THE DIAPASON SEPTEMBER, 2011
Golden Hall of the Music Society Vienna, Austria Cover feature on pages 30–32
Sept 2011 Cover.indd 1 8/10/11 8:57:27 AM Due Solisti Peter Fletcher “Elegant chamber music at its best.” “Gracious virtuosity” (The American Organist) (Fanfare)
CONCERTARTISTS.COM Į$WHUULŎFRUJDQLVWį “Gloriously passionate ” (Chicago Tribune) (The Morning Call, Allentown PA) Isabelle Demers HOULI
Sept 2011 pp. 2-19.indd 2 8/10/11 8:59:53 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Second Year: No. 9, Whole No. 1222 SEPTEMBER, 2011 St. Thomas Church Fifth Avenue fi re, brilliance, and clang characteris- Established in 1909 ISSN 0012-2378 John Bishop’s column is always ex- tic of the best Aeolian-Skinner organs. An International Monthly Devoted to the Organ, cellent, particularly the recent one on In that Ralph Adams Cram’s landmark the Harpsichord, Carillon, and Church Music his visit to St. Thomas Church in New building was a remarkable American re- York (“In the wind . . .” The Diapason, invention of French Gothic architecture, June 2011, pp. 10, 12–13). But unlike Harrison’s landmark organ dramatically Mr. Bishop, I sincerely hope they do matched with a remarkable American CONTENTS Editor & Publisher JEROME BUTERA [email protected] not fi nd funding to replace this organ. re-invention of three centuries of French 847/391-1045 I have attended this church all of my organbuilding. This is our legacy. FEATURES adult life, have performed on this organ, Has anyone proposing a second facing On an unknown prelude and fugue by Associate Editor JOYCE ROBINSON and have heard it frequently. It seems organ case noticed that the entire build- Gottfried Kirchhoff: Recovering some [email protected] to me there is a lack of understanding ing is asymmetrical, from the bell tower lost pages of his output 847/391-1044 by Maxim Serebrennikov 20 that this organ, even in its present con- to the blank north wall to the galleried Contributing Editors LARRY PALMER dition, is an important part of American south chapel? Dear Harpsichordists: Harpsichord culture and history. The recent language Cram is quoted as being very proud of Why Don’t We Play from Memory? coming from St. Thomas Church is dis- this particular update on French Gothic by Paul Cienniwa 24 JAMES MCCRAY turbing—a new church video says they style. The single case visually balances all The Story of a Home Practice Organ Choral Music “don’t want to patch up an indifferent the decoration opposite. Another organ by Devon Hollingsworth 26 instrument.” Go to YouTube and listen case would throw this off completely. BRIAN SWAGER Carillon to Mme. Durufl é Plays Liszt, recorded There is a reason we have landmarks, NEWS & DEPARTMENTS in 1966. Indifferent is the very last word and one wonders why people want to Editor’s Notebook 3 JOHN BISHOP that comes to mind. radically improve them. Letters to the Editor 3 In the wind . . . They say it is inadequate, but it has We can all respect that the brilliant Here & There 3, 4, 6, 8, 10, 12 accompanied the Anglican service for incumbent wishes for an organ with his GAVIN BLACK Appointments 6 nearly fi fty years in its present form. stamp on it, one containing stops found On Teaching They say it is limited, but the greatest on the previous Aeolian-Skinner. But Nunc Dimittis 10 organists of our time have been enthusi- we must remember history—and the Harpsichord News by Larry Palmer 12 Reviewers John M. Bullard John L. Speller astic about playing recitals on it. Pierre succession of organists. As three-time In the wind . . . by John Bishop 14 Neal Campbell Cochereau inaugurated it. Jean Langlais past dean of the New York AGO, I am On Teaching by Gavin Black 15 Jay Zoller performed the very fi rst recital I heard well aware of the controversy in the late Robert August on this organ. Marcel Dupré chose it 1970s, when the then organist worked REVIEWS to record his own works. It is the most hard to replace this organ with a Holt- Music for Voices and Organ 17 recorded instrument in New York, and kamp tracker. And I remember when his Book Reviews 17 has hosted many, many years of weekly predecessor supervised the compromise THE DIAPASON (ISSN 0012-2378) is published monthly New Recordings 18 by Scranton Gillette Communications, Inc., 3030 W. Salt recitals. The current instrument needs of the Aeolian-Skinner masterpiece. In New Organ Music 19 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. mechanical refurbishment (always did, 1948 his predecessor had Möller signifi - Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 according to Senator Emerson Richards, cantly alter the instrument Ernest Skin- MSG RLY. E-mail:
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission 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 other courses or for the same course offered subsequently. Here & There
Editor’s Notebook
In this issue 2012 Resource Directory In this issue of The Diapason, Max- Each year The Diapason publishes im Serebrennikov discusses a previously its Resource Directory. An organist’s unknown prelude and fugue and makes vade mecum, the directory includes a case for its authorship by Gottfried complete information on providers of Kirchhoff. Paul Cienniwa questions why products and services related to the harpsichordists do not play from memo- organ and all facets of church music. ry. (See Gavin Black’s argument against Mailed with the January issue, it fea- memorization in his column “On Teach- tures complete contact information for ing” in the July and August issues.) De- organ-related businesses and associa- von Hollingsworth chronicles the vari- tions, including phone, fax, e-mail, and ous incarnations and installations of his web addresses. house pipe organ. If your company is already listed in the In his column, Gavin Black tackles the 2011 Directory, please take a moment to topic of teaching interpretation. John check the information. You can update Bishop discusses the July heat wave, or- your listing by visiting our website and gan tuning, Stephen Tharp’s recital at the near the bottom of the left column click- Kotzschmar Organ, and the philosophy ing on “Supplier Login.” There you can of performance. Larry Palmer offers a revise current information, or—if your tribute to the late William Neil Roberts, company is not listed in the current Rossen Milanov and Peter Richard Conte harpsichordist and harpsichord maker. Directory—enter information as a new supplier. If you need assistance, con- Friends of the Wanamaker Organ No. 2, Jongen’s Hymne, and Widor’s Looking ahead tact Joyce Robinson at 847/391-1044 or announces a grand centennial gala Oc- Symphony No. 6 in G Minor for Or- Articles in preparation include an
SEPTEMBER, 2011 3
Sept 2011 pp. 2-19.indd 3 8/10/11 9:01:00 AM The 14th annual Albert Schweitzer The A. Thompson Allen Company of Organ Festival takes place September New Haven, Connecticut has restored 9–11 at the First Church of Christ in the organ to its original condition. Wethersfi eld, Connecticut. A celebra- The four-manual, 67-stop, 58-rank, tion concert opens the festival, featuring 3,905-pipe instrument, Opus 582, Michael Barone, Gregory D’Agostino, was removed in January 2009, and the and Frederick Hohman, as well as the restoration was completed in spring Festival Choir, conducted by ASOF co- 2011. The State of Ohio designated founder David Spicer. Ronald L. Gould, professor emeritus, On Saturday, September 10, the high Youngstown State University, as proj- school division competition takes place ect manager. Dr. Gould and William 9 am–noon, the young professional divi- Conti were the co-chairmen of the or- sion 2–5 pm. Barone, D’Agostino, and gan restoration project. Hohman will be the adjudicators. High The dedication series begins on Sep- school division fi nalists are Mary Pan tember 18 (4 pm), with David Higgs of Burlington, Connecticut, and Jacob and the Youngstown Symphony, Randall Reed of Chapel Hill, North Carolina. Craig Fleischer, conductor. The pro- Young professional division fi nalists are gram will include solo organ works, the Christopher Ganza of Norman, Okla- Poulenc Concerto for Organ, Strings homa, Justin Maxey of Rochester, New and Timpani, and Saint-Saëns Sympho- York, and Ian Tomesch of New Haven, ny No. 3 in C Minor (the “Organ” Sym- Connecticut. Sunday, September 11, phony). On October 9 (4 pm), a solo features worship services, a masterclass, Methuen Memorial Music Hall recital by Thomas Murray will feature and the presentation of awards. For in- Steiner-Reck organ, California Lutheran music by Bach, Elgar, Mendelssohn, formation: 860/529-1575 x209. and 4, Douglas Major, with trumpets. University Mozart, Rimsky-Korsakov, Schumann, For information:
The Houston Chamber Choir pres- vine; December 10 and 11, Christmas at ents its 16th season: September 20, Ave the Villa, Chapel of the Villa de Matel; Maria—Music of Devotion to Our Lady, March 24, A Dome of Many-Coloured Co-Cathedral of the Sacred Heart; Octo- Glass—music of Brahms, David Ash- ber 29, Giovanni Paolo Colonna, Psalmi ley White, and Dominick DiOrio, the ad Vesperas (1694), St. Philip Presbyte- Church of St. John the Divine; May 19, rian Church; December 3, Magnifi cat music of Leonard Bernstein, the Church and Messiah—Music of Schubert and of St. John the Divine. For information: Handel, with River Oaks Chamber Or- 713/224-5566; chestra, the Church of St. John the Di-
Aaron James, Sarah Svendsen, and Stephen Boda
The National Organ Playing Com- third undergraduate year at the Univer- petition of the Royal Canadian College sity of Toronto Faculty of Music as a stu- of Organists was held during the national dent of Patricia Wright. convention in Hamilton, Ontario, July Third Prize, the Muriel Gidley 16–21. Three fi nalists were awarded Stafford Prize: Stephen Boda, who grad- prizes at convocation on July 20. uated with his BMus degree from the First Prize, the Godfrey Hewitt Me- University of Toronto Faculty of Music morial Prize: Aaron James, who received as a student of John Tuttle. his Master of Music degree from the The RCCO National Organ Playing Eastman School of Music as a student of Competition is held every two years and Hans Davidsson. is open to Canadian organists who are Second Prize, the Casavant Frères members of the RCCO and are 30 years Prize: Sarah Svendsen, who fi nished her of age and under.
4 THE DIAPASON
Sept 2011 pp. 2-19.indd 4 8/10/11 9:01:55 AM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Petersburg, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Ithaca, New York Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak David K. Lamb Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Organist/Choral Conductor Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea Columbus, Indiana
Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Anna Myeong Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Organist/Lecturer Baltimore, Maryland SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois University of Kansas
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Stephen Roberts Organist Organist/Lecturer Harpsichord & Organ Luther College Organist/Lecturer Western CT State University Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Danbury, Connecticut
Brennan Szafron Marina Tchebourkina Michael Unger Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Organist/Harpsichordist Organist/Musicologist Organist/Harpsichordist Organist/Musicologist Organist Organ/Piano/Harpsichord Spartanburg, South Carolina Paris, France Rochester, New York Speyer, Germany Charleroi, Belgium U of Alberta, King's UC www.ConcertArtist Cooperative.com Founder and Director, Beth Zucchino, Organist/Harpsichordist/Pianist 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
Sept 2011 pp. 2-19.indd 5 8/10/11 9:03:00 AM The Cathedral Church of the Ad- of its Aeolian-Skinner organ: October pm), Ancient Offi ce of Tenebrae. For Figueroa Deck, SJ; March 15: Praying vent, Birmingham, Alabama, presents 2, Ken Cowan; 10/31, Michael Britt, information: Anthony J. DiCello, Cathe- and Singing the New Grail Psalter, Ab- its music series: September 23, pianist with silent fi lm Phantom of the Opera; dral Music Director, 513/421-2222; bot Gregory Polan, OSB; April 19: What Robbie James; October 7, Chanticleer; November 30, Masterworks Chorale of
6 THE DIAPASON
Sept 2011 pp. 2-19.indd 6 8/10/11 9:03:32 AM HE Diane Bish TSIGNATURE SERIES Allen’s QuantumTM technology, combining Acoustic PortraitTM and Stoplist LibraryTM with 7 complete stoplists in this exciting instrument encourages organists to achieve new heights of musical splendor! Special finishes, custom high-gloss accents and a Diane Bish Signature Series brass plaque are available on each handcrafted console along with other unique touches personally chosen by Diane Bish, “The First Lady of the Organ”.
DB-390 ~ 80 Stop Three-Manual Console Also available in 50 Stop and 58 Stop Three-Manual Consoles Stoplist LibraryTM Voices: Classic Allen English Cathedral Orchestral Cavaillé-Coll Schlicker Arp Schnitger Aeolian-Skinner Please contact an Allen representative near you for further information about our instruments and music products.
Allen Organ Company, 150 Locust Street, Macungie, PA 18062 (610) 966-2202 www.allenorgan.com in Manhattan since 1989, where he over- saw a program of more than 400 services annually, led the church’s professional choir, and developed a 45-voice volun- teer parish choir. With graduate and un- dergraduate degrees from the Juilliard School in organ performance and choral conducting, Tritle also directs the Orato- rio Society of New York and Musica Sa- cra, and is Director of Choral Activities at the Manhattan School of Music and a member of the graduate faculty of the Juilliard School—capacities in which he will continue. Tritle comes to the cathe- dral three years after its post-fi re rededi- cation and the restoration of its Great Emma Lou Diemer Organ, built in 1911 by Ernest M. Skin- ner, and enlarged and rebuilt in 1954 by Peace”; I Have Decided to Follow Jesus; Frank Ferko G. Donald Harrison of the Aeolian-Skin- Craig Cramer I Danced in the Morning; Three Carol ner Organ Company. Lullabies; and Variations on Old One Frank Ferko announces the release Tritle will work at the cathedral with König organ at the Basilika Steinfeld. Hundredth [piano and organ duo]. of a new Hyperion compact disc of such various artists in residence as the During the month of July he returned Also at the convention, at the Morn- American choral music, entitled Beyond Forces of Nature ensemble and the Paul to Europe for concerts in Germany and ing Prayer service at St. Mark’s Episco- All Mortal Dreams, which includes his Winter Consort. He will direct the St. Scandinavia, including concerts on the pal Church in Berkeley, organist Lenore Hildegard Triptych, for unaccompanied Francis Day and Blessings of the Animals Schnitger organs in St. Jacobi Kirche in Alford played as a postlude Diemer’s Fi- double choir, in its entirety. The per- and Earth Mass, the music of cathedral Lüdingworth, and the Ludgerikirche in esta, a celebratory, rhythmic piece pub- forming ensemble is the Choir of Trinity liturgies, and serve as director, mentor, Norden, the Cahman organ in Leufsta lished in the collection Frauen Kompo- College, Cambridge, conducted by Ste- and inspiration to cathedral school and Bruk, Sweden, and in Denmark at the nieren (Female Composers—22 Organ phen Layton. The Hildegard Triptych adult choristers. Roskilde Cathedral on the historic organ Pieces from the 19th and 20th Century), was Ferko’s fi rst commissioned work for restored by Marcussen in 1991, and at available from Schott Music Publish- the Dale Warland Singers. Composed Fredricksborg Castle on the Compenius ers. Another German publisher, Certosa in 1997, it received its world premiere organ of 1610. Verlag, has recently published two other in March 1999. The Choir of Trinity Here & There organ works by Diemer: Lauda Anima College, Cambridge has been rated by During the San Francisco Region IX and Festival Voluntary for the Feast of Gramophone magazine as one of the convention in July, Emma Lou Diemer Saint Mark. Certosa Verlag, whose edi- top fi ve choruses in the world. For more Craig Cramer, professor of organ at and Carson Cooman presented a work- tor is Isolde Weiermüller-Backes, has information about Beyond All Mortal the University of Notre Dame, returned shop at Christ Episcopal Church in Por- published several of Diemer’s chamber Dreams:
Donald VerKuilen, Frank Rippl, Paul Weber, and Gabriel Peterson (photo by Craig Augustine)
On Sunday, May 22, Frank Rippl Father Patrick Twomey, Rector of All celebrated his 40th anniversary as or- Saints, pointed out that Mr. Rippl is the ganist/choirmaster at All Saints Episco- longest serving staff member in the 155- pal Church in Appleton, Wisconsin. He year history of the parish. was honored with a special Eucharist Frank Rippl is a graduate of Lawrence Christopher Houlihan with Houli-Fans at Notre-Dame de Paris at which the choir sang Handel’s “Let University Conservatory of Music in Ap- Their Celestial Concerts All Unite” pleton, where he was an organ student Houli-Fans from nine states and Eu- greeted by Houli-Fans from England, from Samson, and Byrd’s Ave Verum. of Miriam Clapp Duncan, and later with rope attended Christopher Houlihan’s France, Alabama, California, Connecti- In addition, a former student, Dr. Paul Wolfgang Rübsam. He earned his mas- performance at Notre-Dame de Paris in cut, Florida, Kentucky, Massachusetts, Weber, and a current student, Don- ter’s degree at the University of Denver, July. He was concluding a series of re- New York, Texas, and Virginia. Christo- ald VerKuilen, did most of the organ and did additional study at the Royal citals in Scotland and France, and was pher Houlihan is represented by Phillip playing, and a young member of the School of Church Music in England. He awarded a very rare standing ovation by Truckenbrod Concert Artists,
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8 THE DIAPASON
Sept 2011 pp. 2-19.indd 8 8/10/11 9:04:15 AM
stands unaltered and in excellent condi- in medicine, she resumed organ play- tion as one of the fi nest examples of the ing and recently performed her eighti- Hook brothers’ work of that time. Robert eth birthday celebration concert at the Newton of Andover Organ Co. has cared University of Nevada, Las Vegas. She for the instrument over many years. played the same program at the AGO For many years and until recently, the Region IX convention in San Francisco church sponsored an annual summer- (First Congregational Church, Berkeley, time organ recital. Along with the two where she played her winner’s recital performers for October 2, other artists in 1952), July 2011. For information: over the years have included Earl Miller,
www.mander-organs.com Imaginative Reconstructions
10 THE DIAPASON
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12 THE DIAPASON
Sept 2011 pp. 2-19.indd 12 8/10/11 9:06:12 AM Ralph Kirkpatrick, Gustav Leonhardt, and the many artists sponsored by the Southern California Baroque Associa- tion, of which he was president. His solo harpsichord recordings covered a wide range of composers and styles: Byrd to Bach, Scott Joplin rags (“even be- fore they were discovered by E. Power Biggs,” Neil pointed out), and his be- loved French repertoire, including pe- riod transcriptions from Lully and other solo keyboard works by D’Anglebert, played stylishly on two then-recent WNR’s Portrait of Dr. Bell (2002) Roberts & Brazier instruments for a 1981 Nonesuch disc. Obviously, it is ex- concentration on the upper part of Dr. tremely rare for a professional player to Bell’s face is certainly apt, striking, and build his own harpsichord. (I can recall unexpected. The unique 2002 painting only the young Tom Pixton doing a simi- belongs to Los Angeles collectors Kay lar thing.) and Jack Lachter; thus, the rest of us, Penning a laconic dedication on my including Dr. Bell’s family, must remain complimentary copy of that long-play- satisfi ed with a print edition of ten num- ing record, Neil wrote, “I’d better get a bered examples. good review!” Neil was born in Iowa on June 2, Accomplished, dear friend! 1929. He succumbed to lymphoma in Finally, to complete an arch form of Los Angeles on April 7, 2011. Concerts associations, my May 2011 harpsichord had taken him to central Europe, Tai- recital in Santa Rosa, California, was wan, Tahiti, Mexico, and the Casals Fes- played on the 1988 Franco-Flemish tival in Puerto Rico, in addition to the double instrument belonging to Con- continental United States. Memorable cert Artist Cooperative founder and career moments included frequent ap- director Beth Zucchino. It seemed pearances on American Public Media, appropriate to add one of the most in- especially those on Bill McLaughlin’s tensely moving commemorative pieces “Saint Paul Sunday.” from the 17th-century solo repertoire Roberts’ musical growth was infl u- to this program, Louis Couperin’s in- Roberts & Brazier Franco-Flemish harpsichord, 1988 (photo by Beth Zucchino) enced by harpsichordists Alice Ehlers, effably beautiful F-major Tombeau de Variations—with repeats! Both from ex- perience and this anecdote we learned to put strict time limits in place for such closing events! Invited back for the next summer of- fering at Fort Burgwin, Neil was side- lined by an attack of kidney stones only days before the event, but hoped to be able to travel. It was not to be: an early morning call from Tony on day one of the summer program relayed the bad news that they would be unable to make the trip. I was fortunate to fi nd Susan Ferré as an immediate replacement, but with the largest enrollment of all the seven- teen workshops, and only the two harpsi- chords that we had brought from Dallas, this extremely wet week proved a chal- lenge for all of us. The Roberts-Brazier duo was sorely missed. Neil and Tony did have one subse- quent summer outing at the Fort dur- ing the fi rst segment of a two-week workshop scheduled in July 1990. I did not observe Neil’s insightful interac- tion with the small group of students, since he had made it clear that he did not want me to attend his classes, but I remember the sensitive French works on a duo fl ute and harpsichord recital with Tony as the highlight of the week’s faculty concert offerings. I had assumed that most of the students would fi nd the opportunity—to learn both from Neil’s teaching and from a second week in which Susan Ferré would coach them in continuo playing with her Texas Ba- roque Ensemble artists—an irresistible package deal. But, in reality, half of the class enrolled in either one or the other week, meaning that our expenses dou- bled while our tuition income basically halved, and we closed the books deeply “in the red.” A double session was not offered again. The national convention of the Amer- ican Guild of Organists was held in Los Angeles in summer 2004. It served as a focal point around which to organize pre- and post-meeting stays with Neil and Tony, memorable both for the vo- cal interjections of Gus, their parrot, and for the opportunity to observe Neil’s new interest in non-harpsichord- related painting. During our visit Neil was frequently to be found in the stu- dio, working on his evocative watercol- ors. We departed Burbank’s Bob Hope Airport that July with new purchases for the Palmer-Putman art collection: the framed sketch of a friend relaxing with his three dachshunds, and a lim- ited edition signed photograph of Neil’s Portrait of Dr. Bell, violinist Joshua Bell’s psychologist father Alan, a work that continues to elicit strong reac- tions from those who see it. If the eyes truly are the gateway to the soul, Neil’s
SEPTEMBER, 2011 13
Sept 2011 pp. 2-19.indd 13 8/10/11 9:06:46 AM In the wind . . . by John Bishop
Gilbert Martinez, with Neil Roberts and Ann Walton in the background, Joni Mitchell reclining, Fort Burgwin, 1988 (photo by Clyde Putman) We’re havin’ a heat wave Stephen Tharp at the Kotzschmar Organ It’s hot. I’m writing in mid-July from the coast of Maine, where we usually en- a church with exactly this schedule. It ally hot summer Sunday you can play a joy cool ocean breezes. But records are was a delight because there was no choir perfectly respectable worship service being set. It was 98 degrees in Portland in the summer, and the services were without using the reeds. yesterday and it’s 98 degrees at home an hour earlier. I was active in a sailing § today. I said ocean, didn’t I. That means club in those days and we ran races every humidity. A few minutes ago, the meteo- Sunday, so it was handy to be fi nished It’s a privilege for me to serve on the rologist on the radio said the humidity is with church at 10 a.m. We moved the Board of Directors of the Friends of the “about as high as it can go.” Like most church’s wonderful piano from the sanc- Kotzschmar Organ (FOKO) in Portland, desk-days, I’m talking on the phone with tuary to the chapel each year so I could Maine. It’s one of two instruments in the people all over the country, and everyone play on a “real” instrument for the sum- country with a municipal organist on the says it’s terrible today. Electric utilities mer—a great opportunity to keep my bench (Ray Cornils in Portland and Car- are limiting power even though they’re fi ngers around my piano repertory. The ol Williams in San Diego, California) and WNR and Katherine Roberts Perl, May dealing with record high demands. Hos- permanent instrument in the chapel was it’s a popular beloved civic icon. It was 2010 pital emergency rooms are busier than an aging and low-end electronic organ. built by Austin in 1912—the centennial normal. Several of the church offi ces I Something about it meant that every year is coming up—and has 100 stops Mr. Blancrocher, as my way of remem- tried to call today had messages on their A# in all the “stops” was out of tune and and fi ve manuals. The people of FOKO bering Wm. Neil Roberts. phones saying they had closed early in the dealer/technician said it couldn’t be work diligently to maintain the instru- Among Neil’s gifted students, two out- order to save energy. fi xed. There was a sprinkler head above ment and present up to twenty concerts standing ones, now professionally active For fun (or longing) I looked at the it that never leaked. each year with a variety of international in the San Francisco Bay Area, are Gil- website of the National Ocean and At- The problem with this summer sched- stars. In addition, the organ is used in bert Martinez (attracted to that fi rst Fort mospheric Administration (NOAA) to ule at my church involved the huge performances of the Portland Symphony Burgwin Workshop through Neil’s infl u- learn that while it’s 98 here, it’s in the and popular Sheraton resort nearby. A Orchestra, Choral Arts Society, and for ence) and Katherine Roberts Perl (who high 60s in Nome, Alaska and around 70 couple would book one of the banquet many high school and college graduations continues Neil’s rare combination of in Helena, Montana. But it’s 90 in De- rooms for their wedding reception and each year. You can see a full schedule of distinguished harpsichord performance troit, 103 in New York City and 104 in ask the wedding consultant if there was a concerts, specifi cations of the organ, and and skillful technical expertise in the Gilbertsville, Pennsylvania. pretty church nearby. We had dozens of information about educational activities maintenance of the instrument), both weddings. Not bad for the pocketbook, at the website
14 THE DIAPASON
Sept 2011 pp. 2-19.indd 14 8/10/11 9:07:23 AM As Stephen played through countless combinations of stops, we reveled in the beauty of the sound. But it was hot. Re- member, it was 98 degrees outside. It might have been fi ve degrees cooler— or less hot—indoors, but it was hard to tell. The organ sure knew it was hot. The reeds, and especially the gorgeous harp, stayed right where they belonged, and the fl ues went to the heavens with a fi - ery tail. No worries. The stakes were not high, the organ sounded terrifi c, and we were the richer for the experience. The cathedral musician, Albert Melton—my colleague on the FOKO board—was on vacation and the offi ce staff welcomed us warmly. Congratulations to Nick Thomp- son-Allen and Joe Dzeda and the staff of the Thompson-Allen Company for their wonderful work and obvious deep re- John Bishop and Stephen Tharp on the Damariscotta River spect for Mr. Skinner. Congratulations to Albert and the people of St. Luke’s for cess. Sometimes—most of the time for Southwestern Baptist Theological Semi- record because of those traps Bach left their appreciation of the great artwork most of us, in fact—the choice of venue nary in Texas) to give a blessing as the us where if you change a B-natural to that is their organ. and organ comes fi rst. This part of the meal began. Moyers folded his hands, a B-fl at you jump back sixty measures! Now let’s have some cooler weather. Q interpretive process is turned upside bowed his head, and began. Johnson Stephen’s performance had none of down: we choose music that suits the in- bellowed, “Speak up, I can’t hear you.” that. All he did was give us an energetic strument and/or the room, or we make Moyers replied, “Mr. President, I wasn’t rendition, clearly defi ning the architec- decisions about how much we feel that addressing you.” tural structure of the piece, sharing the the music needs to be an exact fi t for the When we perform on a concert stage trickery of canon and triple-invertible On Teaching situation or how much we can bend and or in recital at the church on a Sunday counterpoint in the relative minor, us- by Gavin Black stretch and compromise. This is all part afternoon, we are working to create ing Bach’s toccata-fl ourishes as bridges of the interpretive process, and it shares a harmonic unity between composer, that connected those mile-post pillars. It with the rest of that process the fact that performer, audience, and instrument. was Bach’s music, clear as day, but it was Thoughts on teaching different players approach it quite differ- The performer who is inspired by the Stephen’s performance. As he played, he interpretation ently from one another. instrument and the music can bring the showed us what he likes about the piece. Interpretation is fascinating from audience along on a magic carpet ride. I like it that way. many points of view. These include the Conveying interpretation What’s the energy that makes the carpet Stephen, along with many of our bril- relationship between interpretation and to students fl y? It’s the energy that the performer liant young players, is blessed with tre- technique, how different approaches to For teachers, primary questions about draws from the experience and shares mendous technical facility, honed and the problems of authenticity affect inter- interpretation or interpretive stance are with everyone in the hall. Have you nurtured by countless hours of practice. pretive choices, the history of different joined by questions about how to intro- ever attended a concert and found that I recall plenty of performances with interpretive schools, the many elements duce students to matters of interpreta- you were exhausted when it was over? enough shaky moments that I would of interpretive choices—tempo, registra- tion. These questions start with the over- That’s because the energy transmitted worry as the player approached each tion, phrasing, articulation, rhythm, ruba- riding one: whether or not a teacher by the performer passed through your treacherous passage. It’s hard to enjoy to and agogic accentuation or the relative should hope or expect or even insist that consciousness and body, sapping your a performance if you can’t trust the lack thereof, and more—and in general, his or her students take a similar inter- energy in the process. performer. We are extremely fortunate the strange phenomenon of how differ- pretive approach to that of the teacher. Have you ever wondered about the to share the instrument with a grow- ent performances of exactly the same It often seems almost routine to do so. In word recital? The dictionary in my Mac- ing breed of brilliant organist/musician/ notes can be. listening either to established or to up- book says, “to read aloud or declaim from performers whose love of the instru- With organ music in particular, inter- and-coming players, we often expect to memory.” It’s a standard word in our or- ment and musical instincts allow “just pretation begins with the choice of in- be able to tell who studied with whom gan lexicon, as well as those of singers, anyone” to appreciate the organ to the strument and the venue—in effect, this based on what the student’s interpreta- pianists, and almost any solo musician. If highest degree. is the beginning of the registration pro- tions are like. However, it is by no means we get fussy about etymology, a recital by defi nition would not be an exciting event, Be all you can be, but simply a retelling of something creat- but be who you are ed in the past. That would be the essence Tradition says that a symphony con- of an “Urtext” performance—playing ductor mounts the podium with white the music as the composer would have tie and a cutaway jacket with tails. In the played it (to the best of our research and 1980s, Seiji Ozawa startled the conserva- ability) on an organ that the composer tive blue-blood crowd in Boston with his would have recognized from a score pre- trademark white turtleneck shirts. Her- sumed to be as authentic as possible. It’s esy. I’m sure he wasn’t the fi rst to break hard to fathom resisting the temptation tradition on those exalted steps, but he to add any of yourself to that mix, and the sure made a noise. In the 1960s and ’70s, best historically informed performances E. Power Biggs and Virgil Fox carried on are those in which the player manages their celebrated feud, one in a tux, the to inject his or her personality into the other with sequins and a scarlet-lined music, allowing the energy to fl ow, and black cape. What does the performer’s projecting the excitement of the music. dress have to do with the performance? Bach, Buxtehude, and Bruhns were all Does it make the music sound better? great improvisers, and I bet their perfor- Does it help the audience understand mances were bawdy and thrilling. Bach the depth and excitement of the music? would have been the master at slipping Does it help the performer defi ne for his Happy Birthday to a violinist during an or her own self who and what is being offertory improvisation, no doubt in ret- given to the audience? Does it honor the rograde inversion and canon. dignity and majesty of playing great mas- Using the strict defi nition, does a terworks in a huge acoustic space? recital allow for any creativity? Is the § performer licensed to add to the mate- rial being recited? Is the listener free to When the visit was ending, I drove feel moved emotionally? I remember the Stephen and Lena to the Portland Inter- terror of being required to recite a few national Jetport (international because verses of a Longfellow poem in elemen- of daily fl ights to Nova Scotia, jetport tary school. I was well into my thirties because they have jets!). We stopped before I felt comfortable speaking be- in Portland for lunch and dropped in to fore a large group. St. Luke’s Episcopal Cathedral to see We’ve all heard thrilling renditions of the Skinner organ as restored by the the great classics of organ literature. But A. Thompson-Allen Company of New haven’t we also heard boring, rote reci- Haven, Connecticut. It’s a modest four- tations of pieces when half the audience manual organ with 47 ranks that include knows they could have done better? Is seven ranks in the chapel at the rear of that the best way to project our magnifi - the nave that doubles as the Echo of the cent, thrilling, all-encompassing instru- Chancel organ. It’s a beautiful building, ment to the public? and the organ is a knockout. The Vox As part of his concert on Tuesday, Angelica in the Echo absolutely disap- Stephen Tharp played Bach’s Toccata pears when the shutters are closed, and and Fugue in F Major. That’s one of the full organ is a mighty blast of gor- my life pieces—you know, those pieces geous tone. The extreme range of vol- you played for required student perfor- ume and the possibility of truly seamless mances in school, the equivalent of fi nal crescendo from the softest (imaginable) exams for organ performance majors. I string to the thrilling fortissimo and back worked on it for months, did a harmonic again are perhaps the most impressive theoretical analysis of it, memorized it, facets of the wonderful organs built by and offered the longest performance on Ernest Skinner.
SEPTEMBER, 2011 15
Sept 2011 pp. 2-19.indd 15 8/10/11 9:09:11 AM clear that this is necessary or good. I will students end up doing interpretively, as counterpoint and harmony is infi nite, as whole dynamic of accepting, rejecting, suggest below that teachers can be very long as they feel that the act of playing is the set of possible performances by a debating, and evaluating the specifi cs of happy with a wide variety of interpretive music and making choices is satisfying to performer who has not paid any explicit what we were told to do by (especially) approaches on the part of their students. them. This is largely a matter of philoso- attention to those things.) As soon as we an admired teacher can be a distraction Another question might be put like this: phy, and I don’t feel that it is necessarily cross over into saying to a student some- for years or decades. Of course, every if a teacher will not tell a student how to the right way for every teacher to look at thing like: “of course you must phrase teacher has to become comfortable with interpret and perform a piece—or a type it. I also honestly don’t know what it says the subject the same way every time it his or her own approach to these things. of repertoire or repertoire in general— about other dimensions of my underly- comes in,” we have left the realm of the My specifi c advice is just this: be open then how can that teacher help the stu- ing attitude. Do I feel this way out of objective. This is one way of looking at to the possibility of suggesting less and dent work out an interpretation of that modesty—“my way is no better than oth- it; however, it would also be possible to letting the students explore more, and repertoire, or how can the teacher help er ways”—or something quite the oppo- argue that the “sameness” of a theme make suggestions, when you make them, the student become a vivid and convinc- site—“my way is so special that you need from one instance of it to another lies in as lightly and informally as you can, con- ing interpreter of music in general? Yet not even attempt it”—or selfi shness—“it the notes themselves, and that phrasing sistent with getting the point across. another question is what sort of approach would be better if my students played and articulation of that theme can rea- Here are a few suggestions for helping to interpretation to expect from students like me, but I will withhold the infor- sonably vary with the context. My point students to think about interpretation of different ages or levels of skill or expe- mation that they would need to achieve here is not to resolve a question like that, and learn about the effects of different rience. An intriguing question, to me, is that”—or fear—“if I teach my students but just to suggest that we should all be interpretive choices. this: does it matter whether or not a per- how to play like me they will do it better as clear as possible as to what is neutral 1) Especially for beginning students, formance that a student gives is effective than I do, and render me superfl uous”— and objective and what refl ects our own but also for any student who is not yet interpretively—or appeals to any par- or all of the above or none of the above? habits or biases. It is wonderful to share very familiar with a particular kind of ticular listener’s taste—at the moment I am, in general, inordinately in favor of all of this with our students, but only if repertoire, play something for the the performance is given, or is it more people thinking for themselves: my stu- we are clear ourselves and candid with student two different ways, and ask important that the performance be part dents, other players, other teachers, ev- them about what we are sharing. simply which he or she likes bet- of the long-term learning process? These eryone—not just about music, but most ter. With a line—recurring motive or two things are not always incompatible defi nitely including music. A sample interpretation not—the two ways will probably be two with each other, of course, but they are The more a teacher believes that his Many teachers who share my feeling different phrasings or articulation pat- different, and they might suggest differ- or her approach to interpretive matter is that they do not aspire to have their stu- terns. In a full-textured passage, the ent kinds of input from the teacher. That based on objective truth, the more likely dents end up playing in their (the teach- differences might be of tempo or regis- is, if it is important that a given perfor- it is that the teacher will want to try to er’s) style still feel that the best way to tration or again articulation or perhaps mance by a student be effective inter- pass that approach on to students. And, teach interpretation is to ask the student arpeggiation or something about rubato pretively in a certain way, then it might as a subset of that, we all have an obliga- to copy—more or less—the teacher’s or timing. The differences should be be necessary for the teacher to coach tion to pass on to our students anything performance for the time being and then noticeable but not a caricature, and the the student in that way of playing the that we honestly believe to be true— to evolve later on from that to their own student should listen carefully, and then piece. If the goal of learning to perform objectively true or likely to be so. A style and approach. This makes sense feel absolutely free to choose whichever a particular piece is geared only to the substantial amount of what falls into this based on the notion that an inexperi- he or she prefers. student’s longer-term development, then category is information related to com- enced player—a student, especially a 2) Invite students to listen not just it might be better to allow the student to posers’ intentions or performance prac- beginning student—does not yet have to what different interpretive deci- experiment, try things, listen, and learn, tices. I wrote at length about “authen- a basis of knowledge for shaping inter- sions are like, but also to what they even if along the way this results in a per- ticity” in my column of April 2010. In a pretations. This approach is also based do. For example, does a line in an inner formance that the teacher, other listen- sense, the principal thing is this: the most on the idea that the best way to learn to voice become easier to hear if it is articu- ers, or perhaps even the student looking thorough knowledge about composers’ think about performance and interpreta- lated one way rather than another? Does back on it later won’t like. intentions and the circumstances of the tion is to have the experience of doing it become easier to keep a sixteenth-note The question of whether a teacher composition and initial performances of something effective, and then either to line steady if the accompanying chords should want his or her students to end a piece places surprisingly few limits on react against it or to embrace it—or some are articulated one way rather than an- up—as mature performers—playing the interpretive choice. That is, such knowl- mixture—later on, on the basis of other other or registered one way rather than way the teacher does, that is, with respect edge may change the direction or nature experiences and increasing knowledge. another? Does a bit of rubato make a to interpretive choices and overall inter- of interpretive choices, but it does not In fact this is probably the most com- passage sound softer, or more suspense- pretive stance, is philosophical. (I as- effectively narrow the range of choice mon approach and attitude, and most of ful, or just static? sume that every teacher wants his or her or tend to make different performances those who expect their students to copy 3) Ask students to listen—careful- students to be as competent technically more similar to one another. This is like a the teacher’s interpretive ideas also fully ly—to at least six different perfor- and as masterful in performance as that comparison of infi nities: the set of all pos- expect those students to move on from mances of whatever they are working student can possibly be, whether that is sible performances of a piece is infi nite; those ideas later on. I imagine that any on. (Important note: listening to one per- more than the teacher, the same, or less.) the set of all performances that respect approach to teaching interpretation has formance is risky. It tends to lead to sub- Why is the teacher teaching? What does whatever is known about the composer’s to include at least a dose of direct sug- conscious mimicking of that performance, he or she consider important about mu- fi ngering and pedaling practices, tempo gestion from the teacher to the students. which can then have the same diffi cult-to- sic, about organ playing for church or for preferences, registration techniques, Even when those suggestions are less shake weight of authority—perhaps for concert? What kind of contribution does etc., is also infi nite. than direct, they are not entirely absent. life—that performance suggestions from the teacher want to make to the history Analysis—contrapuntal, harmonic, or I myself have never said to a student a teacher can have.) This listening can of the organ over the next few decades other theoretical analysis—can be an- “you should phrase this subject this way” focus on a passage rather than a whole or beyond, and does that contribution other source of a feeling on the part of or “play this eighth-note line detached.” piece. Sometimes ask the student to write depend on nurturing a particular style of teachers that we have something objec- However, when I invite students to play down anything they can think of to say performance or approach to interpreta- tive to share with our students that might contrapuntal voices separately and in about each performance, but sometimes tion? Does the teacher feel that students affect performance. Again, I think that it pairs, or to play a line omitting the unac- don’t, so that the balance between plea- represent the teacher: that colleagues, is very important to share such things cented notes, or to listen for the bloom sure and work remains healthy. audiences, and possible future students with students, and I believe that this in harpsichord sound when shaping a 4) Ask the student to listen to a will judge the teacher based on how ex- can be done in such a way as not to limit melody or a bass line, or to change fi n- large number of performances of a isting students play—not, again, with re- choices. For example, it is one thing to gers on repeated notes, or indeed just short passage, paying very careful atten- spect to competence or mastery, but with notice fugue subjects or other recurrent to play with a light touch, I am moving tion to something specifi c. For example, respect to interpretation? If so, is this ap- themes. (As I have written more than the student away from some interpretive how do a dozen different players treat propriate, or is it placing a responsibility once, I believe that noticing anything that possibilities and towards others. the rests between the several phrases on on the students that is burdensome? happens more than once is an extremely My own reluctance to suggest— the fi rst page of the Bach d-minor Tocca- These are questions that every teacher important and effi cient tool for learning let alone require—specifi c interpre- ta? How do several different performers must answer for himself or herself—or, pieces.) However, it is something else en- tive choices stems from a feeling that treat the timing of the manual notes in perhaps more importantly, must ask and tirely to move from noticing such things such suggestions from a teacher have a the fi rst sixteen measures of the Franck think about. The answers may change to reaching any hard and fast conclusions tendency to have too great a weight of b-minor Choral? (I once, many years over time, and the questions may be about what our analysis tells us to do in authority. We may honestly want our ago, sat with the great Canadian teacher supplemented by others—other ways performance. (Again, comparative infi ni- students to move beyond those sugges- and performer Mireille Lagacé, listening of looking at it. I myself long ago came ties: the set of possible performances by tions, but the weight can be harder to to the way that several different harpsi- to feel that I don’t care at all what my a player who has analyzed a piece for shake off than we expect it to be. The chordists handled the transition from the The right organ at the right price We’ll help you chose from the hundreds of vintage organs available through our website. We can deliver it to the organ builder of your choice or refurbish, revoice, and install it ourselves.
“In choosing OCH, I know that the work has been done with the utmost knowledge, enthusiasm, care and integrity.” David Enlow, Sub-Dean, NYCAGO Organ Clearing House www.organclearinghouse.com or call John Bishop at 617-688-9290
16 THE DIAPASON
Sept 2011 pp. 2-19.indd 16 8/10/11 9:09:44 AM fi rst half to the second half of Variation ing them sing separately on occasion or late for the second verse, which is in free rhythms and note choices during 16 of the Goldberg Variations. It was ex- even once a month? Continue to use the four parts. The style changes in the key- the third verse of the work. This gentle tremely interesting and rewarding.) mixed choir for those special occasions board part; the vocal music is homopho- setting will have immediate appeal and With items 3) and 4) it can be valu- such as Christmas, Easter, Rally Sunday, nic. The last verse maintains the same will sound far more diffi cult than it is. able to suggest that several students do etc., and use just the women’s choir for melody in the soprano but with a new these things together and discuss what regular services. There is a danger that arrangement for the other voices. This Lift Thine Eyes, Felix Mendelssohn they hear. Of course, nowadays it is easy they could become the primary group, popular hymn tune will be a favorite for (1809–1847), arr. Becki Slagle Mayo. to fi nd many performances to listen to of and in most cases that is not recom- the singers and the congregation. SSA and piano, Choristers Guild, just about anything. As I am writing this, mended. Keep the SATB choir as the CGA 1213, $1.85 (M). YouTube has over 7,000 performances of standard “Chancel Choir” and without Ave Maria, K. 544, Wolfgang A. Mo- Mendelssohn’s popular work from the Bach d-minor Toccata, but also sev- calling the alternate a “Women’s Choir” zart (1756–91). SSAA unaccompa- Elijah uses the same vocal material but eral performances of each of a few less refer to the alternate performances by nied, GIA Publications, Inc., G-6602, has a fl owing keyboard accompaniment famous pieces for which I searched. This the “Women of the Choir”. $1.50 (M-). added to support the singers. Both changes all the time. Q In suggesting the use of SSA singers This is a four-part canon that uses German and English texts are provided here in American churches I am re- only the Latin two-word title for the for performance. Gavin Black is Director of the Prince- minded of the words of another Ameri- entire text. Substitutions are possible ton Early keyboard Center in Princeton, can, Mark Twain, who once was asked, so that the canon could be sung by I Am Jesus’ Little Lamb, Mark Shep- New Jersey. He can be reached by e-mail “In a world without women, what would various combinations of voices and/or perd. Unison/two-part, keyboard, at
Built in 1958 and dedicated by Virgil Fox, this 38 rank instrument was a partial gift of Joseph S. Whiteford, past president of Aeolian-Skinner. The console shell was taken from an historic instrument at the Bruton Parish Church in Williamsburg, Va. In 2010 a complete renovation of the organ was made possible by a generous gift from college alumnae Louise S. Widdup. The Di Gennaro-Hart Organ Company of McLean, Va., completed the renovation with tonal regulations by Lawrence Trupiano and Bynum Petty. This performance will kick off a year of celebrations including the silent film accompaniment of Phantom of the Opera by Michael Britt; a performance of the Kodaly Laudes Organi by the Masterworks Chorale of Carroll County; a performance of music for organ and brass featuring college organist Ted Dix; and a recital featuring distinguished organ alumni.
www.mcdaniel.edu
SEPTEMBER, 2011 17
Sept 2011 pp. 2-19.indd 17 8/10/11 9:10:12 AM The vast, reverberant spaces in stained on page 41, attributed to Saint-Saëns, drawings, and photographs, along with at the end of the recording. glass and stone, which are the churches former child prodigy, and scientist who very helpful annotations, corrections, I am particularly impressed also with of Paris, and the monumental musical contributed scholarly articles to learned and enlightening glosses provided by JAV Recordings’ presentation of this re- instruments of Aristide Cavaillé-Coll journals, ranging from archaeology to Rollin Smith. Appendices include two cording. The compact disc is placed in- inhabiting them, inspired the creation insects, who could play the piano sona- articles by Stiven written for The Etude side a colorful cardboard folder, with the of that magnifi cent repertoire of organ tas of Beethoven from memory, and who Music Magazine: Appendix A, “System- leafl et in a pocket inside. This is much compositions. Like Smith’s earlier The composed successful organ works, piano atized Instruction in Organ Playing,” easier to open than a conventional jewel OHS Book of Organ Poems (2007), this concertos, operas, and the Carnival of containing useful advice cultivating in case. (I have to say I dislike jewel cases is a presentation-book to be treasured. the Animals (to prove a functional—al- young organists habits of thoughtful self- since I am always breaking them.) The In 1907 Stiven graduated from Oberlin beit private—sense of humor). This rec- discipline and care, plus much practical booklet is also a model of its kind, con- Conservatory and subsequently served ognized genius always tried to provide help (the importance of trio playing in taining an interesting introduction to the on its faculty. For two years he studied dignifi ed and appropriate organ music “forming the habit of exactitude in read- Goldberg Variations by Mark Dwyer, as in Paris with the great Alexandre Guil- for the services at Paris’s fashionable ing music”) and his observation that well as a description and stoplist of the mant—he was Guilmant’s last pupil— church of La Madeleine. One day he was “the reason for the great number of organ. Particularly helpful is the inclu- and, accompanied by an American com- told by a priest that his “classical” mu- poorly prepared people who are playing sion in the booklet of a list of all the reg- panion, Jake Franklin Alderfer, visited sic was perhaps a bit heavy, asking him in church is only another phase of the istrations used for each variation. Would important Parisian churches each Sun- to play lighter music, such as some airs great curse of American hurry”; and Ap- that all organ compact discs included the day to sample the musical fare, inspect from one of the popular operas from the pendix B, a brief description of his great registrations in the leafl et! the organs, and chat with the organists. Opéra-Comique (read today Broadway teacher’s somber rainy-day funeral, “The Stephen Tharp and Joe Vitacco are to Alderfer had taught at Oberlin since or Hollywood). Very gravely Saint-Saëns Last Days of Guilmant.” In Appendix C, be congratulated for producing such a 1903 and served the American Church in replied to the priest: “When I see one of Dr. Smith provides contemporary stop- fi ne recording, and I believe that any- Paris while Stiven was visiting. It was the the ballet dancers dancing on the steps lists of all organs mentioned in the text. one who purchases it will by no means Golden Age of modern French organists, of the altar, then I shall be glad to play The Index is complete and useful. Very be disappointed. and the pen-portraits Stiven provides us the airs from the opera for you in church, strongly recommended. —John L. Speller are charming in the extreme: Widor, but until then I shall continue to perform —John M. Bullard, Ph.D. St. Louis, Missouri Vierne, Gigout, Bonnet are portrayed, what I believe to be suitable music for Spartanburg, South Carolina among others, and we read of humor- the worship of God.” ous encounters with human pumpers of Stiven describes the organ in each The King of Instruments Highlights, wind in that pre-electrical era (described church he visited, often in meticulous Vermont Organ Academy, $14. by Vierne as comprising “La souffl erie detail, noting, e.g., that the fi ve-manual, New Recordings The King of Instruments, Volumes à alcool”—the alcoholic wind-supply), 37-stop instrument at Saint-Gervais de- 1–3. Vermont Organ Academy, along with interesting, sometimes mov- voted its third manual, “having the rather $23.50. ing encounters with concierges. pompous name of Bombarde,” to a single Goldberg Variations, Johann Sebas- Vermont Organ Academy, P. O. What do people know today of the old- stop. Curiously, only the top two octaves tian Bach. Stephen Tharp, organist. Box 2069, Kilgore, TX 75663-2069; time organ pumpers? At Saint Eustache, of the upper two manuals play, “the rest Fritts organ, St. Joseph Cathedral,
18 THE DIAPASON
Sept 2011 pp. 2-19.indd 18 8/10/11 9:10:45 AM of creativity and workmanship that has K. 594 Fantasy, recorded at Holy Trinity months of learning, to say nothing of the rupted all of a sudden by the irritated, exas- perated, fuming tone of that harshness that not been surpassed. The complete 30 Lutheran Church in New York for Vol- speed at which they must be played. Yes, overdoes itself and vanishes. The somber volumes of “King of Instruments” and ume 20 in the mid-1960s. exciting music that would strike terror dance appears one last time, letting itself other modern recordings of these exist- Let us hope that Vermont Organ into the heart of any performer. go into paroxysm. ing organs provide, in part, the tools for Academy will continue to release more The theme is heard at the outset for- the fair assessment Dr. Callahan calls for from this historic series of master tapes. tissimo. It is fragmented rhythmically The print in the Sagas is slightly in his remark above. On several levels they are of signifi cant and melodically, and appears in various smaller than the print in the Toccata and The master tapes for the “King of musical and historical content, interest spots, including an epilogue at the end 18 Variations. I found the smaller print Instruments” series of recordings came in which will only be enhanced as the of the work. A second theme enters on slightly more diffi cult for aging eyes. to the archives of the Organ Historical pendulum of taste and opinion continues a solo stop, quieter and more melodious, As in the earlier music, this set is also Society after Aeolian-Skinner closed. It its swing and pull. though it exists over a restless accompa- very diffi cult. However, it is such excit- is from these original masters that the —Neal Campbell niment, which later emerges as a third ing music that I wish I had access to an Vermont Organ Academy has produced Director of Music and Organist theme while the fi rst theme is restated. organ that could play it. I recommend these CDs. Daniel Colburn, who during St. Luke’s Parish Each of the episodes of this Toccata it for large organs and spaces in the re- his relatively brief tenure as executive Darien, Connecticut reaffi rms the themes as they build in in- cital context. director of the OHS facilitated access tensity, pounding the decisive return of —Jay Zoller to these master tapes, is to be congratu- the fi rst idea. The feeling is one of per- Newcastle, Maine lated for allowing them to see the light cussive aggression. of day. The sound reproduction quality New Organ Music 18 Variations pour Orgue. This is an of these new compact discs is remark- early work and follows the model of the Bálint Karosi: Organ Music, Vol. I, ably clear and vibrant in tone, relatively variation form, but, un-numbered, the Wayne Leupold Editions, WL600261, free from pops, scratches, and tics, and Toccata pour Orgue, Opus 9 (1953), variations fl ow in a continuous chain of- $24.00. Available from
SEPTEMBER, 2011 19
Sept 2011 pp. 2-19.indd 19 8/10/11 9:15:30 AM On an unknown prelude and fugue by Gottfried Kirchhoff: 1 Recovering some lost pages of his output Maxim Serebrennikov
Celebrating the 325th anniversary of vatory, respectively.6 In 2008 one more ber of the commission for the revelation tion, enabling us to distinguish Pachel- Gottfried Kirchhoff’s birth unknown prelude and fugue by Kirch- and studying of Monuments of Ger- bel’s name from the names of members hoff was discovered in the manuscript man Musical Art (Denkmäler deutscher of Bach family. Introduction Mus. Ms. 11605, which is housed in Tonkunst), uncovered in the Mylau The Prelude and Fugue in C Minor In 2010 J. S. Bach, G. F. Handel, and the music department of the State church archives a rich collection of or- was fi rst published in 1977 in the 39th D. Scarlatti, who were born 325 years Library in Berlin (Staatsbibliothek gan works composed by the old German volume of Corpus of Early Keyboard ago, once again were the main fi gures of zu Berlin, Preussischer Kulturbesitz, masters. The value of this fi nd was dif- Music—the series founded by the Amer- the musical calendar. Once again thou- Musikabteilung).7 Additionally, in 2009 fi cult to overestimate: the manuscript ican Institute of Musicology.13 Since then sands of performers and scholars strove the composer was honored through the contained not only works of composers the pieces have been reproduced mul- to express their reverence for the genius naming of a music school in Bitterfeld, to that time unknown, but also unknown tiple times in other editions.14 Thanks of these artists. Once again millions of not far from his birthplace. works by well-known composers.9 to these publications, the cycle became listeners and readers were eager to enjoy This is not to say that researchers have Today this collection is still housed accessible not only to musicians world- their great works. answered all regarding the life and work in the Mylau church archives, listed as wide, but also strengthened its position How often, though, in celebrating of Kirchhoff; quite the opposite—many MS H 3a. The manuscript is a book of as being a work by Pachelbel. these masters, we forget their contem- questions remain. The greatest mystery considerable thickness (101 leaves) in Recently, however, Pachelbel’s author- poraries, possibly having no less sacri- at present is the fate of the composer’s upright format (c. 21 × 33 cm) and hard ship of this polyphonic cycle has come fi cially served their art. Alas, the names oeuvre. Kirchhoff dedicated his en- cardboard binding, covered with colored under growing suspicion, given how of these other musicians are frequently tire life to music: from 1693 to 1709, paper. The front cover of the binding strongly the style of writing in the pieces lost among the pages of history or alto- he studied organ and composition in carries the inscription “TABLATURE differs from that of other preludes and gether disappear without a trace. But it is Halle under Friedrich Wilhelm Zachow | Book | 1750” (“TABULATUR | Buch | fugues by the composer. Thus, in the precisely their activity that laid the solid (1663–1712); from 1709 to 1711, he was 1750”), which is at the very least a mis- 2004 publication of The Thematic Cat- foundation on which the masters con- Kapellmeister at the court of the Duke of leading identifi er. In fact, the Mylau alogue of the Musical Works of Johann structed their monuments. Holstein-Glücksburg; from 1711 to 1714, Tablature Book does not contain a single Pachelbel, these two pieces received the Until recent times, the name of Gott- he served as organist at the church of St. example of tablature notation. The date cautionary note “Ascription Questioned,” fried Kirchhoff (1685–1746) was known Benedict in Quedlinburg; and, from 1714 “1750” also does not correspond to the and in the new edition of the composer’s only to a small circle of specialists. to his death, Kirchhoff held the position real time of the manuscript’s creation. Complete Works for Keyboard Instru- Meanwhile his contemporaries highly of Director Musices and organist at Our In 1984 the Mylau Tablature Book ments they are shifted to the appendix valued his output and enthusiastically Lady’s Church in Halle. Even if Kirch- was sent for expert appraisal to the as “dubious.”15 praised his skill on the clavier and organ. hoff was not remarkable for the rate at German Book and Writing Museum As it turns out, the doubts of the re- German organist and theoretician Mar- which he produced works (such as, for (Deutsches Buch- und Schriftmuseum, searchers were not without basis. In tin Heinrich Fuhrmann (1669–1745), example, Georg Philipp Telemann), his Leipzig), where museum staff member March 2008 we discovered a forcible recalling Kirchhoff’s playing, wrote: “I long period of professional activity must Gertraude Spoer determined that in the argument in F. W. Marpurg’s Treatise later heard the well-known Mr. Kirchhof have produced an imposing quantity of eighteenth century the manuscript had on Fugue (1753–1754), which disclaims play the organ in Halle, and his fi ngers works. Despite this, all Kirchhoff’s com- undergone restoration, during which Pachelbel’s authorship of the Prelude and so mastered the charms of music that I positions known at present can be count- the original binding was replaced by the Fugue in C Minor located in MS H 3a. cried out, ‘What a shame that the hands ed on the fi ngers of one hand. What has current one. Subsequently, the inscrip- of these two keyboard players in Leipzig happened to all the rest? tion “TABULATUR | Buch | 1750” be- F. W. Marpurg’s Treatise on Fugue and Halle must some day turn to dust!’”2 Possibly, the passage of time did not longs to a later time than the manuscript as a key to ascription And further: “In my time, when in 1692 I spare Kirchhoff’s manuscripts, and a itself. More than likely, this misleading F. W. Marpurg’s two-part Treatise on was studying in Halle, Zachow was fl our- large portion was lost to natural calami- title was added shortly following the Fugue was, in its time, truly an extraor- ishing there, whom I heard on Sundays ties (fi re, fl ooding, etc.). Possibly, the change of binding. Furthermore, based dinary theoretical work. It was the fi rst with a true hunger and thirst; and if I had composer had little regard for his own on study of the paper’s watermarks, paper to be dedicated entirely to fugue. to travel there again, and there were no creations and did not attempt to save Spoer concluded that manuscript MS At the same time, it was the most fun- bridge over the [river] Saale, and I could them for later generations. Possibly, H 3a was made around the year 1725.10 damental work on fugue, which general- not reach the city, then truly I would the fault for the loss of certain of these Unfortunately, the copyist has never ized and summed up all the knowledge swim across the river like Leander for compositions falls on Wilhelm Friede- been identifi ed. of fugue acquired by musical theory and his Hero, even to hear renowned pupils mann Bach, who succeeded Kirchhoff The contents of the Mylau Tablature practice to the middle of the eighteenth of his such as Mr. Kirchhoff.”3 as Director Musices and organist at Our Book are truly impressive with respect to century. Lastly, it was the richest treatise The unexpected discovery of L’A.B.C. Lady’s Church in Halle.8 volume: the manuscript contains 176 piec- with respect to the amount and breadth Musical in 2002 served as a new impulse Nevertheless, hope remains for the es, dominated by preludes and fugues. of musical material ever collected into for studying Kirchhoff’s life and works.4 restoration of at least some portion of The composers include such names as one resource. The quantity of music ex- The fi rst monograph on Kirchhoff was Kirchhoff’s oeuvre. This is confi rmed by Johann Pachelbel (1653–1706), Johann amples used by Marpurg to illustrate his published in 2004, along with the new unexpected discoveries of recent years, Krieger (1652–1735), Johann Kuhnau theses is so great that they constituted edition of L’A.B.C. Musical.5 In 2005 one of which we shall discuss here. (1660–1722), Andreas Kniller (1649– the whole two-volume appendices for and 2006, L’A.B.C. Musical became the 1724), Nikolaus Vetter (1666–1734), each part of the treatise. Marpurg’s eru- subject of two master’s theses, which The Mylau Tablature Book Andreas Werckmeister (1645–1706), dition defi es imagination even today: the were defended at the St. Petersburg In 1910, Georg Schünemann (1884– Christian Friedrich Witt (1660–1717), appended musical examples include, be- Conservatory and at the Kiev Conser- 1945), German musicologist and mem- and Gottfried Pestel (1654–1732). It is, yond those samples composed by Mar- however, these names alone that are not- purg himself, close to 500 excerpts from ed in the manuscript. Many pieces were the works of more than 50 composers.16 written anonymously, and the majority In the score appendix for the second of these remain unattributed.11 Further- part of the treatise (Tab. III, Fig. 1), more, those attributions that are given in Marpurg several times quotes a theme, the manuscript are not always credible. which is surprisingly similar to the theme of the C-minor fugue from the Praelud: ex. C. dis â Monsieur Mylau manuscript. The ascription here, Bach. however, is not to Pachelbel, but to his As has been mentioned, the Mylau younger contemporary, Kirchhoff. The Tablature Book was a valuable contribu- name of this once-celebrated German tion to Baroque literature for organ. To organist and composer, fellow student date, this manuscript remains the single of G. F. Handel and a good acquain- known source for many of the pieces that tance of J. S. Bach, is indicated at the it contains. Among these is the Prelude beginning of the example: “1st theme of and Fugue in C Minor, recorded on pag- Kirchhoff” (“1. th[ema] Kirchoffi i.”).17 es 40–41. (See Example 1.) (See Example 2.) According to the Mylau Tablature One cannot, of course, fully rule out Book, Johann Pachelbel (1653–1706) is the possibility that Pachelbel and Kirch- the author of this work. The name of the hoff, each independently of the other, composer is indicated in the heading of composed practically identical subjects. the composition: “Praelud: ex. C. dis â Formularity was one of the most charac- Monsieur Bach.”12 At that time, “Bach.” teristic features of Baroque music. The and “J. Bach.” were common abbrevia- study of fugue assumed, in part, the mas- tions for Pachelbel’s name, which was tery of an entire series of stereotypical, said and written in some South German standard subjects and possible devices dialects as “Bachelbel”. The period at for their treatment. For this reason, cor- the end of “Bach.” is a sign of abbrevia- respondences were unavoidable (espe-
20 THE DIAPASON
Sept 2011 pp. 20-23.indd 20 8/10/11 9:17:24 AM Example 1. Mylau Tabulature Book (c.1725), Prelude and Fugue in C Minor as the title page asserts, “preludes and fugues in all keys.” Second, one of the themes cited by Marpurg in the treatise’s appendix is identical to the theme of the A-minor fugue from L’A.B.C. Musical (Examples 4a, 4b). Third, the texture of every piece in the collection, including the fugues, is notated as thoroughbass, i.e., on one staff using various clefs and thoroughbass signatures. Within a comment in his own edition of the Prelude and Fugue in C Minor from the Mylau Tablature Book, Mi- chael Belotti rightly notes that the tex- ture of the pieces is nothing other than a realized thoroughbass.20 Indeed, for the style of Pachelbel, who was trained Example 2. F. W. Marpurg, Treatise on Fugue. Musical examples, Tab. III, Fig. 1 in the contrapuntal tradition, this type of texture is atypical. However, for the style of Kirchhoff, whose emergence as a pro- fessional coincides with the blossoming of thoroughbass technique in Germany, this manner of writing is completely natural and consistent. All the known clavier and organ fugues by Kirchhoff can be included in the genre of the so- called thoroughbass fugue.21 It is highly likely that the original version of the C- minor Prelude and Fugue from MS H 3a was also recorded in codifi ed form, and the variant that has reached us is some- Example 3. F. X. Murschhauser, Prototypon longo-breve organicum (1703), the tise of an authoritative theorist and well- one’s realization. In any case, the texture Fugue from the 2nd mode informed musician deserves more confi - of both pieces can be easily expressed in dence than testimony from a manuscript thoroughbass notation with no damage completed by an unknown copyist using done to the musical material (see Ap- unknown sources. Furthermore, the sty- pendix: Version 1). listic attributes of the music do much on their own to confi rm that this work con- Conclusion forms to Kirchhoff’s creative signature. These arguments clearly point to Kirchhoff’s authorship of the C-minor L’A.B.C. Musical as one more Prelude and Fugue from manuscript Example 4a. F. W. Marpurg, Treatise on Fugue, Musical examples, Tab. II, Fig. 5. argument in favor of Kirchhoff’s MS H 3a. In identifying the true au- authorship thor of these pieces, we not only restore Kirchhoff’s name appears not only in historical justice, we also reveal one the score appendix, but also in the body more previously lost page of Kirchhoff’s of the text of Marpurg’s treatise: oeuvre. It would be wonderful if this page were not the last to be revealed, if If the late Musikdirektor Kirchhof of Halle there were new fi nds ahead, which allow denoted the counterparts of his well-known us to expand our understanding of the fugues in all twenty-four keys with fi gures creative output of one of the forgotten alone, he did this because he wanted to in- struct his students in the various possibilities composers from J. S. Bach’s circle and to of thematic entrances and in the technique of objectively evaluate his role in the com- Example 4b. G. Kirchhoff, L’A.B.C. Musical (c.1734), Fugue in A minor fi gured bass at the same time.18 positional style of his epoch. Q Marpurg quotes six various Kirchhoff Notes 1. I wish to express my deep gratitude to themes in total. Although he never gives Prof. David Ledbetter (Royal Northern Col- the title of those pieces that he quotes lege of Music), Prof. Rudolf Rasch (Utrecht as musical examples (rather noting only University), and Prof. Glen Wilson (Hoch- the author of each piece!), it is natural to schule für Musik Würzburg), who kindly suggest that those themes he indicates as provided me with helpful comments and Kirchhoff’s come from those very same critical remarks concerning the early version cially when one considers how in church fugue at his disposal, one that today re- fugues he refers to in the text. of this article. practice, fugue subjects were often mains unknown or has been lost. Earlier we stated the hypothesis that 2. “Ich habe <…> zu Halle den wohl re- nommirten Herrn Kirchhof auf der Orgel based on the initial phrases of plainchant In any case, this question remains: by “well-known fugues in all twenty-four gehöret, dessen Finger die Gratien also regi- melodies). Yet, despite a single intona- who is the true author of the Prelude and keys” Marpurg meant the unpublished erten, daß ich ausrief: Schade, daß dieser 2. tional vocabulary, exact correspondence Fugue in C Minor found in the Mylau version of L’A.B.C. Musical (c. 1734) by Clavier-Spieler zu Leipzig und zu Halle, ihre was rare, even for music of that time. manuscript—Pachelbel or Kirchhoff? Kirchhoff.19 First, this is the only known Hände dermaleinst verfaulen sollen!” (Mar- Working from one and the same intona- We believe that testimony from the trea- composition by Kirchhoff to contain, tin Heinrich Fuhrmann, Die an der Kirchen tion formula, each musician materialized it in his own way. By way of example, we offer a fugue subject from the 2nd mode of Prototypon longo-breve organicum (1703) by Franz Xaver Murschhauser. (See Example 3.) In comparing the three subjects, it is [\ clear that they share a single intonational +76.-:-6+-767:/)65=;1+ impulse: a descending minor triad, in- tensifi ed by a leap to the leading tone. 7K\WJMZ· Although in Murschhauser’s subject this formula holds to a different rhythmic pattern and melodic continuation, it, most importantly, does not stand apart as an independent syntactic unit. )VVQ^MZ[IZQM[WN 4Q[b\ In light of this example, the similar- ity of the “Pachelbel” and “Kirchhoff” )TIQV0W^PIVM[[ subjects to each other is made all the more clear. It is undoubtedly worth con- .MI\]ZQVO+WVKMZ\[IVL4MK\]ZM[Ja" sidering them variants of a single idea thought up by a single author. Indeed, 5QKPIMT*IZWVM;][IVVM,QMLMZQKP/ZMOWZa0IVL there is undeniable correspondence be- 5IZQTaV5I[WV8MOOa3MTTMa:MQVJ]ZO)TU]\:WM[[TMZ tween those elements and parameters of the subject that secure its individual- 0MTOI;KPI]MZ\M,IUQV;XZQ\bMZ5IZQRQU SEPTEMBER, 2011 21 Sept 2011 pp. 20-23.indd 21 8/10/11 9:17:57 AM Gottes gebauete Satans-Capelle [Köln, 1729], S. 32). The clavierist from Leipzig should be understood as J. S. Bach. 3. “Zu meiner Zeit, als ich 1692. zu Hall studirte, fl orirte daselbst Zachau, den ich Sonntags mit einem rechten Hunger und Durst zuhörete; und wenn ich itzo dort noch hinreisen solte, und ware keine Brücke über die Saal, und ich könte sonst nicht in die Stadt kommen, so schwümme ich über den Fluß wie Leander nach seiner Hero, seinen berühmten Nachfolger Hr. Kirchhoffen auch zu hören” (ibid., p. 55). 4. This collection, containing preludes and fugues for harpsichord or organ, was consid- ered irretrievably lost for many years. The sole copy currently known to exist of L’A.B.C. Musical is in the library of the St. Petersburg Conservatory, given in 1870 as a gift by the noted musical enthusiast and passionate bibliophile Mikhail Pavlovich Azanchevsky (1839–1881). This “lost” composition by Kirchhoff was rediscovered by Professor Anatoly Pavlovich Milka, who in March 2002 brought attention to the uniqueness of the surviving copy. For more details on L’A.B.C. Musical and how it came to the St. Petersburg Conservatory library, see Maxim Serebrenni- kov, “L’A.B.C. Musical by Gottfried Kirchhoff: A Work Thought to be Lost,” The Organ, no. 350 (2009), pp. 21–27. 5. See Gernot Maria Grohs and Klaus Kreth Grohs, Gottfried Kirchhoff: 1685– 1746. Komponist und Organist; ein Mühl- becker kreuzt die Wege von Georg Friedrich Händel und Johann Sebastian Bach (Dessau u. a., 2004); Gottfried Kirchhoff, L’A.B.C. Musical, hrsg., kommentiert und Generalbaß realiziert von Anatoly Milka (St. Petersburg: Musikverlag “Compozitor” 2004) [in Russian and German]. 6. See Maxim Serebrennikov, “L’A.B.C. Musical by Gottfried Kirchhoff: On Stu- dent Manuals of the Baroque Epoch” (mas- ter’s thesis, St. Petersburg State Conserva- tory, 2005) [in Russian]; Olena Khimenko, “L’A.B.C. Musical by Gottfried Kirchhoff: Genre Peculiarities and Problems in Realiza- tion of Figured Bass” (master’s thesis, The Ukrainian National Academy of Music in Kiev, 2006) [in Russian]. Olena Khimenko has continued to research the works of Kirchhoff, the results of which will be included in her dissertation “Gottfried Kirchhoff’s Oeuvre in the Context of the Development of German Musical Culture in the First Half of the Eigh- teenth Century.” 7. For more details see Gottfried Kirch- hoff, Prelude and Fugue for Organ, First Edi- tion, edited by Maxim Serebrennikov (St. Pe- tersburg: Polytechnic University Publishing House, 2009). 8. It is well known that Friedemann was in- clined to adventures. For example, he claimed his father’s works as his own and vice versa he ascribed works of his own to his father. His prodigal way of life and drinking habit forced Friedemann to sell off not only his own estate, but also the greater part of his father’s manu- scripts that he had inherited. 9. In 1918 Max Seiffert published the fi rst scholarly description of the manuscript along with a complete thematic index of it. See Max Seiffert, Das Mylauer Tabulaturbuch von 1750, in Archiv für Musikwissenschaft I/4 (1919), S. 607–632. 10. For more details see Gertraude Spo- er, Untersuchung des Tabulaturbuches der Kirche zu Mylau 1750 im April / Mai 1984 im Staatsarchiv Leipzig (Deutsches Buch- und Schriftmuseum der Deutschen Nationalbib- liothek Leipzig, Kultur- und Papierhistorische Sammlungen). I wish to express my deep grat- itude to Andrea Lothe, museum staff mem- ber, for permitting me to examine the copy of the expert report, as well as for the valuable information regarding the dating of the Mylau manuscript. 11. Some of the pieces gained attributions through research by Max Seiffert and by John R. Shannon. See Max Seiffert, op. cit.; John R. Shannon, “The Mylauer Tabulaturbuch: A Study of the Preludial and Fugal Forms in the Hands of Bach’s Middle-German Precursors” (Ph.D. dissertation, University of North Caro- lina, 1961). 12. For more detail see The Thematic Cata- logue of the Musical Works of Johann Pachel- bel, compiled by Jean M. Perreault, edited by Donna K. Fitch (Lanham, MD [u.a.]: Scare- crow Press, 2004), p. 3. 13. The Mylau Tabulaturbuch: Forty select- ed compositions, edited by John R. Shannon, American Institute of Musicology (Neuhaus- en-Stuttgart: Hanssler-Verlag, 1977), pp. 4–7. 14. By far the most popular of these is the Peters Edition of Pachelbel’s organ works, prepared by Anne Marlene Gurgel: Johann Pachelbel: Toccaten, Fantasien, Praeludien, Fugen, Ricercare und Ciaconen für Orgel (Clavichord, Cembalo, Klavier), Bd. I, nach den Quellen hrsg. von Anne Marlene Gur- gel (Leipzig: Edition Peters, 1982), S. 42–44. Gurgel was obviously not familiar with the above-noted publication Corpus of Early Keyboard Music, since she regards herself as the fi rst to publish this Prelude and Fugue in C Minor, S. 121. 22 THE DIAPASON Sept 2011 pp. 20-23.indd 22 8/10/11 9:20:11 AM 17. Marpurg composes two additional themes in counterpoint to this one, showing possibilities in triple counterpoint by way of changing their vertical placement with respect to each other. For this reason each theme in the set is given a number. 18. “Wenn der seel. Herr Musikdirectour Kirchhof aus Halle, in seinen bekannten Fu- gen über alle 24 Töne die gegenharmonien vermittelst der Ziefern beständig angezeiget hat: so ist dieses deswegen geschehen, dass er seinen Schülern zugleich den Generalbaß und die Art der verschiedenen Eintritte eines Fugensatzes bey brächte” (Friedrich Wilhelm Marpurg, Abhandlung von der Fuge [Berlin, 1753], S. 149–150). 19. See Serebrennikov, “L’A.B.C. Musical” by Gottfried Kirchhoff, p. 23. 20. Pachelbel, Complete Works for Key- board Instruments, p. 116. 21. The term partimento fugue is also used for identifying the given genre of fugue. For more details about the difference between these terms see Maxim Serebrennikov, “From Partimento Fugue to Thoroughbass Fugue: New Perspectives,” in BACH: Journal of the Riemenschneider Bach Institute, vol. XL, no. 2 (2009), pp. 22–44. 22. Since the original version of the Pre- lude and Fugue in C Minor from MS H 3a is widely available through various editions of the clavier and organ works of Pachelbel, in this appendix we wish to offer other possible versions of this composition. Version 1 is in traditional partimento notation, emphasizing the thoroughbass nature of these pieces and their visual similarity to the pieces of L’A.B.C. Musical. Version 2 is the realization in which the original texture of both pieces is complet- ed in up to four parts, wherever possible. As is well known, four-part writing was a distinc- tive feature of J. S. Bach’s method for study of thoroughbass. Maxim Serebrennikov is a doctoral student at the St. Petersburg State Conservatory, where he is currently completing his thesis, “Solo Keyboard Thoroughbass Fugue of the Baroque Era.” His research interests lie in 15. See Perreault, Thematic Catalogue of the history and theory of Baroque music, in the Musical Works of Johann Pachelbel, p. particular discovering, studying, and publish- 202; Johann Pachelbel, Complete Works for ing unknown sources of keyboard and organ Keyboard Instruments. Vol. II: Fugues, edited music. His recent articles in Musicus, The Or- by Michael Belotti (Colfax, NC: Wayne Le- upold Editions, 2006), pp. 101–102. gan, and Harpsichord & Fortepiano focus on 16. To the best of our knowledge, Marpurg’s rarities of harpsichord and organ music of the treatise has never before been viewed as a 18th century. 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Opus 118 LÉTOURNEAU PIPE ORGANS USA Canada 1220 L Street NW 16 355, avenue Savoie Suite 100 – Box 200 St-Hyacinthe, Québec Washington, DC J2T 3N1 20005-4018 Tel: 450-774-2698 Tel: 800-625-PIPE Fax: 450-774-3008 Fax: 202-737-1818 [email protected] [email protected] www.letourneauorgans.com SEPTEMBER, 2011 23 Sept 2011 pp. 20-23.indd 23 8/10/11 9:20:44 AM Dear Harpsichordists: Why Don’t We Play from Memory? Paul Cienniwa Figure One: no page turns, horizontal page layout Figure Two: no page turns, vertical page layout ver the years, I’ve asked myself why be done to advance the instrument, Part of it was a sense that I never truly I played my graduate auditions from O harpsichordists aren’t expected to that the harpsichord would not survive learned my programs. I was essentially memory. However, when I started my memorize, and, like many harpsichord- if players did not begin to adhere to an reading music on stage, worried that studies, my new teacher told me that I ists, I’d been asked by audiences why I industry standard of memorization. The the lighting was good enough or that I’d no longer had to play from memory. And didn’t play from memory. I know of many violinist’s comment also reminded me of make my page turns in time or afraid I took the lazy, easy way out: I didn’t. reasons! Memorization keeps the player a harpsichordist who said that he didn’t that I’d lose my place in the score. Part Ultimately, I fi nd it embarrassing that from free ornamentation. It isn’t histori- own a metronome. of it was the lingering suspicion that the our colleges and conservatories are giv- cal. Bach is too hard to memorize. We’re On one hand, we harpsichordists emperor had no clothes. I once played ing out degrees in harpsichord perfor- too busy with all of the continuo play- know that pianists and other instrumen- a solo piece from score for a Bach fes- mance without a memorization compo- ing. The world’s greatest harpsichordists talists have given us an industry stan- tival in which I was a featured solo- nent. How is it that pianists, for instance, don’t memorize. But the best excuse of dard. On the other hand, we want to be ist. My performance was followed by a are required to memorize programs— all is that we don’t have to. This is a great different from the conservatory mold high-school violinist, who played his solo including works of Bach—but we don’t excuse, and I’ve used it so many times and, hence, not own metronomes. We partita from memory. What was my ex- have to? Of course: because we don’t that I even recommend it! justify our counterculture with histori- cuse for not taking the time to learn and have to. Or could it be because profes- Last spring, I made a personal mora- cal anecdotes and other excuses. But the perform the music from memory? But sors of harpsichord themselves are not torium on playing solo repertoire from fact remains that pianists—our closest above all of the reasons for my morato- playing from memory? score. At that time, I anticipated a two- relatives—would not have careers with- rium, it is that I wanted to communicate Coming back to memory after many year hiatus from solo recitals. After all, out memorized programs (and, I might better with my audience. Performing is years began with some baby steps, in- I hadn’t played a memorized program add, metronomes). about communication, and having my cluding some serious, but recoverable, since 1995. Granted, harpsichordists come from eyes glued to the music is not a good way memory lapses. This season, I played a When I mentioned to a violinist col- different strains of the musical world. to communicate. couple of memorized pieces on chamber league that I hadn’t memorized in over There are musicologists among us, and As an undergraduate pianist, I played music programs, and I’ve now graduated fi fteen years, she remarked, “What, you there are organists among us as well. from memory. But then I switched to to a half-recital. I’ll be at a full recital don’t have repertoire worth memoriz- There are also those who simply play harpsichord as a major, and I was told long before my two-year hiatus ends, ing?” The truth is, I’d spent a lot of time for pleasure and others who really just not to memorize. Once, when I wanted especially now that I’ve realized that looking at B-list composers. Maybe there enjoy continuo playing. But I am really to play part of a program from memory, my ear, technique, and theory compre- was something to what she was saying. writing to those who defi ne themselves my teacher suggested that I was being a hension are much better than they were Her comment immediately reminded as concert harpsichordists and professors show-off and that it was not in the spirit years ago. Playing from memory has done me of a Dutch harpsichord builder who of harpsichord. of the repertoire. A few years later, con- some remarkable things for me. First, it once said, when I asked him what could How did I arrive at my moratorium? cerned about entering graduate school, puts good repertoire into direct focus. In other words, if you have to commit something to memory, what do you want to spend your time on? My phrasing has 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ changed, and I’ve developed more per- sonal interpretations through the inter- DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX nalization of the music. I no longer have 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV to put up with page turns, poor lighting, small music desks, and music falling ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG from the instrument. OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV My subjective experience will not con- vince other harpsichordists to memorize. &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK And, considering that harpsichordists may still view themselves with some 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ counterculture cachet, the argument WKHLQVWDOODWLRQ that pianists set an industry standard may not seem valid. But the harpsichord is no longer esoteric, and it is now—and 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX has been for some time—a mainstream instrument. This is what we harpsichord- PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW ists should all want: a larger audience and 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations a public that embraces the instrument as a viable concert instrument. But there is FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions a price to pay for this notoriety: our fi eld has to grow up and do what is expected Solutions for Old Pipe Organs on the modern concert stage. I am not writing this article to dimin- ish the work of those who continue to play from score, and I submit this argu- ment without any arrogance. Simply put, I am writing this as a plea for the future of our instrument. In order for the solo harpsichord to continue on the concert stage, it is imperative that the next gen- eration of harpsichordists be expected www.rodgersinstruments.com to play from memory. Dear harpsichord- ists, I am not asking you to play from memory; I am asking you to require 24 THE DIAPASON Sept 2011 pp. 24-25.indd 24 8/10/11 9:21:55 AM Figure Three: page turns, loose leaf layout Figure Four: no page turns, miniaturization layout your students to play from memory. We choral ensemble and the choruses at Framing- need a sea change to meet the standard ham State University and Mount Ida College. that is expected on the modern concert As organist and conductor, he is music direc- stage—because we don’t have to is no tor at First Church in Boston, where he can be heard weekly on WERS (88.9 FM) Boston. longer an excuse. Q From 2003–2010, he led Newport Baroque Paul Cienniwa began his keyboard studies Orchestra (later Newport Baroque) in works at age six. In his teen years, he played thrash from Arne to Zelenka, including performanc- guitar with the Evanston, Illinois punk band es of Bach cantatas and Purcell’s Dido and Malicious Intent, followed by seven years as Aeneas and collaborations with the Provi- keyboardist with the innovative Chicago- dence Singers, the Tufts Chamber Choir, and based Irish group Baal Tinne. Following his Providence College. undergraduate studies at DePaul University He is featured on a recording of the Bach with harpsichordist Roger Goodman and or- Viola da Gamba Sonatas with cellist Audrey ganist Jerome Butera, he received the Doctor Sabattier-Cienniwa, and his recording with of Musical Arts degree from Yale University, Grammy Award-winning uilleann piper where he was a student of Richard Rephann. Jerry O’Sullivan was named one of the top He has also studied harpsichord with Pe- ten Irish traditional albums of 2010 by The ter Watchorn, John Whitelaw, and David Irish Echo. In November 2010, he performed Schrader. As a scholar, he has been awarded the complete Bach Sonatas for Violin and Belgian American Educational Foundation Harpsichord with renowned violinist Ra- and Fulbright grants, and his musicological chel Barton Pine on Chicago’s WFMT radio. articles have appeared in American and Eu- Upcoming events include Francis Poulenc’s ropean journals, including Early Music and Concert Champêtre with the New Bedford Ad Parnassum. Symphony (MA) and the release of a two- In 2009, he was music director for Boston CD set of the music of Larry Thomas Bell on Opera Collaborative’s production of Handel’s Albany Records. For more information, visit Figure Five: no page turns, no music, no glasses, no music desk, no lighting, no Alcina. As conductor, he leads Sine Nomine RIE BLOOMFIELD ORGAN SERIES 2011-2012 JEHAN ALAIN 1911-1940 “The American Festival” September 28, 29, 30, 2011 ŢWichita State University Ţ8JDIJUB ,4ŢWiedemann Hall - Marcussen Organ Celebrating the 100th anniversary of the birth of Jehan Alain. Keynote speaker: AURELIE DECOURT, PhD, noted musicologist and author, niece of Jehan Alain, daughter of Marie-Claire Alain. Featuring the complete organ works of Jehan Alain played by former students of Marie-Claire Alain. Presentations on the Alain/Romainmoutier organ, Alain editions, performance practice, registration. An all-Alain concert with music for voice, strings, winds, piano. An evening on the New York Paramount Wurlitzer at Century II by Jim Riggs celebrating the 100th anniversary of the “big band era” For more information, contact: Lynne Davis Ann & Dennis Ross Endowed Faculty of Distinction Associate Professor of Organ XXXMZOOFEBWJTOFUŢXXXBNFSJDBOBMBJOGFTUJWBMDPNŢMZOOFEBWJT!XJDIJUBFEV SEPTEMBER, 2011 25 Sept 2011 pp. 24-25.indd 25 8/10/11 9:22:23 AM The Story of a Home Practice Organ Devon Hollingsworth ong before I began my formal training L for degrees in organ performance, I spent many occasions playing my grand- mother’s Hammond C-3, known as the “Church Model Hammond.” During my junior year in high school, in 1962, I was given the job of organist at my family’s church, the Evangelical Free Church of Boone, Iowa. It was there that I learned long-suffering and patience, playing the wheezy amplifi ed reed Wurlitzer organ that would entertain the kids as well as the adults by catching fi re at least once a year during services. My parents eventually purchased a Hammond A-100 (see photo) for my home practicing, and I used that organ extensively for practice, even during summers off from college. So the con- cept of a home organ was well estab- lished, and there was another interesting Devon at the Hammond A-100 (1962) story I often heard from members of the Free Church once they found out about my interest in organ playing. These peo- ple would tell me about Byron Carlson, another “musical son” of the congrega- tion, who removed a small theatre organ Original Wicks pipe organ, apartment at Trinity Lutheran Church, Skokie from the Boone theatre, and installed it in his parents’ house. So, early on, when I determined that the pipe organ was going to be my life focus and profession, the seeds of a home pipe organ were fi rmly planted in my mind. And I was thrilled later in my college years to meet Byron Carl- son, who had been quite successful in his own business, manufacturing power cords for vacuum cleaners, and had built a mansion around a four-manual theatre organ he secured from a theatre in Chicago. During a trip to dedicate an organ in Minneapolis, I got to visit the Carlsons, and played the organ, and got to inspect the details of the meticulous- Devon at the Schantz organ, Wheaton ly done installation. College (1968) Hammond roots able for sale at the Wicks factory, I drove The practicing I had done on the Ham- to Highland, Illinois and got a beautiful mond organ at home prepared me for a blonde-fi nish console that would allow very busy organ department at Wheaton for the growth of many more pipes and College, where student practice time stops. Back in those years, sets of good on even the small pipe organs in their pipework were very inexpensive, as little rooms was at a premium. I found, many new organs were being built, and though, that I could spend many extra very little of the old pipework would be hours on the Hammond RT-3, a con- included or be rebuilt into the new in- 3-rank Wicks grew dramatically in a short time cert organ Hammond built supposedly struments. Incidentally, returning from to please classical organists. It proved Highland wasn’t much fun as I found valuable for me, because it had the stan- myself driving in a blinding snowstorm, dard pedalboard, and the click and pop but made it safely back to Skokie. of the Hammond keying forced me to See the photo of the original console play correctly, as it was very unforgiving and three ranks of pipes, followed by the of variations in rhythm and phrasing—I expanded specifi cation, with chests and was forced to play steadily and cleanly. pipes fi lling the living room and bed- I believe I was the lone individual who room of the three-room apartment. didn’t mind the Hammond, so there Before I knew it, I had ten ranks play- was always an instrument free for me on ing, including a two-rank Sesquialtera which to practice! made from two sets of Kimball pipes, The Wheaton College 4-manual 65- and purchased with a brand new chest Wangerin roll player in the sun room of rank Schantz pipe organ console is pic- for only $150! Kurt Roderer and the the Evanston apartment tured here. Of course, it was a treat to get workers at his shop helped me very often time on this instrument, so we made the at no charge, which enabled me to secure do much, maybe not even sleep, as the most of it when the opportunities came. the best collection of pipework and chest next-door neighbors had teenage kids work possible during those years. who brought a large stereo outside to First: After six years in the small apartment, their back yard, and usually cranked up Wicks practice organ I moved the organ, along with the 7′5″ the stereo for quite a party with their On I went to Northwestern for gradu- Yamaha piano I had purchased new, into Devon with Purry & Samantha, Siamese friends. My landlady was not exaggerat- ate studies in organ performance, as well the upper story of a two-fl at owned by Sealpoint cats on the Yamaha grand pia- ing either, as the noise was so loud, I was as a new part-time position as organist- a dear choir member. The grand piano no, apartment at Trinity Lutheran about to give up and go away myself as I choirmaster at Trinity Lutheran Church and organ console had to be craned up was the only one in the building, the oth- in Skokie. During this time, I was alerted to the second-fl oor little balcony, and we two-rank Kilgen Petite Ensemble. This ers having left for the weekend to avoid to the availability of one of those small put on quite a show for the neighbors, was the favorite of the practice organs the noise! practice organs built by Wicks Organ who were quite used to pianos being during my four years there at Wheaton, Then an idea came to me. I put a pi- Company, well worn from rigorous prac- craned up, but not pipe organ consoles. as it had a loud string rank as well as a ano roll in the player organ, the pipes of ticing of students for many years; $250 This apartment had nine rooms includ- fl ute, and produced the sound of an or- which were now in the sunroom. I set the and it came to my three-room apartment ing a sun porch, with all the rooms hav- gan many times its size. This pipe organ player to “Repeat” so the roll would auto- at Trinity, where I was now organist- ing nine-foot ceilings! Still, I had to hang arrived at a very timely moment, as I had matically rewind and play continuously. I choirmaster-custodian! the taller pipes on the wall, and lay down just purchased a Wangerin Organ Player opened the windows on the side of the It soon grew from the three ranks of on the fl oor a couple wooden ones, but it while on a trip to Minneapolis to dedi- house where all the noise was coming Dulciana, Salicional, and Flute to in- was a great year. cate a pipe organ in a suburb there. I had from. The player wasn’t very loud, but clude a Schantz 2′ Principal, and soon a fun time wiring the pipes, as there were its sound caused quite a chaos in the ex- after that I was fortunate to buy the bot- Second: no labels, only a “rat’s nest” of wires. isting music and must have ruined their tom 24 pipes of an almost-new Schantz Kilgen—and a Wangerin Organ This little two-rank organ came in party, because within a half hour, they 8′ Principal, so I now had this stop at 8′ Player! very handy, though, on the Fourth of had relocated to another place, where through 2′ pitch. By this time also, having During that year I acquired another July weekend. My landlady had warned they undoubtedly were driving other heard there was a newer console avail- practice organ from Wheaton College, a me that I probably wouldn’t be able to neighbors crazy. 26 THE DIAPASON Sept 2011 pp. 26-29.indd 26 8/10/11 10:48:55 AM Organ installed in Hinsdale house in 1977 at that time and soon after that, in Sep- erings and hymn sings were held there tember 1982, our son Mark arrived. until a forced downsizing of my position at Christ Church meant that we had to do Movin’ on up some serious downsizing at home also. It wasn’t long before the housing We had heard about the towns of market suddenly skyrocketed, and we DeKalb and Sycamore, about 45 miles Newer console from Wicks, and Sesquialtera added discovered that our land was worth from Christ Church in Oak Brook, and more than the house. So we traded the the second house we looked at was the land for a new two-story house (we had one we’re still living in, in spite of the to pay a lot more also!), and this time we fact when we fi rst moved in, there was had to move the organs and piano only little room for the instruments. Fortu- a mile to the west of where we lived in nately, the basement was fi nished, so the Hinsdale to Willowbrook. Kilgen went down there, along with my The builder caught the vision for the stereo and music. The pipes resided in pipe organ, and left out a bedroom up- a spare bedroom upstairs for about two stairs so we could have a two-story mu- years, until one day when Carol men- sic room. The pipes looked stunning, tioned that I might consider cutting a mounted on three levels. We lived there hole in the bedroom wall and set the for 11 years. It was four years until I got pipes to playing in that room. It was not the pipes hooked up, as I had to fi gure out a very expensive process, and so in about how I was going to connect the new Allen six weeks, I had them playing again. It Classic I digital organ console to the pipes. normally took only three weeks, but this Allen built a relay that has been working time I had to extend many cables, so it fl awlessly ever since. Many musical gath- took a bit longer. Organ installed in upper level of a 9-room apartment in Evanston. Organ console and grand piano were craned to the second story of the building. Even with a 9-foot ceiling, pipes of the 16′ Haskell Violone were mounted horizon- tally, and a few of the 16′ Bourdon were laid on the fl oor. I loved this apartment dearly, but I and soon after he was married, the or- only could stay there a year, as I soon got gan was sold. my fi rst full-time job at Christ Church My grand piano and two pipe organs of Oak Brook. A couple of choir mem- were installed in the 2½-car garage, bers there helped me move the organs which the previous owners had already during a terrible snowstorm to my fi rst partially converted into a large family house, in Hinsdale. Curiously enough, room. The main organ and piano fi lled one of them, my soon-to-be assistant di- this room, and the roll player and pipes rector, had an eight-rank Kilgen in his were in an alcove just inside the house house! He never got it playing, though, from that room. Carol and I got married SEPTEMBER, 2011 27 Sept 2011 pp. 26-29.indd 27 8/10/11 10:49:33 AM Pipes were raised up to make room for an Austin 8′ Trumpet below. 16′ Gedackts fl ank the dramatic two-story fi replace in Willowbrook home Newport Organs Glockenspiel in front of Austin Trumpet One December, we had over ten gath- Many people have asked how the neigh- erings of ten to fi fteen people each time. bors like us with two pipe organs. I have Hundreds of visitors later, it became pos- often wondered what they thought when sible to consider either building a music we were carrying those huge 10-foot-long room onto the existing house or fi nding pipes into our homes. I have never had a bigger one. one complaint from any neighbor, and, in every instance, the neighbors have been Pipes were on three levels in Willowbrook, with a 22-foot ceiling. The music room sorry to have us leave. Because of my al- The market was great for buying a lergies, I have seldom had the luxury of new house, but not so great for selling having the windows open, so there were the existing one. Every other house that precious few times when the neighbors we visited seemed to be good for the could hear the organs. Because they’re instruments but not suitable in other on low wind pressures, 3½ and 4 inches areas, or the other areas were wonder- water column for each organ, the sound ful, but there would have to be consider- doesn’t carry well through the air. able modifi cation of the rooms where we During my time in the two-fl at apart- might put the instruments. Often, there ment, I was lucky to be able to walk would be no living room, dining room, or down the street while a friend played either left after adding the instruments. the organ one evening. There, because So, we decided to add a music room, and of trees overhanging the street on both as is often wont to happen, we eventu- sides, the sound softly wafted all the ally remodeled the entire house inside way down our block, very pleasant and and out. Carol had been teaching piano unusual to hear, but enjoyable for sure. students for several years, and after get- While the piano and organ console were ting her another smaller grand to use being craned down from the apartment, I in teaching as well as a possible second stood with our next-door neighbors, who piano for concerts and gatherings, we were teary-eyed to see the instruments embarked on what could have been a and me leave. So I’ve always had a good disaster from beginning to end, and we relationship with neighbors, who enjoy heard many tales of woe from many bringing friends and relatives to see the people who had undertaken remodeling house, and we’ve made hundreds of new projects on their homes! friends and hope to continue doing so. We heard about Andy’s Construction Our sincere hope is to share the music from a parent of one of Carol’s students, and the instruments with as many peo- and Ken and Ben began what would be ple as we possibly can, and to promote the most wonderful construction proj- one of our dearest causes, the singing of ect you could ever hope for. They knew hymns and the performance of the fi nest 25-rank Allen console connected to the 15 ranks of pipes nothing about pipe organs, but they music possible. You are cordially invited carefully made sure that the room was to contact us at any time to set up an op- The pipe ranks and their builders: done to perfection, and we soon discov- portunity to share with your relatives and Wooden Flute 16′–2′, Wicks ered that this room is the best yet! Ken friends our collections of instruments. Q Metal Flute 4′–2′, Stinkens Pipe analysis 16′ Bourdon 96 pipes Wicks and Ben Anderson made sure there was Principal 8′–2′, Schantz ′ ′ ′ 8 Principal 84 pipes Schantz someone at the house every day but a The main organ and Yamaha piano Diapason 4 –2 , Stinkens 8′ Diapason 72 pipes Stinkens couple of days, so things got done quite have been moved six times: Salicional 8′–2′, Casavant (bottom 12 wood) fast, and some days more than one ac- • Three-room apartment in the par- Salicional Celeste 4′–2′, Wicks 8′ Metal Flute 72 pipes Stinkens tivity was going on at the same time. I ish house of Trinity Lutheran Church, Sesquialtera (derived from a four-rank 4′ Salicional 83 pipes Casavant remember one day when four different Skokie, 1970–76 Kimball Mixture) 4′ Salicional Celeste 72 pipes Wicks companies were working on the house! • Top nine-room apartment in Evan- String Mixture, fi ve ranks, Aeolian Sesquialtera II 98 pipes Kimball ′, Harmonic Mixture 287 pipes Aeolian Soundwise, the pipes seem to be per- ston, 1976–77 Trumpet 8 Stinkens ′ fectly scaled for this wonderful room, • Hinsdale house, 1977–91 8Trumpet 61 pipes Stinkens and there is now room for 20+ people • Willowbrook house, 1991–2002 There are currently 14 pipe ranks 925 pipes to enjoy the instruments and take part • Bedroom of DeKalb home, 2002–09 playing, and the console and relay are in our sing-a-longs. • New music room addition, 2009 prepared for up to 15 ranks. 28 THE DIAPASON Sept 2011 pp. 26-29.indd 28 8/10/11 10:50:11 AM A very tight installation in a 10′ x 12′ bedroom with opening into living room in DeKalb house Dramatic display of wooden pipes, and Allen organ speakers also visible Hammond and Allen consoles with pipes 14-foot ceiling and 42-foot length allows organ to sound better than ever. Pipe section SWELL ′ GREAT 8 Gedackt ′ 8′ Salicional 8 Principal 8′ Voix Celeste 8′ Diapason ′ 8′ Metal Flute 4 Koppelfl ote ′ 2′ Klein Principal THE GREAT ORGAN AT METHUEN 8 Salicional Scharf II 4′ Principal ′ BY BARBARA OWEN 4′ Diapason 8 Krummhorn 4′ Bourdon In the middle of the of the nineteenth-century, ′ PEDAL 4 Metal Flute 16′ Gedackt American organbuilding reached a milestone 2′ Principal ′ NEW! 16 Lieblich Gedackt when, in 1863, in the midst of the Civil War, a large concert organ Sesquialtera II 8′ Octave Harmonic Mixture V 8′ Flute ~ really the first of its kind in the country ~ was opened in Boston’s 4′ Choral Bass relatively-new Music Hall. Visually and musically it was regarded SWELL ′ ′ 8 Trompete as a sensation, as it put a stamp of approval on paid-admission 16 Bourdon 8′ Great to Pedal 8′ Bourdon ′ secular organ recitals, and quickly opened the door to a spate of 8′ Salicional 8 Swell to Pedal 8′ Salicional Celeste American-built concert hall organs. The composition of large-scale 4′ Principal MIDI to Swell secular organ works soon followed, written by American compos- ′ MIDI to Great 4 Bourdon ers recently returned from study in European conservatories. 4′ Metal Flute MIDI to Pedal 4′ Salicional Antiphonal speakers This is the story of that catalytic instrument, known then 4′ Salicional Celeste Global tuning and now as the Great Organ ~ its checkered history, and, per- ′ 2 Bourdon haps most intriguingly, the varied and colorful cast of charac- Gadget II Devon Hollingsworth served for 25 years as director of music/organist at Christ Church of ters who conceived and financed it, built and rebuilt it, played Oak Brook, in Illinois, where he continues in PEDAL it, made recordings on it, wrote about it, maintained it, rescued ′ his 33rd year as organist. His church music 16 Bourdon it from time to time, and continue to ensure that its voice is heard. The Great Organ is now housed in its present 8′ Principal training was at Wheaton College (Illinois) and ′ Northwestern University, studying organ per- purpose-built concert hall, north of Boston in the town of Methuen, Massachusetts. How it got there and how it 8 Bourdon formance with Frederick Schulze, Jack Goode, 8′ Metal Flute remained there is only a part of its story. Contains numerous historic photographs and a photo gallery of ten new 4′ Principal Gladys Christensen, and Karel Paukert, and 4′ Metal Flute choral training with Rex Hicks and Grigg color plates by Len Levasseur. Fountain. He was responsible for more than HARDBOUND 416 PAGES ‡ $39.99 Gadget I 15 music groups at Christ Church, including a concert series, a conservatory of music, and Currently, Swell Gadget II plays a 29-tuned a full Kindermusik program. bars Glockenspiel Hollingsworth has been featured on na- IN STOCK FOR IMMEDIATE SHIPMENT! Digital section tional television for his organ design and con- sultation activities. He is married to Carol, NOW CHOOSE FROM OVER 5,000 TITLES! GREAT and they live in DeKalb, Illinois, where he 8′ Swell to Great has installed 15 ranks of pipes to play along ORDER ANY TIME ONLINE: www.ohscatalog.org 8′ Principal with their custom Allen organ in a new mu- 8′ Rohrfl ote sic room. The organ and the grand piano play 4′ Octave from the computer, and several organs have ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we 4′ Koppelfl ote been recently added to the collection, includ- P.O. Box 26811 Richmond, VA 23261 recommend, is $7.75 for your entire order. ′ 2 Flachfl ote ing a player pipe organ, an RT-3 Hammond Telephone: (804) 353-9226 Media Mail shipping is $4.50 for your entire Mixture IV organ with Leslie speaker, a second grand pi- order. Shipping outside U.S. is $4.50, plus Gr-Ped Unenclosed ano, and a Holmberg pipe organ clock. Tours Monday-Friday 9:30am-5:00pm ET the cost of air postage, charged to your VISA Reverberation are available by request. E-mail: [email protected] SHIPPING or MasterCard. SEPTEMBER, 2011 29 Sept 2011 pp. 26-29.indd 29 8/10/11 10:50:37 AM Cover feature A Symphonic Organ in the Cradle mixtures that add brilliance and clarity to of the Symphony the contrapuntal lines of the music with- The new Rieger Organ in the out ever becoming overbearing or harsh. Golden Hall of the Music Society The organ’s copious reed stops made it in Vienna possible for Lohmann to select ones that, in the Germanic tradition, added color Introduction while retaining the music’s transparency For centuries, Vienna, the capital of and lightness of texture. The direct ac- Austria, has been regarded by many as tion and responsiveness of the mechani- Europe’s music capital. It is here that cal console allowed the organist to artic- the symphony was developed as a musi- ulate his playing in a way that suited the cal form by composers such as Haydn, Baroque style admirably. Mozart, and Beethoven. So pervasive Martin Haselböck, internationally was the symphony in the development of known as conductor of performances Western art music that it not only domi- on original instruments with the Wiener nated creative music-making until well Akademie, recitalist and organ professor, into the 20th century, but also worldwide led the audience into the Romantic era became the most common adjective de- with Franz Liszt’s Prelude and Fugue on scribing orchestras and concert halls. It B.A.C.H. This piece enabled him to dem- is also used to denote a style of organ- onstrate the organ’s symphonic versatility building that developed towards the end and ability to swell in sound from the soft- of the 19th century, when organs were est whisper to the point where it convinc- often used as substitutes for orchestras, ingly fi lls the hall. Playing from the de- and organ recitals in secular venues usu- tached console on stage, Haselböck made ally included orchestral transcriptions. the audience forget that a few moments With the fortunes of fashion being cycli- earlier they had been listening to a superb cal, the merits of symphonic organs were Baroque sound, as they were introduced queried in the mid-20th century, often to rich foundation stops, impressive cho- by their detractors. However, in recent rus reeds, and convincing string-toned years, one has come to realize that their colors. The full organ’s sound, based on salient qualities can be combined suc- a foundation of 32′ stops, resonated ma- cessfully with more traditional organ jestically around the hall as the exciting elements to create instruments of great piece came to its conclusion. versatility, warmth and beauty. Such an The next recitalist, Gillian Weir, the organ has just been installed in Vienna, doyenne of English organists, who was the birthplace of the symphony. honored for her contributions to organ Vienna is also the city in which the music with the title Dame Commander performance of music was fi rst democ- of the British Empire in 1996, illustrat- ratized. In 1812, as a result of coopera- ed convincingly how the new organ ac- tion between citizens and the nobility, commodates challenging 20th-century the Society of the Friends of Music was repertoire by playing Olivier Messiaen’s founded, through which a platform was “Alleluias sereins d’une âme qui désire le created for performing concerts by any- ciel” from L’Ascension and “Dieu parmi one for everyone. Previously, secular nous” from La Nativité du Seigneur. concerts of this nature had primarily Her use, amongst others, of the Swell been restricted to stately homes, so this reeds—with their leaning towards the was the start of Vienna’s world-renowned Gallic tradition—lent authenticity to this civic musical life, and of a tradition that challenging music, as did her judicious continues to fl ourish. choice of mutations for solo passages. A major step along this civic cultural Olivier Latry, professor at the Paris road was the building of the Music Soci- Conservatoire and titular organist of ety’s concert hall in 1870 on ground that Notre Dame Cathedral in Paris, France, had become available following the de- Mechanical console played Alexandre-Pierre-François Boë- molition of the old city walls. The archi- ly’s Fantasy and Fugue in B Major and tect of this building, known locally as the the fi rst and last movements of Charles- Musikverein, was Theophil Hansen, who Marie Widor’s Organ Symphony No. 5 also created other impressive civic build- in F Minor. His faultless and seemingly ings along the famous Ring Road that re- effortless renderings of these demand- placed the demolished fortifi cations. ing works enchanted the audience. The The Musikverein is an imposing set of variations contained in Widor’s fi rst building in neoclassical style that houses movement gave the capacity audience of a number of facilities, amongst which is more than 2,000 further insights into the the Grand Hall that many regard as Eu- kaleidoscopic tonal variety attainable rope’s most acoustically perfect concert from the new Rieger organ. hall. It is also undoubtedly one of the The state-of-the-art technology of the most beautiful. Its rich decorations and playing aids, available on both consoles, abundant gilding are opulent, yet not of which more is said below, made it overbearing, resulting in the hall being easy to accommodate the diverse needs referred to colloquially as the Golden of the fi ve organists, who followed each Hall. At the rear of the stage, Han- other at the consoles in quick succession. sen designed an organ case that visually The listener was also left with a sense of forms the hall’s focal point, with a design admiration for the way in which the or- derived from the form of a Greek tem- gan’s stops have been scaled and voiced. ple. Behind this historic façade, a com- The choice of pipe scales has resulted in pletely new organ has been installed by the sound having suffi cient fundamental the leading Austrian organbuilding fi rm, tone for what is a very large hall, even Rieger Orgelbau (www.rieger-orgelbau. when fi lled to capacity, without becom- com); the festive inaugural concert took Electric console (mobile) ing turgid; care has also been taken to place on March 26, 2011 in the presence balance the constituent stops of the of leaders of the Austrian state, church, soloist, i.e., a symphonic organ; but also presented a brilliant improvisation to various choruses to ensure the seamless and civil society. This magnifi cent instru- one that would do justice to the ‘classical’ illustrate a selection of colors from the blending of their individual components. ment complements the fame and beauty organ literature. For these reasons, the organ’s vast tonal palette. Being sym- Furthermore, the voicing has resulted in of its setting and is a fi ne addition to the organ was, among other things, to have phonic in character, the organ has a rich clean, clear speech and a remarkable pu- musical infrastructure of a city that is al- two consoles—one mobile that could variety of possibilities, ranging from rity and evenness in tonal quality. ready, world-wide, at the apogee of civic be placed amongst the members of the the delicately soft to the majestic, and music activity. orchestra, and a second, with tracker ac- including an array of solo stops—fl utes, Tonal design tion, on the cantilevered balcony above reeds and mutations. As mentioned above, the tonal design Inaugural concert the orchestra. The second performer was Ludger of the new organ is essentially symphon- The inaugural concert was played by Following the formalities by the Soci- Lohmann, professor of organ and ca- ic. This term implies tonal warmth from the fi ve leading European organists, who, ety’s dignitaries, including a speech by the thedral organist in Stuttgart, who gave an a wealth of foundation stops, adequate together with two offi cials of the Music president of Rieger, Wendelin Eberle, the impressive rendering of J. S. Bach’s Toc- numbers of which are string toned, a di- Society, had formed the committee that music-making began. A fanfare by brass cata, Adagio and Fugue in C Major, BWV versity of colors, including imitations of had awarded the contract to Rieger and players from the Vienna Symphony Or- 564, using the attached mechanical- orchestral instruments, a wide volume overseen the project. chestra symbolically heralded the King of action console. This work demonstrated range, and smooth crescendi and diminu- Given the organ’s signifi cant and Instruments into the Golden Hall, there the beauty of the ‘classical’ diapason endi. However, this style of organbuild- prominent location, this committee had to be enthroned above the stage. choruses that form the foundation of this ing, stemming from the Romantic period, specifi ed a versatile instrument whose The fi rst recitalist was Peter Plan- organ, and combine effortlessly with its is also associated with less favorable char- primary focus was for use together with yavsky, former organist of St. Stephan’s symphonic nature. The principal stops of acteristics, viz. tonal qualities that obscure orchestras, both as an instrument within Cathedral in Vienna and professor at the these choruses blend admirably to form part-playing in contrapuntal music, inade- the orchestral ensemble and as orchestral Vienna Music University. Planyavsky one sound and are crowned by glorious quate primary organ tone, i.e., insuffi cient 30 THE DIAPASON Sept 2011 pp. 30-32.indd 30 8/10/11 9:52:40 AM Stop tabs constructed to link the two levels, those position of the Hauptwerk, raised above from the Orchesterwerk swell box appro- the stage, allows this important division priately being fi tted with swell shutters. to speak directly into the body of the The Hauptwerk is to be found in the hall, as is fi tting for the core of the or- central position behind the façade pipes gan. Behind the Hauptwerk and to either that were grouped by Hansen into three side are the Swell Organ and Solo Organ, classical sections (which always have each in their respective boxes. These, to- been, and remain, silent). The prominent ³ page 32 Vienna Musikverein, Golden Hall 2011 Pedal C–g1 32′ Kontrabass Orchesterwerk (expr.) I. C–c4 16′ Kontrabass 16′ Liebl. Gedackt 16′ Violonbass 8′ Geigenprincipal 16′ Salicetbass 8′ Viola da Gamba 8′ Octavbass 8′ Salicional 8′ Flöte 8′ Wienerfl öte 4′ Flöte 2 8′ Blockfl öte 2⁄3′ Rauschpfeife III 8′ Holzgedackt 32′ Kontraposaune 4′ Octave 16′ Posaune 4′ Viola 16′ Fagott 4′ Gedecktfl öte 8′ Trompete 2′ Octave 4′ Clairon 2′ Mixtur IV 2 2⁄3′ Harm. aeth. II–V Orchesterpedal (expr.) 16′ Fagott 32′ Subbass View from the electric console up to the gallery 8′ Euphonium 16′ Subbass 8′ Oboe 8′ Violon 8′ Klarinette 8′ Gedackt stops of principal or diapason tone, insuf- ditional Positive organ that many would Tremulant 16′ Bassklarinette fi cient upperwork and lack of brilliance, regard as important for playing much of sluggish speech that impedes articulation, the classical literature, compensation for Hauptwerk II. C–c4 Accessories: and thus, overall, the inability to do jus- this is made on the fourth manual: the 16′ Principal Rieger Combination System tice to the compositions of seminal organ Solo division contains a bright secondary 16′ Violon • 20 users, with 1,000 combinations with 3 composers, such as J. S. Bach. principal chorus, alongside the expected 8′ Principal inserts each 8′ Flûte Major • Archive for 250 tracks with 250 combina- In designing the Musikverein organ, solo reeds and fl utes. ′ Rieger was careful to capture the merits 8Gamba tions each 8′ Gedackt 4 Crescendi, adjustable of the symphonic style while avoiding the The organ’s layout 8′ Gemshorn Sostenuto excesses that led to the demise of such The organ is favorably situated directly 4′ Octave 3 free couplers instruments in the 20th century. Accord- behind the orchestra, its close proximity 4′ Salicional Sequencer ingly, as already alluded to, the tonal ensuring the maximum possible blend- 4′ Spitzfl öte Copy functions 2 core of each division of the Musikverein ing of the sound of these two partners. 2⁄3′ Quinte Repeat functions organ is a fi nely balanced principal cho- Physically, the base of the organ is at the 2′ Superoctave Division off 2 ′ rus crowned with classical mixtures that level of the conductor’s podium, but is 2⁄3 Großmixtur IV–VI General off 1 ′ impart the silvery brilliance required for concealed by the raked seating of the or- 1⁄3 Mixtur IV–V Unisons off 8′ Cornet V playing much of the classical literature. chestral musicians, which visually short- ′ ′ 16 Trompete Consoles: In addition, the organ has three 32 stops, ens the actual 36-foot height of the in- 8′ Trompete Main console (mechanical) fi fteen stops at 16′ pitch and thirty-six 8′ strument. At the ‘basement’ level, two of 4′ Trompete Mobile console (electric) stops, which in total ensure that its tone the organ’s blowers are situated, as also has the golden warmth and fullness re- a number of wind reservoirs and trunk- Swell (expr.) III. C–c4 Mechanical couplers: quired of a symphonic organ. ing. Above this, at the level of the rear- 16′ Salicet Ow/Hw 8′, Sw/Hw 8′, So/Hw 8′ 8′ Principalviolon Sw/Ow 8′, So/Ow 8′, So/Sw 8′, There are 21 reed stops of varying most musicians, one fi nds the enclosed ′ ′ ′ ′ ′ colors and strengths, some—in the Solo Orchesterwerk division and its accompa- 8Gambe Ow/P 8 , Hw/P 8 , Sw/P 8 , So/P 8 8′ Aeoline division—on high wind pressure; suf- nying pedal section—meaning that there 8′ Voix céleste Electric couplers: fi cient mutation stops; a mounted Cor- is literally no gap between the orchestra 8′ Flûte harm. Ow/Hw 8′, Sw/Hw 8′, So/Hw 8′, Sw/Ow 8′, net on the Hauptwerk, and the stops and this part of the organ. 8′ Bourdon So/Ow 8′, So/Sw 8′, Ow/Ow 16′, Ow/Ow 4′ necessary for creating a Cornet Séparé The ‘lower story’ of the organ is hid- 4′ Flûte oct. Sw/Sw 16′, Sw/Sw 4′, So/So 4′ on each of the Swell and Solo Organs. den behind an elegant white screen, 4′ Fugara Sw/Hw 16′, Sw/Hw 4′, Ow/Hw 16′, Ow/Hw 2 ′ ′ ′ ′ The 86 speaking stops are divided over decorated with panels containing pairs 2⁄3 Nazard harm. 4 , Ow/Ped 4 , Sw/Ped 4 four manual divisions and pedal, three of of griffons, and is framed by six ornate 2′ Octavin 3 ′ which (Orchesterwerk, Swell, and Solo) gilded pillars that lead the eye upwards 1⁄5 Tierce harm. Special features: 1′ Siffl et Rieger Tuning System are enclosed to give the maximum pos- to the organ balcony and ‘upper story’ 2′ Fourniture V Rieger Replay System sible dynamic range. that they appear to support. 16′ Basson Divided Pedal (electric console) The imposing Hauptwerk’s compre- The main Pedal stops are placed at 8′ Trompette harm. Manual Change I–II (electric console) hensive principal chorus is matched by the lower level on either side of the Or- 8′ Hautbois Transposing Manual a battery of trumpet-toned reeds at 16′, chesterwerk division, with the longest 8′ Clairon harm. MIDI 8′ and 4′ pitch, whose characters lean pipes at the extreme left and right, ris- 8′ Voix Humaine towards the Germanic. In contrast, the ing up into the upper story, e.g., those Tremulant Wind pressures: chorus reeds of the large Swell Organ of the full-length Kontraposaune 32′. In Pedal 100mm Solo (expr.) IV. C–c4 Hauptwerk 85mm bass 105mm treble are modestly French in nature. contrast, the open wooden pipes of the ′ ′ 16 Quintatön Swell 80mm bass 90mm treble An interesting feature of the organ is Kontrabass 32 are mounted horizontally 8′ Diapason Solo 75mm bass 90mm treble the large Orchesterwerk division that against the rear wall of the organ, behind 8′ Flauto Amabile Orchesterwerk 75mm bass 90mm treble was conceived to house stops that would the Orchesterwerk swell box, with the 8′ Doppelfl öte Orchesterpedal 80mm blend exceptionally with actual orches- longest being mitered to fi t them into the 4′ Prestant tral instruments. The Orchesterwerk di- 30-foot width of the organ case. 4′ Traversfl öte Rieger-Orgelbau GmbH 2 ′ vision has its own pedal stops contained The gallery that visually separates the 2⁄3 Nasard Hofsteigstr.120 ′ 2′ Flöte within its swell box, based on a 32 Sub- lower and upper stories of the organ case 3 A-6858 Schwarzach 1⁄5′ Terz bass, to ensure that the dynamics of the provides the space for the mechanical 1 Austria 1⁄3′ Larigot 1 pedal and manual sections are precisely action console. In order that organists 1⁄3′ Mixtur IV T: 0043 5572 58132-0 aligned with each other. Although from using this console should not be isolated 8′ Englischhorn F: 0043 5572 58132-6 the specifi cation it would appear that from the sound of the stops on the level 8′ Tromp. Royal W: www.rieger-orgelbau.com no provision has been made for the tra- below them, tonal passages have been 8′ Tuba SEPTEMBER, 2011 31 Sept 2011 pp. 30-32.indd 31 8/10/11 9:53:10 AM New Organs Robert William Wallace Pipe Or- mally dedicated, and fi rst played pub- gans, Newport News, Virginia licly by director of sacred music David St. Mary of the Immaculate Con- Mathers. An inaugural concert featuring ception Roman Catholic Church, Frederick Teardo, associate organist of Fredericksburg, Virginia Saint Thomas Church, New York, took This new 49-rank organ is the center- place on June 17. piece of a substantial renovation of the —Mary William Baines interior of the church (built in 1971). The GREAT east end of the church (behind the altar) ′ was demolished and rebuilt to make 16 Double Dulciana (ext) 16′ Violone (ext) room for the organ, and new fl ooring was 8′ 1st Open Diapason installed in the nave to improve acous- 8′ 2nd Open Diapason tics. The instrument resides behind large 8′ Harmonic Flute casework that doubles as the reredos of 8′ Stopped Flute the altar. Flamed copper diapasons and 8′ Violoncello dulcianas rest harmoniously amid sculp- 8′ ’Cello Celeste (TC) 8′ Dulciana tures and paintings of angels and saints. ′ Organ chamber construction includes 8 Dolcan 8′ Dolcan Celeste (TC) concrete block walls, cement board ceil- 4′ Principal (ext 1st Open Diapason) ings, and 2¾-inch-thick expression shut- 4′ Octave ters with 45-degree bevels. 4′ Octave Dulciana (ext) Through the guidance of tonal di- 4′ Open Flute (ext Stopped Flute) 2 rector Dr. William W. Hamner, Jr., the 2⁄3′ Twelfth instrument unabashedly exhibits a neo- 2′ Fifteenth 2′ Chorus Mixture IV Romantic/neo-symphonic tonal palette, ′ yet is equally capable of providing the 2 Harmonia Aetheria IV (from Dulciana) 8′ Pontifi cal Tuba (Ch) color and contrapuntal clarity necessary 8′ Tromba to render even the most stylized of early 8′ English Horn literature. Moreover, scaling and voicing 4′ Tromba Clarion (ext) have been executed with liturgical col- Chimes (Ch) laboration fully in mind. Tremolo The three enclosed divisions include a partially enclosed Great and Pedal. Por- SWELL 16′ Minor Bourdon (ext) tions of the Choir and Swell are double- 8′ Horn Diapason enclosed, utilizing Robert William Wal- 8′ 2nd Diapason (from Octave) lace inner-shade slide controllers, which 8′ Stopped Diapason are located at the forward end of the 8′ Salicional appropriate expression shoes. Wind pres- 8′ Voix Celeste (TC) sures range from 5 inches in the outer 8′ Violin Celeste II (from Violina/Celeste) 4′ Octave Diapason Choir division and the unenclosed por- ′ tion of the Great and Pedal, to 7 inches 4 Harmonic Flute 4′ Violina 4′ Magic Flute 16′ Violone (Gt) in the Swell division, 10 inches in the ′ 2 4 Violina Celeste 2⁄3′ Twelfth (ext Viole) 16′ Double Dulciana (Gt) enclosed Great division, and 18 inches 2 ′ 2 2⁄3 Flute Twelfth (ext) 2′ Fifteenth (ext Viole) 10 ⁄3′ Dolce Quint (Gt Dulciana) for the Pontifi cal Tuba. Fourteen vintage 2′ Harmonic Piccolo (ext) 2′ Recorder (ext Magic Flute) 8′ Principal 3 ′ 3 ranks, mid-1950s “Willis” Wicks pipes, 1⁄5 Tierce (TC) 1⁄5 ′ Seventeenth 8′ Octave Wood (ext Major Bass) 2 were reclaimed from two older installa- 2⁄3′ Full Mixture V 1′ Fife (ext Magic Flute) 8′ Stopped Flute (Gt) ′ 1 tions, reworked, and revoiced to integrate 2 String Mixture IV (from Salicional) 1⁄3′ Mixture IV (from Viole) 8′ Violoncello (Gt) with the new choruses of the organ. 16′ Double Waldhorn (ext) 8′ Oboe Horn 4′ Fifteenth (Gt 2nd Open Diapason) 16′ Bassoon (from Oboe) 8′ Clarinet 4′ Major Flute (ext Major Bass) The action is electro-pneumatic and ′ ′ ′ electric, and the movable English-style 8 Cornopean 4 Clarinet (ext) 32 Double Trombone (digital ext) 8′ Waldhorn 8′ Pontifi cal Tuba 16′ Trombone (ext Gt Tromba) drawknob console was custom-designed 8′ Oboe 8′ Tromba (Gt) 16′ Double Waldhorn (Sw) to complement the church renovation. 8′ Vox Humana 4′ Tuba Clarion (ext) 8′ Pontifi cal Tuba (Ch) Console appurtenances include com- 4′ Clarion (ext Oboe) 4′ Tromba Clarion (Gt) 8′ Tromba (Gt) plete inter- and intramanual couplers, Tremolo Chimes (21 tubes) 8′ Clarinet (Ch) Gt.-Ch. transfer, pedal divide, all swells Tremolo 4′ Clarion (Gt) to swell, solid-state combination action CHOIR 4′ English Horn (Gt) 8′ Violin Diapason PEDAL Glockenstern (seven bells) with 128 memory levels per user, piston ′ ′ sequencer, playback, and MIDI. 8 Chant Flute 32 Double Major Bass (resultant) 8′ Bois Celeste (TC) 32′ Acoustic Bourdon (resultant) 3,298 pipes The organ was blessed by Bishop 8′ Harmonic Flute (Gt) 16′ Open Diapason (ext Gt 2nd Open Diap) 49 ranks Paul S. Loverde at a Mass on Novem- 8′ Viole 16′ Major Bass 76 stops ber 22, 2010, during which the new altar 8′ Viole Celeste (TC) 16′ Bourdon (ext Gt Stopped Flute) and renovated worship space were for- 4′ Octave 16′ Minor Bourdon (Sw) ³ page 31: Rieger cover feature allows organists to save their preferred and MIDI features are also available. primary function is playing with orches- positions for the organ bench and the The organ has 6,138 pipes, most of tras, but also able to accompany other gether with the enclosed Orchesterwerk pedalboard in relation to the manuals, which are on slider windchests that are instruments and choirs, and at times be a division, can be controlled from one swell and to recall these when required, after operated by a tracker system from the recital instrument. Rieger Orgelbau has pedal, thus enabling the player easily to which the preferred positions are taken mechanical console and by pallet mag- met these high (and potentially confl ict- make fi nely nuanced adjustments to the up automatically. The use of these fea- nets from the mobile console; some of ing) expectations by judiciously combin- organ’s volume. tures at the inaugural concert, and the the largest pipes are placed on auxiliary ing the positive features of symphonic At the top of the organ, behind the resulting speed with which one organist pneumatic chests. Individual wind pres- organs from an earlier era with the time façade pipes and partially in the space could follow another, proved their value sures are used for the different divisions honored attributes of classical organ created by the triangular pediment in a concert hall setting. of the organ and all windchests are di- building, thereby masterfully overcom- that crowns the organ case, are a third A fi nal, unique, feature of the electric vided into bass and treble sections, each ing the shortcomings of instruments blower and the wind reservoirs for the console is that the pedalboard and bench with their own appropriate wind pres- from the Romantic period, and creating Hauptwerk, Swell and Solo organs. can be retracted electrically to the point sures. The bass sections are supplied a prototype for a second generation of where the console can be pushed on its with stable wind from bellows, whereas symphonic organs. Technical information platform through the narrow stage doors the trebles are fed fl exibly from schwim- The Musikverein organ is not a copy of As already mentioned, the organ has when not required on stage. In all other mer reservoirs. Of the pipes referred to an instrument from any historical school two consoles. The attached console respects, including the layout, the two above, 639 are made of wood, with the of organbuilding, but an absolutely mod- is made of walnut wood, whereas the consoles are identical. remainder being constructed of various ern instrument that draws on the rich mobile console has a black lacquered The Rieger capture system, Rieger alloys of tin and lead. The largest pipe is values of and experience from different exterior that allows it to harmonize on Electronic Assistant (REA), is used in more than 32 feet in length and weighs organbuilding periods, and simultane- stage with members of the orchestra. the Musikverein organ, fully at both con- approximately 880 pounds. ously leads the art of organ building into The key action of the attached console soles and interchangeably between them. the future. Its essence is ‘symphonic’— is mechanical, while that of the second, The system makes provision for 20 indi- Postscript not by being ‘historic’, but through infus- mobile console (which can be placed vidual organists, each having up to 1,000 Vienna is the cradle of the sympho- ing the term with new meaning. Those anywhere on the stage) is electric. In combinations, the possibility of inserting ny as art form, and the glorious Great involved in the project—the Society of both cases, the stop action is electric. three additional combinations between Hall of the Musikverein a venue par Music Friends, the committee of organ The normal couplers on the attached existing ones, and the ability to archive excellence for symphony concerts. It is experts, Rieger-Orgelbau—are all to be console are mechanical and the mobile registrations for 250 pieces, each with therefore entirely appropriate that the congratulated on creating a new mile- console has additional “unison off” and up to 250 registration combinations. The Gesellschaft der Musikfreunde in Wien stone in the history of organ building and adjustable “divided” pedal options. On system’s features include, among other (the Society of Music Friends in Vienna) setting the highest standards for concert the moveable console, the organist can things, sequencing, sostenuto, copying, should have wanted a secular, symphonic hall instruments of the future. choose between having the Hauptwerk and repeat functions; divisional and gen- organ for their beautiful hall. They speci- —Dr. Antony Melck or Orchesterwerk organs playable from eral cancels; unison-off options; and four fi ed an instrument that would match the Professor, University of Pretoria the bottom manual. Furthermore, the individually adjustable crescendi. The quality of the world-renowned ensem- mobile console is fi tted with an electri- Rieger recording and playback func- bles and artists that perform in their fa- Photo credit: Wolf-Dieter Grabner/ cally operated, adjustable feature that tions, tuning system, transposing facility, mous venue, a concert hall organ whose Musikverein 32 THE DIAPASON Sept 2011 pp. 30-32.indd 32 8/10/11 9:53:36 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Paul Jacobs; First Baptist, Nashville, TN 3 pm Pickle Piano & Church Organs This calendar runs from the 15th of the month of Michael Burkhardt; Zion Lutheran, Wausau, NEW YORK issue through the following month. The deadline is WI 3 pm Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. issue). All events are assumed to be organ recitals 26 SEPTEMBER unless otherwise indicated and are grouped within Christopher Houlihan; Capitol Hill United each date north-south and east-west. •=AGO chap- Methodist, Washington, DC 8 pm Christopher Babcock ter event, • •=RCCO centre event, +=new organ dedi- Marilyn Keiser, workshop; St. John Presbyte- cation, ++= OHS event. rian, New Albany, IN 7 pm St. Andrew’s by the Sea, Information cannot be accepted unless it speci- Graham Davies; Elliott Chapel, Presbyterian fi es artist name, date, location, and hour in writ- Homes, Evanston, IL 1:30 pm Hyannis Port ing. Multiple listings should be in chronological order; please do not send duplicate listings. THE DIAPA- 30 SEPTEMBER St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for Joseph Olefi rowicz; Methuen Memorial Mu- the accuracy of calendar entries. sic Hall, Methuen, MA 8 pm David Higgs; All Saints Episcopal, Worcester, MA 8 pm UNITED STATES David Lamb; First Presbyterian, Richmond, East of the Mississippi KY 7 pm 1 OCTOBER 16 SEPTEMBER Janette Fishell, masterclass; Hosmer Hall, Leo Abbott, Barbara Bruns, Mark Dwyer, SUNY Potsdam, Potsdam, NY 3 pm John & Carolyn Skelton, with piano; Methuen Nigel Potts; First Presbyterian, Northport, NY Memorial Music Hall, Methuen, MA 8 pm 7:30 pm Peter Richard Conte; U.S. Naval Academy, Annapolis, MD 7:30 pm 2 OCTOBER Dongho Lee; St. Paul’s Episcopal, Indianapo- Carl Schwartz & Karl Moyer; First Congrega- Dean W. Billmeyer GAVIN BLACK lis, IN 7:30 pm tional, Orwell, VT 2:30 pm Felix Hell; First Presbyterian, Lexington, KY 8 Victor Hill, harpsichord, Bach works; Clark Art Princeton Early Keyboard Center pm Institute, Williamstown, MA 3 pm University of Minnesota Janette Fishell; Shryock Auditorium, Southern Janette Fishell; Hosmer Hall, SUNY Potsdam, 732/599-0392 Illinois University, Carbondale, IL 7:30 pm Potsdam, NY 3 pm Minneapolis 55455 • [email protected] www.pekc.org Karen Beaumont; Cathedral Church of St. 17 SEPTEMBER John the Divine, New York, NY 5 pm John Weaver; Bowdoin Chapel, Brunswick, Ken Cowan; Baker Memorial Chapel, McDan- ME 3 pm iel College, Westminster, MD 3 pm David Higgs, masterclass; Stambaugh Audito- Christopher Houlihan; Trinity United Method- Byron L. Blackmore THOMAS BROWN rium, Youngstown, OH 10 am ist, Lima, OH 3 pm UNIVERSITY Craig Cramer; Episcopal Chapel of St. John Crown of Life Lutheran Church 18 SEPTEMBER the Divine, Champaign, IL 4 pm PRESBYTERIAN CHURCH Renée Anne Louprette; Church of the Resur- Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA rection, New York, NY 3 pm 4 OCTOBER 623/214-4903 ThomasBrownMusic.com James Wetzel; Cathedral Church of St. John Rodney Barbour; Ransdell Chapel, Camp- the Divine, New York, NY 5 pm bellsville University, Campbellsville, KY 12:20 Daniel Brondel; St. Patrick’s Cathedral, New pm York, NY 6:30 pm Mark Loring; Park Congregational, Grand Jeremy Filsell, piano and Nigel Potts, organ; Rapids, MI 12:15 pm Cathedral of the Sacred Heart, Newark, NJ 4 pm David Enlow, with orchestra, Handel Organ David Chalmers DELBERT DISSELHORST Peter Richard Conte; Camp Hill Presbyterian, Concerto No. 4; Church of the Resurrection, New Concert Organist Camp Hill, PA 4 pm York 8 pm Professor Emeritus David Arcus; Duke University Chapel, Dur- GLORIÆ DEI CANTORES ham, NC 2:30 pm, 5 pm 5 OCTOBER Orleans, MA University of Iowa–Iowa City Hector Olivera; St. John’s United Methodist, Susanna Faust; Camp Hill Presbyterian, Augusta, GA 3 pm Camp Hill, PA 12:15 pm Christopher Houlihan; Forrest Burdette Unit- Christopher Urban, with handbells; First Pres- ed Methodist, Hurricane, WV 3 pm byterian, Arlington Heights, IL 12:10 pm +David Higgs, with Youngstown Symphony JAMES DORROH, AAGO, PhD STEVEN EGLER (Saint-Saëns Symphony No. 3, Poulenc Con- Central Michigan University 6 OCTOBER Saint Luke’s Episcopal Church Mt. Pleasant, Michigan certo); Stambaugh Auditorium, Youngstown, OH David Lamb; University Chapel, Princeton, NJ 4 pm 12:30 pm Samford University Artist in Residence Steven Egler, with Exultate Deo Choir, and David Comer; Westminster Presbyterian, Day- Birmingham, Alabama First Congregational Church fl ute, works of Moonyeen Albrecht; Central Michi- ton, OH 12:10 pm Saginaw, Michigan gan University, Mt. Pleasant, MI 4 pm Organ Consultant Organ Recitals [email protected] James Dorroh, Josh Bullock, Sarah Heas- 7 OCTOBER lett, & Charles Kennedy; Reid Chapel, Samford Chanticleer; Cathedral Church of the Advent, University, Birmingham, AL 2:30 pm Birmingham, AL 7:30 pm Organist / Pianist John W. W. Sherer; Madonna della Strada JOHN FENSTERMAKER Chapel, Loyola University, Chicago, IL 3 pm 8 OCTOBER Michael Gailit Singing Boys/Keystone Girls Choir; St. Andrew- 19 SEPTEMBER www.gailit.at Covenant Presbyterian, Wilmington, NC 7:30 pm TRINITY-BY-THE-COVE •Hector Olivera, workshop; St. John’s United [email protected] Ken Cowan, masterclass; Westminster Pres- Methodist, Augusta, GA 8 pm byterian, Dayton, OH 10 am Konservatorium Wien University Karen Beaumont; Summerfi eld Methodist, NAPLES, FLORIDA James David Christie, masterclass; First Lu- University of Music, Vienna Milwaukee, WI 1 pm theran, Duluth, MN 10 am 20 SEPTEMBER Gail Archer; Davidson College Presbyterian, 9 OCTOBER A Professional Card in Davidson, NC 7:30 pm Benjamin Kolodziej; St. Patrick’s Cathedral, STEPHEN HAMILTON James Metzler; Park Congregational, Grand New York, NY 4:45 pm The Diapason Rapids, MI 12:15 pm Eugene Lavery; Cathedral Church of St. John For rates and digital specifi cations, the Divine, New York, NY 5 pm contact Jerome Butera recitalist–clinician–educator 23 SEPTEMBER Hector Olivera; St. Leo the Great Catholic 847/391-1045 www.stephenjonhamilton.com Luc Beauséjour; Old West Church, Boston, Church, Lancaster, PA 4 pm [email protected] MA 8 pm Bruce Neswick; St. Michael’s Episcopal, Bon James Higdon, Alain Centennial recital; Sayles Air, VA 5 pm Hall, Brown University, Providence, RI 8 pm Singing Boys/Keystone Girls Choir; First Bap- tist, Wilson, NC 10 am Hector Olivera; First Presbyterian, Lockport, ANDREW HENDERSON, DMA NY 7:30 pm Marilyn Keiser; Whitley Auditorium, Elon Uni- WILL HEADLEE Diane Meredith Belcher; Downtown United versity, Elon, NC 3 pm Singing Boys/Keystone Girls Choir; St. Paul 1650 James Street Madison Avenue Presbyterian Church Presbyterian, Rochester, NY 8 pm New York, NY Episcopal, Tarboro, NC 3 pm Syracuse, NY 13203-2816 24 SEPTEMBER Organized Rhythm (Clive Driskill-Smith, Isabelle Demers; Abingdon Episcopal, White organ and Joseph Gramley, percussion); John (315) 471-8451 www.andrewhenderson.net Marsh, VA 5 pm Knox Presbyterian, Greenville, SC 3 pm Thomas Murray; Stambaugh Auditorium, 25 SEPTEMBER Youngstown, OH 4 pm Chelsea Chen; Chapel of St. Peter & St. Paul, Ken Cowan; Westminster Presbyterian, Day- LORRAINE BRUGH, Ph.D. St. Paul’s School, Concord, NH 7:30 pm ton, OH 4 pm Rosalind Mohnsen; St. Anthony Church, New James David Christie; First Lutheran, Duluth, Bedford, MA 3 pm MN 4 pm Associate Professor David Enlow; Old Dutch Church, Tarrytown, University Organist NY 4 pm 10 OCTOBER Ian Sadler; St. Patrick’s Cathedral, New York, Westminster Cathedral Choir; Cathedral of Valparaiso University NY 4:45 pm Christ the King, Atlanta, GA 7:30 pm Stephen Hamilton; St. James Episcopal, Hen- Valparaiso, IN dersonville, NC 4 pm www.valpo.edu Joan Lippincott; Grace Episcopal, Gaines- ville, GA 5 pm Be sure to check out new Gillian Weir; Trinity Episcopal, Columbus, GA audio and video fi les on 219-464-5084 7 pm Dongho Lee; First Presbyterian, Athens, OH TheDiapason.com! [email protected] 4 pm SEPTEMBER, 2011 33 CALIFORNIA LUTHERAN UNIVERSITY 12 OCTOBER Paul Jacobs; Samford University, Birming- Westminster Cathedral Choir; Cathedral of St. ham, AL 2:30 pm MICHELE JOHNS Peter and St. Paul, Philadelphia, PA 7:30 pm Todd Wilson; East Lake United Methodist, Bir- A.Mus.D Dr. Kyle Johnson Ryan Anthony, trumpet and Gary Beard, mingham, AL 2:30 pm organ; St. Matthew’s Episcopal, Wheeling, WV Organ — Harpsichord •David Enlow; 91st Street Christian Church, University Organist 7:30 pm Bloomington, IN 4 pm The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV School of Music 13 OCTOBER 24 OCTOBER www.callutheran.edu Judy Bede; Westminster Presbyterian, Day- Robert Knupp; Elliott Chapel, Presbyterian ton, OH 12:10 pm Homes, Evanston, IL 1:30 pm 14 OCTOBER 25 OCTOBER Brian Jones KIM R. KASLING Westminster Cathedral Choir; St. Thomas Douglas Cleveland; Savage Chapel, Union D.M.A. Church, New York, NY 7:30 pm University, Jackson, TN 7:30 pm Director of Music Emeritus Lynne Davis; Pine Street Presbyterian, Har- St. John’s University risburg, PA 7:30 pm 26 OCTOBER TRINITY CHURCH Craig Cramer, Cathedral of the Holy Rosary, John Scott; Highland Presbyterian, Lancaster, BOSTON Collegeville, MN 56321 Toledo, OH 7:30 pm PA 7 pm 15 OCTOBER 27 OCTOBER Gail Archer; Wapping Community Church, Choir of St. Luke in the Fields, music of Byrd; South Windsor, CT 4 pm Church of St. Luke in the Fields, New York, NY JAMES KIBBIE 8 pm The University of Michigan 16 OCTOBER Jerry Taylor; Westminster Presbyterian, Day- Judith Hancock; St. James’ Church, New ton, OH 12:10 pm Ann Arbor, MI 48109-2085 ORGAN CONSULTANT York, NY 3 pm 734-764-1591 FAX: 734-763-5097 Fred Swann; Cathedral Church of St. John the 28 OCTOBER www.gabrielkney.com Divine, New York, NY 5 pm David Higgs; Slee Hall, SUNY Buffalo, Am- email: [email protected] Hector Olivera, with Virginia Beach Sym- herst, NY 7:30 pm phony; Sandler Center for the Performing Arts, +Stephen Hamilton; Church of the Holy Trinity Virginia Beach, VA 3 pm (Episcopal), New York, NY 8 pm D.Mus. Wilma Jensen; Duke University Chapel, Dur- Donald Sutherland, with horn; St. Paul’s Epis- David K. Lamb, ham, NC 5 pm copal, Chattanooga, TN 7:30 pm Director of Music/Organist ARTHUR LAMIRANDE Robert Heath, harpsichord; Plymouth Congre- Scott Hyslop; St. Lorenz Lutheran, Franken- gational, Coconut Grove, FL 4 pm muth, MI 7 pm First United Methodist Church [email protected] The Chenaults; First Presbyterian, Gaines- Columbus, Indiana 29 OCTOBER www.youtube.com/watch?v=WTkDk-cX1X4 ville, GA 3 pm 812/372-2851 Organized Rhythm (Clive Driskill-Smith, or- Bruce Neswick; St. Bede’s Chapel, Green- gan and Joseph Gramley, percussion); Vineville wich, CT 7:30 pm United Methodist, Macon, GA 4 pm Todd Wilson, silent fi lm accompaniment; Westminster Cathedral Choir; Cathedral of St. Stambaugh Auditorium, Youngstown, OH 2 pm Peter in Chains, Cincinnati, OH 3 pm Halloween Pipes Spooktacular; St. Mary’s David Lowry Craig Cramer; St Joseph Cathedral, Colum- Episcopal Cathedral, Memphis, TN 5:30 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD bus, OH 3 pm David Lamb; St. Christopher’s Episcopal, Car- Barbara MacGregor & David Fisher 1512 BLANDING STREET, COLUMBIA, SC 29201 ; Kent mel, IN 7 pm United Church of Christ, Kent, OH 4 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Diane Bish; First Presbyterian, Birmingham, 30 OCTOBER ROCK HILL, SC 29733 MI 3 pm Gail Archer, works of Liszt; Vassar College, Choral Evensong; Cathedral Church of the Ad- Poughkeepsie, NY 3 pm vent, Birmingham, AL 4 pm Emmanuel Duperrey; Cathedral Church of St. Thomas Murray; Memorial Chapel, Culver John the Divine, New York, NY 5 pm Academies, Culver, IN 4 pm Karl Moyer, pipe organ walk; Zion Church, Steven Betancourt, with choirs and dance; Millersville, PA 2 pm ANDREW PAUL MOORE Madonna della Strada Chapel, Loyola University, A.S.C.A.P. Jeremy Filsell; Calvary Episcopal, Pittsburgh, Chicago, IL 3 pm FELLOW, AMERICAN GUILD OF ORGANISTS HRIST HURCH PA 4 pm C C Stephen Hamilton; St. James Lutheran, St. Schola Cantorum de Venezuela; Cathedral of 345 SADDLE LAKE DRIVE Paul, MN 4 pm St. Peter in Chains, Cincinnati, OH 3 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 Jonathan Ryan; First Baptist Church of Great- 17 OCTOBER er Cleveland, Shaker Heights, OH 3 pm •Hector Olivera; First Presbyterian, Virginia David Lamb; St. John Presbyterian, New Al- Beach, VA 7:30 pm bany, IN 6 pm Westminster Cathedral Choir; Cathedral of St. Christopher Houlihan; Wisconsin Lutheran OUGLAS EILL John the Evangelist, Cleveland, OH 7:30 pm LEON NELSON D O’N College, Milwaukee, WI 1:30 pm Nathan Laube; Westminster Presbyterian, Cathedral of the Madeleine 18 OCTOBER University Organist Rockford, IL 3 pm Chris Dekker; Park Congregational, Grand Salt Lake City, Utah •Tom Trenney, recital plus silent fi lm accompa- North Park University Rapids, MI 12:15 pm Chicago, Illinois [email protected] niment; Glenview Community Church, Glenview, IL 7:30 pm 801/671-8657 19 OCTOBER Stephen Hamilton, Saint-Saëns, Organ Sym- 31 OCTOBER phony; Queens College, New York, NY 12 noon MARILYN MASON Mark Steinbach; Sayles Hall, Brown Univer- 20 OCTOBER sity, Providence, RI 12 midnight CHAIRMAN, DEPARTMENT OF ORGAN Michael Britt, silent fi lm accompaniment; Mc- UNIVERSITY OF MICHIGAN Elizabeth Wareham; Westminster Presbyte- rian, Dayton, OH 12:10 pm Daniel College, Westminster, MD 7 pm ANN ARBOR “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it 21 OCTOBER UNITED STATES with awesome technique and a thrilling command of its daring writing.” Janette Fishell; Methuen Memorial Music West of the Mississippi The American Organist, 1980 Hall, Methuen, MA 8 pm Kelly Jensen, solo handbells; Cathedral Church of the Advent, Birmingham, AL 12:30 pm 16 SEPTEMBER Jean-Baptiste Robin; St. James Episcopal, Ensemble Pearl; St. John’s Cathedral, Denver, SYLVIE POIRIER Fairhope, AL 7 pm CO 7:30 pm LARRY PALMER Westminster Cathedral Choir; Overture Hall, Jonathan Ryan; Samuelson Chapel, California Madison, WI 7:30 pm Lutheran University, Thousand Oaks, CA 7 pm Professor of PHILIP CROZIER Sheila Bristow; Christ Episcopal, Tacoma, WA ORGAN DUO 22 OCTOBER 12 noon Harpsichord and Organ Ken Cowan, masterclass; Yale University, New David Lamb; Central Union Church, Honolulu, 3355 Queen Mary Road, Apt 424 Haven, CT 12 noon HI 7 pm Meadows School of the Arts Felix Hell; Longwood Gardens, Kennett Montreal, H3V 1A5, P. Quebec Square, PA 8 pm 17 SEPTEMBER Ken Cowan, masterclass; Chapel of the Incar- SOUTHERN METHODIST UNIVERSITY Canada Haig Mardirosian, with piano and soprano; Sykes Chapel, University of Tampa, Tampa, FL nate Word, San Antonio, TX 10 am (514) 739-8696 7:30 pm Dallas, Texas 75275 18 SEPTEMBER Fax: (514) 739-4752 David Enlow, masterclass; Indiana University, Bloomington, IN 2 pm Ken Cowan; Chapel of the Incarnate Word, Musical Heritage Society recordings [email protected] Isabelle Demers; Church of the Gesu, Milwau- San Antonio, TX 3 pm kee, WI 7:30 pm Choral Evensong; St. John’s Cathedral, Den- ver, CO 3:30 pm 23 OCTOBER Robert Gurney; St. Mary’s Cathedral, San Ken Cowan; Woolsey Hall, Yale University, Francisco, CA 3:30 pm New Haven, CT 8 pm James Lazenby; Church of the Resurrection, 19 SEPTEMBER A four-inch Professional Card New York, NY 3 pm Jonathan Ryan; O’Donnell Auditorium, Ne- Stephen Hamilton, Saint-Saëns, Organ Sym- braska Wesleyan University, Lincoln, NE 7 pm in THE DIAPASON phony; Church of the Epiphany, New York, NY 4 pm 20 SEPTEMBER For rates and specifi cations Douglas Kostner; St. Patrick’s Cathedral, New Houston Chamber Choir; Co-Cathedral of the York, NY 4:45 pm Sacred Heart, Houston, TX 7:30 pm contact Jerome Butera Richard Sutton; Cathedral Church of St. John the Divine, New York, NY 5 pm 21 SEPTEMBER 847/391-1045 Christopher Houlihan; St. Barnabas Episco- Jeannine Jordan, with visual artist, Bach and pal, Irvington-on-Hudson, NY 5 pm Sons; Christ Episcopal, Eureka, CA 7 pm [email protected] John Scott; St. John’s Episcopal, Lynchburg, VA 4 pm 23 SEPTEMBER Jean-Baptiste Robin; Christ Church, Pensa- Matt Lehman; Trinity Lutheran, Rochester, MN cola, FL 3 pm 12:10 pm 34 THE DIAPASON Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Christopher Howerter; Spanaway Lutheran, Choral Evensong; St. John’s Cathedral, Den- Spanaway, WA 12 noon ver, CO 3:30 pm A Professional Card in Stephen G. Schaeffer Los Angeles Master Chorale; Walt Disney Con- 24 SEPTEMBER cert Hall, Los Angeles, CA 7 pm The Diapason Recitals – Consultations Janette Fishell, masterclass; Edythe Bates Old Robert Bates; All Souls Episcopal, San Diego, For rates and digital specifi cations, Recital Hall, Rice University, Houston, TX 1 pm CA 4 pm contact Jerome Butera Cathedral Church of the Advent 847/391-1045 Birmingham, Alabama 25 SEPTEMBER 19 OCTOBER [email protected] www.AdventBirmingham.org Ken Cowan; First Presbyterian, Columbia, MO Westminster Cathedral Choir; Cathedral Ba- 4 pm silica of St. Louis, St. Louis, MO 8 pm Nigel Potts; Trinity Episcopal, Tulsa, OK 7 pm Robert Bates; Trinity Lutheran, Spring, TX 21 OCTOBER ROBERT L. Stephen Tappe 4 pm Wilma Jensen; First Congregational, Greeley, Janette Fishell; Edythe Bates Old Recital Hall, CO 7:30 pm Organist and Director of Music Rice University, Houston, TX 7 pm John Scott; Episcopal Church of the Trans- SIMPSON Saint John's Cathedral Martin Jean; Highland Park Presbyterian, Dal- fi guration, Dallas, TX 8 pm Christ Church Cathedral Denver, Colorado las, TX 7 pm James David Christie; Our Lady of Fatima 1117 Texas Avenue Bradley Hunter Welch; Christ United Method- Parish, Seattle, WA 7:30 pm Houston, Texas 77002 www.sjcathedral.org ist, Plano, TX 7 pm Paul Tegels; Queen Anne Lutheran, Seattle, 22 OCTOBER WA 3 pm David Higgs, masterclass/lecture; Edythe Christoph Tietze; St. Mary’s Cathedral, San Bates Old Recital Hall, Rice University, Houston, ORGAN MUSIC OF THE SPANISH BAROQUE Francisco, CA 3:30 pm TX 1 pm Jeannine Jordan, with visual artist, Bach and •Wilma Jensen, masterclass; First Congrega- Joe Utterback Sons; Camarillo United Methodist, Camarillo, CA David Troiano tional, Greeley, CO 9:30 am DMA MAPM 4 pm COMMISSIONS & CONCERTS 586.778.8035 23 OCTOBER 732 . 747 . 5227 28 SEPTEMBER Westminster Cathedral Choir; St. John’s Abbey [email protected] Lynne Davis; Wiedemann Hall, Wichita State Church, Collegeville, MN 3 pm University, Wichita, KS 7:30 pm Gail Archer; St. Peter’s Episcopal, St. Louis, MO 5 pm 30 SEPTEMBER •Chelsea Chen; First Lutheran, Fargo, ND 4 Jim Riggs; Wichita Convention Center, Wich- David Wagner pm Marcia Van Oyen DMA ita, KS 8 pm James Metzler; Trinity Episcopal Cathedral, Little Rock, AR 3 pm First United Methodist Church, Madonna University 7 OCTOBER Dorothy Young Riess, M.D.; Nichols Hills Plymouth, Michigan Livonia, Michigan Craig Cramer; Christ Episcopal, Little Rock, United Methodist, Oklahoma City, OK 4 pm AR 7:30 pm David Higgs; Edythe Bates Old Recital Hall, mvanoyen.com [email protected] Rice University, Houston, TX 7 pm 8 OCTOBER Clive Driskill-Smith; Our Lady of Lourdes Christopher Houlihan, masterclass; Luther Church, Sun City West, AZ 3 pm College, Decorah, IA 10 am 24 OCTOBER Kevin Walters KARL WATSON 9 OCTOBER Robert Bates; Winspear Hall, University of VocalEssence; Orchestra Hall, Minneapolis, North Texas, Denton, TX 8 pm M.A., F.A.G.O. SAINT LUKE’S MN 4 pm Christopher Houlihan; Luther College, Deco- 25 OCTOBER Rye, New York METUCHEN rah, IA 4 pm Jean-Baptiste Robin; Visitation Parish, Kan- Cherry Rhodes; Texas A&M International Uni- sas City, MO 7 pm versity, Laredo, TX 4 pm Gail Archer; Bethlehem Lutheran, Kalispell, 28 NOVEMBER MT 3 pm Ars Nova Singers, with Boulder Chamber Davis Wortman Janette Fishell; Cathedral of the Madeleine, Orchestra; St. John’s Cathedral, Denver, CO RONALD WYATT Salt Lake City, UT 8 pm 7:30 pm Aaron David Miller; American Evangelical Lu- St. James’ Church Trinity Church theran Church, Prescott, AZ 2:30 pm 29 OCTOBER Galveston Jeannine Jordan, with visual artist, Bach and Houston Chamber Choir; St. Philip Presbyte- New York Sons; First Presbyterian, Newport, OR 2 pm rian, Houston, TX 7:30 pm Alan Morrison; St. James Episcopal, Los An- geles, CA 6 pm 30 OCTOBER Marie Rubis Bauer; Trinity Lutheran, Lynn- Charles Dodsley Walker, FAGO 14 OCTOBER wood, WA 7 pm Paul Jacobs, masterclass; Brigham Young Clark Wilson, silent fi lm accompaniment; Walt Artist-in-Residence Founder/Conductor University-Idaho, Rexburg, ID 10 am Disney Concert Hall, Los Angeles, CA 7 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street 15 OCTOBER Darien, CT 06820 New York, NY 10128 Paul Jacobs; Brigham Young University-Idaho, INTERNATIONAL (917) 628-7650 (212) 222-9458 Rexburg, ID 7:30 pm 16 OCTOBER 15 SEPTEMBER Chelsea Chen; Cathedral Church of St. Paul, Gillian Weir; Merseburg Dom, Merseburg, William Webber, C.A.G.O. Des Moines, IA 4 pm Germany 7 pm Donald Sutherland; Bates Recital Hall, Uni- Andrew Sampson; St. Matthew’s Westmin- Organist/Director, First Christian Church, Danville, KY versity of Texas, Austin, TX 4 pm ster, London, UK 1:05 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at A Professional Card in The Diapason For rates and digital specifi cations, House Organist contact Jerome Butera The Bushnell Memorial 847/391-1045 Hartford [email protected] A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact: Jerome Butera [email protected] 847/391-1045 SEPTEMBER, 2011 35 16 SEPTEMBER 28 SEPTEMBER 16 OCTOBER ROBERT BATES, Grace Lutheran Gillian Weir; Merseburg Dom, Merseburg, Stephen Tharp; Kaiser- und Mariendom, Camille Deruelle, with fl ute; Basilique Saint- Church, Tacoma, WA, April 3: Ave maris stella, Germany 7 pm Speyer, Germany 8 pm Sernin, Toulouse, France 12 noon Titelouze; Pavane, Gaillarde, Branle, Chan- Margherita Sciddurlo; Chiesa dei SS. Giulio Martin Stacey; Westminster Cathedral, Lon- son: Jouyssance vous donneray, Canson: Tant ed Amatore, Cressa, Italy 9 pm 1 OCTOBER don, UK 4:45 pm que vivray, publ. Attaingnant; Pange lingua Silvio Celeghin, with trumpet; Chiesa della Paul Bowen; Westminster Abbey, London, UK (verset 2), Exultet coelum laudibus (verset 2), 17 SEPTEMBER SS. Trinità e di S. Carlo, Tavigliano, Italy 9 pm 5:45 pm A solis ortus (verset 3), Titelouze; Praeludium Gillian Weir; Merseburg Dom, Merseburg, Susan Landale; Notre-Dame Basilica, Mon- Ken Cowan; Knox Presbyterian, St. Thomas, in F, BuxWV 145, Buxtehude; Canzona in d, Germany 7 pm treal, QC, Canada 8 pm ON, Canada 2:30 pm BWV 588, Liebster Jesu, BWV 731, Prelude Ennio Cominetti, with baritone; Abbazia di S. and Fugue in a, BWV 543, Bach. Silano, Romagnano Sesia, Italy 9 pm 2 OCTOBER 17 OCTOBER James O’Donnell; St. Albans Cathedral, St. Stephen Tharp; Stiftskirche Cappenberg, Thomas Trotter; St. Andrew’s Church, Ottawa, JAMES RUSSELL BROWN, First Par- Albans, UK 5:30 pm Selm-Cappenberg, Germany 3 pm ON, Canada 7:30 pm ish Church, Norwell, MA, April 30: Livre Neil Wright; St. Michael’s Abbey, Farnborough, d’Orgue, du Mage; Ciacona in e, BuxWV 18 SEPTEMBER UK 3 pm, Choral Vespers 4:45 pm 19 OCTOBER 160, Buxtehude; Schmücke dich, o liebe Stephen Tharp; St. Michael, Saarbrücken, Matthew Burgess; Westminster Cathedral, Iain Simcock; Westminster Cathedral, Lon- Seele, BWV 654, Passacaglia in c, BWV 582, Germany 5 pm London, UK 4:45 pm don, UK 7:30 pm Bach; Sur ‘La, Mi, Re’, English Anonymous; Petra Veenswijk; Maria van Jessekerk, Delft, Philip Baker; Westminster Abbey, London, UK Thomas Trotter; Cathedral Church of the Re- Annum per Annum, Pärt; Andante sostenuto Netherlands 3 pm 5:45 pm deemer, Calgary, AB, Canada 8 pm (Symphonie Gothique), Allegro (Symphonie James Scott; Westminster Cathedral, London, VI), Widor. UK 4:45 pm 3 OCTOBER 20 OCTOBER Iain Quinn; Westminster Abbey, London, UK Stephen Tharp; Prämonstratenser-Abtei St. Thomas Trotter, masterclass; Wyatt Recital CHRISTOPH BULL, UCLA, Los An- 5:45 pm Johann, Duisburg-Hamborn, Germany 3 pm Hall, Mount Royal University, Calgary, AB, Can- geles, CA, April 23: Improvisation in C (on Michael Bawtree; St. Paul’s Cathedral, Lon- ada 9:30 am Prelude No. 1 in The Well-Tempered Clavier don, UK 4:45 pm 7 OCTOBER Book I and the ‘Little’ Prelude in C), Bull; Pre- Stephen Tharp; Onze-Lieve-Vrouwekerk, 23 OCTOBER lude and Fugue in a, BWV 543, Bach; Récit 21 SEPTEMBER Richard Lester de Cornet, Bull, after Couperin; ‘Little’ Fugue Stephen Tharp; Essener Dom, Essen, Ger- Melsele, Belgium 8:30 pm ; Westminster Cathedral, Lon- don, UK 4:45 pm in g, BWV 578, Bach; Mash-up of themes by many 7:30 pm Chopin and Michael Jackson, Bull; ‘Dorian’ Julian Collings, with cello; Concert Hall, 8 OCTOBER James McVinnie; Westminster Abbey, Lon- Reading, UK 1 pm Gerard Brooks, with orchestra and choir; don, UK 5:45 pm Toccata and Fugue, BWV 538, Bach; Adagio Michel Bouvard; Westminster Cathedral, Lon- Methodist Central Hall, Westminster, London, UK Thomas Trotter; Westminster United Church, in a, Bach, arr. Bull; Improvisation on audi- don, UK 7:30 pm 7:30 pm Winnipeg, MB, Canada 7:30 pm ence-suggested themes; Beethoven-Improvi- sation, Bull; Fugue in C, BWV 545, Bach. 23 SEPTEMBER 9 OCTOBER 25 OCTOBER Matteo Galli; Santuario di Sant’Euseo, Ser- Didier Matry; Maria van Jessekerk, Delft, Thomas Trotter; Cathedral Church of St. KEN COWAN, Congregational UCC, ravalle Sesia, Italy 9 pm Netherlands 3 pm George, Kingston, ON, Canada 7:30 pm Iowa City, IA, May 1: Fantasia in f, Mo- Stephen Tharp; Parochie Kristus-Koning, zart; The Soul of the Lake (Pastels from the 24 SEPTEMBER Antwerp, Belgium 3:30 pm 27 OCTOBER Lake of Constance), Karg-Elert; Fugue on Stephen Tharp; St. Peter, Recklinghausen, Pierre Barthez, with chorus; Cathédrale Saint- Christophe Mantoux; St. Marienkirche, B-A-C-H, Canon in A-fl at, Canon in b, Schu- Germany 9:15 pm Étienne, Toulouse, France 12 noon Osnabrück, Germany 8 pm mann; Deux Esquisses, Dupré; Toccata and Esteban Elizondo Iriarte; Chiesa di S. Maria Paul Derrett; Westminster Cathedral, London, Fugue in d, BWV 538, Bach; Danse Macabre, della Pace, Pralungo, Italy 9 pm UK 4:45 pm 30 OCTOBER Saint-Saëns; Pageant, Sowerby. Andrej Kouznetsov; Westminster Abbey, Lon- 25 SEPTEMBER 10 OCTOBER don, UK 5:45 pm CRAIG CRAMER, Westminster Pres- Stephen Tharp; St. Clemens, Dortmund- Matthieu De Miguel; Église Notre-Dame la Dong-ill Shin; Saint-Hyacinthe Cathedral, byterian Church, Knoxville, TN, May 6: Brackel, Germany 5 pm Dalbade, Toulouse, France 12:30 pm Saint-Hyacinthe, QC, Canada 7:30 pm Praeludium in G, Allelujah, Laudem Dicite Esteban Elizondo Iriarte; Chiesa di S. Mi- Deo Nostro, Canzon in F, Scheidemann; chele Arcangelo, Cavaglià, Italy 9 pm 14 OCTOBER Intrada–Tanz–Nachtanz, Tantz–Proportio– Paul Carr; Westminster Cathedral, London, Ami Hoyano, with soprano; Cathédrale Saint- Curanta–Final, Danz Beurlin–Nachtanz, UK 4:45 pm Étienne, Toulouse, France 12:30 pm Organ Recitals Tannz ‘Jesu Du zartes Lämblein’–Proportio, Simon Hogan; Westminster Abbey, London, Tantz–Nachtanz (Linz Tablature); Prelude UK 5:45 pm 15 OCTOBER and Fugue in G, BWV 541, Bach; Aria in a with 15 Variations, J. C. Bach; Kingsfold Ian Tracey; Liverpool Cathedral, Liverpool, UK GAIL ARCHER, Church of the Heav- 27 SEPTEMBER 3 pm, with Festival Evensong Suite, Martinson; Sonata No. 4 in B-fl at, op. enly Rest, New York, NY, April 8: Excelsior! 65, Mendelssohn. Stephanie Burgoyne & William Vandertuin; St. Samuel Liégeon; St. Saviour’s Church, St. Al- Preludio fur Orgel, Orpheus, Symphonische Paul’s Cathedral, London, ON, Canada 12:15 pm bans, London, UK 5:30 pm Dichtung, Adagio (Consolation IV in D-fl at), SCOTT M. ELSHOLZ, St. Mary’s Epis- Offertorium aus der Ungarischen Kronungs- copal Cathedral, Memphis, TN, April 15: messe, Consolation V in E, Liszt; Fest Ou- ORGAN BUILDERS Passacaglia and Fugue in c, BWV 582, Bach; verture über den Choral, ‘Ein Feste Burg ist Wondrous Love: Variations on a Shape-Note unser Gott’, Nicolai, transcr. Liszt; Am Grabe Hymn, op. 34, Barber; Vision of the Eternal Richard Wagners, Praeludium und Fuge über Church, Messiaen; Choral No. 2 in b, Franck; L. W. BLACKINTON THE NOACK ORGAN CO., INC. B-A-C-H, Liszt. Litanies, Alain. and associates, inc. MAIN AND SCHOOL STREETS GEORGETOWN, MA 01833 WILLIAM C. AYLESWORTH, with Mi- www.noackorgan.com JOHN FENSTERMAKER, with Lisa Rog- 380 FRONT ST. chael Brown, baritone, First Church of Christ, ers Lee, soprano, Trinity-by-the-Cove Epis- EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America Scientist, Wilmette, IL, May 1: Wachet auf, copal Church, Naples, FL, April 8: Trumpet BWV 645, Ich ruf’ zu dir, BWV 639, In dir Tune and Air, Sweeter Than Roses, Purcell; ist Freude, BWV 615, Bach; Sketch in D-fl at, Allegro moderato (Sonata I in E-fl at), Bach; martin ott pipe Sketch in f, Schumann; There Is No Time, Variations on Foster’s melody, ‘Old Folks organ company Fischer; Summer Fancies, A Song of Grati- at Home’, Buck; Le Secret, Gauthier; Varia- inc. tude, Cole; Increase, Fischer; Lamento (Suite tions on Kum Ba Yah, Behnke; Ar hyd y nos, 7408 Somerset Ave. Latine, op. 86), Widor; Carillon de Westmin- Lemare; Our House, Bernstein; Fugue in g, St. Louis, MO 63105 ster, Vierne. BWV 542, Bach. 314-504-0366 Phone 314-569-3879 Fax Martin Ott [email protected] Orgelbaumeister www.ottpipeorgan.com NEW INSTRUMENTS MAINTENANCE RESTORATIONS Parkey 974 AUTUMN DRIVE OrganBuilders ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs ABR 847-395-1919 ATOS F I N C Y 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 ExperienceAmerican Theatre Organ Society Suite 150-285 Fax 770-368-3209 www.fabryinc.com Duluth, Georgia 30096 www.parkeyorgans.com Preserving a unique art form. Concerts, education, silent film, preservation, Pipe Organ Craftsmen & Builders fellowship and more. www.atos.org Hupalo GF 1785 Timothy Drive, Unit 4 Jim Merry, Executive Secretary, [email protected] & San Leandro, CA 94577 P.O. Box 5327, Fullerton, CA 92838 Repasky Tel: 510 483 6905 www.hupalorepasky.com sound INSPIRATION Acoustical Design & Testing • Organ Consultation & Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training www.riedelassociates.com • (414) 771-8966 email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Advertise in A. David Moore, Inc. _ The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected] 36 THE DIAPASON STEPHEN HAMILTON, with Darlene AARON DAVID MILLER, The Cathe- MASSIMO NOSETTI, Grace Cathedral, Wonder), Locklair; If You But Trust in God Wiley, narrator, University of Texas, Austin, dral Church of St. Luke, Portland, ME, Topeka, KS, April 1: Fanfare (Four Extem- to Guide You, Phillips; Blessed Assurance, TX, April 3: Le Chemin de la Croix, Dupré. March 18: Winter Poem, Farnam; Prelude porizations), Whitlock; St. Francis of Paula Near; Con moto maestoso (Sonata III, op. and Fugue in D, BWV 532, Bach; Firefl ies, walking on the waves (Legende no. 2), Liszt, 65), Mendelssohn. DAVID HATT, Grace Cathedral, San Miller; Pavane le Jardin, op. 158b, Saint- transcr. Rogg; Allegretto per Clarinetto, Pe- trali; Psalm 22 ‘The Lord is my Shepherd,’ Francisco, CA, April 3: Sonata No. 1 in f#, Saëns; Carillon-Sortie, Mulet; improvised STEPHEN THARP, Trinity Church, New Fagiani; Scherzo (Sinfonia Tematica), Bossi; Reger; Eight Variations on ‘Chester’, Johnson; organ symphony. Haven, CT, April 30: Toccata in d, op. 108, Aria, Burtonwood; Ronde Française, op. 37, no. 1, Renaud; Prière, op. 20, Franck; Organ Suite, Alain. PETER K. MILLER, First Presbyterian Boëllmann, transcr. Choisnel; Final (Sym- Sonata No. 5 in c, op. 80, Guilmant; Te Deum, Church, Portland, IN, May 22: Christ ist phonie No. 6, op. 59), Vierne. op. 11, Demessieux; Intermezzo in A, op. 118, JERRY JELSEMA, First United Method- Erstanden, Christus Resurrexit (Buxheimer no. 2, Brahms, transcr. Tharp; Variations on ist Church, Evanston, IL, April 8: Coronation Orgelbuch), transcr. Booth; Ricercar #3 JOHN OURENSMA, The Presbyterian ROUEN, Baker. Fanfare, Harris, transcr. Weisfl og; Proces- in F, Ricercar #4 in F, Fogliano; Canzona Homes, Evanston, IL, April 25: Fanfare, sional, Chorale, Fanfare, Mathias; Carillon, francese, de Macque; Psalm 140, Sweelinck; Lemmens; Flute Tune, Arne; Trumpet Tune, DAVID TROIANO, Church of the Holy Sowerby; Psalm-Prelude, Howells; Prelude Canzona Seconda (Il Secondo Libro di Toc- Goodwin; Liebster Jesu, BWV 731, In dir ist Trinity, Toronto, ON, Canada, May 16: Obra and Fugue in b, BWV 544, Bach; Dorian cate d’intavolatura), Frescobaldi; Ricercar Freude, BWV 615, Bach; There Is a Happy de Septimo Tono, de Torres; Offertorio, Jimi- Choral, Litanies, Alain; Amazing Grace, in C (Ricercar Tabulatura), Steigleder; Es Land, I Love Thee, My Lord (Sacred Sounds nez; La Bamba, Noble; Tau, Torres; El Flau- Shearing; I Love to Tell the Story, Diemer; ist das Heil uns kommen her, Scheidemann; for Organ), Shearing; Berceuse, Scherzetto tista Alegre, Noble; Sonata en a minor, De Morning Has Broken, Eckhardt; Toccata in Praeambulum in a, BuxWV 158, Buxtehude; (24 Pieces in Free Style), Vierne; Sonata in c, Elias; Scherzo Mexicano, Noble; Cancion de the French Style, Young. Prelude and Fugue in C, BWV 545, Allegro op. 65, no. 2, Mendelssohn. Cuna, De Elias; Divertimento en El Tema An- (Trio Sonata V in C, BWV 529), Bach; Alle- tigua, Noble. gro di molto (Sonata in D, Wq 70/5, H86), HAROLD PYSHER, Episcopal Church of CALVERT JOHNSON, with Ann Lil- Bethesda-by-the-Sea, Palm Beach, FL, April ALEXIS VAN ZALEN and DANIEL lya, oboe and English horn, First Presbyte- C.P.E. Bach; Prelude and Fugue in G, op. 37, no. 2, Mendelssohn; Cantabile en Si 3: Trumpet Tune in C, Miller; When I Survey O’CONNOR, Lawrence University Memo- rian Church, Marietta, GA, April 12: Par- the Wondrous Cross, Wood; Partita on Palm rial Chapel, Appleton, WI, May 25: Prelu- tita for English Horn and Organ, op. 41, Majeur (Trois Pièces), Franck; Herzlich tut mich verlangen, Herzlich tut mich verlan- Beach, Hancock; Psalm-Prelude, Set 1, No. 3, dium in e, BuxWV 142, Buxtehude; Onder no. 1, Koetsier; Pietà for English Horn and Howells; Grand Choeur No. 2, Hollins. een Linden groen, Sweelinck; Wondrous Strings, Kay; Variations for Oboe and Or- gen, O Welt, ich muss dich lasssen (Eleven Chorale Preludes), Brahms; Petit Prelude, Love —Variations on a Shape-Note Hymn, gan, Pinkham; Bergamasca (Fiori musicali), DOROTHY YOUNG RIESS, M.D., St. Barber; Paean, Paulus. Frescobaldi; Canzonetta for Oboe and String Jongen; Sarabande, Final (Suite for Or- gan), Near. Andrews Baptist Church, Columbia, SC, Orchestra, Barber; Concertino for Oboe and March 11: Fête, Langlais; Kyrie, Gott heiliger JORY VINIKOUR, harpsichord, Lawrence Strings, Tull; Ornament of Grace for Organ Geist, BWV 671, Bach; Symphonic Chorale University Conservatory of Music, Appleton, with C-Instrument, Sanders. WILLIAM NESS, First Baptist Church, ‘Jesu Meine Freude,’ op. 87, no. 2, Karg-Elert. WI, March 25: Nancie, Morley; The King’s Worcester, MA, April 19: Prelude and Fugue Hunt, Bull; Chromatic Fantasy and Fugue, on BACH, Adagio in D-fl at, Variations on JOHN ROSE, Trinity College, Hartford, BWV 903, Bach; La Forqueray, Duphly; La BÁLINT KAROSI, Old West Church, Bos- Weinen, Klagen, Sorgen, Zagen, Saint Francis ton, MA, May 13: Veni Creator, de Grigny; CT, April 29: Etude Symphonique, op. 78, Marche des Scythes, Royer; Spiders, Rorem; of Paula walking on the Waves (Deux Légen- Bossi; Sonata II in c, op. 65, Mendelssohn; Admiring Yoro Waterfall, Lynch; Hungarian Dies sind die Heiligen Zehen Gebot, BWV des), Harmonies du soir, Études d’exécution 678, Bach; Improvisation: Partita on a given Prélude, Fugue et Variation, op. 18, Franck; Rock, Ligeti; Sonata in D, K 535, Sonata in transcendante, no. 11, Liebestraum, Nocturne Final (Symphonie III, op. 28), Vierne; Eine b, K 87, Sonata in D, K 119, Sonata in d, K chorale theme; Ave Maria, Liszt; Hommage no. 3, Prometheus, Liszt. à Franz Liszt, Rogg; Andante (Grand Pièce kleine StarWarsMusik, Williams, arr. Smith. 120, Scarlatti; Sonata in B, R 11, Sonata in b, Symphonique), Franck; Prelude and Fugue in R 10, Soler. DEREK E. NICKELS, St. Peter’s Episco- g, op. 7, Dupré. NAOMI ROWLEY, Shepherd of the Bay pal Church, Chicago, IL, April 7: Sonata in A, Lutheran Church, Ellison Bay, WI, April 3: THOMAS WIKMAN, The Lutheran op. 65, no. 3, Mendelssohn; Schmücke dich, Adagio (Nimrod) (Enigma Variations), El- School of Theology, Chicago, IL, March 1: Je- ARTHUR LAMIRANDE, St. Thom- o liebe Seele, BWV 654, O Lamm Gottes, gar; Alas! And Did My Savior Bleed, Wold; sus Christus, unser Heiland, BWV 666, Fan- as Church Fifth Avenue, New York, NY, unschuldig, BWV 656, Bach; Harmonies du O Sacred Head Now Wounded (Sweelinck tasia in G, BWV 572, Bach; All’Elevazione II May 1: Rhapsodie de Pâques, Piché; Cha- Soir, op. 72, no. 1, Karg-Elert; Fantasia and Variations), Shackelford; Aria: God moves in C, Zipoli; Aria Quarta, Pachelbel; Final conne, Schmidt. Toccata in d, op. 57, Stanford. in a mysterious way . . . (In Mystery and (Symphonie in d, op. 42), Guilmant. Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045, Visit The Diapason website: www.TheDiapason.com CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. 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Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine. SEPTEMBER, 2011 37 Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37. PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ RECORDINGS RECORDINGS RECORDINGS RECORDINGS Certifi ed appraisals—Collections of organ Overture Fantastique, by Gatty Sellars, is a Like the harpsichord? Harpsichord Tech- The Chicago-based Gaudete Brass Quintet books, recordings, and music, for divorce, es- cross between a typical organ recital opener nique: A Guide to Expressivity, second edi- (www.gaudetebrass.com) joined musical forces tate, gift, and tax purposes. Stephen L. Pinel, and British light music (think Eric Coates). It tion, by Nancy Metzger is a hands-on guide with organist Robert Benjamin Dobey to record Appraiser. [email protected]; 609/448-8427. sounds impressive for the effort required and for touch and historically informed perfor- premieres of newly composed and newly com- it’s a lot of fun. michaelsmusicservice.com; mance. www.rcip.com/musicadulce. missioned works for organ with brass quintet. 704/567-1066. The Chicago-based quintet has quickly gained Fruhauf Music Publications is pleased to high- favor in chamber music circles, and the ensem- light two new seasonal choral selections: Un- ble has been seen in performance at key cham- numbered Through the Ages—a Verse Anthem The Mother Church Aeolian-Skinner is played ber music festivals. The ensemble recorded their for All Saints (SATB & organ, 9 p.); A Starlit Night by John Near on 2 CDs. This amazing collection Refl ections: 1947–1997, The Organ Depart- album at Grace Episcopal Church, Sheboygan, It Was in Bethlehem—a Verse Anthem for Les- of major works superbly played by Mother Church ment, School of Music, The University of Wisconsin, with Dr. Dobey at the Schoenstein sons & Carols, Christmas (SATB, SAB, unison associate organist John R. Near (Widor’s biog- Michigan, edited by Marilyn Mason & Mar- organ. The location recording was made with & organ, 10 p.). Both selections are moderately rapher, editor of the defi nitive edition of Widor’s garete Thomsen; dedicated to the memory the ultra-high-fi delity multi-channel DSD (Direct difficult. Visit www.frumuspub.net for complete organ works, and professor at Principia College, of Albert Stanley, Earl V. Moore, and Palmer Stream Digital) format and was produced by listings and details, e-mail orders or download Elsah, Illinois) documents in excellent sound the Christian. Includes an informal history-memoir printable .PDF order form. [email protected]; 237-rank Aeolian-Skinner op. 1203 before more Frederick Hohman. The Pro Organo recording is of the organ department with papers by 12 available at www.proorgano.com. 805/682-727, mornings M–F, PDST; send USPS than 2,000 of its 13,389 original Aeolian-Skinner current and former faculty and students; 11 pipes (including 35 ranks of principals, mixtures, inquiries to: Fruhauf Music Publications, P.O. Box scholarly articles; reminiscences and testimo- 22043, Santa Barbara, CA 93121-2043. and chorus reeds) were discarded, along with sev- eral ranks of subsequent additions by others, dur- nials by graduates of the department; 12 ap- REED ORGANS ing the renovation completed in 1999. Substantial pendices, and a CD recording, “Marilyn Mason FOR SALE Josef Rheinberger’s Organ Sonatas are CD booklet notes relate the unfi nished condition in Recital,” recorded at the National Shrine of played on 4 CDs by Bruce Stevens to critical ac- in which the organ was left in 1952 and subse- the Immaculate Conception in Washington, claim. Twelve of the 20 sonatas are recorded to quent tonal fi nishing and additions undertaken by DC. $50 from The University of Michigan, Prof. Story & Clark turn of the century reed organ date and are played on magnifi cent 19th-century Jack Steinkampf, Jr., and Jason McKown during Marilyn Mason, School of Music, Ann Arbor, and stool, fully restored. Excellent casework and American organs. Visit www.RavenCD.com for the period of Near’s tenure with colleague Thom- MI 48109-2085. playing condition. $1800. Restoration documen- full descriptions and to order each CD volume for as Richner, organist of The Mother Church. Ra- tation provided with sale. cranevalerie@gmail. $14.98 postpaid, or send a check to Raven, Box ven OAR-620, 2 CDs for the price of one: $14.98 com; 770/335-4564. 25111, Richmond, VA 23261. Vol. 1: Sonatas 3, postpaid worldwide from Raven, Box 25111, Rich- Historic Organs of Seattle: A Young Yet Vi- 11, 12 (OAR-140). Vol. 2: Sonatas 2, 6, 8 (OAR- mond, VA 23261, www.RavenCD.com. brant History, the latest release from OHS, is a 180). Vol. 3: Sonatas 16, 17, 20 (OAR-220). Vol. 4: four-disc set recorded at the 2008 OHS national PIPE ORGANS Sonatas 4, 5, 19 (OAR-530) convention, held in the Seattle, Washington The Organ Historical Society has released area. Nearly fi ve hours of music feature historic FOR SALE Historic Organs of Indiana, 4 CDs recorded at organs by Aeolian-Skinner, Casavant, Hook & The OHS Catalog is online at www.ohscatalog. the OHS National Convention in Central Indiana Hastings, and Hutchings-Votey, Kilgen, Tallman, Rieger pipe organ—This tracker organ was built in July, 2007. Nearly 5 hours of music features org. More than 5,000 organ and theatre organ Woodberry, Hinners, Cole & Woodberry, plus in- in Austria in 1952. It has 24 ranks over 21 stops. CDs, books, sheet music, and videos are listed for 31 pipe organs built between 1851–2004, by struments by Flentrop, C. B. Fisk, and Rosales, Fully rebuilt, cleaned and regulated. Dimensions: browsing and easy ordering. Use a link for adding Aeolian-Skinner, Skinner, Henry Erben, Felge- ′ ′ ″ ′ your address to the OHS Catalog mailing list. Or- maker, Hook & Hastings, Kilgen, Kimball, and and Pacifi c Northwest organbuilders Paul Fritts, 6 wide, 7 6 deep, 8 tall. Stoplist, photos, and gan Historical Society, Box 26811, Richmond, VA many more builders. Performers include Ken Martin Pasi, John Brombaugh, Richard Bond, information packet available. Can be seen and 23261. E-mail: [email protected]. Cowan, Thomas Murray, Bruce Stevens, Carol and many more! Renowned organists Douglas played in Troy, Michigan by appointment. Ask- Williams, Christopher Young, and others. A 40- Cleveland, Julia Brown, J. Melvin Butler, Carole ing $39,000. Contact: John at 586/871-7099 or page booklet with photos and stoplists is includ- Terry, Bruce Stevens, and others are featured in e-mail: [email protected]. Request a free sample issue of The Diapason ed. OHS-07 4-CD set is priced at $34.95 (OHS live performances on 24 pipe organs built be- for a student, friend, or colleague. Write to the members, $31.95) plus shipping. Visit the OHS tween 1871 and 2000. Includes a 36-page book- Editor, The Diapason, 3030 W. Salt Creek Lane, Online Catalog for this and over 5,000 other or- let with photographs and stoplists. $34.95, OHS One small pipe organ for sale. Great price. Suite 201, Arlington Heights, IL 60005; or e-mail: gan-related books, recordings, and sheet music: members: $31.95. For more info or to order: For more information, please go to our website, [email protected]. www.ohscatalog.org. http://OHSCatalog.com/hiorofse.html. www.milnarorgan.com. TOTAL PIPE ORGAN RESOURCES 2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail: For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215 PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com 3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com 38 THE DIAPASON Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37 PIPE ORGANS PIPE ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES 1929 Estey “Minuette” with 3 unifi ed 1969 Möller Double-Artiste. Two manuals, nine Theater Organ pipes and parts—Wurlitzer 8′ Need help with your re-leathering ranks, a very rare 2-manual instrument in ranks (including Mixture and 16′ Trompette), 28 Clarinet, $250; Wurlitzer 16′ Diaphone (1–12), project? All pneumatics including a grand piano style case. Completely re- stops. Newly releathered and renovated. $44,500 $250; Kimball 8′ Post Horn, $900; Kimball 4′ Austin. Over 45 years experience built including case refi nishing and a new plus installation. [email protected]; Concert Flute, $50; Kimball Bass Drum & Cym- (on the job assistance available). 615/274-6400. blower. $20,000. Contact Box JU-6101, 617/688-9290. bal, $100; 2 Kimball tremolos, $25 each; Kim- THE DIAPASON. ball combination action with setter-board, $25; stop action chest for a 3-manual organ, $25; 3 Free: Choice of two thirteen-rank pipe organs Wurlitzer traps relays, $15. Philadelphia area. Highest quality organ control systems since Moeller Artiste, 3 ranks, very good condition, in climate controlled storage in Austin, Texas. Phone: 610/627-2452. 1989. Whether just a pipe relay, combination some renovation completed, builder ready to Contact Norman Holmes at holmesnw_44@ action or complete control system, all parts assist in moving for additional cost. $10,000/ yahoo.com. ′ are compatible. Intelligent design, competitive best offer. 414/228-8737; jennifer.ankerberg@ Atlantic City Pipe Organ Company—8 Eng- pricing, custom software to meet all of your sbcglobal.net. lish Horn, Moller pedal Fagotto with chest, C.S. requirements. For more information call Westa- Haskell 16′ Principals, Reeds, Strings. 2-manual cott Organ Systems, 215/353-0286, or e-mail ELECTRONIC ORGANS 3-rank, 5 Walker stops, Peterson relay & action; [email protected]. Moller Opus 11546 (1981), 3-manual, 34+ FOR SALE fi ts under 8′ ceiling. 10 years old. Ideal for home ranks. Polished zinc exposed pipes symmetri- or small church. 609/641-9422; mywebpages. cally set in wood fi nish casework. Chicago area. comcast.net/acorgan. Releathering all types of pipe organ ac- Come try it! Contact Adrienne: 847/816-1468; Viscount-Concerto III tions and mechanisms. Highest quality ma- [email protected]. —3-manual “Custom Series.” 45 stops, 128 orchestral voices, MIDI, terials and workmanship. Reasonable rates. memory 60,000 events. Also available: two ex- Spencer Orgoblo—3hp, 10″ wind, $1500; Reis- Columbia Organ Leathers 800/423-7003. www.columbiaorgan.com/col. 1924 Malarkey Organ— rebuilt 1994 J. Dower. ternal amplifi ers-speakers, 2x50 watts; only ner relays and switches (played 3-manual,10- 21 ranks, 2 manuals and pedalboard; $10,000. $14,500, must sell. Info/photo: 708/945-2762, rank unit organ), $100. Schulmerich Carillon Auto Available September 2011. Please contact E. Sta- [email protected]. Bell roll player with rolls, $250. Philadelphia area. ton at St. Mark’s Lutheran Church: 704/857-2092; Phone: 610/627-2452. ANNOUNCEMENTS [email protected]. MISCELLANEOUS Consoles, pipes and numerous miscellaneous Receive THE DIAPASON E-News—Visit www. 1981 Lauck Residence Organ—2-manual, 3 WANTED parts. Let us know what you are looking for. TheDiapason.com, click on Newsletter, and ranks, 16′ Gedeckt 97, 4′ Principal 73, 8′ Oboe E-mail [email protected] (not comcast), enter your contact information. TC 49. Unifi ed to 19 stops. Expression, tremu- phone 215/353-0286 or 215/788-3423. lant, combination action. Natural ash casework: Wurlitzer setter boards from a two-, three-, or 94″ high, 72″ wide, 24″ deep. Movable. Presently Postal regulations require that mail to four-manual console, and any Wurlitzer items— being restored. $18,000. Lauck Pipe Organ Co. THE DIAPASON include a suite number to 269/694-4500; e-mail: [email protected]. consoles, pipes, percussions, original wire, blow- SERVICES/ ers, etc. 717/933-5809. SUPPLIES assure delivery. Please send all corre- spondence to: THE DIAPASON, 3030 W. Martin Pasi pipe organ—Two manuals, 24 Salt Creek Lane, Suite 201, Arlington stops, suspended-tracker action. $350,000. Web: MISCELLANEOUS Austin actions recovered. Over 40 years expe- Heights, IL 60005. http://martin-pasi-pipe-organ-sale.com; phone: rience. Units thoroughly tested and fully guaran- 425/471-0826. FOR SALE teed. Please call or e-mail for quotes. Technical assistance available. Foley-Baker, Inc., 42 N. River 1869 E. & G.G. Hook organ for sale. The or- Road, Tolland, CT 06084. Phone 1-800/621-2624. It’s time to check your listing for THE DIA- 16′ Principal pipes, wooden, small scale, Moller FAX 860/870-7571. [email protected]. PASON 2012 Resource Directory—or cre- gan measures 14 ft. wide, 10 ft. deep (with pedal) ′ and is 20 ft. tall. It has mechanical action, Great, low 12 notes, cost $4000. 8 Tuba, large scale, ate a listing if you haven’t already done Swell, Pedal divisions, two combination pedals, Tellers, cost $1200. Deagan Xylophone, 37 notes, so! Visit www.TheDiapason.com, and at 15 ranks; removal date January, 2012. $95,000, needs releathering, cost $800. 24-note Harp Aeolian/Robert Morton-style maroon left select Supplier Login. For assistance, negotiable. Please contact Stephen Tappe at needs releathering, $600. Reisner direct action leather is now available from Columbia Or- contact Joyce Robinson, 847/391-1044; Saint John’s Cathedral in Denver for more infor- magnets, 77 3/4, 66 1-1/8, 159 5/8, cost $350 gan Leathers! Highest quality. 800/423-7003, [email protected]. mation: [email protected]. each. Siedle Organ Company, 412/221-5484. www.columbiaorgan.com. Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America Advertise in -+ &62GHOO The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS odellorgans.com s 860-365-8233 contact Jerome Butera P.O. Box 405, East Haddam, Connecticut 06423 847/391-1045 518-761-0239 2 Zenus Dr., Queensbury, NY 12804-1930 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 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 SEPTEMBER, 2011 39 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Douglas Cleveland Ken Cowan Dongho Lee 2010 AGO National Competition Winner Available 2010-2012 Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011 David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale* Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012 CHOIRS AVAILABLE Westminster Cathedral Choir London, UK Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney Martin Baker, Director October 10-24, 2011 SOLD OUT *=European artists available 2010-2011 and 2011-2012 Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young