THE DIAPASON JUNE, 2012
Sacred Heart Co-Cathedral Houston, Texas Cover feature on pages 26–27 NEW YORK CITY Saturday, June 2 3:00 pm & 7:30 pm on the 75th anniversary of June 2, 1937 Church of the Ascension
DENVER Friday & Saturday June 15 & 16 at 7:30 pm St. John’s Cathedral
CHICAGO Friday & Saturday July 6 & 7 at 7:30 pm Rockefeller Chapel University of Chicago Christopher Houlihan performs the six organ symphonies LOS ANGELES of Louis Vierne in six major Thursday & Friday North American cities July 19 & 20 at 7:30 pm this summer to commemorate Cathedral of Our Lady of the Angels the composer on the 75th anniversary of his death. MONTREAL Friday & Saturday The symphonies will be August 3 & 4 at 7:30 pm presented in two sessions in cooperation with in each city, either in one day Les Amis de l’Orgue de Montréal or on two successive evenings. Church of the Gesu Part One : Symphonies I, III & V DALLAS Part Two: Symphonies II, IV & VI Saturday, August 18 Some venues may charge admission. at 3:00 pm & 7:30 pm Church of the Incarnation WWW.VIERNE2012.COM FOR MORE INFORMATION THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Third Year: No. 6, Whole No. 1231 JUNE, 2012 Herbert Howells research from anyone who met or studied under Established in 1909 ISSN 0012-2378 In advance of a future book or PhD, I Howells, or has any stories or anecdotes An International Monthly Devoted to the Organ, am researching the childhood and mu- about hearing him speak of his forma- the Harpsichord, Carillon, and Church Music sical/spiritual formation of British com- tive years. poser Herbert Howells. In connection Elizabeth L. Wilson with this, I would appreciate hearing
The Great Organ of the Contributing Editors LARRY PALMER St. Patrick’s Cathedral, New York children’s choir; 6/13, Stephen Schnurr Cathedral of Monaco Harpsichord City, continues its organ recital series: and Gary Powell; 6/20, Brother Ben by Jean-Louis Coignet 20 June 3, Angela Kraft Cross; 6/17, An- Basile; 6/27, Carol Garret; July 4, Ste- JAMES MCCRAY Inspired by Italy: Encounters with Italian drew Peters; July 15, William Atwood; phen Schnurr; 7/11, Kent Jaeger; 7/18, Choral Music Historical Organs, Their Surroundings, 7/22, Andrés Mojica; August 5, Stephen Lee Meyer; 7/25, Szu-Ping Chang
and Their Music Fraser; 8/19, David Christopher. For in- Wong; August 1, Ann Dobie; 8/8, Holly by Christina Hutten 22 BRIAN SWAGER Carillon formation: Mitschelen. For information:
THE DIAPASON accepts no responsibility or liability First Congregational Church of Shepherd of the Bay Lutheran for the validity of information supplied by contributors, Michigan City, Indiana, announces the Church, Ellison Bay, Wisconsin, pres- vendors, advertisers or advertising agencies. eleventh summer season of Wednesday ents summer organ recitals: June 17, noontime recitals on the 1891 Frank & Gary Beard, organ, with Ryan Anthony, No portion of the contents of this issue may be reproduced in any form without the specifi c written permission Hilborne Roosevelt organ (Opus 506, trumpet; July 29, Christopher Houlihan. of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for restored 1999; OHS Historic Organ Ci- For information: other courses or for the same course offered subsequently. tation, 1999): June 6, Kent Jaeger, with
Editor’s Notebook
In this issue Welte-Philharmonie organ at Seewen, Among the offerings in this issue of Solothurn, Switzerland, organs by Her- The Diapason, Marijim Thoene re- mans and Tronci in Pistoia, Italy, the ports on the performance of François Möller organ at Carl Schurz High School Couperin’s two Organ Masses at the in Chicago, and others. Be sure to visit University of Michigan. Jean-Louis
JUNE, 2012 3 The John Ireland Trust will present The 42nd Oregon Bach Festival Blair Bailey; 8/22, William Maddox; gan at Old West Church, Boston, Mas- a fi ve-day festival, June 21–25, to mark takes place June 29–July 15 in Eugene, 8/29, Richard Hansen. For information: sachusetts: July 10, Paul Murray; 7/17, the 50th anniversary of the death of the Portland, and fi ve other cities. Conduc- Albert Greer, 705/325-6204 (albert. Laurence Carson; 7/24, Andrew Shen- English composer John Ireland (1879– tor Helmuth Rilling, violinist Joshua [email protected]); or Kenneth Davis, ton; 7/31, Carson Cooman; August 7, 1962), who lived in Chelsea for over 50 Bell, keyboardist Angela Hewitt, the 705/325-2737 ([email protected]). Rosalind Mohnsen; 8/14, organists from years and died in a converted windmill Portland Baroque Orchestra, and harp- Japan; 8/21, Mark Engelhardt; and 8/28, in Sussex in June 1962. sichordist/conductor Matthew Halls Rockefeller Memorial Chapel, Ray Nagem. For information: 617/739- The festival takes place in two Chelsea explore Bach’s Goldberg Variations and Chicago, presents Christopher Houlihan 1340;
Skinner Opus 327 birthday party
St. Luke’s Episcopal Church, Ev- The program featured Tim O’Brien anston, Illinois celebrated the 90th reading the words of E. M. Skinner on Premiere of Frederick Frahm’s Spaces of Night birthday of their Ernest M. Skinner a variety of topics, including orchestral Opus 327 organ with a concert and transcriptions for organ and the regis- The Albuquerque AGO chapter by the Albuquerque AGO. Frahm, a reception on January 15. Pictured in tration of Bach organ works. St. Luke’s presented the world premiere of Fred- former dean of the chapter, is direc- the chancel with the birthday cake are member John Lukens read a letter from erick Frahm’s Spaces of Night, a song tor of music and principal organist at Christine Kraemer, St. Luke’s organ- Louis Vierne to Ernest Skinner, which cycle for organ, mezzo-soprano, and St. Luke’s Lutheran Church in Albu- ist, and Tim O’Brien, St. Luke’s senior called Skinner the fi nest organbuilder strings (based on poems of Stephen querque. The concert also included warden (who played the role of Ernest of his time. John Bryant played music Crane), March 17 at the University of Pinkham’s three sonatas for organ and Skinner). Guest organ recitalist, John of Bach, Vierne, and Wagner. The pro- New Mexico’s Keller Hall. Kathleen strings, Frahm’s own Three Chapels, Bryant, is pictured sixth from left. St. gram was the fi rst in a series of events Clawson was soloist with the Chatter and Pärt’s Cantus in Memoriam Benja- Luke’s choirmaster, Andrew Lewis, ap- celebrating the 90th anniversary of Opus ensemble; the composer was organist min Britten for strings and bell. pears fi fth from right. 327, installed October 1922. for the piece, which was commissioned
4 THE DIAPASON Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Paul Cienniwa Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Concert Harpsichordist Indiana University Montevideo, Uruguay Battipaglia, Italy Paris, France Ann Arbor, Michigan Boston, Massachusetts
Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Milwaukee, Wisconsin Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Professor of Organ Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California Yonsei University, Korea
David K. Lamb Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Conductor Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana New York City SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois
Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Organist/Harpsichordist University of Kansas Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Spartanburg, South Carolina
Timothy Tikker Michael Unger Elke Voelker Eugeniusz Wawrzyniak Jeffrey Cohan Duo Majoya Organist/Composer/Improviser Organist/Harpsichordist Organist/Musicologist Organist Concert Flutist Organ/Piano/Harpsichord Kalamazoo College, Michigan Rochester, New York Mannheim, Germany Charleroi, Belgium Seattle, Washington U of Alberta, King's UC www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Assistant Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 25th year of operation with the professional musicians of the gan department at the Curtis Institute Minnesota, and has been the organist at Houston Chamber Choir. of Music in Philadelphia, where he has St. Mary’s Church in his hometown for The Art Works grant of $10,000 pre- completed his tenth year. He is a regular seven years, and choir director for fi ve. sented to the choir by the NEA will allow performer on the Dobson organ in Ve- He hopes to continue studying music, the choir to fund a new outreach effort rizon Hall at the Kimmel Center, where both as an orchestral conductor and as for “Hear the Future.” Small choral en- he serves as an artistic advisor. Alan Mor- an organist. sembles will travel to the participating rison has toured extensively under the schools and work with the student sing- exclusive management of Karen McFar- ers four times prior to the showcase con- lane Artists, Inc. since 1996. For infor- cert. Students will receive specialized mation:
Beth Zucchino, Angela Kraft Cross, and Harold Julander
Angela Kraft Cross played a recital and a master’s degree in piano perfor- March 18 on the Creative Arts Series mance at the College of Notre Dame. at the Church of the Resurrection in She is active as a recitalist and recording Santa Rosa, California. The program artist; she has served as organist of the included Kraft Cross, A Joyous Celebra- Congregational Church of San Mateo tion; Bach, Fantasie and Fugue in G Mi- since 1993, and is currently artist in resi- nor and Christ, unser Herr, zum Jordan dence. In addition to a musical career, kam; Mendelssohn, Allegro, Chorale and Dr. Kraft Cross worked for 22 years as Fugue in D; Schumann, Canon in A-fl at, an ophthalmic surgeon at the Kaiser Canon in B Minor; Liszt, Prelude and Permanente Hospital in Redwood City. Fugue on BACH; and Widor, Symphony She is on the roster of Concert Artist AUSTINORGANS.COM VI in G Minor. Cooperative. Dr. Kraft Cross is shown in Kraft Cross holds bachelor’s degrees the photo with Beth Zucchino, director t8PPEMBOE4U)BSUGPSE$5 in physics and organ performance from of Concert Artist Cooperative, and Har- Oberlin College, a Doctor of Medicine old Julander, sub-dean of the Redwood degree from Loma Linda University, Empire AGO chapter.
6 THE DIAPASON
to an improvisation by Lindwall on the ly, theologically, musically, and practical- formance tracks from both venues, with name Jeanne Demessieux. Lindwall was ly. Mahrt demonstrates that the Roman music by Langlais, Bach, Brahms, Karg- Rolande Falcinelli’s last student in Paris, Rite is not only a ritual text of words, but Elert, Shostakovich, Joplin, and Messi- and was appointed titular organist at St. is a complete liturgical experience that aen. Producer is RAECD, CD#050711, Esprit in Paris in 2005, the position held embeds within it a precise body of mu- distributed by
Margaret Phillips
Margaret Phillips is featured on a new recording, Vol. VII in her ongoing series of Bach organ works on the Re- gent label (REGCD 308). Recorded on the 1728 Zacharias Hildebrandt organ in St. Jacobikirche, Sangerhausen, and the 1735 Gottfried Silbermann organ in the Petrikirche, Freiberg, the pro- gram includes Preludes and Fugues in G Major (BWV 541), A Minor (551), C Ronald Bishop in the reception room of Minor (546); Preludes in G Major (568), the Schantz factory in Orrville, Ohio C Major (943 and 567); Fugues in C Ma- jor (946), C Minor (575), G Major (581), D Major (580); Trio in G Major (1027a), Fantasia in C Major (570), Concertos in C Major (594) and E-fl at (597), Passaca- glia in C Minor (582), Partita on O Gott, du frommer Gott (767), and 16 chorale Louise Bass, Wilma Jensen, and James Mellichamp settings. For information:
MANDER ORGANS
New Mechanical Action Organs
Dorothy Young Riess CD
Exquisite Dorothy Young Riess, M.D., an- Ron and Emmie Bishop check out the Continuo Organs nounces the release of a new CD, Music Radio City Music Hall Grand Organ for the annual Christmas production (stage St. Peter’s Square of Joy, featuring selections from two per- formances: her 80th birthday celebration left console) London E 2 7AF • England concert at the University of Nevada Las [t] 011 44 20 7739 4747 Vegas, May 2011, and her recital for AGO Ronald Cameron Bishop, Jr., age [f] 011 44 20 7729 4718 Region IX convention in San Francisco, 74, of Westfi eld, New York, died April [email protected] July 2011, played at First Congregational 14 at St. Vincent Health Center in Erie, Church, Berkeley, the same venue where Pennsylvania. He was born on June 18, www.mander-organs.com Dr. Riess performed her winner’s recital 1937 in South Orange, New Jersey. A Imaginative Reconstructions after receiving NYACOP fi rst place in Westfi eld resident since 1987, Bishop 1952. The CD includes unedited per- and his wife Emma moved there from
8 THE DIAPASON
Maplewood, New Jersey, where they Thomas Hunter Russell died Feb- president of the company, opening Carl SDXC (up to 64GB) cards. The LS-100 raised their family. ruary 8 in Los Angeles at the age of 71. Fischer’s second retail location, which operates on one rechargeable lithium- Ronald Bishop had been the curator A graduate of Chapman College and also housed a concert hall, in midtown ion battery. For information: of Radio City Music Hall’s Grand Or- the University of Southern California, Manhattan. This fi ve-story building was
Back by popular demand, you can request your 2012 Schlueter Pipe Organ Calendar now at www.pipe-organ.com
P O Box 838, Lithonia Ga. 30058 | 800-836-2726 | www.pipe-organ.com
10 THE DIAPASON
than once, we watched a shop clerk do a double take as a young American woman In the wind . . . spoke so fl uently. We spent a week driv- by John Bishop ing in the Peloponnese, stopping for a night in the ocean-bound village of Mo- nevasia where we had a dispute with a hotel clerk about a mix-up in our res- ervations. It was a riot witnessing Meg taking this guy on, obviously astonishing him with her command of the language, to say nothing of her agile mind. Later, she took a job as research assistant for a public intellectual, and her language be- came literary, poetic, and erudite. And Meg was a student of Greece. She was a terrifi c tour guide, sharing her rich knowledge of the country’s history as we Isabelle Demers visited places like Delphi, Corinth, and Sparta, to say nothing of Athens. David Craighead Elsa’s infl uence on Meg was boundless. It resulted in her spending more than fi ve years in Greece. She lives in Athens with her architect boyfriend Yorgos, and has been immersed in the machinations The power of teachers of a fascinating and complicated country My wife Wendy’s daughter Meg is a vi- in one of the most diffi cult chapters of brant young woman who inherited an in- its 4,000-year history. Her world-view, tense sense of curiosity from her mother. her professional background, her social She’s an avid reader, an intense student life, and her personal life have all been of whatever is the subject of the day, and formed by that experience. well versed in world politics. Woe betide the stepfather who fi nds himself on un- A fresh wind in Texas Gerre Hancock sure ground in a dinner table debate! I’m thinking about teachers because Meg was a philosophy major at Brown we learned (offi cially) yesterday that Isa- ly aware of how much her students mean University, a school with an unusually belle Demers has been appointed to suc- to her. It seems as though she’s always fl exible program that allows students ceed Joyce Jones as assistant professor of just back from a former student’s wed- (with the help of their advisors) to cre- organ at Baylor University. I admire Isa- ding, from hearing one play a recital, or ate their own curriculum to support their belle as one of the great artists of our day. from playing a recital at a church where Joan Lippincott major interests. It’s increasingly common She is part of a growing list of brilliant a former student is organist. She speaks for college students to spend a semester young people who are taking the art of of her students all the time, and so they abroad, and Meg’s plan was to break the organ playing to new levels, and it thrills speak of her with admiration, gratitude, more usual pattern of going to one of the me to think that she will be infl uencing and affection. mainline European countries. Consis- the next generation of players. The study of musical performance is tent with her interest in philosophy, she This news comes after the recent pass- one in which principal teachers play a chose Greece, and consistent with her ing of Gerre Hancock and David Craig- central role in the lives of their students. insistent curiosity, she resolved to learn head, two towering fi gures in the world I remember well as a student at Oberlin to speak Greek. of teaching organ and church music. The how personal the relationship between Elsa Amanatidou is the director for infl uence that they have had on modern teacher and student could be. “Studio the Center of Language Studies, and se- organ playing is incalculable, but vividly politics” was the subject of daily conver- nior lecturer in Modern Greek Studies apparent in the increasingly public, pub- sations in the student lounge, and there at Brown. She has degrees from the Uni- lic exchange. For weeks after each of were many times when a friend, organ- versity of Thessaloniki and East Anglia, their deaths, Facebook was strewn with ist, singer, pianist alike would come away as well as King’s College, London. She’s remembrances, quotes, celebrations, and from a lesson weeping. Rarely enough, worldly, dynamic, and vivacious, and she gratitude. We were reminded countless a student would work up the courage captivated Meg. As Meg took her fi rst times of generous spirits, quiet author- to apply to change teachers. Each time course with Elsa, I was dimly aware from ity, deep friendship and companionship, that happened it was something like a di- overhearing one end of telephone con- boundless energy, innate wisdom, and vorce, and the rumor mill would be fed Haskell Thomson versations that something special was deep knowledge. These two men taught for days. It was tougher on students of going on. But it wasn’t until after she hundreds (thousands?) of talented mu- many orchestral instruments because, up space, was a mighty crowded place. graduated, returned to Athens to work at sicians, many of whom are today’s great for example, there was only one teacher The room was arranged so that when a prep school, and Wendy and I visited teachers. It’s exponential. of fl ute! I sat at the organ, my back was to my her there that I understood the depth of In Boston we live in a big condo- There are few areas of study where teacher. I’m not sure if this memory is that experience. minium building. One evening as I undergraduates have as close a relation- real or fabricated, but I swear I can still Meg spoke Greek. Not the way I was getting home, the concierge Kare ship with a major teacher as in musical hear the sound of his red pencil mark- might claim to speak German, stum- stopped me to say that another organist performance. It’s common for a student ing up my score as I played. Be still, my bling through a pretty good vocabulary had just moved in, and there was Joan to have two or three private lessons each crawling skin. with a poor grasp of grammar, and un- Lippincott, longtime professor of organ week in addition to a performance class When I was Haskell’s student, I was derstanding much more of what is said at Westminster Choir College, with her when all students in the studio are to- also working part-time for John Leek, than I can ever answer. She was fl uent husband Curt, lighting up the lobby with gether. I think it’s more usual for an un- the school’s organ technician. John had and confi dent. She didn’t stop to ponder her terrifi c smile. Through many neigh- dergraduate liberal arts major to have a thriving maintenance business on the and mumble, “how do you say . . .” More borly conversations with Joan, I’m keen- three or four courses with a favorite side, and three days a week I went off teacher, but comparatively little one-on- with him tuning organs. And I was music one interaction. director at Calvary Presbyterian Church The other major difference between on Euclid Avenue in Cleveland. I was A gift subscription to the experience of someone entering deeply interested in working on organs, an undergraduate school of music and and the job at Calvary was an important Meg’s serendipitous meeting of Elsa is education as well as a tuition-paying sal- THE DIAPASON that the student of music enters under- ary. But I’m pretty sure that Haskell was graduate study knowing exactly what disappointed in me as a student—I was The perfect gift for organist colleagues, students, teachers, choir he or she intends to do. No high school doing too many other things to qualify as directors, and clergy. senior would even get an audition with a serious student of organ playing. None- John Schwandt at the University of Okla- theless, I am very grateful to him for his Each month your gift will keep on giving by providing the important news homa, Ken Cowan at Rice, or Isabelle patience, for the comfortable playing of the organ and church music fi eld. Send in the form below with your Demers at Baylor unless he was already technique he helped me acquire, and check and know that your gift will be just right. For information, contact deeply committed to being a serious or- perhaps above all, for the sense of the editor Jerome Butera, 847/391-1045;
12 THE DIAPASON noticed that the school was looking for a tune a stopped metal rank I remember new organ curator. Shortly after I started that brief scene. I even remember the working with him, he left the school and church—the First United Church in established his own company. Austinburg, Ohio. John is the quintessential “old world” John was cheerful and optimistic. He craftsman. He has huge and powerful sang spontaneously. And he loved a prac- hands, a surgeon’s touch with a chisel, tical joke. We built a beautiful cathedral- and extraordinary ears. He could snap ceiling screen porch on the side of his the tiniest, tinniest sputtering pipe of a house. Finishing up, we were painting Mixture into tune like a bat grabs a mos- the fl oor. I was painting a corner, facing quito from the air! He taught me how my work with my back to John. I turned to read the grain in a piece of wood be- around to fi nd him furiously (and silent- fore putting it through a machine, how ly) painting me into the corner! electro-pneumatic actions work, how to John Leek opened mysteries of the or- make a keyboard from scratch, to set a gan for me. He was with me for my fi rst temperament, and to feel comfortable marriage, the birth of my sons, my senior on scaffolding. He taught me how to recital and graduation from Oberlin. He John Skelton John Leek organize a service call, to trouble-shoot was a life mentor. malfunctioning actions, and to gently in- § to ebb and fl ow to express the music, it is summers for Bozeman-Gibson in New form organists how to use an organ with the performer’s responsibility to take the Hampshire, where my appetite for the the intention of making it sound better. We can all remember the teachers who piece to a logical, reliable, and satisfying trade was whetted, and I took up work- (You really don’t want the tremolo on cared for and fed us. Whether, like Meg, conclusion. I remember laughing to my- ing with John those three days a week with the Mixture.) We releathered Skin- we met our most important teachers by self the fi rst time I did that with a choir during the school year, full-time during ner organs, installed new Flentrop or- chance, or whether we labored through I was leading. summers, and stayed on for about fi ve gans (John was great friends with all the high school preparing to audition for that When I was in high school, I studied years after I graduated. John was a na- boys at Flentrop), built a small fl eet of legend of teaching we dreamed of study- the organ with John Skelton, organist of tive of the Netherlands, and had appren- harpsichords, and two new pipe organs. ing with, we each have mentors in our the Congregational Church around the ticed with organbuilders since before he He could teach by gesture. I remem- past who guided us through the thicket. corner from our house and teacher at the was ten. His wife was the daughter of a ber struggling to tune a Brustwerk Chim- In our fi eld, there are many great teach- University of New Hampshire. He had workshop superintendent. He came to ney Flute pipe—the pipe was sharp ers at the ends of the careers, but happily studied with Yuko Hayashi (there’s an- the United States in the early 1960s to and every time I tapped up on the cap there are equally great young people tak- other great teacher) at the New England work for the Holtkamp Organ Company with the iron, it jumped out of its hole. ing their positions and continuing their Conservatory, and with Anton Heiller in (in the days of Walter Holtkamp, Sr.), When it fell back the stopper dropped a traditions. If you are among those who Vienna. The organ at that church was a and when the company was installing little, so it was getting worse and worse. will be fortunate to study with Assistant three-manual Fisk built in 1969 (I was the organ at Warner Concert Hall, the John took the iron, held it at a certain Professor Demers at Baylor, get ready to startled when the church celebrated the predecessor to the Flentrop organ, he angle, and said, “Try this.” Every time I work hard. Q organ’s fortieth anniversary), with plenty of power and great variety of tone, and John coached my early love of registra- tion, helping me understand why stops sounded well together, and how to effect registration changes as I played. We went through lots of literature and he encour- Buying an Organ? aged me to give recitals, so I learned early how to perform. I had practice privileges at the church, which was handily on my • way home from school, and I looked forward to my Friday afternoon organ lessons all week. Along with my regular lessons, John also took me around to hear other organs and other musicians. Invest in Pipes! The organ scene in Boston was very ac- tive, and it seemed you could hear the dedication recital of a new organ every month. It was a rich experience for me to be immersed in the variety that is the pipe organ during my fi rst couple years of study. Roger Shoup was the pastor of Cal- vary Presbyterian Church for the fi rst NORTH AMERICA’S PREMIER six years I was organist there. I was just PIPE ORGAN BUILDING AND SERVICE FIRMS eighteen when I was hired, and though I had played for several churches while in high school, this was my fi rst grown-up BUILDER MEMBERS job, and I thought I was quite a hotshot. ANDOVER ORGAN COMPANY PARSONS PIPE ORGAN BUILDERS The organ was terrible—a four-manual BEDIENT PIPE ORGAN COMPANY PASI ORGANBUILDERS, INC. Austin that had been installed in 1917 BERGHAUS PIPE ORGAN BUILDERS, INC. PATRICK J. MURPHY & ASSOCIATES INC. when Albert Riemenschnieder was or- BIGELOW & CO. ORGAN BUILDERS PAUL FRITTS & CO. ORGAN BUILDERS ganist there, and that had been messed up by several subsequent rebuilding BOND ORGAN BUILDERS, INC. QUIMBY PIPE ORGANS, INC. projects. The choir was a great group of BUZARD PIPE ORGAN BUILDERS, LLC RANDALL DYER & ASSOCIATES, INC. people, and I was privileged to be able to C.B. FISK, INC. SCHANTZ ORGAN COMPANY hire a quartet of singers, most of whom CASAVANT FRÈRES SCHOENSTEIN & CO. were my friends from school. OBSON IPE RGAN UILDERS TAYLOR & BOODY ORGANBUILDERS My father was rector of a big suburban D P O B Episcopal church, and I know I learned a GARLAND PIPE ORGANS, INC. lot about the operation and machinations GOULDING & WOOD, INC. SUPPLIER MEMBERS of a parish church from observing him in HENDRICKSON ORGAN COMPANY A.R. Schopp’s Sons, Inc. action and by osmosis, simply by grow- HOLTKAMP ORGAN COMPANY Harris Precision Products ing up in the rectory. But Roger Shoup was my principal instructor in how to be KEGG PIPE ORGAN BUILDERS Solid State Organ Systems a church staff member, how to present LÉTOURNEAU PIPE ORGANS OSI - Total Pipe Organ Resources music to the congregation in a meaning- NOACK ORGAN COMPANY, INC. Peterson Electro-Musical Products, Inc. ful way, and how to apply musical author- ity to a choir made up of people the ages of my parents and grandparents. Roger was another big and imposing man. He had been a powerful leader of the civil rights movement in Cleveland, and he had the deepest of convictions about his faith, his social and political views, and how to care for the compli- cated multi-racial community of that in- ner-city parish. He encouraged me when I had creative ideas, he corrected me when I misstepped, and when something complicated happened in the life of the parish, he would call me into his offi ce to explain what was going on. Sometimes he took me to a bar where we discussed the highest standards of integrity, quality and craftsmanship in pipe organ building things like this over Stroh’s draft beer. He was a powerhouse of a pastor, he 1-800-473-5270 call for our free 64 page color prospectus www.apoba.com loved good music, and he taught me. John Leek was my principal teacher as an organbuilder. I had worked a couple
JUNE, 2012 13 at the organ or harpsichord—we do so Example 1 by using, generally speaking, timing and On Teaching articulation. (An interesting way to think by Gavin Black of those two concepts, by the way, is this: that timing concerns initiating notes, and articulation concerns their release. This Example 2 is also basic and perhaps obvious, but a good way of organizing thinking about execution of notes.) It is possible to spell out certain prin- ciples about the relationship between Example 3 timing and articulation on the one hand, and accent, rhythm, phrasing, etc., on the other. For example, in general, notes that are held a bit longer than the met- ronome would suggest come out subjec- tively louder, notes that are preceded by Example 5 a space—an articulation—likewise seem louder or accented, and so do notes that are delayed a little bit. Notes that are reached through strong legato often seem softer or unaccented, as do notes that are a bit shorter than the metro- nome would suggest, assuming that they are not so staccato as to draw attention that) and invoked the idea of “magic.” whole thing is put back together. It is to themselves. And so on: all of this is Whether it is magic or, as I suggested also not terribly important to do so. It is a bit over-simplifi ed, though generally above, something to do with the subcon- extremely important to keep the touch Leaving notes out valid. None of it, however, is unfailingly scious—or both—I have found it very ef- light—the success of this technique de- Last month I wrote about using altered true: a lot depends on the subtleties of fective. From Prof. Roan’s remark I have pends on that. rhythm as a practice technique. This the exact situation. developed some specifi c techniques. I 2) Put the missing notes back, and month I am writing about another way There is a lot that can be done, in any routinely use these myself with most of play the passage several times. At this of practicing that also involves changing situation, to plan out the use of articu- the pieces that I learn. stage (and always) it is still important to the note picture away from what is actu- lation and timing to create accent and keep the touch light and fl uid. Let your ally on the page for the purpose of play- shape, and doing so is important. How- Practice procedures ears follow, as much as possible, the ing what is on the page better. Purposely ever, there is also a danger. Schemes of Some musical lines lend themselves to notes that you played in step 1. Don’t pay leaving notes out of the texture of a piece articulation that are carefully thought the technique of leaving notes out in a too much attention to the notes that you at certain stages of practicing is very dif- out and mapped out can become stiff and way that seems almost too obvious, too have added back. ferent from using altered rhythms. How- lifeless. The act of thinking consciously easy—usually lines in which the rhyth- 3) Repeat 1) and 2) a couple of times ever, both techniques involve changing about those schemes while actually play- mic hierarchy of the notes is the clear- if you wish. the notes—and both, therefore, are de- ing can lead to stiff playing or can be a est. The fugue subject from the Bach 4) Now do something else: prac- partures from “regular” practicing. The kind of distraction that decreases securi- D-minor Toccata BWV 565 is such a line tice another passage—this way or philosophy behind normal practicing at ty and accuracy. I am deliberately some- (Example 1). “normally”—or have supper or go for a a keyboard instrument is, as I see it, sim- what overstating this problem: it happens The repeated A’s—all off the beat— walk. When you next play the passage ply that accurate repetition of a physical sometimes to most of us; it is probably are notes that almost everyone analyzing that you have worked on this way, it may gesture will, in due course, lead to that more of a problem for students. They this line would agree should be lighter, feel or sound a bit different—more vivid, gesture’s becoming second nature. Most often are vividly aware of their teach- less accented, than the (changing) on- or more relaxed, or both. You don’t have of what I have conveyed about practic- ers paying attention, and they may be the-beat notes. If the theme were be- to scrutinize it or analyze it. If you hap- ing is more or less a gloss on that idea. implementing articulation schemes and ing played by a violin, the player would pen to notice a difference, that is won- Therefore, I think it is worth pointing other performance ideas that the teacher almost certainly make those notes quiet. derful; if not, no harm done. The extra out when the physical gestures being helped to create or, in some case, just Leaving those lighter notes out gives a attention that you have paid to the pas- suggested are actually not those that will created. However, it is something that line that looks like Example 2 or perhaps sage will help solidify the learning of it directly lead to playing the passage or can happen to any player. a line that should be thought of as that in any case. piece accurately. The point is this: if a player learning a in Example 3, with variably detached In the case of this Bach fugue sub- The positive effect on the learning pro- passage can train the ears to hear more eighth notes. ject, another step is putting the theme cess is less direct. Any student who is in- prominently those notes that are sup- Notice that I have made the judgment back together with the rest of the tex- terested in altered rhythms as discussed posed to be in some way more promi- that the fi rst three sixteenth notes of the ture of the piece, or, to put it another last month, or in the technique discussed nent—accented notes, points of arrival, theme form a three-note upbeat and way, continuing to use this technique as this month, must always remember that “louder” notes, notes that should seem should not be stripped down. Someone other voices come in. This immediately these techniques only supplement basic, to bloom or grow, as if a string player or else might see that differently and ren- highlights the relationship between the regular practicing and cannot replace it. singer were leaning into them after the der the beginning of the theme as Ex- fugue subject and the various eighth- It is important to employ these unusual initial attack—then the player’s subcon- ample 4 and so on. This would be fi ne. note countersubjects. This piece is full practice techniques in small doses, al- scious mind will fi nd ways to make those to the brim of passages that can be ap- ternating with regular practicing of the notes more prominent. This process can Example 4 proached this way—for example, the same passages, so that the connection both supplement and to some extent by- measures immediately following the between the specialized practicing and pass or replace the process of logically second entrance of the fugue subject the feeling of actually playing the pas- working out what notes should be longer (Example 5). sage being practiced is clear and vivid. or shorter and how exactly the timing In this passage, leaving out the off-the- should be adjusted to give the desired ef- beat sixteenth notes in the lower voice— Expression through timing fect. This phenomenon—the direct link The exercise is not about right or wrong: both with and without also playing the and articulation between hearing prominent notes and it is about thinking about what you want upper voice—is a good way to explore At the organ—and also at the harpsi- projecting them as prominent—has an to hear, and then moving your ears closer the rhythmic relationship between the chord—we cannot create accent, shape, intuitive, improvisatory feel to it, which to being able to hear it. voices. It should clarify the interaction phrasing, or rhythm by playing certain is intrinsically non-stiff and which serves Once you have made a decision about between the implied detached eighth individual notes louder or softer than as an antidote to stiffness. which notes to leave out, the procedure notes of the lower voice and the actual other notes. That is basic: in fact, for It was Professor Eugene Roan who for practicing is something like this: eighth notes in the upper voice. many pianists fi rst coming to study or- fi rst mentioned this idea to me—some- 1) Play the rewritten line several In the opening of the famous Widor gan or harpsichord it is almost the defi - what cryptically. He said that “if you can times. There is probably no reason not Toccata there are all sorts of possibilities nition of those instruments. However, hear it, it will move through your el- to use the fi ngering or pedaling that for leaving notes out (Example 6). Any of we can create accent, shape and so on bows to your hands” (or something like will be used for those notes when the the following might be illuminating:
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14 THE DIAPASON Example 6 the presence of brass has become a treat, it clearly will reap benefi ts when they are not a commandment as suggested in carefully controlled and perform with ef- Psalm 150. fective balance with the choir. Nevertheless, the reviews below em- phasize anthems that are not necessarily Choir with solo brass instrument for Easter, in the hope of encouraging conductors to fi nd ways to add brass on All Hail the Power of Jesus’ Name, less festive Sundays. A director’s goal is to arr. Michael McCabe. SATB, trum- enhance the worship service in a mean- pet, organ, and congregation, Para- ingful way. As noted in Judges, chapter clete Press, PPM01222, $2.20 (M). 6, verse 4: “The Spirit of the Lord came This popular hymn uses all six verses, Example 10 upon Gideon, and he blew a trumpet.” with three employing the congregation; So, help bring the spirit to the congre- their music is on the back cover for du- gation by having trumpets (i.e., brass) plication. A transposed trumpet part is blow on several Sundays throughout the not included; the trumpet only plays on church seasons, not just the fi rst Sunday the fi rst and last verses. Several of the of Easter. verses are in unison or two parts, and Directors should also seek out and one is indicated for unaccompanied purchase music for brass quartet or oth- four-part choir. The music is majestic er combinations of brass instruments. and not diffi cult, and will be appropriate This makes it simple to insert special for several special times throughout the music into the offertory slot or as an ac- church year. companiment to a hymn; that will more easily justify the extra expense of hiring Neither Death nor Life, Jonathan brass to play with the choir’s anthem. Crutchfi eld. SATB, solo medium It is not often that churches have ad- voice, and organ with optional solo vanced brass performers in their con- horn. MorningStar Music Publish- Example 7 ing off the suspension over the bar line gregation who are readily available to ers, MSM-50-9820, $1.85 (M). (Example 8). I would consider trying this play for free; so in most cases, outside The optional solo horn part is on the phrase leaving the C#’s out. This would be musicians usually are required. Instru- back cover and it plays during only 22 of jarring and unsatisfying harmonically, but mental brass music is usually published the 62 total measures. The setting opens might train the ears to play the notes “qui- in collections and the cost is relatively with an ad libitum solo that leads to a etly.” In various passages that have writ- modest. For example, Hymns for Brass, four-part unaccompanied, syllabic cho- ing like that in the right hand part here Sets I and II (Augsburg Fortress) by ral passage; the vocal solo returns at two (Example 9) I would try leaving out the Miles Johnson, is a standard collection other places in the work. The organ part, Example 8 off-the-beat sixteenth notes. And in this of easy, functional arrangements. on two staves, is very easy. The text, by passage (Example 10) I would try leaving Congregations usually respond very H. Stephen Shoemaker, is comforting out the (double) pedal sixteenth notes. In favorably to having additional instru- and reassuring. This work is also available this case, it is important to release the oc- ments in the service, if the volume of from the publisher for brass quintet. tave E’s, which have temporarily become sound is not too loud. In my experience, repeated notes, smoothly and in plenty of I have had more complaints about the The Lord Will Reign For Ever, James time, so that when you add the D#’s back loudness of the instruments from the Biery. SATB, trumpet, and organ, in, your feet will not have grown accus- congregation (and the choir) than any MorningStar Music Publishers, tomed to being stuck on the E’s. other single concern. This has been un- MSM-50-8920, $2.25 (M+). Example 9 There are, in any piece, many possibil- derstood throughout history and pointed This communion anthem for Christ ities for leaving out notes that you think out by John Tyle as early as 1580 when the King Sunday has a busy and solo- of as being quieter. As I am suggesting, he said: “Instruments sound sweetest istic organ part with some challenging there is nothing wrong with simply try- when they be touched softest.” This is passages; its music is more diffi cult ing such things out. Even if a particular the problem that requires the most at- than that for the choir, who generally practice pattern ends up seeming not to tention from the director; even place- sing syllabic rhythmic statements. The have made much difference, the pro- ment of the brass within the church is trumpet part features brief fanfare out- cess of working on it still has not been paramount to its musical success. Adding bursts and is used throughout the set- wasted. As I alluded to above (and else- brass to the choir has its challenges, but ting. This triumphant anthem will be where), anything that makes you notice more of what is going on in a piece will 1) Play the fi rst three sixteenth notes contribute to the learning of the piece of each beat in the right hand and leave and to its becoming increasingly solid. INCE 1979, we have out everything else; play the left hand Students—and teachers—can play as is. around with the idea. designed and built over 2) Play the notes found on the fi rst It is worth mentioning one more time 120 new pipe organs for and fourth eighth notes of each half-note the importance of light touch in this par- S beat, in both hands, and leave out every- ticular context. In order for the magic to clients in Australia, Austria, thing else. (These are the places where work—or for the subconscious to guide New Zealand, England, the pedal plays when it comes in.) the hands and feet to do subtle things, 3) Play the right hand as is, and in the too subtle to describe analytically—it Canada and the United States. left hand only play the chords that fall on is important that there be no tension. Our instruments, whether half-note beats. Tension or tightness will make it much 4) An idea that is quite specialized harder for the subtleties heard by the ear tracker or electric action, have and geared to this passage: play the right to express themselves in the fi ngers— been praised for their rugged hand as is on a loud sound, and in the perhaps impossible. Q construction, comfortable left hand—on a softer sound—play the Opus 116 chord on each half-note beat, and hold Gavin Black is Director of the Prince- consoles, responsive key it for the entire half note. When you re- ton Early Keyboard Center in Princeton, store the written rhythm and texture, this New Jersey. He can be reached by e-mail actions and tonal integrity. will perhaps guide you towards hearing at
JUNE, 2012 15 loved by the choir and congregation, Veni, Sancte Spiritus, Michael Joncas. The great majority of organs in Ma- and organist to get the best sounds out and is highly recommended. SATB, brass quintet, timpani, organ, deiran churches are of 19th-century of a space incapable of being musically cantor and assembly, GIA Publica- English origin, but lacking specifi cally (and visually) sympathetic? In this case, Choir with brass ensemble tions, Inc., G-7144, $2.10 (M-) individual qualities, with representation the “vision” of the title relates to the en- Loosely based on the famous tune from Flight & Robson, Bryceson Bros & tire process that existed from the very I Will Sing and Not Be Silent, Allen and text, the four verses are preceded Morten, and Brown and Sons, amongst beginning of the new space for Cov- Pote. SATB, brass quintet, tuba and by chant-like material sung in English others. There are also representatives enant Presbyterian Church in Nashville organ or piano, Hope Publishing by male and female cantors. There is from Lisbon, including Fontanes, Sousa in late 2005, when David Harper and Co., 5748, $2.10 (M). a verse response. The four refrains all Machado, and the da Cunhas. The great Paul Law of Hnedak Bobo Group, the Based on Psalm 30, Pote’s setting has appear on the back cover for duplica- majority are one-manual instruments, architects, Dana Kirkegaard of Kirkeg- extensive unison choral passages. The tion. With many small sections sung by without pedalboard, many of which are aard Acoustic Design LLC, and C. B. accompaniment is often syncopated diverse groups/soloists, the work is con- closer to a chamber instrument in con- Fisk, Inc. began working together to de- and lively. While there is some two-part stantly shifting. It builds to a gigantic ception, but a good number have a full sign the new building that was dedicated canonic writing, most of the music is closing Amen. chorus to 15th plus treble cornet and in April 2009. syllabic with vertical chords. Somewhat trumpet, making possible the interpre- What came of this collaboration was unusual style for Psalm 30, which usu- Great Our Joy!, Joel Raney. SATB, tation of a wide repertoire encompass- the placement of a brand new 58-stop ally is more sedate, this version is more keyboard with optional brass choir, ing both Iberian and the majority of instrument in the front of church in a celebrative. Horn may be substituted for fl ute, harp, and percussion, Becken- other European schools. Even the ca- stunning 48-foot-tall solid oak case in a one of the trombones. horst Press, BP 1945, $2.10 (M+). thedral in Funchal possesses only a two- sympathetic acoustical environment that Even though the title and spirit seem manual instrument. A rare example of a is much more European than American. Lord, You Now Have Set Your Servant to suggest Easter music, this text by Fred three-manual instrument with pedals is An essay by David C. Pike, the execu- Free (Nunc Dimittis), Craig Phillips. Pratt Green is more universal so that to be found in the São Pedro Anglican tive vice president and tonal director of SATB, brass ensemble, timpani, and this joyful anthem can be used at vari- Church of the Holy Trinity, Funchal. C. B. Fisk, is included in the generously organ, Paraclete Press, PPMO1150, ous times during the church year. A large Another fascinating instrument is lo- detailed CD booklet, complete with nu- $2.20 (M). choir will be needed for the explosive cated in the church of Nossa Senhora merous photographs. Again, for many The score does not indicate what brass chords, which are sometimes in eight da Conceição, Machico, which utilizes of us, information about the instrument are needed, although the three-stave parts. After a dramatic opening fi lled parts of a Renaissance and an 18th-cen- is paramount and the complete specifi - organ part includes registration sugges- with the title and “Alleluias,” the style tury organ, rebuilt about 15 years after a cation (why don’t more recordings do tions. The music has a majestic style that becomes more lyric. The basic melody hurricane in 1842. Its horizontal Clarim this?) is included here. We know that is accented by the pulsating single bass winds its way through several verses, looks most imposing. this large new instrument has keyboard notes in the pedal, which appear in al- then builds to a majestic ending, again The quality of the photographs and compasses of 61/32, two divisions (the most every measure. The choral parts with the text of the title. the depth of the descriptions make this Swell AND the Positive) under expres- are somewhat contrapuntal; there is a a book that should be considered essen- sion, mechanical key and electric stop brief unaccompanied section and some Hark, Ten Thousand Harps and tial reading by everyone interested in the action, and the ability to engage “fl ex- divisi in the women’s part. Much of the Voices, Craig Courtney. SATB, key- diffusion of British instruments, as well ible” wind when appropriate for various music is loud. board, with optional brass sextet, as those with a more specialized interest repertoire. Why shouldn’t this informa- percussion, and 4–5 octave handbell in the Portuguese instrument of the 17th tion be available in all recordings? Dear Hail This Joyful Day’s Return, Craig choir, Beckenhorst Press, BP 14989, century onwards. The architectural mer- record producers and artists: it doesn’t Phillips. SATB, organ, and optional $1.95 (M-). its of each church as well as noteworthy take up that much room! brass quartet and organ, Morning- Courtney’s melody has a curious yet in- treasures, including paintings and sculp- Murray Forbes Somerville has had a Star Music Publishers, MSM-50- teresting modal twist in this work suitable tures, are also described and illustrated. distinguished career as an organist, harp- 5650, $2.25 (M). for Easter. The choral parts are easy and The two authors are to be congratu- sichordist, and conductor and has lived Celebrating Pentecost, this anthem on two staves with three verses. There are lated on this polished production, and an on three continents. His offi cial biogra- dances in 6/8. The traditional Pentecost Alleluias and a big Amen ending. enormous vote of thanks is due to DRAC phy tells us that he was “Born in London tune Veni Creator Spiritus makes for publishing this book and making it and raised in Africa . . . studied in Mu- its appearance. There is an emphasis on easy for anyone to buy directly. It will nich with Karl Richter, at Oxford under the organ part, which often has soloistic be the essential guide to organs on the Sir David Lumsden as Organ Scholar of passages, and is much more adventur- Book Reviews island for many years to come. New College, and in New York with Dr. ous than the choral parts. Registration —John Collins Robert Baker.” Further studies were at suggestions are given, but it is not clear Sussex, England the New England Conservatory of Music what music the brass play. Their music is Organs of Madeira, by Dinarte in Boston, where he received his doctor- available as MSM-50-5650-B (“A” is the Machado and Gerhard Doderer. ate, studying historical keyboard tech- full score). Published by DRAC, Madeira, 2011. niques with William Porter. ISBN 978-972-648-180-5, 209 pp., New Recordings His long and distinguished American €23.5 plus €13.27 postage to USA. career has taken him to important posi- Obtainable from Olga Teixeira, tions in West Hartford, Connecticut, at
16 THE DIAPASON live acoustic. It works well here, even Allegro; Jean Guillou, Scènes d’Enfant and beautiful sound without being harsh in the loud ones. Indeed, the Marcussen without eight seconds of reverberation. d’après The Turn of the Screw d’Henry in the slightest degree. It has a certain organ in Tonbridge is probably not too It is always a delight to encounter James; William Grant Still, Reverie. To- refi nement that reminds me of the work far removed, tonally speaking, from the fi rst recordings of individual pieces, and tal playing time: 78:55. of Hilborne Roosevelt. Its tonal design 1889 Schlimbach organ that Reger him- this inaugural recording of the new Fisk This disc was recorded live, com- probably owes quite a bit to the work self played at the Stadtkirche in Meinin- contains two of these gems. The fi rst is plete with uncut applause, on October of the founder of the Marcussen fi rm, gen when he was Kapellmeister to Georg by John C. Hodgson, who was one of 14, 2006. The opening selection is the Jürgen Marcussen (1781–1860), whose II, Duke of Saxe-Meiningen before the the fi rst teachers of Murray Somerville “Wedge” Prelude and Fugue of Bach, great-great-great-great-granddaughter World War I. while he was a high school student in taken at a lively clip and with wide con- Claudia Zachariassen is the current di- Reger’s Op. 73 is, as the booklet in- Rhodesia (now present-day Zimbabwe). trasts of volume during the fugue. Jean rector. The acoustics of the room seem cluded with the compact disc states, par- The Wedding March was written for Guillou’s effective transcription of Liszt’s to be lively and by no means muddy. ticularly interesting in the way that the his friend and colleague Jim Peto, who Orpheus is beautifully registered and The reverberation period sounds as if it “strong antagonism between F# minor was the choirmaster at the cathedral in sounds surprisingly good on what, to put is about four seconds, although with to- and D minor” that underpins it leads to a Salisbury (now called Harare). In this it mildly, is a non-symphonic instrument. day’s digital recording techniques there situation in which the boundary between piece the grand Tuba Mirabilis in Eng- A couple of audience coughs are includ- is no saying how much of this is natural! the keys is almost dissolved, resulting lish style is given a real workout! Un- ed. Clarence Mader’s cute and rhythmic Quebec-born organist Isabelle Dem- in an atonality that points forward to fortunately, the Hodgson work remains Afternoon of a Toad is great encore and ers studied organ in Montreal, Paris, and the early work of Schoenberg. This was unpublished to this day. How wonderful recital material. New York, where she completed a DMA particularly apparent to me in Variations if this piece could be a project for the Jean Guillou (b. 1930), with whom Ms. at the Juilliard School under Paul Jacobs. VIII to X. There is indeed a surprisingly music-publishing branch of Raven Re- Rhodes studied and for two years was his She displays herself on this compact disc modern feel to this work, dating as it cordings. It would be a welcome addi- assistant at St. Eustache, fi gures largely as a particularly talented member of to- does from the early years of the last cen- tion to the repertoire. on the recording, with his transcriptions day’s group of up-and-coming young or- tury. The vigorous fugue reintroduces The centerpiece of the recording is the of Liszt and Mozart, and with his con- ganists. Her recording begins with a spir- many of the motifs already treated in Vision of the Eternal Church by Olivier cluding Scenes d’Enfant, a very diffi cult ited performance of the Bach D-major the Introduction and Variations as well Messiaen, which was included to remind composition of over nineteen minutes Prelude and Fugue, which she plays in a as including a “modifi ed B-A-C-H” in everyone of the fact that this new hilltop duration. The fi nal piece is a lovely en- seemingly effortless way with an impec- the main theme. Isabelle Demers’ play- sanctuary of Covenant Church overlooks core, William Grant Still’s Reverie. cable attention to phrasing. ing brings out all this very clearly, and downtown Nashville, Tennessee. Here —Charles Huddleston Heaton Isabelle Demers’ own transcription of nowhere is anything lost of the clarity of is music from the composer whom Erik Pittsburgh, Pennsylvania seven movements from Prokofi ev’s ballet Reger’s thickly written work. Altogether Routley called “ . . . the most original
JUNE, 2012 17 I took the liberty of fi nding a concert scoring. The organ part is idiomatic and or three movements (always in gigue performance by Ms. Chen on YouTube lies well under the hands and feet. The rhythm), in which Casini demonstrates New Handbell Music that showed off her impeccable tech- composer often uses a dialogue tech- his mastery of rhythmic and melodic nique as well as the complexities of the nique, alternating between the instru- thematic transformation as utilized music. It is a wonderful composition to ments, so that the harp can be clearly by Frescobaldi (and later by his pupil Come, Christians, Join to Sing, ar- listen to. A three-manual organ is a ne- heard. The fantasia opens with conver- Froberger and other German compos- ranged for 3–5 octaves of handbells cessity, as are pistons. Even so, I could sations in organum between the instru- ers of the later 17th century) in his ca- by Jason W. Krug. Agape (a division not see how she changed registrations in ments, leading to a highly rhythmic jazz- pricci and canzone. Many of the second of Hope Publishing Company), Code some places where it has to be done “on like section in 7/8 meter. These two movements employ dance rhythms, i.e., No. 2581, $4.50, level 2+ (M). the fl y” as it were. ingredients generate much of the music, a rare use for this time of the galliard This thrilling arrangement of the tune My only complaint, even though she which fi nishes with glittering and bril- in no. 1, corrente in nos. 3 and 4, and Madrid is creatively arranged to delight plays it at the tempo she calls for, is liant fl ourishes. minuet in nos. 2, 5, and 11, with the both the audience and the ringers. The that perhaps for the listener and for the Harp notation is a special language gigue being clearly discernible as the piece opens with a triumphant fanfare theme, it might show better at a slightly (a mystery to many, including me!), so fi nal movement in either 6/8 (no. 12) or leading to the familiar melody with syn- slower tempo. In any event, after hearing I turned to a colleague and professional 12/8 (nos. 3, 4, 7, and 8), with both dot- copated and rhythmic accompaniment. it and playing it myself, I could not get harpist, Anne Sullivan, and invited her ted and equal rhythms being present in The middle section combines malleted the music out of my head. It is intoxicat- comments. She noted that the harp part the same piece, apart from no. 4, which and martellato chords, with a fi nal fan- ing despite its technical diffi culties and is well written: idiomatic and approach- has equal eighth notes throughout. The fare similar to the fi rst, bringing the I expect will get more concert perfor- able, with ample pedalgrams through- majority of the fi rst movements are in piece to a triumphant end. mances as time goes on. Great job, Chel- out. Many facets of the instrument are cut C time, with no. 7 being in 3/2. The sea Chen! Let’s hear more from you. displayed, ranging from arpeggiated second movements of nos. 7–9 and 12 I Will Sing of My Redeemer, ar- —Jay Zoller passages to rhythmic and very articu- are in cut C time. ranged for 3–5 octaves of handbells Newcastle, Maine lated sections. She was intrigued by this Most of the subjects are of the ab- by Lloyd Larson. Agape (a division piece, adding, “[the harp part] is not for stract rather than the purely vocal type, of Hope Publishing Company), Code the faint of heart, however, but rather allowing a considerable degree of chro- No. 2591, $4.95, level 2 (M). Flourish on Joy to the World (for for the advanced player.” I would say the matic writing, which is well exemplifi ed Based on the tune Hyfrydol, this brass quintet, timpani, organ, opt. same about the organ part. This is a ma- in no. 8 in A minor and no. 10 in D mi- setting has a festive feeling throughout. handbells and cymbals), Robert A. jor work (14 minutes in length) and a sig- nor, particularly in the 3/8 second move- Beginning and ending with large, strong Hobby. MorningStar Music Publish- nifi cant contribution to the literature. It ment, which has similarities with a slow chords, followed by a contrasting middle ers MSM-20-013, $25.00. is clear that it was written with care and passepied. Many of the movements in movement, including a key change, the A colorful work, in both harmonic skill, generating a wonderful and highly minor keys conclude with a bare fi fth, arrangement gives way to a rousing, language and use of instruments, well colorful musical effect. heightening the archaic nature. In no. spectacular close. written for the players. The instrumen- —David Herman 7 the fi nal chord of the fi rst and second tal parts are bound within the score, The University of Delaware movement occurs in the opening bar of Fanfare and Exaltation, arranged for with permission to photocopy—a good the succeeding movement, where the 3–5 octaves of bells by Dan R. Ed- idea, I think. The texture is “gently mod- treble also serves as the fi rst note of the wards. Choristers Guild, CGB611, ern,” with mild dissonances, whole-tone Pensieri per l’organo, by Giovanni subject in the new meter; otherwise the $4.50, level 3 (M+). scales, quartal and added-note chords, Maria Casini. Edited by Jörg Jaco- different movements are self-contained, This is an exhilarating original compo- and the occasional harmonic “surprise.” bi. Published by Edition Baroque, allowing for performance as an individual sition from beginning to end. The fanfare Although the handbells are indicated as eba4013/14, €11.90 each; obtainable work if time is limited; the subject of this opens with large, bold chords, with strik- optional, basically doubling the organ, from
18 THE DIAPASON François Couperin’s Organ Masses at the University of Michigan Marijim Thoene
Kipp Cortez, Renate McLaughlin, Joshua Boyd, and Nancy Deacon Kipp Cortez and Nancy Deacon
Professor Marilyn Mason, who has led Joshua Boyd and Renate McLaughlin many organ tours throughout France and who feels like she has “always versets for the Agnus Dei, and one for known François Couperin!” Deo gratias. The organ versets and of- fertoire were played by the following or the fi rst time in Ann Arbor, the performers for both the Mass of the Con- Fcomplete organ works of François vents and Mass of the Parishes: Renate Couperin (1668–1733) were performed McLaughlin (Kyrie); Nancy Deacon, on two evenings by students of Profes- director of music at Most Blessed Sacra- sor Marilyn Mason. Couperin’s Mass of ment Cathedral in Detroit (versets 1–5 the Convents was performed on March of the Gloria); Joshua Boyd, organist at 16 and his Mass for the Parishes was per- Lord of Light Lutheran Church in Ann formed on March 25. These performanc- Arbor (versets 6–9 of the Gloria and Of- es offered a rare opportunity to hear the fertoire); Kipp Cortez, assistant organ- only known organ music of one of the ist at the First Congregational Church in most famous composers of Paris. The Ann Arbor (the Sanctus, Agnus Dei, and 21-year-old Couperin, known as Couper- Ite Missa est). in le Grand (“Couperin the Great”) to Renate McLaughlin offered introduc- distinguish him from other members of tory comments, explaining that the two his musical family, composed the Messe Masses differed dramatically in style be- pour les couvents for convents or abbey cause of the strictures placed on Masses churches and the Messe pour les paroiss- composed for parishes. The Caeremo- C. B. Fisk Opus 87 es for parishes or secular churches. niale Parisiense of 1662 stipulated that The reeds, mutation stops, fl utes, Masses written for parishes must be recitalist and director of music at St. John Lu- Oberwerk, Man II theran Church in Dundee, Michigan. Her two 8′ Gedackt principal chorus, and mixtures of the based on a recognizable Latin Mass. CDs, Mystics and Spirits and Wind Song are 8′ Quintadena C. B. Fisk organ in the Blanche Ander- Couperin quotes part of Missa cunc- available through Raven Recordings. She is a 4′ Principal son Moore Recital Hall served Cou- tipotens genitor Deus in the Kyrie and frequent presenter at medieval conferences on 4′ Rohrfl öte perin’s Masses well. The rich palette of Sanctus of his Mass for the Parishes. No the topic of the image of the pipe organ in me- 3′ Nasat color necessary for the performance of such edict applied to the Masses being dieval manuscripts. 2′ Octava French Classical repertoire was present. composed for the convents. 2′ Gemshorn 3 Photo credit: Marijim Thoene 1⁄5′ Tertia The Chalumeau provided an excellent Each performer gave thoughtful in- 1 1⁄3′ Quinta substitute for the Chromhorne that Cou- terpretations, and added graceful and at ′ perin specifi ed, and the aggressive and times sizzling ornaments. They provided 1 Siffl et C. B. Fisk, Inc., Opus 87, 1985 Mixtur III penetrating timbre associated with the an aural document showing how the or- The Marilyn Mason Organ 8′ Chalumeau French classical reeds was provided by gan in Couperin’s Masses appropriated The University of Michigan the single Trompete. The cohesiveness texts from the Ordinary of the Mass and Ann Arbor, Michigan Pedal of the ensemble was impressive. supplied a solo offertoire. 27 voices, 35 ranks, 1,716 pipes 16′ PrincipalBaß In keeping with the performance Hearing the entire Mass of the Con- 8′ OctavBaß practices of the classical French organ vents, one could imagine the delight such Hauptwerk, Man I 4′ OctavBaß 16′ Bourdun 16′ PosaunenBaß Mass of the eighteenth century, the or- music gave those within the walls of a re- ′ ′ gan verses alternated with sung verses in ligious community. And likewise hearing 8 Principal 8 TrompetenBaß 8′ Rohrfl öte alternatim. Kipp Cortez performed the the Mass for the Parishes, one can imag- 4′ Octava Oberwerk to Hauptwerk role of cantor at both performances. Like ine sitting in the Chapelle Royale and see- 4′ Spitzfl öte Hauptwerk to Pedal 2 Guillaume-Gabriel Nivers (1632–1714), ing the joy on the face of Louis XIV as his 2⁄3′ Quinta Oberwerk to Pedal Couperin wrote fi ve organ versets for organist, François Couperin, played his 2′ Octava Tremulant the Kyrie, three for the Sanctus, nine Mass for the Parishes. Q Mixtur V Klingel (rings bell to signal calcant) versets for the Gloria, an Offertoire (an Cornet III independent solo not linked to alterna- Marijim Thoene received a D.M.A. in or- 8′ Trompete Hand-pumped wind and electric blower tim, the longest and most technically gan performance/church music from the Uni- Fifth-comma Meantone tuning demanding within the organ Mass), two versity of Michigan in 1984. She is an active
JUNE, 2012 19 The Great Organ of the Cathedral of Monaco Jean-Louis Coignet
he present Cathedral of Monaco Twas consecrated in 1911; exactly one hundred years later, on December 8, 2011, the Archbishop of Monaco pro- ceeded with the blessing of the new or- gan, the fourth since the consecration of the building. The fi rst organ, attributed to François Mader, was located near the high altar; it proved to be insuffi cient and the need for a larger organ was rap- idly felt. Charles Mutin, Cavaillé-Coll’s successor, turned it into a 50-stop instru- ment that he installed in two parts placed on either side of the gallery; Emile Bour- don, titular organist, inaugurated it on April 8, 1922. After fi fty years of service, this organ showed signs of wear, and was replaced by a 60-stop instrument built by Boisseau; Pierre Cochereau played the opening concert on October 10, 1976. Despite work done by Tamburini in 1987, the results weren’t entirely satis- factory, and the appointment in 2006 of a new organist, Olivier Vernet, gave the impetus to consider a complete rebuild. Following an international competi- Grand-Orgue Cornet V tion, the organbuilding company Thom- Orgues Thomas, Cathedral of Monaco as1 was entrusted with the work. It was a challenging undertaking since “the specifi cations forced us not only to reuse most of the existing pipes, but also to recreate their original voicing, in order to conserve the soul of the former instru- ment in a new body.”2 In fact, the result is a completely new organ, with the ex- ception of some pipes that have been carefully restored (many reeds had been cut too short). The frames, case, wind- chests, blowers, console, transmissions, and electronic systems are new. The organ builders and architects made the bold decision to remove the organ from the gallery-alcove where it was located, and to use innovative lighting as an ar- chitectural element in its own right. Says Dominique Thomas: “We created a reso- lutely contemporary façade, which plays on both the lightness, transparency and light, blending harmoniously with the architecture of the Cathedral while ap- Pipes inside the Récit expressif pearing as an original work of art.” The instrument has 77 speaking stops (105 ranks), with 106 stops at the console (the chamades 8′ and 4′ being playable Positif and console seen from the side on all keyboards and pedal at different ranges). Manuals I (Positif de Dos), II have the advantage of not obliging exces- bellows give some fl exibility for playing sive reduction of the touch. When using (Grand-Orgue), and III (Récit expres- Barker levers for coupling in instruments the classic repertoire. The wind pres- sif) all have 58 notes (C1–A5). Manual of much smaller size, Cavaillé-Coll already sures used are: IV (Dessus de Récit) has 41 notes (F2– considered the full opening of the pallet Chamades: 91mm A5), and the Pédale 32 notes (C1–G3). when the organist’s fi nger was still only half Positif de Dos: 78mm The key action is mechanical for manu- way down an advantage. Grand-Orgue: 91mm als and pedal; the stop action is electric Récit expressif: 106mm and assisted by a combination action of There is also a playback system that Dessus de Récit: 91mm 30,000 combinations. The couplers are enables organists to listen to their own Petite Pédale: 112mm electric, but there is also a mechanical playing from the nave. Grande Pédale: 134mm. Positif/Grand-Orgue coupler so that the The wind supply is particularly well Dominique Thomas describes the organist can recreate the typical “old designed: two Ventus blowers, 140 mm tonal architecture as “primarily a French feeling” when interpreting music of the and 160 mm water column respectively, classical organ, opening toward the sym- seventeenth and eighteenth centuries. feed primary reservoirs that provide phonic style.” This organ falls in the Dominique Thomas clearly explains the wind to wedge bellows for the Positif, French neo-classic organ tradition with advantage of the electric coupling: Grand-Orgue, and Dessus de Récit. its three traditional divisions, large sym- The Récit expressif, in turn, receives phonic Récit, and the well-furnished When playing symphonic or modern its wind from two reservoirs that feed Pédale. This concept was fi rst highly Pedal pipes organ music, electrical couplers are not a the bass and treble separately, ensuring prized in the 1930–50s, then severely drawback to the touch of the organist and perfectly stable wind, while the wedge criticized in the 1960–70s. But it was, in built over 130 new instruments in 45 years, and restored some 40 eighteenth and nine- fact, above all the modifying of existing teenth centuries organs. Website: instruments, both classic and symphonic,
20 THE DIAPASON 32′ Contre-Bombarde wood pipes
16′ Chamade (tr 8′) 8′ Chamade Bellows 8′ Chamade (tr 4′) ′ 4 Chamade On every keyboard: Sostenuto IV Dessus de Récit Cancel 8′ Bourdon ′ 4 Flûte Crescendo 1 2 ′ 2⁄3 Nazard Crescendo 2 2′ Doublette 3 General Cancel 1⁄5′ Tierce 8′ Trompette 16′ Chamade (tr 8′) 8′ Chamade Mixture compositions 8′ Chamade (tr 4′) 4′ Chamade Grand-Orgue Grosse Fourniture III Pédale 2 1 C1 2 ⁄3 2 1 ⁄3 32′ Bourdon 2 Ds2 4 2 ⁄3 2 16′ Soubasse 1 2 Gs2 5 ⁄3 4 2 ⁄3 16′ Principal 1 Ds3 8 5 ⁄3 4 8′ Flûte 2 1 Gs3 10 ⁄3 8 5 ⁄3 8′ Bourdon 2 10 ⁄3′ Quinte 2 Fourniture V 6⁄5′ Tierce 1 2 1 C1 2 1 ⁄3 1 ⁄3 ⁄2 4′ Flûte 2 1 2 C2 2 ⁄3 2 1 ⁄3 1 ⁄3 Mixture V 2 1 C3 4 2 ⁄3 2 1 ⁄3 1 32′ Contre-Bombarde 1 2 1 C4 5 ⁄3 4 2 ⁄3 2 1 ⁄3 16′ Bombarde 1 2 C5 8 5 ⁄3 4 2 ⁄3 2 View from the top of the case (photo credit: Orgues Thomas) 16′ Basson ′ 8 Trompette Cymbale IV ′ ′ 2 1 1 I Positif de Dos 2 Quarte 4 Clairon 3 2 3 1 C1 1 ⁄ ⁄ ⁄ ′ 5′ ′ ′ 1 2 1 8 Montre 3⁄ Grosse Tierce 16 Montre (tr M16 GO) 3 3 2 2 C2 1 ⁄ 1 ⁄ ⁄ ′ 3′ ′ ′ 1 2 8 Principal 2⁄ Nazard 16 Bourdon Expr (tr B16 Réc) 3 3 3 C3 2 1 ⁄ 1 ⁄ ′ 1⁄5′ Tierce 8′ Diapason Expr (tr D8′ Réc) 2 1 8 Bourdon C4 2 ⁄3 2 1 ⁄3 1 ′ Grosse Fourniture III 16′ Chamade (tr 8′) 2 1 8 Salicional C5 4 2 ⁄3 2 1 ⁄3 4′ Prestant Fourniture V 8′ Chamade 4′ Flûte à cheminée Cymbale IV 8′ Chamade (tr 4′) 2 ′ Positif de Dos 2⁄3′ Nazard Cornet V (F2) 4 Chamade ′ ′ ′ ′ 2 Doublette 16 Bombarde 2 Chamade (tr 4 ) Fourniture III 3 ′ 1⁄5′ Tierce 8 Trompette 1 2 ′ C1 1 ⁄3 1 ⁄3 1 ′ 4 Clairon III/I 1 1⁄3 Larigot C2 2 1 ⁄3 1 4 3 ′ ′ ⁄5-1 ⁄5′ Tiercelette 16 Chamade (tr 8 ) IV/I 2 1 ′ C3 2 ⁄3 2 1 ⁄3 Fourniture III 8 Chamade I/II 2 ′ ′ C4 4 2 ⁄3 2 8 Chamade (tr 4 ) I/II mechanical 1 2 Cymbale IV C5 5 ⁄3 4 2 ⁄3 8′ Trompette 4′ Chamade III/II ′ 8 Cromorne IV/II Cymbale IV 4′ Clairon III Récit expressif IV/III 2 1 1 ′ ′ C1 1 ⁄3 ⁄2 ⁄3 16′ Chamade (tr 8′) 16 Bourdon I/I 16 1 2 1 ′ ′ C2 1 ⁄3 1 ⁄3 ⁄2 8′ Chamade 8 Diapason III/III 16 1 2 ′ ′ C3 2 1 ⁄3 1 ⁄3 8′ Chamade (tr 4′) 8 Salicional III/III 4 2 1 ′ ′ C4 2 ⁄3 2 1 ⁄3 1 ′ 8 Voix céleste III/I 16 2 1 4 Chamade C5 4 2 ⁄3 2 1 ⁄3 8′ Cor de Nuit I/II 16′ II Grand-Orgue 8′ Flûte Harmonique III/II 16′ 32′ Bourdon (C2) 4′ Prestant III/II 4′ Récit expressif 16′ Montre 4′ Flûte Octaviante I/P ′ 2′ Octavin II/P Fourniture III–V 16 Bourdon 1 ′ 1′ Piccolo III/P C1 2 1 ⁄3 1 8 Montre 2 1 ′ Fourniture III–V I/P 4′ C2 2 ⁄3 2 1 ⁄3 8 Dessus de Montre 2 3 1 8′ Flûte Harmonique Cornet III III/P 4′ C3 4 2 ⁄3 2 1 ⁄5 1⁄3 8′ Gambe 16′ Bombarde IV/P 2′ 8′ Bourdon 8′ Trompette Pédale 4′ Prestant 4′ Clairon Tremblant Positif ′ Mixture V ′ 8 Voix Humaine Tremblant G.O. 2 1 2 4 Flûte C1 2 ⁄3 2 1 ⁄3 1 ⁄3 2′ Doublette 8′ Hautbois Tremolo Récit
JUNE, 2012 21 Inspired by Italy: Encounters with Italian Historical Organs, Their Surroundings, and Their Music Christina Hutten
hat if I told you that there is surviv- Wing Italian organ music as splendid as Giovanni Gabrieli’s In Ecclesiis and as ethereal as Gregorio Allegri’s Miser- ere? A few months ago, I would not have believed it either. In fact, I was under the impression that compared to Italy’s glorious tradition of ensemble music, its organ music was of lesser importance, and its historical organs were pretty but small. On paper, every instrument looked the same—a single manual, one octave of pull-down pedals, and a stop- list consisting of a principal chorus (the Ripieno), a fl ute or two, and perhaps a Voce Umana.1 Three months of studying organ in Italy with Francesco Cera radi- cally changed my mind. I went intend- ing to obtain a more complete picture of early organ music, having already spent time in France, Holland, and Germany. I left in love with a magnifi cent collection of keyboard music. My change of heart began not with the music but with the art and architecture of Italy. The entire country is like a giant Figure 3. The bird stops of the Bonatti open-air museum. Visitors can enter and Figure 1. The domes of San Marco organ in Verona experience the very places where Ga- brieli, Frescobaldi, and so many others An exquisitely crafted Regale with rare made music. That they were inspired by original parchment resonators mounted their surroundings is impossible to con- on a separate windchest like a Brustwerk test. These places are by defi nition inspir- is also playable from the main manual. ing. They were designed by the world’s The second manual controls the Organo greatest architects and fi lled with art by Piccolo, a tiny 4′ echo division situated the greatest sculptors and painters from behind the player. Other special effects anonymous Roman masters to Pinturic- include a chorus of bird stops (Figure 3) chio, Raffaello, Michelangelo, Bernini, and a Tamburo (a stop played by the low- Tintoretto, and many others. Elaborate est pedal note that imitates a drum using organ cases are among the most striking a cluster of bass pipes). The pedals are architectural features of many Italian permanently coupled to the main man- churches and palace chapels. I began to ual, but this organ also includes an inde- realize that such glorious spaces where pendent pedal reed and Contrabassi— the organ had so much visual impor- octave of 16′ wooden pipes. The tone of tance simply must have resounded with the organ is sweet and elegant, thanks in impressive organ playing. part to its comparatively low wind pres- The instruments themselves also pro- sure, a common feature of Italian organs. vided indisputable proof. They were The wind pressure of this Bonatti organ far from boring. Though their stoplists is set at 53–55 mm. By contrast, the wind were similar, their tonal character var- pressure of the comparably sized 1704 ied widely from region to region in a Schnitger organ in Eenum, the Nether- way that perfectly complemented the lands, is set at 62.5 mm. The tonal variety art and architecture of the area. What of and elegance of the Bonatti organ make the music that survived for these instru- it perfect for 18th-century music, includ- ments? At fi rst glance, it seemed simple ing the music of Wolfgang Amadeus Mo- to me, appeared not to require pedals, Figure 2. The keyboard of the Antegnati organ of Santa Barbara zart, who, incidentally, played this instru- and certainly seemed an inappropriate ment while on tour in Italy. choice for performance on modern in- eyes. Appropriately, Venice’s painters— 1577). Its 16′ plenum is glowing rather struments. Fortunately, all of this was Titian, Tintoretto and others—are famed than brilliant, perfect for Cavazzoni’s Music of the Venetian and Emilian only an illusion created by a style of mu- for their use of color and the way that music, which is closely related to choral Schools sical notation that left many crucial inter- light seems to shine from within their polyphony. As was the norm in Italy until The keyboard music of northern Italy pretive decisions to the discretion of the paintings. Of the city’s 114 churches, the the 18th century, the organ is tuned in reached its peak during the Renaissance. performer, who would have been famil- Basilica Cattedrale di San Marco is the mean-tone temperament, but the key- Its focal point was the Basilica di San iar with the contemporary musical style most famous (Figure 1). One of the fi n- board has split keys (Figure 2), allowing Marco in Venice. The splendid polycho- and performance practices. I learned est examples of Byzantine architecture, the player to choose between D# and Eb ral tradition of the basilica profoundly in- why an understanding and appreciation its exterior is covered with inlaid marble and between G# and Ab, thus enabling fl uenced the organ music of the Venetian of historical art, architecture, and instru- and carvings, while its interior glows with one to play in many more tonalities and school. Composers of the Venetian school ments and a knowledge of the surviving gilded mosaics. Besides its breathtaking to better imitate the pure intonation that were responsible for some of the most repertoire and treatises are so crucial for opulence, the sheer size of the cathedral a vocal ensemble is able to achieve. The important developments in keyboard today’s performer. is impressive. Remarkably, at the time of keyboard and pedalboard both have par- composition of both the Renaissance and Early Italian keyboard music is most Claudio Merulo (1533–1604), Andrea ticularly long compasses, the keyboard the Baroque. Marc’Antonio Cavazzoni’s successful when its interpretation is Gabrieli (1533–1585), and the rest of the from C to F5 and the pedalboard from collection, Recerchari, mottetti, canzoni– informed by historical sources and in- illustrious line of musicians who worked C to A2. The music of Marc’Antonio Libro primo, printed in Venice in 1523, spired by the conviction that it is the here, San Marco was not a cathedral, but Cavazzoni (1485–1550), Girolamo’s fa- is one of the most important examples of aural representation of Italy’s breathtak- the private chapel of the Doge of Ven- ther, demands such a compass. This long early 16th-century organ music. Cavaz- ing visual splendor. Italy’s art, architec- ice, and Venice was one of the richest key compass also permits the organist to zoni was born in Bologna, where he ture, and music can be organized into and most important cities in the world! play in different octaves, using the 16′ probably received his musical training at regional schools based in four of Italy’s My impression of Venetian organ music Principale at 8′ pitch, for example. The the Basilica di San Petronio, and likely most historically important cities: Venice changed completely when I examined it winding of this organ is a special treat. knew the famous 1475 Lorenzo da Prato and Florence in the north, Rome in cen- through the lens of Venice’s vibrant color Rather than supplying an electric blow- organ there. Later he moved to Venice tral Italy, and Naples in the south. Allow palette and astounding splendor. er, Giorgio Carli installed an automatic and was an assistant to Adriano Willaert me to share some of the highlights of my bellow lifter to pump the bellows. This at San Marco. Cavazzoni’s recerchari are journey to discover their art, historical Organs of Northern Italy allows the player to experience the won- particularly signifi cant, because they are organs, and keyboard music. The organs of northern Italy are char- derful fl exibility of playing on pumped among the earliest free compositions acterized by their cantabile tone. Some wind without the trouble of hiring a per- for the organ. These recerchari are ma- Venetian Splendor also have much more colorful stoplists son to pump the bellows. jestic pieces written in an improvisatory Today, the city of Venice continues to than organs in other parts of Italy. In Near Mantua, in the Chiesa di San style. Like later toccatas, they investigate exist mainly because of the tourists. Many 2006, Giorgio Carli completed the res- Tommaso Cantuariense in Verona, stands idiomatic keyboard fi guration rather of the locals have moved to the mainland. toration of the 1565 Graziadio Antegnati a well-preserved 18th-century organ built than counterpoint. While his father, Nevertheless, the city’s colorful vibrancy organ of the Basilica di Santa Barbara, by Giuseppe Bonatti in 1716. It is a two- Marc’Antonio, was a pioneer in develop- and the remnants of its former grandeur the private chapel of the duke of Mantua. manual instrument with an unusually ing idiomatic keyboard fi guration, Giro- are very evident. The reds, oranges, and The organ’s case is beautiful. Its richly colorful stoplist and a lavish complement lamo Cavazzoni, organist at Santa Barba- yellows of the houses and shops, the painted doors contrast with the white of special effects. The main manual con- ra in Mantua, was a master of imitating green of the canals, the aquamarine of walls of the chapel. This instrument was trols the Grand Organo—the usual Ripi- vocal polyphony at the keyboard. An 2 the lagoon, and the glistening white of built under the direction of organist and eno plus a Cornetto (in two parts: 4′-2 ⁄3′ understanding of the text of the chants, 3 the church façades are a feast for the composer Girolamo Cavazzoni (1520– and 2′-1 ⁄5′), Trombe reali, and two fl utes. motets, and chansons on which many of
22 THE DIAPASON Figure 4. In Rome, the 2nd-century Pan- theon, its 16th-century fountain, and the nearby 20th-century apartment build- ings coexist Figure 5. The 1509 Montefalco organ his works are based is absolutely crucial naissance works like Michelangelo’s Pietà for a successful interpretation. in St. Peter’s Basilica, the dramatic light- Claudio Merulo and Andrea Gabrieli ing and gestures of Baroque treasures worked together as organists at San Mar- like Caravaggio’s Crucifi xion of Peter in co. Merulo was renowned and infl uen- the Chiesa di Santa Maria del Popolo or tial during his lifetime. Girolamo Diruta Bernini’s Ecstasy of St. Theresa in the dedicated Il Transilvano, one of the most Chiesa di Santa Maria della Vittoria, and important treatises on Italian organ mu- the busy ornamentation of Rococo cre- sic, to him. Merulo’s toccatas were the ations like the organ case of the Werle fi rst to alternate virtuosic and imitative organ in the Basilica di Sant’Eustachio sections, a technique that Frescobaldi are all on display. In the churches, clouds and the North German organ school of angels surround visitors, while the pal- would use later. Also, foreshadowing aces seek to amaze them with marvels of the Baroque, they often use ornamental architecture like Bernini’s and Borro- fi gures as motives. Merulo’s music is full mini’s staircases, which compete for at- of unique written-out trills and diminu- tention in the Barberini palace. For me, tions. Studying it is an excellent way to Rome’s deep appreciation of its long tra- learn how to add ornaments to repertoire dition of artistic excellence is the key to of the 16th and early 17th centuries. In understanding the music written there. comparison, Gabrieli’s music may seem Figure 6. The 1612 Gugliemi organ rather subdued, but, in fact, it only lacks Organs of Central Italy the profusion of notated trills. Presum- Only a few of Rome’s Renaissance and pitch. The grandeur of the Ripieno is en- overlaid with gold.4 The matching case ably, Gabrieli would have added these Baroque organs survive. As in many large hanced by many doubled ranks and by a in the other transept of the church now in performance. His Ricercari ariosi are wealthy European cities, pipe organs trumpet. I was surprised to learn that a contains an 1895 Morettini organ, which particularly beautiful adaptations of the were replaced as fashions changed. Nev- trumpet stop was a common feature of also merits a visit. polychoral style. ertheless, the smaller towns and villages large Roman organs. The 1597 Luca Bla- Eighteenth-century Bolognese com- in central Italy are home to a wealth of si organ of the Basilica di San Giovanni Music of the Roman School poser Giovanni Battista Martini (1706– unique historical organs. It is far beyond in Laterano, for example, also includes Girolamo Frescobaldi (1583–1643) 1784) was highly esteemed during his the scope of this article to describe them a trumpet. Perhaps the most eye-open- grew up in Ferrara, home of the great lifetime, and attracted students from all—the city of Rieti, where I spent much ing aspect of the Guglielmi organ is its d’Este family. While Frescobaldi was around the world. Leopold Mozart even of my Italian sojourn, alone is home to narrow pipe scaling. The organ’s sound young, many notable composers—in- asked his advice concerning the talents 14 historical organs in varying states of is bright, almost nasal, but crystal clear. cluding Claudio Monteverdi, Orlando di of his son. Nevertheless, his surviving playability. Let me begin by describing It is simply impossible to cover up pas- Lasso, Claudio Merulo, and Carlo Gesu- compositions do not seem to justify his one of the oldest organs in Italy. It was sagework even with the densest chordal aldo—visited court. As a child prodigy reputation. They are pleasant but simple built in 1509 by Paolo di Pietro Paolo da accompaniment. The spectacular case of studying with court organist Luzzasco pieces in galant style. Consider them in Montefalco, and is located in the Chiesa this instrument is also noteworthy. It is, Luzzaschi, Frescobaldi absorbed these context, however, and the picture chang- di San Francesco in Trevi, Umbria (Fig- as it were, created using ornamentation, diverse infl uences. In his early twenties, es. The majority of these pieces survive ure 5). This instrument is priceless for including two giant sculptures of an- he decided to seek his fortune in Rome, in manuscripts written in Martini’s own many reasons including its antiquity, its gels, and the entire case is sumptuously and proceeded to write and publish hand. They are predominantly written in proximity to the birthplace of Girolamo two-voice structure, but occasional fi g- Diruta, the way that it documents the ured bass symbols suggest that they were history of organbuilding, and certainly really sketches, and that the organist was also its beauty. Organbuilder Andrea expected to fi ll out the texture by add- Pinchi told me how thrilled he was to A Precious Gift ing chords. Some of Martini’s Sonate per be given the opportunity to restore this l’Elevazione survive in both simple and instrument in 2005, having been con- elaborately ornamented forms, exempli- vinced since he was a teenager that the from the Past fying how he might have actually per- case in the Chiesa di San Francesco held formed them.2 Playing Martini’s music as something very special. When it was fi rst written is a little like stripping a Baroque built, the organ consisted of a fi ve-rank for the Present church down to bare plaster walls. Far Ripieno and a Flauto in ottava.3 In the from being easy and uninspiring, these 17th century, a Flauto in duodecima was pieces are charming examples of Italian added, and in the 18th century the im- and the Future Rococo organ style and exciting vehicles portant Umbrian organbuilder Fedeli for creativity. restored the instrument and added a Supremely beautiful and blendable Voce Umana and Cornetta. Because they tonal color – a Gift from the Venetian Rome’s Legacy refl ect the historical development of the Rome is sometimes called “the Eter- organ, these stops were all preserved in School of organbuilding, a monumental part of our nal City.” It displays its long rich history the restoration. The sound of this organ JUHDWKHULWDJH7KHUHVXOW DYHUVDWLOHDQGÁH[LEOH in an abundance of art and architecture is bright and brilliant. The small Ripi- SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN (Figure 4). Romans are proud of their eno easily fi lls the sizable Gothic church. heritage. In the past, Rome’s great noble Like the Antegnati organ in Mantua, this families collected antiquities, display- was an instrument designed to imitate Intriguing? Let us build your dream. ing them in their palaces. The Farnese vocal music. Its extremely sensitive key collection, now on exhibit in the Naples action allows the player to create subtle National Archeological Museum, is par- text-like infl ections by varying attacks ticularly impressive evidence that admi- and releases. ration of antiquity dates back at least to The organs that Frescobaldi played the beginning of the 16th century. Many at St. Peter’s have long disappeared, but of its more than 300 marble sculptures a splendid 17th-century Roman organ were unearthed in archeological excava- does survive to transport Frescobaldi’s tions specifi cally conducted on behalf of sound world to the present day. The Pope Paul III and other members of the 1612 Giovanni Guglielmi organ in the Builders of Fine Pipe Organs to the World Farnese family. These same noble fami- Chiesa di Santa Maria in Vallicella (Fig- lies and the Roman Catholic Church em- ure 6) was restored by Ruffatti in the www.ruffatti.com ployed contemporary artists as well, who year 2000, but it continues to lack the left masterpieces from every historical international attention that it deserves. Via Facciolati, 166 Padova, Italy 35127 [email protected] In the U.S. 330-867-4370 era. The poignant perfection of High Re- It is a large instrument based on 16′
JUNE, 2012 23 Figure 7. The baldacchino over the main Figure 8. The reconstructed console of Figure 10. Inside the case of the 1595 altar in St. Peter’s Basilica the 1595 organ in Teggiano instrument in Teggiano some of the most important music of the that borders on the grotesque. In them, oped over the centuries to include more 17th century and to pass on his skill to extreme virtuosity makes up for contra- Figure 9. The instrument dating from and more performance information. At talented students from all over Europe. puntal simplicity. 1619 in Teggiano fi rst, however, it was simply a memory Frescobaldi’s music is like the city of aid in a musical tradition that was trans- Rome. It glories in tradition while be- Neapolitan Daring and would produce a sound as brilliant mitted orally. Early Italian notation of ing unafraid of innovation. Walking in Drama and audacity are a key part and arresting as the glaring Neapolitan keyboard music gives no information the footsteps of Lasso and Palestrina, of Neapolitan art. For twenty-fi ve cen- sun. In addition, both instruments have about dynamics or registration, and little Frescobaldi composes masterful coun- turies, Naples has brazenly lain in the very narrow cases that would act only as information about tempo or the use of terpoint, but juxtaposes it with fl amboy- shadow of Mount Vesuvius. It is a city of soundboards, and would not mix or soft- pedal. Some composers, like Merulo, ant baroque fi guration, skillfully incorpo- daring and a city of extremes. Emerging en the sound at all (Figure 10). for example, notate trills and other or- rating affect fi gures. In his performance from the strange semi-darkness of the The Neapolitan area was also home to naments, while others notate only the instructions that preface Il primo libro old city’s narrow streets, for example, talented 18th-century organbuilders, in- minimum of ornaments, and still others di capricci of 1624,5 he explains that in one fi nds oneself confronted by the glit- cluding Silverio Carelli. In 1784, Carelli like Martini provide only a skeleton of his music the metrical relationships that tering brilliance of the bay. Neapolitan built a beautiful instrument as a gift for their composition. Both the typesetting were so important in Renaissance music art and architecture express this too. the cathedral of his hometown of Vallo of modern editions as well as the move- are now governed by the mood of the mu- Naples is famous for its seemingly quaint della Lucania. Its tone is sweet and full; able type in use in the 16th and early sic. His sacred music, including the three hand-crafted nativity scenes. Take a several ranks including the Principale 17th centuries make this music appear Masses of Fiori musicali and the two ex- closer look, and you will fi nd them full 8′ are doubled. Its keyboard and ped- rigid. Further, the time signatures and tended elevation toccatas from his Sec- of drama enacted by humorous and gro- alboard are both fully chromatic, also note values common at this time tend to ondo libro di toccate, is deeply spiritual. tesque characters. Behind a most forbid- in the lowest octave. The case is mag- be much larger than we are accustomed Frescobaldi masterfully communicates ding fortress-like block façade, soars the nifi cent (Figure 11). Carelli spared no to today. Quarter notes in the music, for the meaning of the Mass liturgy into his opulent Baroque interior of the Chiesa expense in building this instrument. He example, are often the same speed as settings. His elevation toccatas take the del Gesù Nuovo, with its profusion of even included bagpipes, which could what we would notate as eighth or even listener on a journey through contem- colorful frescoes, inlaid marbles, and be used to play pastorali at Christmas sixteenth notes today. As a result, this plation, sympathy, and ecstasy. Though priceless treasures. Similarly, the famous time—so fi tting in an area famous for its music can appear simple and boring at at fi rst glance Fiori musicali seems like sculptures of the Cappella Sansevero, hand-crafted pastoral scenes. fi rst glance. Performed with a good dose just another book of short pieces, when including Giuseppe Sanmartino’s The of imagination—and, as Trabaci reminds these pieces are considered together Veiled Christ, combine absolute techni- Music of the Neapolitan School us, suffi cient study—however, this mu- they form imposing Mass settings, and it cal perfection with gestures and facial Like the Venetian school of keyboard sic is completely captivating, and its exu- becomes clear that this collection shares expressions so full of pathos that they music, the Neapolitan school fl ourished berance is sure to attract music connois- the monumentality of other early Roman do not just invite an emotional response during the late Renaissance. Its leader seurs and fi rst-time concertgoers alike. Baroque sacred art like the baldacchino from their viewer, they force one. was the Franco-Flemish composer Diruta’s Il Transilvano (1593), Anteg- that Bernini designed for St. Peter’s Ba- Giovanni de Macque (1550–1614). He nati’s L’arte organica (1608), and Adriano silica (Figure 7). Organs of Southern Italy worked for the Gesualdo household Banchieri’s L’organo suonarino (1605), Similarly, Bernardo Pasquini’s (1637– My most memorable experience with and later as maestro di cappella for the along with a good ear, are the best guides 1710) music demonstrates both his ad- southern Italian organs occurred during Spanish viceroy. Giovanni Maria Tra- for choosing registration. In Renaissance miration for the past as well as contem- a trip to the town of Teggiano in the re- baci (1575–1647) and Ascanio Mayone music, a slow tactus permeates the mu- porary tastes. His output is extensive gion of Campania. The south of Italy is (1565–1627) served under De Macque sic, and the relationships among meters and varied, ranging from works like the full of secluded towns and villages and as organists of the royal chapel. Their help to establish a tempo. In Baroque Fantasia la mi fa fa and the Capriccio many undiscovered artistic treasures. music is radical. De Macque’s in particu- music, the tempo is more fl exible and in G, which recall Frescobaldi’s contra- Teggiano is home to several historical in- lar is full of daring harmonies and forbid- governed by the affect of the music, as puntal works, to fi gured bass sonatas and struments, but the two most interesting den intervals. How it must have appalled Frescobaldi discusses in the prefaces to versets, to variations, toccatas, and suites were built around the turn of the 17th proponents of strict Renaissance coun- his Libro primo di capricci and his two in a style similar to that of his friend and century—one in 1595 (Figure 8) and terpoint! But then, it was written in Na- Libri di toccate. Historical Italian organs colleague Arcangelo Corelli, and fore- one in 1619 (Figure 9), only four years ples, not in Rome. As was the Neapolitan are the best source of information re- shadowing the keyboard writing of his after the publication of Giovanni Maria tradition, the music of De Macque, Tra- garding pedaling. With the exception of most famous pupil, Domenico Scarlatti. Trabaci’s Secondo Libro de Ricercate baci, and Mayone is suitable for perfor- some 18th-century organs, Italian organs Michelangelo Rossi’s (1601–1656) et altri varij Capricci. Neapolitan-style mance on keyboard instruments as well have pull-down pedals with no indepen- music shows the other face of the Ro- instruments from this time period are as on harp. It stands to reason that the dent stops, but they are very effective man Baroque—the face that seeks to extremely rare. Neither instrument is composers assumed that the performer for reinforcing a cadence, harmonic se- shock and amaze, especially by break- playable at this time.6 The restoration of would make adjustments idiomatic to quences, or a cantus fi rmus. As Fresco- ing the rules. During his lifetime, Rossi the 1595 instrument is nearly complete, the instruments on which they chose baldi demonstrates in his two toccate so- was best known as a virtuoso violinist. but has been suspended because of a to perform, adding a pedal part on the pra i pedali, the pedals can also be used He also composed at least two operas lack of funding. The 1619 instrument, organ, arpeggiating chords on the harp- to sustain pedal points. Most composers and spent most of his life working as a though magnifi cent, is still a ruin. Nev- sichord, and so on. Unlike Frescobaldi, did not notate these pedal points, though court rather than a church musician. ertheless, they still reveal much about none of the Neapolitan composers wrote their toccatas often feature extended His ten keyboard toccatas are formally Neapolitan organ music from the late prefaces including detailed performance passages decorating a single harmony. similar to Frescobaldi’s toccatas, but are Renaissance time. The pipe scaling used practice instructions, but Trabaci does Adding a pedal point in these passages full of startling effects and chromaticism in these instruments is extremely narrow include an important word of warning in makes the organ sound much fuller and the preface to his Libro primo (1603).7 more impressive. Studying written-out He writes that his music is carefully com- ornaments and examples of diminu- posed, but that study is necessary to dis- tions in treatises like Silvestro Ganassi’s cern the spirit of the music. Should the Opera intitulata Fontegara (1535) will performer neglect to do this study, it will help a performer to develop a repertory be their own fault if they did not succeed of ornaments. Playing from facsimiles of in realizing his intentions. Of course, it music that were published using beauti- is impossible to know today exactly what ful copper engraving, like the toccatas Trabaci meant by this statement, but one of Frescobaldi and Rossi, allows one thing is sure: in order to perform this to avoid the uninspiring straightness of Neapolitan music convincingly, it is cru- modern notation. As Frescobaldi coun- cial to study, determine the affect that sels in the preface to his Fiori musicali, the composer sought to convey, and then contrapuntal music should be studied to do everything possible to communi- in its original open score format. This is cate it as intensely as possible. guaranteed to deliver much more coher- ent counterpoint.8 Conclusions Now is the perfect time to restore early In conclusion, allow me to offer a Italian organ music from its relative ne- few practical suggestions regarding in- glect. Much music that was unavailable terpreting the notation of early Italian outside Italy has recently been released organ music. Musical notation devel- in excellent modern or facsimile edi-
24 THE DIAPASON Vigesima seconda Vigesima sesta Vigesima nona Trigesima terza e Trigesima sesta Flauto in XV (4′) 2 Flauto in XIX (2 ⁄3′) Tromba (8′) Bassi Tromba (8′) Soprani Contrabbassi (16′ pedal) Tiratutti Keyboard: C1–F5, short octave, 5 split keys (2 for D#/Eb, 3 for G#/Ab) Pedalboard: C1–F2, pull-down, short octave Temperament: Quarter-comma meantone Pitch: A = 405 Hz
1595 Anonymous organ, Teggiano This organ is under restoration by Leonardo Perretti, and not yet playable. The details of the specifi cation are still uncer- tain. Keyboard: C1–C5, short octave Pedalboard: C1–C2, pull-down, short octave
1784 Silverio Carelli organ Figure 11. The 1784 Silverio Carelli organ Cattedrale di San Pantaleone, Vallo in Vallo della Lucania della Lucania Christina Hutten at the 1784 Carelli organ in Vallo della Lucania Restored by Tamburini in 1989 tions, formerly unplayable instruments Principale I° (8′) are being restored, research has uncov- 1565 Graziadio Antegnati organ Decimanona Principale II° ered helpful performance practice infor- Basilica di Santa Barbara, Mantua Vigesimaseconda Ottava Restored by Giorgio Carli between 1995 Vigesimasesta XV I° mation, and new recordings of ancient and 2006 Flauto in ottava XV II° instruments are allowing people around Voce umana (added by Fedeli, about 1750) XIX I° ′ 3 the world to experience their beauty for Principale (16 ) Cornetta (from C3 1 ⁄5′, added by Fedeli) XIX II° the fi rst time.9 But, in my opinion, the Fiffaro Flauto in Duodecima (added by an anony- XXII sights and sounds of Italy offer more in- Ottava mous builder, early 17th century) XXVI spiration than any score or treatise. They Decima quinta XXIX provide clues about the spirit of the mu- Decima nona Keyboard: C1–C5, short octave Voce Umana sic, where words and musical notation Vigesima seconda Pedalboard: C1–B1, pull-down, short octave Flauto in VIII Vigesima sesta Temperament: Quarter-comma meantone Flauto in XII fall miserably short. Q Vigesima nona Pitch: A = 440 Hz Contrabasso (16′ pedal) Trigesima terza Notes Tremolo Trigesima sesta Zampogne (two wooden drone reed pipes) 1. The Voce Umana on historical Italian Flauto in XIX 1612 Giovanni Guglielmi organ organs is a Diapason Celeste, not a Regal. Flauto in VIII Keyboard: B0–C5 (exceptionally starts from 2. Manuscripts HH 76 and HH 35 housed Chiesa di Santa Maria in Vallicalla, Rome contra B), fi rst octave is chromatic in the Civico Museo Bibliografi co Musicale Keyboard: C1–F5, lowest octave is a short oc- Pedalboard: B0–D2, fi rst octave is chromatic in Bologna each contain an example of an or- tave, 7 split keys (4 for D#/Eb, 3 for G#/Ab) Restored by Fratelli Ruffatti between 1999 and 2000 Temperament: Vallotti namented Sonata per l’Elevatione by Padre Pedalboard: C1–A2, pull-down, lowest octave Pitch: A = 440 Hz (originally 415 Hz) Martini. is a short octave 3. Stops on Italian organs are named ac- Principale (16′) Bassi Temperament: Quarter-comma meantone ′ cording to the interval that they sound above Pitch: A = 465 Hz Principale (16 ) Soprani the fundamental pitch of the organ. For exam- Ottava (8′) Bassi ′ ple, an Ottava is a principal rank that sounds Ottava (8 ) Soprani an octave above the fundamental pitch, and is, Decima quinta therefore, an 8′ Principal on a 16′ organ or a 4′ 1716 Giuseppe Bonatti organ Decima nona Principal on an 8′ organ. Chiesa di San Tommaso Cantuariense, 4. For more information about this instru- Verona ment see “When in Rome: A conversation Restored by Barthélémy Formentelli in with Francesco Cera” by Joyce Johnson Rob- 2004 inson, The Diapason, June 2007, pp. 24–26. 5. Girolamo Frescobaldi, Preface to Il Grand organo e Pedali Principale bassi (8′) primo libro di Capricci (Rome: Luca Anto- ′ nio Soldi, 1624), 3, imslp.org/wiki/Capricci_ Principale soprani (8 ) Book_1_(Frescobaldi,_Girolamo) (accessed Ottava October 28, 2011). Duodecima 6. In the village of Salandra, a similar in- Decimaquinta strument from 1580 is restored and playable. Decimanona 7. Giovanni Maria Trabaci, Preface to Li- Vigesimaseconda bro Primo (1603) (Colledara, Italy: Androm- Vigesimasesta eda Editrice, 2004), 3. Vigesimanona 8. An open score edition of Frescobaldi’s Trigesimaterza Trigesimasesta Fiori musicali edited by Christopher Stem- 2 Cornetto primo 4′ and 2 ⁄3′ bridge is now available from Edizioni Arme- ′ 3 ′ lin, and Il primo libro di Capricci edited by Cornetto secondo 2 and 1 ⁄5 Flauto ottava 4′ Etienne Darbellay and Il primo libro delle 2 ′ Fantasie a Quattro edited by Alda Bellasich Flauto duodecima 2 ⁄3 are available from Edizioni Suvini Zerboni. Voce Umana Trombe soprani 8′ 9. For excellent recordings of a wide vari- ′ ety of historical Italian organs, visit the cata- Trombe bassi 8 Regale 8′ bassi logues of La Bottega Discantica
JUNE, 2012 25 Cover feature
Pasi Organ Builders, Inc., Roy, staff and other artisans who contributed Washington, Opus 19 to this project are as follows: Sacred Heart Co-Cathedral, Markus Morscher: design, casework, Houston, Texas windchests, wood pipes, bellows, pipe racking, and installation From the organbuilder Michael Spieler: casework, wind- The instrument is placed in the rear chests, wood pipes, bellows, console key gallery on either side of the 40-foot- action, pipe racking, and installation high Resurrection Window. This mas- Rochus van Rumpt: metal fl ue pipes sive window necessitated a divided (including fabrication of the largest fa- layout for the organ’s fi ve divisions of çade pipes on-site), reed pipes, installa- pipes, and several unique design solu- tion, and voicing tions were used to compensate for the Mark Brombaugh: design, installation, lack of a traditional central organ case. and voicing During the organ’s design, construction, Arpad Magyar: metal fl ue and reed and voicing, this instrument developed pipes a unique character of its own—thanks Maurine Pasi: pipe shade carving and in large part to the building’s wonder- gilding fully reverberant acoustics. Jennifer Von Holstein: carving design The visual design of the instrument and administration combines architectural features found in Robert Wech: design this building with elements from historic Raphi Giangiulio: metal fl ue and reed European organs. The organ is entirely pipes, design encased in white oak woodwork, with Gyöngyi Czimbor: assistant in the Pasi decorative carvings above the façade wood and pipe shops pipes. Both the carvings and the façade Douglas Brewer: installation pipe mouths are gilded with 23-carat Bruce Shull: voicing gold leaf. The wooden case serves a vital Dominik Maetzler: combination ac- tonal function by blending and focusing tion wiring the sound of the 5,499 organ pipes, while Martin Pasi: design, fl ue and reed pipes, also protecting them from dust. installation, voicing, and administration. The console’s four manual keyboards —Martin Pasi are covered with cow bone and ebony, and the pedal keyboard is made of maple From the consultant and rosewood. The 111 stop knobs, con- What a joy it has been to work with the trolling the organ’s fi ve divisions of pipes, clergy and musicians of the Co-Cathedral are on either side of the keyboards. The of the Sacred Heart, with the architects stop knobs and toe pistons are made of and building contractor, and especially pau ferro. Other species of wood found with Martin Pasi and his entire team. I in the organ include tulip poplar, red- remember very well the fi rst meeting of wood, sugar pine, basswood, walnut, the organ selection committee in 2006, hornbeam, and Douglas fi r. when Cardinal DiNardo spelled out his The organ is laid out vertically in order vision for the project. The task of the to take advantage of the given space. The committee, under the leadership of Cris- pipes of the Great division are placed on ta Miller, was to fi nd the right company windchests above the impost on the east to build an organ that would accompany, side of the window. The Swell division is complement, and even augment the placed above the Great, hidden behind most perfect musical instrument—the the façade pipes and gilded carvings. human voice. In addition, the commit- The Positive division is located above the tee needed to be certain that the organ Swell, almost hugging the building’s 72- would function fi rst and foremost for the foot-high ceiling. The Grand Choir and Catholic liturgy. I remember how enthu- Pedal divisions are located on the west Console siastic the cardinal was about the idea side of the window, with the Spanish of installing a tracker-action organ that Trumpets (Trompeta) speaking from the would draw from the great traditions of very top above the Pedal division. They the past while also offering something are placed horizontally, just behind the special for our time. façade, in order to sound in the most as- The overall concept of the organ is sertive manner possible. unique, but also fi rmly rooted in tradition. Two electric blowers supply wind to The left side (when looking at the large the organ via six bellows measuring ap- Resurrection Window) is played from the proximately 4 feet by 8 feet. The bellows upper three manuals with traditional me- and blowers are located behind and in- chanical key action. This side has an espe- side the organ’s two cases. This wind sys- cially large and expressive Swell division, tem imparts a gentle fl exibility to the or- useful for choral accompanying and organ gan’s sound, allowing the pipes to sound music of the 19th and 20th centuries. The more like a choir of human voices rather principal choruses of the Great and Posi- than an inexpressive machine. tive are Germanic, while the many indi- The organ’s tonal scheme draws most vidual stops and small combinations make of its inspiration from the great North possible the performance of a wide range German and French organs of the 17th of organ music from the Renaissance and and 18th centuries. Its resources are fur- Baroque periods, including French classi- ther leavened with many stops inspired cal repertoire. The right side of the instru- by 19th- and 20th-century models. This ment, played from the bottom manual and enhances its fl exibility in playing choral pedals, uses the electric proportional key accompaniments and interpreting the action. The right side of the instrument monumental solo organ literature of the contains the largest pipes, including three 19th and 20th centuries. The organ is Construction in the shop 32′ stops. This side also includes a massive tuned in “Mark Brombaugh Mild,” an un- principal chorus (with a large progres- equal temperament that favors the keys suspended mechanical key action and The NovelOrg proportional key action sive mixture), impressive reed choruses, nearest to C major while still remaining mechanical couplers. The Grand Choir is an all-electric action with sophisticated and full foundations appropriate for the harmonious in the most distant keys. and Pedal divisions on the west side electronic control that allows the valves French symphonic organ repertoire and With the exception of the free-reed of the window are modeled after the in the windchests to follow exactly the festive congregational accompaniments. Clarinette 8′ stop, all of the metal pipes Résonance division in the famous 1775 motion of the key. Applying this action to I shall mention here only a few of the were made in the Pasi shop—from the Jean-Esprit Isnard organ at St. Maxi- the remote Grand Choir and Pedal divi- individual stops. The undulating Suavial casting and rolling of the metal through min, Provence. Most of the Grand Choir sions makes it possible to retain the sen- (Voce umana) on the Positive is of great to the completed pipes. They are made pipes are shared between the two divi- sitive control of pipe speech found in a historical signifi cance, although it is in- of various alloys of tin and lead, with sions, but have independent stop knobs traditional mechanical key action. In ad- frequently heard on this continent to- trace impurities of copper, bismuth, and and actions for each division. dition to the regular mechanical couplers, day. The two brilliant battle Trompetas antimony to help stiffen the metal. To This divided layout of the organ, com- the Great, Positive, and Swell keyboards on the Grand Choir are drawn from the enhance the intensity of the lead pipes’ bined with the comprehensive tonal are coupled to the Grand Choir through Spanish and Latin American traditions. sound, the metal is hammered following scheme necessitated by the cathedral’s the NovelOrg proportional action. The And the free-reed Clarinette, also on the casting in order to tighten its molecular vast interior space, posed a special chal- stop action is electric, and the solid-state Grand Choir, produces a very rare and ex- structure. The three 32′ stops, as well as lenge in the design of the key action. combination action allows up to 20 or- otic sound. From the quietest stops to the the large pipes of several other stops, are Running a horizontal mechanical key ac- ganists to each have 55 levels of memory, massive principal and reed choruses, the made of tulip poplar wood. tion from the console to the west case 30 providing for the storage and recall of instrument produces a marvelous effect The three traditional manual divi- feet away would have been impractical. thousands of stop combinations. in the clear but reverberant acoustics of sions—Great, Positive, and Swell—are Our solution was to use the electric pro- The staff of Pasi Organ Builders, Inc., the co-cathedral. The residents of Hous- placed above the console on the east portional key action developed by Novel- constructed, installed, and voiced the or- ton owe Martin and all his associates at side of the window, and have normal Org of Longueuil (Montreal), Quebec. gan over a period of three years. The Pasi Pasi Organ Builders a debt of gratitude
26 THE DIAPASON struments and to render well choral ac- Pasi Organ Builders, Opus 19 companiments of the English tradition. Four manuals, 76 stops Many people deserve thanks. Hearty GREAT II congratulations to Martin Pasi and his 16′ Principal associates at Pasi Organ Builders. His 8′ Praestant Eminence Daniel Cardinal DiNardo, 8′ Spitzfl oete Archbishop Joseph A. Fiorenza, and 8′ Harmonic Flute Auxiliary Bishop Vincent M. Rizzotto 8′ Gamba 6′ Quinte were all key, as well as Fayez Sarofi m ′ and the Brown Foundation and their gift 4 Octave 4′ Nachthorn to Houston. Zeigler Cooper Architects 3′ Quinte and Linbeck Construction were invalu- 2′ Octave 3 able. As consultant, Robert Bates con- 1⁄5′ Terz tributed at all phases, continuing with 8′ Cornet V (c1) the ongoing lunchtime recital series, and 2′ Mixture V 2 national conferences. Pastor and rector, 2⁄3′ Rauschpfeife IV 16′ Trumpet The Very Reverend Lawrence W. Joz- ′ wiak has been immensely helpful, as was 8 Trumpet 8′ Trompette the organ dedication committee chaired 4′ Clairon by John Burchfi eld, and the many who contributed program funds. POSITIVE III 16′ Quintadena —Crista Miller ′ Chair, Organ Selection Committee 8 Praestant 8′ Gedeckt Director of Music and Organist 8′ Salicional 8′ Suavial (g) Letter from Daniel Cardinal DiNardo 4′ Octave in the dedication program booklet 4′ Rohrfl oete From my days as a child, hearing the 3′ Nazard great von Beckerath organ at St. Paul 3′ Sesquialtera II Cathedral in Pittsburgh, to hearing to- 2′ Octave 2′ Gemshorn day the opus XIX organ hand-crafted by 3 1⁄5′ Tierce Martin Pasi and Associates for the Co- 1 1⁄3′ Larigot Cathedral of the Sacred Heart, I have 1′ Scharff IV recognized and appreciated the impor- 16′ Dulzian tance of a good pipe organ to serve the li- 8′ Cromorne turgical music needs of the Church. But, 8′ Trumpet this is not merely a personal observation. 8′ Trechterregal The Second Vatican Council’s Constitu- SWELL IV tion on the Sacred Liturgy attests: 16′ Bourdon 8′ Praestant In the Latin Church the pipe organ is to 8′ Viola be held in high esteem, for it is the traditional 8′ Celeste musical instrument that adds a wonderful 8′ Rohrfl oete splendor to the Church’s ceremonies and 4′ Octave powerfully lifts up the spirit to God and high- ′ Console CAD drawing 4 Harm. Flute er things. (Sacrosanctum concilium, 120) 4′ Violetta 1 3⁄5′ Gross Tierce 2 2⁄3′ Nazard In 2006 our organ committee was re- 2′ Octave viewing and approving plans for the new 2′ Octavin 3 pipe organ in Sacred Heart Co-Cathe- 1⁄5′ Tierce 1′ Flageolet dral. At that time, I specifi cally requested ′ that the organ be capable of serving three 2 Mixture V 16′ Bassoon essential purposes: 1) Accompany the 8′ Trompette people’s singing at the Mass and rites of 8′ Oboe the church; 2) Provide choral accompani- 4′ Clairon ment; and 3) Play traditional and classical 8′ Voix Humaine organ repertoire. These purposes are re- GRAND CHOIR I capitulated by the Bishops of the United 32′ Principal States in their recent instruction on sacred 16′ Praestant music highlighting the use of the organ: 16′ Violone 16′ Bourdon Among all other instruments which are 8′ Octave suitable for divine worship, the organ is 8′ Flute “accorded pride of place” because of its 4′ Octave capacity to sustain the singing of a large 3′ Plein Jeu Harmonique III–V+ gathered assembly, due to both its size and 16′ Posaune its ability to give “resonance to the fullness 16′ Bombarde of human sentiments, from joy to sadness, 8′ Trompette from praise to lamentation . . .” In addition 8′ Trumpet to its ability to lead and sustain congrega- 8′ Clarinette tional singing, the sound of the pipe organ 4′ Schalmay Pipe making is most suited for solo playing of sacred 8′ Trompeta music in the Liturgy at appropriate mo- 4–16′ Trompeta ments. Pipe organs also play an important +Grand Choir only for this wonderful addition to the growing We began by reviewing the fi ne organs evangelical role in the Church’s outreach to list of impressive new organs in our city. in sister cathedrals in larger cities— the wider community in sacred concerts, PEDAL —Robert Bates New York, Los Angeles, and Chicago— music series, and other musical and cul- 32′ Principal Professor of Organ and U.S. cathedrals where great pipe tural programs. For all of these reasons, 16′ Praestant Moores School of Music organs have emerged, and with them, a the place of the organ should be taken into 16′ Violone account from the outset in the planning 16′ Bourdon University of Houston tradition of fi ne sacred music. ′ Our situation was somewhat challeng- process for the building or renovation of 8 Octave churches. (Sing to the Lord: Music in Di- 8′ Flute From the director of music ing, in that the Resurrection Window, vine Worship, 87–88). 4′ Octave When I came to the Co-Cathedral of planned long before the instrument, is 4′ Mixtur VI* the Sacred Heart in October 2004, one placed in the middle of the organ. This For all of these reasons, the opus XIX 32′ Bombarde* of my fi rst duties was to provide music could have eliminated the possibility of a pipe organ was commissioned. And, now, 32′ Trombone* for the groundbreaking ceremony for the mechanical-action instrument. Enter the we celebrate its completion and inaugu- 16′ Posaune 16′ Bombarde new 1800-seat church, to be completed extraordinary Martin Pasi and his fi rm, rate it on its profound mission. It is my ′ in April 2008. There was discussion of Pasi Organ Builders, Inc. To accom- sincere hope and prayer that this pipe 8 Trompette 8′ Trumpet moving the church’s small Pilcher organ modate the window, they implemented organ will, indeed, lift all of our minds 8′ Clarinette into the new church, but I knew from my a dual-action system, mechanical and to God and higher things: through sus- 4′ Schalmay graduate assistantship under Hans Da- electro-mechanical. This success speaks tained congregational singing; through 2′ Cornet* vidsson’s Eastman Rochester Organ Ini- for itself, in a thrill for both the player the accompaniment of our choirs; and 8′ Trompeta tiative that there are many bright stars in and numerous audience members. through the concerts, which invite mem- * Pedal only contemporary American organbuilding. The fi rm’s nineteenth instrument is bers of our wider community into the Zimbelstern (seven rotating bells) Martin Pasi gave an intriguing presentata- their largest to date and their fi rst four- Church to experience the immensity and Separate tremulants for the Great and Posi- tion on a new dual-temperament organ in manual organ. It contains such luxuries magnifi cence of God through the myste- tive divisions, one normal and one Voix Hu- the Omaha Cathedral at the fi rst annual as a free-reed Clarinette and a set of rious and powerful musical sentiments maine tremulant for the Swell division. Normal mechanical-action unison couplers. EROI Festival in Rochester. I had ar- horizontal trumpets in a tribute to the expressed by this organ. Optional electric-assist couplers to the Great, ranged for a demonstration on pipe mak- Hispanic heritage of the Archdiocese I want to sincerely thank Rev. Lawrence Positive, and Pedal. ing to the Eastman organ studio and viv- of Galveston-Houston. This organ ac- W. Jozwiak, the rector of the co-cathedral, Electric-assist couplers to the Grand Choir, idly remember Martin as being incapable companies the liturgy in a modern way, the organ committee, and all who have and for all Octave Graves. Electric stop action; 18 general and 38 divi- of allowing even a throwaway demo pipe inspired by historic traditions of 17th- made this magnifi cent instrument a reality. sional pistons on 2,750 levels of memory. to sound anything less than beautiful. century north and south Germany, Italy, And I thank all of you for your continued Wind system: twin blowers producing pres- In January 2006, I was happy to Spain, and 17th- to 19th-century France. prayers and blessings upon the Church in sures ranging between 80 and 120 mm. lead an archdiocesan organ committee Moreover, this versatile instrument, the Archdiocese of Galveston-Houston. Three double-rise bellows for the Swell, Grand charged with procuring a new world- eclectic without compromise, has proven —Daniel Cardinal DiNardo Choir and Pedal divisions. Two Baroque wedge class instrument for the Co-Cathedral. to blend beautifully with orchestral in- Archbishop of Galveston-Houston bellows for the Great and Positive divisions.
JUNE, 2012 27 2012 Summer Carillon Concert Calendar by Brian Swager
Alfred, New York Cohasset, Massachusetts July 25, Joey Brink July 13, Joey Brink Alfred University, Davis Memorial Carillon St. Stephen’s Episcopal Church August 1, Lisa Lonie July 20, Ellen Dickinson Tuesdays at 7 pm Sundays at 6 pm August 15, Dan Kehoe July 27, Adolph Rots & Auke de Boer July 10, Trevor Workman June 24, Claire Halpert August 3, Lisa Lonie July 17, Janet Tebbel July 1, Mary Kennedy Huntsville, Alabama August 10, Yale Summer Carillonneurs July 24, Auke de Boer & Adolph Rots July 8, Stefano Colletti Trinity College Chapel July 31, Koen Cosaert July 15, Auke DeBoer June 20, 7 pm, Claire Halpert Northfi eld, Vermont July 22, Joey Brink Norwich University, Saturdays at 1 pm Allendale, Michigan July 29, Trevor Workman Kennett Square, Pennsylvania July 7, Charles Semowich Grand Valley State University, Cook Caril- August 5, Lisa Lonie Longwood Gardens, Sundays at 3 pm July 14, Gerald Martindale lon, Sundays at 8 pm August 12, George Matthew, Jr. June 24, Nick Huang July 21, Gordon Slater June 17, Julianne Vanden Wyngaard July 1, Wylie Crawford July 28, Anna Kasprzycka June 24, Julia Ann Walton Culver, Indiana July 8, Jeff Davis August 4, Elena Sadina & Sergei Gratchev July 1, Holiday Open Tower Event Culver Academies, Memorial Chapel Caril- July 15, Dick van Dijk July 8, Karel Keldermans lon, Saturdays at 4 pm August 19, Doug Gefvert Norwood, Massachusetts July 15, Carol Jickling Lens June 2 (7:30 pm), June 23, June 30, July August 26, John Widmann Norwood Memorial Municipal Building July 22, Timothy Sleep 7, July 14, John Gouwens Mondays at 7 pm July 29, Melissa Weidner July 21 & 28, Matthew Gender Luray, Virginia June 25, Claire Halpert August 5, Ray McLellan September 1, John Gouwens Luray Singing Tower July 2, Lee Leach August 12, George Gregory & Julianne Tuesdays, Thursdays, Saturdays and Sun- July 4, 3 pm, Lee Leach Vanden Wyngaard (Chimemaster mobile Denver, Colorado days in June, July, and August at 8 pm, Da- July 9, Stefano Colletti carillon) University of Denver, Williams Carillon vid Breneman, carillonneur July 16, Auke deBoer August 19, Julianne Vanden Wyngaard Sundays at 7 pm July 19, Dick van Dijk July 23, Joey Brink June 24, Jacques Maassen July 24, Gerald Martindale July 30, Trevor Workman Ames, Iowa July 8, Carol Jickling Lens August 9, Charles Semowich August 6, Lisa Lonie Iowa State University, Tuesdays at 7 pm July 22, Jim Fackenthal August 13, George Matthew, Jr. May 29, Elizabeth Graves-Vitu August 5, Koen Coessart Madison, Wisconsin June 26, Robert Grogan August 19, David Hunsberger University of Wisconsin, Thursdays at 7:30 pm Ottawa, Ontario July 24, Sue Bergren July 5, 12, 19, 26, Lyle Anderson Peace Tower Carillon August 28, Julianne Vanden Wyngaard Detroit, Michigan July & August, weekdays, 11 am St. Mary’s of Redford Catholic Church Mariemont, Ohio Andrea McCrady, carillonneur Belmont, North Carolina Saturdays at 5:15 pm Mary M. Emery Memorial Carillon July 1, 9 am, Andrea McCrady First Presbyterian Church, Sundays, 6:30 pm July 7, Karel Keldermans Sundays at 7 pm July 10, Julianne Vanden Wyngaard June 24, Mary McFarland July 14, Patrick Macoska May 27, July 29, August 26, August 28, July 17, Joey Brink July 22, Joseph Vaughan July 21, Wesley Arai Duets: Richard D. Gegner & Richard M. July 24, Trevor Workman July 28, Melissa Weidner Watson July 31, Andrée-Anne Doane Berea, Kentucky May 28 (2 pm), June 10, July 1, July 8, August 14, student recital Berea College, Mondays at 7:30 pm East Lansing, Michigan August 19, August 21, September 3 (2 pm), September 29, George Gregory June 18, Geert D’hollander Michigan State University, Beaumont Tow- September 5 (2 pm), Richard D. Gegner July 9, Don Cook er Carillon, Wednesdays at 6 pm June 17, Geert D’hollander Owings Mills, Maryland August 6, Rick Watson & Richard Gegner July 4, Ray McLellan August 5, “Lollipops & Balloons” Chil- McDonogh School, Fridays at 7 pm July 11, Karel Keldermans dren’s Concert, Richard D. Gegner July 6, Buck Lyon-Vaiden Bloomfi eld Hills, Michigan July 18, Anna Kasprzycka June 3, June 24, July 4, Richard M. Wat- July 13, Dick van Dijk Christ Church Cranbrook, Sundays at 5 pm July 25, Wesley Arai son (Richard D. Gegner, assisting, 2 pm), July 20, Adolph Rots & Auke de Boer July 1, Toni Raats July 15, July 22, August 12, September 2, July 27, Margaret Pan July 8, Ray McLellan Erie, Pennsylvania September 4, Richard M. Watson August 3, Edward Nassor July 15, Qi Yang Penn State University, Smith Chapel July 22, Wesley Arai Thursdays at 7 pm Middlebury, Vermont Philadelphia, Pennsylvania July 29, Helen Hawley July 12, Trevor Workman Middlebury College, Fridays at 7 pm First United Methodist Church of German- August 6, Melissa Weidner July 19, Janet Tebbel July 6, Lucy Dechene town, Mondays at 7:30 pm July 26, Auke de Boer & Adolph Rots July 13, Gerald Martindale June 26, Wylie Crawford Kirk in the Hills Presbyterian Church August 2, Koen Cosaert July 20, Gordon Slater July 2, Jeff Davis Sundays at 10 am and noon July 27, Anna Kasprzycka July 9, Dick van Dijk June 17, Dennis Curry Fort Washington, Pennsylvania August 3, Elena Sadina & Sergei Gratchev July 1, Toni Raats St. Thomas Church, Whitemarsh August 10, Amy Heebner Princeton, New Jersey July 15, Ray McLellan Tuesdays at 7 pm August 17, George Matthew Jr. Princeton University, Grover Cleveland July 22, Wesley Arai July 3, Jeff Davis Tower, Sundays at 1 pm July 28, Melissa Weidner July 10, Dick van Dijk Minneapolis, Minnesota July 1, Jeff Davis August 5, Vanden Wyngaard July 17, Trevor Workman Central Lutheran Church, Sundays 11:15 am July 8, Dick van Dijk September 2, Dennis Curry July 24, Margaret Pan July 8, Sue Bergren July 15, Trevor Workman July 31, Lisa Lonie July 15, Tim Sleep July 22, Margaret Pan St. Hugo of the Hills Catholic Church July 22, Wylie Crawford July 29, Robin Austin Thursdays at 7 pm Gainesville, Florida July 29, Lyle Anderson August 5, Julia Littleton July 12, Karel Keldermans University of Florida, Sundays at 3 pm August 12, Lisa Lonie July 19, Carol Jickling Lens June 17, Jacques Maassen Montreal, Quebec August 19, George Matthew, Jr. July 26, Wesley Arai July 15, Harold Rocha St. Joseph’s Oratory, Sundays at 6:30 pm August 26, Steve Schreiber August 2, Melissa Weidner August 19, Laura Ellis July 8, Julianne Vanden Wyngaard September 2, Nick Huang July 15, Joseph Brink Bryn Mawr, Pennsylvania Glencoe, Illinois July 22, Trevor Workman Rochester, Minnesota Bryn Mawr Presbyterian Church Chicago Botanic Garden August 5, Roy Lee Mayo Clinic, Mondays at 7 pm Thursdays at 7 pm Mondays at 7 pm July 9, Sue Bergen June 21, Nick Huang June 4, Christine Power Morristown, New Jersey July 16, Tim Sleep June 28, Wylie Crawford June 11, Wylie Crawford St. Peter’s Episcopal Church July 23, Wylie Crawford July 5, Jeff Davis June 18, Toni Raats July 22, 2 pm, Gerald Martindale July 30, Lyle Anderson July 12, Dick van Dijk June 25, Tim Sleep July 2, Joey Brink Naperville, Illinois University of Rochester, Hopeman Memo- Centralia, Illinois July 9, Stephen Burton Naperville Millennium Carillon rial Carillon Centralia Carillon July 16, Anna Kasprzycka Tuesdays at 7 pm Mondays at 7 pm June 23, 2 pm, Toni Raats July 23, Christmas in July, Robert Grogan June 5, Christine Power July 9, Trevor Workman June 23, 2:45 pm, Carlo van Ulft July 30, Gordon Slater June 12, Wylie Crawford July 16, Janet Tebbel June 24, 2 pm, Ellen Dickinson August 6, Chelsea Vaught June 19, Toni Raats July 23, Auke de Boer & Adolph Rots June 24, 2:45 pm, Erik Vandevoort August 13, Sue Bergren June 26, Tim Sleep July 30, Koen Cosaert September 2, 2 pm, Tim Sleep August 20, Jim Fackenthal July 4, Joey Brink September 2, 2:45 pm, Jeremy Chesman August 27, Kim Schafer July 10, Stephan Burton St. Louis, Missouri September 3, 2 pm, John Bordley September 3, Jim Brown July 17, Anna Kasprzycka Concordia Seminary, Tuesdays at 7 pm September 3, 2:45 pm, Carlo van Ulft July 24, Robert Grogan June 5, 12, 19, Karel Keldermans Grand Rapids, Michigan July 31, Gordon Slater Chicago, Illinois Grand Valley State University August 7, Chelsea Vaught St. Paul, Minnesota University of Chicago, Rockefeller Chapel Wednesdays at noon August 14, Sue Bergren House of Hope Presbyterian Church Sundays at 5 pm July 11, Karel Keldermans August 21, Jim Fackenthal Sundays at 4 pm June 17, Toni Raats July 18, Carol Jickling Lens July 4, Dave Johnson June 24, Tim Sleep July 25, Timothy Sleep New Canaan, Connecticut July 8, Sue Bergren July 1, Joey Brink August 1, Julianne Vanden Wyngaard St. Mark’s Episcopal Church July 15, Tim Sleep July 8, Stephan Burton July 17, 7:30 pm, Gerald Martindale July 22, Wylie Crawford July 15, Anna Kasprzycka Hartford, Connecticut July 29, Lyle Anderson July 22, Robert Grogan Trinity College Chapel, Wednesdays at 7 pm New Haven, Connecticut July 29, Gordon Slater June 20, Claire Halpert Yale University, Yale Memorial Carillon Sewanee, Tennessee August 5, Chelsea Vaught July 4, Ellen Dickinson Fridays at 7 pm University of the South, Sundays at 4:45 pm August 12, Sue Bergren July 11, Trevor Workman June 22, Nick Huang June 24, Geert D’hollander August 19, Jim Fackenthal July 18, Groningen Carillon Duo July 6, Trevor Workman July 1, J. Samuel Hammond
28 THE DIAPASON July 4, 1 pm, John Bordley & J. Samuel July 8, 10:30 am, Gordon Slater Hammond July 26, Trevor Workman July 8, Anton Fleissner August 9, George Matthew Bert Adams, FAGO July 15, John Bordley, Ray Gotko, & Park Ridge Presbyterian Church PATRICK ALLEN Charlene Williamson University of Toronto, Soldiers’ Tower Park Ridge, IL GRACE CHURCH July 22, John Bordley Wednesdays at 5 pm Pickle Piano & Church Organs NEW YORK July 11, Julianne Vanden Wyngaard Bloomingdale, IL Simsbury, Connecticut July 18, Joey Brink Simsbury United Methodist Church July 25, Trevor Workman Sundays at 7 pm August 1, Andrée-Anne Doane July 1, Simsbury Guild of Carillonneurs July 8, Ellen Dickinson Christopher Babcock July 15, Trevor Workman Valley Forge, Pennsylvania July 29, Daniel K. Kehoe Washington Memorial Chapel St.St. Andrew’s by the Sea,Sea, Wednesdays at 7:30 pm Hyannis PortPort Springfi eld, Illinois July 4, Jeff Davis Thomas Rees Memorial Carillon July 11, Dick van Dijk SSt.t. David’s, South Yarmouth June 3, 7 pm, Springfi eld Carillonneur July 18, Trevor Workman June 3, 7:45 pm, Wylie Crawford July 25, Margaret Pan June 4, 7 pm, Trevor Workman August 1, Julia Littleton June 4, 7:45 pm, Doug Gefvert August 8, Doug Gefvert June 5, 7 pm, Dick van Dijk August 15, Doug Gefvert, Irish Thunder Dean W. Billmeyer GAVIN BLACK June 5, 7:45 pm, Steven J. Ball Pipes and Drums Princeton Early Keyboard Center June 7, 7 pm, Wylie Crawford August 22, Jonathan Lehrer University of Minnesota June 7, 7:45 pm, Trevor Workman August 29, Lisa Lonie 732/599-0392 June 8, 7 pm, Doug Gefvert Minneapolis 55455 • [email protected] www.pekc.org June 8, 7:45 pm, Dick van Dijk Victoria, British Columbia June 9, 7 pm, Steven J. Ball Netherlands Centennial Carillon June 9, 7:45 pm, Springfi eld Carillonneur Sundays at 3 pm, June–August Rosemary Laing, carillonneur Stamford, Connecticut THOMAS BROWN First Presbyterian Church Byron L. Blackmore July 19, 7 pm, Gerald Martindale West Hartford, Connecticut UNIVERSITY First Church of Christ Congregational Crown of Life Lutheran Church PRESBYTERIAN CHURCH Storrs, Connecticut Sundays at 3 pm, June–August Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA July 12, Gordon Slater, 7 pm Storrs Congregational Church 623/214-4903 ThomasBrownMusic.com Mondays at 7 pm June 18, Daniel Kerry Kehoe Williamsville, New York July 30, Joseph Brink Calvary Episcopal Church August 26, David Maker Wednesdays at 7 pm July 18, Janet Tebbel David Chalmers Toronto, Ontario July 25, Auke de Boer & Adolph Rots DELBERT DISSELHORST Metropolitan United Church, Thursdays, 7 pm August 1, Koen Cosaert Concert Organist July 3, Toni Raats GLORIÆ DEI CANTORES Professor Emeritus Orleans, MA University of Iowa–Iowa City Calendar JAMES DORROH, AAGO, PhD STEVEN EGLER Central Michigan University 22 JUNE Saint Luke’s Episcopal Church Mt. Pleasant, Michigan This calendar runs from the 15th of the month of Katelyn Emerson; First Unitarian Church, issue through the following month. The deadline is Samford University Artist in Residence Worcester, MA 7:30 pm the fi rst of the preceding month (Jan. 1 for Feb. Birmingham, Alabama First Congregational Church Ken Cowan; Longwood Gardens Ballroom, issue). All events are assumed to be organ recitals Saginaw, Michigan Kennett Square, PA 11 am unless otherwise indicated and are grouped within Organ Consultant Organ Recitals [email protected] each date north-south and east-west. •=AGO chap- 23 JUNE ter event, • •=RCCO centre event, +=new organ dedi- John Gouwens, carillon; Memorial Chapel, cation, ++= OHS event. Culver Academies, Culver, IN 4 pm A Professional Card in Information cannot be accepted unless it speci- JOHN FENSTERMAKER fi es artist name, date, location, and hour in writ- The Diapason 24 JUNE ing. Multiple listings should be in chronological order; For rates and digital specifi cations, please do not send duplicate listings. THE DIAPA- Lee Dettra; Nelson Hall, Elim Park, Cheshire, TRINITY-BY-THE-COVE CT 4 pm contact Jerome Butera SON regrets that it cannot assume responsibility for 847/391-1045 the accuracy of calendar entries. Langsford Men’s Chorus; Christ Church Grosse APLES LORIDA Pointe, Grosse Pointe Farms, MI 4:30 pm N , F [email protected] Andrew Schaeffer; St. Andrews Lutheran, Park Ridge, IL 4 pm UNITED STATES Tim Sleep, carillon; Rockefeller Memorial East of the Mississippi Chapel, Chicago, IL 5 pm James Grzadzinski, with harp, violin, and so- STEPHEN HAMILTON WILL HEADLEE prano; Sacred Heart Parish, Palos Hills, IL 4 pm 1650 James Street 15 JUNE Philip Brisson; Shrine of Our Lady of Guada- recitalist–clinician–educator Choir and Choristers of St. John’s Cathedral, lupe, La Crosse, WI 3 pm Syracuse, NY 13203-2816 Albuquerque; Cathedral of the Incarnation, Gar- www.stephenjonhamilton.com (315) 471-8451 den City, NY 7:30 pm 25 JUNE Marsha Foxgrover; Elliott Chapel, Presbyte- 16 JUNE rian Homes, Evanston, IL 1:30 pm Choir and Choristers of St. John’s Cathedral, Gary L. Jenkins Albuquerque; Church of St. Mary the Virgin, New 26 JUNE York, NY 1 pm ANDREW HENDERSON, DMA Tom Trenney, recital and silent fi lm accompa- Central Presbyterian Church niment; Soldier and Sailors Memorial Auditorium, Madison Avenue Presbyterian Church Director, Schmidt Concert Series 17 JUNE Carmelite Monastery Choir and Choristers of St. John’s Cathedral, Chattanooga, TN 7 pm New York, NY Albuquerque, Evensong; Cathedral Church of St. Curator of Organs John the Divine, New York, NY 4 pm 27 JUNE www.andrewhenderson.net Rose-Hulman Institute of Technology Andrew Peters; St. Patrick’s Cathedral, New David Carrier; Methuen Memorial Music Hall, Terre Haute, Indiana York, NY 4:45 pm Methuen, MA 8 pm Ryan Anthony, trumpet, and Gary Beard, or- James Grzadzinski; Sacred Heart Parish, Pa- gan; Shepherd of the Bay Lutheran, Ellison Bay, los Hills, IL 7 pm WI 7 pm Naomi Rowley; Holy Cross Roman Catholic A two-inch Professional Card Craig Cramer; Madonna della Strada Chapel, Church, Kaukauna, WI 12:15 pm Loyola University, Chicago, IL 3 pm Charles Barland; Sinsinawa Mound, Sinsi- in The Diapason Toni Raats, carillon; Rockefeller Memorial nawa, WI 7 pm Chapel, Chicago, IL 5 pm For information on rates and specifi cations, contact Jerome Butera: 28 JUNE [email protected] 847/391-1045 19 JUNE Don VerKuilen; First English Lutheran, Apple- Aaron Pettingill, Sara Sturdivant, Brittany ton, WI 12:15 pm Haskell, Seoyeon Kim, Christopher Staknys; Portland City Hall, Portland, ME 7:30 pm 29 JUNE LORRAINE BRUGH, Ph.D. Christian Lane; First Presbyterian, Glens John W.W. Sherer; Fourth Presbyterian, Chi- Falls, NY 7:30 pm cago, IL 12:10 pm 20 JUNE Associate Professor 30 JUNE John Robinson; Methuen Memorial Music Gordon Turk; Ocean Grove Auditorium, Ocean University Organist Hall, Methuen, MA 8 pm Grove, NJ 12 noon Lynne Davis; All Saints Church, Atlanta, GA Valparaiso University 7:30 pm John Gouwens, carillon; Memorial Chapel, Br. Benjamin Basile, C.PP.S.; First Congrega- Culver Academies, Culver, IN 4 pm Valparaiso, IN tional, Michigan City, IN 12:15 pm •Wilma Jensen; West End Methodist, Nash- www.valpo.edu H. Ricardo Ramirez; Cathedral of St. John the ville, TN 7:30 pm Evangelist, Milwaukee, WI 12:15 pm James Hicks; First United Methodist, Apple- 1 JULY 219-464-5084 ton, WI 12:15 pm Todd Fickley; Basilica of the National Shrine Yollanda Bornhoff; Sinsinawa Mound, Sinsi- of the Immaculate Conception, Washington, DC [email protected] nawa, WI 7 pm 6 pm
JUNE, 2012 29 CALIFORNIA LUTHERAN UNIVERSITY Joey Brink, carillon; Rockefeller Memorial Bruce Bengtson; Sinsinawa Mound, Sinsi- MICHELE JOHNS Chapel, Chicago, IL 5 pm nawa, WI 7 pm A.Mus.D Kyle Johnson, DMA 2 JULY 13 JULY •Todd Wilson, transcription workshop; Con- Nathan Laube; Trinity United Methodist, Organ — Harpsichord University Organist vention Center, Nashville, TN 9:45 am Huntsville, AL 7:30 pm The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV •Raúl Prieto Ramírez; St. Henry Catholic School of Music Church, Nashville, TN 1:45 pm 14 JULY www.callutheran.edu •Organized Rhythm (Clive Driskill-Smith, Hector Olivera; The Breakers, Newport, RI with Joseph Gramley, percussion); Westminster 9 pm Presbyterian, Nashville, TN 3:30 pm Gordon Turk; Ocean Grove Auditorium, Ocean •Tom Trenney; West End United Methodist, Grove, NJ 12 noon KIM R. KASLING Nashville, TN 3:30 pm John Gouwens, carillon; Memorial Chapel, Brian Jones •Thomas Trotter; Schermerhorn Symphony Culver Academies, Culver, IN 4 pm D.M.A. DirectorDirector of Music Emeritus Center, Nashville, TN 8 pm St. John’s University 15 JULY TRINITY CHURCH 3 JULY Selwyn College Chapel Choir, Evensong; Ca- •Raúl Prieto Ramírez; St. Henry Catholic OSTON Collegeville, MN 56321 thedral Church of St. John the Divine, New York, B Church, Nashville, TN 1:45 pm NY 4 pm •Organized Rhythm (Clive Driskill-Smith, William Atwood; St. Patrick’s Cathedral, New with Joseph Gramley, percussion); Westminster York, NY 4:45 pm Presbyterian, Nashville, TN 3:30 pm Singing Boys/Keystone Girls Choir; Sunday in JAMES KIBBIE •Tom Trenney; West End United Methodist, the Park, Lebanon, PA 7 pm Nashville, TN 3:30 pm Peter Latona; Basilica of the National Shrine The University of Michigan Jeremy David Tarrant; Keweenaw Heritage of the Immaculate Conception, Washington, DC Ann Arbor, MI 48109-2085 Center at St. Anne’s, Calumet, MI 7:30 pm 6 pm ORGAN CONSULTANT 734-764-1591 FAX: 734-763-5097 Edie Johnson; Madonna della Strada Chapel, 4 JULY Loyola University, Chicago, IL 3 pm www.gabrielkney.com Brandon Santini email: [email protected] ; Methuen Memorial Music Anna Kasprzycka, carillon; Rockefeller Me- Hall, Methuen, MA 8 pm morial Chapel, Chicago, IL 5 pm Carol Williams; Essex Community Church, Essex, NY 7 pm 16 JULY Gordon Turk & Michael Stairs; Ocean Grove David K. Lamb, D.Mus. Janette Fishell; University Memorial Audito- Auditorium, Ocean Grove, NJ 7:30 pm rium, Gainesville, FL 7:30 pm Director of Music/Organist ARTHUR LAMIRANDE Scott Dettra & Jeremy Filsell; Washington National Cathedral, Washington, DC 11 am First United Methodist Church 17 JULY [email protected] John Coble; Visitor Center, Old Salem Muse- Laurence Carson; Old West Church, Boston, Columbus, Indiana ums & Gardens, Winston-Salem, NC 12 noon www.youtube.com/watch?v=WTkDk-cX1X4 MA 8 pm 812/372-2851 •Dongho Lee & David Baskeyfi eld; Christ Church Cathedral, Nashville, TN 2 pm, 4 pm Choir of Selwyn College, Cambridge, UK; Frank Rippl; St. Mary Catholic Church, Me- Cathedral of the Incarnation, Garden City, NY nasha, WI 12:15 pm 7:30 pm Joan DeVee Dixon & Jane Kriel Horn; Sinsi- Charles Ludwick; Christ Episcopal Church, David Lowry nawa Mound, Sinsinawa, WI 7 pm Roanoke, VA 7:30 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD 5 JULY 18 JULY 1512 BLANDING STREET, COLUMBIA, SC 29201 Gordon Turk, with Philos Brass Ensemble; Kevin Birch; Methuen Memorial Music Hall, DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Ocean Grove Auditorium, Ocean Grove, NJ Methuen, MA 8 pm Gordon Turk; Ocean Grove Auditorium, Ocean ROCK HILL, SC 29733 7:30 pm •Tom Trenney, improvisation workshop; Con- Grove, NJ 7:30 pm vention Center, Nashville, TN 9:45 am Mary Lou Peeples; Visitor Center, Old Sa- lem Museums & Gardens, Winston-Salem, NC 6 JULY 12 noon •Jane Parker-Smith; Brentwood United Meth- Scott Dettra; Cathedral of St. Philip, Atlanta, ANDREW PAUL MOORE odist, Brentwood, TN 1:15 pm, 3:30 pm GA 7:30 pm A.S.C.A.P. •Nathan Laube & Todd Wilson, with Nashville Curt Sather; Cathedral of St. John the Evan- FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Symphony; Schermerhorn Symphony Center, gelist, Milwaukee, WI 12:15 pm Nashville, TN 8 pm Thomas Fielding; First United Methodist, Ap- 345 SADDLE LAKE DRIVE Choir of Trinity College Cambridge; St. Mary’s pleton, WI 12:15 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 Episcopal Cathedral, Memphis, TN 7 pm Kirstin Synnestvedt; Sinsinawa Mound, Sin- Jeremy David Tarrant; Bethany Lutheran, Ish- sinawa, WI 7 pm peming, MI 7:30 pm Christopher Houlihan, Vierne sympho- 21 JULY OUGLAS EILL nies; Rockefeller Memorial Chapel, Chicago, IL Matthew Gender, carillon; Memorial Chapel, LEON NELSON D O’N 7:30 pm Culver Academies, Culver, IN 4 pm Cathedral of the Madeleine Director of the Sanctuary Choir 7 JULY 22 JULY Southminster Presbyterian Church Salt Lake City, Utah John Gouwens, carillon; Memorial Chapel, Andrés Mojica, with fl ute; St. Patrick’s Cathe- Culver Academies, Culver, IN 4 pm dral, New York, NY 4:45 pm Arlington Heights, IL 60005 [email protected] 801/671-8657 Christopher Houlihan, Vierne sympho- Florian Wilkes; Basilica of the National Shrine nies; Rockefeller Memorial Chapel, Chicago, IL of the Immaculate Conception, Washington, DC 7:30 pm 6 pm Robert Grogan, carillon; Rockefeller Memorial MARILYN MASON 8 JULY Chapel, Chicago, IL 5 pm CHAIRMAN, DEPARTMENT OF ORGAN College of St. Hild and St. Bede (Durham Uni- Dennis Siebenaler; Shrine of Our Lady of UNIVERSITY OF MICHIGAN versity, UK), Evensong; Cathedral Church of St. Guadalupe, La Crosse, WI 3 pm ANN ARBOR John the Divine, New York, NY 4 pm Roland Stangier; Basilica of the National 24 JULY “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Shrine of the Immaculate Conception, Washing- Andrew Shenton; Old West Church, Boston, with awesome technique and a thrilling command of its daring writing.” ton, DC 6 pm MA 8 pm The American Organist, 1980 ++Jonathan Ryan; St. Chrysostom’s Episco- David Arcus; Christ Episcopal Church, Roa- pal, Chicago, IL 3:30 pm noke, VA 7:30 pm Stephan Burton, carillon; Rockefeller Memo- rial Chapel, Chicago, IL 5 pm 25 JULY SYLVIE POIRIER Lawrence Lawyer; Shrine of Our Lady of Nicole Keller; Methuen Memorial Music Hall, LARRY PALMER Guadalupe, La Crosse, WI 3 pm Methuen, MA 8 pm Gordon Turk; Ocean Grove Auditorium, Ocean Professor of PHILIP CROZIER 9 JULY Grove, NJ 7:30 pm ORGAN DUO ++Nathan Laube; Rockefeller Memorial Cha- William Osborne; Visitor Center, Old Sa- Harpsichord and Organ pel, Chicago, IL 7 pm lem Museums & Gardens, Winston-Salem, NC 3355 Queen Mary Road, Apt 424 12 noon 10 JULY Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Curt Sather; Cathedral of St. John the Evan- Randy Mullen; First Parish Church UCC gelist, Milwaukee, WI 12:15 pm Brunswick, ME 12:10 pm SOUTHERN METHODIST UNIVERSITY Canada Rollie Hebeler; St. Mary’s Roman Catholic Paul Murray; Old West Church, Boston, MA Church, Menasha, WI 12:15 pm (514) 739-8696 8 pm Mark McClellan; Sinsinawa Mound, Sinsina- Dallas, Texas 75275 Thomas Baugh; Christ Episcopal Church, wa, WI 7 pm Fax: (514) 739-4752 Roanoke, VA 7:30 pm Nathan Laube; First Presbyterian, Gainesville, Musical Heritage Society recordings [email protected] 26 JULY FL 7:30 pm Nathan Laube; St. Saviour’s Episcopal, Bar Michael Hey; Church of the Gesu, Milwaukee, Harbor, ME 7:30 pm WI 7:30 pm James Grzadzinski ++Ken Cowan; First United Methodist, Oak , with strings, fl ute, and Park, IL 7 pm mezzo soprano; Sacred Heart Parish, Palos Hills, Jeremy David Tarrant; First Lutheran, Iron IL 7 pm Mountain, MI 7:30 pm A four-inch Professional Card 28 JULY HE IAPASON 11 JULY Matthew Gender, carillon; Memorial Chapel, in T D Barbara Bruns; Methuen Memorial Music Culver Academies, Culver, IN 4 pm Hall, Methuen, MA 8 pm For rates and specifi cations Carol Williams; Ocean Grove Auditorium, 29 JULY Ocean Grove, NJ 7:30 pm Rosalind Mohnsen; Basilica of the National contact Jerome Butera John Pavik; Visitor Center, Old Salem Muse- Shrine of the Immaculate Conception, Washing- ums & Gardens, Winston-Salem, NC 12 noon ton, DC 6 pm 847/391-1045 Jonathan Biggers; Peachtree Road United Christopher Houlihan; Shepherd of the Bay Methodist, Atlanta, GA 7:30 pm Lutheran, Ellison Bay, WI 7 pm [email protected] ++Scott Montgomery; Music Institute of Chi- Gordon Slater, carillon; Rockefeller Memorial cago, Evanston, IL 7 pm Chapel, Chicago, IL 5 pm Jeffery Verkuilen; All Saints Episcopal, Apple- James Grzadzinski, with brass; Sacred Heart ton, WI 12:15 pm Parish, Palos Hills, IL 4 pm
30 THE DIAPASON
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 31 JULY 6 JULY Carson Cooman; Old West Church, Boston, John Scott; Central Lutheran, Eugene, OR Stephen G. Schaeffer MA 8 pm 12 noon Recitals – Consultations 8 JULY Cathedral Church of the Advent UNITED STATES Matt Emkey; St. Mary’s Cathedral, San Fran- West of the Mississippi cisco, CA 3:30 pm Birmingham, Alabama www.AdventBirmingham.org 9 JULY 15 JUNE Sue Bergren, carillon; Plummer Building, Jonathan Ryan; Co-Cathedral of the Sacred Rochester, MN 7 pm Heart, Houston, TX 8:30 pm John Scott; Trinity Episcopal Cathedral, Eu- ROBERT L. Stephen Tappe Christopher Houlihan, Vierne symphonies; gene, OR 7:30 pm St. John’s Cathedral, Denver, CO 7:30 pm Tom Trenney; Spreckels Organ Pavilion, Bal- Organist and Director of Music boa Park, San Diego, CA 7:30 pm SIMPSON Saint John's Cathedral 16 JUNE Christ Church Cathedral Christopher Houlihan, Vierne symphonies; Denver, Colorado 10 JULY 1117 Texas Avenue St. John’s Cathedral, Denver, CO 7:30 pm Bach, St. Matthew Passion, Part 3; Soreng Houston, Texas 77002 www.sjcathedral.org Theater, Eugene, OR 4:30 pm 17 JUNE Lawrence Lawyer; St. Mary’s Cathedral, San 12 JULY Francisco, CA 3:30 pm Bach, St. Matthew Passion, Part 4; Soreng ORGAN MUSIC OF THE SPANISH BAROQUE David Gell , with piano and LUX vocal quartet; Theater, Eugene, OR 3 pm Trinity Episcopal, Santa Barbara, CA 3:30 pm Joe Utterback Carol Williams; Spreckels Organ Pavilion, Bal- David Troiano 13 JULY DMA MAPM boa Park, San Diego, CA 2 pm COMMISSIONS & CONCERTS Julia Brown; First United Methodist, Eugene, 586.778.8035 OR 12 noon 732 . 747 . 5227 20 JUNE [email protected] Namhee Han; Pasadena Presbyterian, Pasa- 15 JULY dena, CA 12:10 pm Bach, St. Matthew Passion; Silva Concert Hall, Paul Meier; Cathedral of Our Lady of the An- Eugene, OR 4:30 pm gels, Los Angeles, CA 12:45 pm Karen Beaumont; St. Mary’s Cathedral, San David Wagner Francisco, CA 3:30 pm Marcia Van Oyen 24 JUNE DMA Durufl é, Requiem; St. Cyril of Jerusalem, En- First United Methodist Church, 16 JULY Madonna University cino, CA 4 pm Tim Sleep, carillon; Plummer Building, Roch- Plymouth, Michigan Livonia, Michigan Carol Williams; Spreckels Organ Pavilion, Bal- ester, MN 7 pm boa Park, San Diego, CA 2 pm mvanoyen.com [email protected] Ty Woodward; Spreckels Organ Pavilion, Bal- 25 JUNE boa Park, San Diego, CA 7:30 pm Agape Ringers; St. Mark’s United Methodist, 17 JULY Overland, KS 7 pm Tom Trenney, silent fi lm accompaniment; Our Robert Plimpton; Spreckels Organ Pavilion, Kevin Walters KARL WATSON Balboa Park, San Diego, CA 7:30 pm Savior’s Lutheran, Sioux Falls, SD 8 pm M.A., F.A.G.O. 26 JUNE 19 JULY SAINT LUKE’S Agape Ringers; St. Paul’s Lutheran, Omaha, Christopher Houlihan, Vierne symphonies; Rye, New York NE 7 pm Cathedral of Our Lady of the Angels, Los Ange- METUCHEN les, CA 7:30 pm 27 JUNE Samuel Soria; Cathedral of Our Lady of the 20 JULY Angels, Los Angeles, CA 12:45 pm Christopher Houlihan, Vierne symphonies; Cathedral of Our Lady of the Angels, Los Ange- Davis Wortman RONALD WYATT 1 JULY les, CA 7:30 pm Andrew Chislett; St. Mary’s Cathedral, San St. James’ Church Trinity Church Francisco, CA 3:30 pm 22 JULY Nicholas Bowden; Grace Cathedral, San Louis Perazza; St. Mary’s Cathedral, San New York Galveston Francisco, CA 4 pm Francisco, CA 3:30 pm
2 JULY 23 JULY Jeffrey Daehn, carillon; Plummer Building, Wylie Crawford, carillon; Plummer Building, Rochester, MN 7 pm Rochester, MN 7 pm Charles Dodsley Walker, FAGO ElRay Stewart-Cook; Central Lutheran, Eu- Diane Bish; Spreckels Organ Pavilion, Balboa Artist-in-Residence Founder/Conductor gene, OR 12 noon Park, San Diego, CA 7:30 pm Saint Luke’s Parish Canterbury Choral Society Simon Gledhill; Spreckels Organ Pavilion, 1864 Post Road 2 East 90th Street Balboa Park, San Diego, CA 7:30 pm 28 JULY Darien, CT 06820 New York, NY 10128 Lynn Trapp, with choir and brass; St. Olaf (917) 628-7650 (212) 222-9458 3 JULY Catholic Church, Minneapolis, MN 7:30 pm Bach, St. Matthew Passion, Part 1; Soreng Theater, Eugene, OR 4:30 pm 30 JULY Lyle Anderson, carillon; Plummer Building, William Webber, C.A.G.O. 5 JULY Rochester, MN 7 pm Bach, St. Matthew Passion, Part 2; Soreng Carlo Curley; Spreckels Organ Pavilion, Bal- Theater, Eugene, OR 4:30 pm boa Park, San Diego, CA 7:30 pm Organist, First Christian Church, Danville, KY Instructor of Music & Religious Studies, Maysville Community College Contact Bill at
7PWLKYLHTZ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK [V (76)(PZHWYV\K Jerome Butera [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM [OL Z\WWVY[LYVM [email protected] ¸RPUN VM PUZ[Y\TLU[Z¹ PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL 7PWLKYLHTZ ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ ^^^HWVIHJVT 847/391-1045 :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06
JUNE, 2012 31 24 JUNE William Saunders; Westminster Abbey, Lon- 20 JULY INTERNATIONAL David Newsholme; Westminster Cathedral, don, UK 5:45 pm Philip Crozier; Grote Kerk, Goes, Holland London, UK 4:45 pm 8 pm Michael Eckerle; Westminster Abbey, London, 10 JULY Giulio Mercati; Chiesa di S. Eurosia, 15 JUNE UK 5:45 pm Charles Jones; St. Werburgh’s, Chester Gros- Pralungo/S. Eurosia, Italy 9 pm Anthony Halliday, with vibraphone; Chiesa venor, UK 1 pm Parrocchiale SS. Ambrogio e Theodulo, Stresa, 26 JUNE Julia Dokter; St. James United Church, Mon- 21 JULY Italy 9:15 pm Peter Miller; St. Werburgh’s, Chester Grosve- treal, QC, Canada 12:30 pm Alexander Koschel; Kathedrale Basiliek Sint nor, UK 1 pm Bavo, Haarlem, Netherlands 3 pm 16 JUNE Geoffrey Ward; St. James United Church, 11 JULY Philip Crozier; Brigidakerk, Geldrop, Holland Ronald Stolk; Kathedrale Basiliek Sint Bavo, Montreal, QC, Canada 12:30 pm Marilyn Reesor; St. James’ Anglican, Orillia, 4:15 pm Stephanie Burgoyne & William Vandertuin; St. Haarlem, Netherlands 3 pm ON, Canada 12:15 pm Gillian Weir; St. Mary Redcliffe, Bristol, UK Paul’s Cathedral, London, ON, Canada 12:15 pm 22 JULY 3 pm, class 5 pm 13 JULY Per Alman; Cappella di S. Marta e Chiesa di S. 30 JUNE Giacomo, Campertogno, Italy 9 pm Albert-Jan Roelofs; Kathedrale Basiliek Sint Marijim Thoene; Cathedral Basilica of the As- Alison Howell; Westminster Cathedral, Lon- 17 JUNE Bavo, Haarlem, Netherlands 3 pm sumption of the Blessed Virgin Mary, Bialystok, don, UK 4:45 pm Stephen Tharp; Basilika, Waldsassen, Ger- Cameron Carpenter; Sydney Opera House Poland 7:15 pm many 5 pm Concert Hall, Sydney, Australia 3 pm Thomas Corns; Westminster Abbey, London, James Welch; Notre-Dame d’Auteil, Paris, 14 JULY UK 5:45 pm France 12 noon 1 JULY Ton van Eck; Kathedrale Basiliek Sint Bavo, Daniel Roth; Saint-Sulpice, Paris, France Stephen Tharp; Dom/Pfarrkirche St. Moritz, Haarlem, Netherlands 3 pm 24 JULY Philip Crozier 4 pm Rottenburg, Germany 8:15 pm Mario Duella; Basilica Antica, Oropa, Italy ; Domkirke, Odense, Denmark 8 pm Carolyn Shuster Fournier; St. Louis Cathe- Wladimir Matesic; Cattedrale, Pistoia, Italy 9 pm Glyn Williams; St. Werburgh’s, Chester Gros- dral, Choisy le Roi, France 4:30 pm 5 pm venor, UK 1 pm Matthew Burgess; Westminster Cathedral, Christopher Keenan; Westminster Cathedral, 15 JULY James O’Donnell; Westminster Abbey, Lon- London, UK 4:45 pm London, UK 4:45 pm Marijim Thoene; St. Teresa Church, Bialow- Andrej Kouznetsov; Westminster Abbey, Lon- don, UK 7 pm Michael Eckerle; Methodist Central Hall, ieza, Poland 12 noon don, UK 5:45 pm Marijim Thoene; St. Kazimierz Church, Bia- Jonathan Oldengarm; St. James United Westminster, London, UK 7:30 pm Church, Montreal, QC, Canada 12:30 pm Martin Ford; Westminster Abbey, London, UK lystok, Poland 7 pm 3 JULY Philip Crozier 5:45 pm ; Stiftskirche, Cappenberg, Ger- David Jackson; St. Werburgh’s, Chester Gros- many 5 pm 25 JULY venor, UK 1 pm Paul Jacobs; Westminster Cathedral, London, 19 JUNE Peter Stevens; Westminster Cathedral, Lon- Patrick Wedd; St. James United Church, Mon- don, UK 4:45 pm UK 7:30 pm David Jonies; Cathedral, Trier, Germany treal, QC, Canada 12:30 pm Jeffrey Moellman, with violin; St. James’ Angli- 8 pm 16 JULY can, Orillia, ON, Canada 12:15 pm Philip Scriven, Bach works; Chapel, Cran- 4 JULY Umberto Pineschi; Chiesa di S. Maria del Peter Richard Conte; Victoria Conservatory of leigh School, Cranleigh, Surrey, UK 1:10 pm Stephen Tharp; Frauenkirche, Dresden, Ger- Carmine, Pistoia, Italy 9 pm Music, Victoria, BC, Canada 8 pm John Hosking; St. Werburgh’s, Chester Gros- many 8 pm Gillian Weir; Oundle School, Oundle, UK venor, UK 1 pm Marshall Martin; St. James’ Anglican, Orillia, 5 pm 26 JULY Odile Jutten; Cathédrale, Evreux, France ON, Canada 12:15 pm • •John Hudson; St. Peter’s Church, St. John, Mario Duella, with soprano; Chiesa di Sant’ 4 pm NB, Canada 10:30 am Anna al Montrigone, Borgosesia, Italy 5 pm Pierre Grandmaison; St. James United 5 JULY Hervé Désarbre; Chiesa di S. Antonio, Bor- Isabelle Demers; St. Paul’s Cathedral, Lon- • •Sharon Pond; St. Peter’s Church, St. John, Church, Montreal, QC, Canada 12:30 pm NB, Canada 6:30 pm gosesia, Italy 9 pm don, UK 7:30 pm David Enlow; Church of St. John the Divine, • •Polyphon; St. Peter’s Church, St. John, NB, 20 JUNE Victoria, BC, Canada 8 pm 7 JULY Canada 7:45 pm Simon Preston; Westminster Cathedral, Lon- Alessandro Bianchi; Kathedrale Basiliek Sint 27 JULY don, UK 7:30 pm 17 JULY Bavo, Haarlem, Netherlands 3 pm Hervé Désarbre; Chiesa di S. Lorenzo, Carolyn Shuster Fournier; St. Gervais, Paris, Mario Duella, with soprano; Santuario della Sostegno, Italy 9 pm 22 JUNE France 4 pm Madonna delle Grazie, Portula/Novareia, Italy Isabelle Demers; Christ Church Cathedral, Cameron Carpenter; Melbourne Town Hall, Stephen Tharp; Igreja da Lapa, Porto, Portu- 5 pm Victoria, BC, Canada 8 pm Melbourne, Australia 6:30 pm gal 9:30 pm Andrew Condliffe-Jones; St. Werburgh’s, Chester Grosvenor, UK 1 pm 28 JULY 23 JUNE 8 JULY Stephen Farr; Westminster Abbey, London, Olivier Latry & Shin-Young Lee; Kathedrale Ines Maidre; Kathedrale Basiliek Sint Bavo, Colin Andrews; Westminster Cathedral, Lon- UK 7 pm Haarlem, Netherlands 3 pm don, UK 4:45 pm Basiliek Sint Bavo, Haarlem, Netherlands 3 pm • •Richard Kidd; Our Lady of Perpetual Help, Philip Crozier; Cathédrale Saint-Pierre, Ge- Rothesay, NB, Canada 1:30 pm neva, Switzerland 6 pm • •Gayle Martin; St. Paul’s Anglican, Rothesay, Gabriel Marghieri; Chiesa di Santa Maria martin ott pipe NB, Canada 2:45 pm Vergine Assunta, Viverone, Italy 9 pm organ Kurt-Ludwig Forg; St. James United Church, Benjamin Righetti; Eglise St-Martin, En- company inc. Montreal, QC, Canada 12:30 pm sisheim, Alsace, France 8 pm
7408 Somerset Ave. 18 JULY 29 JULY St. Louis, MO 63105 Philip Crozier; Sint-Janskerk, Gouda, Holland 314-504-0366 Phone Ian Hockley; Westminster Abbey, London, UK 801-756-5777 Martin Ott [email protected] 8 pm 5:45 pm www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com Angus Sinclair, with bagpipes; St. James’ An- glican, Orillia, ON, Canada 12:15 pm 31 JULY Mark Swinton; St. Werburgh’s, Chester Gros- 19 JULY venor, UK 1 pm Philip Crozier; Bovenkerk, Kampen, Holland Robert Quinney; Westminster Abbey, London, 8 pm UK 7 pm Gillian Weir; Salisbury Cathedral, Salisbury, Denis Gagné; St. James United Church, Mon- UK 7 pm treal, QC, Canada 12:30 pm
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32 THE DIAPASON Kyrieleison–Amen (8er cahier de notes de Herren, Phillips; Allegro deciso (Evocation, (Transcendental studies, S. 139), Etude II Jehan Alain), Alain; Grand Choeur, Reed; op. 37), Dupré. in f, ‘La leggierezza’ (Three concert studies, Organ Recitals Élégie, Antienne No. 1, Gagnon; Offertoire S. 144), Liszt, arr. Prieto; Sonate No. 1 pour Mystique, Tardif; Intermezzo, Létourneau; STEPHEN HAMILTON, Church of the grand orgue, op. 42, Guilmant. Vater unser im Himmelreich, Böhm; Toc- Holy Trinity, New York, NY, January 27: O GAIL ARCHER, Columbia University, catina (Triptyque), Bédard. Gott, du frommer Gott, BWV 767, Prelude LINDA RANEY, First Presbyterian New York, NY, January 25: Ascent, Tower; and Fugue in G, BWV 541, O Mensch, be- Church, Santa Fe, NM, December 2: Nun He Leadeth me! O Blessed Tho’t!, Be Thou JONATHAN DIMMOCK, Califor- wein’ dein’ sünde gross, BWV 622, Passaca- komm der Heiden Heiland, Distler. My Vision, Eternal Father, Strong to Save, nia Polytechnic State University, San Luis glia, BWV 582, Bach; V. Choral-Improvisation Biggs; Wondrous Love, Barber; Praeludium Obispo, CA, January 13: Fanfares, Hamp- sur le “Victimae paschali” (Cinq Improvisa- JEFFREY SCHLEFF, St. Andrew Lu- super Pange Lingua, Noon; Sonata for Or- ton; Ein ser gutter hoff tantz, Anonymous; tions pour Orgue), Tournemire, transcr. Du- theran Church, Mundelein, IL, December gan, Persichetti. Mohrentanz, Susato; Balletto del granduca, rufl é; Prelude, Fugue and Variation, Choral 4: Wake, Awake for Night Is Flying, E’en Sweelinck; Chaconne in e, Buxtehude; Pas- in E, Franck. So Lord Jesus Quickly Come, Manz; Lo! He MAHLON E. BALDERSTON & DAVID sacaglia and Fugue in c, Bach; Marche Comes with Clouds Descending, Bales; Herr A. GELL, with Lux Women’s Quartet, Jane Héroïque, Brewer; Salamanca, Bovet; Street PAUL JACOBS, St. John’s Cathedral, Den- Christ, Der Ein’ge Gottes Sohn (Orgelbüch- Hahn, fl ute & voice, and Willi Rose, piano, Scene in a Frontier Town: Cowboys amble ver, CO, November 5: Fantasia for Organ, lein), Bach; Come, Thou Long-Expected Jesus, Trinity Episcopal Church, Santa Barbara, CA, by, Mexican dance and fi nale (Billy the Kid Weaver; Suite for Organ, Price; Triple Fugue Tornquist; Hark the Glad Sound, Phillips; Lift December 11: From Heaven Above, Cradle Ballet Suite), Copland; Outer Hebrides, Hal- in E-fl at, BWV 552, Bach; Accords alternés, Up Your Heads, Ye Mighty Gates, Hudson. Hymn, Come, all ye Shepherds, Young; The ley; Tanz Toccata, Heiller. Octaves (Transcendental Etudes, op. 5), Three Kings, arr. Costley; The Coventry Carol, Demessieux; Sonata in G, op. 28, Elgar. STEPHEN THARP, Speyer Cathedral, arr. Mantooth; Hark the Herald Angels Sing, RICHARD ELLIOTT, The Episcopal Speyer, Germany, September 28: Variations arr. Minsky; Panis Dei, Milliken; Thou shalt Church of Bethesda-by-the-Sea, Palm Beach, REV. C. RALPH MILLS, St. Paul’s Me- on the hymn tune ‘Rouen’, Baker; Orgel- FL, January 29: Sinfonia (Cantata 29), BWV sonate Nr. 8 A-Dur, op. 91, Guilmant; Trois know Him, Sirett; Silent Night, arr. Bober; It morial Episcopal Church, Charlottesville, VA, Danses, Alain. came upon a midnight clear, arr. Evans; What 29, Passacaglia in c, BWV 543, Bach; O Je- January 29: Toccata und Fuga in F, Nun lob, Stiftskirche, Cappenberg, Germany, Oc- Child Is This?, arr. Smith; Carol of the Bells, rusalem, Gawthrop; Amazing Grace, Heb- mein Seel, den Herren, Lobt Gott, Christen all- tober 2: Variations on The Star-Spangled Shaw; One still and silent night, Huff; Suite ble; Go, Tell It on the Mountain, arr. Elliott; zugleich, Buxtehude; Praeludium und Fuge in Banner, op. 23, Buck; Pater Noster, Foote; in a for Flute and Keyboard, Telemann; Bene- Variations sur un Noël, op. 20, Dupré; I Got C, Lübeck; Fantasia Argenti, op. 67, Jackson; Jerusalem, Parry; Fantaisie sur deux Melo- dicamus Domino, Printz; Away in a manger, Rhythm, Gershwin. Cornet Voluntary, Travers; Pastorale, Hayes; dies Anglaises, op. 43, Guilmant; Stèle pour In dulci jubilo, Puer Nobis Nascitur, Martin; Flute Piece, Hine; Processional, Mathias. un Enfant défunt, op. 58, Vierne; Ja, vi elsker Trumpet tune on ‘Hark! the herald angels JOHN FENSTERMAKER, with the Del- dette landet, Nordraak; Postlude pour l’offi ce sing’, Lasky; Noël Ancien, Doyen; Chorus of ray String Quartet, and Cynthia Dallas, harp- DEREK E. NICKELS, The Presbyterian de complies, Alain; La Marseillaise, de Lisle; Shepherds, Lemmens. sichord, Trinity-by-the-Cove, Naples, FL, Homes, Evanston, IL, January 23: Obra de Ode an die Freude, Beethoven; Variations on November 11: Concerto in B-fl at, op. 4, no. 2, 8 tono alto, Ensalada, de Heredia; 4 Versos the Emperor’s Hymn, op. 3, Paine. JOHN BRYANT, St. Luke’s Episcopal Concerto in F, HWV 295, Handel; Sonata for in sol minore, Canzona in sol minore (Sonata Church, Evanston, IL, January 15: Fugue in Organ and Strings No. 13 in C, Sonata for Or- d’Intavolatura per Organo e Cimbalo), Zipoli; THOMAS WIKMAN, Lutheran School of G, BWV 577, Bach; Pilgrims’ Chorus from gan and Strings No. 9 in F, Sonata for Organ Prelude and Fugue in b, BWV 544, Bach; Theology, Chicago, IL, January 3: Prelude and Tannhauser, Wagner; Claire de lune, op. 53, and Strings in E-fl at, K. 67, Sonata for Organ Choral (Deuxième Symphonie, op. 20), Vi- Fugue in e, BWV 548, Bach; Ave Maria von no. 5, Toccata, op. 53, no. 6, Vierne; Ride of and Strings No. 15 in C, Mozart. erne; Variations sur un Noël, op. 20, Dupré. Arcadelt, Liszt; Humoresque ‘L’organo primi- the Valkyries, Wagner. tivo’, Yon; Rorate Caeli desuper, Demessieux; JOSEPH GALEMA, St. John’s Cathedral, RAÚL PRIETO RAMÍREZ, St. John’s Ca- Fantasie (Offi ce de l’Epiphanie), Tournemire. PHILIP CROZIER, Dorfkirche, Witt- Denver, CO, January 20: Toccata in E, Krebs; thedral, Denver, CO, November 18: Prelude mannsdorf, Germany, August 20: A Trumpet Fantasia and Fugue in c, BWV 537, Bach; and Fugue in G, BWV 541, Bach; Danse ma- JAN WORDEN-LACKEY, First Presbyte- Minuet, Wesley; Psalm Prelude, op. 32, no. Jupiter, the Bringer of Jollity (The Planets), cabre, Saint-Saëns, arr. Lemare; Scherzo in f#, rian Church, Santa Fe, NM, January 6: Toc- 2, Howells; Allegretto Grazioso (First Book Holst, transcr. Wills; Épilogue sur un thème op. 80, no. 7, Capriccio in g, op. 129, no. 5, cata in F, Pachelbel; Improvisation on ‘The of Organ Pieces), Bridge; Prelude on Rho- de Frescobaldi pour pédale solo (Hommage à Melodia in B-fl at, op. 129, no. 4, Scherzo in First Nowell’, Burton; Wie schoen leuchtet der symedre, Vaughan Williams; Prelude and Frescobaldi), Langlais; Naïades, op. 55, no. 4, d, op. 65, no. 10, Capriccio in d, op. 69, no. Morgenstern, BuxWV 223, Buxtehude; Les Fugue in e, Walmisley; Trio d-Moll, BWV Toccata, op. 55, no. 6 (Pièces de Fantaisie), Vi- 5, Reger; Toccata (Pièces de fantaisie, op. 53, Mages (La Nativité du Seigneur), Messiaen; 583, Bach; Monodie, JA 133, Climat, JA 79, erne; Sanctuary, Walker; Partita on Lobe den no. 6), Vierne; Etude VIII in c, ‘Wilde Jagd’ Noël: L’Epiphanie, Chauvet.
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PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ RECORDINGS RECORDINGS RECORDINGS RECORDINGS
Utterback Service Music Sale . . . Images—3 Atlantic City Convention Hall Organ— The Will o’ the Wisp and The Tragedy of A Tin Soldier Like the harpsichord? Harpsichord Tech- piano/organ duets: $10 for 2 copies. Voluntar- fi rst recording since 1956 of the world’s largest by Gordon Balch Nevin are a pair of fun program nique: A Guide to Expressivity, second ies—7 useful organ solos: $10. Send order and organ, the famous organ created by Senator pieces. “Wisp” is light and fanciful, the perfect edition, by Nancy Metzger is the hands-on encore. “Tragedy” is a suite of tongue-in-cheek check for either or both pieces with $3 postage Emerson Richards and built by Midmer-Losh guide for touch and historically informed (media mail) to Jazzmuze, Inc., 80 Rumson with 7 manuals and 449 ranks to fi ll the 41,000- character pieces about a tin soldier. For more performance. www.rcip.com/musicadulce. Place, Little Silver, NJ 07739. Please include seat Atlantic City Convention Hall with sound. information, visit michaelsmusicservice.com; e-mail and phone. Check www.jazzmuze.com for Organist Timothy Hoag and others recorded 704/567-1066. sample pages. this CD in November 1998 for the Atlantic City Convention Hall Organ Society, to raise interest Two Films on DVD about J. S. Bach’s “Art of in the largely neglected instrument. This CD is The Organ Historical Society has released New Music for Carillon—A Baroque Sonata in Historic Organs of Indiana, 4 CDs recorded at Fugue,” and 2 CDs of the entire work played by priced at $14.98 plus shipping. Visit the OHS George Ritchie, as well as two hours of video Three Movements: Preludio, Aria and Menuet, Fi- Online Catalog for this and over 5,000 other or- the OHS National Convention in Central Indiana nale, for 4½ octave instrument (low G bourdon). in July, 2007. Nearly 5 hours of music features lecture by Ritchie at the organ, receive rave re- gan-related books, recordings, and sheet music: views from all quarters and are sold as a set, Technical challenges are comparable to van den 31 pipe organs built between 1851–2004, by www.ohscatalog.org. Aeolian-Skinner, Skinner, Henry Erben, Felge- FSF-DVD-001, for $39.95 postpaid worldwide Gheyn and de Gruytters repertoire. 10 pages of by Raven, Box 25111, Richmond, VA 23261, music, softbound 8½x11, $12 plus shipping. Visit maker, Hook & Hastings, Kilgen, Kimball, and many more builders. Performers include Ken www.RavenCD.com. www.frumuspub.net, or contact: Eafruhauf@ Solemn Melody for Organ, H. Walford Davies— aol.com; 805/682-5727, mornings, Pacifi c time; Cowan, Thomas Murray, Bruce Stevens, Carol transcribed from the original 1908 score for Williams, Christopher Young, and others. A 40- or write Fruhauf Music Publications, P.O. Box string quartet and organ, in a new arrangement 22043, Santa Barbara, CA 93121-2043. page booklet with photos and stoplists is includ- PIPE ORGANS for organ solo. 3 pages of music, softbound or ed. OHS-07 4-CD set is priced at $34.95 (OHS looseleaf 8½x11, $4 plus shipping. Visit www. members, $31.95) plus shipping. Visit the OHS FOR SALE Online Catalog for this and over 5,000 other or- The OHS Catalog is online at www.ohscatalog. frumuspub.net, or contact: [email protected]; 805/682-5727, mornings, Pacifi c time; or write gan-related books, recordings, and sheet music: Reiley Tracker Organ (c. 1890) —Two manuals, org. More than 5,000 organ and theatre organ www.ohscatalog.org. ′ ″ CDs, books, sheet music, DVDs and VHS vid- Fruhauf Music Publications, P.O. Box 22043, 9 ranks, 10 speaking stops, 4 couplers. 10 5 eos are listed for browsing and easy ordering. Santa Barbara, CA 93121-2043. wide; walnut and cherry case. Excellent condi- tion. Asking $42,000. Contact: Lutheran Church Use a link for adding your address to the OHS Certifi ed appraisals—Collections of organ Catalog mailing list. Organ Historical Soci- of the Redeemer, Rev. Roy Coats, 443/745-9200; Historic Organs of Seattle: A Young Yet Vi- books, recordings, and music, for divorce, es- 4211 Vermont Avenue, Baltimore, MD 21229. ety, Box 26811, Richmond, VA 23261. E-mail: tate, gift, and tax purposes. Stephen L. Pinel, [email protected]. brant History, the latest release from OHS, is a E-mail: [email protected]. four-disc set recorded at the 2008 OHS national Appraiser. [email protected]; 609/448-8427. convention, held in the Seattle, Washington Refl ections: 1947–1997, The Organ Depart- area. Nearly fi ve hours of music feature historic The Tracker—The Organ Historical Society Two manual, 3 ranks, 6 Walker stops, detached ment, School of Music, The University of Michi- organs by Aeolian-Skinner, Casavant, Hook & publishes its journal four times a year. The console,10 years old; $6,500. Atlantic City Pipe gan, edited by Marilyn Mason & Margarete Hastings, and Hutchings-Votey, Kilgen, Tallman, Tr a c ke r includes news and articles about the Organ Co., 609/432-7876. Thomsen; dedicated to the memory of Albert Woodberry, Hinners, Cole & Woodberry, plus in- organ and its history, organbuilders, exemplary Stanley, Earl V. Moore, and Palmer Christian. In- struments by Flentrop, C. B. Fisk, and Rosales, organs, regional surveys of instruments, and cludes an informal history-memoir of the organ and Pacifi c Northwest organbuilders Paul Fritts, the music played on the organ. The emphasis 1971 II/3 Delaware simulated tracker-touch department with papers by 12 current and for- Martin Pasi, John Brombaugh, Richard Bond, is on American organ topics of the 18th, 19th, pipe organ (61) pedal (32). Perfect for practice mer faculty and students; 11 scholarly articles; and many more! Renowned organists Douglas and 20th centuries, and there are occasional or small church. 12 stops, 185 pipes. Contact reminiscences and testimonials by graduates of Cleveland, Julia Brown, J. Melvin Butler, Carole subjects on European topics. Most issues run [email protected]; 330/494-3195. the department; 12 appendices, and a CD re- Terry, Bruce Stevens, and others are featured 32 pages with many illustrations and photo- cording, “Marilyn Mason in Recital,” recorded at in live performances on 24 pipe organs built graphs, and at least one annual issue is pub- the National Shrine of the Immaculate Concep- between 1871 and 2000. Includes a 36-page lished in full color. Membership in OHS includes Martin Pasi pipe organ—Two manuals, 24 tion in Washington, DC. $50 from The University booklet with photographs and stoplists. $34.95, a subscription to The Tracker. Please visit our stops, suspended-tracker action. $350,000. Web: of Michigan, Prof. Marilyn Mason, School of Mu- OHS members: $31.95. For more info or to order: website for more information or subscription: http://martin-pasi-pipe-organ-sale.com; phone: sic, Ann Arbor, MI 48109-2085. http://OHSCatalog.com/hiorofse.html. www.organsociety.org. 425/471-0826.
TOTAL PIPE ORGAN RESOURCES
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PIPE ORGANS PIPE ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES
Austin Op. 1513— Two-manual/pedal, 4-rank Moeller Artiste, 3 ranks, very good condition, 16′ Principal pipes, wooden, small scale, Moller unifi ed. $3,000 or best offer; buyer to remove/ some renovation completed, builder ready to low 12 notes, cost $4000. 8′ Tuba, large scale, assist in moving for additional cost. $10,000/ Need help with your re-leathering ship. Currently in storage, playable before dis- Tellers, cost $1200. Deagan Xylophone, 37 notes, project? All pneumatics including assembling, some restoration needed. 612/554- best offer. 414/228-8737; jennifer.ankerberg@ needs releathering, cost $800. 24-note Harp Austin. Over 45 years experience 3350; [email protected]. sbcglobal.net. needs releathering, $600. Reisner direct action (on the job assistance available). magnets, 77 3/4, 66 1-1/8, 159 5/8, cost $350 615/274-6400. each. Siedle Organ Company, 412/221-5484. Portative organ: Designed for small choral or REED ORGANS baroque ensembles. Four stops: 8′, 4′, 2′, and FOR SALE 1-1/3′, with the last two divided into bass and Consoles, pipes and numerous miscellaneous Aeolian/Robert Morton-style maroon treble registers and an adjustable point of divi- parts. Let us know what you are looking for. sion (b24/c25 or c25/c#26). Adjustable pitch leather is now available from Columbia Or- E-mail [email protected] (not comcast), gan Leathers! Highest quality. 800/423-7003, between A=440 Hz and A=415 Hz. Quarter- 1898 Hinners Chapel Reed Organ. 6-oc- tave keyboard, 14 stops (10 speaking) in phone 215/353-0286 or 215/788-3423. www.columbiaorgan.com. sawn white oak case. Available immediately. a heavy golden oak console. In addition to For more information, contact Létourneau Pipe the foot treadles with 2 bellows, it has a Organs at [email protected] or crankshaft with 3 bellows having a large Wood pipes. Missing pipes made to match. ANNOUNCEMENTS 888/774-5105. side hand crank. Excellent pristine fi nish Damaged pipes in any condition repaired. and in good playing condition. $4,500/ Over 25 years experience. Filip Cerny, best offer. Buyer to remove. Contact: Ray 814/342-0975. The Organ Historical Society presents its 57th Small pipe organs for sale. Great prices. For or Ron, Chicago, 773/327-2353, rayonthe- national convention July 8–13 in Chicago. The more information, please go to our website, [email protected]. For photo, refer to www. convention will visit organs by Aeolian-Skinner, www.milnarorgan.com. TheDiapason.com. Berghaus, Buzard, Casavant, Estey, Fisk, MISCELLANEOUS Hinners, Hook & Hastings, Johnson, Kilgen, WANTED Kimball, Möller, Noack, Skinner, and others. 1995 Fowler self-contained pipe organ. Two Performers include James Russell Brown, Ken manuals, seven ranks, all solid state control. ELECTRONIC ORGANS WANTED—One copy of “The Aeolian Organ & Cowan, Gregory Crowell, David Jonies, Nathan Ideal for smaller church seating up to 200. Full FOR SALE Laube, Scott Montgomery, Derek Nickels, Jona- details on request. Complete with 10 year war- Its Music” by Rollin Smith. Call Mike at 860/875- 4666 or e-mail: [email protected]. than Ryan, Stephen Schnurr, Erik Wm. Suter, ranty, installed—$44,000. Contact Fowler Organ Thomas Wikman, and others. For information: Co., [email protected] or 517/485-3748. Allen MDS-65—3-manual drawknob, 54 stops, 6 channels, 600 watts audio, 6 speakers, MIDI; www.organsociety.org. 1990’s vintage, good condition: $33,000. Atlantic SERVICES/ City Pipe Organ Co.; 609/432-7876. 1964 M.P. Möller pipe organ. 36-rank American SUPPLIES THE DIAPASON E-News is mailed monthly to Classic specifi cation including two célestes, two subscribers who sign up to receive it. Don’t enclosed divisions and 32′ reed. Three-manual miss the latest news, announcements and console. No casework or façades; instrument MISCELLANEOUS Releathering all types of pipe organ ac- classifi ed ads (with photos) before they ap- is in good condition but will need releathering. FOR SALE tions and mechanisms. Highest quality ma- pear in print! Visit www.TheDiapason.com Asking $50,000 “as is” or can be rebuilt with terials and workmanship. Reasonable rates. and click on Subscribe to our newsletter. some modifi cations. Available immediately. For ′ Columbia Organ Leathers 800/423-7003. For assistance, contact Joyce Robinson, 16 Double Open Wood Diapason with chests www.columbiaorgan.com/col. more information, contact Létourneau Pipe and racks. 14″ Scale, 5″ WP. $8000 FOB Deer- 847/391-1044, [email protected]. Organs at [email protected] or fi eld, NH. Can deliver. john@organclearinghouse. 888/774-5105. com; 617/688-9290. Highest quality organ control systems since 1989. Whether just a pipe relay, combination Postal regulations require that mail to THE DIAPASON include a suite number to Wicks organ, 2 manuals, 4 ranks, ca. 1990. Atlantic City Pipe Organ Company—2-manual, action or complete control system, all parts 16′ Rohrfl ute 97 pipes, 8′ Principal 85 pipes, 4′ 3-rank, 5 Walker stops, free-standing DE chest are compatible. Intelligent design, competitive assure delivery. Please send all corre- Gemshorn 73 pipes, 8′ Trumpet 61 pipes. Excel- & pipes with detached console, Peterson relay, pricing, custom software to meet all of your re- spondence to: THE DIAPASON, 3030 W. lent condition. Oak casework and console. Lauck 10 years old; $7,000 OBO. 16′ reeds, principals, quirements. For more information call Westa- Salt Creek Lane, Suite 201, Arlington Pipe Organ Co. 269/694/4500; e-mail: k.reed. strings. 609/641-9422; mywebpages.comcast. cott Organ Systems, 215/353-0286, or e-mail Heights, IL 60005. [email protected]. net/acorgan. [email protected].
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 -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859
GUZOWSKI & STEPPE Advertise in The Diapason H.W. DEMARSE ORGANBUILDERS INC For rates and digital specifi cations TRACKER ORGANS NEW INSTRUMENTS REBUILDS - ADDITIONS contact Jerome Butera 518-761-0239 TUNING & SERVICE 1070 N.E. 48th Court 847/391-1045 2 Zenus Dr., Queensbury, NY 12804-1930 FT. LAUDERDALE, FL 33334 (954) 491-6852 [email protected]
HAGERSTOWN ORGAN COMPANY, INC. Own a piece of history! New • Rebuilding • Solid-State Updating The cover of the 100th Anni- 301/797-4309 versary Issue of The Diapason is now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
JUNE, 2012 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Michel Bouvard* Guy Bovet* Chelsea Chen Douglas Cleveland Dongho Lee 2010 AGO National Competition Winner Available 2010-2012
Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*
Christian Lane Canadian International Organ Competition Winner Available 2012-2014
Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney
Celebrating Our 90th Season!
*=Artists based outside the U.S.A. Thomas Trotter* Todd Wilson Christopher Young