THE DIAPASON NOVEMBER, 2009
St. Mark the Evangelist Catholic Church San Antonio, Texas Cover feature on pages 30–31
Nov 09 Cover B-YES.indd 1 10/12/09 11:18:13 AM
THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundredth Year: No. 11, Whole No. 1200 NOVEMBER, 2009 Cavaillé-Coll organ in Mazatlán, Established in 1909 ISSN 0012-2378 Mexico An International Monthly Devoted to the Organ, Thirteen-year-old organ student Alan the Harpsichord, Carillon, and Church Music Montgomery, of Davis, California, va- cationed in Mexico with his family and offers the following observations on the Cavaillé-Coll organ in the Mazatlán CONTENTS Editor & Publisher JEROME BUTERA [email protected] Cathedral: 847/391-1045 When my family and I arrived at the FEATURES Cathedral of the Immaculate Concep- Summer Institute for Associate Editor JOYCE ROBINSON tion to fi nd the Cavaillé-Coll organ in French Organ Studies 2009 [email protected] Mazatlán, Mexico, we went looking for by Gregory Peterson 20 847/391-1044 a priest in the church. Then we ran into Cesar Rafael, an agent of the Municipal Sewanee Church Music Contributing Editors LARRY PALMER Police of Mazatlán, who was very help- Conference 2009 Harpsichord by Jane Scharding Smedley 23 ful and led us to one of the priests of the JAMES MCCRAY cathedral. The priest then led us into Organs in the Land of Sunshine: Choral Music the sacristy and said we would not be al- A look at secular organs in Los Angeles, lowed to see the organ, due to the con- 1906–1930 BRIAN SWAGER struction going on in one of the towers; by James Lewis 24 Carillon but after about 20 minutes, the curator of the church told us that he could take JOHN BISHOP us up. We walked out of the cathedral Mazatlán façade NEWS & DEPARTMENTS In the wind . . . Editor’s Notebook 3 and went in through a door at the base of the tower, then walked up the spiral Letters to the Editor 3 GAVIN BLACK On Teaching staircase leading to the organ loft. Here & There 3, 4, 6, 8, 10 I walked up to the console and opened Appointments 5 Reviewers Jay Zoller the lid. The organ had two manuals and Nunc Dimittis 10 John L. Speller pedal, but it was in pretty bad condition. Looking Back 12 John Collins There were certain ventil pedals, like one In the wind . . . by John Bishop 12 labeled “RENVO” that I was told could On Teaching by Gavin Black 15 mean that the organ was by Charles Mu- tin. The manuals comprise 56 keys and REVIEWS THE DIAPASON (ISSN 0012-2378) is published monthly the pedalboard 30 pedals. As I went be- Music for Voices and Organ 17 by Scranton Gillette Communications, Inc., 3030 W. Salt hind the organ, I looked into the Récit Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Book Reviews 18 division—it looked as if a bomb were set Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 ′ New Recordings 18 MSG RLY. E-mail:
Editor’s Notebook Here & There St. Paul’s Cathedral, London, On- and John Walker, music for four hands The Diapason newsletter each featured artist. If you would like to tario, Canada continues its weekly noon- and four feet; February 21, 2010, Donald Our electronic newsletter continues be featured in an Artist Spotlight, please hour organ recital series on Tuesdays at Sutherland and the Brass Roots Quintet; to evolve as we respond to readers’ com- contact me for information. 12:15 pm: November 3, Andrew Keegan April 18, John Walker and the Peabody ments. The newsletter includes various Mackriell; 11/10, Wayne Carroll; 11/17, Percussion Ensemble. For information: news items, some too late to appear in 100th anniversary issue Ann-Marie MacDairmid; 11/24, Angus
NOVEMBER, 2009 3
Nov 09 pp. 2-19.indd 3 10/12/09 2:03:18 PM Bach Vespers. For information: Scott December 13, Christmas in the Ameri- The Betts Fund of the University M. Hyslop, 989/652-6141;
Macy’s Symphonic Organ Camp
Six students at this year’s Philadel- 24 and was funded by a generous grant phia Summer Organ Camps at Macy’s from the Sansom Foundation. That grant and the Kimmel Center participated in was administered by Rudy Lucente and two weeks of lessons with Alan Morrison supported by Macy’s and the Friends of Choir of Christ Church Cathedral, Lexington, Kentucky, at Lincoln Cathedral, U.K. at the Fred J. Cooper Memorial Organ the Wanamaker Organ. Curtis Institute in Verizon Hall and Peter Richard Con- professor Alan Morrison is the instruc- The combined Men and Boys and Ca- song and a Choral Eucharist featuring te at the Wanamaker Organ at Macy’s. tor at the Kimmel Center Teen Summer thedral Girls Choirs of Christ Church music of British and American com- Pictured at the Wanamaker Organ with Arts portion of the program. Participants Cathedral, Lexington, Kentucky sang a posers. The choir is pictured here in Conte (l to r) are Deniz Uz, Bryan An- are chosen from recommendations made ten-day residency at Lincoln Cathedral, Lincoln under the façade of the 1898 derson, Michael Hey, Griffi n McMahon, by music teachers nationally. Portions of England, July 10–19 under the direc- “Father” Henry Willis organ. Assistant Caroline Robinson and Karen Chris- their recitals aired on the Friends of the tion of Canon Musician Erich Balling. organist Schuyler Robinson served as tianson. The Macy’s portion culminated Wanamaker Organ Hour on Philadel- The choir sang daily services of Even- tour organist and accompanist. in a concert in the Grand Court on July phia’s WRTI-FM.
4 THE DIAPASON
Nov 09 pp. 2-19.indd 4 10/12/09 11:20:39 AM pointed Director of Music Ministries at Clavier-Kunst und Vorraths-Kammer of Appointments Lititz Moravian Church in Lititz, Penn- Johann Heinrich Buttstett. He leaves sylvania. Cooper will direct the 40-voice the positions of minister of music at St. choir and play the organ for the services. John’s Episcopal Church in Plymouth, He will also oversee the church’s two or- Michigan, and adjunct professor of or- gans built by David Tannenberg. Lititz gan at Eastern Michigan University in Moravian Church was Tannenberg’s Ypsilanti, Michigan. church, and his shop was located just across the street. The American Boychoir School of Cooper has announced that Volume 2 Princeton, New Jersey announced the of Old Pennsylvania-German Organs has appointment of Frederick M. Meads, been released and is now available from Jr. to the position of Director of Vocal the Organ Historical Society catalog. Studies. He will train choristers of the This CD recording features the David school through private instruction and Tannenberg organ in Madison, Virginia, group voice classes as well as vocal tech- as well as the three surviving organs of nique and music theory and will prepare Conrad Doll and the George Krauss or- the fi rst-year choristers in the Training gan in Huff’s Church. For information: Choir for the concert choir.
Tong-Soon Kwak David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Organist Organist/Choral Conductor/ Organist/Pianist/ Organist Organist/Pianist/Harpsichordist Professor of Organ Oratorio Accompanist Recording Artist 2004 NYACOP Winner Associate Professor of Organ College of Music Director of Music/Organist Senior Lecturer, Organ Faculty Associate Professor of Organ Grieg Academy of Music Yonsei University First United Methodist Church Oulu Polytechnic School of Church Music Bergen, Norway Artistic Director Columbus, Indiana Organ and Violin Southwestern Baptist Torch International Organ Academy with Manfred Grasbeck Theological Seminary Seoul, Korea Helsinki, Finland Fort Worth, Texas
Scott Montgomery David F. Oliver Larry Palmer Gregory Peterson Stephen Roberts Organist/Presenter Organist/Lecturer/Recording Artist Harpsichordist/Organist Organist Organist/Harpsichordist/Lecturer 2006 NYACOP Winner College Organist Professor of Harpsichord and Organ College Organist and Instructor of Organ Director of Music Ministries/Organist Director of Music Ministries Meadows School of the Arts Assistant Professor of Music Western CT State University Holy Cross Catholic Church Dr. Martin Luther King Jr. Southern Methodist University Luther College Director of Music Champaign, Illinois International Chapel Dallas, Texas Decorah, Iowa St. Peter Church Morehouse College Danbury, Connecticut Atlanta, Georgia
Brennan Szafron Elke Voelker Eugeniusz Wawrzyniak Artis Wodehouse Duo Majoya Organist/Harpsichordist/ Organist/Recording Artist/ Organist Pianist/Harmoniumist/ Organists/Pianists/ Accompanist Lecturer/Conductor Organist of Notre Dame de Miséricorde Reed Organist/Recording Artist Lecturers/Recording Artists Organist and Choirmaster Organist and Choirmaster President of the concert association Director of Music Marnie Giesbrecht Episcopal Church of the Advent The UNESCO Heritage “Automne Musical de Marchienne” The Unitarian Joachim Segger Spartanburg, South Carolina Imperial Cathedral of St. Mary Piano & Organ Instructor Universalist Congregation Professors of Music Speyer, Germany Charleroi, Belgium Montclair, New Jersey U of Alberta, King’s U Edmonton, AB, Canada
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
NOVEMBER, 2009 5
Nov 09 pp. 2-19.indd 5 10/12/09 11:21:05 AM as the Wanda L. Bass Chair of Organ at a newly formed Schola Cantorum, and NEH for his/her participation. For infor- Oklahoma City University, adjunct organ the Perkins and Wells Memorial Organ, mation: 937/229-4229,
(l to r) Ronald Ebrecht, Blair Laurie, Seth Hafferkamp, Lana Lana, Ann-Marie Ills- ley, Emily Iversen, Ben Bernstein, Sayre Sundberg, Matthew Sellier, and Alan Rodi (photo credit Janet Parks)
Ann-Marie Illsley, a senior at Wes- of the Wesleyan organ studio gathered leyan University, Middletown, Connecti- for her performance. Pictured are Ron- cut, gave the annual fall recital at the ald Ebrecht (Wesleyan University Or- Higganum Congregational Church, Brian ganist), Blair Laurie, Seth Hafferkamp, Parks, director of music. Her program on Lana Lana, Ann-Marie Illsley, Emily September 20 included works by Bach, Iversen, Ben Bernstein, Sayre Sundberg, Buxtehude, Ives, and Vierne. Members Matthew Sellier, and Alan Rodi.
6 THE DIAPASON
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150 Locust Street, P. O. Box 36, Macungie, PA 18062-0036 Phone: 610-966-2202 • Fax: 610-965-3098 • E-mail: [email protected] Web site: www.allenorgan.com tute of Music, where he studied organ On September 25, Scott McNulty, a At his annual recital on the largest organ with Alan Morrison and piano with Su- master’s degree student in organ perfor- in Catalonia, at the Basilica in Mataro, san Starr, and received the institute’s two mance under Judith Hancock at the Uni- Spain, he regularly draws an audience of highest awards at graduation: the Landis versity of Texas at Austin, performed his over a thousand. Award for Excellence in Academics and master’s recital on the Visser-Rowland At the age of eleven, Ramírez became the Aldwell Award for Excellence in Mu- organ in the Bates Recital Hall on the fascinated by the organ in a local church sical Studies. university campus. McNulty performed and for the next fi ve years taught himself Upcoming and recent performances works by Leighton, Böhm, Rheinberger, to play, while pursuing all the informa- include major venues in the United Bach, Hancock, Rorem, Widor, and tion he could fi nd about the instrument States and Europe: Girard College Cha- Weaver, and improvised on a submitted in libraries. When he enrolled at Sala- pel (Philadelphia, PA), in the closing theme. A reception followed. manca University to study philosophy, he event of the 2007 national convention of came across the ideas of the great Roma- the American Institute of Organ Build- nian conductor Sergiu Celibidache and ers; Jacoby Symphony Hall (Jackson- decided to devote his life to music. He ville, FL); Spivey Hall (Morrow, GA), a studied piano with Leonid Sintsev at the performance subsequently broadcast on Rimsky-Korsakov Conservatory in St. Pe- Minnesota Public Radio’s Pipedreams; tersburg, organ with Ludger Lohmann at the Spreckels Organ Pavilion in Balboa the Hochschule für Musik in Stuttgart, Park (San Diego, CA); and the 2009 na- and participated in masterclasses with tional convention of the Organ Historical Marie-Claire Alain, Guy Bovet, Lionel Society (Cleveland, OH). Rogg, Eric Lebrun, Zsigmond Szath- Enos Shupp At the Kimmel Center’s Verizon Hall máry, and Luigi Ferdinando Tagliavini. (Philadelphia), Laube has appeared as Ramírez has performed with the for some 40 years and also produced or- a solo recitalist, as organ soloist for the Spanish National Orchestra, the Castilla gan recordings of theatre organist Leon- 2008 “Sing-Along Messiah,” and with y Leon Symphony Orchestra, and the ard “Melody Mac” MacClain for Co- the Philadelphia Orchestra, with which National Spanish Choir. He was the or- lumbia Records. Shupp presently writes he traveled several times to Carnegie ganist for, and an actor in, a fi lm featured concert reviews for the Friends news- Hall, most notably to perform Mahler’s at over 300 cinema festivals around the letter, The Stentor, and for Delaware’s Symphony No. 8. Other venues include world in 2008. His fi rst two compact disc Dickinson Theatre Organ Society. St. Bartholomew’s Church and Trinity releases on the Actus label in autumn Shupp joined the AGO in 1932 when Church, Wall Street (New York City), 2009 were recorded at Santiago de Com- he was 16, held several offi ces and is still Princeton University Chapel, Fourth postela in Spain and at Milan Cathedral quite active. Shupp recalled how he once Presbyterian Church (Chicago, IL), Raúl Prieto Ramírez in Italy. For information: played the Wanamaker Organ when Ocean Grove Auditorium (Ocean Grove,
Cherry Rhodes (photo by David McCleary)
Cherry Rhodes is featured on a new recording, Cherry Rhodes Live, on the Pro Organo label (CD 7231, $17.98). Ruth Watson Henderson and Maxine Recorded on the Berghaus organ at Thevenot Queen of All Saints Basilica in Chicago, the program includes works by Bach, Maxine Thevenot performed and lec- Lidón, Dupont, Mader, Fleury, Mozart, tured for the AGO regional conventions Hopkins, and Gigout. in Albuquerque-Santa Fe and Seattle. Marty Robinson, Mary Thornton, Jared Stellmacher, Ryan Albashian, Joanne West Cherry Rhodes, a graduate of the The Seattle performance took place on Peterson, Ellie Thomas, Daniel Steinert and Mark Bloedow Curtis Institute in Philadelphia, is the July 1 at Christ Church Cathedral, where fi rst American to win an international she gave the world premiere of Iain Current and former students of sanctuary’s 1911 Casavant organ, Opus organ competition (Munich). She is ad- Quinn’s Suite Liturgica on the recently Joanne West Peterson presented a 469. Performers, pictured with Joanne junct professor of organ at the Thornton installed Hellmuth Wolff organ. She then gala concert at First Congregational Peterson, were Marty Robinson, Mary School of Music, University of Southern performed concerts at Niederndodeleben Church, Oshkosh, Wisconsin, in celebra- Thornton, Jared Stellmacher, Ryan Al- California. In July 2006, as the AGO na- (German debut); Oxford’s Town Hall; St. tion of Peterson’s 40th anniversary as the bashian, Ellie Thomas, Daniel Steinert tional convention in Chicago was draw- Michael and All Angels, Croydon; West- church organist. The program included and Mark Bloedow. ing to a close, Rhodes gave a recital on minster Abbey, London; Notre Dame, music for organ, piano, and trumpet. A two-disc recording of the complete the new Berghaus organ at Queen of All Paris; and Chalmers-Wesley United Panoply for Two Trumpets and Organ, concert is available through the church Saints Basilica in Chicago. The program Church, Quebec City, Canada. composed for the occasion by University for $20.00 postpaid: First Congrega- was recorded before a live audience in She also presented a lecture-recital of Wisconsin Oshkosh professor Marty tional Church, 137 Algoma Blvd., Osh- concert. For information: 866/927-3923; on post-1950 Canadian organ music for Robinson, received its premiere. Or- kosh, WI 54901; for further information: 8 THE DIAPASON Nov 09 pp. 2-19.indd 8 10/12/09 11:21:54 AM son. Her program at Notre Dame, Paris, a for-profi t company under the aegis of featured the French premiere of Toten- Here & There a not-for-profi t organization, Anchor-In- tanz by UK composer Martin Stacey. ternational Foundation, which Torrence Thevenot is the 2009–2010 acting di- & Yaeger founded in 1997. rector of cathedral music and organist at The Royal School of Church Music When Trinity Church Wall Street the Cathedral of St. John, Albuquerque, (RSCM) has published a supplement to lost the use of four organs on Septem- NM (during the director of music’s sab- the RSCM Carol Book. The RSCM Carol ber 11, 2001, Owen Burdick, organist batical leave), and lecturer at the Uni- Book Supplement has been compiled by and director of music, designed a virtu- versity of New Mexico. For information: the same editorial team: composers and al instrument for the church. Torrence Exquisite PIPE ORGAN COMPANY Continuo Organs 800.382.4225/Bedientorgan.com St. Peter’s Square London E 2 7AF • England [t] 011 44 20 7739 4747 RONALD CAMERON BISHOP [f] 011 44 20 7729 4718 Consultant [email protected] Pipe Organs Digital Enhancements www.mander-organs.com All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Imaginative Reconstructions Tel 716/326-6500 Fax 716/326-6595 10 THE DIAPASON Nov 09 pp. 2-19.indd 10 10/12/09 11:22:30 AM Rodgers Instruments Corporation A member of the Roland Group 1300 NE 25th Avenue Hillsboro, Oregon 97124 503.648.4181 · 503.681.0444 fax Email: [email protected] www.rodgersinstruments.com tin, Casavant, Möller, Reuter, Schantz, Looking Back Schlicker, Tellers, Wicks 75 years ago, November 1934 10 years ago in the November 1999 W. W. Kimball builds 4-manual organ issue of THE DIAPASON for Pretoria, South Africa Town Hall Cover: Muller Pipe Organ Company, George Kilgen & Son builds 2-manual Trinity Episcopal Cathedral, Little Rock, organ for St. Anne’s Catholic Church, AR Wellington, New Zealand Marie-Claire Alain receives AGO’s News of Palmer Christian, Donald Le Lifetime Achievement Award Roy Coats, Charles M. Courboin, Clar- AGO receives $500,000 bequest from ence Dickinson, Herbert A. Fricker, the estate of Gordon Young Virgil Fox, Frank B. Jordan, Charlotte Larry Visser appointed Minister of Lockwood, J. Parnell Morris, Carl F. Music, LaGrave Avenue Christian Re- Mueller, Renee Nizan, Günther Ramin, formed Church, Grand Rapids, MI Stanley E. Saxton, R. Deane Shure, Thomas R. Vozzella appointed Music Frank W. Smith Minister, St. Paul’s Episcopal Church, Organs by Aeolian-Skinner, Aus- Franklin, TN tin, Casavant, Estey, Kilgen, Kimball, “The north German organ school of Möller the Baroque,” by Paul Collins “SEHKS Conclave in London,” by Lilian P. Pruett New Organs: Dobson, R. T. Swanson In the wind . . . The Ambassador, the President, and the Organ Guy 25 years ago, November 1984 by John Bishop these churches is dedicated to an event Cover: Andover Organ Company, of Christian martyrdom. For example, Meredith College, Raleigh, NC the church FJKM Ambonin Ampamari- Maria Moshinskaya-Wagner wins Is your refrigerator running? nana translates as “the stone church of Gruenstein Memorial Contest There’s an urban legend that tells us the hurling cliff,” the cliff being the site Brian Swager wins Chicago AGO stu- that Alexander Graham Bell placed the where Christians were thrown to their dent competition fi rst phone call because he had spilled deaths. President Marc Ravalomanana, Brian Jones appointed director of mu- acid or some other chemical on his who in addition to his duties as President sic, Trinity Church, Boston workbench. He used the device he was of the Republic was also Vice President John G. Marberry appointed organist, tinkering with to call for help: “Mr. Wat- of the FJKM, had preached a sermon Cathedral of St. Paul (R.C.), Birming- son, come here. I want to see you.” That during which he pointed to the ambas- ham, AL sentence has joined a long list of famous sador and said, “Mr. Ambassador, I want Timothy McKee appointed director of utterances, both famous and infamous. you to go back to America and fi nd a pipe music, Irvington Presbyterian Church, Neil Armstrong’s “That’s one small step organ for this church.” Irvington, NY for man,” John Kennedy’s “Ask not what They invited me to visit Madagascar Susan Randall appointed assistant you can do for your country . . . ,” Thom- in June, concurrent with an international professor of organ, Houghton College, as Edison’s voice on the fi rst scratchy re- conference hosted by the president, and Houghton, NY cording, “Mary had a little lamb . . . ,” the announcement of the Madagascar Larry Reynolds appointed music di- and Franklin Roosevelt’s “The only thing Action Plan (MAP)—a major effort to rector, St. Stephen the Martyr, Edina, we have to fear is fear itself” have gath- improve living conditions in this poor- MN ered as an historical list of world-chang- est of nations. I learned a new standard John Cook died August 12 ing sentences. for planning. What would be the longest “The Pedal Piano, Part II,” by Karrin I don’t suppose it was long after Mr. and most exotic trip of my life had only Ford Watson ran to the next room having the sketchiest of plans. I received an air- “The Chorale Preludes of Helmut received the fi rst telephone call that line itinerary that would get me there, Walcha,” by David Burton Brown some wag came up with the idea of the but there was some problem schedul- New Organs: Casavant Frères, Hen- crank call: “Is your refrigerator run- ing a return trip. I now know it’s routine drickson Organ Company, Prestant Pipe ning?” “You’d better go catch it.” Gosh, to make your return plans once you get Organ Builders, Jan van Daalen as teenagers we thought that was funny. there and can work directly with a local That’s what went through my mind as I travel agent, but as someone who travels 50 years ago, November 1959 answered a phone call in early February extensively and frequently, I’ve devel- Heinrich Fleischer appointed to the 2008. A strongly accented voice came oped deep habits of planning my trips so University of Minnesota on the phone saying, “My name is Zina as to avoid surprises. I don’t want to ar- Paul E. Koch appointed to First Meth- Andrianarivelo. I’m Ambassador to the rive at a hotel late at night to fi nd there’s odist Church, Springfi eld, IL United Nations from Madagascar.” Of no reservation in my name, I don’t want Adolph Torovsky honored for 40th an- course you are, and I know exactly that to have to improvise how to get from air- niversary at the Episcopal Church of the my refrigerator is right where it belongs. port to hotel, I don’t want to be fumbling FJKM Ambonin Ampamarinana (The Epiphany, Washington, DC And organbuilders get phone calls from for directions, phone numbers or any of Stone Church of the Hurling Cliff) Camil Van Hulse honored by Southern African ambassadors all the time. What’s the myriad details involved in the effi - Arizona AGO the big deal? cient management of even the simplest an aisle seat, but while I expect most James Hopkirk elected president of the It was not a crank call. The ambassador domestic business trip. So my friends readers of The Diapason who have fre- RCCO told me that his president had asked him and family were as astonished as I was quent fl ier miles on Air France got them News of Gordon Black, Jessamine Ew- to fi nd out how to bring American organs when I boarded an Air France 747 in from fl ying between a major American ert, Virgil Fox, Robert W. Glover, David to his country. Could I come for lunch? Paris for the non-stop fl ight to Antanana- city and Paris, I can tell you that the air- N. Johnson, Franklin E. Perkins, Phyllis A couple weeks later I met the ambas- rivo without knowing who would meet line does not use the same equipment Stringham, Phillip Treggor, Wilmer H. sador at a restaurant a few blocks from me at the airport, where I would be stay- to fl y to Antananarivo as to JFK in New Welsh, Stanley Williams the United Nations. He explained to me ing, or when I would be returning. All I York. The plane creaked and groaned, the “Articulation—The Role It Plays in Or- that the central churches of the Church knew was that the ambassador would be fl oor squeaked, and I imagined we were gan Performance, Part 2” by Klaus Speer of Jesus Christ of Madagascar (FJKM) in Madagascar when I arrived. He told leaving a trail of rivets across the African “Why Is Today’s Organ Writing No were approaching an important anniver- me everything would be arranged. continent—something like Gretel’s trail Better?” by Wesley Morgan sary. It would soon be 140 years since the of bread crumbs? We were to arrive at “Acoustical Bases Govern Harmony at four stone churches were built along the If you say so midnight, and I remember sitting in that the Organ,” by Charles Naylor ridge of hills that dominate the landscape It’s an eleven-hour fl ight and the plane plane wondering—and worrying—about Organs by Aeolian-Skinner, Aus- of Antananarivo, the capital city. Each of was jammed. I was lucky enough to have just what I would fi nd. Atlanta First United Methodist Church A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church are pleased to announce the recent com- pletion and dedication of their new pipe organ. This instrument features a 5-manual console and 93 ranks of pipes in 9 divisions. The complete specification is available at www.pipe-organ.com for this and other pro- jects. A.E. Schlueter Pipe Organ Co. P.O. Box 838, Lithonia, GA 30058 800-836-2726 www.pipe-organ.com 12 THE DIAPASON Nov 09 pp. 2-19.indd 12 10/12/09 11:22:55 AM Going down the stairs to the tarmac, I spotted my name on a sign (whew!) held by a handsome young man with an ID card hanging from his neck that identifi ed him with the offi ce of the President of the Republic. We were quickly joined by a half-dozen very heavily armed military police who whisked me around customs and into a VIP lounge. They asked for my passport and claim tickets for my luggage and offered me a drink. Two minutes in the country, and I was drinking good Brit- ish gin. They gave me a cell phone with the ambassador’s number programmed— I was to call. He welcomed me and told me he’d meet me in the hotel lobby at eight-thirty in the morning. It was a deluxe four-star hotel owned and operated by a French company. (Madagascar was a French colony until 1960.) My reservation was in the name of the President of the Republic and Five-foot-tall lemur, Andasibe National there was a beautiful fruit basket wait- Park Hook & Hastings organ passing a herd of xebu ing in my room. Ambassador Zina set me up with a car send. We would install it in the church site called AHIGHER L EVEL of E XCELLENCE CLAYTON ACOUSTICS GROUP Great musicians need extraordinary instruments 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] to deliver magnificent performances. www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP 14 THE DIAPASON Nov 09 pp. 2-19.indd 14 10/12/09 11:23:24 AM lief on several things: the large size and instrument as such, perhaps their love for great diversity of the repertoire; the fact organ sound. Some will also talk about On Teaching that any student works better—and any something in their life experience, may- by Gavin Black performer, no matter how accomplished, be some involvement with the church or plays better—when he or she really likes with church music. But most will also talk and cares about the music involved; and about repertoire. They will say that they that it is better—more interesting—for have always loved Bach, or Baroque mu- the world as a whole if organists learn sic, or that they are fascinated by French and play as wide a variety of pieces as Romantic or twentieth-century music. possible, rather than all focusing on a I have had students, at this early stage, narrow “standard” repertoire. mention something very specifi c and un- This month I want to address some usual: Messiaen, for example, or Rorem, ways of implementing this philosophy. or the Couperin organ Masses. Letting students work on the music that If this question does not evoke any they really want to work on does not, of response about repertoire, then it is a course, mean just coming to lessons with good idea to ask more specifi c, targeted no ideas about repertoire: just shrugging questions: What music have you worked the shoulders and saying “work on what- on in the last couple of years (for existing ever you want.” That would be abdicat- organists)? What organ music have you ing our responsibility to help students heard that you like (for new organists)? fi nd out what it is that they might like or What non-organ music have you played want to work on. The point is to fi gure by organ composers? What music do out how much help each student needs you like to listen to? Have you worked in exploring the repertoire, and then to on any pieces that you found frustrating? offer that help in a way that is maximally Why were they frustrating (if you know)? helpful and minimally coercive. That way One of the most fruitful questions of all we will never lose the advantages created is “What piece is it your dream to work Repertoire, part 2 by the student’s own intense involvement on?” Or, to put it another way, “What Jungle travel—the trunkated version Last month’s column was in large part with the music. piece would you love to work on right an argument in favor of letting students now, but you assume that it is too hard?” the only example of Gothic architecture work on whatever music they want to Determining what to study These are all questions that can, of in northern Thailand, and now there will work on: that is, not believing that it is It can be very productive to start the course, be asked and explored at any soon be an American pipe organ added necessary for a student’s development fi rst session with a new student by ask- time, not just at the fi rst lesson. Such to the life of this active school. that he or she work on any particular ing a question more or less like this: “why a discussion will tell the teacher a lot I lectured three classes of high school piece or pieces, or on any particular are you interested in studying organ right about the student’s relationship to the students of the Gifted English depart- subset of the repertoire. I base this be- now?” Many students will talk about the repertoire and will give the teacher spe- ment, sharing with them the history of the organ. I lectured the graduate inter- national class of the McGilvary Seminary ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD of Payap University, comprising students DOBSON CASAVANT FRERES from Laos, Vietnam, Cambodia, and Thailand. And I was treated to about twenty-fi ve of the best meals I’ve ever eaten. I’m not writing about • The hour-long elephant ride through the jungle, and how elephant camps have been established to sustain the beasts left unemployed by recent mechanization of the logging industry, BOODY TAYLOR • The demonstration of traditional Thai dance given by students at a Friday- night banquet, • The visit to an 800-year-old Buddhist temple on a mountaintop overlooking the Pipe Organs - city of Chiang Mai, • The beautiful set of Celadon ce- ramic tableware (six big place settings) I brought home for $125.00, DYER R. • The mystery of a parliamentary monarchy in which the prime minister Not is appointed by a privy council that is in turn appointed by the king, and the hush-hush of the Thai when it comes to Snob Appeal, talking about the king, • The spectacle of 6,000 day students GARLAND FISK coming and going from the inner-city campus every day, • The little lizards that scoot across restaurant ceilings, prized for their vora- but cious appetite for mosquitoes, FRITTS • The brilliantly ornamented tropical birds fl ying in both the jungle and the Mass Appeal. city streets, • Or the exquisite politeness and re- spect of the Thai people toward foreign guests and toward each other (I was star- tled by returning to the American tone of voice in airports in Chicago and Boston on my trip home). GOULDING & WOOD In the past twenty-four months, the Organ Clearing House has shipped or- gans to New Zealand, China, and Bo- livia. We’ve sent the fi rst Skinner organ to Germany (Germany’s fi rst Hook or- gan has been in place for more than ten years) and the fi rst Hook & Hastings to Pipe Organs Are for Everyone! Madagascar. I’ll let you know when we have the plan in place for our shipment to Thailand, and if you know a church that needs an organ, let me know. We’ll go anywhere. Q QUIMBY REDMAN SCHANTZ SCHOENSTEIN & HENDRICKSON To receive information about pipe organs THE WANAMAKER ORGAN and recognized pipe organ builders Listen to it worldwide AP write or call toll free 1-800-473-5270 over the Internet! or on the web @ www.apoba.com PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America Hourlong streamcasts O BA P.O. Box 155 • Chicago Ridge, Illinois 60415 are featured at 5pm ET the first Sunday of OTT OTT PARSONS each month at wrti.org NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP NOVEMBER, 2009 15 Nov 09 pp. 2-19.indd 15 10/12/09 11:23:49 AM cifi c answers to specifi c questions: what sic desk—of course you should work on feels about it and taking into account side of this street. It can actually free music the student likes, already knows it now!” Her morale and her level of in- some of the suggestions below—then a student up to try more things—both about, is interested in. It can be even terest and commitment shot up through it is important to explain to the student things that are more diffi cult and things more important, though, for the teacher the roof right away. She reported on this why the piece is not right, what you and that are unfamiliar or even unappealing to read between the lines. Does the stu- glowingly, to me and to others. This was he or she can work on to get ready for at fi rst—if the student knows that it is dent have strong opinions about music? what fi rst convinced me that it was im- that piece, and, if possible, how long that OK to re-evaluate the decision to work Does he or she already know and talk portant for a student to love the music is likely to take. on something if that something turns out about a wide range of repertoire? Has that he or she was working on. It also If you and your student decide to go not to be rewarding. the student listened to or studied any impressed me a lot that an experienced ahead with a piece that seems, on paper, Sometimes a student will bring in non-keyboard music by organ compos- teacher was not afraid to encourage a too hard, then there are several ways to pieces that seem to be too easy. These ers? These are all things that can help new student to reach for something very structure the work on that piece to make are pieces that the student is interested a teacher make good judgments about challenging indeed. it indeed fruitful and appropriate. The in, but that the teacher fears would not how much guidance a particular student However, the question still is: what fi rst thing to do is to make sure that really help the student to learn anything: will need in looking for music, how much is and what isn’t too hard? Of course it the student understands that a too- that is, that they would not advance the prodding and suggesting might be neces- makes sense that any student should, in hard piece has to be allowed to take student’s facility or technique, or teach sary, or, on the other hand, how much the some sense, work on pieces that are of time. That is, in exchange for working any new skills. This is working the other student can be expected to use his or her an appropriate level of diffi culty. That on a diffi cult piece, the student must be side of the street. Pieces in this category own initiative. There are clues to look for is, pieces that are somewhat challeng- willing to be patient, to work hard, and can be used for relaxation, just to let beneath the surface. For example, if the ing—that stretch the student’s abilities to plan on not getting discouraged or the student have the pleasure of playing student talks about a composer and you out, that teach something new—but that bored if this one piece stretches out for something that is fun to play. This can be mention a related composer (Vierne to don’t create discouragement by being so months or longer. (My experience is that important for morale and for pacing one’s the student’s Widor, or Buxtehude to the hard that the feedback they give is only any number of months spent working efforts. However, it is also true that there student’s Bach—or vice versa) does the negative. If a student has no very par- well on one diffi cult piece will advance is nothing—literally nothing—that is so student respond with recognition or not? ticular ideas about what music he or she the student’s overall abilities at least as easy that it can’t teach something to any Does that conversation develop naturally wants to work on, then the teacher is free much as the same time spent working student or even to any advanced player. or does it—without a lot of teacher in- to take level of diffi culty into account in on several easier pieces. I don’t have any A piece consisting of a single middle c put—just fi zzle out? Does the student helping the student choose pieces. For trouble reassuring students about this.) held for a few beats (to reduce it to the know about the relationships between a new student, the judgment about this Second, it is important that the student absurd) could still afford an opportunity different kinds of organs and different matter can arise in part out of the kind of be willing to break the piece down in to work on touch, posture, relaxation, kinds of repertoire? Perhaps the most discussion described above. For an exist- ways that make it easier: in effect turn- breathing, listening to sonority and to important thing to look for is this: that ing student, the teacher will already have ing it into several, or many, easier pieces. room acoustics, and probably a lot more. which makes the student look animated, knowledge and context to go on. This means doing an especially good and Any piece can be used to work on those happy, excited, involved. Sometimes, however, a student sug- thorough job of some of the things that things and also on technical and psycho- It is not possible to say specifi cally and gests some music that the teacher sus- we should all do anyway with all of our logical performance values: accuracy, se- in advance exactly what a teacher can pects might be so diffi cult or so complex pieces: working on separate hands and curity, articulation, timing, rhythm, and learn or will conclude from these conver- that working on it would be at best un- feet; working on small sections; teasing so on. If a piece seems very easy, then sations. In some cases, nothing will come productive and at worst actually dam- out individual voices; practicing slowly; the student can take on the challenge of of all of this except that the student and aging. There are several ways to deal practicing even more slowly! Again, this playing it even better. teacher will get to know one another bet- with this. One way, of course, is to tell can be part of a deal with the student: ter—always a good thing. Sometimes the the student that the particular piece is you may work on this (too hard) piece Issue: Becoming well rounded teacher will both learn what music the inappropriate and should be postponed. that you love, but only if you will work on It is certainly important for a teacher student likes and begin to form a sense In spite of my emphasis on letting stu- it the right way. It is possible to consider to offer students help in the matter of of how to get the student interested in dents work on the music that they want a small section of a long diffi cult piece becoming well rounded—generally other music. The point is to start the to work on, I don’t believe that this is to be a piece in itself. The student can knowledgeable about the repertoire and conversation, pay close attention, and necessarily always wrong. To begin with, work on that section, and then student the instrument. There are two reasons see where it leads. there is certainly no reason not to tell the and teacher together can decide whether that I do not believe that the matter of The two practical issues that are of most student what you are thinking and to dis- going on to the next part of the piece is what pieces a student works on and plays concern regarding letting students them- cuss it. If it honestly appears to you, after the best way to use the student’s time, while studying is the crucial part of this selves decide what to work on are, fi rst this discussion, that your student would or whether it would be better to turn to process. (Of course, it is always part of of all, the problem of pieces that are too be just as happy working on something something else. the process.) One reason is that there is hard, and, second, the teacher’s responsi- else—perhaps something easier but mu- Here it is worth mentioning the “two- so much music in the repertoire that any bility to help (or perhaps even force!) the sically similar to the original piece—then way street” aspect of the act of working attempt to get to know all of it in a fairly student to become well-rounded. there is nothing wrong with proceeding on repertoire. We work on pieces, in short time will inevitably be just a token. that way. (However, it is important to part, as a way of helping us get better as The other is that a student who is taught Issue: What is too hard? remember that many students are reluc- players—more skillful, more versatile, how to listen carefully and open-mind- A friend of mine went, sometime tant to disagree [openly] with what the more confi dent. The pieces that we work edly and how to practice well will have a around 1980, for her fi rst meeting with teacher suggests, and that most students on are the fodder for this process. At the lifetime to explore the repertoire. There an eminent harpsichord teacher with will hide it if they are disappointed or same time, we strive to get more skill- is no hurry, and it is better for anyone to whom she was planning to study. Near discouraged. You as a teacher should re- ful, versatile, and confi dent so that we work on any given part of the repertoire the beginning of the lesson he asked her quire a fair amount of convincing that it can better play the pieces that we want at a time when he or she has become “What would you really like to work on?” is really all right with your student not to to play. A situation in which a student is genuinely interested in it. Her response was “Well, of course the work on whatever it is that the student working on a piece that he or she loves, If the repertoire that a student really Goldberg Variations, but I’m not ready has brought in. You should not assume that provides some challenges, and that wants to work on (with whatever amount for that, maybe never will be, it’s so hard, or accept this too readily.) If you are he or she can learn well and perform is of prodding or guidance from the teach- imposing, virtuosic, etc., etc.” And his convinced that a piece is categorically an ideal one. However, working on a sec- er seems helpful, but with no coercion) reply to this was “Put it up on the mu- too hard—regardless of how the student tion of a piece, even without ever going happens to cover quite a few different on to the rest of it, or working on aspects composers, from different time periods of a piece—just the pedal part, or just the and geographic areas, that is fi ne. How- separate voices, for example, or certain ever, even in that case it is not actually passages that present particular fi nger- true that the student has covered the ing issues—can be completely valid as a whole repertoire. In fact, the difference way of using repertoire to advance one’s between this student and one who has playing ability. It is wonderful to learn chosen to work on only German Ba- complete pieces—obviously utterly nec- roque music (as I did in graduate school) essary for anyone who wants to perform. or only Franck and Widor is small. It is However, it is not necessary to insist on not a difference worth pursuing at the fi nishing every piece that you start. It expense of any of the student’s sense of is all right sometimes only to work one joy and commitment. Specialists in Choral and Organ Music 2209 Crestmoor Road, Suite 220 Nashville, TN 37215 615-386-3542 § 800-851-9023 § 615-297-4291 Fax www.loisfyfemusic.com 16 THE DIAPASON Nov 09 pp. 2-19.indd 16 10/12/09 11:24:12 AM However, it is a very good idea for a simple villagers as Swiss mountaineers, teacher to help students to know what and although they protested, they be- repertoire is out there, and to offer came quite successful here in America. them a chance to fi gure out what might In England, handbell ringing is most be interesting to them. One of the best frequent in concert halls, but here it is in ways of doing this has always been to churches where the majority of the ring- get students to listen to a lot of music. ing occurs. One traditional story about Listening is easy and non-time-consum- the origin of handbell ringing is that vil- ing compared to practicing and learning lagers became tired of hearing the toll- pieces. In the past, the best way to talk ing of church bells in towers, especially about listening to a lot of organ music during the practice sessions, so it was would have involved mentioning record suggested that smaller bells be used and libraries or used record stores—also per- the practice be moved indoors. Bells haps friends with record collections, or were used in liturgical situations with organ concert series. These possibilities plainsong and early polyphony. Perfor- all still exist. However, recent technology mances have moved from a simple toll- has of course added to them. I will men- ing of a few bells, usually in fourths or tion a few Internet-based approaches to fi fths, as found in medieval scores/per- exploring the organ literature. Of course, formances, to more sophisticated and it is the nature of such things that these diffi cult settings with dissonant, full specifi c resources may vanish. But if so chords fi lled with exotic sounds created they may be replaced with others. with mallets, damping, muffl ing, swing- At the website NOVEMBER, 2009 17 Nov 09 pp. 2-19.indd 17 10/12/09 11:24:32 AM Sing to God a Simple Song, John Be Watchful, Be Ready, John Behn- and organ music in Jewish culture in miliar, but I found that it did not deter Leavitt. SATB and/or two-part voic- ke. Two-part and 3-octave handbells German-speaking lands. As one can well from my understanding or enjoyment of es, piano, and optional 2-octave or keyboard, Concordia Publishing imagine, it is a complex and sometimes the book. Tina Frühauf has been careful handbells (or handchimes), Con- House, 98-3665, $1.60 (M-). confusing history. to cover this extensive and complex fi eld cordia Publishing House, 98-3520, The choral parts are in treble clef for this Ms. Frühauf has laid out a path lead- in a methodical way. I am now eager to $1.25 (E). children’s choir anthem based on a I Cor- ing from Old Testament days, the use discover some of this music for myself. Here is an opportunity to join the inthians text. The fi rst tempo opens with of “pipes” in the Psalms, to the advent —Jay Zoller handbell choir with a children’s chorus, softly malleted repeated chords, which of the organ entering Christian worship Newcastle, Maine yet still keep the adult choir involved. set up a somewhat driving pulse for the and, therefore, being considered by the The adult music is easy with limited voices, who move at a slower pace above Jewish community as a Christian in- true four-part writing, and some of the the accompaniment. The music is not dif- strument. With few exceptions, namely two-part areas merely double the adult fi cult, yet has a sense of excitement. in liberal congregations in Vienna and New Recordings women’s music. The handbell music is Prague, organs did not appear in syna- very limited and always just a single-note Psalm 150, Bradley Ellingboe. SATB, gogues until 1810. From that time on, melody, which could be played by young organ (or piano) and optional hand- despite controversy between Orthodox Michael Harris Plays the Organ of ringers. Although the piano part is busy, bells, Neil Kjos Music Company, and Reform congregations, the use of St. Peter’s Church, Wandersleben, it is not diffi cult. 8987, $1.50 (M). organs continued to spread, initially be- Germany. Great European Organs, The handbell part is primarily chordal ing justifi ed because it helped congrega- No. 75, Priory Records compact disc Hosanna to the Son, Jody W. Lindh. and is included separately on the back tional singing. Ms. Frühauf discusses the PRCD 1001, 18 THE DIAPASON Nov 09 pp. 2-19.indd 18 10/12/09 11:25:02 AM brilliance without ever seeming harsh, city, so it might be easy to miss it. But rachord for good measure. Each subject which eventually subsides to passage- and at the same time gives the impres- now that the Schröter organ has been or motif is numbered or even noted as work in thirds. sion of being a much larger instrument discovered, I hope there will be more inverted or retrograde, making it easier The fi nal movements of the non-fugal than it actually is. On the next track of recordings made on it. I thoroughly rec- for students to analyze the piece. These, genre include no. 15, which is a Poco the recording we hear some of the softer ommend this one. however, are no mere textbook exercis- Allegro in two parts for LH on Choir fl ute and mutation voices of the organ in —John L. Speller es, but breathe a spirit of controlled yet Diapason supporting either the Great Johann Christoph Bach’s variations on St. Louis, Missouri individualistic progress. Diapason or the Swell, mainly a third an aria that was possibly written by Tele- The opening movements are more apart with frequent crossing, and no. 18, mann’s father-in-law, Daniel Eberlin. variable, no. 13 commencing with an another Poco Allegro in two parts, the This Johann Christoph was Bach’s cousin Andante in 3/2, no. 14 an Adagio with lower part, mainly in quarters or eighths, once removed, and is not to be confused New Organ Music plenty of rapid dynamic contrasts, and supporting fl orid fi guration descend- with Bach’s brother of the same name. 15 a Largo with the LH on Choir Diaps ing only rarely below middle C until the The character of these variations has a over which the Great Diaps yield to the closing bars. lot in common with Johann Pachelbel’s John Keeble, Select Pieces for the Swell in a higher register. No. 16 begins This set shows Keeble’s felicitous com- Chorale Variations on “Alle Menschen Organ, Volume 3, edited by Greg with RH 16th-note fi guration over an as- mand of the galant language, particularly müssen sterben.” Lewin. Published by Greg Lewin, cending half-note sequence, which then in the Duos, while also demonstrating The next work is Buxtehude’s Prae- £12.00, and available through NOVEMBER, 2009 19 Nov 09 pp. 2-19.indd 19 10/12/09 11:25:22 AM Summer Institute for French Organ Studies 2009 Gregory Peterson tart with two world experts on French 8′ Trompettes and the Clairon complete Sorgan building and organ music, add the division. The Positif de Dos, based seven qualifi ed, eager American organ- on an 8′ Montre, contains the usual ple- ists, stir them together with extant ex- num, mutations, and Cromorne. In ad- amples of the fi nest French organs, and dition, there is an 8′ Trompette, Clairon let steep for a couple of weeks in the and Voix Humaine. The third manual rich culture of Bordeaux and Epernay, contains the Bombarde 16′ and Gros France. This is the recipe for the Sum- Cromorne 8′. According to Gene Bedi- mer Institute for French Organ Stud- ent, this could be the fi rst Bombarde di- ies (SIFOS). Since 1986, organ builder vision in France, as there was not much Gene Bedient of Lincoln, Nebraska and use of this division before 1750. The Jesse Eschbach, Professor of Organ and Récit is a short keyboard of 32 notes, Chairman of the Keyboard Division at with a Cornet V and Trompette 8′. This the University of North Texas School of chest has the expressive Tremblant doux Music, have teamed up to direct this bi- and raucous Tremblant fort. The Echo ennial seminar. It is not your grandmoth- is also a shorter keyboard of 39 notes er’s recipe for the typical European organ containing a Cornet V. The pedalboard tour, however, where a large group trav- is extended down to F, known as the ra- els from instrument to instrument with valement for exciting, thunderous pedal minimal opportunity to play. Instead, a effects from the Bombarde 16′ and select group of performers and schol- fi rst and second Trompettes. The divi- ars is given the chance to delve deeply sion also contains a Clairon, 16′ Flûte, into the appropriate repertoire for each 8′ Metal Flûte, 8′ Wooden Flûte, and instrument through masterclasses and Flûte 4′. Shove couplers allow the Posi- individual practice time, culminating in tif and Bombarde to be coupled to the a group recital, open to the public, at the Grand-Orgue. All of this—plus a gener- end of each week. ous acoustic of four to fi ve seconds’ re- Participants in this year’s course were verberation—made for a most satisfying Michael Chad Leavitt, student, Manhat- performance of repertoire selected by tan School of Music, New York; Gregory Jesse Eschbach, including excerpts from Peterson, Assistant Professor of Music François Couperin’s Messe pour les cou- and College Organist, Luther College, vents (Kyrie, Elevation–Tierce en taille Decorah, Iowa; Patrick Allen Scott, stu- and Offertoire); the Tierce en taille, dent, University of Texas, Austin, Texas; Basse de Trompette and Grand jeu Timothy Wissler, organist, children’s from Livre d’Orgue of Pierre DuMage; choir director, Cathedral of Christ the En taille, Fugue [à cinq], Récit de Cro- King, Atlanta, Georgia; Marilyn Witte, morne and Dialogue sur les Grands Cantor, Lutheran Church of the Good Jeux from Veni Créator by Nicolas de Shepherd, Lancaster, Pennsylvania; Grigny; and two Noëls by Jean-François and Andrew Yeargin, student, Manhat- Dandrieu, Il n’est rien de plus Tendre tan School of Music, New York. Elaine and Allons voir ce divin Gage. Mann, director of music, Grace Lu- theran Church, Eau Claire, Wisconsin, Lectures and masterclasses joined the group for the second week. An anteroom in the gallery, con- taining an historical exhibit with large First week posterboard illustrations from L’Art Sainte-Croix Church, Bordeaux Façade of the 1741 Dom Bédos, Ste. Croix, Bordeaux du Facteur d’Orgues by Dom Bédos, The group gathered on Sunday, May provided suffi cient space for the daily 24, in Bordeaux, a cosmopolitan port morning lectures. Gene Bedient cov- city on the Garonne River approximate- ered wind systems and key action in ly 300 miles southwest of Paris. With a classical French organ building, as well population of one million, Bordeaux is as pipework, tonal issues, and tempera- the seventh largest metropolitan area in ment in the 17th and 18th centuries. France and is the capital of the Aqui- Under his guidance, participants were taine region and a major wine-produc- able to crawl into the immaculately ing center. This beautiful, historic city clean case and hand-pump the organ’s was described by Victor Hugo as a com- six bellows. It was interesting to note bination of Versailles and Antwerp. Lec- the subtle change in the organ’s sound tures, masterclasses, practice sessions, when hand-pumped as opposed to us- and the public recital took place at the ing the electric blower. And it was quite Sainte-Croix Church, on the site of a an aerobic workout to boot! 7th-century abbey. The current struc- Jesse Eschbach lectured on French ture with its Romanesque façade was post-Classical style and registration in built in the late 11th to early 12th cen- France pre-1665 and 1665–1710. There turies and boasts a magnifi cent organ was much fascination with the Grosse 1 from 1741 by Dom Bédos, meticulously Tierce 3 ⁄5′ and its musical application. It restored in 1997 by the French organ was used for the bass or left hand, com- builder Pascal Quoirin. Every aspect of bined with the 16′ Bourdon and 8′ fl ute. the instrument—winding system, key Professor Eschbach also addressed the and stop action, pipe restoration and use of notes inégales and ornamenta- replacement, casework—was restored tion, pointing out that ornamentation is with the utmost care and concern for a product of what the organ will invite, historical accuracy. This famous instru- depending upon which division is be- ment is known throughout the city and ing played, how much air is in the pipe is a source of much local pride. It was channel, the registration, and acoustics, not uncommon to hear “Oh, the Dom as well as the performer’s bon goût. The Bédos” exclaimed by a local after be- correct use of ornamentation in French ing introduced as an organist visiting music can often bring fear and trepida- the city. tion to the performer. Professor Esch- bach’s helpful explanation encouraged Dom Bédos fi ve-manual organ spontaneity and improvisation as a way A unique aspect of the fi ve-manual to bring local surface detail to the per- Dom Bédos instrument at Sainte-Croix formance. Multiple handouts enhanced is the 32′ plenum of the Grand-Orgue. the lecture material. Dr. Eschbach’s The 32′ Bourdon lays the foundation for knowledge and passion for this music the searing Grand Plein-Jeu of this post- was also in evidence during each of the classical organ, building up through the late morning masterclasses, where his 16′ Montre, 8′ Montre and Second 8′ expert teaching motivated everyone to Montre, Prestant, Doublette, Grosse move ahead in their interpretation and Fourniture and Grand Plein-Jeu of 13 understanding, resulting in a stylisti- ranks. In addition to the customary cally informed and aesthetically pleas- Nazard and Tierce, there is a Gros-Naz- ing recital. 1 1 ard of 5 ⁄3′ and a Grosse Tierce of 3 ⁄5′, a Pentecost is celebrated as a national late addition to the French Classical or- holiday in France, and it was fortu- gan, after 1690. The Grand Cornet, two Abbey Church of Ste. Croix, Bordeaux itous that the birthday of the Christian 20 THE DIAPASON Nov 09 pp. 20-23.indd 20 10/12/09 11:26:11 AM SIFOS 2009 group photo (l to r): Jesse Eschbach, Chad Leavitt, Marilyn Witte, Patrick Scott, Kevin Yeargin, Tim Wissler, Greg Peterson, Gene Bedient Andrew Yeargin, Patrick Scott, Chad Leavitt and Gregory Peterson view the Orgue de Choeur in the apse of Ste. Croix, Bordeaux Récit expressif Also three manuals and pedal, this later 8′ Flûte traversière instrument has a few more mutations 8′ Viole de gambe and small pipes, perhaps showing the 8′ Voix céleste 4′ infl uence of Alexandre Guilmant. Both Flûte octaviante instruments are typical in the layout of 2′ Octavin 8′ Trompette the tirasses, ventils and coupler pedals, 8′ Basson-Hautbois and employ a Barker machine, the pneu- 8′ Voix Humaine matic lever to assist the playing action of the coupled Grand-Orgue, developed by Pédale Charles Barker and fi rst used to great 16′ Contrebasse success by Cavaillé-Coll in his 1841 in- 8′ Basse strument at Saint-Denis, Paris. 4′ Flûte 16′ Bombarde 8′ Trompette Lectures and masterclasses 4′ Clairon Cavaillé-Coll was a disciple of Dom Bédos, evidenced by his well-annotated copy of L’Art du Facteur d’Orgues. The The dedication recital was given by Alex- lectures during this week by Gene Bedi- is Chauvet and Charles-Marie Widor on ent brought forward the connections be- December 2, 1869. The organ was re- tween these two signifi cant builders and stored in 2001 by Bernard Hurvy. covered the innovations and mechanics SIFOS participants also had use of that are the hallmark of the 19th-cen- an 1897 Cavaillé-Coll instrument at the tury French organ. Jesse Eschbach lec- Church of Saint-Pierre et Saint-Paul. tured on “Rousseau, Revolution, and The Cathedral of Christ the Light O A K L A N D, C A L I F O R N I A We are pleased to announce the completion of the first phase of our organ project with the Cathedral of Christ the Light in time for the Mass of Dedication held on September 25, 2008. The remainder of the instrument will be constructed in our workshops over the coming six months and will be installed during Jesse Eschbach teaching a masterclass at Ste. Croix, Bordeaux, Tim Wissler at the late summer of the console 2009. The completed instrument will feature Church fell on the weekend between a 16th-century edifi ce that was demol- the fi rst and second weeks of this sum- ished due to severe collapsing. four manuals, 75 mer’s institute. Most participants head- independent stops ed to Paris for the weekend, braving Cavaillé-Coll organs (excluding borrows), 90 the crowded trains to take advantage of The 1869 Cavaillé-Coll instrument ranks and 5,335 pipes. festival Masses at major churches in the was moved into the rebuilt church and is The design of the organ’s capital, especially Notre Dame, Sainte- housed in the north transept of the cruci- Clotilde and Saint-Sulpice. form nave with 34 stops distributed over twin façades was developed in collaboration with three manuals and pedal. the Cathedral’s architect, Craig Hartman of Second week Skidmore, Owings & Merrill, and will suggest a Church of Notre Dame, Epernay Grand-Orgue 16′ Bourdon natural forest with numerous wooden pipes. Nestled in the verdant hills of the 8′ We are honoured to have been selected by the Cathedral of Christ the Light’s Champagne region, the “Champagne Montre 8′ Bourdon Organ Committee to design and build this significant new pipe organ for City” of Epernay (population 25,000) 8′ Violoncelle was the site for the second week of 4′ Prestant Oakland’s resonant new Cathedral. For more information, visit our website at lectures, masterclasses, and the re- 2′ Doublette the address below or the Cathedral’s website at www.ctlcathedral.org. cital. Located on the left bank of the Plein-jeu harmonique Marne River about 17 miles southwest 16′ Basson 8′ Trompette RGUES ÉTOURNEAU IMITÉE of Reims, Epernay is home to two 4′ O L L magnifi cent organs by the celebrated Clairon 19th-century French builder Aristide Positif United States Canada Cavaillé-Coll. Classes and the recital 8′ Quintaton 1220 L Street NW 16355 avenue Savoie took place at the Church of Notre- 8′ Salicional Suite 100 – No. 200 Saint-Hyacinthe, Québec Dame, an imposing structure begun 8′ Unda Maris Washington, DC J2T 3N1 in 1898 and completed in 1915. Bom- 4′ Flûte douce 20005-4018 Tel: (450) 774-2698 bardment on the night of July 24, 1918 2′ Doublette Tel: (800) 625-PIPE Fax: (450) 774-3008 caused considerable damage to the 1′ Piccolo Fax: (202) 737-1818 [email protected] 8′ Clarinette [email protected] www.letourneauorgans.com nave. Rebuilding was not completed 8′ until April 1925. This building replaced Trompette NOVEMBER, 2009 21 Nov 09 pp. 20-23.indd 21 10/12/09 11:26:32 AM Gene Bedient, Jesse Eschbach and Chad Leavitt behind the 1869 Cavaillé-Coll 1869 Cavaillé-Coll nameplate and manuals, Notre Dame, Epernay console, Notre Dame, Epernay Jesse Eschbach teaching a masterclass at Notre Dame, Epernay, Chad Leavitt at the console Restoration: An Overview of Cultural music as an outgrowth of the partner- and Political Infl uences in France Af- ship between artisan and artist. fecting Sacred Music in the Nineteenth Century,” “Post Classical French Or- French culture gan Registration from Dom Bédos to Of course, no time spent in France Georges Schmitt,” and the concept of would be complete without a total im- plenum in nineteenth-century France. mersion into the food and wine that is The masterclasses again centered on the sine qua non of French culture. Af- selected repertoire including César ter working hard each day, participants Franck’s Grande Pièce Symphonique, enjoyed festive repasts at gourmet res- op. 17 and Prélude, Fugue et Varia- taurants carefully selected by Gwen and tion, op. 18, Marcel Dupré’s Prélude et Gene Bedient. As with organ registra- Fugue en Sol Mineur, op. 7, the Adagio tion, there is great variety in French from Louis Vierne’s Troisième Sympho- cuisine, adventurously sampled by all nie pour Grand-Orgue, Pastorale from participants, adding to the collegial ca- the Première Sonate en Ré Mineur, op. maraderie permeating the institute. 42 by Alexandre Guilmant, and “Tu es Is it possible to say that an organist petra” from the Esquisses Byzantines by has not lived without hearing the thrill- Notre Dame, Epernay Henri Mulet. The resulting recital was ing Grand Plein-Jeu of Dom Bédos or a a thrilling conclusion to the week and a beguiling Cavaillé-Coll harmonic fl ute? Studies is a rich, cultural and musical gan and church music, conducts the Luther testament to the enduring legacy of this The Summer Institute for French Organ immersion. Try it. It will transform your Ringers, and serves as cantor to the student congregation for daily and Sunday chapel playing and teaching—perhaps even services in the College’s Center for Faith and your life. To learn more about the Sum- Life, playing the 42-stop mechanical-action mer Institute for French Organ Studies organ by Robert Sipe. He holds the DMA and plans for the 2011 Institute, visit from the University of Iowa, MM from the the Bedient Organ Company website at Yale Institute of Sacred Music, and the BA THE ORGAN CLEARING HOUSE Offering a full range of services including assessment and consultation, dismantling, packing and shipping, erecting and installing organs. For more information contact us or visit our website. PO Box 290786 • Charlestown, MA 02129 Ph: 617.688.9290 • www.organclearinghouse.com John Bishop Amory Atkin Joshua Wood Executive Director President Vice President 22 THE DIAPASON Nov 09 pp. 20-23.indd 22 10/12/09 11:26:54 AM Sewanee Church Music Conference 2009 Jane Scharding Smedley Conference attendees and faculty Tom Foster rehearsing conference singers; Robert Delcamp at the organ Delicious meals and comfortable Tom Foster rehearsing conference singers for Evensong ince 1951, the Sewanee Church Mu- ence. Dr. Fishell performed in recital on Ssic Conference has offered a rich the Casavant in All Saints’ Chapel, taking Refinement, Grandeur, musical and spiritual experience to mu- us on a musical tour of Prague, London, sicians who serve primarily in Episcopal and Paris, through pieces by Petr Eben, churches. Each July, approximately 150 Herbert Howells, and Widor. Delicacy, & Grace organists, choirmasters, and choristers Through choral rehearsals, workshops make their way to the DuBose Confer- on psalmody, practice techniques, ser- ence Center in Monteagle, Tennessee, vice playing, and an organ masterclass, to refresh their skills, learn new insights, Foster and Fishell brought forth both and renew friendships with colleagues. new approaches and affi rmed older A family-reunion atmosphere pervades methods from their vast musical back- the weeklong gathering, where fi rst- grounds. Worship repertoire included time attendees are warmly welcomed anthems by Richard Shepherd, Craig by those who return every year to the Phillips, Malcolm Boyle, and Phillip “holy mountain.” Wilby. Richard Webster’s Mass in Lyd- Reverend James Turrell, from the ian Mode was sung in the daily liturgies School of Theology at the University of as well as on Sunday. The Magnifi cat and the South in nearby Sewanee, Tennes- Nunc Dimittis at Evensong were from see, was conference chaplain. The para- David Hogan’s St. Alban’s Service. An a ble of the steward who brings forth both cappella setting of Psalm 23 by former old and new from the storeroom inspired SCMC faculty Jeffrey Smith was par- his explorations of the liturgical renewal, ticularly lovely. This year’s commissioned inculturation of the liturgy, and the valu- work for organ, Fanfare and Variations able role of musicians in bringing forth on “Merton” by James Biery, was pre- both old and new treasures from the miered by Dr. Fishell. storeroom of the Episcopal heritage. Choral reading sessions were present- Tom Foster and Janette Fishell ed by Elizabeth Smith (Lois Fyfe Mu- served as the music faculty and were a sic) and Jane Scharding Smedley (St. superb team. They alternated as conduc- Peter Roman Catholic Church, Mem- tors and organists for the two major litur- phis). A detailed yet practical session on gies of the conference: Friday Evensong handbell techniques and repertoire was and Sunday Eucharist, both sung in All led by Richard Moore (St. Edward’s Saints’ Chapel on the Sewanee campus. Episcopal, Lawrenceville, Georgia). Su- Along with Reverend Turrell, they pro- san Rupert (University of the South) vided leadership at the carefully planned offered sessions on “Episcopal Basics.” daily Eucharists, an important part of the Keith Shafer (St. Paul’s Episcopal, Au- St. Bede Catholic Church, Williamsburg, VA week for many. gusta, Georgia) shared organ repertoire Neil Kraft, Music Director Foster, well known for his work at All based on hymn tunes. Music displays Saints’, Beverly Hills, until retirement were provided by Lois Fyfe Music, St. Member, Associated Pipe Organ in 2003, last appeared at the conference James Music Press, Church Music Ser- John-Paul in 1984. He has served as interim mu- vices, and Calvin Taylor. Builders of America sician in various Episcopal parishes and The Conference Board of Directors Buzard 112 West Hill Street is now Parish Musician at the Church of places high importance on each year’s Pipe Organ Builders Champaign, Illinois 61820 the Epiphany in Seattle. Janette Fishell, offerings meeting the needs of those in Professor of Organ at the Jacobs School attendance. Surveys are taken to guide 800.397.3103 • www.Buzardorgans.com of Music at Indiana University, was mak- the content of future programs and ing her fi rst appearance at the confer- choice of faculty. NOVEMBER, 2009 23 Nov 09 pp. 20-23.indd 23 10/12/09 11:27:12 AM Organs in the Land of Sunshine: A look at secular organs in Los Angeles, 1906–1930 James Lewis ′ Introduction 8Echo Viole 8′ Vox Angelica Los Angeles is home today to many 8′ Gemshorn wonderful organs. During the early 8′ Rohr Flute twentieth century, pipe organs were 8′ Flauto Dolce constructed for spaces beyond the typi- 8′ Unda Maris cal church, theater, or university setting. 8′ Quintadena This article traces the histories of over 4′ Principal 4′ Harmonic Flute a dozen pipe organs in private homes, ′ social clubs, school and church auditori- 2Flageolet III Dolce Cornet ums, and even a home furnishings store. 16′ Contra Posaune It provides a glimpse of organbuilding— 8′ Cornopean and life—in a more glamorous, pre-De- 8′ Oboe pression age. 8′ Vox Humana Tremolo Temple Baptist Church Vox Humana Tremolo The organ at Tally’s Broadway Theatre Come back in time to the spring of extended down both sides of the audi- 1906, where we fi nd the Temple Bap- ORCHESTRAL torium. 16′ Contra Viole tist Church of Los Angeles readying 8′ Geigen Principal their new building for opening. Al- 8′ Viole d’Orchestre chambers extending down both sides though the new complex was fi nanced 8′ Viole Celeste of the rectangular-shaped auditorium. by a religious organization, it was not 8′ Vox Seraphique The Choir division was on the stage and designed as a traditional church build- A view of the orchestra section of Tem- 8′ Concert Flute had its own façade, while the Echo was ing. Architect Charles Whittlesey pro- ple Baptist Auditorium after the original 8′ Lieblich Gedackt behind a grille at one side of the stage. color scheme was painted over. The or- 4′ Violina duced plans that included a 2700-seat ′ Positioned on a lift in the orchestra pit, theater auditorium with a full working gan was installed over the box seating 4Flauto Traverso the four-manual drawknob console was and behind the curved plaster grilles. 2′ Piccolo Harmonique stage, two smaller halls, and a nine-sto- 16′ Double Oboe Horn equipped with a roll player. ry offi ce block, providing the burgeon- 8′ Clarinet This was not the sort of theatre organ ing city with a venue for various enter- In 1912, Dr. Ray Hastings (1880– 8′ Cor Anglais that would come into prominence during tainments and civic events, and Temple 1940) was appointed house organist, and Tremolo the 1920s, a highly unifi ed instrument Church with facilities for church activi- he played for church services, silent mo- full of color stops all blended together ties. Even though the offi cial name of tion pictures, radio broadcasts, public SOLO by numerous tremolos. Tally’s organ was 8′ Grand Diapason the building was Temple Auditorium, it recitals, and with the Los Angeles Phil- ′ not that much different from a Murray was also known over the years as Clune’s harmonic Orchestra.2 8Flauto Major M. Harris church organ, except for the 8′ Gross Gamba Theatre and Philharmonic Auditorium. Temple Auditorium and its mighty 4′ Gambette saucer bells and a lack of upperwork. In addition to church services, the Au- Austin organ served Los Angeles for 4′ Flute Ouverte Installation was still underway when it ditorium was used for concerts, public many years, but by the 1950s the place 2′ Super Octave came time for the opening concert, but meetings, ballet, silent motion pictures, was beginning to look a bit tired. Some- 8′ Orchestral Oboe since the show must go on, the event and beginning in 1921, the Los Angeles time after World War II, the interior 8′ Saxophone (synthetic) took place. A reviewer wrote “while the Philharmonic Orchestra and the Light was painted a ghastly shade of green, 16′ Tuba Profunda unfi nished and badly out of tune instru- 8′ Harmonic Tuba (ext) Opera Association. covering up all the color and gold of the ′ ment, under the skillful manipulation of It was the fi rst steel-reinforced poured original decorative scheme. In 1965 the 4Clarion (ext) an excellent performer, did give pleasure concrete structure in Los Angeles. The Philharmonic Orchestra and Light Op- PEDAL to a large portion of the big audience, auditorium had fi ve narrow balconies and era both moved to the new Los Angeles 32′ Contra Magnaton nevertheless it was an unfi nished and was decorated in a simplifi ed Art Nou- Music Center and the Auditorium never 32′ Resultant badly out of tune instrument and as such veau-style infl uenced by Louis Sullivan’s again operated as a theater. 16′ Magnaton it could not favorably impress the ear of Auditorium in Chicago. Color and gold The organ began to develop serious 16′ Major Diapason the critic.”3 leaf were liberally used, and the concen- wind leaks, and the 25″-wind-pressure 16′ Small Diapason (Gt) Charles Demorest, a former student 16′ Violone tric rings of the ceiling over the orchestra Solo division and Pedal Magnaton were ′ of Harrison Wild in Chicago, who played section were covered with Sullivanesque fi nally disconnected. A supply-house 16 Bourdon at Tally’s, was also the organist at the 16′ Dulciana (Gt) ornamentation and studded with electric console replaced the original Austin con- 16′ Contra Viole (Orch) Third Church of Christ, Scientist, and lights. Concealed behind this area, on ei- sole in the 1960s and was moved out of 8′ Gross Flute gave Monday afternoon recitals on the ther side of the stage, was the organ. the orchestra pit to the stage. 8′ ‘Cello organ in Hamburger’s department store. The Auditorium Company ordered a Sunday morning services of Temple 8′ Flauto Dolce In the May, 1914 edition of The Pacifi c large four-manual organ (Opus 156) from Baptist Church became sparsely attend- 4′ Super Octave Coast Musician it was mentioned that the Austin Organ Company of Hartford, ed as people moved out of Los Angeles 16′ Tuba Profunda (Solo) “Charles Demorest is doing much to Connecticut. Similar to the auditorium to the new suburbs. There did not seem 8′ Tuba (Solo) uphold good music for the motion pic- itself, the instrument was used more for to be any use for the old Auditorium, ture theatres by the quality of his organ Swell Sub secular occasions than for church services. and the complex fi nally succumbed to Swell Octave work at Tally’s Broadway Theatre, Los It was the fi rst large, modern organ in Los the wrecker’s ball in 1985. The pipe- Orchestral Sub Angeles, where he has a concert organ Angeles and contained such innovations work from the Austin organ was sold off Orchestral Octave of immense resources at his command. as second touch, high wind pressures, piecemeal and the chests were left in the Solo Sub This instrument is a four-manual organ an array of orchestral voices, and an all- chambers to come down with the demo- Solo Super equipped with chimes, saucer bells, con- electric, movable console with adjustable lition of the building. What began as Los Swell to Pedal cert harp and echo organ. Mr. Demorest combination action. Angeles’s fi rst, modern organ of the 20th- Swell to Pedal Octave plays a special program every Wednes- The instrument had a partially enclosed century came to an ignominious end. Great to Pedal day afternoon at four o’clock where an ′ Orchestral to Pedal Great division, with a large selection of 8 Solo to Pedal orchestra and soloists further contribute stops that included four 8′ Open Diapa- Temple Auditorium, Los Angeles to the excellence at the Tally Theatre.”4 Austin Organ Company, 1906, Opus 156 Swell to Great Sub sons. Second touch was available on the Swell to Great Unison In the mid-1920s, the May Company Swell keyboard through a Great to Swell department store next door to Tally’s was GREAT Swell to Great Octave coupler. The Choir division was labeled Orchestral to Great Sub doing a booming business and needed (unenclosed) Orchestral to Great Unison Orchestral and contained a variety of soft 16′ Major Diapason larger quarters. Negotiations with Tally string and fl ute stops along with three or- ′ Solo to Great Unison led to the theater being purchased and 16 Contra Dulciana Solo to Great Octave chestral reeds. The Solo division was on 8′ First Diapason torn down to make way for a greatly ex- ″ ′ Great to Swell Unison Second Touch 25 wind pressure and unenclosed ex- 8Second Diapason Swell to Orchestral Sub panded May Company building. The cept for the Harmonic Tuba, unifi ed to 8′ Third Diapason organ was crated up and moved to Mr. ′ Swell to Orchestral Unison play at 16′, 8′ and 4′ pitches. 25″ wind 8Gross Flute Swell to Orchestral Octave Tally’s Glen Ranch, where it was stored 8′ Claribel Flute pressure was also used in the Pedal divi- ′ Solo to Orchestral Unison in a barn. It was eventually ruined by wa- sion for the Magnaton stop, playable at 4Octave ter damage when the roof leaked. ′ ′ 4′ Hohl Flute 32 and 16 . An article about the Audito- 3′ Twelfth rium in the Architectural Record maga- 2′ Fifteenth Tally’s Broadway Theatre Tally’s Broadway Theatre zine stated “the roof is reinforced with (enclosed) Eight years after the Temple Auditori- Johnston Organ Company, 1914 steel so that the tones of the large organ 8′ Horn Diapason um organ was installed, Tally’s Broadway will not cause any structural damage.”1 A 8′ Violoncello Theatre took delivery on a four-manual GREAT ′ 16′ Double Open Diapason mighty organ, indeed! 8Viol d’Amour organ advertised as “The World’s Finest ′ 8′ Doppel Flute 8First Open Diapason The four-manual console was located ′ Theatre Pipe Organ.” The 47-rank organ 8′ Second Open Diapason 4Fugara ′ in the orchestra pit and movable within III Mixture had been ordered early in 1913 from the 8Viola a range of 50 feet. Its design was infl u- ′ Los Angeles builder Murray M. Harris, 8′ Viol d’Amour 16 Double Trumpet ′ enced by the early consoles of Robert 8′ Trumpet but by the time it was installed in 1914 8Tibia Clausa ′ 8′ Clarabella Hope-Jones and featured two rows of 4Clarion the name of the fi rm had been changed ′ stop keys placed above the top key- to the Johnston Organ Company and the 4Octave 4′ Wald Flute board, a style affectionately known as SWELL factory moved to the nearby suburb of ′ 16′ Gross Gamba 8Trumpet a “toothbrush console,” because to an ′ Van Nuys. Cathedral Chimes active imagination the two rows of stop 8Diapason Phonon Tally’s instrument must have been 8′ Violin Diapason Concert Harp keys looked like the rows of bristles on 8′ Gemshorn the original “surround sound,” as most Saucer Bells a toothbrush. of the pipework was installed in shallow 24 THE DIAPASON Nov 09 pp. 24-29 .indd 24 10/12/09 11:27:55 AM SWELL 8′ Dulciana 16′ Bourdon 8′ Quintadena 8′ Open Diapason 8′ Melodia 8′ Violin Diapason 4′ Wald Floete 8′ Violin 4′ Dulcet 8′ Voix Celeste 8′ Clarinet 8′ Aeoline Tremolo 8′ Stopped Flute Concert Harp 4′ Harmonic Flute 2′ Harmonic Piccolo SOLO 16′ Contra Fagotto 8′ Gross Gamba 8′ Horn 8′ Tibia Plena 8′ Oboe 8′ Harmonic Flute 8′ Vox Humana 8′ Viole d’Orchestre 8′ Viole Celeste CHOIR 16′ Ophicleide 16′ Double Dulciana 8′ Tuba 8′ Geigen Principal The interior of Trinity Auditorium show- 4′ Tuba Clarion ′ Bovard Auditorium at USC showing the 8Dulciana ing the 1914 Johnston organ 1921 Robert-Morton organ 8′ Lieblich Gedackt ECHO 8′ Quintadena 16′ Echo Bourdon 4′ Dulcet Trinity Auditorium was a popular place 8′ Echo Diapason don. It was not an ideal installation, as the 8′ Clarinet for meetings of the local AGO chapter, 8′ Viol Etheria Swell and Choir divisions were placed so and among the artists heard there were 8′ Unda Maris they spoke onto the stage area and the SOLO Pietro Yon, Charles Courboin, and Clar- 8′ Concert Flute Great and Solo were located in the au- 8′ Diapason Phonon ence Eddy. The organ continued to be 4′ Flauto Traverso ditorium proper. For organ recitals, the 8′ Harmonic Flute 8′ Vox Humana ′ used for fi lms, concerts and later on, ra- stage curtains had to be open so the audi- 8Tibia Plena dio broadcasts, but by the 1940s it had Tremolo ence could hear the entire instrument. 8′ Harmonic Tuba Concert Harp (Ch) 8′ Orchestral Oboe become a liability. To save the expense By 1920, the builder no longer made of upkeep on an instrument that by then PEDAL drawknob consoles, so the Bovard or- ECHO was only occasionally used and to secure 32′ Double Open Diapason gan was supplied with a four-manual 8′ Flauto Dolce more space on the stage, the organ was 32′ Resultant horseshoe console. It was placed in the 8′ Unda Maris removed and broken up for parts. 16′ Open Diapason orchestra pit and had color-coded stop 8′ Concert Flute 16′ Violone keys; diapasons were white, fl utes blue, 8′ Orchestral Viol Trinity Auditorium 16′ Tibia Profundo ′ ′ strings amber, reeds red, and the cou- 4Flute d’Amour Johnston Organ Company, 1914 16 Bourdon plers were short-length black stop keys 8′ Vox Mystica 16′ Lieblich Gedackt (Sw) 7 ′ placed over the top keyboard. GREAT 16 Dulciana (Ch) ′ PEDAL 16′ Double Open Diapason 16′ Echo Bourdon (Echo) The organ had two enormous 32 32′ Acoustic Bass 8′ First Open Diapason 8′ Octave stops. When the instrument was com- 16′ Open Diapason 8′ Second Open Diapason 8′ Violoncello pleted at the Van Nuys factory, low C of 16′ Bourdon 8′ Viola di Gamba 8′ Flute the 32′ Bombarde was assembled outside 16′ Contra Basso (Gt) 8′ Viol d’Amour 16′ Trombone the main building and supplied with air 16′ Dulciana (Ch) 8′ Tibia Clausa 16′ Ophicleide (Solo) ′ ′ so that its sound could be demonstrated 16 Lieblich Gedackt (Sw) 8Doppel Floete 8′ Tuba (Solo) for the local residents. 8′ Violoncello 4′ Octave 8′ Gross Flute 4′ Harmonic Flute In June of 1921, the organ was dedi- 2 University of Southern California cated in two recitals given by the Brit- 8′ Flute 2⁄3′ Octave Quint 16′ Trombone 2′ Super Octave In 1920, the University of Southern ish virtuoso Edwin Lemare. It was a 16′ Double Trumpet California placed an order for a large well-used instrument in its day, provid- Swell Tremolo 8′ Trumpet concert organ to be built by the Robert- ing music for university events, concerts, Choir Tremolo 4′ Clarion Morton Organ Company and installed commencement exercises, and it served Solo Tremolo Cathedral Chimes in the new Bovard Auditorium on the as the major practice and recital organ Echo Tremolo SWELL USC campus. Under a headline reading for many USC organ students. 16′ Lieblich Bourdon “Organ Attracts,” the Los Angeles Times By the mid-1970s the organ had fallen Trinity Auditorium 8′ Diapason Phonon told that “a great increase of interest out of favor and some of the pipework In 1914, inspired perhaps by the 8′ Violin Diapason is being manifested by the faculty and was vandalized by students, causing the success of Temple Auditorium, Trin- 8′ Salicional student body of the organ department, instrument to become unplayable. It was ity Southern Methodist Church opened 8′ Aeoline USC, since the announcement was re- fi nally removed from the auditorium in 8′ Vox Celeste their new Trinity Auditorium, a large ′ cently made that the new organ, one of 1978, and the undamaged pipework was Beaux Arts structure on South Grand 8Lieblich Gedackt the largest in the southwest, is soon to be sold for use in other organs. 8′ Clarabella Avenue containing a multi-use 1500-seat ′ installed in the auditorium of that insti- 4Principal University of Southern California auditorium and a nine-story hotel with 4′ Lieblich Floete tution. The instrument will be provided 6 Robert-Morton Organ Company, 1921 rooftop ballroom. 4′ Violina with eighty stops and 500 pipes.” Well, An organ was ordered from the Mur- ′ perhaps a few more than 500! 2Harmonic Piccolo GREAT ray M. Harris Company, but just like the IV Dolce Cornet Bovard is a large auditorium graced 16′ Double Open Diapason Tally’s Theatre organ, it was installed 16′ Contra Fagotto with a dollop of Gothic tracery, originally ′ 8′ Cornopean 8First Open Diapason under the name of the Johnston Organ ′ seating 2,100 on the main fl oor and in 8′ Second Open Diapason Company. The organ was a four-manual 8Oboe two balconies. The Robert-Morton or- 8′ Third Open Diapason instrument of 63 ranks situated above Tremolo gan, the largest instrument built by the 8′ Viola ′ the stage fl oor, but within the prosce- CHOIR fi rm, was located in concrete chambers 8Erzahler ′ 8′ Doppel Flute nium arch, with an Echo division in the 16 Double Dulciana on either side of the stage and completely ′ dome at the center of the room. The 8′ Geigen Principal enclosed, except for the 16′ Pedal Bour- 8Melodia drawknob console was at one side of the orchestra pit. The tonal design was typical of a large, late Murray Harris organ, boasting an as- sortment of 8′ stops and big chorus reeds on both the Great and Solo, but without the usual Great mixture. The Tibias, Dia- pason Phonon in the Swell and the slim- scale strings of the Solo division, stops not normally found on Harris organs, show the infl uence of Stanley Williams, the fi rm’s voicer since 1911, who had worked with Hope-Jones in England. Arthur Blakeley was house organist and played for church services, silent motion pictures, weekly public recitals and with the Los Angeles Philharmonic Orchestra, who used the building from 1918 to 1921. It was noted that by May 1915, Blakeley had provided music for 108 performanc- es of a fi lm entitled “Cabiria” and played over one hundred different compositions in his weekly recitals, ranging from works by Bach, Handel and Wagner to Reubke’s Sonata on the 94th Psalm.5 There was one area in which Trinity Auditorium failed to emulate Temple Auditorium—fi nancing. To construct the auditorium and hotel complex the church secured such a heavy mortgage that one newspaper account claimed it was fi nanced clear into the 21st century. A few years after it opened, Trinity Audi- torium was taken over by a management company that continued to operate it as a public venue, and the church moved to humbler quarters. NOVEMBER, 2009 25 Nov 09 pp. 24-29 .indd 25 10/12/09 11:28:23 AM ′ 4Octave roll player mechanism. The organ pro- 4′ Wald Floete 2′ Flageolet vided music for the relaxation of mem- V Mixture bers, music for skits and plays, and oc- 16′ Double Trumpet casionally a local organist was invited in 8′ Trumpet to play a recital of light selections. 4′ Clarion During World War II the club began selling off its holdings, and by 1947, it SWELL ′ had disbanded. The organ was sold to 16 Bourdon the First Methodist Church of Glendale, 8′ Open Diapason 8′ Horn Diapason where it was treated to a number of in- 8′ Salicional dignities to make the instrument more 8′ Celeste suitable for church use, the result being 8′ Aeoline at great odds with the original intent of 8′ Viol d’Orchestre Grauman’s Metropolitan Theatre show- the organ. 8′ Viol Celeste ing the organ grilles above the prosce- 8′ Stopped Diapason nium and the four-manual console in The Uplifter’s Club 8′ Clarabella the orchestra pit Skinner Organ Company, 1924, Opus 449 8′ Gemshorn 4′ Violin The tonal chambers, or swell boxes as MANUAL I 4′ Harmonic Flute they are technically termed, each measure 8′ Diapason 2′ Piccolo 20 feet long and 11 feet wide, and are ar- 8′ Chimney Flute III Cornet ranged above the proscenium arch. They 8′ Gedackt 16′ Contra Fagotto are constructed in such a manner that they Los Angeles Poly-Technic High School 8′ Violoncello 8′ Cornopean are practically sound proof, being built of with Estey organ Opus 2225 8′ Voix Celestes II rks 8′ Flugel Horn nonporous inert material, with the interior 8′ Flute Celestes II rks ′ 8Oboe fi nished in hard plaster. The front wall of used for recitals and public events held 4′ Orchestral Flute 8′ Vox Humana each chamber facing the auditorium is left 4′ Unda Maris II rks 4′ Clarion in the auditorium, and the roll player was ′ open and into this opening is fi tted a mech- used to play transcriptions of orchestral 8Vox Humana Tremolo anism built in the form of a large laminated 8′ French Horn Venetian blind. The opening and closing works for music education classes. 8′ Tuba CHOIR of the shutters in this Venetian blind pro- The organ eventually fell silent due to Tremolo 16′ Contra Viole duce unlimited dynamic tonal expression lack of use, lack of maintenance, and prob- Harp 8′ Geigen Principal from the softest whisper to an almost over- lems with the luminous pistons. When the Celesta 8′ Dulciana whelming volume. Chimes ′ auditorium was refurbished in 1979, the 8Quintadena In the basement of the theatre is the organ was removed so that the chamber Kettle Drums 8′ Concert Flute blowing apparatus consisting of two Ki- 8′ Flute Celeste openings could be used for stage lighting netic blowers connected directly to a trees. It was sold, put into storage, and MANUAL II 4′ Flute twenty-fi ve horsepower motor. Each of 8′ Chimney Flute 2 ′ eventually broken up for parts. 2⁄3 Nazard the blowers is capable of supplying 2500 8′ Violoncello 2′ Piccolo cubic feet compressed air per minute. The 4′ Orchestral Flute compressed air is used to work the electro- Poly-Technic High School 8′ Corno d’Amore SOLO pneumatic actions as well as to supply the Estey Organ Company, 1924, Opus 2225 8′ English Horn 8′ Stentorphone various tone producers. 8′ Vox Humana 8′ Gross Flute There are four manuals on the console, GREAT 8′ French Horn 8′ Gamba 8′ Open Diapason I 8′ Tuba and the pedal board on which the bass ′ 8′ Gamba Celeste notes are played with the feet. The stop 8Open Diapason II Tremolo 8′ French Horn 8′ Dulciana Chimes keys number 236 and these are arranged ′ 8′ English Horn above the keyboards on three tiers and are 8Gemshorn Kettle Drums 8′ Saxophone 8′ Gross Flute divided into departments of independent ′ 8′ Clarinet organs. The lowest manual is the accompa- 8Melodia MANUAL III 8′ Orchestral Oboe 4′ Flute Harmonic 8′ Diapason niment organ, the middle keyboard is the ′ 8′ Tuba great organ and is so arranged so the echo 8Tuba 8′ Voix Celestes II rks Harp organ may be played from this manual. The Harp 8′ Flute Celestes II rks Chimes third manual is a bombarde organ and the 8′ Gedackt top one is the solo organ.8 SWELL 4′ Unda Maris II rks ECHO 16′ Bourdon Tremolo 8′ Cor de Nuit 8′ Open Diapason Harp 8′ Muted Viole Although the advent of sound motion 8′ Salicional Celesta 8′ Viole Celeste pictures silenced many of the organs in 8′ Viole d’Orchestre Piano (prepared) 4′ Zauberfl oete 8′ Viole Celeste Los Angeles theaters, the Metropolitan ′ 8′ Vox Humana organ was in use much longer due to the 8Stopped Diapason PEDAL Tremolo 4′ Flauto Traverso 16′ Bourdon continuation of live stage shows well into 8′ Oboe (reedless) ′ the 1950s. In 1960 the theater was closed 16 Echo Lieblich PEDAL 8′ Cornopean 16′ Gedackt 32′ Double Open Diapason and by 1961 it had been demolished and 8′ Vox Humana 8′ Still Gedackt 32′ Resultant the organ broken up for parts. Tremolo 16′ Trombone (Tuba) 16′ Open Diapason Chimes 16′ Bourdon Poly-Technic High School 16′ Violone (Gt) Poly-Technic High School was one CHOIR The Elks Club 16′ Lieblich Bourdon (Sw) 8′ Violin Diapason ′ of several high schools in the Los Ange- ′ Located just off the fashionable 16 Contra Viole (Ch) les area to have a pipe organ. For their 8Viol d’Amour Wilshire Corridor facing Westlake Park 16′ Echo Bourdon 8′ Clarabella 8′ Principal new auditorium, completed in 1924, the 8′ Unda Maris was the Elks Club, a 12-story building 8′ Flute school ordered a four-manual organ from 4′ Flute d’Amour constructed in 1926 to contain a lodge 8′ Cello the Estey Organ Company. Decorated 8′ Clarinet (reedless) hall, dining rooms, lounges, swimming 8′ Dulciana in the Spanish Renaissance style, the Tremolo pool, tennis and racquetball courts, a full 4′ Flute auditorium seated 1,800 and had a full gymnasium, and residential facilities for Compensating Mixture SOLO working stage. The organ was installed ′ members. Entering the building, one en- 32′ Bombarde in chambers located on either side of the 8Stentorphone countered a monumental reception hall 16′ Trombone 8′ Gross Gamba ′ proscenium, with the console in the or- 8′ First Violins III some 50 feet in height, with a vaulted 16 Fagotto (Sw) chestra pit. ceiling painted with scenes from mythol- 8′ Trumpet 8′ Concert Flute The instrument had an automatic roll 4′ Wald Flute ogy. A wide staircase rose dramatically to player in a separate cabinet and a console 2′ Piccolo the Memorial Room that functioned as a Grauman’s Metropolitan Theatre with Estey’s recent invention, the “lumi- 8′ Orchestral Oboe lobby for the lodge room. When Grauman’s Metropolitan The- nous piston stop control.” These were 8′ Tuba Mirabilis (reedless) On the front page of the Van Nuys atre was constructed at Sixth and Hill lighted buttons placed in rows above the News for November 18, 1924 was an ar- Streets in 1923, Tally’s Broadway The- top manual of the console. When pushed, PEDAL ticle announcing “H. P. Platt, manager 32′ Resultant atre must have looked rather dowdy the button lit up signifying that that par- 16′ Open Diapason of the Robert-Morton Organ Company, in comparison. The Metropolitan, a ticular stop was on. Another push turned 16′ Bourdon announces that his concern has been monumental piece of architecture, was the stop off. This system presented all 16′ Lieblich Gedackt (Sw) awarded a contract for constructing a and remained the largest theater in Los sorts of problems; it was inconvenient to 8′ Bass Flute huge pipe organ to be placed in the new Angeles and had a four-manual, 36-rank use, the “luminous piston” was diffi cult 8′ Tuba Mirabilis (Solo) Elks Temple of Los Angeles. Specifi ca- Wurlitzer Hope-Jones Unit Orchestra, to see under bright lights, it could give tions for the huge organ will make it the Opus #543. This was the largest organ an organist a very nasty shock, and some largest unifi ed orchestra pipe organ in built by Wurlitzer at the time, beating out organists could not resist spelling out The Uplifter’s Club the United States. The contract price the celebrated Denver Auditorium organ naughty words with the lights. One of a number of organs installed was said to be $50,000.” by one rank. The 36 ranks of pipes were The organ had a clear, pleasant sound in Los Angeles’s private clubs was this “Unifi ed orchestra pipe organ” is prob- divided between two sections of the the- in the auditorium’s good acoustics due instrument built by the Skinner Organ ably the best description for the four- ater: 24 ranks in chambers located over possibly to Estey’s local representative Company in 1924 for the Uplifter’s Club. manual, 60-rank organ that the Robert- the proscenium arch and 12 ranks in the Charles McQuigg, a former voicer of Located in the remote Santa Monica Can- Morton fi rm installed in the Elks Club in Echo division at the rear of the balcony. the Murray M. Harris Company, who yon section of Los Angeles, the club was 1926. The stops are divided into Great, Albert Hay Malotte, Gaylord Carter and installed and fi nished the instrument. formed in 1913 as a splinter group of the Swell, Choir, Solo and Pedal divisions, Alexander Schreiner were Metropolitan Crowning the full organ was a reedless Los Angeles Athletic Club by a number of but the contents of each are not what organists at various times, accompany- Tuba Mirabilis voiced on 15″ wind pres- wealthy members, for “high jinx.”9 Recre- one would expect in either a concert or ing fi lms and presenting organ solos en- sure, an invention of William Haskell of ational facilities were constructed in the theatre organ. hanced by lighting subtly changing color the Estey Company. The pipes looked canyon and some members built cabins The main organ is in four chambers, to match the mood of the music. like an open wood fl ute, but sounded and cottages to use for weekend retreats. one in each corner of the lodge room, James Nuttall, who installed the or- like a stringy Horn Diapason. It was a In 1923 construction on a large club- with Echo and Antiphonal divisions gan, escorted a writer for the Los An- rather convincing sound, until one knew house began and in 1924 the three- speaking through openings centered geles Times through the newly installed the secret. manual Skinner organ was installed. The over the entrance doors. These two di- instrument and provided a description of Classes in organ instruction were of- instrument was a large residence-style visions were heard in either the lodge its resources: fered at Poly High, the instrument was organ with many duplexed stops and a room or the Memorial Room by means 26 THE DIAPASON Nov 09 pp. 24-29 .indd 26 10/12/09 11:28:41 AM ′ Harp 16 Echo Bourdon was in Renaissance Revival style and Glockenspiel 16′ Contra Fagotto Xylophone 16′ Violone loosely patterned after the Strozzi Palace Chimes 16′ Dulciana in Florence. Entering through the main Strings F 8′ Open Diapason doors, the visitor stepped into a 40′ high Great 2nd Touch 8′ Tuba lobby court furnished with leather sofas 8′ Tuba 8′ Pedal Flute and chairs, oriental carpets, and a deco- 8′ French Horn 8′ Doppel Flute rated vaulted ceiling. 8′ Gross Flute 8′ Echo Bourdon ′ ′ During the 1920s, Barker Brothers 8Gamba 8Cello served as the southern California repre- 8′ Dulciana SWELL 4′ Tuba Clarion sentative for the Welte Organ Company. 16′ Contra Fagotto 4′ Dulcet Their previous store had a Welte organ 16′ Tibia Clausa III Cornet used to entertain customers, and when 16′ Swell Bourdon Pedal 2nd touch Barkers moved out, the instrument was 16′ Violin (TC) Bass Drum rebuilt into two organs; the main section The lodge room of the Elks Club. The 8′ Trumpet Snare Drum went, with a new console, to the Pasade- four-manual console is visible in the left 8′ Open Diapason Tympani na home of Baldwin M. Baldwin, and the hand corner and the Echo/Antiphonal 8′ Violin Bass Drum/Cymbal ′ Echo division, also provided with a new divisions are above the entrance doors 8Tibia Mollis console, was packed off to Mrs. Belle at the right side of the picture. 8′ Tibia Clausa Buttons Above Solo 8′ Gedackt Klaxon Malloy in San Pedro. 8′ Orchestral Oboe Telephone Barker Brothers’ new store had three of dual expression shades. A two-manual 8′ Vox Humana Cow Bell Welte organs. In the lobby court was a console in the Memorial Room played 8′ Violin I Bird four-manual, 26-rank concert organ that the Echo/Antiphonal divisions so an or- 8′ Violin II was played daily for the store’s patrons. 8′ Violin III Tremolos ganist could entertain lodge members ′ The four-manual drawknob console was lingering in the Memorial area before a 8Viol d’Orchestre Swell centered along the east side of the lobby 8′ Viole Celeste Great meeting without the sound penetrating 8′ Salicional Choir and the chamber openings high on the into the lodge room. 8′ Aeoline Solo wall had gold display pipes. A three-man- Currently, the instrument is unplay- 4′ Octave Diapason Antiphonal ual, nine-rank theatre-style instrument able. The two-manual console has been 4′ Tibia Clausa Echo was in a 600-seat auditorium on the 10th disconnected and although the four- 4′ Bourdon Flute Swell Vox Humana fl oor, and a two-manual, 10-rank organ manual console remains in position, over 4′ Flauto Traverso Echo Vox Humana with player attachment was installed in 4′ Vox Humana half of the ivories are missing. Workmen ′ the interior design studio. stomping through the pipe chambers on 4Violina Couplers On the evening of March 28, 1927, the 4′ Salicet Pedal Octaves various occasions have trod on many of 2 three Welte organs were dedicated, be- 2⁄3′ Bourdon Nazard Great to Pedal 8, 4 the smaller pipes, a few sets are missing, 2′ Bourdon Piccolo Swell to Pedal 8, 4 ginning with the instrument in the lobby and water leaks have damaged other por- Harp Choir to Pedal 8 court and then moving to the auditorium tions of the organ. Glockenspiel Solo to Pedal 8 organ, where members of the Los Ange- Stepping back in time to happier days, Xylophone Swell to Swell 16, 4 les Organists’ Club entertained. Guests we can read about the organ when it was Chimes Choir to Swell 16, 8, 4 were invited to hear the residence organ the talk of organ-playing Los Angeles. In Bird Solo to Swell 16, 8, 4 in the interior design department and December, 1925, a Los Angeles newspa- Strings P Great to Great 16, 4 enjoy the automatic roll player device. Strings MF Swell to Great 16, 8, 4 per reported “the new $50,000 organ for Swell 2nd Touch Choir to Great 16, 8, 4 Among the organists playing the lobby the Elk’s great temple will be given its 16′ Fagotto Solo to Great 16, 8, 4 court organ on that evening were Albert offi cial test before offi cers of the Elk’s 16′ Trumpet (TC) Choir to Choir 16, 4 Hay Malotte and Alexander Schreiner. Building Association tomorrow evening. 16′ Bourdon Swell to Choir 16, 8, 4 Malotte played Gershwin’s Rhapsody in The test recital will be at the plant of the 8′ Tibia Clausa Solo to Solo 16, 4 Blue and the quartet from Verdi’s Rigo- Robert-Morton Organ Company, build- 4′ Flauto Traverso letto, but Schreiner no doubt stole the ers of the instrument. For the benefi t of Barker Brothers show when he played the “Great” g-mi- members of the lodge and the public, CHOIR Barker Brothers, the pre-eminent nor fugue of Bach and closed the program 16′ Violin (TC) 12 the recital will be broadcast over KNX 16′ Double Dulciana home furnishings store of Los Angeles, with Wagner’s Ride of the Valkyries. radio between 7 and 7:30 o’clock. A half 8′ English Diapason moved into a new building in 1927. Oc- The lobby court organ was very popu- an hour of cathedral and concert music 8′ Flugel Horn cupying all of 7th Street between Flower lar with Los Angeles residents and the will be played on the huge instrument 8′ Clarabella and Figueroa Streets, the 12-story façade daily recitals were well attended. Welte by Sibley Pease, offi cial organist of the 8′ Clarinet Elk’s lodge.”10 8′ Gemshorn 8′ Viola In May 1926, Warren Allen, organist ′ of Stanford University, gave the opening 8Violin I 8′ Violin II recital, playing compositions by Bach, 8′ Violin III Boccherini, Saint-Saëns, Douglas, Wag- 8′ Dulciana ner and ending with the Finale from 8′ Unda Maris Vierne’s Symphony No. 1. A reviewer 4′ Harmonic Flute noted that “the organ is an instrument 4′ Violina of concert resources and full organ is 4′ Dulcet 2′ Flageolet almost overpowering in tone. It ranks as ′ one of the fi nest in the city.”11 2Dolcissimo Snare Drum Tap For many years the organ was used Snare Drum Roll almost every day of the week for lodge Tom-Tom meetings, concerts and radio broadcasts. Castanets Dwindling membership and the expense Sleigh Bells of upkeep on the huge Elks building Wood Drum caused the remaining members to fi nd Tambourine smaller quarters in the late 1960s. Left Strings F abandoned for a while, the building has Choir 2nd Touch 8′ English Diapason seen use as a YMCA, a retirement cen- 8′ Flugel Horn ter, and a seedy hotel; it is currently be- 8′ Clarabella ing rented for large social events and 8′ Clarinet fi lming. Due to the extensive damage done to the organ and the great expense SOLO of a restoration, this is probably another 8′ Tuba Mirabilis 8′ Stentorphone large, once-popular instrument that will ′ never play again. 8Philomela 8′ Gross Gamba 8′ Oboe Horn Elks Temple, Los Angeles ′ Robert-Morton Organ Company, 1926 4Tuba Clarion 4′ Gambette GREAT Chimes 16′ Open Diapason ′ ANTIPHONAL 16 Gamba (TC) ′ 8′ First Diapason 8Trumpet ′ 8′ Open Diapason 8Second Diapason ′ 8′ Tuba 8Hohl Flute 8′ French Horn ′ ECHO 8Kinura ′ 8′ Gross Flute 16 Echo Bourdon ′ 8′ Night Horn 8Clarinet ′ 8′ Doppel Flute 8Flute Celeste ′ 8′ Viol Sordino 8Gamba ′ 8′ Violin I 8Vox Humana ′ 4′ Fern Flute 8Violin II ′ 8′ Violin III 4Violetta 8′ Quintadena Bird 8′ Dulciana 4′ Tuba Clarion PEDAL ′ 32′ Resultant Bass 4Octave Diapason ′ 4′ Doppel Flute 16 Double Open Diapason 2 ′ 2⁄3′ Twelfth 16 Trombone ′ 16′ Pedal Bourdon 2Fifteenth ′ III Cornet 16 Swell Bourdon NOVEMBER, 2009 27 Nov 09 pp. 24-29 .indd 27 10/12/09 11:29:02 AM designed the instrument for maximum SOLO 8′ Tibia Clausa fl exibility; the Great and Choir shared 8′ Violoncello stops, while the Swell and Solo were 4′ Harmonic Flute independent divisions, except for the 16′ Tuba Profunda Great Tuba Sonora that was available on 8′ Tuba Sonora the Solo at 16′, 8′ and 4′ pitches. 8′ French Horn When the Welte Organ Company 8′ English Horn closed in 1931, the residence organ was 4′ Cornet sold to a home in the Brentwood section Tremolo Harp of the city. The auditorium instrument Celesta was eventually sold to the Presbyterian Chimes Church in La Canada, but the lobby Piano court organ was kept in use until the early 1950s. After the Second World War, the PEDAL daily organ recitals were popular with 32′ Acoustic Bass 16′ Diaphonic Diapason older folks who lived in affordable but ′ respectable downtown residential hotels. 16 Bourdon 16′ Violone (Gt) The store management felt having pen- 16′ Lieblich Gedackt (Sw) sioners strewn about the lobby lowered 8′ Octave the tone of their upscale operation and 8′ Flute removed the organ in 1955, selling the 8′ Cello (Gt) console to a private party and the pipe 8′ Gedackt (Sw) Wurlitzer’s over-decorated studio at Silent screen comedian Chester Conk- work to a local church. 16′ Tuba Profunda (Solo) the Ambassador Hotel in Los Angeles lin at the Estey automatic organ (Opus 8′ Tuba Sonora (Solo) where guests could listen to organ mu- 2781) in his Hollywood home There was a more insidious reason for ′ removing the Welte organ. Barker Broth- 4Cornet (Solo) sic presented several times a day 16′ Piano 16 ers had become the local agents for the 8′ Piano Coliseum. The Coliseum, opened in new Hammond Chord Organ and didn’t Chimes of the largest apartment. “La Ronda” and 1923, covers a total of 17 acres and origi- want competition from the “real thing” the “Andalusia” were both located on nally seated 76,000. Although there is while an employee was demonstrating Havenhurst Drive and built in the Span- nothing in the proposal stating where the new electric device. The Los Ange- Organ studios, residences, ish style with enclosed gardens and foun- the organ would be located in the huge les Times for May 12, 1955 announced: theaters tains surrounding the apartments. The stadium, concrete enclosures may have “A musical tradition at Barker Bros. has During the 1920s, many American or- organ in the Andalusia had four ranks of been planned in and around the Peri- been broken! Barker Bros. pipe organ of gan builders maintained organ studios in pipes, a roll playing mechanism plus xy- style, a focal point along the east end of some 30 odd years vintage is no longer Los Angeles to provide prospective cus- lophone, marimba, chimes, celesta, and the huge structure. the cornerstone of the store’s tradition. tomers with a sample of their wares. The a small toy counter. La Ronda’s Robert- The installation of an organ in the Col- One fi ne day it was an impressive part studio usually featured a residence-style Morton organ had fi ve ranks of pipes, no iseum would have been an even greater of the main lobby and the next day, the organ, complete with automatic player, roll player, and fewer percussion stops. acoustical nightmare than an organ in massive monolith was a legend. A com- in a home-like setting. The Skinner Or- There were a number of secular or- the Hollywood Bowl. Among the fea- pact, sweet little number, modern in de- gan Company went so far as to install a gans that had been planned toward the tures of the proposed specifi cation was sign and execution, has replaced the pipe residence organ in the home of their lo- end of the 1920s, but were never built, a fi fth manual called “Orchestral” that organ. The Hammond Chord Organ now cal representative, Stanley W. Williams.13 and one could argue that with several of was home to four separately enclosed reigns supreme. A representative from The Aeolian Company displayed their the instruments, their early demise was a divisions, Diapason, Brass, String and Barker’s Piano Salon on the mezzanine Opus 1740 in the George Birkel Music desirable thing. Woodwind, three of which had their own fl oor is in daily attendance at his Chord Company, where fi ne pianos and phono- During the 1920s, Charles Winder pedal sections. The console would have Organ post.” graphs were also available. Wurlitzer had ran the Artcraft Organ Company, a small stopkeys placed on angled jambs and a a studio in downtown Los Angeles and fi rm that built garden-variety organs remote combination action. Nothing Barker Brothers Store a second showroom in the posh Ambas- for neighborhood churches throughout ever came of the proposal, and the 1929 Lobby Court Organ sador Hotel, where they installed a Style southern California. In 1926 Winder stock market crash and closing of the Welte Organ Company, 1927 R16, three-manual, ten-rank residence announced the formation of a new com- Welte Corporation in 1931 sealed the GREAT organ. In an overstuffed room off the pany, The Symphonaer Company, to instrument’s fate. 16′ Double Open Diapason hotel’s main lobby, patrons of the hotel build “symphony concert organs.” The The proposal reads: 8′ Principal Diapason could relax and listen to organ music announcement continued: “The Sym- 8′ English Diapason presented several times a day by a mem- phonaer Concert Organ is described as The Welte Organ Company, Inc., here- 8′ Tibia Minor ber of the Wurlitzer staff. an instrument that reproduces the true by agrees to build for the Civic Bureau of 8′ Claribel Flute Residence organs were popular addi- symphony orchestra, giving the effect Music and Art, Los Angeles, California; 8′ Viola herein referred to as Purchaser, and to in- ′ tions to many of the fi ne homes built in of every instrument used in the largest stall in the Coliseum, Los Angeles, Califor- 4Octave Los Angeles before the Depression hit. of symphony orchestras.” A $1,000,000 4′ Forest Flute nia—ONE WELTE PIPE ORGAN. Ready 8′ Tuba Sonora Members of the movie colony enjoyed plant was to be built offering employ- to use and in accordance with the following Harp organs in their homes, and the Robert- ment to 100 craftsmen. Joining the ven- specifi cations, viz: Manuals, fi ve, compass Celesta Morton Company built instruments for ture was the British concert organist CC to C4, 61 notes; Pedals, compass CCC Piano Thomas Ince, for Marion Davies’s im- Edwin Lemare, who would serve as di- to G, 32 notes; the windchests of manuals mense beach house, and for Charlie rector of music and specifi cations. Built affected by octave couplers to be extended SWELL Chaplin, who used the organ to compose alongside the factory would be Sym- one octave above the compass of the key- 16′ Lieblich Gedackt board, to 73 notes. Electro-pneumatic ′ most of the music for his fi lms. phonaer Hall, a recital hall equipped action throughout. Philharmonic pitch A- 8Diapason Phonon Aeolian had organs in the homes of with a large Symphonaer organ, where 8′ Philomela 440. Console type, concert; stop control, 8′ Gedackt Harold Lloyd, cowboy actor Dustin Far- Lemare would give frequent recitals and stopkeys and tablets. Combination action ′ num, and Francis Marion Thompson, in broadcast the instrument over a local ra- adjustable at the console, visibly affecting 8Violin II rks 14 8′ Solo Violin addition to instruments in the residences dio station. The enterprise died in the the registers. Remote control inside setter. 8′ Salicional of radio pioneer Earle C. Anthony, oil planning stages and the Artcraft Organ 8′ Vox Angelica baron Lee Phillips, department store Company went broke in 1928. Los Angeles Coliseum 4′ Chimney Flute mogul Arthur Letts, and Willits Hole, Alexander Pantages ordered a fi ve- 2 GREAT - Manual II 2⁄3′ Nazard ′ who had an Aeolian organ in the art gal- manual Robert-Morton organ for his 16′ Double Diapason 2Flautino ′ 3 ′ lery wing of his Fremont Place mansion. spectacular Hollywood Pantages The- 16 Bourdon 1 ⁄5 Tierce ′ 16′ Contra Fagotto The Estey Organ Company’s sole atre that opened in 1930. Although the 8First Diapason ′ contribution to the fi lm colony was a theater was and still is a success, the 8′ Second Diapason 8Trumpet ′ 8′ Oboe Horn small four-rank unifi ed organ in the organ was never built due to the advent 8Third Diapason ′ 8′ Violoncello 8Vox Humana Hollywood home of “Keystone Kop” of sound fi lms, an expensive lawsuit in ′ 4′ Octave Oboe Chester Conklin. which Pantages was involved, and the 8Double Flute 8′ Clarabella Tremolo There were a number of Welte resi- closing of the Robert-Morton Company. 1 5⁄3′ Quint Vox Humana Vibrato dence organs scattered around Los An- The four large organ chambers remain ′ Harp 4First Octave geles, including a two-manual instrument empty to this day. 4′ Second Octave Celesta ′ Piano in the home of John Evans, a property The Hollywood Bowl, the world’s larg- 4Third Octave later owned by actress Ann Sheridan and est natural amphitheater, is used as a 4′ Tibia Plena ′ CHOIR Liberace. The large Welte organ in Lynn popular venue for summer concerts, ac- 4Harmonic Flute 1 ′ ′ Atkinson’s exquisite Louis XVI-style commodating audiences of up to 18,000. 3⁄5 Tenth 16 Contra Viol 2 ′ 2⁄3′ Twelfth 8English Diapason home was in a ballroom that opened onto The Hollywood Bowl program for July, ′ 8′ Tibia Minor terraced gardens. The exterior of the es- 1929, published a letter from the Bowl 2Fifteenth 8′ Claribel Flute V Plein Jeu ′ tate was used as the television home of manager relating that organist Edwin V Cymbale 8Flute Celeste the “Beverly Hillbillies,” although the Lemare was working to interest the Hol- ′ 8′ Viola 16 Double Trumpet ′ then-current owner fi nally tossed out the lywood Bowl Association in installing 8′ Tromba 8Muted Violin ′ 8′ Voix Celeste production company because too many an outdoor organ in the amphitheater. 4Clarion ′ tourists were knocking on the front door The letter went on to state that Lemare 8′ Grand Piano 8Viola ′ 4′ Traverse Flute wanting to meet Jed Clampett. had prevailed on an organ builder to in- 4Grand Piano 2′ Piccolo The largest residence organ in Los stall an organ in the Bowl provided that Minor Chimes 8′ Clarinet Great 2nd Touch Angeles was in the 62-acre estate of Sils- $10,000 was spent to build enclosures Diapason Section Tremolo by Spalding. The Aeolian organ (Opus for the instrument.15 Fortunately, the Choir 2nd Touch Brass Section 1373) had three manuals, six divisions, scheme never progressed past the plan- String Section 8′ Principal Diapason ′ 8′ Tibia Minor a 32 Open Diapason, and 67 ranks of ning stage. Woodwind Section 8′ Tuba Sonora pipes. It was installed in the Spalding’s Solo to Great 8 ′ large music room in 1919 and spoke Los Angeles Memorial Coliseum Tower Chime 8Clarinet ′ Celesta through three tall arches faced with or- In the late 1920s, the Welte Organ 2Glockenspiel Chimes namental metal grilles. Company submitted a proposal to the SWELL - Manual III Solo to Choir Two very exclusive and elegant apart- Civic Bureau of Music and Art of Los 16′ Quintaton Swell to Choir ment buildings in Los Angeles each had a Angeles to build a fi ve-manual outdoor 16′ Contra Viola Robert-Morton organ in the living room organ for the Los Angeles Memorial 8′ Open Diapason 28 THE DIAPASON Nov 09 pp. 24-29 .indd 28 10/12/09 11:29:20 AM Pedal 2nd Touch 64′ Gravissima 32′ Diaphone 32′ Contra Bombarde Solo to Pedal 8 Solo to Pedal 4 Diapason Section 8 Diapason Section 4 Brass Section 8 Brass Section 4 Tower Chimes Minor Chimes Thunder Drum, Stroke Thunder Drum, Roll Kettle Drum, Roll Chinese Gong Persian Cymbal Vibratos Choir Choir Vox Humana Swell Swell Vox Humana Liberace at the Welte organ in his Hol- The Robert-Morton organ in one of Solo lywood home, originally built for John the plush apartments at La Ronda in Woodwind Evans Hollywood String, Fast String, Slow 8′ Horn Diapason ORCHESTRAL - Manual V ′ The Hollywood Pantages theatre. The 8Viola da Gamba Diapason Section organ chambers were prepared for a 8′ Salicional 16′ Major Diapason Conclusion ′ ′ fi ve-manual Robert-Morton organ that The stories of these instruments testi- 8Voix Celeste 8Double Languid Diapason I was never installed. 8′ Tibia Clausa 8′ Double Languid Diapason II fy to the near-ubiquity of the pipe organ 8′ Harmonic Flute 8′ Diapason Phonon early in the twentieth century, including 4′ Octave 8′ Open Diapason PEDAL its use in fi lms and stage shows. Even ′ ′ 64′ Gravissima 4Geigen Principal 8Geigen Principal ′ fi lm actors owned and played pipe or- 4′ Salicet II rks 4′ Double Languid Octave 32 Diaphone ′ ′ 32′ Violone gans, in a golden age that now survives 4Flute Couverte 4Octave ′ ′ 2 ′ 16 Diaphone only in recollections such as this. Q 4Traverse Flute 2⁄3 Twelfth ′ 1 ′ ′ 16 Major Bass 3⁄5 Tenth 2Fifteenth ′ Notes 2 ′ 1 ′ 16 Diapason 2⁄3 Twelfth 1⁄3 Nineteenth ′ 1. Architectural Record, February 1905, p. 2′ Fifteenth 1′ Twenty-Second 16 Violone ′ 16′ Contra Basso (String) 117. 2Piccolo IX Grand Chorus ′ 2. “Organist Hastings Dies.” Los Angeles VI Mixture Diapason Section Pedal 16 Tibia Clausa ′ ′ 16′ Wald Horn (Ch) Times, Dec. 3, 1940, A/15. 16 Contra Posaune 16 Diaphonic Diapason ′ 3. Pacifi c Coast Musician, November 1914, 8′ Cornopean 16′ Diapason 16 Bourdon 2 16′ Contra Viola (String) p. 6. ′ 10 ⁄3′ Quint 8Trumpet 2 ′ ′ 8′ Diapason Octave 10 ⁄3 Quint 4. Pacifi c Coast Musician, May 1914, p. 7. 8Oboe Horn ′ 5. Pacifi c Coast Musician, May 1915, p. 4. 8′ Vox Humana II rks 8′ Octave 8Diaphone ′ ′ 8′ Principal 6. Los Angeles Times, April 4, 1920, 4Clarion 4Super Octave ′ 8′ Grand Piano 8Octave III/30. ′ 8′ Violoncello 7. The Diapason, August 1921, p. 3. 4Grand Piano Brass Section ′ Swell 2nd Touch 16′ Trombone 8Wald Horn (Ch) 8. Los Angeles Times, January 21, 1923, ′ 8′ Flute III/27. Diapason Section 16 Serpent 1 ′ 5⁄3′ Octave Quint 9. “Finding Aids for the Uplifter’s Club Brass Section 8Tuba Magna ′ String Section 8′ Tuba Sonora 4Super Octave Records,” U.C.L.A., n.d. ′ 4′ Fifteenth 10. Los Angeles Evening Express, Decem- Woodwind Section 8Tuba Mirabilis ′ Solo to Swell 8 8′ French Trumpet 4Tibia Flute ber 17, 1925, p. 9. Chimes 8′ Muted Trumpet V Harmonics 11. Pacifi c Coast Musician, May 15, 1926, p. ′ ′ V Fourniture 14. 2Glockenspiel 8Post Horn ′ 8′ French Horn (closed tone) 32 Contra Bombarde 12. “Organ Recital Program–Barker Bros.,” ′ 16′ Bombarde March 28, 1927. CHOIR - Manual I 8French Horn (open tone) ′ ′ 1 ′ 16 Tuba Profunda 13. Skinner Organ Company, Opus #690, 16 Waldhorn 5⁄3 Corno Quint ′ 8′ Open Diapason 4′ Tuba Clarion 16 Serpent (Brass) 1928. ′ ′ 16′ Ophicleide (Solo) 14. Venice Vanguard, February 11, 1926, p. 8Waldhorn 4Trumpet Clarion ′ ′ 2 ′ 16 Double Trumpet (Gt) 15. 8Tibia Minor 2⁄3 Corno Twelfth ′ 8′ Viol d’Orchestre 2′ Cor Octave 16 Contra Posaune (Sw) 15. The Diapason, August 1929, p. 4. ′ 16′ Contra Fagotto (Ch) 16. Collection of the author. 8Violes Celestes II rks Brass Section Pedal ′ 8′ Claribel Flute 32′ Contra Bombarde 8Bombarde 8′ Tuba Sonora 8′ Quintaphon 16′ Bombarde James Lewis is an organist, organ historian ′ ′ 4′ Bombarde 4Octave 16 Trombone ′ and commercial photographer. He has re- 4′ Wald Flute 8′ Trumpet 4Cornet ′ 16′ Grand Piano searched the organs of California for over 35 4Violin years and has published articles on the subject 2 8′ Grand Piano 2⁄3′ Twelfth String Section ′ ′ Bass Drum, Stroke in several periodicals. This article is a small 2Fifteenth 16 Contra Basso section of a much larger text of a forthcoming 2′ Flageolet 16′ Violin Diapason 3 book from the Organ Historical Society. 1⁄5′ Seventeenth 16′ Contra Viola 1 1⁄7′ Septieme 8′ Violin Diapason 1′ Twenty-Second 8′ Violin Diapason Celeste 16′ Contra Fagotto 8′ Violoncello I 8′ Clarinet 8′ Violoncello II 8′ Vox Humana II rks 8′ Cello Celestes II rks 4′ Clarion 8′ Nazard Gamba Minor Chimes 8′ Gamba Celeste 2′ Glockenspiel 8′ First Violin 8′ Grand Piano 8′ Second Violin 4′ Grand Piano 8′ Third Violin 2′ Xylophone 8′ Violin Celestes II rks Snare Drum, Tap 8′ First Viola Snare Drum, Roll 8′ Second Viola Choir 2nd Touch 8′ Viola Celestes II rks Diapason Section 8′ Muted Violins III rks Brass Section 4′ String Octave String Section 4′ Violins II rks Woodwind Section 4′ Muted Violins III rks Solo to Choir 2′ String Fifteenth Chimes III Cornet des Violes 2′ Glockenspiel String Section Pedal Snare Drum, Roll 32′ String Diaphone Triangle 16′ Double Bass 16′ Violone SOLO - Manual IV 8′ Cello 16′ Violone 8′ Diapason Magna Woodwind Section 8′ Tibia Plena 16′ Bassoon 8′ Solo Gamba 16′ Bass Saxophone 8′ Gamba Celestes II rks 8′ First Saxophone 8′ Harmonic Flute 8′ Second Saxophone 4′ Octave 4′ Soprano Saxophone 4′ Concert Flute 8′ English Horn 4′ Solo Violin 16′ Bass Clarinet III Cornet 8′ Basset Horn 16′ Ophicleide 8′ First Clarinet 8′ Tuba Mirabilis 8′ Second Clarinet 8′ Tuba Sonora 8′ Orchestral Oboe 8′ Military Trumpet 8′ Kinura 8′ French Horn 8′ Orchestral Flute 8′ Orchestral Oboe 4′ Solo Flute 4′ Clarion 2′ Solo Piccolo NOVEMBER, 2009 29 Nov 09 pp. 24-29 .indd 29 10/12/09 11:29:39 AM Cover feature John-Paul Buzard Pipe Organ Builders, Champaign, Illinois, Opus 38 St. Mark the Evangelist Catholic Church, San Antonio, Texas St. Mark the Evangelist Catholic Church, San Antonio, is a vibrant Chris- tian community of 5,000 families, located about twenty minutes north of the San Antonio International Airport in a new residential neighborhood on Thousand Oaks Drive. They have a well-deserved reputation for superior community out- reach, building several Habitat for Hu- manity houses per year and operating a traveling meal program for the needy. Former organist and director of music and liturgy Lena Gokelman contacted me nearly twelve years ago to share ideas for a new pipe organ for the large church building then being planned. She and their consultant, Fr. James Brobst, traveled to Illinois to hear and play our instrument at Holy Family Catholic Church in Rockford, and were immedi- ately convinced of the need to have the Buzard Sound at St. Mark’s. St. Mark’s had no pipe organ in its original temporary sanctuary, and the majority of parishioners had never heard one. It was a daunting endeavor to edu- cate the parish about the difference that a pipe organ could make in their liturgi- cal and musical lives, and then convince them that they needed one! A long- standing parishioner was convinced, and through his anonymous generosity, made it happen. This new organ is our 38th, and was designed to visually complement the sculpture of the Christus Rex, incised into and built out from the brick wall at the front of the assembly. The building seats about 1,000 people and is surpris- ingly lively in its acoustical environment. Buzard Opus 38 The organ itself is raised 18 feet above the fl oor and sounds nicely down the rich, high tin-content metal of generous building’s axis. Sonically it fi lls the entire thickness. On-site tonal fi nishing took a room whether playing soft or loud. The month to accomplish. woodwork in the façade is solid white The organ’s engineering was accom- oak, stained and fi nished to relate to the plished by our executive vice-president church’s other woodworking. Pipes in and chief engineer, Charles Eames. This the façade are made of polished tin and instrument has the distinction of afford- fl amed copper. ing him one of his greatest challenges: Two sets of horizontal trumpets em- designing a pipe organ with a 14-inch phasize the aural excitement that a pipe steel beam running through its center! organ can bring to a liturgical occasion. Although chamber space was provided A high-pressure Tuba made of polished for a “future organ” when the church was tin is in the organ’s façade; a polished built, neither architects nor contractors copper set of Pontifi cal Trumpets on thought anything wrong about running a lower pressure is mounted over the en- steel beam through its middle! Although try doors. Lest one think that resources the organ occupies a “chamber,” the in- were squandered on an unnecessary strument is still housed in a free-stand- luxury of two chamades, they were in- ing case. This allows the sound to effort- cluded only after the organ’s chamber lessly project into the church, and for us space had been completely fi lled with to minimize any variables while installing the stops necessary for a full and proper on-site. This also afforded us the oppor- classically conceived and romantically tunity to build a ventilation system that executed specifi cation. brings conditioned air from the church The choral singers are located in a up to the top of the organ, spilling down “bump-out” area to the right of the naturally, thereby keeping the instru- building’s axis. Because the choir is ef- Choral Organ ment in tune. fectively in another room, and cannot The parish is “between organists.” So, hear the organ clearly, we built a four- in order for the parishioners to hear what stop Choral Organ to accompany their an organ could do for worship, I played singing, housed in a small free-standing for the three Sundays that I was in San case that stands behind them. These Antonio voicing the organ. The fi rst Sun- four stops are of suffi cient tonal variety day, people heard only those few stops and volume gradations to support the that were fi nished. But by the second choral singing in perfect balance. Stops and third Sundays, I played the hymns, from the main portion of the organ may prelude, and postlude using the versatil- also be used to supplement the Choral ity of the entire instrument. The organ Organ’s sound. has been extremely well received by the The instrument contains 35 indepen- parishioners, clergy, and the wider com- dent stops and 43 ranks of pipes across munity. Organist David Heller will be three manuals and the pedal keyboard. dedicating it in a Solemn Pontifi cal Mass As in all Buzard organs, there is a wealth followed by a concert on Saturday, No- of tonal variety, even if the instrument is vember 21. modest in size. At the hand of our tonal My deepest thanks go to St. Mark’s for director Brian Davis, no two diapasons commissioning us to build this organ, es- sound exactly alike; the fl utes are liquid pecially to Pastor Kevin Ryan, adminis- in tone and often take their cues from trator “Dot” Hamlin, our contact person their orchestral counterparts; strings Lena Gokelman, music director Dolores impart a warmth and keenness to the Martinez and her assistant Courtney palette. The chorus reeds are spectacu- Guernsey, facility manager George lar, each stop having its own depth and Wetherill, and Irene Marin, who makes degree of éclat; the plaintive German the best tortillas I’ve ever tasted! Romantic Oboe is a tremendously effec- A pipe organ is far more than the sum tive solo player, but also colors the Swell of its parts, or the sum of the labor-hours fl ues subtly. All metal pipes are made of Console of the tremendously dedicated individu- 30 THE DIAPASON Nov 09 pp. 30-32.indd 30 10/12/09 11:30:23 AM als with whom I am blessed to work. SWELL – Manual III They all deserve special recognition: Enclosed, 4″ wind pressure David Brown, foreman, service depart- 8′ English Open Diapason 8′ Stopped Diapason ment and installation ′ Brian K. Davis, tonal director 8 Salicional 8′ Voix Celeste (tc) Stephen Downes, metalworking, tonal 4′ Principal assistant, installation 4′ Harmonic Flute 2 Charles Eames, executive vice-president 2⁄3′ Nazard and chief engineer 2′ Recorder 3 John Jordan, service technician 1⁄5′ Tierce 2 ′ C. Robert Leach, cabinetmaker façade, 2⁄3 Full Mixture V 16′ Bassoon (full length) general woodworking, installation ′ Stuart Martin, cabinetmaker façade and 8 Trompette 8′ Oboe console cabinetry Tremulant Shane Rhoades, cabinetmaker, winding Cymbalstern system, installation 8′ Major Tuba (Gt) Jay Salmon, offi ce manager 8′ Pontifi cal Trumpets (Gt) Lyoshia Svinarski, cabinetmaker and Swell to Swell 16′, UO, 4′ wood fi nishing Stuart Weber, service technician CHORAL – Manual I John Wiegand, service technician and Encased, 3½″ wind pressure installation 8′ Principal (polished tin in façade) Ray Wiggs, console, electrical and 8′ Gemshorn 4′ Octave windchest specialist, installation ′ Keith Williams, director, service depart- 4 Flute Tremulant ment 8′ Major Tuba (Gt) —John-Paul Buzard 8′ Pontifi cal Trumpets (Gt) Choral to Choral 16′, UO, 4′ St. Mark the Evangelist Catholic Church, Swell to Choral 16′, 8′, 4′ San Antonio, Texas Buzard Opus 38, completed August 1, 2009: 35 stops, 43 ranks PEDAL – Unenclosed 32′ Subbass (1–12 digital, ext) 32′ Lieblich Gedeckt (1–12 digital, ext) GREAT – Manual II ′ Unenclosed, 4″ wind pressure 16 Open Diapason (fl amed copper and ′ polished tin in façade) 16 Lieblich Gedeckt ′ Pontifi cal Trumpets 8′ Open Diapason (polished tin 16 Bourdon 16′ Lieblich Gedeckt (Gt) in façade) ′ 8′ Viola da Gamba 16 Metal Gedeckt (fl amed copper in ′ façade of Choral Organ case) 8 Harmonic Flute ′ 8′ Bourdon 8 Principal (polished tin in façade) ′ 8′ Spire Flute 4 Principal ′ ′ 4′ Spire Flute 8 Bourdon (ext 16 ) 2 ′ 8′ Gedeckt Flute (Gt) 2⁄3 Twelfth ′ ′ 2′ Fifteenth 4 Choral Bass (ext 8 ) ′ 4’ Open Flute (ext 16′) 2 Mixture V (breaks at octaves) ′ Tremulant 16 Trombone (wood) ′ ′ 16′ Bassoon (Sw) 8 Tromba (ext Ped 16 Tbn) ′ ′ 4′ Clarion (ext 8′) 8 Trumpet (ext 16 ) ′ 4′ Clarion (ext 16′) 8 Major Tuba (polished tin, horizontal) ′ 8′ Pontifi cal Trumpets (polished copper, 8 Major Tuba (Gt) 8′ Pontifi cal Trumpets (Gt) horizontal) ′ ′ Great to Great 16′, UO, 4′ Great to Pedal 8 , 4 ′ ′ ′ Swell to Pedal 8′, 4′ Swell to Great 16 , 8 , 4 ′ ′ Choral to Great 16′, 8′, 4′ Choral to Pedal 8 , 4 Looking up Tromba pipes Trombone pipes NOVEMBER, 2009 31 Nov 09 pp. 30-32.indd 31 10/12/09 11:32:46 AM New Organs The Sweelinck Organ Project at Codex through Sweelinck and early St. Andrew’s Episcopal Church, Bach. The organ features: Antelope, California mechanical key and stop action; Named after the infl uential Neth- hand-pumped, single-fold wedge- erlands composer, Jan Pieterszoon shaped bellows and low wind pressure Sweelinck (1562–1621), this project cen- (65 mm) without wind stabilizers; ters on the creation of a pipe organ of a visual design, including decorated case kind known in Northern Europe in the doors, typical of period instruments; 17th century. Thus, it offers a glimpse keyboards and pedalboard utilizing into a musical world of the early Baroque short octaves, period key dimensions period, with echoes of the Renaissance and shapes, limited compasses (CDEF still clearly audible. Not a replica of any GA–c3), and an early-style shove coupler specifi c organ, the Sacramento Sweelinck to connect the manuals; Organ represents a synthesis of features tuning at high choir pitch (Chor- common to many smaller instruments ton, A = 460) in ¼ comma meantone from this region and period. temperament; Aside from its anticipated use as an in- construction materials chosen from lo- strument for performance practice study, cally available lumber, animal hides and the organ is played weekly in traditional glues, and recycled components from church services at St. Andrew’s Episco- older instruments; and pal Church in Antelope, California, in a construction techniques employing deliberate attempt to test the feasibility period joinery and period fi nishes. of using such a highly focused instru- —Lee T. Lovallo, Ph.D. ment to support modern congregational National University, Sacramento worship, in this case using The Hymnal 1982 and Lift Every Voice and Sing II. HAUPTWERK 8′ Prinzipal Research and design of the organ was ′ carried out in 2004–2005 by Dr. Lee T. 4 Oktav 3′ Quint Lovallo, assistant professor at National 2′ Oktav University’s Sacramento campus and mu- Mixtur II sic director at St. Andrew’s. Construction 8′ Gedackt was begun in late 2005 in collaboration 8′ Spitzfl öte with organbuilder Rick Simms and in- 8′ Regal cluded help from a number of volunteers. 8′ Schalmey Painting and gilding of the case doors in a traditional design was executed by Sac- UNTERWERK 8′ Quintadena ramento artist Theodore Sanders of Na- 4′ Prinzipal (TC) tional University. The calligraphy of the 2′ Blockfl öte (TC) stop labels and the carving of the motto at 8′ Krummhorn (TC) the top of organ (“Singen wir aus Herzens Grunde”—“Let us sing from the depths PEDAL of our hearts”) were executed by St. An- 16′ Subbaß drew’s parishioner George Simpson. 8′ Tromba The organ was dedicated on April 18, Accessories 2009 by Dr. David Rothe of California Nachtigal, Zymbelstern, Tremulant, Calcant State University, Chico, in a recital that signal, Pedal pull-down to HW, intermanual featured music from the Robertsbridge shove coupler, hand-raised wind option Parkey OrganBuilders, Working with Dr. Dorroh, we dis- Duluth, Georgia cussed and agreed that new Great and St. Peter’s Episcopal Church, Swell chests were in order. We also Talladega, Alabama discussed the options of some minor In early 2008 we received a call from relocation of the organ. This allowed Jim Dorroh of Birmingham, Alabama, re- most of the chambered façade pipes to garding the restoration of a 1904 Hook & be returned their original position in Hastings tracker organ. Dr. Dorroh had the façade and provided better access been asked to serve as the consultant for for service and tuning. The church also the project. In our discussions, it was ex- agreed to raise additional funds to allow plained that the organ had suffered exten- for the reinstallation of the 8′ Salicional sive water damage due to a storm-ravaged (while retaining the 8′ Trumpet) and to roof in the spring. We made the arrange- install a needed 2′ stop in the Great divi- ments to meet with the committee from sion. Since the church was agreeable to St. Peter’s, along with my shop supervisor, extending the organ out of the chamber Michael Morris. and new chests were in order, the addi- At our initial visit the organ was un- tional stops were easy to accommodate. playable. The water had severely dam- The work ensued and the organ began aged both the Great and Swell chests, to take shape in our shop in early 2009. along with the felt and leather compo- The keyboards were restored in ivory; new nents in the action. Our fi rm and several stopknobs and stop actions were provided other fi rms agreed that the only option in the historical fashion of the existing was to completely remove the organ and stop actions. Existing woodwork was re- restore the entire instrument. The organ paired and refi nished, and new casework was removed and shipped back to our lo- was constructed as needed. The façade cation in Norcross, Georgia, in summer pipes were stripped and repainted. 2008. Once the organ was in our shop, The organ had a blower installed in we completely dismantled the rest of the 1934, which was later replaced. During in each division to balance two colorful GREAT (unenclosed) windchests and components for further its replacement, another reservoir was fl utes, a Stopped Diapason and a Melodia. 8′ Open Diapason 61 pipes inspection. As originally suspected, the added atop the Swell box. This reser- The organ features Diapasons at 8′ and 4′ 8′ Melodia 61 pipes ′ 8′ Dulciana 61 pipes Great and Swell windchests were a total voir proved larger than necessary, and pitches on the Great. Our task for the 2 ′ loss. The metal pipework survived well, since the reservoir had water damage was to achieve clarity without being stri- 4 Octave 61 pipes 2′ Super Octave 61 pipes though repairs to some of the wooden we opted to install a smaller reservoir. dent. After all the pipework had under- Swell to Great 8′ pipes were necessary. The church also provided a much bet- gone cleaning and regulation back to its Swell to Great 4′ The organ was originally installed in ter blower enclosure space. The original original state, many were surprised at the the First Baptist Church of Talladega Hook & Hastings double-rise reservoir, return of color and speech intonations. SWELL (enclosed) in 1904, and subsequently was sold and though water-damaged and leaking, was The organ was offi cially heard and re- 8′ Salicional 61 pipes moved to St. Peter’s in 1934. Though the intact and in position. Our revision to the dedicated to service on Easter Sunday, (reinstalled) 8′ Stopped Diapason 61 pipes church constructed a new building at winding system preserved the double- April 12, 2009. Dan Miller, choirmaster/ ′ that time, the provisions for space for the rise reservoir, as this is key to the gentle organist, played the service, which was pre- 4 Harmonic Flute 61 pipes 8′ Oboe 61 pipes organ were not ideal. During reinstalla- fl ex and stability of the wind. A new cur- sided over by Father Ray Walden, Priest in 8′ Trumpet 61 pipes tion, part of the façade was installed in tain valve box was provided. Charge, and the Bishop of Alabama. (by another builder) the chamber, and the organ sat recessed As do most builders, we often build new Our appreciation goes out to Dr. Jim Tremulant in its alcove. The organ had gone through organs; however, projects such as this are Dorroh, Dan Miller, Father Walden, and some minor renovations in the 1980s. a great exercise and study for our staff to the congregation of St. Peter’s. How de- PEDAL Sometime after that renovation, another experience. As a tonal director, I fi nd it is lightful it was that a congregation took 16′ Bourdon 30 pipes builder removed the 8′ Salicional from a good study in the format of building not such interest in the return of their instru- Great to Pedal the Swell and installed an 8′ Trumpet in a recital organ, but a church organ. Each ment in the weeks leading up to Easter. Swell to Pedal its place. Due to the pitfalls of changes stop in the instrument fi lls an appropri- The return of the organ on Easter Sun- Toe stud reversible for Open Diapason stop and “upgrades,” service and tuning was ate position with respect to sound, color, day could not have been more fi tting. Zimbelstern operated via toe stud reversible precarious at best. and volume. The organ features a string —Phil Parkey (later addition) 32 THE DIAPASON Nov 09 pp. 30-32.indd 32 10/12/09 11:33:05 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH 22 NOVEMBER Pickle Piano & Church Organs This calendar runs from the 15th of the month of Christian Lane, with Harvard University NEW YORK issue through the following month. The deadline is Choir; Memorial Church, Harvard University, Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. Cambridge, MA 4 pm issue). All events are assumed to be organ recitals Christopher Houlihan; Plantsville Congrega- unless otherwise indicated and are grouped within tional, Plantsville, CT 4 pm each date north-south and east-west. •=AGO chap- Christopher Babcock CONCORA; South Church, New Britain, CT WILLIAM AYLESWORTH ter event, • •=RCCO centre event, +=new organ 4 pm dedication, ++= OHS event. Rachel Laurin; Woolsey Hall, Yale University, St. Andrew’s by the Sea, Information cannot be accepted unless it speci- New Haven, CT 8 pm D. M. fi es artist name, date, location, and hour in writ- Nigel Potts; First Congregational, Bay Shore, Hyannis Port ing. Multiple listings should be in chronological order; NY 4:30 pm EVANSTON, ILLINOIS please do not send duplicate listings. THE DIAPA- Saint Andrew Chorale; Madison Avenue Pres- St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for byterian, New York, NY 3 pm the accuracy of calendar entries. Renée Anne Louprette; Church of St. Igna- tius Loyola, New York, NY 4 pm Eric Plutz; Cathedral of St. John the Divine, UNITED STATES New York, NY 5:15 pm East of the Mississippi Stephen Distad; St. Thomas Church Fifth Av- enue, New York, NY 5:15 pm Kenneth Danchik; St. Paul Cathedral, Pitts- 15 NOVEMBER burgh, PA 4 pm Martin Jean; Syracuse University, Syracuse, Jeremy Filsell; Washington National Cathe- NY 4 pm dral, Washington, DC 5:15 pm John Cantrell; Cathedral of St. John the Di- Kevin Clemens; Church of St. John the Evan- vine, New York, NY 5:15 pm gelist, Severna Park, MD 7 pm Hervé Duteil; St. Thomas Church Fifth Av- Mark Jones & Charles Stanley, with trumpet enue, New York, NY 5:15 pm and saxophone; First Presbyterian, Pompano Dean W. Billmeyer Peter Richard Conte; Union Evangelical Lu- Beach, FL 4 pm theran, York, PA 3 pm Nathan Laube; St. John the Baptist Catholic University of Minnesota •Michael Unger; Heinz Memorial Chapel, Church, Canton, OH 4 pm Handel, choral works; Christ Church Grosse Pittsburgh, PA 4 pm Minneapolis 55455 • [email protected] Kevin Clemens; Cathedral of the Blessed Pointe, Grosse Pointe Farms, MI 4:30 pm Sacrament, Altoona, PA 7 pm David Goode; Independent Presbyterian, Bir- Donald Sutherland & John Walker; Griswold mingham, AL 4 pm Hall, Peabody Conservatory, Baltimore, MD 4 pm Kammerchor and the Alleluia Ringers; Concor- Nathan Laube; Grace United Methodist, Ab- dia University, Mequon, WI 3:30 pm erdeen, MD 4 pm Karen Beaumont; Cathedral of St. John the Byron L. Blackmore THOMAS BROWN National Men’s Chorus; St. Luke Catholic Evangelist, Milwaukee, WI 4 pm UNIVERSITY Church, McLean, VA 4 pm Peter Miller; Westminster Presbyterian, Deca- Crown of Life Lutheran Church PRESBYTERIAN CHURCH Gerre & Judith Hancock tur, IL 3 pm ; Duke University Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Chapel, Durham, NC 5 pm Stephen & Maria Helena Tharp; First Presby- Peter DuBois; First Presbyterian, Charleston, terian, Springfi eld, IL 4 pm 623/214-4903 ThomasBrownMusic.com WV 3 pm Chanson; West Liberty University, West Lib- 23 NOVEMBER erty, WV 8 pm Br. Jonathan Ryan; Presbyterian Homes, Marie Rubis Bauer; St. Joseph Cathedral, Evanston, IL 1:30 pm Columbus, OH 3 pm David Chalmers Glenna Metcalf; John L. Hill Chapel, George- 24 NOVEMBER DELBERT DISSELHORST town College, Georgetown, KY 3 pm Chad Winterfeldt; Church of St. Louis, King of Concert Organist Andrew Peters, silent fi lm accompaniment; France, St. Paul, MN 12:35 pm GLORIÆ DEI CANTORES Professor Emeritus Grace Lutheran, Clarksville, TN 4 pm 25 NOVEMBER University of Iowa–Iowa City Scott Hyslop; St. Lorenz Lutheran, Franken- Orleans, MA Thanksgiving Evensong; Emmanuel Church, muth, MI 4 pm Chestertown, MD 6 pm Choral Evensong; Christ Church Grosse Pointe, Grosse Pointe Farms, MI 4:30 pm 27 NOVEMBER James Metzler; Park Congregational, Grand David Lamb; Trinity Church, Boston, MA STEVEN EGLER Rapids, MI 4 pm JOHN FENSTERMAKER 12:15 pm Central Michigan University David Higgs; Independent Presbyterian, Bir- John W. W. Sherer; Fourth Presbyterian, Chi- mingham, AL 4 pm First Presbyterian Church TRINITY-BY-THE-COVE Heinrich Walther; Our Savior’s Lutheran, Sun cago, IL 12:10 pm Mt. Pleasant, Michigan 48858 Prairie, WI 7 pm SOLO Shelly-Egler 29 NOVEMBER Carissimi, Jeptha and Jonah; DePaul Univer- RECITALS Flute and Organ Duo NAPLES, FLORIDA David Lamb sity Art Museum, Chicago, IL 7 pm ; St. Joseph’s Cathedral, Man- Rockefeller Chapel Choir & Salem Baptist chester, NH 1 pm Harry Huff Choir; Rockefeller Memorial Chapel, Chicago, ; Church of the Advent, Boston, MA IL 5 pm 4:30 pm Organist / Pianist David Schrader & Gary Wendt; Glenview Advent Lessons & Carols; Church of the Ad- CHRISTOPHER Community Church, Glenview, IL 3 pm vent, Boston, MA 5 pm Frederick Teardo Michael Gailit •Works of Mendelssohn; Ascension RC ; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm www.gailit.at GARVEN Church, Oak Park, IL 3 pm offi [email protected] Organist & Music Director Lorraine Brugh Advent Lessons & Carols; Cathedral of Mary ; First Presbyterian, Macomb, Konservatorium Wien University Church of the Good Samaritan IL 3 pm Our Queen, Baltimore, MD 5:30 pm Advent Lessons & Carols; St. Peter in Chains University of Music, Vienna Paoli, Pennsylvania Cathedral, Cincinnati, OH 3 pm 17 NOVEMBER Mark Bani; Church of St. Vincent Ferrer, New 30 NOVEMBER York, NY 7 pm David Enlow; Church of St. Vincent Ferrer, Dan Kwekel; Park Congregational, Grand New York, NY 7 pm JAMES HAMMANN Rapids, MI 12:15 pm WILL HEADLEE Students of St. Olaf College; Church of St. DMA-AAGO 1650 James Street 1 DECEMBER Louis, King of France, St. Paul, MN 12:35 pm Holiday Brass Christmas Concert; Cathedral University of New Orleans James Biery; Cathedral of St. Paul, St. Paul, Syracuse, NY 13203-2816 of Mary Our Queen, Baltimore, MD 7:30 pm Chapel of the Holy Comforter MN 7:30 pm Vienna Boys Choir; St. Peter in Chains Cathe- (315) 471-8451 dral, Cincinnati, OH 7:30 pm 19 NOVEMBER Susan Johnson; Church of St. Louis, King of Harvard Organ Society members; Adolphus France, St. Paul, MN 12:35 pm Busch Hall, Cambridge, MA 12:15 pm ANDREW HENDERSON, DMA 2 DECEMBER Harry H. Huber 20 NOVEMBER Helen Anthony; Camp Hill Presbyterian, Madison Avenue Presbyterian Church D. Mus. Bruce Neswick; University at Buffalo, Buffalo, Camp Hill, PA 12:15 pm NY 7:30 pm New York, NY Kansas Wesleyan University, Emeritus John Lowe, Jr.; Morrison United Methodist, University Methodist Church Isabelle Demers; First United Presbyterian, Leesburg, FL 12 noon Troy, NY 8 pm www.andrewhenderson.net Todd Wilson, with trumpet; Stan Hywet Hall & SALINA, KANSAS Paul Jacobs; St. Petersburg College, St. Pe- Gardens, Akron, OH 7 pm tersburg, FL 7:30 pm Derek Nickels; Nichols Hall, Music Institute of Tom Trenney; First Presbyterian, Lexington, Chicago, Evanston, IL 12:15 pm KY 8 pm LORRAINE BRUGH, Ph.D. Samford University A Cappella Choir; Cathedral 3 DECEMBER A two-inch Church of the Advent, Birmingham, AL 12:30 pm Compline; Memorial Church, Harvard Univer- Michael Simonini; St. Bernard Parish, Apple- sity, Cambridge, MA 10 pm Associate Professor Professional Card ton, WI 7 pm Christmas choral concert; St. Luke in the University Organist Michael Batcho, with brass; Cathedral of St. Fields, New York, NY 8 pm John the Evangelist, Milwaukee, WI 8 pm in The Diapason Advent/Christmas Vespers; Neu Chapel, Uni- Valparaiso University •Luke Mayernik; Glenview Community versity of Evansville, Evansville, IN 7:30 pm Church, Glenview, IL 8 pm William Ferris Chorale; Our Lady of Mount Valparaiso, IN For information on rates and Stephen & Maria Helena Tharp; Ram- Carmel Church, Chicago, IL 8 pm www.valpo.edu specifi cations, contact: melkamp Chapel, Illinois College, Jacksonville, IL 7:30 pm 4 DECEMBER Jerome Butera Handel, Messiah; Coral Ridge Presbyterian, 219-464-5084 [email protected] 21 NOVEMBER Fort Lauderdale, FL 7:30 pm [email protected] Cameron Carpenter; Church of St. Mary the Nathan Laube; Music Center, St. Petersburg 847/391-1045 Virgin, New York, NY 3 pm College, St. Petersburg, FL 7 pm NOVEMBER, 2009 33 Nov 09 pp. 33-37.indd 33 10/12/09 11:33:47 AM Lessons & Carols; Holy Trinity Lutheran, Ak- Lessons & Carols; St. John’s Episcopal, Hag- MICHELE JOHNS ron, OH 7:30 pm erstown, MD 10:15 am Brian Jones Christmas concert; Concordia University, Me- Messiah Sing, with orchestra; St. Luke Catho- A.Mus.D quon, WI 7:30 pm lic Church, McLean, VA 4 pm Handel, Messiah; Rockefeller Memorial Cha- Organ — Harpsichord Director of Music Emeritus Handel, Messiah; First United Methodist, Co- pel, Chicago, IL 8 pm lumbus, IN 9 am The University of Michigan TRINITY CHURCH Christmas concert; Peachtree Road United School of Music BOSTON 5 DECEMBER Methodist, Atlanta, GA 5:30 pm Advent Lessons & Carols; Christ & St. Ste- Handel, Messiah; Christ Church Grosse phen’s, New York, NY 5 pm Pointe, Grosse Pointe Farms, MI 4:30 pm Christmas concert; Concordia University, Me- Christmas concert; St. Lorenz Lutheran, Fran- quon, WI 7:30 pm kenmuth, MI 1:30 pm, 4:30 pm KIM R. KASLING JAMES KIBBIE Candlelight Concert; Park Congregational, D.M.A. The University of Michigan 6 DECEMBER Grand Rapids, MI 4 pm Advent Procession of Lessons & Carols; All Advent Lessons & Carols; Fourth Presbyte- St. John’s Univeristy Ann Arbor, MI 48109-2085 Saints, Worcester, MA 5 pm rian, Chicago, IL 4 pm 734-764-1591 FAX: 734-763-5097 Scott Lamlein, Candlelight Festival of Les- Rutter, Magnificat; First Presbyterian, Arling- Collegeville, MN 56321 sons & Carols; First Congregational, Bristol, CT ton Heights, IL 4 pm email: [email protected] 3 pm Choral Evensong for Advent; Cathedral of the 14 DECEMBER Incarnation, Garden City, NY 4 pm 100th Annual Carol Service; Memorial Church, D.Mus. Lessons & Carols; Chapel, Vassar College, Harvard University, Cambridge, MA 8 pm David K. Lamb, Poughkeepsie, NY 7 pm Handel, Messiah; Trinity Wall Street, New Director of Music/Organist Edward Landin; St. Thomas Church Fifth Av- York, NY 7:30 pm enue, New York, NY 5:15 pm Milwaukee Handbell Ensemble Bellfest; Con- First United Methodist Church Advent Lessons & Carols; St. James’ Church, cordia University, Mequon, WI 7:30 pm ORGAN CONSULTANT Columbus, Indiana New York, NY 5:30 pm www.gabrielkney.com 812/372-2851 Advent Lessons & Carols; Camp Hill Presbyte- 15 DECEMBER rian, Camp Hill, PA 8:30 am, 11 am Handel, Messiah; Avery Fisher Hall, New Canticle Singers; Cathedral of Mary Our York, NY 7:30 pm Queen, Baltimore, MD 5:30 pm Choir of St. Luke in the Fields; St. Luke in the Advent Lessons & Carols; Episcopal Church of Fields, New York, NY 8 pm David Lowry the Redeemer, Bethesda, MD 5 pm Bradley Hunter Welch; First Presbyterian, Advent Lessons & Carols; Church of St. John Richard Litterst THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Logan, OH 7:30 pm the Evangelist, Severna Park, MD 7 pm 1512 BLANDING STREET, COLUMBIA, SC 29201 Kathrine Handford; Church of St. Louis, King In Memoriam Nathan Laube; St. Catherine’s Episcopal, of France, St. Paul, MN 12:35 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Temple Terrace, FL 4 pm February 4, 1926–August 9, 2009 ROCK HILL, SC 29733 Lesson & Carols; St. Joseph Cathedral, Co- 16 DECEMBER lumbus, OH 3 pm Peter Stoltzfus Berton, with choirs of All Bach Society of Dayton, Christmas concert; Saints Church, Worcester; Mechanics Hall, Kettering Adventist Church, Kettering, OH 7:30 Worcester, MA 12 noon pm Saint Andrew Chorale, with children’s choirs BETTY LOUISE LUMBY Advent Procession; Christ Church Grosse and instruments; Madison Avenue Presbyterian, Pointe, Grosse Pointe Farms, MI 4:30 pm New York, NY 7 pm Handel, Messiah; Fitzgibbon Hall, Hanover DSM • FAGO Handel, Messiah; Avery Fisher Hall, New College, Hanover, IN 2 pm York, NY 7:30 pm UNIVERSITY OF MONTEVALLO Advent Lessons & Carols; Cathedral Church of Susan Foster; Old Salem Visitor Center, Win- the Advent, Birmingham, AL 9 and 11 am ston-Salem, NC 12 noon MONTEVALLO, AL 35115 Rockefeller Chapel Choir, with Millar Brass Ensemble; Rockefeller Memorial Chapel, Chi- 17 DECEMBER cago, IL 5 pm Handel, Messiah; Avery Fisher Hall, New Advent Lessons & Carols; Augustana Chapel, York, NY 7:30 pm Lutheran School of Theology, Chicago, IL 7 pm Thomas Murray; St. Patrick’s Church, New 18 DECEMBER James R. Metzler A.S.C.A.P. Orleans, LA 3 pm FELLOW, AMERICAN GUILD OF ORGANISTS Handel, Messiah; Avery Fisher Hall, New PARK CONGREGATIONAL CHURCH 7 DECEMBER York, NY 7:30 pm 345 SADDLE LAKE DRIVE Lessons & Carols; Morrison United Methodist, Christmas concert; Coral Ridge Presbyterian, GRAND RAPIDS, MICHIGAN ROSWELL-ATLANTA, GEORGIA 30076 Fort Lauderdale, FL 7:30 pm (770) 594-0949 Leesburg, FL 7:30 pm Chanticleer; Fourth Presbyterian, Chicago, IL Georgia Boy Choir; Peachtree Road United 8 pm Methodist, Atlanta, GA 7 pm Advent Episcopal Day School Ensemble; Ca- OUGLAS EILL 8 DECEMBER thedral Church of the Advent, Birmingham, AL LEON NELSON D O’N Peter Kurdziel; Park Congregational, Grand 12:30 pm Cathedral of the Madeleine Rapids, MI 12:15 pm John W. W. Sherer; Fourth Presbyterian, Chi- University Organist Chanticleer; Fourth Presbyterian, Chicago, IL cago, IL 12:10 pm North Park University Salt Lake City, Utah 8 pm 19 DECEMBER Chicago, Illinois [email protected] 801/323-9850 9 DECEMBER Handel, Messiah; Avery Fisher Hall, New John Cummins & Don Grice; Old Salem Visi- York, NY 7:30 pm tor Center, Winston-Salem, NC 12 noon Christmas concert; Coral Ridge Presbyterian, Todd Wilson; Trinity Cathedral, Cleveland, Fort Lauderdale, FL 7:30 pm MARILYN MASON OH 12:10 pm Georgia Boy Choir; Peachtree Road United CHAIRMAN, DEPARTMENT OF ORGAN Methodist, Atlanta, GA 7 pm UNIVERSITY OF MICHIGAN 10 DECEMBER 20 DECEMBER ANN ARBOR Handel, Messiah; Cathedral of St. Paul, St. Paul, MN 7:30 pm Lessons & Carols; South Church, New Britain, “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it CT 4 pm with awesome technique and a thrilling command of its daring writing.” 11 DECEMBER Christmas Lessons & Carols; Cathedral of the The American Organist, 1980 Chicago a cappella; Fourth Presbyterian, Chi- Incarnation, Garden City, NY 4 pm cago, IL 8 pm Lessons & Carols; Church of the Holy Trinity (Episcopal), New York, NY 4 pm 12 DECEMBER Christmas concert, with choir and orchestra; SYLVIE POIRIER Candlelight concert; Union Theological Semi- Church of St. Ignatius Loyola, New York, NY LARRY PALMER nary, New York NY 8 pm 4 pm Candesco; Cathedral of Mary Our Queen, Bal- Lessons & Carols; Cathedral of Mary Our Professor of PHILIP CROZIER timore, MD 6:30 pm Queen, Baltimore, MD 5:30 pm ORGAN DUO Christmas concert; St. Lorenz Lutheran, Fran- Lessons & Carols; Christ Church Grosse Harpsichord and Organ kenmuth, MI 6:30 pm Pointe, Grosse Pointe Farms, MI 4:30 pm 3355 Queen Mary Road, Apt 424 Isabelle Demers; St. Norbert Abbey, De Pere, Advent Lessons & Carols; First Presbyterian, Meadows School of the Arts Montreal, H3V 1A5, P. Quebec WI 2 pm Evansville, IN 10:30 am VocalEssence; Trinity Lutheran, Stillwater, MN Advent Lessons & Carols; Peachtree Road SOUTHERN METHODIST UNIVERSITY Canada 7:30 pm United Methodist, Atlanta, GA 6 pm Dean Whiteway, with La Crosse Chamber (514) 739-8696 Dallas, Texas 75275 13 DECEMBER Chorale, Advent hymn sing; Christ Episcopal, La Fax: (514) 739-4752 100th Annual Carol Service; Memorial Church, Crosse, WI 7 pm Harvard University, Cambridge, MA 5 pm Festival of Carols; Cathedral of St. Paul, St. Musical Heritage Society recordings [email protected] CONCORA; Asylum Hill Congregational, Hart- Paul, MN 3 pm ford, CT 4 pm Choral concert, with Dave Brubeck; First 21 DECEMBER Church of Christ, Wethersfi eld, CT 4 pm, 7 pm Handel, Messiah; Carnegie Hall, New York, Lessons & Carols; Church of St. Vincent Fer- NY 8 pm Arthur LaMirande rer, New York, NY 3 pm Todd Wilson, with brass; Severance Hall, LaMirande must be complimented upon investi- Handel, Messiah; Trinity Wall Street, New Cleveland, OH 8 pm gating music that few of his fellow organists have York, NY 3 pm had the foresight to examine and to bring before the Christmas concert, with choir and orchestra; 22 DECEMBER public.—American Record Guide Church of St. Ignatius Loyola, New York, NY Heinrich Christensen, with soprano; King’s 4 pm Chapel, Boston, MA 12:15 pm L’organiste traversa son programme entier avec Andrew Meagher; St. Thomas Church Fifth Handel, Messiah; Carnegie Hall, New York, une authorité, une solidité technique et une fraîcheur Avenue, New York, NY 5:15 pm NY 8 pm de registration qui, loin de faiblir en fi n d’exercice, Handel, Messiah; Avery Fisher Hall, New accompagnèrent les deux rappels d’ailleurs accordé York, NY 7:30 pm 23 DECEMBER sans la moindre hésitation.—La Presse, Montréal Choir of St. Luke in the Fields; St. Luke in the Scott Carpenter; Old Salem Visitor Center, Fields, New York, NY 8 pm Winston-Salem, NC 12 noon 461 Fort Washington Avenue, Suite 33 Advent Lessons & Carols; Bryn Mawr Presby- New York, NY 10033 terian, Bryn Mawr, PA 4 pm 24 DECEMBER 212/928-1050 [email protected] Singing Boys of Pennsylvania; Central Presby- Lessons & Carols; Camp Hill Presbyterian, terian, Chambersburg, PA 4:30 pm Camp Hill, PA 5 pm, 7 pm, 9 pm 34 THE DIAPASON Nov 09 pp. 33-37.indd 34 10/12/09 11:34:05 AM Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Songs & scriptures for children; First United 22 NOVEMBER Methodist, Columbus, IN 6:30 pm Gerre Hancock, services; Church of the Incar- Stephen G. Schaeffer Lessons & Carols; First United Methodist, Co- nation, Dallas, TX 11:15 am, 5 pm DOUGLAS REED lumbus, IN 11 pm Marilyn Keiser; St. Mark’s Episcopal, San An- Recitals – Consultations tonio, TX 4 pm 25 DECEMBER Christoph Tietze; St. Mary’s Cathedral, San UNIVERSITY OF EVANSVILLE Cathedral Church of the Advent Scott Dettra; Washington National Cathedral, Francisco, CA 3:30 pm EVANSVILLE, INDIANA Birmingham, Alabama Washington, DC 5:15 pm Michael Munson; First United Methodist, Es- www.AdventBirmingham.org condido, CA 3:30 pm 29 DECEMBER Gail Archer; Zion Lutheran, San Leandro, CA Cristinel Coconcea; King’s Chapel, Boston, 4 pm MA 12:15 pm Carol Williams; Spreckels Organ Pavilion, Todd Wilson; Stan Hywet Hall & Gardens, Balboa Park, San Diego, CA 2 pm ROBERT L. Stephen Tappe Akron, OH 5 pm Organist and Director of Music 29 NOVEMBER SIMPSON Saint John's Cathedral 30 DECEMBER Bach, Cantata 140; St. John’s Cathedral, Den- Christ Church Cathedral Charles Tompkins; Old Salem Visitor Center, ver, CO 10:15 am Denver, Colorado 1117 Texas Avenue Winston-Salem, NC 12 noon Advent Procession; St. John’s Cathedral, Den- Houston, Texas 77002 www.sjcathedral.org Karen Beaumont; Cathedral of St. John the ver, CO 3:30 pm Evangelist, Milwaukee, WI 12:15 pm Mahlon Balderston; Trinity Episcopal, Santa Barbara, CA 3:30 pm 31 DECEMBER Carol Williams; Spreckels Organ Pavilion, Scott Lamlein, Organ Fireworks! (First Night Balboa Park, San Diego, CA 2 pm Beal Thomas Worcester); Wesley United Methodist, Worces- Joe Utterback ter, MA 4 pm 4 DECEMBER Mount Calvary Church Christmas Lessons & Carols; Church of the Christmas concert; Cathedral Basilica of St. COMMISSIONS & CONCERTS Advent, Boston, MA 5 pm Louis, St. Louis, MO 8 pm Baltimore Todd Wilson; Central Reformed Church, Bach, Cantata 140; St. John’s Cathedral, Den- [email protected] 732 . 747 . 5227 Grand Rapids, MI 8 pm ver, CO 7:30 pm 6 DECEMBER UNITED STATES VocalEssence; Plymouth Congregational, Min- West of the Mississippi neapolis, MN 4 pm David Wagner Christmas concert; Cathedral Basilica of St. DMA Kevin Walters 15 NOVEMBER Louis, St. Louis, MO 2:30 pm Madonna University Advent Vespers; Second Presbyterian, St. M.A., F.A.G.O. Evensong; St. John’s Cathedral, Denver, CO Livonia, Michigan 3:30 pm Louis, MO 4 pm Mark Brombaugh; Christ Episcopal, Tacoma, Bach, Cantata 70a; Christ the King Lutheran, [email protected] Rye, New York WA 7:30 pm Houston, TX 6 pm Stephen Repasky, with soprano; St. Mary’s Christoph Tietze; St. Mary’s Cathedral, San Cathedral, San Francisco, CA 3:30 pm Francisco, CA 3:30 pm Felix Hell; Royce Hall, UCLA, Los Angeles, David Gell; Trinity Episcopal, Santa Barbara, CA 7 pm CA 3:30 pm Jean Guillou; Walt Disney Concert Hall, Los Carol concert; First Congregational Church, KARL WATSON Cherie Wescott Concerts • Masterclasses • Coaching Angeles, CA 7:30 pm Los Angeles, CA 4 pm Carol Williams; Spreckels Organ Pavilion, Carol Williams; Spreckels Organ Pavilion, SAINT LUKE’S Balboa Park, San Diego, CA 2 pm Balboa Park, San Diego, CA 2 pm 405/942-3958 METUCHEN e-mail: [email protected] 16 NOVEMBER 8 DECEMBER Dennis James, silent fi lm accompaniment; James Welch; Church of Jesus Christ of Lat- Paramount Theatre, Seattle, WA 7:30 pm ter-day Saints, Palo Alto, CA 7 pm 19 NOVEMBER 9 DECEMBER Davis Wortman Vienna Boys Choir; Cathedral Basilica of St. David Higgs; Walt Disney Concert Hall, Los RONALD WYATT Angeles, CA 8 pm Louis, St. Louis, MO 2:30 pm St. James’ Church Trinity Church 20 NOVEMBER 11 DECEMBER New York Galveston Vienna Boys Choir; Cathedral Basilica of St. VocalEssence; Normandale Lutheran, Edina, Louis, St. Louis, MO 8 pm MN 7:30 pm David Higgs; First Presbyterian, Little Rock, Kantorei; St. John’s Cathedral, Denver, CO AR 8 pm 7:30 pm John Scott; Westminster Presbyterian, Lin- Charles Dodsley Walker, FAGO 12 DECEMBER coln, NE 7 pm Artist-in-Residence Founder/Conductor Gerre Hancock; Church of the Incarnation, Houston Chamber Choir; Chapel of the Villa de Matel, Houston, TX 7:30 pm Saint Luke’s Parish Canterbury Choral Society Dallas, TX 7 pm 1864 Post Road 2 East 90th Street Ken Cowan; St. Martin’s Episcopal, Houston, Gerre & Judith Hancock; Bates Recital Hall, TX 7:30 pm University of Texas, Austin, TX 7:30 pm Darien, CT 06820 New York, NY 10128 Choral concert; St. John’s Cathedral, Denver, (917) 628-7650 (212) 222-9458 CO 7:30 pm 13 DECEMBER VocalEssence; Plymouth Congregational, Min- 21 NOVEMBER neapolis, MN 4 pm Gerre Hancock, masterclass; Church of the Houston Chamber Choir; Chapel of the Villa William Webber, C.A.G.O. Incarnation, Dallas, TX 10 am de Matel, Houston, TX 3:30 pm, 7:30 pm +David Heller; St. Mark the Evangelist Catho- Handel, Messiah; St. John’s Cathedral, Den- Organist, First Christian Church, Danville, KY ver, CO 7:30 pm lic Church, San Antonio, TX 8 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: http://users.cnjnet.com/williamwebber Cathedral of St. John Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581 www.organconsulting.ca A Professional Card in The Diapason For rates and digital specifi cations, Iain Quinn Maxine Thevenot contact Jerome Butera Director of Cathedral Associate Organist- 847/391-1045 Music & Organist Choir Director [email protected] DAVID SPICER First Church of Christ Wethersfi eld, Connecticut House Organist The Bushnell Memorial Hartford NOVEMBER, 2009 35 Nov 09 pp. 33-37.indd 35 10/12/09 11:34:24 AM Vytenis Vasyliunas; St. Mary’s Cathedral, 19 NOVEMBER 19 DECEMBER Cathedral Church of the Advent, Birmingham, San Francisco, CA 3:30 pm D’Arcy Trinkwon; St. Michael and All Angels, Bach, Christmas Oratorio, Parts 1–3; Dom, Al- AL 9 and 11 am David Higgs; Davies Symphony Hall, San West Croydon, UK 7:30 pm tenberg, Germany 2 pm Augustana Chapel, Lutheran School of Theol- Francisco, CA 7 pm ogy, Chicago, IL 7 pm Carl Swanson; Trinity Episcopal, Santa Bar- 21 NOVEMBER 20 DECEMBER bara, CA 3:30 pm Stefan Horz; Kreuzkirche, Bonn, Germany Bach, Christmas Oratorio, Parts 4–6; Dom, Al- 7 December Carol Williams; Spreckels Organ Pavilion, 11:30 am tenberg, Germany 2 pm Morrison United Methodist, Leesburg, FL 7:30 Balboa Park, San Diego, CA 2 pm Ignacio Taléns; St. Elizabeth, Bonn, Germany pm 7 pm 22 DECEMBER 18 DECEMBER Andrew Mackriell; St. Paul’s Cathedral, Lon- 13 December St. Martin’s Chamber Choir, with Baroque 22 NOVEMBER don, ON, Canada 12:15 pm Memorial Church, Harvard University, Cam- Chamber Orchestra of Colorado; St. John’s Ca- Gillian Weir; Philharmonie, Berlin, Germany bridge, MA 5 pm thedral, Denver, CO 7:30 pm 12 noon 25 DECEMBER Church of St. Vincent Ferrer, New York, NY Carol Sing-along; Trinity Episcopal, Santa Bar- Bruno Matthieu; St. Joseph, Bonn-Beuel, Andreas Meisner; Dom, Altenberg, Germany 3 pm bara, CA 7:30 pm Germany 7 pm 3:30 pm Bryn Mawr Presbyterian, Bryn Mawr, PA 4 pm Paul Dean ; St. Paul’s Cathedral, London, UK Jean-Christophe Geiser; Cathédrale, Laus- St. John’s Episcopal, Hagerstown, MD 10:15 4:45 pm 19 DECEMBER anne, Switzerland 5 pm am Christmas Lessons & Carols; St. John’s Ca- Fourth Presbyterian, Chicago, IL 4 pm thedral, Denver, CO 3:30 pm 24 NOVEMBER 27 DECEMBER Angus Sinclair; St. Paul’s Cathedral, London, Rolf Müller , with Jugendchor St. Nikolaus 14 December 20 DECEMBER ON, Canada 12:15 pm Bensberg; Dom, Altenberg, Germany 3:30 pm Memorial Church, Harvard University, Cam- Christmas Lessons & Carols; St. John’s Ca- bridge, MA 8 pm thedral, Denver, CO 3:30 pm 25 NOVEMBER 29 DECEMBER Lessons & Carols; All Saints’ Episcopal, Las Gillian Weir; The Temple Church, London, UK Cameron Carpenter; Tchaikovsky Hall, 19 December Vegas, NV 10:30 am 6:30 pm Moscow State Philharmonic Society, Moscow, Christoph Tietze; St. Mary’s Cathedral, San Russia St. John’s Cathedral, Denver, CO 3:30 pm Francisco, CA 3:30 pm 26 NOVEMBER Alison Clark; St. Paul’s Cathedral, London, Charles Talmadge; Trinity Episcopal, Santa Olivier Latry; St. Michael and All Angels, West ON, Canada 12:15 pm 20 December Barbara, CA 3:30 pm Croydon, UK 7:30 pm South Church, New Britain, CT 4 pm Carol Williams; Spreckels Organ Pavilion, 31 DECEMBER Cathedral of the Incarnation, Garden City, NY Balboa Park, San Diego, CA 2 pm 28 NOVEMBER Felix Hell; Kath. Kirche St. Laurentius, Dirm- 4 pm Gillian Ward-Russell; Bloomsbury Baptist stein (Palatinate), Germany 7 pm Church of the Holy Trinity (Episcopal), New 27 DECEMBER Church, London, UK 4 pm Jean-Christophe Geiser; Cathédrale, Laus- York, NY 4 pm Christoph Tietze; St. Mary’s Cathedral, San anne, Switzerland 10:45 pm Cathedral of Mary Our Queen, Baltimore, MD Francisco, CA 3:30 pm 29 NOVEMBER 5:30 pm Carol Williams; Spreckels Organ Pavilion, Cameron Carpenter; Moscow State Philhar- Christ Church Grosse Pointe, Grosse Pointe Balboa Park, San Diego, CA 2 pm monic Society, Moscow, Russia 7 pm Farms, MI 4:30 pm Monica Melcova; Eglise paroissiale, St. Ger- First Presbyterian, Evansville, IN 10:30 am 31 DECEMBER main en Laye, France 4:30 pm Lessons & Carols Peachtree Road United Methodist, Atlanta, GA James Welch, New Year’s Eve concert; St. Robert Smith; St. Paul’s Cathedral, London, 6 pm Mark’s Episcopal, Palo Alto, CA 8 pm UK 4:45 pm Cathedral of St. Paul, St. Paul, MN 3 pm • •Lessons & Carols; Paulin Memorial Presby- 29 November St. John’s Cathedral, Denver, CO 3:30 pm terian, Windsor, ON, Canada 7 pm Church of the Advent, Boston, MA 5 pm All Saints’ Episcopal, Las Vegas, NV 10:30 am INTERNATIONAL Cathedral of Mary Our Queen, Baltimore, MD 6 DECEMBER 5:30 pm 24 December Eberhard Lauer; Moscow State Philharmon- St. Peter in Chains Cathedral, Cincinnati, OH Camp Hill Presbyterian, Camp Hill, PA 5 pm, 15 NOVEMBER ic Society, Moscow, Russia 7 pm 3 pm 7 pm, 9 pm Philippe Brandeis; St. Joseph, Bonn-Beuel, Timothy Harper ; St. Paul’s Cathedral, Lon- Paulin Memorial Presbyterian, Windsor, ON First United Methodist, Columbus, IN 11 pm Germany 7 pm don, UK 4:45 pm Canada 7 pm Jan Willem Jansen, works of Bach; Musée 31 December des Augustins, Toulouse, France 4 pm 11 DECEMBER 4 December Church of the Advent, Boston, MA 5 pm Charles Andrews; St. Paul’s Cathedral, Lon- Felix Hell; The Esplanade Concert Center, Holy Trinity Lutheran, Akron, OH 7:30 pm don, UK 4:45 pm Singapore, Singapore 7:30 pm 5 December 17 NOVEMBER 13 DECEMBER Christ & St. Stephen’s, New York, NY 5 pm Enter your calendar informa- Ann-Marie MacDairmid; St. Paul’s Cathedral, Nicholas Prozzillo; St. Paul’s Cathedral, Lon- London, ON, Canada 12:15 pm tion through our website! Doing don, UK 4:45 pm 6 December so places your event information onto All Saints, Worcester, MA 5 pm our database immediately, and allows First Congregational, Bristol, CT 3 pm ORGAN BUILDERS Chapel, Vassar College, Poughkeepsie, NY 7 you to provide complete details, even pm including phone number and e-mail St. James’ Church, New York, NY 5:30 pm address, and your program! Visit www. L. W. BLACKINTON Camp Hill Presbyterian, Camp Hill, PA 8:30 TheDiapason.com, click on EVENTS THE NOACK ORGAN CO., INC. am, 11 am and associates, inc. MAIN AND SCHOOL STREETS CALENDAR, then on SUBMIT AN GEORGETOWN, MA 01833 Episcopal Church of the Redeemer, Bethesda, www.noackorgan.com MD 5 pm EVENT. For assistance, contact Joyce 380 FRONT ST. Church of St. John the Evangelist, Severna Robinson; 847/391-1044, jrobinson@ EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America Park, MD 7 pm sgcmail.com. St. Joseph Cathedral, Columbus, OH 3 pm martin ott pipe organ company inc. 1353 Baur Boulevard St. Louis, MO 63132-1903 314-569-0366 Phone 314-504-0366 Cell Martin Ott 314-569-3879 Fax ofÄ[email protected] Orgelbaumeister www.ottpipeorgan.com NEW INSTRUMENTS MAINTENANCE RESTORATIONS Parkey 974 AUTUMN DRIVE OrganBuilders ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs ABR 847-395-1919 F INCY 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 Suite 150-285 Fax 770-368-3209 www.fabryinc.com Duluth, Georgia 30096 www.parkeyorgans.com Pipe Organ Craftsmen & Builders Hupalo GF 1785 Timothy Drive, Unit 4 & San Leandro, CA 94577 Repasky Tel: 510 483 6905 www.hupalorepasky.com 4820 Bristol Valley Road, 14424-9309 sound INSPIRATION ORGANBUILDING & RESTORATIONS 3165 Hill Road Acoustical Design & Testing • Organ Consultation & Eagleville, TN 37060 Inspection • Organ Maintenance & Tuning • Sound & Video (615) 274-6400 Dennis, Derek, Jeff, Todd and System Design, Evaluation & Training Greg Milnar and Associates www.riedelassociates.com • (414) 771-8966 email: [email protected] www.milnarorgan.com E-mail: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Advertise in A. David Moore, Inc. _The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected] 36 THE DIAPASON Nov 09 pp. 33-37.indd 36 10/12/09 11:34:47 AM Lookout Mountain, TN, April 10: Le Chemin ALISON LUEDECKE, with Susan Bar- NANCY SIEBECKER, First Presbyterian de la Croix, op. 29, Dupré. rett, oboe and English horn, St. Bede’s Epis- Church, Neenah, WI, June 3: Sonata 1, op. Organ Recitals copal Church, Menlo Park, CA, March 22: 65, Mendelssohn; Prelude and Fugue in G, THOMAS FIELDING, St. Michael’s Epis- Summer Carol, Hirten; Partita No. 1 in C, BWV 550, Bach; Alléluias sereins d’une âme ANDREW AGER, St. James United copal Church, Charleston, SC, June 5: Tuba Hertel; Whispering Winds: Reach for the qui désire le ciel, Transports de Joie d’une Church, Montreal, QC, Canada, June 9: Tune, Cocker; Prélude, Fugue et Variation, Stars, Who’s Driving, Naples; O Mensch be- âme devant la gloire du Christ qui est la si- Prelude and Fugue, op. 30, no. 1, Les Cou- op. 18, Franck; Dramatic-Lyric, Johnson; In- wein, Bach; Sonata in d, Loeillet; Concerto in enne (L’Ascension), Messiaen. cougnettes du vert Galant (Dix pièces noncha- troduction, Passacaglia, and Fugue, Willan. a, BWV 593, Bach; Ornament of Grace, Sand- lants, op. 35), Première Suite pour orgue, op. ers; Sonata No. 4, Handel. MARK SUDEITH, First Congregational 34, Ager. MICHAEL GING, St. Matthew’s Lutheran Church, Michigan City, IN, June 24: Prelude Church, Charleston, SC, June 3: Prelude and CATHERINE MELOAN, First (Scots) and Fugue in G, BWV 541, Bach; Organ PHILIP T. D. COOPER, Zion Moselem Fugue in D, BWV 532, Bach; Ballo del gran- Presbyterian Church, Charleston, SC, June 2: Concerto in g, op. 4, no. 1, Handel; Andante Lutheran Church, Moselem Springs, PA, duca, Sweelinck; Sonata III in A, op. 65, Men- Toccata pour Grand Orgue, Jongen; Concerto tranquillo (Sonate No. 3 in A, op. 65, no. 3), June 7: Praeludium und Fuga ex C Dur, delssohn; “beside the still waters” (Psalm 23) in d (after Vivaldi), BWV 596, Bach; Sonata Mendelssohn; Improvisation sur le Te Deum, Allein zu dir, Herr Jesu Christ, Ricercar ex (Organ Book II: Windows of Comfort), Lock- on the 94th Psalm, Reubke. Fantaisie-Improvisation sur l’Ave maris stel- c moll, Magnifi cat octavi toni, Pachelbel; lair; Final (Sonata I in d, op. 42), Guilmant. la, Tournemire, transcr. Durufl é; Ceremonial Herr Jesu Christ, meins Lebens Licht, Butt- AARON DAVID MILLER, St. Andrew’s March, Sumsion; Nimrod (Enigma Varia- Cathedral, Honolulu, HI, June 12: Fantasy, tions), Elgar, transcr. Gower. stedt; Fuga ex C Dur, Vetter; Aria Tertia PAUL JACOBS, Rockefeller Memorial op. 43, Crawford; Passacaglia and Fugue in (Hexachordum Apollinis), Magnifi cat sexti Chapel, Chicago, IL, June 17: Sonata in f, op. c, BWV 582, Bach; Papillons, Ibert; Sonatina, WILLIAM TINKER, Sinsinawa Mound, toni, Pachelbel; Du Friedefurst, Herr Jesu 65, no. 1, Mendelssohn; Prelude and Fugue Christ, J. B. Bach; Aus tiefer Not, Christe, op. 136b, Mendelssohn; Carillon, Benoit; Im- Sinsinawa, WI, June 24: Komm, heiliger Geist, in b, Barber; Pageant, Sowerby; Fantasy and provisation, Miller. Herre Gott, Von Gott will ich nicht lassen, du Lamm Gottes, Nun lob, mein Seel, den Fugue on Ad nos, ad salutarem undam, Liszt. Herren (Harmonische Seelenlust), Kauff- Komm, Gott, Schöpfer, heiliger Geist, Herr mann; Christus, der ist mein Leben, Wal- DENNIS E. NORTHWAY, Sinsinawa Jesu Christ, dich zu uns wend, Jesus Christus, DAVID C. JONIES, Sinsinawa Mound, Mound, Sinsinawa, WI, June 10: Præludium unser Heiland, Sei gegrüsset, Jesu gütig, Valet ther; Christus, der ist mein Leben, BWV Sinsinawa, WI, June 3: Fantasia super Komm, 1112, Was Gott tut, das ist wohlgetan, BWV and Fugue in b, BWV 544, Bach; Aria Sexta: will ich dir geben, Fugue in E-fl at, Bach. 1116, Bach; Praeludium und Fuga in Es Heiliger Geist, BWV 561, Bach; Sonata in Aria Sebaldina (Hexachordum Apollinis), Dur, J. C. Bach. D, op. 65, no. 5, Mendelssohn; Orgelmusik, Pachelbel; Choral in a, Franck; O Mensch CAROL WILLIAMS, Glasgow University, op. 39, Piechler; Ricercar on Komm Heiliger bewein dein Sünde Groß, BWV 622, Bach; Glasgow, Scotland, June 13: Carillon-Fan- CRAIG CRAMER, Basilika, Steinfeld, Geist mit Deiner Gnad, Fischer; Allegro, Passacaglia in d, op. 3, Chorale Prelude: Herr, fare, Jones; Fantasia in G, BWV 572, Bach; Germany, May 17: Magnifi cat secundi toni, Choral, Scherzo, Finale (2nd Symphony, op. Ich Habe Misgehandelt, Northway; Carillon B.A.C.H., C. P. E. Bach; Dankpsalm, op. Weckmann; Nach willen din, Was ich durch 20), Vierne. de Westminster (Pièces de Fantaisie, op. 54, 145, no. 2, Reger; Va, pensiero, sull’ali do- Glück, Ade mit Leid, Hofhaimer; Stücke für no. 6), Vierne. rate (Nabucco), Verdi, arr. Williams; Ode To eine Flötenuhr, Haydn; Kingsfold Suite, Mar- CHRISTINE KRAEMER, The Presby- Thanksgiving, Beethoven; Toccata Cum Jub- tinson; Andante in D-Dur mit Variationen, Al- terian Homes, Evanston, IL, June 15: Pasto- JOANNE PETERSON, with Charles ilo, Willscher; Introduction et Toccata (Trois legro in B-Dur, Andante in F-Dur, Sonata IV rale, Franck; Precious Lord, When the Roll Is Isaacson, trombone, Holy Cross Catho- Esquisses), Bedard; Bolero de Concert, Lefé- in B-Dur, op. 65, Mendelssohn. Called up Yonder, Held; Le jardin suspendu, lic Church, Kaukauna, WI, June 10: Suite bure-Wely; On a Spring Note, Torch, arr. Wil- Alain; Sonata No. 4 in B-fl at, Mendelssohn. Gothique, Boëllmann; Sicilienne, Bach; liams; Alligator Crawl, Waller, arr. Williams; PHILIP CROZIER, St. James United Aria, Stradella; Fugue (Pastoral Sonata in The Madness of Morion, Jenkins. Church, Montreal, QC, Canada, June 30: SCOTT LAMLEIN, The Cathedral Church G), Rheinberger. Six Paraphrases grégoriennes, Bédard; Trois of St. Luke and St. Paul, Charleston, SC, June BRETT WOLGAST, with Marita Wolgast, Pièces pour Flötenuhr, Haydn; Voluntary for 4: Rigaudon (Idoménée), Campra; Toccata and NAOMI ROWLEY, Faith Lutheran Church, vocalist, Sinsinawa Mound, Sinsinawa, WI, Double Organ, Purcell; Hommage à Henry Fugue in d, BWV 565, Bach; Es ist ein Ros Appleton, WI, June 17: Prelude and Fugue in June 17: Sonata in f, op. 65, no. 1, Mendels- Purcell, Eben; Variations on Victimae Pasch- entsprungen, Herzliebster Jesu, Brahms; Mein B-fl at, Simon; Trio in F, Krebs; Tuba Tune in D, sohn; Concerto in d (after Vivaldi), BWV 596, ali Laudes, Ropek. junges Leben hat ein End, Sweelinck; Sonata Lang; Allegro (Concerto in g), Graun; Prelude, Bach; The Woodcutter’s Song, The Bird’s Song in c, op. 65, no. 2, Mendelssohn; Nun bitten Fugue and Variation, op. 18, Franck; Pastoral (The Pilgrim’s Progress), Vaughan Williams; ROBERT DELCAMP, with David Land- wir den heiligen Geist, BuxWV 209, BuxWV Dance on Simple Gifts, Clarke; I Will Sing My The Lamb, Hoiby; Nave, Rose Window, Thou on, narrator, Church of the Good Shepherd, 208, Toccata in d, BuxWV 155, Buxtehude. Maker’s Praise, Karg-Elert. Art the Rock (Byzantine Sketches), Mulet. Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045, 3262!Nbejtpo!Tusffu-!Cfmmxppe-!JM!71215 !819.655.5163!¦!gby!819.655.5169 enddmfbszAcfshibvtpshbo/dpn!¦!xxx/cfshibvtpshbo/dpn Visit The Diapason website: www.TheDiapason.com CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ .95 Regular Classifi ed minimum 20.00 ______Display Classifi ed, per word 1.30 Display Classifi ed minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 15.00 ______($25 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine. NOVEMBER, 2009 37 Nov 09 pp. 33-37.indd 37 10/12/09 11:35:16 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37. POSITIONS PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS AVAILABLE RECORDINGS RECORDINGS FOR SALE Summer Island Organ Residency, Squirrel Harpsichord Technique: A Guide to Expres- Historic Organ Surveys on CD: recorded during 1964 M.P. Möller pipe organ. 36-rank American Island Chapel, Squirrel Island, ME. Qualifi ed sivity, Second Edition, by Nancy Metzger. national conventions of the Organ Historical So- Classic specifi cation including two célestes, two organ student needed to serve as 9-week or- Book, organ, harpsichord CDs at author’s ciety. Each set includes photographs, stoplists, enclosed divisions and 32′ reed. Three-manual ganist at summer Chapel off Maine coast. Gen- website, best prices. www.rcip.com/ and histories. As many organists as organs and console. No casework or façades; instrument is in erous stipend and housing provided. For full de- musicadulce. repertoire from the usual to the unknown, Arne good condition but will need releathering. Asking scription and application, contact Elliott Pitts at to Zundel, often in exceptional performances on $50,000 “as is” or can be rebuilt with some modi- [email protected]. Applications due beautiful organs. Each set includes many hymns fi cations. Available immediately. For more infor- 1/15/2010. The OHS Catalog is online at www.ohscatalog. sung by 200–400 musicians. Historic Organs of mation, contact Létourneau Pipe Organs at mail@ org. More than 5,000 organ and theatre organ Indiana, 31 organs on 4 CDs, $34.95. Historic letourneauorgans.com or 888/774-5105. CDs, books, sheet music, DVDs and VHS vid- Organs of Louisville (western Kentucky/eastern PUBLICATIONS/ eos are listed for browsing and easy ordering. Indiana), 32 organs on 4 CDs, $29.95. Historic Use a link for adding your address to the OHS Organs of Maine, 39 organs on 4 CDs, $29.95. Holtkamp and Wicks pipe organs —Church RECORDINGS Catalog mailing list. Organ Historical Soci- Historic Organs of Baltimore, 30 organs on 4 undergoing renovation, cannot accommodate ety, Box 26811, Richmond, VA 23261. E-mail: CDs, $29.95. Historic Organs of Milwaukee, two pipe organs in remodeled sanctuary, seeks Buck the trend in wedding marches! Dudley [email protected]. 25 organs in Wisconsin on 2 CDs, $19.98. His- good home for them. Holtkamp: built originally Buck put more effort into writing his “Wedding toric Organs of New Orleans, 17 organs in the for Hertz Hall at UC Berkeley, 10′ x 5′, very March” than any other composer I know. This Bayous to Natchez on 2 CDs, $19.98. Historic good condition. Wicks: pipes in good condition Refl ections: 1947–1997 Organs of San Francisco, 20 organs on 2 CDs, could easily be used in an organ concert. OLD , The Organ Depart- but chest has suffered some water damage ment, School of Music, The University of Michi- $19.98. Add $4.50 shipping in U.S. per entire or- HUNDREDTH, “The Doxology,” is quoted and the from a leaky roof. Schoenstein console. Contact gan, edited by Marilyn Mason & Margarete der from OHS, Box 26811, Richmond, VA 23261, Jerry Winniczek ([email protected]) for details beautiful color cover of the original edition of by telephone with Visa or MasterCard 804/353- 1871 is stunning. michaelsmusicservice.com; Thomsen; dedicated to the memory of Albert and photos. Stanley, Earl V. Moore, and Palmer Christian. 9226; FAX 804/353-9266. 704/567-1066. Includes an informal history-memoir of the or- gan department with papers by 12 current and 1960s Walcker (German) 14-rank tracker former faculty and students; 11 scholarly arti- PIANOFORTE FOR SALE organ. Open toe voicing on 2″ wind pressure. The Organ Historical Society has released cles; reminiscences and testimonials by gradu- Historic Organs of Indiana, 4 CDs recorded at Reverse console built into case. Footprint is ates of the department; 12 appendices, and a 6′ wide by 11′6″ deep (including console and the OHS National Convention in Central Indiana CD recording, “Marilyn Mason in Recital,” re- Brown and Allen/Boston square grand piano- in July, 2007. Nearly 5 hours of music features forte. 73 keys. Very good condition. Best offer. pedal stops), 9′10″ tall. All encased with 4′ Prin- corded at the National Shrine of the Immaculate ′ ′ 31 pipe organs built between 1851–2004, by Conception in Washington, DC. $50 from The Nelson, 847/367-5102 or 312/304-5287. cipal façade. Manual I—8 Gedackt, 4 Octave, Aeolian-Skinner, Skinner, Henry Erben, Felge- II Sesquialtera, II–III Mixture. Manual II—8′ University of Michigan, Prof. Marilyn Mason, ′ ′ ′ maker, Hook & Hastings, Kilgen, Kimball, and School of Music, Ann Arbor, MI 48109-2085. Gemshorn, 4 Rohrfl ote, 2 Principal, 1-1/3 many more builders. Performers include Ken PIPE ORGANS Quinte. Pedal—16′ Bourdon, 8′ Flute, 4′ Cho- Cowan, Thomas Murray, Bruce Stevens, Carol ralbass. Playing and in use regularly. Asking Williams, Christopher Young, and others. A 40- CD Recording, “In memoriam Mark Bux- FOR SALE $16,500. For recordings and pictures contact page booklet with photos and stoplists is includ- ton (1961–1996).” Recorded at Église Notre- [email protected]. ed. OHS-07 4-CD set is priced at $34.95 (OHS Dame de France in Leicester Square, London, 8-rank Wangerin near Detroit is seeking a good members, $31.95) plus shipping. Visit the OHS between 1987 and 1996. Works of Callahan, home. I am in good condition and will bring joy Online Catalog for this and over 5,000 other or- Widor, Grunewald, Salome, Ropartz, and Boëll- to my new owner. Owner is asking $3,500 and Portative organ: Designed for small choral or gan-related books, recordings, and sheet music: mann, along with Buxton’s improvisations. $15 buyer to remove. For information please contact baroque ensembles. Four stops: 8′, 4′, 2′, and www.ohscatalog.org. postpaid: Sandy Buxton, 10 Beachview Cres- 248/356-0896 or [email protected]. 1-1/3′, with the last two divided into bass and cent, Toronto ON M4E 2L3 Canada. 416/699- treble registers and an adjustable point of di- 5387, FAX 416/964-2492; e-mail hannibal@ vision (b24/c25 or c25/c#26). Adjustable pitch Request a free sample issue of The Diapason idirect.com. Last Aeolian-Skinner built (1971) with many between A=440 Hz and A=415 Hz. Quarter- for a student, friend, or colleague. Write to the recent upgrades. Excellent condition. Three new sawn white oak case. Available immediately. Editor, The Diapason, 3030 W. Salt Creek Lane, keyboards, 33 stops, 46 ranks. Contact First For more information, contact Létourneau Pipe Suite 201, Arlington Heights, IL 60005; or e-mail: Send recital programs to THE DIAPASON; Presbyterian, Grand Forks, ND, attn: Gretchen, Organs at [email protected] or [email protected]. [email protected]. 701/775-5545 or gretchen@fi rstpresgf.org. 888/774-5105. 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 38 THE DIAPASON Nov 09 pp. 38-39.indd 38 10/12/09 11:36:01 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37. PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES Aeolian-Skinner Opus 1232, 3 manuals, 38 Pipes: 8′ free reed clarinet, 73 pipes; Nine- Austin actions: Come to the source. Fast de- Releathering all types of pipe organ actions stops, built in 1952. This organ was found to teenth, 61 pipes; several top octaves, e.g., Open livery. Guaranteed. 860/522-8293; www.austin and mechanisms. Highest quality materials and be in absolute pristine and original condition, a Diapason, Salicional, etc. Very attractive prices. organs.com. workmanship. Reasonable rates. Columbia little dusty, needing only the usual releathering, Particulars from [email protected]. Organ Leathers 800/423-7003. www.columbia console upgrade (or restoration), and retrofi t- organ.com/col. ting. Please contact Anthony Meloni, exclu- Aeolian/Robert Morton-style maroon leather sive agent for the seller, at 914/843-4766 or at Consoles, pipes and numerous miscellaneous is now available from Columbia Organ [email protected] for details. parts. Let us know what you are looking for. Leathers! Highest quality. 800/423-7003, THE DIAPASON’s website now presents featured E-mail [email protected] (not comcast), www.columbiaorgan.com. artists in its SPOTLIGHTS section—with pho- phone 215/353-0286 or 215/788-3423. tos, biographies, and contact links. Visit www. Barckhoff 12-rank tracker, two manual, large TheDiapason.com to view details: in the left- façade, great sound—original installation and Highest quality organ control systems since hand column, under Spotlights, click on Fea- functional. Formerly U.C.C. denomination. Spencer blower—Century motor, 2 HP single 1989. Whether just a pipe relay, combination tured Artists. phase capacitor start, 60 cycles, 1750 rpm; volts: Located in N.E. Pennsylvania. Make offer. action or complete control system, all parts 115/230. $750 OBO. 330/821-3875 (evenings). are compatible. Intelligent design, competitive 330/821-3875. pricing, custom software to meet all of your re- Tours of the World’s Largest Pipe Organ in At- quirements. For more information call Westa- lantic City’s Boardwalk Hall are now available by Wood pipes. Missing pipes made to match. cott Organ Systems, 215/353-0286, or e-mail reservation. The two-hour docent tours include ELECTRONIC ORGANS Damaged pipes in any condition repaired. Over [email protected]. the ballroom Kimball organ and the 33,000+ pipe FOR SALE 25 years experience. Filip Cerny, 814/342-0975. Midmer-Losh organ, with its 7-manual console and 5-manual portable console. Tourgoers will Austin actions recovered. Over 40 years ex- see the 64′ pedal stop, the immense 32′ Diapa- Johannus Opus 20 digital organ. Double Kilgen bench—includes modesty valance. perience. Units thoroughly tested and fully guar- sons, and areas of the organs not open to the ca- voicing—American Classic and North German. Blonde oak fi nish; in good condition. Book: Elec- anteed. Please call or e-mail for quotes. Tech- sual visitor. Tours cost $20, which goes directly Oak cabinet; 7 years young, magnifi cent sound. tronic Musical Instruments, by Richard Dorf, nical assistance available. Foley-Baker, Inc., 42 to support the restoration of these instruments; 570/676-5203. published 1954. 330/821-3875 (evenings). N. River Road, Tolland, CT 06084. Phone 1- children under 12 are admitted free. For reserva- 800/621-2624. FAX 860/870-7571. foleybaker@ tions: [email protected]. For information: sbcglobal.net. www.acchos.org. 2003 Allen C12C Protégé organ. 2 manuals, If your company was not listed in THE DIAPA- 32 stops, 2 external speakers, MDS Expander SON 2009 Resource Directory, be sure to be II, 2 expression pedals, lighted music rack. part of the 2010 issue! Visit www.TheDiapason. Need help with your re-leathering Postal regulations require that mail Great home studio or chapel organ. $15,000 com, and from the left column select Supplier project? All pneumatics including to THE DIAPASON include a suite num- or best offer. Mesa, AZ. 480/556-1168 or Login. For information, contact Joyce Robinson, Austin. Over 45 years experience ber to assure delivery. Please send [email protected]. 847/391-1044, 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 NOVEMBER, 2009 39 Nov 09 pp. 38-39.indd 39 10/12/09 11:36:20 AM Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Stephen Cleobury* Douglas Cleveland Michael Unger AGO National Competition Winner Available 2008-2010 Ken Cowan Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011 David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale* CHOIRS AVAILABLE The Choir of Saint Thomas Church, NYC John Scott, Director March 2011 The Choir of St. John’s College Cambridge, UK Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Andrew Nethsingha, Director March, 2011 Westminster Cathedral Choir London, UK Martin Baker, Director Fall 2011 *=European artists available 2009-2010 and 2010-2011 Jane Parker-Smith* Peter Planyavsky* Simon Preston* Daniel Roth* Ann Elise Smoot Donald Sutherland WEBSITE: www.concertorganists.com Tom Trenney Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young