Oxford 2 White Bone Our Suede Leather Soles The main Principal is, along with the 2 ⁄3′ and signed by Giuseppe Maria Testa! Gold Silver help you feel what pedal Size 6.5-13, $58* Flute, the stop with more fundamental, Obviously, whenever a restoration your foot is touching! Size 14-16, $95* *plus postage though it maintains a light character. The job is undertaken, one dreams of mak- second Principal is sweeter than the main ing an extraordinary discovery, like a Call To Order FREE catalog: (413) 773-0066, 9-5pm, Mon-Fri one but not dark. The 4′ Octave marks a hidden handwritten paper inside the 44 Montague City Rd., Greenfield, MA 01301 USA tonal separation from the main Principal, windchest, or under the fi rst key—or because of its narrower scaling; that is under the languid of the fi rst front pipe!
22 THE DIAPASON
June 09 pp. 22-23.indd 22 5/13/09 10:29:45 AM Onorario della Soprintendenza delle Arizona State University, and Oberlin Col- Marche; Prof. Paolo Peretti, Organologo lege. Since 2001 he has lived in Rome, where e Musicologo, Conservatorio di Bari. he is Honorary Inspector of Early Organs —Andrea Pinchi for Rome and the Lazio region. His website:
JUNE, 2009 23
June 09 pp. 22-23.indd 23 5/13/09 10:30:07 AM From the Dickinson Collection: Speech to the St. Louis Chapter of the American Guild of Organists by Clarence Dickinson edited by Lorenz Maycher
The fi rst installment in this series, “From the Dickinson Collection: Remi- niscences by Clarence Dickinson, Part 1: 1873–1898,” was published in the July 2008 issue of THE DIAPASON; next appeared “From the Dickinson Collec- tion: Memorizing Controversy,” Septem- ber 2008; and most recently, “From the Dickinson Collection: Reminiscences by Clarence Dickinson, Part 2: 1898–1909,” February 2009. Introduction As a founding member of the Ameri- can Guild of Organists, Clarence Dick- inson (1873–1969) was a frequent speaker at AGO functions throughout his lengthy career. In this speech given to the St. Louis Chapter in 1959, Dr. Dickinson refl ects on playing the 1904 St. Louis Exposition organ, offers color- ful memories of the chapter’s founding members and of Andrew Carnegie, re- fl ects on his personal career as a church musician, and offers helpful advice to organists of all ages. Additional material has been incorporated into the text from a speech Dickinson gave at Westminster Clarence Dickinson at the Brick Church Skinner console as delivered in the narthex Choir College on October 1, 1968. All of the old church on Fifth Avenue in 1918 material in this series is taken from the Dickinson Collection, Dr. Dickinson’s the magnifi cent organ at the Exposition, of super-octave couplers could infuse own personal library, which is housed which was designed by Dr. George Ash- any life into them. With Mr. Skinner at William Carey University in Hatties- down Audsley, the author of the greatest there came additional beauty of tone, burg, Mississippi. We are very grateful early book on organs and organ building. which had its drawbacks, too, since many to Patricia Furr and Dr. Gene Winters of I remember the old gentleman’s coming small organs sacrifi ced the real organ William Carey for granting access to this to the house for dinner, bringing the two tone in order to secure some of his beau- special collection, and for permission to great volumes and putting them down tiful color stops—not so far as I remem- Clarence Dickinson, circa 1904 use these items in this series intended to very wearily, saying, “I have brought you ber, though, in his large organs: the Brick preserve the life and legacy of Clarence twenty-seven pounds.” Church organ, built in 1918, contained over again. When the third chorus en- and Helen A. Dickinson. The Exposition organ marked a great six mixtures, and other overtones, on tered the same thing happened. When —Lorenz Maycher advance in organ building, with many which a baroque program could sound as I started for the fourth time, Dr. Carver Laurel, Mississippi new mechanical devices. I have always successful as much as one built today. Williams, who was the 2nd bass in the remembered playing Liszt’s “Evocation There have been several periods of last chorus, threw his part down on the I am delighted to be here with you à la Chapelle Sistine” most effectively what you might call “feverish organ fl oor and cried out, “I’ll be darned if I tonight, and to share in the celebration on it, as I was able to put more atmo- building.” One increase in good organs will count 64 bars again!” of the Golden Anniversary of the found- sphere into the playing of it than ever throughout the country we owe to Mr. As you know, Mr. Quarles was organ- ing of your chapter. Thank you, Howard before or since. You may remember the Andrew Carnegie. The building of bet- ist at Cornell University for a number Kelsey, for all these undeserved kind main theme is that of Allegri’s “Miser- ter organs led to an increased number of of years before he moved to St. Louis. words. It hardly seems necessary to say ere,” which has been sung every Good good organists capable of handling the Andrew Carnegie had given a splendid anything, but just to stand here and let Friday in the Sistine Chapel since it larger instruments, and then to higher new four-manual organ to the univer- you imagine I am all things I should like was written, in diminishing light, until standards of church music. This debt has sity’s large auditorium. Quarles got the to be. I am not much of a speechmaker. it is fi nished in complete darkness. The never been adequately acknowledged. idea of having four organists play the Whenever I fi nd myself in the position score and parts were held for use in this Mr. Carnegie gave 8,400 organs distribut- dedication recital. So, on this occasion, of making a speech, I am reminded of manner and were jealously kept secret ed all over the United States, and greatly Quarles opened the recital, Dr. Tertius Thackeray’s saying: “My wit is cab wit,” until the twelve-year-old Mozart wrote it helped the cause of good church music. Noble followed, and William Churchill which means I always think of the bright down from memory, and we have all had I speak as one very grateful, since the Hammond, the Holyoke organist, came things I might have said when I am in the the wonderful privilege of singing it ever hundred-rank organ in the Brick Church third. Hammond fi nished his section cab going home afterwards! since. Liszt used the Mozart “Ave Verum” came to us in this manner. His insistence with a very soft, quiet number, dur- My fi rst acquaintance with Howard for his second theme. On your organ, it that the church contribute half the cost ing which Mr. Carnegie went sound to Kelsey came with his arrival at our school was possible to depict the darkness Liszt was wise, as it interested the members in sleep. I came next, opening with full or- at Union Seminary. Many of the students desired by using in the pedal stops 64′, an undertaking in which they had a part. gan, at which Mr. Carnegie woke with a were arriving in ancient, rather dilapi- 32′, 16′ and enough soft 8′ pitch to defi ne Mr. Carnegie also had a very fi ne organ leap in the air. So I, for once, had the dated Fords, which they had purchased the tone, with 32′, 16′, and soft 8′ on the in his home, and maintained an organist honor of awakening Mr. Carnegie from for anywhere from ten to twenty-fi ve manuals, gradually climbing upward till so that he awoke to the music of an organ his slumbers. dollars and then sold upon arrival. One one could end the fi nal triad at the top of every morning. I would like to make a few remarks as of our students, now Dr. Allwardt, met the keyboard on a 4′ fl ute in an organ in I was quite well acquainted with at suggestions of how we, as musicians, may him coming down the hall and said, “I the ceiling of the high auditorium. This least three of the founders of your chap- go forward to the new day. In the fi rst suppose you came in your Rolls-Royce.” is the organ which was later installed ter: Ernest Richard Kroeger, the real place, build up good fellowship among Howard answered very simply, “Yes.” He at Wanamaker’s in Philadelphia. In the founder, Charles Galloway, and James T. all organists of the city, young and old, had driven the family car and sold it for foundation work, Dr. Audsley harkened Quarles. The year before I went to Paris long-time residents and newcomers. Too enough money to carry him through the back to the period of middle 19th-cen- to study with Guilmant, Mr. Galloway often there are two or more separate sets entire two years’ course. tury tone that he advocated, although us- had worked with him. Whenever I espe- of members, the older and the younger, I have been rather intimately acquaint- ing a bit more color and control. cially pleased Guilmant with my playing with separate, perhaps even confl ict- ed with St. Louis—the town, not the I would like to speak a bit about the of some large number, he would say, “Mr. ing points of view. See if you can build saint—and your organization for a long changes in organ building during my Galloway played that very beautifully!” a warm, personal relationship with each time. I fi rst came here to play at your Ex- lifetime. The fi rst organ I played in my Mr. Kroeger and I were very good other. Let the joy of association help pro- position in 1904. That was the year Mrs. father’s church was made within the friends. One winter he came to Chicago mote a more defi nite feeling of “togeth- Dickinson and I were married, and we same period as the Exposition organ, and attended a rehearsal of my Musical erness” in what each of you, as individu- had been in Europe (Spain and else- as was the fi rst organ of my own in the Art Society. My accompanist, as it hap- als, and all of you, as a group, are trying where) for a long trip, the last stop being South Presbyterian Church in Evanston, pened, was away that day, so I ventured to accomplish. As you cultivate generos- England, where, a few days before we and later the organ in St. James in Chi- to ask Mr. Kroeger if he would mind ity and appreciation of others’ efforts and sailed, Lady Patterson gave a luncheon cago. Organs of this period had clarity of helping us out, which he very graciously talents, feelings of rivalry, or competi- for us to meet Lady Penell. We were diapason tone, and, in the larger instru- did in wonderful manner. We were re- tion, of professional jealousy, of any sem- telling her of the trip ahead of us, how ments, had brilliance achieved through hearsing Grell’s sixteen-part Mass, a blance of strife among yourselves, will we would travel miles across the ocean, the reeds and mixtures. With the advent mean piece to read at sight as there was be minimized. Give emphasis to a spirit then take the fi nest train of that time, of electric action came the possibility of no reduced score—just the sixteen-part of cooperativeness, of encouraging one the Twentieth Century, up the Hudson. octave couplers, and the declaration by score. The chorus had only their single another, of striving, not separately, but Lady Penell interrupted and said, “Oh, the Austin Organ Co. that nothing above parts. The fi rst chorus gives out the fi rst together, toward achieving accomplish- that is wonderful! Then you can tell me a four-foot stop was necessary, which un- eight-bar theme, then the second enters ment of worthy goals. In the work of the about my Hudson Bay stock.” fortunately gave us quite a long period of singing the same bit. As this was their Guild, remember we all either “hang to- Arriving in St. Louis, I had the plea- impossibly dull organs. Even in the large fi rst look at it, trouble soon developed. gether or we hang separately.” This may sure of giving a number of recitals on four-manual concert organs no number After straightening it out, we started necessitate a bit of “giving in” on the part
24 THE DIAPASON
June 09 pp. 24-25.indd 24 5/13/09 10:32:41 AM The Dickinson Collection, William Carey University, Hattiesburg, Mississippi
he can make or break your career in that His two sons inherited his sense of church by loving and demanding rather humor. During the two years that the Clarence Dickinson rehearses a festival choir for the Knoxville AGO Institute of cheap music, or backing you up on the new Brick Church was being built on Church Music at First Baptist Church, Knoxville, Tennessee, June 9, 1949 use of beautiful music and helping you Park Avenue, we worshiped in a lovely to raise the standards of the music used little Gothic church on 85th and Park Av- of everyone concerned, but the results Admittedly, the purposes of the Guild in that church. enue, where there was not room enough will be well worth the effort and the sac- are manifold, and the accomplishing of It might interest you to know the one for the console in the chancel, and the rifi ce. Your Guild, planning and working all of them is no easy task, but let us not reason I have led a happy life as an or- organist sat in a little curtained room to together, brings harmony and unity, and forget that one of our principal aims is ganist and choirmaster is the fact that the side. Ernest Merrill, as deacon, was will have a positive infl uence in your city. the raising of church music standards. I have invariably been associated with passing communion, and brought me the I am not suggesting here that there is any And, in this, I would offer a word of kindly and sympathetic ministers. When bread in this little room. I then looked noticeable lack of this fi ne spirit among warning if you are to build wisely and ef- I went to my very fi rst church, the small at my watch and found that I must leave your members; rather, this is the very fi rst fectively for the future: remember that one in Evanston, a big new organ was be- at once to catch the one o’clock train to bit of advice that I would offer any chap- progress, if it be real and lasting progress, ing installed. I was appointed permanent play a recital in another city, so put an- ter, for I believe it to be a truly basic prin- is a slow process. It must be gradual, step organist, but for the dedication of the other organist on the bench for the fi n- ciple for our progress, and I believe that by tedious step. It evolves. Rome was not new instrument, a well-known organ- ish of the service. When Ernest came in improvements can always be made in any built in a day, you know, but it was prac- ist from Chicago was invited to play the with the wine, his face took on a look of of our chapters in this regard. It is very tically destroyed in a few hours under opening recital. When the program was horror, and he asked the other organist important that newcomers to our “fold” the leadership of a stupid, lackadaisical, being arranged, the minister said to the in a sepulchral whisper, “What did you be made to feel welcome and wanted. “fi ddling” ruler. In attempting to raise visiting organist, “But do let the lad play do with the body?” To my mind, one of the chief good standards, therefore, work positively and the fi rst number on his new organ.” Dr. Merrill and his family once had works of the Guild is its bringing us all confi dently, but move patiently, calmly, The minister of the next church I an audience with the Pope, along with a together, and not only within the con- understandingly, and cautiously. served in Chicago was a very brilliant number of other people. Before the Pope fi nes of our own city, but city mingling The future of the world we live in de- young man who afterwards became entered, the majordomo went around with city. It is stimulating and enlighten- pends on the rising generation. The fu- dean of the Harvard Divinity School. He and pulled down the sleeves, pulled up ing, and furnishes us much of that in our ture of music, as it affects our common helped me by insisting I should play an the collars, and saw that the women had country which has been one of the chief life, depends on the ideals being shaped organ number after his sermon that car- something on their heads. Fourteen- benefi ts of our European sojourns. In in the minds of our young people. There- ried out the spirit of his text, sometimes year-old Billy turned to his father and this connection I have a pleasant thought fore, try to keep the music sung in Sun- quietly meditative, sometimes big and asked, “Wouldn’t it be much simpler to of such a visit, which I think would, as day school up to a high standard, as well stirring. After a couple of other short as- just blindfold the Pope?” the Germans say, be “sympathetic” to as that used in the main church service. sociations in Chicago, I became organist It has been one of my goals to en- this occasion. It is of a visit of a couple But, be patient. Do this gradually. After and choirmaster of St. James Episcopal courage all ministers to acquire knowl- of hours duration with Georg Schumann, we sang Palestrina’s “Reproaches,” with Church, and found a rector who was edge of, as well as an appreciation of, the Berlin composer whose organ “Pas- its use of plainsong, in the Brick Church fond of the best, and very sympathetic to music. I do not see how one can hope sacaglia” and “At Evening” we play in a good many years ago, the Chairman of all I strove to do in presenting the use of for a service of worship if the minister this country, and whose motets are sung the Board of Trustees came up to me and fi ne music. writes the sermon, someone else selects by all our Musical Art societies. He had said, “That was a queer thing you gave When I came to New York and the a miscellaneous lot of hymns treating been only a vague acquaintance, a com- us this morning.” Notwithstanding this Brick Presbyterian Church, I had Henry three or four different themes, and the poser, but when I came into personal implied criticism, we repeated it some Van Dyke, the poet, writer, and Ambas- leader of music puts on some anthems touch, he was—I cannot convey to you time later, and then again. After the third sador to Holland during the First World he likes, or the soloist chooses a solo he how delightful. There was fi rst, with repetition, without realizing that he had War. The church was always crowded likes. A good old Scotch Presbyterian much enthusiasm, the Bach manuscript heard it before, the same man came to hear him preach, yet he was a great minister once said, “I preach my ser- to show me, which he had just found up and commented almost enthusiasti- enough man to say occasionally, “It hard- mon, and that’s all I want; I don’t care at the Singakademie, tucked away for cally, “That was a beautiful anthem this ly seems necessary to preach a sermon— what they do with the music.” Such a centuries and lost to sight. Just as I was morning. I hope you will repeat it soon.” the music has said it all.” minister deserves the fate of one who leaving and had reached the door, he ex- I never heard a more vivid reversal of Then came William Pierson Merrill, preached on the text, “Launch out into claimed, “Ach, Himmel! I almost forgot! opinion. So, do not get discouraged. But, who had been organist of Union Semi- the deep,” after which the choir rose Come back, won’t you!” So I returned to make sure if it is old and modal, or very nary when a student there, bass of the and sang, “Throw out the lifeline.” my chair, while he disappeared for a few modern, that it is really inspired. quartet in the Fifth Avenue Presbyte- We must keep ever in mind the power minutes, then reappeared and passed And while I am on the subject of high rian Church, where they always had of music to lift the individual person out through his study again, beyond the liv- standards in church music, let me re- distinguished soloists, and director of of his self-centered existence. When he ing room in which I was sitting. Then he mind us that this may be accomplished his own choir in Chicago. He also wrote joins in singing a hymn or listens to an called me in. On the wall hung Stuck’s through a varied musical program and very good anthems and hymn settings, anthem, he ceases to be wholly indi- famous “Mask of Beethoven,” which the that it is not necessary to limit ourselves and his text of the hymn “Soldiers of vidual; the congregation becomes one, artist had presented to the composer. It merely to “Bach, or Pre-Bach,” as is sug- Christ Arise” had gone into practically and he a part of it. Personal differences had been put away for the summer, but gested by one teacher I know. A question all the English and American hymnals. of creed, questionings, doubt, disbelief Schumann had gone to all the trouble I should like to ask is “Why do some of You can imagine how interested he was are forgotten as hearts and voices unite of unpacking and re-hanging it, and, as us limit organ specifi cations to the point in building a unifi ed service by the fact in gratitude, joy and aspiration. It is the we stood before it, in all its wonderful that we can play only linear music?” I ad- that he took the trouble to cable from privilege and the responsibility of the impressiveness, after a long silence, he mire Rembrandt’s drawings greatly, but London the text for the fi rst few Sun- organist and choirmaster, working with said, “Now, whenever you see this in re- that is no reason for me to deny myself, days in the fall. the minister, to offer music so worthy, production”—and one does so often, on and others, the enjoyment of the color in In addition to our serious work togeth- so noble, so universal in its appeal, that the covers of all the Hugo Wolf things, his paintings, as well. er, we always had good times because of it will not only lift the congregation into for instance—“Whenever you see this in I feel like giving a suggestion to the his keen sense of humor. He liked to tell closer fellowship with God, but will sub- reproduction, you will think of me and of young players here, as I did recently to of the Saturday before his fi rst service tly re-establish in some measure the con- how this hangs just here in my study.” the New York chapter when the trea- as minister of the Brick Church. I was sciousness of the fellowship of all Chris- And so the Guild brings us all in touch; surer had just announced a change of rehearsing the choir in the old building tian souls. to the newcomer in a city or chapter it address for seventeen young organists, on Fifth Avenue in the fi rst chorus of the Not long ago, one of my pupils gave means everything, in the unique oppor- which meant they were moving from one “Elijah,” and was having great diffi culty me some advice, which I should like to tunity it offers for getting acquainted; church to another: When you go out to in getting the choir to enunciate the fi nal pass along to you: “Keep practicing. Al- to the steady residents, it should mean consider a new position, you look at the letter P in the word “Help.” It was just though there are no immediate dates the inciting to do ever better work, and organ very carefully to make sure it is an at this moment that Dr. Merrill decided pending, keep practicing.” Q in intercourse with other organists and instrument you will enjoy playing, and to visit the rehearsal and speak a word composers, inspiration. I say organists you examine the choir library to see what to the choir. He used to say, “Dickinson Lorenz Maycher is organist-choirmaster and composers, for the organists are material there is to work with—probably stopped them and cried out in a loud at First-Trinity Presbyterian Church in Lau- giving to the world the greatest body of also the piano in the choir room—but voice, ‘You’ll have to do that again—it rel, Mississippi. His interviews with William church music; and this, I believe, will be, you do not examine the minister, the sounds like hell.’” Dr. Merrill continued, Teague, Thomas Richner, Nora Williams, Al- in future, more and more stimulated by most important factor in your future hap- and said, “I decided this was no place for bert Russell, and Robert Town have appeared the Guild. piness. Scrutinize your minister, because me, and returned to my study.” in THE DIAPASON.
JUNE, 2009 25
June 09 pp. 24-25.indd 25 5/13/09 10:33:01 AM Cover feature
Hupalo & Repasky Pipe Organs, LLC, San Leandro, California Zion Lutheran Church, Piedmont, California Church history The Zion Lutheran congregation es- tablished itself in Oakland in 1882 and by 1886 had purchased their fi rst house of worship. From the beginning, edu- cation and music have been important elements of the church’s mission. To this day, the church provides Christian education for kindergarten through the eighth grade, with music being a large part of the educational program at Zion Lutheran School. During the 1920s, the congregation renewed their Victorian facilities in Oak- land with a new parsonage, parish hall, school, and worship facility. It is here, in the church’s second worship facility, that in 1930 M. P. Möller built their opus Hupalo & Repasky, Zion Lutheran Church, Piedmont, California 5769. This two-manual organ contained thirty-one registers. In 2007, Piedmont was named “Best Place to Live” in the United States by Forbes. It was in this residential area sur- rounded by Oakland that the congrega- tion of Zion Lutheran Church dedicated their most recent site on April 4, 1954. The current church complex is situated Bob Schertle mottling façade pipe atop a high bluff, with a background of stone hills with pockets of dense shrubs and trees. Attached to the Mediter- ranean-style church is a bell tower, of- fi ces, school classrooms, meeting rooms, kitchen, barbeque area, library, and gym- nasium. The church edifi ce is designed to accommodate 350 persons. The church’s 1930 Möller pipe organ Möller’s opus 5769 was brought from the parish’s second church in Oakland, relocated to their present site, and placed in two chambers with separate expression in the rear balcony behind the terraced choir seating area. As there was no façade, the choir “enjoyed” The console watching the two sets of vertical shades open and close. From the congregation’s organ would have included a Rück- Physical layout vantage point, the organ looked like two positiv. However, the organ committee The previous organ at Zion was in- rather large jalousie windows caged by decided instead to plan for a large two- stalled in two non-communicating cham- Robin Fox making the Harmonic Flute wooden framing. manual instrument. bers. With the removal of opus 5769, the As with many organs of the 1950s and In working with the organist, David in-between area was opened up to allow ’60s, Zion’s Möller organ was enlarged Babbitt, it was decided that the new or- placement for the Pedal ranks and to al- with several high-pitched ranks, and gan would have a Pedal based on a 16′ low pitch transfer from one division to some of the original ranks were replaced Principal. The Great would have a 16′ the other during tuning. This was virtu- with neo-Baroque substitutes. With ac- plenum, the Swell an 8′ plenum, and ally impossible on the previous organ. To tions and console parts failing, by 2005 there would be an assortment of unison aid tonal projection, the chambers were plans were underway to provide Zion tone. There would be a wide variety of lined with two layers of 5/8″ sheetrock Lutheran Church with a new and reliable fl ute tone (stopped, chimneyed, open, and then painted. The Swell chamber instrument. As part of this plan, many of harmonic) represented. Also included was placed in the left, the unenclosed the ranks of the extant organ were to be in the tonal design was a selection of Great in the right chamber, and the Ped- incorporated into their new instrument. wide and narrow strings. Mutation ranks al ranks placed in the center area. The 1930 Möller organ with its additions would be drawn from the fl ute and prin- served the parish until it was removed by cipal families. This two-manual organ Temperament us in July 2006. With the organ removed, would boast fi ve 16′ ranks. Benefi ting Another suggestion of Dr. Hunsberger we loaned the church our large seven- the Great plenum, a new German-style was that the organ should be tuned in a rank continuo organ. Trumpet would be built. For the Swell, well temperament. The Thomas Young a harmonic-rich French-style Trumpet temperament was chosen for its purer Another Möller organ would be provided. major thirds and playability in all keys. Also, as part of the plans for Zion’s new Unfortunately, Mr. Babbitt passed Like a good choral ensemble, this tuning organ, the pipework and offset chests away during the planning stages of the helps the organ lock pitch in the more were removed from the 1946 Möller or- organ. This was a great loss not only to common keys. gan, opus 7370, at St. Mark’s Lutheran Zion, but also to the musical community Church in San Francisco. This organ be- in the Bay Area. The church soon found Pipework came available because of the retrofi tting an admirable organist/choir director, Dr. It was evident from the fi rst that much of the church and plans by the parish to David Hunsberger. It was his opinion of the Möller pipework was of excellent purchase a new Taylor & Boody organ. that the Cornet Composée in the Swell quality, especially the pre-World War It was noted that Richard Purvis was the should be a little stronger. Recalling how II zinc pipes. The wooden pipes were organist at St. Mark’s during the time this he enjoyed the sound of the Cornet on cleaned and refi nished. The stopped three-manual organ of twenty-four ranks the Silbermann-style organ at the Uni- pipes were releathered. The Great 8′, 4′, John Haskey wiring keyboard 2 was installed. It is with these two instru- versity of Michigan, it was decided to 2 ⁄3′, and 2′ plenum ranks were rescaled ments (the augmented Möller opus 5769 change the ranks to the larger scales used as appropriate to the tonal scheme of the Cromorne, and the Swell Nazard and and opus 7370) that Hupalo & Repasky by the Fisk company. So, with the help organ. The Great principals also received Tierce, the other newly made stops for Pipe Organs rebuilt, rescaled, and re- of Stephen Kowalyshyn, we replaced the new languids. The removal of the old lan- this organ include the Great Harmonic voiced pipework that provided the new Swell mutation ranks with pipes based guids had the advantage of lowering the Flute and the Swell mixture. organ for Zion Lutheran Church. on Mr. Kowalyshyn’s information. cut-ups, allowing us to revoice the Great During the installation it was decided plenum. This turned the old Möller dia- Chests Tonal design of the new instrument that the beautiful Clarinet from opus pasons into clear-toned principals. To Both the new Great and Swell main Our concerns were to provide the 7370 was too similar in volume to the provide a tonal contrast to the Great chests are slider chests with magnet pull- church with a tonally versatile and co- Oboe. So, a full-throated Cromorne re- principals, the Swell diapasons are voiced downs. It is our philosophy that these tra- hesive musical instrument, which would placed the Clarinet. John Hupalo also and scaled towards a more neo-Roman- ditional-style chests provide a noticeable have a visual presence in the room, and decided to use French “tear drop” shal- tic sound. The neo-Baroque 8′ Principal ensemble for the pipework. Even Ernest would be reliable and serviceable. Us- lots in the new Cromorne. The generous from opus 5769 was rescaled and made Skinner later in his life recognized the ing many ranks from Möller’s opus 5769 inclusion of four reed voices in the Swell into the Great 8′ Gamba. Length and benefi ts of slider chests, with each note and opus 7370, the original conception division of this moderate-sized two-man- slotting were added to these pipes pat- sharing a common channel of wind. for Zion’s new pipe organ envisioned a ual organ provides both variety in color terned after the Gambas of Cavaillé- Many of the electro-pneumatic bass three-manual organ of forty ranks. This and a progression in volume. Coll. Besides the two manual trumpets, offset chests from opus 7370 were re-
26 THE DIAPASON
June 09 pp. 26-27.indd 26 5/13/09 10:33:42 AM leathered and incorporated into the new The console is placed in a fi xed central organ. Given the large size of the pallets, position in the choir loft to provide the they provide a lightning-fast response for organist with space for conducting both the lower notes of the organ. choir and instrumentalists. A computerized system controls the Façade combination action, memory, and the To match the architectural style of complex switching system of the organ. the church, it was decided to fashion It provides the organist with a transposer, the façade in the American Craftsman 99 levels of memory, a piston sequencer, style. The center fi ve-pipe fl at is fl anked and MIDI In and Out, as well as many on both sides by three fl ats of fi ve pipes programmable features. each. The styles, rails, toe boards, and corbels are of quarter-sawn white oak Personnel proportioned in the Craftsman manner. The following craftsmen assisted in The styles are punctuated with medal- the construction of our opus 3: Mark lions. The molding is highlighted by ar- Dahlberg (technical designer), Robin eas of crimson red. Fox, John Haskey, Robert Hoffmann, Starting with low F-sharp of the Pedal John Hupalo, Bruno Largarce, Gerard 16′ Principal, the façade incorporates the Montana, Steve Repasky, Bob Schertle, lowest pipes of the Pedal 16′ and Great Lawrence Strohm, William Visscher, 8′ Principal. To provide visual uniformity, Shayne Ward, and David H. Zechman. these zinc pipes were mottled in a terra cotta color, with the upper and lower lips Organ dedication Great Trumpet in painted verdigris. The organ was dedicated to a full house in a solo recital on Sunday after- Console and control system noon, January 25, 2009 by Stanford Uni- The console is our standard terraced- versity Organist Robert Huw Morgan. style, roll-top design, with three rows Dedication program: of drawknobs on either side of the key- Dialogue, L. Marchand boards. The shell is made of quarter- Fantasia in f, K. 608, W. A. Mozart sawn white oak, with French polished Homage to Handel, S. Karg-Elert European pearwood used in the stop Prelude in E-fl at, S. 552, J. S. Bach jamb and nameboard area. The draw- An Wasserfl üssen Babylon, S. 653, Bach knobs are of ebony, as are the sharps. Sonata V in C, S. 529, Bach The manual key covers are of bone. Fugue in E-fl at, S. 552, Bach —Steve Repasky
Hupalo & Repasky Pipe Organs, LLC, 2008, 35 stops, 33 ranks
GREAT 16′ Hohl Flute 61 pipes 8′ Principal 61 pipes 8′ Harmonic Flute 49 pipes 8′ Gamba 61 pipes 4′ Octave 61 pipes 4′ Röhr Flute 61 pipes 2 2⁄3′ Twelfth 61 pipes 2′ Fifteenth 61 pipes 3 ′ Console 1⁄5 Seventeenth 61 pipes Mixture IV 244 pipes 8′ Trumpet 61 pipes Chimes 25 tubes SWELL 8′ Diapason 61 pipes Bill Visscher erecting façade 8′ Stopt Diapason 61 pipes 8′ Salicional 61 pipes 8′ Celeste 61 pipes 4′ Principal 61 pipes 4′ Flute 61 pipes 2 2⁄3′ Nazard 61 pipes 2′ Piccolo 61 pipes 3 1⁄5′ Tierce 61 pipes Plein Jeu III 183 pipes 16′ Fagot 61 pipes 8′ Trompette 61 pipes 8′ Oboe 61 pipes 8′ Cromorne 61 pipes Tremolo PEDAL 16′ Principal 32 pipes 16′ Bourdon 32 pipes 8′ Octave 12 pipes 8′ Bourdon 12 pipes ′ Great pipework 4 Choral Bass 12 pipes 4′ Bourdon 12 pipes 16′ Posaune 32 pipes 16′ Fagot Swell 8′ Trumpet 12 pipes 4′ Schalmei Fagot
Couplers Unison, sub, and super couplers provided on tilting tablets Accessories 6 general thumb pistons and toe studs 5 divisional thumb pistons for each of the three divisions Setter and general cancel thumb pistons Up and down thumb pistons 3 reversible thumb and toe pistons for unison couplers Reversible thumb and toe pistons for full organ Crescendo pedal Zimbelstern: 8 bells Tuning Thomas Young Photo credit: John Hupalo
Hupalo & Repasky Pipe Organs 510/483-6905 Great main chest Principal into Gamba www.hupalorepasky.com
JUNE, 2009 27
June 09 pp. 26-27.indd 27 5/13/09 10:34:04 AM New Organs 2009 Summer Carillon Concert Calendar by Brian Swager
Albany, New York Fort Washington, Pennsylvania Albany City Hall, Sundays and July 4 at 1 pm St. Thomas Church, Whitemarsh June 7, Charles Semowich Tuesdays at 7 pm June 14, Amy Heebner June 28, Cast in Bronze and the Mobile June 21, George Matthew, Jr. Millennium Carillon June 28, Wesley Arai June 30, Amy Johansen July 4, David Maker July 7, Adolph Rots and Auke de Boer July 5, Gordon Slater July 14, Lisa Lonie July 12, Anne Kroeze July 21, Janno den Engelsman July 19, Alexander Solovov, Elena Sa- July 28, Carol Anne Taylor dina, and Sergei Gratchev July 26, Tiffany Ng Frederick, Maryland Joseph Dill Baker Memorial Carillon Alfred, New York Sundays at 6 pm Alfred University, Davis Memorial Carillon June 14, Jonathan Lehrer Tuesdays at 7 pm June 21, David Maker July 7, Todd Fair July 12, Sara and Ana Elias July 14, Dennis Curry July 19, Doug Gefvert July 21, Laura Ellis July 28, Jeremy Chesman Gainesville, Florida University of Florida, Century Tower Allendale, Michigan Sundays at 3 pm Grand Valley State University, Cook Caril- June 21, Amy Johansen lon, Sundays at 8 pm July 19, Carol McCoy June 28, Margo Halsted Fabry, Inc., Antioch, Illinois against a cinder-block wall was the worst July 5, Patrick Macoska Glencoe, Illinois Steven Jensen Residence, of the headaches. Since the original in- July 12, Gijsbert Kok Chicago Botanic Garden Milwaukee, Wisconsin stallation, a modest, used, 8′ Trumpet July 19, George Gregory Mondays at 7 pm July 26, “Snow Spectacular”—Grand June 8, Wylie Crawford Often, the desire to practice at home was added, along with a new unit chest, Valley Carillon Collaborative June 15, Tim Sleep is easily met with a short trip to the liv- produced by Fabry, Inc., to complete the June 22, Mark Lee ing room where the piano sits. The fact specifi cation. Frequent trips have ensued Ann Arbor, Michigan June 29, Gert Oldenbeuving that there is no pedalboard, or second to work on small issues but the overall University of Michigan, Burton Memorial July 6, Ray McLellan manual, is justifi ed by ‘getting the notes effect is quite exceptional. The ability to Tower, Mondays at 7 pm July 13, Jeff Davis under the fi ngers.’ It doesn’t need to be practice and not disturb the neighbors, July 20, Todd Fair July 20, Jeremy Chesman said that the fi nal preparation will oc- or those on the second fl oor: priceless. July 27, Tim Sleep July 27, Dennis Curry cur at the church, where fi ngerings and —Phil Spressart Belmont, North Carolina Grand Rapids, Michigan pedal movements can be choreographed First Presbyterian Church, Sundays at 7 pm Grand Valley State University with registration and volume changes. GREAT ′ June 28, Mary McFarland Wednesdays at noon When one is presented with the oppor- 16 Bourdon from Rank 2 July 1, Margo Halsted (1–12 electric) tunity to acquire a home organ, many do ′ Berea, Kentucky July 8, Gijsbert Kok 8 Principal Rank 1 Berea College, Draper Building Tower July 15, George Gregory everything in their power to make room, 8′ Rohrfl ote Rank 2 fi nd the money, and line up the necessary ′ Mondays at 7:30 pm July 22, Julianne Vanden Wyngaard 8 Gemshorn Rank 4 (1–12 Rank 2) June 8, Jonathan Lehrer July 29, Ray McLellan help to get the instrument in. In the case 4′ Octave from Rank 1 ′ July 6, Sara and Ana Elias of Steven Jensen, a conversation regard- 4 Flute Rank 3 Grosse Pointe Farms ing a future contract led to the discus- 2′ Super Octave from Rank 1 ′ Bloomfi eld Hills, Michigan Grosse Pointe Memorial Church sion of home instruments and his desire 2 Flautino from Rank 2 Christ Church Cranbrook Tuesdays at 7:15 pm (50–61 wire back) to have one. It was fortunate for him that ′ Sundays at 5 pm July 7, Phyllis Webb and Grosse Pointe we had just the solution. 8 Trompette Rank 5 July 5, Kim Schafer volunteers Tremolo July 12, Joseph Daniel July 14, Joseph Daniel Fabry, Inc. was able to put an organ Swell to Great together from our used pipe and chest July 19, Gijsbert Kok inventory. The main chest, of 3 ranks, July 26, Tim Sleep Hartford, Connecticut SWELL Trinity College Chapel housed the 8′ Principal, 8′ Gedeckt, and 8′ Gedeckt from Rank 3 ′ Centralia, Illinois Wednesdays at 7 pm 4 Koppel Flute and was in good working (1–12 Rank 2) Centralia Carillon June 17, Daniel Kerry Kehoe order. We attached two small offsets for 8′ Gemshorn Rank 4, as above ′ June Carillon Weekend June 24, Trinity College Carillon Guild the 4′ Viola to the front of the chest to 4 Spitzprincipal from Rank 1 June 13, Tin-Shi Tam, 2 pm; Dennis July 1, David Maker and Nicole Bernier 4′ Gedeckt from Rank 2 make it a 4-rank unit chest. The bottom ′ Curry, 2:45 pm July 8, Gordon Slater ′ 2 Doublette from Rank 1 June 14, Ellen Dickinson, 2 pm; Carlo octave of the 8 Principal would clearly (50–61 wire back) July 15, Sara and Ana Elias not fi t in the standard basement on the 1 van Ulft, 2:45 pm July 22, Helen Hawley 1⁄3′ Quinte from Rank 4 fl oor, let alone the chest, so there was 16′ Dbl Tromp from Rank 5, TC July 29, Elena Sadina & Sergei Gratchev some work to be done. David G. Fabry ′ Chicago, Illinois 8 Trompette Rank 5 University of Chicago, Rockefeller Chapel mitered the bottom 12 of the 8′ Principal 4′ Clarion from Rank 5, to 49 Kennett Square, Pennsylvania ′ Sundays at 6 pm Longwood Gardens and the bottom four of the 8 Gedeckt so June 21, Mark Lee GCNA Congress they would clear the joists. The bottom PEDAL June 28, Gert Oldenbeuving 32′ Resultant from Rank 2 June 21, Lisa Lonie & Janet Tebbel, 8 pm octave of the 8′ Principal was tubed off July 5, Ray McLellan June 22, Sue Bergren & Tim Sleep, 5 pm (1–24 electric) July 12, Jeff Davis so the pipes stood on the fl oor. A used 16′ Bourdon from Rank 2, as above June 22, Linda Dzuris, 5:30 pm electric 16′/32′ Bourdon was used to ′ July 19, Jeremy Chesman June 24, Sara Elias, 5 pm 8 Principal Rank 1 July 26, Dennis Curry keep the space required to a minimum. 8′ Rohrfl ote Rank 2 June 25, Todd Fair, 11:30 am David then constructed an all-new en- 4′ Octave from Rank 1 June 25, Roy Kroezen, 1:30 pm ′ Cohasset, Massachusetts June 25, Gert Oldenbeuving, 2:15 pm closure out of white oak that included an 4 Gedeckt from Rank 3 St. Stephen’s Episcopal Church expression opening. Removable panels 16′ Dbl Tromp from Rank 5, as above June 25, Cast in Bronze, 7:30 pm ′ Sundays at 6 pm Sundays at 3 pm on both sides and in the front allow for 8 Trompette Rank 5 June 28, Sara and Ana Elias 4′ Clarion from Rank 5 July 12, Adolph Rots and Auke de Boer access to all part of the organ. A used July 5, Margaret Angelini July 19, Janno den Engelsman July 12, Gordon Slater Möller console from our inventory was Pipe & rank analysis rewired to fulfi ll the desired stoplist. ′ July 19, Helen Hawley Luray, Virginia Rank 1. 8 Principal 73 pipes July 26, Sergei Gratchev Installation was fairly quick. One day Rank 2. 8′ Rohrfl ote 73 pipes Luray Singing Tower was required to install the organ, pipes Rank 3. 4′ Koppel Flute 61 pipes Tuesdays, Thursdays, Saturdays and Sun- ′ Culver, Indiana days in June, July, and August at 8 pm, and all. The console coming down the Rank 4. 4 Gemshorn 49 pipes Culver Academies, Memorial Chapel Caril- basement stairs with a ninety-degree turn Rank 5. 8′ Trompette 61 pipes David Breneman, carillonneur lon, Saturdays at 4 pm June 20, Sara and Ana Elias June 6 (7:30 pm), June 27, July 4, John July 9, Adolph Rots and Auke de Boer Gouwens July 11, Gerald Martindale July 11, Tim Sleep July 18, July 25, John Gouwens Mariemont, Ohio Mary M. Emery Memorial Carillon Detroit, Michigan Sundays at 7 pm Jefferson Avenue Presbyterian Church June 7, June 28, July 12, July 26, Rich- June 28, Jenny King, noon ard M. Watson July 30, Joseph Daniel, 7:30 pm June 14, July 4 (2 pm), July 19, Richard D. Gegner East Lansing, Michigan July 5, Sara and Ana Elias Michigan State University, Beaumont Tow- er Carillon, Wednesdays at 6 pm Middlebury, Vermont July 1, Margo Halsted Middlebury College, Fridays at 7 pm July 8, Sara and Ana Elias July 3, George Matthew, Jr. July 15, Gijsbert Kok July 10, Sergei Gratchev July 22, Wylie Crawford July 17, Gordon Slater July 29, Ray McLellan July 24, Elena Sadina July 31, Julia Littleton Erie, Pennsylvania Penn State University, Smith Chapel Minneapolis, Minnesota Thursdays at 7 pm Central Lutheran Church July 9, Todd Fair Sundays at 11:10 am July 16, Dennis Curry July 12, Carlo van Ulft July 23, Laura Ellis July 19, Linda Dzuris July 30, Jeremy Chesman July 26, Sara and Ana Elias
28 THE DIAPASON
June 09 pp. 28-33.indd 28 5/13/09 10:35:24 AM Naperville, Illinois July 12, Mariah Klaneski Naperville Millennium Carillon July 19, George Matthew, Jr. Tuesdays at 7 pm July 26, Margaret Angelini Bert Adams, FAGO June 9, Wylie Crawford Park Ridge Presbyterian Church PATRICK ALLEN June 16, Tim Sleep Springfi eld, Illinois June 23, Mark Lee Thomas Rees Memorial Carillon Park Ridge, IL GRACE CHURCH June 30, Gert Oldenbeuving June 1, Jan Bezuijen, 7 pm; Laurel Pickle Piano & Church Organs NEW YORK July 7, Ray McLellan Buckwalter, 7:45 pm Bloomingdale, IL July 14, Jeff Davis June 2, Laurel Buckwalter, 7 pm; Juli- July 21, Jeremy Chesman anne Vanden Wyngaard, 7:45 pm July 28, Dennis Curry June 4, George Gregory, 7 pm; Peter Langberg, 7:45 pm Christopher Babcock New Haven, Connecticut June 5, Jan Bezuijen, 7 pm; Peter Lang- WILLIAM AYLESWORTH Yale University, Yale Memorial Carillon berg, 7:45 pm Fridays at 7 pm June 6, Julianne Vanden Wyngaard, 7 D. M. St. Andrew’s by the Sea, June 19, David Maker pm; Karel Keldermans, 7:45 pm Hyannis Port June 26, Jason Lee July 3, Jonathan Lehrer Springfi eld, Massachusetts EVANSTON, ILLINOIS St. David’s, South Yarmouth July 10, Gordon Slater Trinity United Methodist Church July 24, Helen Hawley Thursdays at 7 pm July 2, Anne Kroeze Northfi eld, Vermont July 9, Daniel Kerry Kehoe Norwich University, Saturdays at 1 pm July 16, Gordon Slater June 27, Anne Kroeze July 23, Helen Hawley July 4, George Matthew, Jr. July 30, David Maker July 11, Elena Sadina & Sergei Gratchev July 18, Gordon Slater West Hartford, Connecticut July 25, Alexander Solovov First Church of Christ Congregational Thursdays at 7 pm Norwood, Massachusetts July 2, Daniel Kerry Kehoe Norwood Memorial Municipal Building July 9, Gordon Slater Mondays at 7 pm July 16, Sara and Ana Elias A Professional Card in June 29, Sara and Ana Elias July 23, Ellen Dickinson July 6, Margaret Angelini July 30, First Church Carillonneurs The Diapason July 13, Gordon Slater For rates and digital specifi cations, July 20, Helen Hawley Williamsville, New York contact Jerome Butera July 27, Sergei Gratchev Calvary Episcopal Church 847/391-1045 Wednesdays at 7 pm Ottawa, Ontario July 1, Stephen F. Schreiber [email protected] Peace Tower Carillon July 15, Dennis Curry July and August, weekdays, 11 am, An- July 22, Laura Ellis drea McCrady July 29, Jeremy Chesman July 7, Roy Lee July 14, Rosemary Laing Valley Forge, Pennsylvania Dean W. Billmeyer THOMAS BROWN July 21, Gordon Slater Washington Memorial Chapel UNIVERSITY July 28, Student recital Wednesdays at 7:30 pm University of Minnesota July 1, Sara and Ana Elias PRESBYTERIAN CHURCH Owings Mills, Maryland July 8, Adolph Rots and Auke de Boer Minneapolis 55455 • [email protected] CHAPEL HILL, NORTH CAROLINA McDonogh School July 15, Doug Gefvert Fridays at 7 pm July 22, Janno den Engelsman July 3, Sara and Ana Elias July 29, Carol Anne Taylor July 10, Adolph Rots and Auke de Boer July 17, Buck Lyon-Vaiden Victoria, British Columbia July 24, Lisa Lonie Netherlands Centennial Carillon David Chalmers DELBERT DISSELHORST July 31, Richard M. Watson Sundays at 3 pm, April–December Concert Organist Saturdays at 3 pm, July–August Philadelphia, Pennsylvania Rosemary Laing, carillonneur GLORIÆ DEI CANTORES Professor Emeritus First United Methodist Church of German- Orleans, MA University of Iowa–Iowa City town, Mondays at 7:30 pm June 8, Lisa Lonie and Janet Tebbel June 15, Roy Kroezen June 22, Jonathan Lehrer Calendar STEVEN EGLER OHN ENSTERMAKER Plainfi eld, New Jersey Central Michigan University J F Grace Episcopal Church June 21, Wesley Arai, noon First Presbyterian Church TRINITY-BY-THE-COVE This calendar runs from the 15th of the month of Mt. Pleasant, Michigan 48858 Princeton, New Jersey SOLO Shelly-Egler issue through the following month. The deadline is APLES LORIDA Princeton University, Grover Cleveland the fi rst of the preceding month (Jan. 1 for Feb. RECITALS Flute and Organ Duo N , F Tower, Sundays at 1 pm issue). All events are assumed to be organ recitals June 28, Amy Johansen unless otherwise indicated and are grouped within July 5, Adolph Rots and Auke de Boer each date north-south and east-west. •=AGO chap- Organist / Pianist July 12, Janno den Engelsman ter event, • •=RCCO centre event, +=new organ CHRISTOPHER July 19, Margaret Pan dedication, ++= OHS event. July 26, Carol Anne Taylor Information cannot be accepted unless it speci- Michael Gailit fi es artist name, date, location, and hour in writ- www.gailit.at GARVEN Rochester, Minnesota ing. Multiple listings should be in chronological order; offi [email protected] Organist & Music Director Mayo Clinic please do not send duplicate listings. THE DIAPA- Konservatorium Wien University Church of the Good Samaritan June 21, Jeffrey Daehn, 4 pm SON regrets that it cannot assume responsibility for University of Music, Vienna Paoli, Pennsylvania July 13, Carlo van Ulft, 7 pm the accuracy of calendar entries. Rochester, New York University of Rochester, Hopeman Memo- John M. Gearhart III rial Carillon, Mondays at 7 pm UNITED STATES July 6, Todd Fair East of the Mississippi B.A., M.Mus. Robert Glasgow July 13, Dennis Curry St. John the Divine (Episcopal) July 20, Laura Ellis In Memoriam 2450 River Oaks Blvd. July 27, Jeremy Chesman 15 JUNE May 30, 1925–Sept. 10, 2008 Christina Harmon; First Presbyterian, Houston, TX 77019 St. Louis, Missouri Menominee, MI 7:30 pm Concordia Seminary, Tuesdays at 7 pm Christine Kraemer; Elliott Chapel, Presbyte- June 2, Peter Langberg rian Homes, Evanston, IL 1:30 pm June 9, 16, 23, 30, Karel Keldermans 16 JUNE JAMES HAMMANN WILL HEADLEE St. Paul, Minnesota Heinrich Christensen, with violin; King’s Cha- DMA-AAGO House of Hope Presbyterian Church pel, Boston, MA 12:15 pm 1650 James Street Saturday, July 4 and Sundays at 4 pm Christina Harmon, masterclass/lessons; First University of New Orleans Syracuse, NY 13203-2816 June 28, Ellen Dickinson Lutheran, Iron Mountain, MI July 4, Dave Johnson Chapel of the Holy Comforter (315) 471-8451 July 12, Carlo van Ulft 17 JUNE July 19, Linda Dzuris Jeffrey Wood, with tenor; Methuen Memorial July 26, Sara and Ana Elias Music Hall, Methuen, MA 8 pm Christina Harmon; First Lutheran, Iron Moun- LORRAINE BRUGH, Ph.D. Sewanee, Tennessee tain, MI 7:30 pm A two-inch The University of the South Paul Jacobs; Rockefeller Memorial Chapel, Sundays at 4:45 pm University of Chicago, Chicago, IL 7:30 pm Associate Professor Professional Card June 21, John Bordley Naomi Rowley; Faith Lutheran, Appleton, WI University Organist June 28, Richard Shadinger 12:15 pm in The Diapason July 5, J. Samuel Hammond Brett Wolgast; Sinsinawa Mound, Sinsinawa, Valparaiso University July 12, Peggy McClure WI 7 pm July 19, Sara and Ana Elias Valparaiso, IN For information on rates and July 26, Anton Fleissner 18 JUNE www.valpo.edu specifi cations, contact: Christina Harmon, masterclass; St. Paul’s Simsbury, Connecticut Episcopal, Marquette, MI Jerome Butera Simsbury United Methodist Church 219-464-5084 [email protected] Sundays at 7 pm 19 JUNE [email protected] June 28, Daniel Kerry Kehoe Choral concert; Church of the Advent, Boston, 847/391-1045 July 5, David Maker MA 8 pm
JUNE, 2009 29
June 09 pp. 28-33.indd 29 5/13/09 10:35:48 AM Christina Harmon; St. Paul’s Episcopal, Mar- Robert Parris; Old Salem Visitor Center, Win- quette, MI 7:30 pm ston-Salem, NC 12 pm ANDREW HENDERSON, DMA Harry H. Huber John Gouwens, carillon; Culver Academies, D. Mus. 20 JUNE Culver, IN 4 pm Madison Avenue Presbyterian Church Christina Harmon, masterclass/lessons; St. Frank Rippl; Trinity Lutheran, Appleton, WI New York, NY Kansas Wesleyan University, Emeritus Paul the Apostle Church, Calumet, MI 12:15 pm University Methodist Church www.andrewhenderson.net 21 JUNE 5 JULY SALINA, KANSAS J.R. Daniels, Kenneth Danchik, & Donald ++Alison Luedecke; Trinity Episcopal, Cleve- Fellows; St. Paul Cathedral, Pittsburgh, PA 4 land, OH pm ++Peter Richard Conte; Masonic Auditorium, MICHELE JOHNS David Schrader; Loyola University, Chicago, Cleveland, OH Brian Jones IL 3 pm A.Mus.D Wylie Crawford, carillon; University of Chi- 6 JULY Director of Music Emeritus cago, Chicago, IL 6 pm ++Joan Lippincott; Trinity Evangelical Lu- Organ — Harpsichord Christina Harmon; St. Paul the Apostle theran, Cleveland, OH 2:30 pm The University of Michigan TRINITY CHURCH Church, Calumet, MI 7:30 pm ++Ken Cowan; Cathedral of St. John the School of Music OSTON Gregory Peterson; Shrine of Our Lady of Evangelist, Cleveland, OH 7:30 pm B Guadalupe, La Crosse, WI 3 pm 7 JULY 23 JUNE Carol Williams & Ray Cornils; Merrill Audito- Peter Richard Conte; Merrill Auditorium, Port- rium, Portland City Hall, Portland, ME 7:30 pm KIM R. KASLING JAMES KIBBIE land City Hall, Portland, ME 7:30 pm Edwin Lawrence; King’s Chapel, Boston, MA Christopher Houlihan; First Presbyterian, 12:15 pm D.M.A. The University of Michigan Glens Falls, NY 7:30 pm Robert Delcamp; Christ Episcopal, Roanoke, St. John’s Univeristy Ann Arbor, MI 48109-2085 VA 7:30 pm 734-764-1591 FAX: 734-763-5097 24 JUNE ++Todd Wilson; Rosary Cathedral, Toledo, Collegeville, MN 56321 Colin Lynch; Methuen Memorial Music Hall, OH 7 pm email: [email protected] Methuen, MA 8 pm Isabelle Demers; Trinity Wall Street, New 8 JULY York, NY 1 pm Nancianne Parrella; Methuen Memorial Mu- Kent Tritle, with New York Philharmonic, sic Hall, Methuen, MA 8 pm David K. Lamb, D.Mus. Mahler, Symphony No. 8; Avery Fisher Hall, New Gordon Turk; Ocean Grove Auditorium, York, NY 7:30 pm Ocean Grove, NJ 7:30 pm Director of Music/Organist Paul Jacobs; First Presbyterian, Allentown, Alan Morrison; Christ and St. Luke’s Episco- First United Methodist Church PA 7 pm pal, Norfolk, VA 6 pm ORGAN CONSULTANT Columbus, Indiana Ken Cowan; Cathedral of Christ the King, At- Robert Parkins; Old Salem Visitor Center, www.gabrielkney.com 812/372-2851 lanta, GA 7:30 pm Winston-Salem, NC 12 pm Daniel Roth; Salem United Church of Christ, Marianne Chaudoir; St. Bernard’s Catholic Huntingburg, IN 8 pm Church, Appleton, WI 12:15 pm Melissa Moll; First English Lutheran, Apple- Joan DeVee Dixon; Sinsinawa Mound, Sin- ton, WI 12:15 pm sinawa, WI 7 pm William Tinker; Sinsinawa Mound, Sinsinawa, David Lowry WI 7 pm 9 JULY Richard Litterst THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD ++Diane Meredith Belcher; Finney Chapel, 1512 BLANDING STREET, COLUMBIA, SC 29201 25 JUNE Oberlin College, Oberlin, OH 8 pm First Church of Christ, Scientist DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Kent Tritle, with New York Philharmonic, David Jonies & Daniel Sañez; St. Chrysos- tom’s Church, Chicago, IL 2:30 pm Rockford, Illinois ROCK HILL, SC 29733 Mahler, Symphony No. 8; Avery Fisher Hall, New York, NY 7:30 pm 10 JULY 26 JUNE ++Thomas Murray; Severance Hall, Cleve- Kent Tritle, with New York Philharmonic, land, OH 8 pm BETTY LOUISE LUMBY Mahler, Symphony No. 8; Avery Fisher Hall, New York, NY 8 pm 11 JULY DSM • FAGO Karen Beaumont; All Saints Cathedral, Mil- Gordon Turk; Ocean Grove Camp Meeting waukee, WI 7 pm Association, Ocean Grove, NJ 12 noon UNIVERSITY OF MONTEVALLO Joe Marchio; Fourth Presbyterian, Chicago, Timothy Sleep, carillon; Culver Academies, Culver, IN 4 pm MONTEVALLO, AL 35115 IL 12 noon 27 JUNE 12 JULY Kent Tritle, with New York Philharmonic, Ray Cornils; Deer Isle Church, Deer Isle, ME Mahler, Symphony No. 8; Avery Fisher Hall, New 7:30 pm York, NY 8 pm Janet Hamilton; Cathedral of St. Patrick, New John Gouwens, carillon; Culver Academies, York, NY 4:45 pm James R. Metzler A.S.C.A.P. Culver, IN 4 pm Daniel Laginya; Shrine of Our Lady of Guada- FELLOW, AMERICAN GUILD OF ORGANISTS lupe, La Crosse, WI 3 pm PARK CONGREGATIONAL CHURCH 28 JUNE 345 SADDLE LAKE DRIVE Scott Lamlein, hymn festival; First Congrega- 14 JULY GRAND RAPIDS, MICHIGAN ROSWELL-ATLANTA, GEORGIA 30076 Ray Cornils; First Parish Church, Brunswick, (770) 594-0949 tional, Bristol, CT 10:30 am R. David Huggins; First English Lutheran, ME 12:10 pm Baltimore, MD 2 pm Isabelle Demers; Merrill Auditorium, Portland Ralph Tilden; Boone United Methodist, City Hall, Portland, ME 7:30 pm MARILYN MASON Boone, NC 4 pm Ken Cowan; The Riverside Church, New CHAIRMAN, DEPARTMENT OF ORGAN York, NY 7 pm UNIVERSITY OF MICHIGAN 29 JUNE Michael Kleinschmidt; Christ Episcopal, Ro- •Frederick Hohman; Jefferson Avenue Pres- anoke, VA 7:30 pm ANN ARBOR Janette Fishell, accompaniment and conduct- “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it byterian, Detroit, MI 9 am Martin Jean; Hill Auditorium, University of ing; All Saints Chapel, Sewanee, TN 7:30 pm with awesome technique and a thrilling command of its daring writing.” Michigan, Ann Arbor, MI 8 pm The American Organist, 1980 15 JULY 30 JUNE Richard Webster, with Beacon Brass Quintet; Jonas Nordwall; Merrill Auditorium, Portland Methuen Memorial Music Hall, Methuen, MA 8 pm City Hall, Portland, ME 7:30 pm Brink Bush; Ocean Grove Camp Meeting As- Janette Fishell; Kirk in the Hills, Bloomfi eld sociation, Ocean Grove, NJ 7:30 pm A two-inch LARRY PALMER Hills, MI 8 pm Alan Morrison; Verizon Hall, The Kimmel Center, Philadelphia, PA 7 pm Professional Card Professor of 1 JULY Virginia Vance; Old Salem Visitor Center, James David Christie; Symphony Hall, Bos- Winston-Salem, NC 12 pm in The Diapason Harpsichord and Organ ton, MA 8 pm Jeff Verkuilen; St. John Catholic Church, Jennifer Pascual; Methuen Memorial Music Little Chute, WI 12:15 pm Joyce Robinson, with violin; Sinsinawa For information on rates and Meadows School of the Arts Hall, Methuen, MA 8 pm Mound, Sinsinawa, WI 7 pm specifi cations, contact: Thomas Baugh; Christ Episcopal, Roanoke, VA 7:30 pm SOUTHERN METHODIST UNIVERSITY 17 JULY Gordon Turk; Ocean Grove Auditorium, Jerome Butera Ray Cornils; Community Church, Essex, NY Ocean Grove, NJ 7:30 pm [email protected] Dallas, Texas 75275 7:30 pm Todd Wilson; Old St. Mary’s Roman Catholic 847/391-1045 Church, Detroit, MI 1:30 pm Musical Heritage Society recordings 18 JULY Daniel Schwandt; St. Joseph Catholic Church, Gordon Turk; Ocean Grove Auditorium, Appleton, WI 12:15 pm Ocean Grove, NJ 12 noon Jeffrey Ellis; Sinsinawa Mound, Sinsinawa, John Gouwens, carillon; Culver Academies, WI 7 pm Culver, IN 4 pm Arthur LaMirande 2 JULY 19 JULY LaMirande must be complimented upon investi- Diane Meredith Belcher; First Church of Mary Preston; Loyola University, Chicago, IL gating music that few of his fellow organists have Christ Scientist, Boston, MA 8 pm 3 pm had the foresight to examine and to bring before the Anthony & Beard (Ryan Anthony, trumpet public.—American Record Guide 3 JULY and Gary Beard, organ); Shepherd of the Bay Robert Ridgell; Trinity Wall Street, New York, Lutheran, Ellison Bay, WI 7 pm L’organiste traversa son programme entier avec NY 1 pm une authorité, une solidité technique et une fraîcheur Alison Luedecke; St. Joseph Cathedral, Co- 21 JULY de registration qui, loin de faiblir en fi n d’exercice, lumbus, OH 7:30 pm accompagnèrent les deux rappels d’ailleurs accordé Harold Stover; First Parish Church, Bruns- sans la moindre hésitation.—La Presse, Montréal wick, ME 12:10 pm 4 JULY Felix Hell; Merrill Auditorium, Portland City Gordon Turk; Ocean Grove Camp Meeting Hall, Portland, ME 7:30 pm 461 Fort Washington Avenue, Suite 33 Association, Ocean Grove, NJ 12 noon Ellen Pond; King’s Chapel, Boston, MA 12:15 New York, NY 10033 Scott Dettra & Christopher Jacobson; pm 212/928-1050 [email protected] Washington National Cathedral, Washington, Claudia Dumschat; Christ Episcopal, Roa- DC 11 am noke, VA 7:30 pm
30 THE DIAPASON
June 09 pp. 28-33.indd 30 5/13/09 10:36:08 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Robert Schilling; North United Methodist, In- 17 JUNE dianapolis, IN 7:30 pm Organized Rhythm; Eastminster Presbyterian, Wichita, KS 7:30 pm LEON NELSON DOUGLAS O’NEILL 22 JULY Cathedral of the Madeleine David Pickering; Methuen Memorial Music 21 JUNE University Organist Hall, Methuen, MA 8 pm Peter Richard Conte; La Casa de Cristo Lu- North Park University Salt Lake City, Utah Gordon Turk; Ocean Grove Auditorium, theran, Scottsdale, AZ 7 pm Chicago, Illinois [email protected] Ocean Grove, NJ 7:30 pm Duane Subirous; St. Mary’s Cathedral, San 801/323-9850 Lou Carol Fix; Old Salem Visitor Center, Win- Francisco, CA 3:30 pm ston-Salem, NC 12 pm Carol Williams; Spreckels Organ Pavilion, Blake Doss; First United Methodist, Appleton, Balboa Park, San Diego, CA 2 pm WI 12:15 pm Stephen G. Schaeffer Mark McClellan; Sinsinawa Mound, Sinsina- 22 JUNE DOUGLAS REED wa, WI 7 pm Dennis James, silent fi lm accompaniment; Recitals – Consultations Paramount Theatre, Seattle, WA 7:30 pm 23 JULY UNIVERSITY OF EVANSVILLE Cathedral Church of the Advent Jared Jacobsen, with chorus; Spreckels Choral concert; Christ Church Grosse Pointe, Organ Pavilion, Balboa Park, San Diego, CA Birmingham, Alabama Grosse Pointe Farms, MI 8 pm EVANSVILLE, INDIANA 7:30 pm www.AdventBirmingham.org 25 JULY Gordon Turk; Ocean Grove Auditorium, 23 JUNE Ocean Grove, NJ 12 noon •Chad Winterfeldt; Bethlehem Lutheran, John Gouwens, carillon; Culver Academies, Mankato, MN 12 noon ROBERT L. Stephen Tappe Culver, IN 4 pm Gillian Weir; Trinity Episcopal Cathedral, Organist and Director of Music Phoenix, AZ 8 pm 26 JULY SIMPSON Saint John's Cathedral H. Ricardo Ramirez; Shrine of Our Lady of 25 JUNE Christ Church Cathedral Denver, Colorado Guadalupe, La Crosse, WI 3 pm John Scott; Grady Grammage Memorial Au- 1117 Texas Avenue ditorium, Tempe, AZ 8 pm Houston, Texas 77002 www.sjcathedral.org 28 JULY Ann Hartzler; First Parish Church, Brunswick, 26 JUNE ME 12:10 pm Polyphony: Voices of New Mexico; Cathedral Thomas Baugh; Christ Episcopal, Roanoke, Church of St. John, Albuquerque, NM 7:30 pm VA 7:30 pm Joe Utterback Marcia Van Oyen Paul Weber; St. Mary’s Catholic Church, Me- 28 JUNE First United Methodist Church nasha, WI 12:45 pm Bradley Hunter Welch; Church of the Holy COMMISSIONS & CONCERTS Communion at Frankford, Dallas, TX 5:30 pm Plymouth, Michigan 29 JULY 732 . 747 . 5227 •Maxine Thevenot, with Cathedral Choir; mvanoyen.com Robert Meylougan; Methuen Memorial Music Cathedral Church of St. John, Albuquerque, Hall, Methuen, MA 8 pm NM 6 pm Mary Lou Peeples; Old Salem Visitor Center, •Daniel Roth; Cathedral Church of St. John, Winston-Salem, NC 12 pm Albuquerque, NM 8 pm Jonathan Dimmock; Peachtree Road United David Peckham, with glass armonica and David Wagner Methodist, Atlanta, GA 7:30 pm theremin; Paramount Theatre, Seattle, WA 8 pm DMA Kevin Walters Mark Paisar; First Presbyterian, Neenah, WI Douglas Cleveland, with Seattle Pro Musica; 12:15 pm Madonna University St. James Cathedral, Seattle, WA 8 pm M.A., F.A.G.O. Sister Mary Arnold Staudt, OSF; Sinsinawa Choral Eucharist; All Saints’, Beverly Hills, CA Livonia, Michigan Mound, Sinsinawa, WI 7 pm 7:30 pm [email protected] Rye, New York 30 JULY Christoph Tietze; St. Mary’s Cathedral, San Gordon Turk; Ocean Grove Auditorium, Francisco, CA 3:30 pm Ocean Grove, NJ 7:30 pm Carol Williams; Spreckels Organ Pavilion, Ann Elise Smoot; Verizon Hall, The Kimmel Balboa Park, San Diego, CA 2 pm Center, Philadelphia, PA 7 pm 29 JUNE KARL WATSON Cherie Wescott Bradley Hunter Welch; First Presbyterian, Concerts • Masterclasses • Coaching Virginia Beach, VA 7:30 pm •Stephen Tharp; First Presbyterian, Albuquer- SAINT LUKE’S que, NM 8:30 pm 405/942-3958 Thomas Murray; Walt Disney Concert Hall, UNITED STATES Los Angeles, CA 8 pm METUCHEN e-mail: [email protected] West of the Mississippi Hector Olivera; Spreckels Organ Pavilion, Balboa Park, San Diego, CA 7:30 pm 15 JUNE 30 JUNE Davis Wortman John Scott; Texas A&M International Univer- •David Mertesdorf; Bethlehem Lutheran, RONALD WYATT sity, Laredo, TX 7:30 pm Mankato, MN 12 noon Dennis James, silent fi lm accompaniment; •Stephen Tharp, workshop; First Presbyte- St. James’ Church Trinity Church Paramount Theatre, Seattle, WA 7:30 pm rian, Albuquerque, NM 10:15 am Gabriel Arregui, with trumpet; St. Michael & •Maxine Thevenot; First Presbyterian, Santa New York Galveston All Angels, Corona del Mar, CA 8 pm Fe, NM 11 am Carol Williams; Spreckels Organ Pavilion, Carole Terry; St. Mark’s Cathedral, Seattle, Balboa Park, San Diego, CA 2 pm WA 4 pm Charles Dodsley Walker, FAGO 16 JUNE 1 JULY •David Fienen; Bethlehem Lutheran, Manka- •Stephen Tharp, workshop; First Presbyte- Artist-in-Residence Founder/Conductor to, MN 12 noon rian, Albuquerque, NM 10:15 am Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral of St. John SYLVIE POIRIER Albuquerque, New Mexico (YHKPVWYVNYHTMVY[OLRPUNVMPUZ[Y\TLU[Z www.stjohnsabq.org PHILIP CROZIER 505-247-1581 #0922 - A Cleveland Convergence…both the American ORGAN DUO Theatre Organ Society (July 1-5) and the Organ 3355 Queen Mary Road, Apt 424 Historical Society (July 5-10) will hold their 2009 1 annual conventions in and around Cleveland, Ohio. Montreal, H3V 1A5, P. Quebec < After hearing these sounds, you’ll want to attend. Canada 5 #0923 - Celebrating Canada…in tribute to the Royal (514) 739-8696 , Canadian College of Organists (RCCO) in its centenary Fax: (514) 739-4752 Iain Quinn Maxine Thevenot year, a trans-continental program of Canadian [email protected] Director of Cathedral Associate Organist- composers, performers, and instruments. Music & Organist Choir Director #0924 - The Liverpool Sound…you can’t beat the sonorous supremacy of the famous Willis and Walker pipe organs in this famous-for-its-music city. DAVID SPICER First Church of Christ #0925 - A Buffalo ShufÀe…revisiting old haunts with Joseph McCabe and friends of the Organ Historical Society. Wethersfi eld, Connecticut Carol Williams #0926 - American Blessings…the rich resource of our nation’s own compositional talent store gives our San Diego Civic Organist ears and hearts much for which to be thankful.
-YVT (TLYPJHU 7\ISPJ 4LKPH 7PWLKYLHTZ PZ W\ISPJ YHKPV»Z ^LLRS` (76)(PZHWYV\K Website: www.melcot.com WYVNYHT KLKPJH[LK [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z Z\WWVY[LYVM JLSLIYH[PVU VM [OL ¸RPUN VM PUZ[Y\TLU[Z¹ PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL 7PWLKYLHTZ =PZP[ ^^^WPWLKYLHTZVYN [V SVJH[L H IYVHKJHZ[ Z[H[PVU PU `V\Y HYLH ^^^HWVIHJVT House Organist E-mail: [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford
JUNE, 2009 31
June 09 pp. 28-33.indd 31 5/13/09 10:36:26 AM 5 JULY 27 JULY 24 JUNE Craig Cramer; Hervormde Kerk, Beverwijk, Dennis James, silent fi lm accompaniment; Tom Trenney; Spreckels Organ Pavilion, Bal- Michel Bouvard; Frauenkirche, Nuremberg, Netherlands 8 pm Lynwood Theatre, Bainbridge Island, WA 2 pm, boa Park, San Diego, CA 7:30 pm Germany 12:15 pm 7:30 pm Bine Bryndorf & Theo Jellema; St. Laurens- 11 JULY Kristian Schneider; St. Mary’s Cathedral, 28 JULY kerk, Alkmaar, Netherlands 8 pm Heinz Balli; Musée suisse de l’orgue, Roche, San Francisco, CA 3:30 pm •Charles Luedtke; Bethlehem Lutheran, Switzerland 5 pm Carol Williams; Spreckels Organ Pavilion, Mankato, MN 12 noon 25 JUNE The New York Piano-Organ Duo (Jason Balboa Park, San Diego, CA 2 pm Pier Damiano Peretti; Frauenkirche, Nurem- Cutmore, piano and Daniel Sullivan, organ); St. 30 JULY berg, Germany 12:15 pm John’s Church, Elora, ON, Canada 4 pm 6 JULY Christopher King; First Congregational, Los David Wickerham; Spreckels Organ Pavilion, Angeles, CA 12:10 pm 26 JUNE 12 JULY Balboa Park, San Diego, CA 7:30 pm Winfried Bönig; Frauenkirche, Nuremberg, Carol Williams; Chapel, Frederiksborg, Den- Germany 12:15 pm mark INTERNATIONAL 7 JULY Cameron Carpenter; Cathédrale, Lausanne, Craig Cramer; Oude Kerk, Amsterdam, Neth- Switzerland 8 pm •Matthew Gerhardt; Bethlehem Lutheran, erlands 8:15 pm Timothy Wakerell Mankato, MN 12 noon ; St. Paul’s Cathedral, Lon- 19 JUNE 27 JUNE don, UK 4:45 pm Sara Gerber; Cathédrale, Lausanne, Switzer- Felix Hell; Kath. Pfarrkirche “Unsere Liebe Jean Baptiste-Dupont; Westminster Cathe- 11 JULY land 8 pm Frau,” Eppingen/Kraichgau, Germany 8 pm dral, London, UK 4:45 pm Janette Fishell ; Central Lutheran, Eugene, Mattias Ank, with trumpet; Frauenkirche, OR 7:30 pm 20 JUNE Nuremberg, Germany 8 pm 13 JULY Felix Hell, Mendelssohn works; Zwölf-Apostel- Hansjörg Albrecht; St. Lorenz, Nuremberg, Iain Quinn; Coventry Cathedral, Coventry, UK 12 JULY Kirche, Frankenthal (Palatinate), Germany 7 pm Germany 10 pm 1 pm Karen Beaumont; St. Mary’s Cathedral, San Christiaan Winter, carillon; St. Laurenskerk, Francisco, CA 3:30 pm Alkmaar, Netherlands 9:30 am 28 JUNE 14 JULY Bine Bryndorf, with Canterbury Cathedral Choir; Felix Hell; Evangelische Bruderschaft “Ke- Carol Williams; Vor Frue Kirke, Ribe, Den- 13 JULY St. Laurenskerk, Alkmaar, Netherlands 8 pm charismai,” Dettingen/Erms, Germany 5 pm mark 11 am Felix Hell; Spreckels Organ Pavillon, Balboa +Carolyn Shuster Fournier; Los Sagrados Michael Gailit; Abbey St. Bonifaz, Munich, Frederick Mooney; St. Jan’s Cathedral, Park, San Diego, CA 7:30 pm Church, Burgos, Spain Germany 8 pm ‘s-Hertogenbosch, Holland 8 pm Elisabeth Zawadke, with Die Singphoniker; Gerre & Judith Hancock; Westminster Ab- 14 JULY 21 JUNE St. Lorenz, Nuremberg, Germany 8 pm bey, London, UK 7 pm •Ron Shilling; Bethlehem Lutheran, Mankato, Felix Hell, Mendelssohn works; Dreifaltig- Léon Charles; Westminster Cathedral, Lon- Axel Wilberg; St. James United Church, Mon- MN 12 noon keitskirche, Frankenthal (Palatinate), Germany don, UK 4:45 pm treal, QC, Canada 12:30 pm 7 pm Dietrich Wagler; St. Laurenskerk, Alkmaar, 29 JUNE 15 JULY 19 JULY Netherlands 12:30 pm James David Christie, masterclass; Knox Louis Perazza; St. Mary’s Cathedral, San Carol Williams; Markus Kirke, Copenhagen, Theo Jellema, Frank van Wijk, & Pieter van College Chapel, Toronto, ON, Canada 2:30 pm Denmark 8 pm Francisco, CA 3:30 pm Dijk; St. Laurenskerk, Alkmaar, Netherlands 8 pm Rachel Laurin; St. Paul’s Anglican Church, Carol Williams; Spreckels Organ Pavilion, Anthony Gritten; St. Paul’s Cathedral, Lon- Toronto, ON, Canada 8:15 pm 16 JULY Balboa Park, San Diego, CA 2 pm don, UK 4:45 pm Stephen Tharp; Evangelische Stadtkirche, Paul Dean; Westminster Cathedral, London, 30 JUNE Karlsruhe, Germany 9 pm 20 JULY UK 4:45 pm Philip Crozier; St. James United Church, Kevin Bowyer; Spreckels Organ Pavilion, Montreal, QC, Canada 12:30 pm 17 JULY Balboa Park, San Diego, CA 7:30 pm 22 JUNE Ken Cowan, organ workshop; Islington United Michael Gailit; Cathedral, Magdeburg, Ger- Christian Schmitt; Frauenkirche, Nuremberg, Church, Toronto, ON, Canada 9:45 am many 7:30 pm 21 JULY Germany 12:15 pm James David Christie; Our Lady of Sorrows Suzanne Z’graggen; Cathédrale, Lausanne, •Mark DeGarmeaux; Bethlehem Lutheran, Felix Hell, Mendelssohn works; Kirche St. Church, Toronto, ON, Canada 11:15 am Switzerland 8 pm Jonathan Oldengarm, with Tafelmusik; St. Mankato, MN 12 noon Ludwig, Frankenthal (Palatinate), Germany 7 Mario Duella, with fl ute; Santuario della Ma- pm Paul’s Basilica, Toronto, ON, Canada 2 pm donna delle Grazie, Portula/Novareia, Italy 5 pm Paolo Crivellaro & Reinhard Jaud; St. Gillian Weir, with orchestra; Metropolitan 23 JULY Laurenskerk, Alkmaar, Netherlands 8 pm United Church, Toronto, ON, Canada 8:30 pm Christopher King; First Congregational, Los 18 JULY Angeles, CA 12:10 pm Flavio Desandré, with tenor; Musée suisse de 23 JUNE 1 JULY l’orgue, Roche, Switzerland 5 pm Daniel Zaretsky; Frauenkirche, Nuremberg, Philip Crozier; Eglise Saint Anges, Lachine, Montreal, QC, Canada 12:15 pm 26 JULY Germany 12:15 pm 19 JULY Michael Hart, carillon; Hart House, University Carol Williams; Spreckels Organ Pavilion, Wesley Warren; St. James United Church, Craig Cramer; Frederiksborg Slotskirke, Hill- of Toronto, Toronto, ON, Canada 9:30 am Balboa Park, San Diego, CA 2 pm Montreal, QC, Canada 12:30 pm eröd, Denmark 4 pm •Maxine Thevenot; Christ Church Cathedral, Iain Quinn; Magdeburg Dom, Magdeburg, Victoria, BC, Canada 3:30 pm Germany 4 pm martin ott pipe Stephen Tharp; Stiftskirche, Cappenberg, 2 JULY organ Germany 5 pm company Thierry Escaich; St. Paul’s Anglican Church, Frederick Mooney; Marienkirche, Salzwedel, inc. Toronto, ON, Canada 1:30 pm Germany 5 pm Ken Cowan; All Saints’ Kingsway Anglican 1353 Baur Boulevard Carolyn Shuster Fournier; Saint-Pierre-le- M. L. BIGELOW & Co. St. Louis, MO 63132-1903 Church, Toronto, ON, Canada 8:15 pm ORGAN BUILDERS 314-569-0366 Phone Jeune Church, Strasburg, France 314-504-0366 Cell Simon Johnson; St. Paul’s Cathedral, Lon- (801) 756-5777 Martin Ott 314-569-3879 Fax 3 JULY ofÄ[email protected] don, UK 4:45 pm 130 W. 1st S., American Fork, UT 84003 Orgelbaumeister www.ottpipeorgan.com Craig Cramer; Hervormde Kerk, Midwolda, Netherlands 8 pm Hartwig Barte-Hanssen; Westminster Cathe- dral, London, UK 4:45 pm 4 JULY Renee Louprette; Westminster Abbey, Lon- Denis Fedorov, with accordion & violin; Mu- don, UK 5:45 pm Parkey sée suisse de l’orgue, Roche, Switzerland 5 pm 21 JULY OrganBuilders Margaret Phillips; Brentwood Cathedral, Brentwood, UK 6 pm Martin Setchell; Leicester Cathedral, UK 8 Distinguished Pipe Organs pm 3870 Peachtree Ind. Blvd. Voice 770-368-3216 5 JULY Robert Quinney; Westminster Abbey, Lon- Suite 150-285 Fax 770-368-3209 Thomas Wilson; Westminster Cathedral, don, UK 7 pm Duluth, Georgia 30096 www.parkeyorgans.com London, UK 4:45 pm Gabrielle Tessier; St. James United Church, Montreal, QC, Canada 12:30 pm NEW INSTRUMENTS sound INSPIRATION 6 JULY MAINTENANCE Martin Setchell; Coventry Cathedral, UK 1 pm 22 JULY Craig Cramer; St. Mariakirke, Helsingborg, RESTORATIONS Acoustical Design & Testing • Organ Consultation & Sweden 8 pm Inspection • Organ Maintenance & Tuning • Sound & Video 7 JULY 974 AUTUMN DRIVE Craig Cramer; Hervormde Kerk, Nijkerk, Michael Gailit; St. Markus Church, Copenha- System Design, Evaluation & Training ANTIOCH, ILLINOIS 60002 Netherlands 8 pm gen, Denmark 8 pm ABR 847-395-1919 F INCY www.riedelassociates.com • (414) 771-8966 Kurt Ludwig Forg; St. James United Church, PIPE ORGANS FAX 847-395-1991 email: [email protected] 23 JULY www.fabryinc.com Montreal, QC, Canada 12:30 pm 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Craig Cramer; Roskilde Cathedral, Roskilde, 8 JULY Denmark 8 pm Craig Cramer; Petruskerk, Woerden, Nether- Philip Crozier; Oude Jeroenskerk, Noordwijk, lands 12 noon Holland Pipe Organ Craftsmen & Builders _ Hupalo GF 10 JULY 24 JULY 1785 Timothy Drive, Unit 4 Frederick Mooney; Pfarrkirche, Gau-Bischof- Frederick Mooney; Martkirche, Halle, Ger- & San Leandro, CA 94577 sheim, Germany 7 pm many 8 pm Repasky Tel: 510 483 6905 www.hupalorepasky.com
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32 THE DIAPASON
June 09 pp. 28-33.indd 32 5/13/09 10:36:47 AM Alberto Guerzoni, with soprano; Chiesa di S. Elmar Jahn; Chiesa di Santa Maria Vergine DAVID A. GELL, Emanuel Lutheran STEPHEN G. SCHAEFFER, Cathedral Eurosia, Pralungo, Italy 9 pm Assunta, Viverone, Italy 9 pm Church, Santa Barbara, CA, December 27: Church of the Advent, Birmingham, AL, Processional Trumpet, Fedak; Noël Polonaise, January 25: Litanies, Alain; Sonata in D, 25 JULY 31 JULY Guilmant; Noël with variations, Langlais; op. 65, no. 5, Mendelssohn; Passacaglia in Ernst & Marianne Kubitschek, organ & vio- Carolyn Shuster Fournier; Church in Ska- Variations on In dulci jubilo, Melby; I wonder c, BWV 582, Bach; Resurrection, King; Pre- lin; Musée suisse de l’orgue, Roche, Switzerland gen, Denmark 12 noon as I wander, Thomas; Three Improvisations lude and Fugue on the Name of ALAIN, op. 5 pm Martin Setchell; St. Leonhard Kirche, Basel, on Carols, Rawsthorne. 7, Durufl é. Erwin Messmer; Basilica Antica, Oropa, Italy Switzerland 6:15 pm 9 pm Elisa Teglia; Chiesa di S. Lorenzo, Sostegno, CALVERT JOHNSON, with Rachel Bar- STEPHEN THARP, St. Martin, Italy 9 pm ton Pine, violin, Trinity Presbyterian Church, Dudelange, Luxembourg, November 18: Te 26 JULY St. Louis, MO, February 13: Obangiji, Yoruba Deum, op. 11, Domine Jesu, Rorate Caeli, Craig Cramer; Örgryte Kyrka, Gothenburg, Lament, Pastourelle, Joshua Fit de Battle ob Hosanna Filio David, Tu es Petrus, Attende Sweden 4 pm Jericho, Sowande; Suite de Pièces for violin Domine (Twelve Chorale Preludes), Demes- Philip Crozier, with narrator; Sakskøbing and organ, op. 3, Coleridge-Taylor; Sacred sieux; Molto Lento–Grave (Instants–poème Kirke, Denmark Organ Recitals Idioms of the Negro, Sowande. symphonique, op. 57), Guillou; Prélude et Frederick Mooney; Pfarrkirche, Nieder-Moos, Fugue in A-fl at, op. 36, no. 2, Dupré; Ave Ma- Germany 5 pm DAVID C. JONIES, St. Mary of the Lake ria, Ave Maris Stella (Trois Paraphrases Gré- Stephen Tharp; Ev. Stadtkirche, Karlsruhe, GAIL ARCHER, Central Synagogue, New Catholic Church, Gary, IN, January 25: goriennes, op. 5), Langlais; Hommage à Igor Germany 9 pm York, NY, January 14: Sonata I, op. 65, no. Præludium in E, BuxWV 141, Buxtehude; Stravinsky, Hakim. Alessandra Mazzanti; Cappella di S. Marta e 1, Mendelssohn; Sechs Fugen über den Na- Sonata V, op. 65, no. 5, Mendelssohn; Bene- Chiesa di S. Giacomo, Campertogno, Italy 9 pm men Bach, op. 60, no. 5, Schumann; Prelude dictus, op. 59, no. 9, Reger; Orgelmusik, op. D’ARCY TRINKWON, Christ’s Hospi- Hartwig Barte-Hanssen; St. Paul’s Cathedral, for Organ in F, Hensel; Sechs Fugen über 39, Piechler; Allegro, Choral, Scherzo, Fina- tal School, Horsham, UK, December 7: Le London, UK 4:45 pm den Namen Bach, op. 60, no. 6, Schumann; le (Deuxième Symphonie, op. 20), Vierne. Monde dans l’attente du Sauveur, Dupré; Ca- Iain Quinn; Westminster Cathedral, London, O Welt, ich muss dich lassen, op. 122, no. 3, priccio, Ireland; Fantasie-Choral No.1 in D- UK 4:45 pm Herzlich tut mich erfreuen, op. 122, no. 4, O AARON DAVID MILLER, Trinity Lu- fl at, Whitlock; Introduction and Passacaglia, Gott, du frommer Gott, op. 122, no. 7 (Elf Ben Giddens; Westminster Abbey, London, theran Church, Lynnwood, WA, January 18: Alcock; Fantasia and Fugue on Ad nos, Liszt. UK 5:45 pm Choralvorspiele), Brahms; Fantasie und Fuge über B-A-C-H, op. 46, Reger. Prelude and Fugue in G, BWV 541, Bach; Two Scottish Folk Dances, MacMillan; Papil- PAUL WEBER, St. Norbert Abbey, De 28 JULY lons, Ibert; Sonatina, op. 136b, Mendelssohn; Pere, WI, January 17: Toccata (Pièces de Fan- Gillian Weir; Cologne Cathedral, Cologne, PHILIP CROZIER, St. Andrew’s United Church Lachine, Montreal, QC, Canada, De- Carillon, Benoit; improvisation. taisie, op. 53), Vierne; Ballade, op. 118, no. 3, Germany 8 pm Brahms, transcr. Weber; Cinq versets sur le •Maxine Thevenot; Oxford Town Hall, St. Al- cember 2: Prelude and Fugue in C, BWV 547, Bach; Nun komm’, der Heiden Heiland, Bux- DAVID PICKERING, The Presbyterian Victimae Paschali, Escaich; Passacaglia (So- dates, Oxford, UK 1 pm Homes, Evanston, IL, January 26: Praeludi- nata No. 8, op. 132), Sonata No. 5 in F-sharp, Iain Quinn; St. John’s College, Cambridge, WV 211, Buxtehude; Allein Gott in der Höh’ sei Ehr’, BWV 664, 677, 662, Bach; Desseins um in C, BuxWV 137, Nun bitten wir den hei- op. 111, Rheinberger. UK 1:10 pm ligen Geist, BuxWV 208, Buxtehude; Prelude James O’Donnell; Westminster Abbey, Lon- éternels (La Nativité du Seigneur), Messiaen; Vom Himmel hoch da komm’ ich her, BWV and Fugue in D, BWV 532, Bach; Four Noble CAROL WILLIAMS, Grace Cathedral, don, UK 7 pm Gases, Gawthrop; Passacaglia in g, Keeler. San Francisco, CA, January 18: Procession- Dany Wiseman 701, 700, Bach; Elegy, Orr; Pæan, Leighton; ; St. James United Church, al, Susato; Voluntary in G, Purcell; Caril- Montreal, QC, Canada 12:30 pm Humoresque ‘L’organo primitivo,’ Yon; The Holy Boy, Ireland; Rhapsodie sur des Nöels CHRISTA RAKICH, Old West Church, lon-Fanfare, Jones; Adagio (Concerto in d), 29 JULY (Dix Pièces, No. 6), Gigout. Boston, MA, January 30: Partita on Sei Vivaldi, transcr. Bach; Mad Rush, Glass; Martin Setchell; Konstantin Basilica, Trier, gegrüsset, Jesu gütig, BWV 768, Bach; Partita Mozart Changes, Gardonyi; Toccata (Goth- Germany 8:30 pm STEVEN EGLER, with Seunghee Lee, on Nun komm, der heiden Heiland, Heiller; ic Suite), op. 25, Boëllmann; Prelude in g, Maxine Thevenot; Parish Church of St. Mi- violin, Central Michigan University, Mt. An Wasserfl üssen Babylon, BWV 653, Trio su- Rachmaninoff; Sabre Dance, Khachatu- chael and All Angels with St. James, Croydon, Pleasant, MI, February 1: Phoenix Proces- per Herr Jesu Christ, dich zu uns wend, BWV rian, arr. Williams; The Entertainer, Joplin, UK 1:10 pm sional, Locklair; Elegy in B-fl at, Thalben-Ball; 655, Jesus Christus, unser Heiland, BWV 665; arr. Williams; Introduction et Toccata (Trois Partita on Vom Himmel hoch, Pelz; Capriccio Vor deinen Thron, BWV 668, Bach; Partita on Esquisses), Bedard; The Madness of Mo- 30 JULY for Violin and Organ, Hakim; Sonata Breve Freu’ dich sehr, o meine Seele, Heiller; Passa- rion, Jenkins; Toccata ‘Store Gud, vi lover Philip Crozier; Ghent Cathedral, Belgium (Second Sonata), Near. caglia and Fugue in c, BWV 582, Bach. deg,’ Kleive.
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PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS RECORDINGS RECORDINGS RECORDINGS FOR SALE
Ives was not the only one to write organ music Reflections: 1947–1997, The Organ Depart- Aging of Organ Leather by Harley Piltingsrud Last Aeolian-Skinner built (1971) with many on the tune “America.” This year, play move- ment, School of Music, The University of Mich- tells how to test and select organ leathers for lon- recent upgrades. Excellent condition. Three new ments from Thayer’s 1860’s Sonatas I & II. Visit igan, edited by Marilyn Mason & Margarete gevity of 60 years or more. Treats other aspects keyboards, 33 stops, 46 ranks. Contact First our website for details. michaelsmusicservice. Thomsen; dedicated to the memory of Albert of leather production and the history of testing for Presbyterian, Grand Forks, ND, attn: Gretchen, com; 704/567-1066. Stanley, Earl V. Moore, and Palmer Christian. longevity. New 48-page edition in 1994, $9.95 + 701/775-5545 or gretchen@fi rstpresgf.org. Includes an informal history-memoir of the $4.50 shipping for entire order (within USA). Or- organ department with papers by 12 current der online at www.ohscatalog.org. The OHS Catalog is online at www.ohscata- and former faculty and students; 11 scholarly Moeller Artiste chapel pipe organ opus 6705, log.org. More than 5,000 organ and theatre articles; reminiscences and testimonials by 1939, two-manual, four-rank, electromechani- organ CDs, books, sheet music, DVDs and graduates of the department; 12 appendices, PIPE ORGANS cal, 316 pipes. Asheville, North Carolina. Con- VHS videos are listed for browsing and easy and a CD recording, “Marilyn Mason in Re- tact 828/684-7919 or herbertandnancy@aol. ordering. Use a link for adding your address cital,” recorded at the National Shrine of the FOR SALE com for more information and photos. $15,000 to the OHS Catalog mailing list. Organ Histori- Immaculate Conception in Washington, DC. or best offer. cal Society, Box 26811, Richmond, VA 23261. $50 from The University of Michigan, Prof. 10-stop tracker action pipe organ. Built Marilyn Mason, School of Music, Ann Arbor, in 2000 by Wissinger Organs, Portsmouth, E-mail: [email protected]. MI 48109-2085. NH. Original builder will move. Darron Wiss- Continuo organ, 8′, 4′, 2′; 8′ principal c1–g3; inger, 207/594-3638; darronw@myfairpoint. playable at A-440 or A-415; portable. $39,000. CD Recording, “In memoriam Mark Bux- net. See http://home.myfairpoint.net/darronw/ A. David Moore Inc., telephone: 802/457-3914. Historic Organ Surveys on CD: recorded during Rye%20House%20Organ.html. ton (1961–1996).” Recorded at Église Notre- national conventions of the Organ Historical So- Dame de France in Leicester Square, London, ciety. Each set includes photographs, stoplists, between 1987 and 1996. Works of Callahan, Casavant opus 2086. A spendid 2-manual with and histories. As many organists as organs and 20-rank organ, electric and electro-pneumatic Widor, Grunewald, Salome, Ropartz, and Boëll- repertoire from the usual to the unknown, Arne drawknob console in good playing condition. mann, along with Buxton’s improvisations. $15 action, 2-manual console (made of used parts of The instrument is free-standing with two Swell to Zundel, often in exceptional performances on various sources) for sale. Available June 2009. ′ postpaid: Sandy Buxton, 10 Beachview Cres- beautiful organs. Each set includes many hymns boxes (partially enclosed Great). Four 16 stops cent, Toronto ON M4E 2L3 Canada. 416/699- Buyer to make offer and remove. (8 ranks not in the pedal, including an Open Metal. Shipping sung by 200–400 musicians. Historic Organs of for sale.) St. John Lutheran, 501 W. Park Ave., 5387, FAX 416/964-2492; e-mail hannibal@ boxes included. 603/529-0870. Indiana, 31 organs on 4 CDs, $34.95. Historic Libertyville, IL 60048; 847/362-4424. idirect.com. Organs of Louisville (western Kentucky/eastern Indiana), 32 organs on 4 CDs, $29.95. Historic Portative organ: Designed for small choral or Organs of Maine, 39 organs on 4 CDs, $29.95. 1964 M.P. Möller pipe organ. 36-rank American The Organ Historical Society has released baroque ensembles. Four stops: 8′, 4′, 2′, and Historic Organs of Baltimore, 30 organs on 4 Classic specifi cation including two célestes, two ′ Historic Organs of Indiana, 4 CDs recorded CDs, $29.95. Historic Organs of Milwaukee, enclosed divisions and 32′ reed. Three-manual 1-1/3 , with the last two divided into bass and at the OHS National Convention in Central 25 organs in Wisconsin on 2 CDs, $19.98. His- console. No casework or façades; instrument is treble registers and an adjustable point of di- Indiana in July, 2007. Nearly 5 hours of mu- toric Organs of New Orleans, 17 organs in the in good condition but will need releathering. Ask- vision (b24/c25 or c25/c#26). Adjustable pitch sic features 31 pipe organs built between Bayous to Natchez on 2 CDs, $19.98. Historic ing $50,000 “as is” or can be rebuilt with some between A=440 Hz and A=415 Hz. Quarter- 1851–2004, by Aeolian-Skinner, Skinner, Organs of San Francisco, 20 organs on 2 CDs, modifi cations. Available immediately. For more sawn white oak case. Available immediately. Henry Erben, Felgemaker, Hook & Hastings, $19.98. Add $4.50 shipping in U.S. per entire or- information, contact Létourneau Pipe Organs at For more information, contact Létourneau Pipe Kilgen, Kimball, and many more builders. Per- der from OHS, Box 26811, Richmond, VA 23261, [email protected] or 888/774-5105. Organs at [email protected] or formers include Ken Cowan, Thomas Murray, by telephone with Visa or MasterCard 804/353- 888/774-5105. Bruce Stevens, Carol Williams, Christopher 9226; FAX 804/353-9266. Young, and others. A 40-page booklet with 1972 two-manual, 14-rank electro-pneumatic photos and stoplists is included. OHS-07 4- unit organ. Built by Burger of Minneapolis; sup- 8-rank Wangerin near Detroit is seeking a CD set is priced at $34.95 (OHS members, Request a free sample issue of The Diapason ply-house parts. Unifi ed to 44 stops. Subbass, good home. I am in good condition and will $31.95) plus shipping. Visit the OHS Online for a student, friend, or colleague. Write to the Gedeckt, and chimes NOT for sale. Make offer. bring joy to my new owner. Owner is asking Catalog for this and over 5,000 other organ- Editor, The Diapason, 3030 W. Salt Creek Lane, Buyer to remove during July–August 2009. St. $3,500 and buyer to remove. For information related books, recordings, and sheet music: Suite 201, Arlington Heights, IL 60005; or e-mail: John’s Lutheran Church, 803 First Street West, please contact 248/356-0896 or mcclungave@ www.ohscatalog.org. [email protected]. Park Rapids, MN 56470, 218/732-9783. comcast.net. glück newyork orgaNbuilders
170 Park Row, Suite 20A TOTAL PIPE ORGAN RESOURCES New York, NY 10038
2320 West 50th Street * Erie, PA 16505-0325 212.608.5651 (814) 835-2244 * www.organsupply.com www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
PEEBLES-HERZOG, INC. THE ORGAN COMPANY 50 Hayden Ave. Columbus, Ohio 43222 1220 Timberedge Road Lawrence, Kansas 66049 Ph: 614/279-2211 • 800/769-PIPE (785) 843-2622 www.peeblesherzog.com www.reuterorgan.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
34 THE DIAPASON
June 09 pp. 34-35.indd 34 5/14/09 9:31:04 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE WANTED SUPPLIES SUPPLIES
1960s Walcker (German) 14-rank tracker Schlicker console wanted, three manuals, Aeolian/Robert Morton-style maroon leather Releathering all types of pipe organ actions organ. Open toe voicing on 2″ wind pressure. contemporary styling only. Flamed copper pipes is now available from Columbia Organ and mechanisms. Highest quality materials and Reverse console built into case. Footprint is 6′ wanted for façade, contemporary styling only, not Leathers! Highest quality. 800/423-7003, workmanship. Reasonable rates. Columbia wide by 11′6″ deep (including console and pedal necessary to speak. Please call 201/835-5311 or www.columbiaorgan.com. Organ Leathers 800/423-7003. www.columbia stops), 9′10″ tall. All encased with 4′ Principal [email protected]. organ.com/col. façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- quialtera, II–III Mixture. Manual II—8′ Gemshorn, Austin actions: Come to the source. Fast de- 4′ Rohrfl ote, ′2 Principal, 1-1/3′ Quinte. Pedal— MISCELLANEOUS livery. Guaranteed. 860/522-8293; www.austin THE DIAPASON’s website now presents featured 16′ Bourdon, 8′ Flute, 4′ Choralbass. Playing and FOR SALE organs.com. artists in its SPOTLIGHTS section—with pho- in use regularly. Asking $16,500. For recordings tos, biographies, and contact links. Visit www. and pictures contact [email protected]. TheDiapason.com to view details: in the left- Atlantic City Pipe Organ Company: 4″ wp: 16′ Highest quality organ control systems since hand column, under Spotlights, click on Fea- Gemshorn 44sc/61 with chests and racking— 1989. Whether just a pipe relay, combination tured Artists. $3000; 8′ OSI Harmonic Trumpet, 3″ sc, 54 action or complete control system, all parts 60 year-old Wicks pipe organ. Dismantled; ′ reeds, parallel shallots—$1200; 4 OSI Oboe, are compatible. Intelligent design, competitive ATTENTION PIPE ORGAN FANS! By popu- pipes in wood trays. Purchaser to remove from 2-1/2″ sc, open bells—$850. 609/641-9422; pricing, custom software to meet all of your re- the church. $3,800 cash. 586/202-9960. lar demand, The Diapason test kitchen has [email protected]. quirements. For more information call Westa- developed a new line of frozen dinners cott Organ Systems, 215/353-0286, or e-mail that are perfect for the harried organist so [email protected]. REED ORGANS 4-manual console, circa 1964, by Reuter, pressed for time. Be sure to try our Unda good condition, $3600; Steinway 7′ square pi- Maris seafood dinners, Corps glorieux Buf- FOR SALE falo wings (complete with ranch dressing), ano, circa 1882, great shape, $4500. Colorado; Austin actions recovered. Over 40 years ex- 303/671-6708. Wienerfl öte franks & beans, and our spe- perience. Units thoroughly tested and fully guar- cialties, Duck a l’Orage and Rossignol a Mason and Hamlin, three manual and pedal. anteed. Please call or e-mail for quotes. Tech- $9,500, including blower. Rare. A.D. Moore Inc., l’orange. Side dishes include Cornet on the nical assistance available. Foley-Baker, Inc., 42 cob, Larigots Verts green beans, and for 802/457-3914. 2-manual Wicks console, 1980. 61-note key- N. River Road, Tolland, CT 06084. Phone 1- boards, 32-note pedal board. $1,000 or best dessert, Dulciana de leche. Box Fitzer-Con, 800/621-2624. FAX 860/870-7571. foleybaker@ THE DIAPASON; [email protected]. offer, buyer to remove. Photos and specifi ca- sbcglobal.net. ELECTRONIC ORGANS tions sent on request. Contact Kerry Johnston at FOR SALE 479/751-4610, or [email protected]. Need help with your re-leathering Postal regulations require that mail project? All pneumatics including to THE DIAPASON include a suite num- Like new Allen Q385, 80 stop/320 voice, 3 1901 Kimball parts (rebuilt by Schaefer ca. Austin. Over 45 years experience ber to assure delivery. Please send manual, Renaissance Quantum Digital Or- 1950s); regulators, expression shades, chests, (on the job assistance available). console (no pipes). Available May, 2009. Make all correspondence to: THE DIAPASON, gan. Manufactured in 2005. Includes doubled 615/274-6400. speaker equipment and factory warranty until offer. St. Hedwig Church, 1716 N. Humboldt 3030 W. Salt Creek Lane, Suite 201, August 30, 2015. Features Quad Suite voicing: Ave., Milwaukee, WI 53202. 414/271-6577. Arlington Heights, IL 60005. American Classic/French Romantic/Neo-Ba- ALL REPLIES roque/English Cathedral with Acoustic Portrait Solid State Logic single memory combination technology, general GS and XG MIDI compatibil- action, 16 Great, 16 Swell, 12 Pedal, 5 General, TO BOX NUMBERS THE DIAPASON’s classified ads are ity. Console 69-5/16″ (176 cm) x 51-1/2″ (130.8 now available on THE DIAPASON ″ 5 Swell, 5 Great, 4 Pedal, Gt to Pedal, Set, GC cm) x 34-3/4 (88.3 cm); depth with pedalboard and Tutti, $450. Consoles, pipes and numer- that appear website—including photographs and and bench: 58″ (147.3 cm). See http://www.al- convenient e-mail links directly to the ous miscellaneous parts. Let us know what without an address lenorgan.com/www/products/q385/q385.asp you are looking for. E-mail orgnbldr@comcat. sellers! Visit www.TheDiapason.com for information/photographs. Price: $65,000. com (not comcast), phone 215/353-0286 or should be sent to: and in the left-hand column, look for 212/774-4240; [email protected]. 215/788-3423. SPOTLIGHTS, then click on Classified THE DIAPASON Advertisements. Follow the links to the 3030 W. Salt Creek Lane, Suite 201 classifieds that interest you, and click Send recital programs to THE DIAPASON, 3030 W. Wood pipes. Missing pipes made to match. the e-mail button to contact the sellers. Salt Creek Lane, Suite 201, Arlington Heights, IL Damaged pipes in any condition repaired. Over Arlington Heights, IL 60005 What could be easier? 60005; e-mail: [email protected]. 25 years experience. Filip Cerny, 814/342-0975.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS W. Zimmer & Sons, inc. City ______❑ $55.00—2 YEARS Jacques Stinkens ❑ $35.00—1 YEAR pipe organ builders Organpipes - since 1914 State ______Zip ______FOREIGN SUBSCRIPTIONS 429 Marvin Road Fort Mill, SC 29707 ❑ $85.00—3 YEARS Flues - Reeds Phone/Fax: 803-547-2073 Please allow four weeks for delivery of fi rst issue ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" wzimmerandsons.com ❑ E-1 $45.00—1 YEAR Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] on new subscriptions. NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
JUNE, 2009 35
June 09 pp. 34-35.indd 35 5/13/09 10:38:17 AM KKararenen McFMcFarlanearlane ArArtististsts 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] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Michael Unger AGO National Competition Winner Available 2008-2010
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* CHOIRS AVAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director March 16-23, 2009 Spring 2010
The Choir of New College Oxford, UK Edward Higginbot tom, Director Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith* April 10-25, 2010 The Choir of St. John’s College Cambridge, UK Andrew Nethsingha, Director Spring 2011 European artists available 2008-2009 and 2009-2010
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney
WEB SITE: www.concertorganists.com
ThomasGillian Trotter*Weir* GillianTodd Wilson Weir* ChristopherTodd Wilson Young Christopher Young