THE DIAPASON MARCH, 2006
Second Presbyterian Church, Roanoke, Virginia Cover feature on page 27 Organ Combination Duos
Oct/Nov 2006 & February 2007 Organized Rhythm Clive Driskill-Smith, organist Joseph Gramley, multi-percussionist
Percussion and organ, a somewhat surprising combination with a surprisingly pleasing sound, now has its own duo of performers.
“Not only an exciting two-hour musical adventure, but also a startlingly clear insight for me into what makes a live performance good, and why good live performances are important for us....passion, technical mastery, and precision...two young musicians doing what they clearly love—making music, not just for themselves, but for us as well.” (The Granite State News, Wolfeboro NH)
November 2006 Paulsson & Canning soprano saxophone & organ duo, Sweden
“World class musicians...roaring applause and standing ovations.” (Skövde Nyheter, Sweden)
“One of the greatest musical experiences I have ever had.” (Nynäshamnsposten, Sweden)
“The performance was superb, with a beautiful combination of distinctive organ playing and Paulsson’s supple, exquisitely pure saxophone tone.” (Upsala Nya Tidning, Sweden)
“Paulsson’s Bach playing was like a miracle. The audience went wild.” (Vakka-Suomen Sanomat, Finland)
Anthony & Beard trumpet & organ duo
“There must be other trumpeters in this world as fine as Ryan Anthony, but you’d never think so while listening to him play.” (Fanfare)
“Dashing...stole the show with obvious enjoyment of music-making and by his personification of the [Canadian Brass’] relaxed audience rapport.” (Daily Camera, Boulder CO)
“Young trumpeter added both flash and class to the [Canadian Brass] ensemble. Ryan Anthony played with big-city charisma.” (The Gazette, Montreal Quebec)
“A dazzling performance by Ryan Anthony” (The Plain Dealer, Cleveland)
April 2007
Gough Duo violin & organ duo, England
“The playing is spectacular, the music is wonderful, and the ensemble between violin and organ is superb.” (American Record Guide)
“The playing from both is very fine throughout, with a warmth of sound from the violin, and some considerable virtuosity on display.” (Organists’ Review, England)
“Sheer joy and pleasure...delightful and satisfying from all angles.” (Paul L. Reynolds, St. Paul’s Episcopal Church, Chattanooga, Tennessee, presenter)
“Each the master of their own instruments, they play exquisitely together as an ensemble. They held the audience spellbound.” (Dan Schmal, Wisconsin Lutheran College, Milwaukee, presenter)
Bushnell Tower Suite R, 1 Gold Street, Hartford CT 06103-2914 toll-free (888) 999-0644 • fax (860) 560-7788 [email protected] concertartists.com THE DIAPASON Here & There A Scranton Gillette Publication Ninety-seventh Year: No. 3, Whole No. 1156 MARCH, 2006 Established in 1909 ISSN 0012-2378 UCLA Live presents “Royce Hall series: March 12, Carol Weitner; May Organ & Film,” featuring UCLA organ- 21, third annual hymn festival with R. An International Monthly Devoted to the Organ, ist Christoph Bull accompanying three Walden Moore and Nigel Potts. For the Harpsichord, the Carillon and Church Music silent films on March 4 at Royce Hall on information: 631/665-0051 x12; the UCLA campus. The Royce Hall
Thomas Richner rumbling 32vs, the roaring reeds—for I was thrilled to read the interview 10 years, Fred perfumed the air with with “Uncle T” in the December issue all of it. I never felt he was trying to of THE DIAPASON. I cannot express how educate or even to be a musician many wonderful memories flooded me. (which he inherently was). My impres- As a teen, I was a conservatory student; sion was, rather, that of a chef who though I wouldn’t exchange that oppor- filled the air with delectable aromas in tunity for anything, I can’t imagine my a town where everyone else was count- development without my simultaneous ing calories. “Copley Square education.” Just down the street, at the Christian The Mother Church, where Dr. Science “Mother Church,” Uncle T’s Richner played, wasn’t exactly in Copley recitals on piano and organ will be for- Square, but it was only a five-minute gotten neither by me nor by many other walk from Old South and Trinity Bostonians. His Mozart had unap- churches. The sounds from those three proachable grace, elegance, and that churches! They made an indelible Rubinsteinian directness that was so imprint on my soul that I still can draw “simple” no one could imitate it. Every- upon when I play or compose to this thing Richner played, on organ or piano, very day. had these same qualities. In his 20 years at Trinity, Brian Jones “Tonal palette” is an inadequate term turned the Trinity Choir and Orchestra for that colossal, 13,500-plus-pipe into an internationally renowned instrument. On what instrument could ensemble. The colors from the organ one better hear Langlais’ Chant de Paix, and voices seemed to rival the stencil- or the thunderous opening of Widor’s ing that covered every inch of H. H. Sixth, or Dr. Richner’s own composi- Boston Organ Academy 2005 Richardson’s masterpiece. Scarcely less tions, which he played for me while I sat beautiful was Old South Church, on the bench next to him? The Boston Organ Academy 2006 and 19th–20th century repertoire across the square. That E. M. Skinner Thank you for the interview and for takes place July 25–August 1 at Old West (Gillock). The academy will open with a was and is the most sumptuous, color- the memories. Long live Uncle T! Church, Boston. Led by Yuko Hayashi faculty recital and close with a recital by ful organ that I know anywhere in the Leonardo Ciampa and Jon Gillock, the schedule includes participants. Deadline for applications is world. No one played it like Frederick Director of Music, St. Paul’s Church two daily masterclasses. Sessions cover May 15. For information: 508/435-6167; McArthur! The purring celestes, the Brookline, Massachusetts 17th–18th century repertoire (Hayashi)
MARCH, 2006 3 I The William Ferris Chorale con- handbells; 4/30, combined handbell detailed sights, sounds, and stories about tinues its 2005–06 series at Mt. Carmel choirs concert; May 21, Anne Wilson the Midmer-Losh organ in the Atlantic he sense Church, Chicago: March 24, Stravinsky: conducts her cantata Song of Hope. For City Convention Hall. Commentators Mass and hymns from the Eastern and information: 215/348-3531; include Barbara Fesmire and John T Western traditions of the Church; May
4 THE DIAPASON 19. Shepherd Me, O God (27) He was also president of the jury and a 20. Ave Verum Corpus (26) recitalist at the Feliks Nowowiejski 21. Lord of the Dance (24) International Organ Competition in 22. One Bread, One Body (24) Poznan, Poland. Among recent and up- 23. Tantum Ergo (24) coming engagements in the U.S. are 24. Hosea (23) recitals and lectures in Cape Coral, 25. Pange Lingua (23) Florida; Hickory, North Carolina; Boise, For information:
Tong-Soon Kwak David K. Lamb Maija Lehtonen Jack D. Miller Larry Palmer Organist Organist/Oratorio Accompanist Organist/Pianist/ Organist/Workshop Leader Harpsichordist/Organist Professor of Organ Director of Music/Organist Recording Artist Organist Professor of Harpsichord and Organ College of Music First United Methodist Church Senior Lecturer, Organ Faculty St. Mark’s United Methodist Church Meadows School of the Arts Yonsei University Columbus, Indiana Oulu Polytechnic Director, Chanteuses Southern Methodist University Artistic Director Organ and Violin Treble Vocal Ensemble Dallas, Texas Torch International Organ Academy with Manfred Grasbeck Organist, Brador Brass, Quintet Seoul, Korea Helsinki, Finland Sacramento, California
Gregory Peterson Stephen Roberts Clair Rozier Vicki J. Schaeffer Lisa Scrivani-Tidd Organist Organist/Harpsichordist/Lecturer Organist/Workshop Leader Organist/Lecturer/ Organist/Lecturer Organist and Minister of Music Instructor of Organ Director of Music Choral Conductor Assistant Professor of Music The Old South Church Western CT State University St. David’s Episcopal Church Music Faculty SUNY at Jefferson Boston, Massachusetts Director of Music Wayne, Pennsylvania Casady School Watertown, New York St. Peter Church Organist University Organist Danbury, Connecticut St. Paul's Lutheran Church St. Lawrence University Oklahoma City, Oklahoma Canton, New York Also: Colin Andrews Cristina Garcia Banegas Scott Bennett Maurice Clerc Joan DeVee Dixon Olivier Eisenmann Janette Fishell Jeremy David Tarrant Heinrich Walther Jane Watts Duo Majoya Faythe Freese Organist Organist/Clavichordist/Virginalist/ Organist Organ and Piano Michael Gailit Organist and Choirmaster Recording Artist Exclusive Recording Artist Recording Artists The Cathedral Church of St. Paul Faculty, University of Music Priory Records Marnie Giesbrecht and Joachim Segger Michael Kaminski Detroit, Michigan Freiburg, Germany First RCO Performer of the Year Professors of Music Kevin Komisaruk Faculties, Church Music Schools Organist of the Bach Choir University of Alberta Angela Kraft Cross Heidelberg and Rottenburg London, England The King’s University College William Kuhlman Germany Edmonton, Alberta, Canada Bach Babes
ConcertArtistCooperative.com Beth Zucchino Organist/ Harpsichordist/Pianist Beth Zucchino, Director Founder, Director, 7710 Lynch Road, Sebastopol, CA 95472 and Former Associate Concert Artist Cooperative PH: 707-824-5611 FX: 707-824-0956 Sebastopol, California [email protected]
MARCH, 2006 5 has also served as founder and director formance and teaching. Unassuming, Reincken, Buxtehude, Bruhns, Lübeck, tral writing reflect his position as the of the Dayton Bach Society for 28 years gentle, and kind, he was something of a Böhm, and Leyding. major conductor of the 19th century in and as chair of the music department at “hidden jewel” in the southern Arizona Paul Collins lectures in music at Mary Vienna, and his close ties to both the University of Dayton for 15 years. desert as he performed, taught, and Immaculate College, University of Lim- Brahms and Bruckner. In this recording For information: Carolyn Ludwig, NEH guided students—always with a word of erick. He is a graduate of Trinity Col- Martin Haselböck conducts the Ham- Institute, c/o Alumni Chair in the encouragement and a smile—in his lege, Dublin, and holds a first class hon- burg Symphony with Irenée Peyrot, Humanities, University of Dayton, Day- work as Professor of Music and Director ors MA (Performance and Musicology) organist, performing on the Beckerath ton, OH 45469-1549; of Graduate Studies in Music. and a PhD from the National University organ opus 1 in the Hamburg-Harburg
David Craighead, Ann Labounsky, Andrew Scanlon
Duquesne University acquires the been something like the Flute Celeste David Craighead Collection of and Unda Maris, soloing out the cantus Organ Music on the Cor Anglais with tremulant, and Duquesne University has announced changing to the French Horn for the the acquisition of the David Craighead repeated section. Collection of Organ Music. Donated to Duquesne University holds among its the university in 2005, the collection stacks six other collections of sacred consists of David Craighead’s private music: library of music books and scores, and 1. The Paul Harold Collection of includes much of Craighead’s personal Organ Music music, together with his editing and fin- 2. The Boys Town Collection of Sylvia Chai Johan Hermans, Belgium Marek Kudlicki, Poland gering. Some scores are accompanied Sacred Music (includes many rare chant by photocopies of pieces that he re- books) worked and re-edited over the years. 3. The Paul Koch Collection of Organ There are scores of four-hand reper- Music toire that he performed with his wife, 4. The Jean Langlais Collection— Marian Reiff Craighead, and even donated by Allen Hobbs (contains many scores of pieces played by David’s scores owned and autographed by mother, Fay Stinson Craighead, during Charles Tournemire, including his her student days. David Craighead was scores of Franck’s organ works with recognized by Duquesne University Tournemire’s markings, and also Alkan with an honorary doctorate in 2005 and piano scores autographed by César has served as Adjunct Professor of Franck. Rollin Smith’s book Playing the Organ at Duquesne since the summer Organ Music of Cesar Franck contains Arthur LaMirandeJoseph Nolan, Great Britain Bart Rodyns, Belgium of 1996. an appendix dealing with this collec- Registration was one of the significant tion.) differences from the kind of main- 5. The Richard Proulx Collection of stream playing one might hear today Organ and Choral Music and the way Craighead performed as a 6. The Edmund Shea Collection of student. His score of the Bach Prelude Early Music and Fugue in B Minor, which he studied These collections will serve not only with Alexander McCurdy at the Curtis Duquesne’s present and future organ Institute of Music in Philadelphia students, but also all scholars who are (1942–1946), contains indications interested in organ performance prac- regarding use of the combination action tice of the 19th and 20th centuries, new as well as swell box and crescendo music from many sources, and an pedal. At his 1946 commencement, immense collection of music and books. Craighead recalled playing Bach’s —Andrew Scanlon, AAGO Lucius Weathersby, PhD J. David Hart, FAGO Schmücke dich as the prelude, at which Adjunct Professor of Organ at Artistic Director time his registration might well have Duquesne University
RONALD CAMERON BISHOP INGSDALE ARTIST MANAGEMENT Consultant Robert I. Coulter K www.kingsdale.org Pipe Organs Organbuilder Digital Enhancements Toll-free 1-888-346-4132 All-digital Instruments Atlanta, GA 404.931.3103 We invite your inquiry 8608 RTE 20, Westfield, NY 14787-9728 Coulterorgans.com Tel 716/326-6500 Fax 716/326-6595
6 THE DIAPASON PEDAL SHIPPENSBURG UNIVERSITY 32 Contre Violone 16 Subbass SHIPPENSBURG, PENNSYLVANIA 16 Lieblichgedackt (Sw) 16 Violone (Gt) 16 Erzähler (Ch) 8 Oktav 8 Gedackt (Sw) 8 Offenflöte 4 Choralbass 4 Offenflöte Mixture IV 32 Contre Fagott 16 Posaune 8 Trompette 4 Rohrschalmei MIDI On Pedal SWELL 16 Lieblichgedackt 8 Gamba 8 Gambe Celeste 8 Hohlflöte 4 Principal 4 Nachthorn 2 Fifteenth Plein Jeu IV 16 Fagott 8 Trompette en chamade (Gt) 8 Trompette 8 Hautbois 4 Clairon Tremulant Unison Off 16 Swell 4 Swell MIDI On Swell GREAT 16 Violone 8 Prinzipal 8 Violone 8 Rohrflöte 4 Oktav 4 Waldflöte 2 Doublette Fourniture IV Sesquialtera II 8 Trompette en chamade 8 Trumpet Tremulant Chimes MIDI CHOIR 8 Prinzipal 8 Erzähler 8 Erzähler Celeste 8 Holzgedackt 4 Prestant 4 Koppelflöte 2 2/3 Nazard 2 Blockflöte 1 3/5 Tierce 1 1/3 Larigot Zimbel III 8 Krummhorn Tremulant Unison Off 16 Choir 4 Choir MIDI On Choir COUPLERS 8 Great To Pedal 4 Great To Pedal 8 Swell To Pedal The combination three-manual pipe and digital instrument recently installed in 4 Swell To Pedal Shippensburg University’s Cora I. Grove Spiritual Center and Interfaith Chapel controls 8 Choir To Pedal 58 digital stops and 6 new pipe ranks, including a brass Trompette en chamade. 4 Choir To Pedal 16 Swell To Great The console features rosewood drawknob stems, manual sharps, and pedal sharps. 8 Swell To Great The organ’s entire complement of pipes and speakers is integrated seamlessly in one 4 Swell To Great central location. Three different console plug-in locations provide additional versatility. 16 Choir To Great 8 Choir To Great 4 Choir To Great 150 Locust Street, P. O. Box 36, Macungie, PA 18062-0036 USA 16 Swell To Choir Phone: 610-966-2202 Fax: 610-965-3098 8 Swell To Choir E-mail: [email protected] 4 Swell To Choir www.allenorgan.com Gt-Ch Manual Transfer Psalm, and other works. For informa- Jean Langlais; Trio on “Herr Jesu tion:
8 THE DIAPASON GRAND ORGUE Flûte Harmonique 8' Cymbale III Montre 16' Flûte Céleste II 8' Contra Bassoon 32' Violonbasse 16' Octave 4' Contra Trompette 16' Bourdon 16' Unda Maris II 4' Basson 16' Montre 8' Flûte Traversière 4' Trompette 8' Dulciana 8' Nazard 2-2/3' Trumpet 8' Prinzipal 8' Octavin 2' Hautbois (mp) 8' Viole de Gambe 8' Choeur Fourniture V Hautbois (mf) 8' Flûte Harmonique 8' Cymbale III Cor d’Amour 8' Bourdon 8' Tierce 1-3/5' Orchestral Oboe 8' Chimney Flute 8' Plein Jeu IV Clarinette 8' Quinte 5-1/3' Voix Humaine 8' Prestant 4' Clairon 4' Oktav 4' Tremulant Flûte 4' Some of the stops on Octaves Graves 16' Solo Flute 4' Some of the Muet Tierce 3-1/5’ Octaves Aiguës 4' Quinte 2-2/3' Doublette 2' Hector Olivera’s BOMBARDE Octavin 2' Grand Diapason 8' Tierce Fourniture IV-VI Flûte Majeur 8' Cornet V national tour Cellos Célestes II 8' Tierce 1-3/5' Soprano Ah 8' Fourniture XI Grand Octave 4' Cymbale IV Grand Jeu VII Bombarde 16' Grave Mixture IV Trompette 8' Bombarde 16' Trumpet 8' Corno di Bassetto 16' Clairon 4' Trompette Harmonique 8' Tremblant French Horn 8' Chamade 8’ POSITIF Tuba Anglais 8' Quintaton 16' Cor Anglais 8' Bourdon 16' Clairon Harmonique 4' Erzähler 16' Chamades 16+8+4+2 IV Principal 8' Flûte de Bois 8' PÈDALE Holzgedackt 8' Montre 32' Unda Maris II 8' Contra Violone 32' Viole Céleste II 8' Contre Bourdon 32' Prestant 4' Bourdon Doux 32' Flûte d’amour 4' Contre Basse 16' Koppelflöte 4' Principal 16' Nazard 2-2/3' Contre Gambe 16' Doublette 2' Subbasse 16' Octavin 2' Bourdon (G.O.) 16' Tierce 1-3/5' Violone 16' Larigot 1-1/3' Gambe Celestes II 16' Septieme 1-1/7' Quintaton (Pos) 16' Piccolo 1' Bourdon Doux (Rec) 16' Sesquialtera II Erzähler 16' Grave Fourniture IV Montre 8' Cymbale IV Prinzipal (G.O.) 8' Jeu de Clochette II Violoncelle 8' Basson 16' Cellos Céleste II (Bomb) 8' Corno di Bassetto 16' Unda Maris II (Pos) 8' Trompette 8' Flûte 8' Dulzian 8' The Masterpiece Touring Organ by Rodgers Bourdon (Rec) 8' French Horn 8' Octave 4' Clarinette 8' Cor de Nuit 4' Cromorne 8' The Virgil Fox Tradition Continues Fourniture IV Chamades II 8' Ophicleide Heroique 64' Tuba Anglais 8' Contre Bombarde 32' Chamade 8' Contra Basson 32' Petite Clairon 4' Bombarde 16' Rohrschalmei 4' Basson (Rec) 16' Tremulant Trombone 16' Octaves Graves 16' Corno di Bassetto 16' Muet Contre Trompette 16' Octaves Aiguës 4' Bombarde 8' Chamade (Pos) 8' RÉCIT Rodgers Instruments LLC Tuba Anglais (Pos) 8' Bourdon Doux 16' 1300 NE 25th Avenue Trompette 8' Contre Gambe 16' Hillsboro, Oregon 97124 Trumpet 8' Diapason 8' 503.648.4181 Clairon 4' Gambe 8' fax: 503.681.0444 Rohrschalmei (Pos) 4' Voix Céleste 8' www.rodgersinstruments.com Zink 2' Bourdon 8' Email: [email protected] tures the organist in concert on the a 116-note roll-player, the famed auto- Nunc Dimittis Muller organ at Trinity Episcopal matic device that plays the organ using Cathedral, Little Rock, Arkansas, play- paper rolls. Spending a few months with ing works by Bach, Liszt, Mendelssohn, an organ like this gives one great insight Scottt Sward was killed during a Duruflé, and an improvisation. into the standards of a legendary com- robbery attempt at his home in Chicago Sing to the Lord New Songs! (CD pany. In the last years of the nineteenth on January 25. Sward, 43, had served as 7178) features the Choir of St. Paul’s century, Aeolian began building a list of director of music ministry at St. Joseph Episcopal Church, Indianapolis, Indiana, clients that reads like Who’s Who of the Catholic Church, Libertyville, Illinois, the Indianapolis Pro Musica, Frank W. history of American corporations. Aeo- since October 2003. Born in Chicago, Boles, director, Edie Johnson, organist, lian didn’t get such a good name by acci- he grew up in Virginia Beach, Virginia. in 22 selections by Boles, Martinson, dent—their organs are beautifully made He received a bachelor of music degree Ferko, Chilcott, Hurd, Delong, and and uniquely conceived as the last word from East Carolina University and in Locklair. A Day for Rejoicing (CD 7191) in personal luxury of their day. The idea 1986 was appointed Catholic organist at also features the Choir of St. Paul’s Epis- that a pipe organ like this would be con- the Naval Amphibious Base, Norfolk. copal Church, Indianapolis, in an anthol- sidered a must-have furnishing in a Later he became chapel organist, then ogy of sacred music by Frank Boles. Allen Quantum Q405 at Holy Cross grand house has captivated me, and Catholic music director and principal Ave Maria: Music in Honor of the Cathedral, Lagos, Nigeria with the help of a smashing book I’ve cantor, and finally chapel music director Blessed Virgin Mary (CD 7193) fea- formed a picture of a neighborhood that and organist for the NAB Chapel. There tures the Notre Dame Basilica Schola, organ speaks from an area high above would knock Mr. Rogers’ socks off. he directed two adult choirs, a chil- Notre Dame Women’s Liturgical Choir, the cathedral floor and from behind the Rollin Smith’s The Aeolian Pipe dren’s choir, a handbell choir, an instru- and Notre Dame Liturgical Choir, Gail reredos wall. The organ also provides a Organ and Its Music was published by mental ensemble, and a schola canto- Walton and Andrew McShane, direc- full antiphonal complement that speaks the Organ Historical Society in 1998 and rum. He also served as pianist and can- tors, in 21 selections by di Lasso, from the cathedral’s gallery, and allows is available through their catalogue. Go tor for the Catholic campus ministries at Poulenc, Villette, Willan, Rheinberger, all of the organ’s divisions to speak from to
10 THE DIAPASON
record the interpretation of a musical dollars in matching grants to help build developed the Seaside Inn (Myrtle work with absolute exactitude and to know more than 8,800 pipe organs.6 Walter C. Beach’s first oceanfront hotel), and the that this record will remain as an unalter- Gale was organist to the Carnegie fami- landmark Myrtle Beach Pavilion. The able document, a certain testimony, rigor- ously true today, which will not change ly for seventeen years, arriving at the new shopping district was anchored by tomorrow—the quintessential interpreta- house at seven o’clock every morning the Chapin Company General Store, tion that will not vary for all eternity?2 they were in town. Mrs. Carnegie kept a and to this day Burroughs & Chapin is a log book of their Atlantic crossings in prominent real estate development But enough about the organists—it’s which she wrote about their return from company. He built a lakefront vacation the patrons that got me going. One of Liverpool on December 10, 1901, dri- home in Lake Geneva, Wisconsin in the book’s appendices is an alphabetical ving directly to their new home to find 1898, about 75 feet from the shore. The list of those who purchased Aeolian “Mr. Gale playing the organ and the house presents a 115-foot façade that organs (page 384). Another is an Opus garden all covered in snow.”7 includes a 55-foot screened porch. Aeo- List that includes the street addresses of One door south from Mr. Carnegie is lian’s Opus 1000 (II/18) was installed Aeolian installations (page 319). Pub- the residence of Jacob Ruppert8, brew- there in 1906. He must have been lished lists don’t always make good ing magnate (Knickerbocker Beer) and pleased with the instrument because reading, but when I started flipping owner of the New York Yankees. Unfor- that same year he purchased a two-man- back and forth between these two I tunately Mr. Ruppert’s was not the com- ual instrument with 15 ranks for his started humming Mr. Rogers’ neighbor- plete household—no Aeolian organ. Still home on Fifth Avenue (Opus 1018).14 hood song while in effect reading the heading south, we cross East 89th Street One block further south on Fifth Manhattan phone book! and pass the Guggenheim Museum. Avenue and a couple doors east on 73rd Schwab console (courtesy Rollin Smith) With the help of these lists, I’ve imag- At 990 Fifth Avenue (at 80th Street— Street we find the home of newspaper ined a walking tour of some very special two blocks south of the Metropolitan publisher Joseph Pulitzer where Aeo- We’ve walked 24 blocks, and I’d like residences, all home to Aeolian organs. Museum of Art) we find the residence of lian’s Opus 924 (II/13) was installed in to show you one other organ. It’s a little Let’s start on the corner of Fifth Avenue Frank W. Woolworth who nickel-and- 1902. Edward Rechlin was organist to too far to walk so we’ll take a cab. and East 92nd Street in Manhattan. dimed himself into prominence with a the Pulitzer family, playing from 9:30 to Charles Schwab, the first president of Central Park is on the west side of Fifth. chain of stores bearing his name. Mr. 10:00 each evening they were in town. U.S. Steel, built his West Side home to When we stand with our backs to the Woolworth was one of Aeolian’s best He was paid $20 an evening and $25 for occupy the entire block between 72nd Park we’re looking at the home of Felix customers. His first instrument was #874 a family wedding.15 and 73rd streets on Riverside Drive. Warburg. Mr. Warburg was in the dia- (II/16, 1899). In 1910 the organ at 990 Keep going east on 73rd Street, turn With 90 bedrooms it was the largest res- mond business, and was one of New 5th Avenue was enlarged to three manu- right on Madison and walk one block idence in Manhattan, but Mr. Schwab York’s most enthusiastic musical als and 37 ranks (Opus 1144). But why south to East 72nd and you’ll find the started small in the Aeolian depart- patrons, serving as a member of the limit yourself to just a city organ? Mr. home of Louis Comfort Tiffany. Now ment—Opus 961 (1904) had only two board of directors of both the Metropol- Woolworth installed Opus 1318 (II/23, this guy knew something about quality manuals and 33 ranks. Perhaps he was itan Opera and the Philharmonic Soci- 1915) in his second residence, which he of design, and the folks at Aeolian must inspired by his steel colleague Mr. Frick ety. In the 1930s he rescued many called Winfield (his middle name) in have been very pleased when Mr. when he ordered the enlargement of the prominent Jews from Germany and sup- Glen Cove (Long Island), New York. Tiffany contracted for Opus 925 (II/12) organ (Opus 1032, 1907) to four manu- ported the emigration of musicians such Winfield was destroyed by fire in 1916 in 1902. And once again, a city organ als and 66 ranks.19 We might imagine as Yehudi Menuhin and Jascha Heifetz.3 but fortunately for the local trades and wasn’t enough—Aeolian’s Opus 1146 that Frick’s response was to up the ante Mr. Warburg’s Aeolian organ (Opus for the Aeolian company, it was rebuilt (II/27) was installed at Tiffany’s second with Opus 1263 (IV/72). Do you suppose 1054, II/22) was installed in 1909. at three times the original cost, and Mr. home in Cold Spring Harbor, New York that the man from Aeolian was encour- Woolworth bought his fourth and largest in 1910.16 aging these guys to outdo one another? Aeolian organ, Opus 1410 (IV/107).9 By the way, Mr. Tiffany’s apprecia- Our little tour has taken us past some Installed in 1918, this grand organ tion of the Aeolian organ was shared by of Manhattan’s grandest sites. Many of included the first independent 32v Dia- his clients. The Dodge brothers, Horace the homes I’ve mentioned have been pason in an Aeolian residence organ.10 and John, started their career building replaced by modern high-rise luxury Frank Woolworth was one of Aeo- automobile chassis for the Ford Motor condominiums, but it’s fun to imagine a lian’s few patrons who could actually Company. It didn’t take them long to day when Fifth Avenue was dominated play the organ. He was wholly devoted realize that they would make more by some of the grandest single-family to Aeolian organs, to the company, and money building entire cars, and they homes ever built. What was it about the to the music it provided. His contract for formed the company that still bears Aeolian organ that excited the interest Opus 874 included 50 rolls of his choos- their name. They each had large Aeolian of this group? What extravagant home ing and free membership in the Aeolian organs in their Michigan residences. furnishings are available today that can Music Library for three years to include Horace’s first organ was Opus 1175 compare to a $25,000 or $35,000 pipe an average of twelve rolls per week.11 (II/15) and his second was Opus 1319 organ built in 1910 or 1920? However When mentioning Aeolian rolls, it’s (IV/80). John’s only Aeolian was Opus we answer those questions, the Aeolian interesting to note that in 1904 the price 1444 (III/76). Perhaps Horace was Company got it right for about 30 years. of the roll-recording of Victor Herbert’s threatened by his brother catching up Then came the Great Depression. I Symphonic Fantasy was $9.25 and a because in 1920 he purchased Opus worker in the Aeolian factory earned $11 1478. With two manuals and 16 ranks, Notes 12 1. http://www.longyear.org/mbl.html per week. Frank Taft, art director of this organ was not so impressive by 2. Smith, Rollin, The Aeolian Pipe Organ and Its the Aeolian Company, was one of Wool- itself, but its setting certainly was. It was Music, Organ Historical Society, 1998, frontispiece. worth’s close friends. It was Mr. Taft installed in his steam-powered yacht, 3. Ibid, p. 122. Carnegie organ (courtesy Rollin Smith) who played the organ for Woolworth’s the Delphine. The Delphine was 257 4. Ibid, p. 122. funeral at his home at 990 Fifth Avenue feet long, had five decks and a crew of 5. http://www.carnegie.org/sub/about/biogra 13 phy.html We walk south to 90th Street to find (Opus 1144) in April of 1919. 58, and its interior appointments were 6. Whitney, Craig, All the Stops, PublicAffairs, the residence of Andrew Carnegie. Our tour continues six blocks south to designed by Louis Tiffany. The organ 2000, p. 29. Inside is Aeolian’s Opus 895 with three the home of Simon B. Chapin at Fifth was installed across from the fireplace in 7. Smith, p. 242. 4 17 8. Ibid., p. 122. manuals and 44 ranks, built in 1900. and 74th. I wouldn’t have recognized the walnut-paneled music room. It’s 9. Ibid., pp. 78–79. Mr. Carnegie, founder of the Carnegie Mr. Chapin’s name without having had fun to imagine Mr. Tiffany and Mr. 10. Ibid., p. 51. Steel Corporation of Pittsburgh, Penn- an encounter with his “country organ” Dodge sharing their appreciation of the 11. Ibid., p. 145. 12. Ibid., p. 145. sylvania, was an active philanthropist several years ago. Mr. Chapin was a suc- Aeolian organs at Tiffany’s drawing 13. Ibid., p. 79. whose generosity resulted in what is cessful stockbroker. Among other pur- board over snifters of cognac. 14. Ibid., p. 330. now Carnegie-Mellon University. His suits, he invested his immense personal From Louis Tiffany’s house, we walk 15. Ibid., p. 280. 16. Ibid., p. 339. foundation was responsible for the con- wealth in large and successful real estate two blocks south on Madison Avenue, 17. Ibid., pp. 96–99. struction of 2,509 public libraries ventures. Most notable among these then back west to Fifth Avenue, to the 18. Ibid., pp. 123–133. throughout the English-speaking was his partnership with Franklin Bur- home of Henry Clay Frick, another 19. Ibid., pp. 92–96. world.5 And since Mr. Carnegie roughs in the development of Myrtle steel industrialist from Pittsburgh. The believed that “music is a religion,” the Beach, South Carolina into a popular Frick family moved to New York in Carnegie Organ Fund gave millions of resort. The firm of Burroughs & Chapin 1905 and rented the William H. Van- derbilt residence on Fifth Avenue at Music for Voices East 51st Street (no organ). During this period they built a vacation home at and Organ Pride’s Crossing, Massachusetts, and by James McCray Aeolian Opus 1008 (III/44) was installed there in 1906. Once that house was complete, the Frick family started Collections of Vocal Music building their own home in Manhattan at One East 70th Street, on the corner O body swayed to music, of Fifth Avenue, opposite Central Park. O brightening glance, This home was graced by Aeolian 1263 How can we know the dancer from the (IV/72), which was shipped from the dance? The b e s t of the European tradition factory in March of 1914. Mr. Frick also —W.B. Yeats (1865-1939) donated an Aeolian organ (Opus 1334, Among School Children, VIII Proudly made in America IV/64) to Princeton University in 1915, where it was installed in Proctor Hall of History suggests that the first book in the Graduate College.18 English printed in America (New Eng- 1003 Barnwood Lane Camillus, New York 13031
(315) 751-0505 www.lewtakorgan.com
12 THE DIAPASON land) was probably the 1640 edition of Weddings for Choirs, compiled and ChildrenSing, Mark Patterson. Epiphany to All Saints for Choirs, The Whole Book of Psalmes Faithfully edited by Judy Martin and Peter Augsburg Fortress, 0-8006-7769-2, compiled and edited by Malcolm Translated into English Metre. This Parshall. SATB and keyboard, $24.95 (E). Archer and John Scott. SATB and came to be known as The Bay Psalm Oxford University Press, 0-10- Patterson’s collection includes seven keyboard, Oxford University Press, Book, but it was not until the 1698 edi- 353265-4, $14.95 (M). short anthems spanning the church 0-19-353026-0, $14.95 (M+). tion when it contained printed music— There are 40 works in this compila- year. They are designed for children This excellent collection is subtitled 13 melodies to be used in singing the tion with composers from the Renais- 8–12 years old. An interesting feature is “Anthems for the Church’s Seasons” psalms. Josiah Flagg’s 1764 publication, sance to contemporary. Almost all that each piece includes two versions: and contains 50 works from the Renais- Collection of the Best Psalm Tunes, con- names are recognizable (Vivaldi, the complete score with accompani- sance through today. Popular, familiar tained many settings never published Mozart, Rutter, Mathias, etc.) so this ment for the director, and a repro- composers such as Palestrina, Purcell, before in America. But probably the collection offers a wide range of musical ducible melody-only version for the Rachmaninoff, and Vaughan Williams most memorable early collection was by styles that will have immediate appeal to young singer. Tips for teaching music are included. The contents are divided William Billings; his 1770 book, The church choir use. The introduction has are also provided for each song. This into seasons in the church year or spe- New-England Psalm-Singer had organized the music into wedding cate- pragmatic collection is a very inexpen- cial periods within seasons (All Saints anthems, psalms, and fuging tunes. gories (i.e., Signing the register, sive way of providing music for a chil- Day, Ascension, etc.), and each has sev- Billings was possibly the most important Entrance or Exit of the Bride and dren’s choir through the purchase of eral different musical settings appropri- Early American composer. So, from the Groom, the Blessing). one or two composite books. The music ate to that category. The difficulty level early days of American music, the idea is easy and set in English. varies so not all works will be useful to of using a collection of works was not Augsburg Easy Choirbook, Vol. smaller church choirs, yet the collection only common, but probably the pre- Two, no editor given. Two-to-four One Is the Body, John L. Bell. is filled with high quality music through- ferred way of publication. part with keyboard and some with SATB and keyboard, GIA Publica- out. Highly recommended! Singing masters appeared. At first additional instruments, Augsburg tions, G-5790, $17.95 (E). they were ministers, but later they were Fortress, 0-8006-7751-X, $9.95 A collection of 50 songs from diverse Spirits That Dwell in Deep Woods, specialists who, because of their limited (E/M-). locations such as Hawaii and the Congo. Wyatt Tee Walker, arr. C. Eugene numbers, traveled from settlement to Accessible music for the church year They are organized into four-part set- Cooper. Unison/SATB unaccompa- settlement with their songbook and in various choral settings with many for tings, some with keyboard, and all con- nied, GIA Publications, G-5953M, pitchpipe organizing classes in the SAB choir—there are 16 works; some tain several verses that are printed sep- $25.95 (M-). evenings since they probably had anoth- use oboe, handbells, and other C instru- arately on adjoining pages. Most are in This interesting collection has 24 er trade by day. In 1779 Massachusetts ments. The separate instrumental parts English although those from places such “Prayer and Praise Hymns of the Black voted to establish a special place in a are free from the publisher with the as Zimbabwe contain the original lan- Religious Experience, 1885–1925.” gallery for “singers,” thus a move to a purchase of multiple copies of the col- guage for part or all of the setting. The Most are in SATB arrangements, usual- more formal improvement in the musi- lection. The introduction includes sug- songs are organized into the following ly in a call/response style for a soloist cal life of the early church. gested uses within the church year for categories: I, Gathering for Worship; II, and choir. In addition to standard spiri- Today, most choruses use the choral each of the easy anthems. All of the The People of God; III, The Word of tuals such as Keep Your Lamps octavo, comfortable in the hand and works have been published separately. God; IV, Commitment to God. This Trimmed and I Wanna Die Easy, there containing the choral parts and accom- Useful for small church choirs. music is very informal. are many settings that are less familiar. paniment, unlike the part-books used in the Renaissance that only had individual lines (soprano, alto, etc.). Seeing the full JOHANNUS introduces a unique concert DVD score makes choral reading consider- ably easier since singers often enter after long periods of rest. The number of octavos published each year is immense; however, most The impressive interpreter publishing houses issue only a few col- Pierre Pincemaille (France) lections of choral music, and usually they are assembled octavos previously published separately. The advantage, of The master of phrasing course, is that purchasing individual J. David Hart (U.S.A.) octavos is far more costly than buying a collection of them. Currently, octavos average about $2.00 each, but a collec- The Queen’s Organist tion brings the price per work down to Joseph Nolan (U.K.) under $1.00. However, a director may not want to program every selection in This DVD is the collection because of the text, style, now exclusively The Maestro of the Lowlands or difficulty of the setting. Klaas Jan Mulder (The Netherlands) The reviews this month feature available from your recently issued collections. They JOHANNUS dealer include a variety of musical styles. In The musical painter this day of very limited budgets for Rolf Kunz (Germany) music, a collection might be able to stretch those dollars and still provide a wide variety of new music for the church choir. A Stanford Anthology, edited by Jeremy Dibble. SATB and organ, Oxford University Press, 0-19- 386640-4, $17.95 (M/M+). This excellent collection contains 18 anthems and motets by the important late-Romantic British composer, Five top organists will Charles Villiers Stanford (1852–1924). There is an extensive editorial introduc- tion that discusses the background of take you on a journey these settings and a chart that indicates their appropriateness for use in the church year. The settings were pub- lished throughout his life, including one to the world of Johannus published posthumously. Two are for double choir, some contain solos, and most use organ accompaniment. This collection is rich in quality and will pro- vide music for diverse church occasions or for concerts. Highly recommended. Cantica Nova, no editor given. SATB and organ, Oxford University Press, 0-19-335536-1, $16.95 (M+). This is a collection of 18 new motets by contemporary British composers ranging from John Rutter to Bob Chilcott. There is a kaleidoscope of musical styles with a wide range of sonorities and levels of difficulty. Both accompanied and unaccompanied works are included. All are in Latin with no English translations for perfor- mance; however, the preface includes translations, composer’s notes on each setting, and liturgical use. Most of the pieces are sophisticated and will require WWW. JOHANNUS .COM solid choirs for performance. Exciting new music.
MARCH, 2006 13 The arrangements are easy, often with wrote five services, over 100 anthems, could not know and at whose achievement several verses set strophically. The madrigals, and about 70 instrumental he could perhaps only guess (193). music is based on and taken from Wyatt works, which include keyboard pieces Supplementary material includes a Tee Walker’s book of the same title. and consort music. List of Works (67 in all: church music, CHANGE IS INEVITABLE. GIA also has all 24 works available on a The book is divided into three parts. secular vocal music, keyboard music, recording (GIA CD-605). Part One, “The Lives and Times of consort music) and their sources. An Thomas Tomkins and his Family,” con- extensive bibliography of works by 146 GROWTH IS OPTIONAL. GladSong Choirbook, no editor sists of 12 chapters that identify his authors concludes the book. The 23 given. SATB and keyboard, Augs- activities mainly according to geograph- illustrations include external and inter- burg Fortress, 0-8006-7608-4, $9.95 ical locations, such as St. David’s (‘little nal views of cathedrals, manuscript { (M-). England beyond Wales’), Gloucester, pages, maps, and portraits. Contemporary music for the church and Worcester. The story begins with an This thoroughly researched, appar- year by 11 composers. Some selections account of Tomkins’s appointment as a ently complete, and eminently readable ARTISTRY IS CRITICAL. are for SAB, unison, or two-part choir, vicar choral at St. David’s in 1565, where document provides a valuable contribu- some include additional instruments, part of his duties consisted of some tion to the field of British church music and others have optional instrumental organ playing. The following account that will be welcomed by early music { descants. Familiar titles such as Borning provides fascinating details of his life scholars, performers, and general read- Cry and Oh, Come, Oh, Come, within historical contexts. Also included ers alike. Emmanuel are included. This collection are descriptions of area topography, —James B. Hartman is designed for smaller church choirs. cathedrals and their organs, the condi- The University of Manitoba INTEGRITY AND AN INFORMED tion of cathedral music, the social and Winnipeg, MB, Canada With All My Heart, Volume 2, Phil political aspects of life in Elizabethan POINT OF VIEW,SINCE 1917 Kadidlo. Vocal solos with keyboard, London in general—the mid-seven- Augsburg Fortress, 0-8006-7685-8, teenth century was a time of plague and Kenneth Morgan, Fritz Reiner: $9.95 (M). wars—and in the Chapel Royal in par- Maestro & Martinet. Urbana and { Subtitled Spring And Summer, this ticular. This part also includes refer- Chicago: University of Illinois Press, set of 12 contemporary vocal solos fea- ences to the place of music in the edu- 2005. xv + 310 pp. ISBN 0-252- tures music for that time of the church cation of children; the state of English 02935-6. $34.95 (cloth). year. Several pieces have obbligato literature, poetry, and drama, enhanced The conductor Fritz Reiner (1888, instrumental parts, included separately by the inclusion of quotations from rele- Budapest–1963, New York City) is at the back of the book. There also is a vant works; and the activities of promi- remembered concurrently for his CD recording of the solos. The music is nent representatives of these genres. superlative music making, for his auto- pragmatic and not difficult. The accom- Tomkins’s activities as organist—includ- cratic control and diminutively scaled paniment is relatively easy. ing playing for such royal occasions as yet precise baton technique, and for funerals and coronations—are also doc- being a virtuosic drillmaster. His record- umented in these contexts; the six-hour ings, especially of the music of Richard coronation of Charles I is described as Strauss, Wagner, and his teacher and Book Reviews the single most important event of friend Béla Bartók are legendary. Tomkins’s entire career. Morgan’s title for this biography con- Part Two, “The Music of Thomas tains two alliterative epithets—maestro Reuter Organ Co. Thomas Tomkins: The Last Eliza- Tomkins,” consists of four chapters with and martinet—in which are compressed bethan, edited by Anthony Boden, these titles: “Musica Deo sacra”; “Songs the major characteristics of Reiner’s 1220 Timberedge Road with commentaries on Tomkins’s of 3, 4, 5 and 6 Parts”; “Music for Key- musical personality. The first is self- Lawrence, KS 66049 music by Denis Stevens, Bernard board Instruments”; and “Consort explanatory. The second is not meant to Rose, Peter James, and David R. A. Music.” The focus on these topics is be derogatory, but descriptive. The 785/843-2622 Evans. Burlington, VT: Ashgate elaborated with reference to specific word “martinet,” a strict disciplinarian, Publishing, 2005. xiii + 373 pages; musical forms and textures, and by the is derived from the last name of Gener- www.reuterorgan.com $134.95 from Ashgate Publishing, place of particular pieces in the broader al Jean Martinet (d. 1672), French 101 Cherry Street, Suite 420, musical context of the time. The author inventor of a system of military drill. Burlington, VT 05401-4405; tel: refers to the four-part anthems as exam- Heretofore the only full-length biog- 802/865-7641; fax: 802/865-7847; e- ples of Tomkins’s finest workmanship. raphy of this venerated musician is that mail:
14 THE DIAPASON Morgan further explains, “Two fac- The Consolations: Sechs Character- organ, rather than being transcribed for we have seen, so obviously inspired by tors lifted him above the level of an stücke were also originally composed by the instrument afterwards. The version Parsifal. Following the strings at the exceptionally competent craftsman. Liszt for piano and later transcribed for used on this recording is based on the beginning, Jared Johnson makes very One was his unerring sense of form and organ. Some commentators believe that revised edition of 1870. Jared Johnson’s effective use of the French Horn and proportion . . . the second was “his abil- they were inspired by Les Consolations, performance is well phrased and accu- Tuba in the middle section of the Pre- ity to forge an ‘equilibrium between an a collection of poems by Charles rate, as well as displaying considerable lude. Once again the piece fades away to explosive, almost menacingly elemental Augustin Sainte-Beuve, a friend of virtuosity toward the end. The Pedal a whisper on the strings at the end. temperament and a strong, mature, Liszt’s mistress the Countess Marie division of the Skinner organ is particu- This recording displays the gentler immensely disciplined intellect which d’Agoult. The three performed on this larly effective in the fugue. voices of Skinner Op. 475 better, I exerts a constant effort to keep that recording are Nos. 4, 5, and 6 of the set, In 1863 Richard Wagner fell in love think, than any other recording of the temperament in check.’” and are written in sharply contrasting with Liszt’s daughter Cosima. She and instrument I have heard. The repertoire And Morgan quotes Reiner himself, styles. The agitated chromaticism of the Hans von Bülow divorced and Cosima is delightfully relaxing, though there are who has stated that a conductor “must final one is particularly effective. then married Wagner. Liszt wrote Am also moments of excitement, and the speak the two languages of intellect and Liszt’s Angelus! Prière aux anges gar- Grabe Richard Wagner after the death playing throughout is first rate. The CD emotion at the same moment. Intellect diens is another transcription for organ of his son-in-law, Richard Wagner, in is well worth its purchase price. without emotion is not art. And emotion of what was originally a piano composi- 1883. Again the composition was origi- —John L. Speller without intellect is sentimentality.” tion. It comes from a collection of three nally written for piano and later tran- St. Louis, Missouri A summary testimonial from Harold suites, entitled Les Années de Péleri- scribed for the organ. It was a piece C. Schonberg, longtime music critic for nage, and is No. 1 from the Troisième intended to pay tribute to a composer, the New York Times, written 24 Année. It is dedicated to Daniela von whose work, as the leaflet records, Liszt The Orpheus of Amsterdam: Jan November 1963, less than a month prior Bülow, Liszt’s granddaughter by his once described as “the greatest and most Pieterszoon Sweelinck and his to Reiner’s death, reads: “As a musical daughter Cosima and her first husband, majestic art ever created.” The opening pupils. Gail Archer, organ. Cala intellect, as an incomparable technician, the celebrated conductor Hans von solo, evocative of some of the motifs in Records CACD 8843 as the possessor of an ear virtually Bülow. The strong religiosity of this Parsifal, makes effective use of the
performances on compact disc, and an BUZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD extensive bibliography . Both the Hart and Morgan biogra- phies contain many of the same photos; however, there are many more photos in the Hart book. Reiner, who was known for his fine opera conducting and hadn’t conducted an opera in several years, was scheduled to conduct Wagner’s Götterdämmerung at the Met in New York City in Decem- ber 1963, and this reviewer was so happy to have a ticket for a perfor- mance. It is one of my life’s regrets that Reiner died a month before this perfor- mance was to have taken place. Kenneth Morgan is a professor of his- tory at Brunel University in Uxbridge, England, plays the bassoon, and has been a regular contributor to Interna- tional Classical Record Collector. —Jeffrey K. Chase, M.Mus, J.D. Ann Arbor, Michigan
New Recordings
Liszt & Wagner. Jared Johnson, organist. 1926 Skinner organ at Jef- ferson Avenue Presbyterian Church, Detroit, Michigan. JAV Recordings CD JAV 133,
MARCH, 2006 15 2v plus Zimbel, Regal and Schalmey. with trumpet in right hand, against high- and became a naturalized citizen. Casavant Frères commissioned Dan The Pedal is in two sections: 16v Sub- pitched registers in the left. The final The playing on these discs is uniform- Locklair to compose this work in honor bass, 8v Spillpfeife, Posaune and variation played on a full organ also intro- ly excellent with imaginative registra- of the organbuilding firm’s 125th Trompet; and to balance the Brustwerk duces the delightful Zimbelstern. tions, rhythms and all the rest. The anniversary. Written in 2003, the pieces there are an 8v Dulcian, 4v Regal, 2v Cor- The CD closes with the magisterial Gorski work covers the gamut of were premiered by a number of organ- nett and a 1v Bauernflöte. Ricercar by Sweelinck, based on an sounds: soft to loud, slow to fast, with a ists worldwide during the celebratory The CD contains six pieces which abstract subject ripe for full contrapun- complex fugal section and many toccata- weekend of 13 November 2004. The cover twenty tracks once individual tal development. The full gamut of com- like passages. Surzynski’s Improvisation works were written to be performed on movements are taken into account; positional mastery is evident, and the receives a stately treatment and organs of two manuals or larger, and the three of the pieces are by Sweelinck, changes of register, apart from the one requires much imaginative color leading registration suggestions, although pro- two by Scheidt and one by Heinrich in bar 108 that actually disturbs the con- to a very exciting conclusion. His tocca- vided for a smaller instrument, are basic Scheidemann. Taken together they pre- trapuntal line, help to maintain the lis- ta is a more typical Baroque-style piece, sonic guidelines. sent an overview of the main styles tener’s concentration through 300 bars; but attractive. Here are some of the composer’s developed by Sweelinck and his Ger- at the end one is unaware that almost 12 Using two Polish Christmas carols, comments on his work: man pupils that had such an impact on minutes have elapsed. Careful use of Nowowiejski’s treatment is atmospher- the North German school through to J. the pedals, here well balanced, brings ic and lovely. Nothing is given in the Symbolism, as the basis for all musical S. Bach. The first track is a Toccata in C out the subject when it is written in aug- notes about the organ, which I thought materials, abounds in both movements by Sweelinck played here on a bright mentation. This splendid piece, played a bit strident in sound for this music. and especially in the use of “C” and “F” note codes for “Casavant Frères.” Since plenum without reeds that allows the with great rhythmic precision and Borowski wrote admired program one of the main melodic ideas from the carefully crafted writing to be heard panache, is a worthy CD closer. notes for the Chicago Symphony and first movement, Aria, appears in the sec- clearly throughout the compass. The The accompanying booklet provides a taught at Northwestern University (sci- ond movement, Toccata, the composition piece opens with a chord that Archer brief description of the pieces, but for ence!). His admirable sonata is dedicat- is cyclic. In order for the Casavant arpeggiates downward, and continues further information on the organ the ed to Alexandre Guilmant, whose style anniversary to be celebrated by the widest with much 16th-note passagework reader is referred to the college web- it emulates. range of organists possible, a requirement against held or repeated chords— site—surely some brief comments on its There is nothing new that I can say for this commission was that the first Sweelinck’s assimilation of figures from provenance could have been included about Brahms’s organ music, except to movement be technically modest, with the second being more technically the English and the Italian schools here. Gail Archer’s playing is crisp and wish he had composed more of it. demanding. being developed into a highly individual clean, and she deals with the formidable These performances, played in a won- style. The second piece on the disc is technical challenges throughout with derfully resonant building, are all that The first movement is subtitled “God the Echo for two manuals running to great dexterity and digital agility, but one could wish. My favorite, Fugue in moves in a mysterious way . . . ,” and almost ten minutes, taken from the sec- does not always take advantage of those A-flat minor, is gently played to splen- using the C and F pitches, the tonal ond part of the Tabulatura Nova by places where additional ornaments can did effect. The familiar chorale pre- areas move from C major to C minor, to Samuel Scheidt. In the first part of the be added successfully. While the articu- ludes are given restrained perfor- F major and B-flat major, and other key piece (taken at a leisurely tempo here) lation is generally convincing, some- mances. Hearing the eleven in a row is centers—the mystery is key. the echo effect consists of chords and times the 16th-note or eighth-note figu- probably not what Brahms intended, The second movement, subtitled “ . . . short phrases played alternately forte ration sounds too legato, especially in although many years ago I heard His wonders to perform . . . ,” opens with and piano on different manuals, the the Sweelinck Toccata and in the Schei- Ernest White play the Bach eight ‘lit- full organ arpeggiations and alternating forte part being played on an 8v flute demann. The well-chosen variety of reg- tle’ preludes and fugues as the first meters of 2/4 and 7/16, which serve as an stop, and the piano effect on a gentle istrations (apart from in the Scheide- half of a recital and the Brahms introduction to a virtuosic pedal solo. A reed. In the rather more lively second mann as mentioned above) allows us to chorale preludes as the second half! highly chromatic section “With zest” fol- part the left hand plays on quiet stops hear the quality of the voicing of all Students beginning to learn the lows, with additional meters of 6/16, throughout, while the forte element for ranks. This CD is recommended, but at Brahms organ repertoire could not do 10/16, and 11/16. Then, the melodic the right hand is projected on a typical- only 50 minutes it is certainly on the better than listen to this mature and material from the Aria emanates, and is ly Baroque gapped registration that tin- short side—one may ask why Malle Sij- musical playing. played on a full organ sound. kles brightly. The carefully marked men by Sweelinck was preferred over —Charles Huddleston Heaton The contrast between the simple, phrasing is well defined here. one of his (or his pupil’s) other settings lyric lines of the Aria and energy and The third piece is a set of four verses of secular or sacred melodies, or indeed chromaticism of the Toccata make the on the seventh tone on the Magnificat why more contrapuntal pieces were not Casavant Diptych a delight to play. I by Heinrich Scheidemann, organist at included. New Organ Music highly recommend this work. St. Catherine’s Church, Hamburg. —John Collins Archer opts for a quieter approach than Sussex, England David Cherwien, Lift High the is usual with these pieces, but the down- Robert Hebble, Festive Hymns & Cross: Prelude and Postlude based side to this is that the cantus firmus in Pieces. Warner Bros. Publications, on Crucifer by Sydney H. Nicholson. the Pedal does not shine through, espe- Marek Kudlicki. Polish Romantic 5380068. MorningStar Music Publishers cially in the last verse where the manual Organ Music. Weigle organ in the This collection includes two familiar MSM-10-726, 2003, $10. passagework is played on 4v only. It is Stadtkirche in Nagold, Germany. Trumpet Tunes by Handel and Stanley, David Cherwien is no stranger to the also particularly noticeable in the sec- Polskie Nagrania PNCD 967 “Rondeau” from Symphonie de Fan- organ world. He has composed a ond verse where the Pedal plays more of
Distinguished pipe organ builders of Padua, Italy Via Facciolati, 166 • 35126 Padua, Italy Telephone 39-049-750-666 • Fax 39-049-850-483 • In the United States: 330-867-4370
16 THE DIAPASON The University of Michigan Historic Organ Tour 52 Marilyn Mason
For the University of Michigan His- left of the chancel. The sound of this toric Organ Tour 52, we were invited by lovely instrument filled the room attest- the World Congress on the New Evan- ing to Cavaillé-Coll’s dictum, “Acoustics gelization to perform concerts in Portu- are the most important stop on the gal during the congress November 5–15, organ.” 2005. Seven artists took part in the tour: On November 14, we enjoyed a two- Donald and Lucy Baber, Donald Fishel, mile walk from Estoril to Cascais along Joan McKay, Andrew Meagher, David the sea. The mouth of the Tagus River Troiano, and Marilyn Mason. makes a natural harbor for Lisbon. We Portugal covers 36,000 square miles. must not neglect to mention the food: The population of Lisbon is 600,000 in pork, chicken, sausages, beef and many the center and 1 million in the sur- boiled dishes, often served in imagina- rounding area. Historically, Portugal tive ways and with many interesting was a pioneer in exploration. The Great sauces. The many small restaurants all Earthquake of November 1, 1755, virtu- serve good food, especially fish that ally destroyed the city of Lisbon and were in the sea that morning. surrounding areas. Approximately All of the organs have mechanical 60,000 died. Voltaire describes this hor- action. In general, they are free-stand- rific destruction in his Candide. Today ing, and there are three types: the country offers its own richness in 1. One manual without pedal, with variety of landscapes, churches, muse- divided keyboard ums, and cuisine. 2. One manual with pedal 3. Two manual with pedal Dia á Dia Duo Pneuma: Marilyn Mason, organist, and Donald Fishel, flutist The two manual instruments have pedal In Lisbon we played historic organs couplers and a I–II coupler. The tones including one built in 1791. None of Tr Real of Troiano, Meagher, McKay, Don and are usually mild, and also rich. One stop them were in very good condition Corneta Real Lucy Baber played the recital to a most can fill the room. The color variety is except for a small Cavaillé-Coll in the Cheio appreciative priest and audience. within the flues and reeds. The 4v flutes French parish church. It was in tune 19th E 22 David Troiano’s second language is are especially charming: clear and 15th and in good playing condition. The 12th Spanish, so he addressed the audience bright. The reeds, as in Spain, are en operative word here is unchanged. Fl Trav 4v in Spanish. He had them in the palm of chamade. One instrument, at Igreja de Except for the addition of electricity, Fl 8v his hand: they found an American who Pena, had reeds en chamade on all four the organs remain virtually as they were O Real not only played, but sang, and could sides of the free-standing case. created. Many organs reveal the original introduce the music to them in a lan- What needs attention: tuning, keys windings: pumps remain that had been Ped guage they understood. His introduc- that stick, notes that are dead, uneven- operated by hand before the addition of I–Ped tions, the music, and the players made ness of touch, and a general regulation electricity. II–Ped friends for America. of the touch. Finally, it remains for a cat- The Breath of the Spirit is a multi- On November 13, we visited the main alogue of these charming organs to be Manual keys: 4 octaves plus C-sharp to F I media work: two narrators read the Pedal keys: 2 octaves plus C-sharp, D Cathedral or “Se” on the square. It is an prepared by a scholar or aficionado. poetry of Ken Gaertner, and the nine architectural wedding of Romanesque poems are interspersed with music for and Gothic styles. Some think that at Marilyn Mason is University Organist, flute and organ by Gregory Hamilton. The morning of November 9 we one time it was a mosque. The earth- Professor of Music, and Chairman of the The music was played by Duo Pneuma: attended a Rosary in Fatima, and our quakes of 1344 and 1755 damaged the Organ Department at the University of Donald Fishel, flutist, and Marilyn performers were invited to participate. structure. During Mass we heard the Michigan. She has led more than 50 historic Mason, organist. David Troiano sang Durante’s Vergin cabinet organ, which was placed to the organ tours abroad. We played three performances of The tutto Amor with Andrew Meagher as Breath of the Spirit on three different accompanist. Donald Baber was accom- organs to very receptive audiences. The panist for Joan McKay’s singing of the first concert took place on November 7 Bach/Gounod Ave Maria. at the Basilica de Estrela, a beautiful The third concert, on November 9, cathedral that was consecrated in 1790. was held at the Igreja Paroquia da As with almost all churches, it was built Ajuda. The organ, of one manual and 11 after the 1755 earthquake. The organ registers, is by an unknown builder. has one manual, seven stops, divided between b and c1. Andrew Meagher Left side Right side assisted. Trombeta magna Clarim Clarao 4v Corneta 4F Left side Right side Cheio 3F Cimbala 3F Del de Caino Clarin Cimbala 4F Cheio 4F Clarao Cornetta Comp. 22 Comp. Quinzena Compuesta de 29 Vinte dozena Quinzena Oitava Real Quincena Pifaro Dozena Voz. humana Fl de 6 Vox humana Fl 6 Tap Fl. Travessa Fl de 6 Flauto Octava Real Pifano Fl de 19 Fl de 19 Fl 12 Tap Fl. 12 AB Ventils Ventils Fl 12 AB Fl. 12 Tap Reeds on Reeds off One manual, 4 octaves, plus high c#, d, d#,e Mixture on Mixtures off Nameplate: Estrela Antonio Xavier, Mucha- On November 10, we drove to Sintra. do Cin. 1791 no. 2 In the mountains there are over 350 varieties of trees, including umbrella On November 8, the opening Mass of pine, olive, palm, oak, and pine, and also the congress took place in the Cathedral more exotic: camellia, hibiscus, and of St. Jerónimos. In a grand procession, bougainvillea. At Sintra we visited the 11 bishops followed by Cardinal Polycar- Palacio Nacional, a residence of kings, po processed into the packed cathedral. which has been well preserved. Long Included in prayers was a petition to St. before the arrival of the Crusaders, this Theresa for the opening of the congress. was a summer palace of Moorish sul- We heard a large modern organ with a tans. The furnishings are in fine condi- full pedal; the music included Bach’s tion, and the glazed earthenware tiles Fantasy in G Minor, BWV 542. lining many of the rooms are among the The second concert took place most beautiful in Portugal. November 8 at the Igreja Maddalena. At the Ingreja de S. Luis dos France- The organ has two manuals and pedals ses, we experienced a serendipity—one and 19 registers; the builder is unknown. of the surprises of the tour in the form of a Cavaillé-Coll organ. Positive On November 11, we took a two- Fagote mile walk on the beach to enjoy the Baixao-Zinho Vox Humana astounding Atlantic. The concert was at Fl 2v the Igreja Paroquial da Pena. This Fl 4v beautiful parish church is situated on Fl 8v the top of a high hill. We spurned the Tapadillo 8v electric tram and we climbed 180 steps ORGAN HISTORICAL SOCIETY Viola 8v (I counted) at nine different levels of BOX 26811 RICHMOND, VA 23261 20 each to attain the summit. In the Order 24 Hours Daily www.ohscatalog.org Haupt church we met a gracious priest, Oboe 804-353-9226 (REAL PEOPLE 9:30 TO 5 EST MON - FRI) Clarin Father Nicolau Poelman, so proud of FAX 804-353-9266 e-mail [email protected] his church and of the organ. The group
MARCH, 2006 17 Albert Schweitzer Organ Festival/USA David Spicer
On Tuesday, September 6, 2005, six young organists began arriving in Wethersfield, Connecticut to partici- pate in the eighth annual Albert Schweitzer Organ Festival/USA. This year the caliber of playing was especial- ly high, and all who heard were greatly encouraged regarding the future of organ playing in our country. We are grateful to the following churches for allowing these six finalists to practice on their organs: Trinity Epis- copal Church, Wethersfield: Bruce Henley, organist-choirmaster; Asylum Hill Congregational Church, Hartford: Charles Miller, organist and associate First-place winners ASOF/USA 2005 minister of music; Christ Church Cathe- Jason Noel Roberts (Young Profes- dral (Episcopal), Hartford: Canon sional Division), Jacob Michael Street James Barry, organist and choirmaster; (High School Division) (photo by Betty and Bethany Covenant Church, Berlin: Standish) Olga Ljungholm, minister of music. On Friday morning, September 9, the finalists were treated to a tour of St. Joseph’s Cathedral (Roman Catholic) in (l to r) Samuel Kohei Gaskin, Nancy Andersen, Kenneth Scott Miller, Scott A. Hartford, conducted by Ezequiel Montgomery, Jason Noel Roberts, Monica Alexandra Harper, Katharine Pardee, Menendez, organist-choirmaster. The David Spicer, Benjamin Dobey, Jacob Michael Street, and Frederick Hohman (photo awesome architecture and the IV/141 by Betty Standish) Austin with its five seconds of reverber- ation were a thrill for all to experience. (“Christ Is Made the Sure Foundation”) England to be at the festival. Finally, On Friday evening a concert was by Richard Dirksen. The Festival Choir permanent adjudicator of the held in the historic Meetinghouse of then sang Psalm 150 by César Franck. ASOF/USA, Frederick Hohman, from the First Church of Christ in Wethers- The father and son team Abubaker South Bend, Indiana, played the Allegro field, featuring music composed by and Babafemi (Generations of Drum- (Theme with Variations), the first move- organists. The Campanella Handbell mers) led all present in some vigorous, ment of Symphony No. 6 in G by Widor. Choir, directed by Linda Henderson, interactive African drumming. Alvin Anthems He Comes to Us by Jane joined organist David Spicer in present- Carter Sr. and Alvin Carter Jr. were Marshall (with text by Albert Schweitzer) ing Paean of Praise (based on Pasticcio) dressed in African garb, a reminder of and Go Ye into All the World by Robert David Spicer awards Jason Noel by Jean Langlais, arranged by Sue Dr. Albert Schweitzer’s great mission- Wetzler were sung by the Festival Choir. Roberts with first place in the Mitchell-Wallace. Spicer then played ary work in Africa. Next, the three The concluding hymn was “Let Heaven ASOF/USA Young Professional Divi- Aria by Flor Peeters and led the Festi- judges for the competition played on Rejoice” (Rock Harbor), tune by Alan sion (photo by Betty Standish) val Choir in Chant Praises to God, an the Austin IV/62. Benjamin Dobey, MacMillan and text by Hal M. Helms, anthem heard for the first time at this from Kohler, Wisconsin, played the which has become a tradition at these ly gave the gift of tuning for this festival. festival, composed by Frederick Paean (from Six Pieces for Organ) by opening concerts. Our thanks to Nancy Andersen, fes- Hohman and dedicated to the Albert Herbert Howells. This was followed by High School Division finalists were tival manager; Karen Franzen, admin- Schweitzer Organ Festival/USA. The Cortège and Litany, op. 19, no. 2 by Samuel Kohei Gaskin, from Beaumont, istrative assistant; Betty Standish, final triumphal chords of this anthem Marcel Dupré, played by Katharine Texas (third prize), who studies with ASOF/USA chair, for the organiza- led into the hymntune Christ Church Pardee, who traveled from Oxford, Hugh E. Thompson; Kenneth Scott tional work that made the festival run Miller from Conover, North Carolina smoothly and efficiently. A special (second prize), a student of Florence note of thanks to Dana Spicer and NINTH ANNUAL Jowers; and Jacob Michael Street from Mainly Tea of Wethersfield, for pro- North Reading, Massachusetts (first viding a reception for the three judges ALBERT SCHWEITZER ORGAN FESTIVAL/USA prize), a student of John Shelton. on Friday evening and a wonderful NORTH AMERICAN COMPETITION The Young Professional Division dinner for finalists and judges on Sat- finalists were Scott A. Montgomery urday evening. from Champaign, Illinois (third prize), The Albert Schweitzer Organ Festi- PANEL OF JUDGES a recent graduate of the University of val committee is preparing for High School Division Illinois, where he is continuing his ASOF/USA 2006, to be held in studies with Dana Robinson; Monica Wethersfield, Connecticut, September FIRST PRIZE: $2,000 Alexandra Harper, from Waco, Texas 8–10. Organists Marilyn Mason and Provided in part by Ahlborn-Galanti Organs (second prize), where she is a graduate Thomas Heywood will join Frederick Other prizes also awarded student of Joyce Jones at Baylor Uni- Hohman as this year’s guest versity; and Jason Noel Roberts from artists/judges. Plans are underway to New York City (first prize), studying feature these organists in the opening * Frederick Hohman under McNeil Robinson at the Man- concert of the festival on Friday College/Young Professional hattan School of Music. evening, September 8 at 7:30 pm. The Saturday, September 10, the High committee is hoping to invite six quali- FIRST PRIZE: $3,500 School Division competition was held fied young organists to compete in the Provided in part by from 9 am to noon. The Young Profes- two divisions on Saturday, September 8. J.H. & C.S. Odell Organ Builders sional Division finalists competed Awards and requirements have been from 1–4 pm. Sunday morning, Sep- changed: the High School Division first- This includes an appearance on our tember 11, all finalists played portions place award sponsored in part by of the 8, 9:15 and 11 am worship ser- Ahlborn-Galanti Organs has been raised 2006-2007 Concert Series Thomas Heywood *Through age 26 vices. At 4 pm awards were presented, to $2000. In addition to the first-place Other prizes also awarded and first-place winners Jacob Michael award of $3500, provided in part by J.H. Street and Jason Noel Roberts were & C.S. Odell Organ Builders, the Young heard in recital. Professional Division first-place award AUDITION TAPES/CDs: The total combined repertoire repre- winner will have the opportunity to pre- Due: June 1, 2006 sented by these six finalists included sent an organ recital during the Prelude and Fugue in D Major, BWV 2006–2007 First Church Concert COMPETITION: 532; Prelude and Fugue in a minor, Series. An additional award of $500 will Sept. 8–10, 2006 Marilyn Mason BWV 543; Fantasia in G Major, BWV be given from the Helen L. Reinfrank 572; and Trio Sonata No. 6 by Bach; Music Fund for the most creative hymn Andante Sostenuto from Symphonie playing. I PAST JUDGES: Colin Andrews Gothique by Widor; Choral No. 1 in E Diane Meredith Belcher, Benjamin Dobey Major, Choral No. 2 in b minor, and David Spicer began as Minister of Music Choral No. 3 in a minor by Franck; and the Arts at First Church of Christ in Paul Fejko, Janette Fishell, Frederick Hohman Wethersfield, Connecticut in 1986. In 1996 Méditation by Duruflé; Prelude and he and Dr. Harold Robles founded the Albert Katharine Pardee, Cherry Rhodes Fugue in g minor by Dupré; “Lebhaft” Schweitzer Organ Festival/USA. Spicer is a Catherine Rodland, John Rose (Sonate II) by Hindemith; Wondrous graduate of the Curtis Institute of Music, Love: Variations on a Shape-Note where he studied with Dr. Alexander McCur- John Walker and John Weaver Hymn by Barber; and hymn tunes St. dy, and of the Eastern Baptist Theological Thomas, Ein’ feste Burg, Ar Hyd y Nos, Seminary. First Church of Christ Coronation, Slane and Eventide. Special thanks go to Gordon Auchin- Information about the Albert Schweitzer 250 Main Street Organ Festival/USA and current require- Wethersfield, Connecticut 06109 closs, who was on hand throughout the ments for the competition are available by Saturday competition to offer assistance INFORMATION AND APPLICATION: 860/529-1575, ext. 209 telephone: 860/529-1575 ext 209; e-mail: should the organ need it, and to Bon
18 THE DIAPASON The Organ Music of William Walond John L. Speller
ext to Stanley’s Trumpet Voluntary, time of his death, there is no particular Example 1. William Walond, Voluntary in E minor, Op. 1, No. 1, bars 1–4 NWilliam Walond’s Cornet Volun- reason to infer, as some have done, that John James, Voluntary in E minor, Southgate No. 2, bars 1–4 tary in G major (Op. 1, No. 5) is proba- he was also born in Oxford. He might bly the best-known piece of English well have been the pupil of a prominent organ music to have survived from the London organist such as Maurice eighteenth century. Surprisingly little is Greene and then have been recruited to known, however, about the composer. Oxford by Richard Church. The few facts that are known about him Some modern editions have altered are given in Watkins Shaw’s entry in the the character of Walond’s well-known New Grove Dictionary of Music and Voluntary in G (Op. 1, No. 5) by filling Musicians.1 Walond, described as “of out the manual parts and introducing a this city,” died in Oxford in 1770, aged pedal part. This has occasionally gone 45. This means that he would have been along with renaming the piece using born circa 1725. Described as an titles such as Introduction and Toccata organorum pulsator (an “organ beat- or Toccata for the Flutes. For an er”), he matriculated to the University authentic performance of Walond’s of Oxford on June 25, 1757, when his voluntaries as the composer intended college was recorded as Christ Church. them to be heard, however, we must Shortly thereafter he obtained his Bach- look elsewhere. There are fortunately elor of Music degree, presenting as his some modern editions of Walond’s musical exercise a setting of Alexander organ voluntaries that do not stray far Pope’s Ode on St. Cecilia’s Day. Con- from Walond’s original. Gordon untary, Walond’s Voluntary in D minor teenth century small English organs trary to what Watkins Shaw says, this Phillips edited the whole of Walond’s (Op. 1, No. 3).7 This is a very fine Sicil- with a divided keyboard generally had does not seem to have been published. Opus 1 and one of the voluntaries from iana, which once again finds a parallel the divide set between c1 and c#1, Walond did, however, publish two vol- Opus 2 in three volumes of the Hin- in another voluntary of the period, the though after about 1750 a divide umes of organ voluntaries, his Opus 1, richsen Tallis to Wesley series.2 More first movement of John Stanley’s Op. 6, between b0 and c1 became more popu- Six Voluntaries for Organ or Harpsi- recently Greg Lewin has produced No. 1. If one composer knew the work lar. The Voluntary in D minor (Op. 1, chord (1752), and his Opus 2, Ten Vol- editions of both Opus 1 and 2, and has of the other—and Stanley was certainly No. 3) can be played on a one-manual untaries for the Organ or Harpsichord also produced a facsimile edition of on the subscription list for Walond’s organ with the divide in the earlier (1758). Opus 1, all under the Hawthorns voluntaries—it is in this instance diffi- position of c1/c#1. It would be possible Walond seems to have been highly Music imprint.3 Besides these, a num- cult to know who may have influenced to play it on a small organ with the thought of among his fellow organists, ber of individual voluntaries or move- whom, since both voluntaries were divide in the more usual modern posi- and the subscription list for his first set ments from voluntaries have been published around the same time. The tion by temporarily removing or stop- of published voluntaries includes the published in anthologies edited by C. resemblance may as much as anything ping off the middle C pipes of the Cor- names of such eminent musicians as H. Trevor, Charles Callahan and oth- reflect how English composers of the net stop. John Stanley. Walond spent most of his ers. Personally, I particularly like play- period approached the crafting of The piece that follows, Voluntary in career as the assistant of Richard ing from the facsimile edition of Opus church organ voluntaries in very similar D minor and major (Op. 1, No. 4), is Church, who was the Heather Professor 1, notwithstanding that it involves ways (see Example 2). It is again unfor- yet another Cornet voluntary, although of Music at Oxford and also the organist some familiarity with the alto clef, tunate that the second movement, once in this instance each section of the sec- of both Christ Church and New Col- since the music seems to sit more com- more using the Mounted Cornet stop, ond movement is first played on the lege, Oxford. It seems that Church fortably under the fingers as originally is rarely if ever performed and as far as Cornet and then repeated on the Flute. mostly looked after the music at Christ notated by the composer. I am aware has never been recorded. It The consensus of eighteenth-century Church himself and left his assistant is a voluntary that deserves to be much scholarship suggests that this would Walond to handle the music program at Walond’s Six Voluntaries (1752) more widely known. In the early eigh- probably have meant a 4-ft. Flute used New College. Walond might have The first of Walond’s Six Voluntaries expected to succeed Church in some or of 1752 is a Voluntary in E minor, con- all of his preferment, had he not had the sisting of a Largo first movement for misfortune to predecease Church by six “The Diapasons” (the Open and Stopt years and die at the early age of 45. Diapasons used together), and a second Walond had three sons, Richard (d. Allegro movement for the Mounted 1831), George, and William Junior (d. Cornet stop. This is typical of a mid- Eloquence and Artistry 1836), all of whom were connected with eighteenth-century “First Voluntary” or church music. William Walond, Jr., was organ piece designed to be played dur- organist of Chichester Cathedral from ing the Anglican services of Morning in Organ Building 1776 to 1801. Richard Walond was a lay and Evening Prayer after the Psalms clerk at Magdalen College, Oxford, and and before the First Lesson.4 The first later a vicar choral at Hereford Cathe- four bars of the Diapason movement dral. George Walond was a chorister at show, as H. Diack Johnstone has point- Magdalen College, Oxford. ed out,5 a remarkable similarity with the That is about all that is known about first four bars of the Diapason move- Walond for certain, but there is confu- ment of John James’s Voluntary in E sion even over this. Various Internet minor, found in the so-called Southgate sites give Walond’s dates as Manuscript, and it is possible that “1719–1768,” but these dates do not Walond knew of and was influenced by accord with the known facts mentioned James’s work (see Example 1). The Cor- above, and the dates “c. 1725–1770”, net movement has an interesting struc- cited by Shaw, appear to be correct. ture, consisting of an A section, con- Part of the problem is that the name trasting B and C sections, and a con- Walond (pronounced “Woll-ond”) was cluding recapitulation of the A section. very fluid in its spelling, and William, It is unfortunate that it is rarely played Jr., for example, sometimes used the and has never, as far as I am aware, spelling Walrond. There was indeed an been recorded. ancient family in the west of England By contrast, Walond’s Voluntary in G named Walrond. They had estates at major (Op. 1, No. 2), another solo Cor- Bradfield and Bovey in Devon, and at net piece, is quite frequently played Ilminster in Somerset, and were promi- and recorded, and is probably Walond’s nent Royalists in the English Civil War. second most popular piece. It is well It is conceivable that William Walond known mainly because it is the only one was an offshoot of this West Country of Walond’s voluntaries that C. H. family. It is also just possible that Trevor reproduced in its entirety in his William Walond is to be identified with Old English Organ Music for Manuals the William Walland, son of Edward anthology.6 This may well be because it and Elizabeth Walland, who was bap- is the shortest of the Cornet Volun- All Saints Episcopal Church, Atlanta, GA tized at St. Botolph-without-Aldgate, taries and was thus the one that best Raymond & Elizabeth Chenault, Music Directors London, on August 30, 1724. Since the suited Trevor’s format of relatively phrase “of this city”(signifying Oxford) short pieces. Trevor also reproduces referred to Walond’s residence at the the first movement only of the next vol- Member, Associated Pipe Organ John-Paul Builders of America Buzard 112 West Hill Street Pipe Organ Builders Champaign, Illinois 61820 800.397.3103 • www.Buzardorgans.com
MARCH, 2006 19 Example 2. William Walond, Voluntary in D minor, Op. 1, No. 3, bars 1–4 Example 3. William Walond, Voluntary in G, Op. 2, No. 3, bars 96–100 John Stanley, Voluntary in D minor, Op. 6, No. 1, bars 1–2
Example 4. William Walond, Voluntary in D minor and major, Op. 2, No. 4, bars 1–5
alone without an 8-ft. stop being on the Swell and Choir. In this respect drawn. Voluntaries for Cornet and it has some affinities with J. S. Bach’s Flute, like this one, were quite popular and J. G. Walther’s arrangements of in the eighteenth century, and in some Italian concerti for the organ. The sharps quite extensively, as for example therefore at a loss to suggest the sort of ways ought perhaps to be considered a introduction segues into a majestic in his B minor voluntary, Op. 2, No. 2. occasion for which it may have been separate genre from the basic Cornet double fugue on full organ. This volun- John Stanley does the same thing in his composed. It is nevertheless interesting voluntary. In this particular one, after tary is also noteworthy for being the Op. 7, No. 1, a Cornet Voluntary in A in being about the closest equivalent we the second repeat, the Cornet re- first known composition in which mark- major. It is unclear whether Walond— have to a French Tierce en taille in the enters at the end for the last three ings are used to indicate when the swell and for that matter Greene and Stan- eighteenth-century English organ bars. Once again the first, slow, Diapa- box should be opened and closed. ley—used E major in order to exploit repertoire (see Example 3). There is an son movement but not the Cornet Walond uses wedge shapes, similar to the wolf notes for a particular effect, or AA and four GGs in the left hand, so the movement is reprinted in Trevor’s the modern “hairpins” except that they whether they intended that the wolf piece really requires a G-compass anthology.8 This voluntary is another are solid rather than open. For an notes should as far as possible be cov- organ, although it is once again fairly rather neglected piece, although there authentic performance this voluntary ered over, for example by introducing easy to get around this by playing a few is at least one recording of it, per- really requires a G-compass organ since ornaments where B and D# are sound- notes an octave higher. On the other formed by Peter Ward Jones on the the note AA is several times called for, ed together. It would be interesting to hand, whether anyone would really wish 1790 John Donaldson organ in the although it is possible to avoid this by hear how Walond’s E major voluntary to play it, except perhaps as a historical Holywell Music Room in Oxford.9 transposing a few notes in the left hand would actually sound on an eighteenth- curiosity, is somewhat doubtful. The fourth voluntary is followed by up an octave without too much damage century English organ tuned to its orig- The fourth voluntary in Walond’s Walond’s best-known composition, the to the texture of the piece. The need inal meantone temperament. Opus 2 is another extremely fine one, a beautifully crafted Voluntary No. 5 in G for a G-compass organ may unfortu- Op. 2, No. 2 is a Voluntary in B Trumpet Voluntary in D minor and major. This is one of the longer Cornet nately be one reason why Walond’s minor, comprising an Andante played major. Once again this is a fairly typical voluntaries, stretching to four pages of tour de force seems to be played and on the Swell and accompanied on the First Voluntary, made up of two move- the original edition. An interesting fea- recorded10 so infrequently. Choir Organ, together with an Allegro ments: a Grave for the Diapasons, and a ture of the eighteenth-century edition is Moderato, for which Walond rather Moderato for Trumpet. The Diapason that in bars 22 and 23 of the Cornet Walond’s Ten Voluntaries (1758) unusually for the period specifies “the 2 movement is a dignified essay in the movement Walond has a C# and D in The second set of Walond’s volun- Diapasons, Principal & Fifteenth.” This style of Corelli. One feature that at first octaves, whereas the rest of the accom- taries, the Ten Voluntaries for the voluntary was also probably intended as seems strange is that while the rest of paniment is all in single notes. The Organ or Harpsichord of 1758, is much a First Voluntary for use before the bars 1–7 have the left hand moving in composer probably did not intend both less homogeneous than the first, and First Lesson at Morning or Evening octaves, the low C# in bar 4 is omitted, octaves to be played at once, but rather contains both some extremely fine Prayer. It is a pleasant little piece, and is notwithstanding that the diminished included them as alternatives. The idea pieces and some rather curious anom- one of the voluntaries that features on seventh chord is the climax of the whole was that if the piece were to be per- alies. The first piece, the Voluntary in E Jennifer Bate’s five-CD set From Stan- passage. This apparent anomaly, howev- formed on a one-manual instrument major (Op. 2, No. 1), is another fine ley to Wesley, where it is played on the er, is easily explained by the fact that on with divided keyboard, the lower notes Cornet voluntary from the same tradi- 1786 John Avery organ at St. Michael’s a “short-octave” G-compass organ, such would be played instead of the upper tion as the first five voluntaries of Opus Mount in Cornwall.13 as Walond’s instrument at New College, ones. On a two-manual instrument the 1. Like Op. 1, No. 4, it alternates Cor- The third of Walond’s Ten Volun- Oxford, the low C# was omitted (the upper notes would be used. In this way net passages with interludes on the taries for the Organ or Harpsichord is a low C# key played AA instead), so he the voluntary could if required be Flute. There is, however, one strange very strange beast indeed. It consists of simply would not have had the note accommodated to a one-manual organ thing about this voluntary, and that is its a single movement, an Andante affettu- available. It would probably therefore with the divide in either the b0/c1 or key of E major. Eighteenth-century oso, to be played on soft registrations be desirable to insert the additional low c1/c#1 position. English organs were tuned to meantone with a Sesquialtera solo in the tenor and C# on organs that possess this note. I The sixth of the first set of volun- temperament, and therefore it was not bass registers. The Sesquialtera was a also wonder if a treble D has accidental- taries, the Voluntary No. 6 in D minor, generally considered a good idea to tierce mixture found on eighteenth-cen- ly been omitted at the end of bar 5, is probably Walond’s finest work. compose music in remote keys. In the tury English organs. There were gener- since the passage does not seem to Unlike the other five voluntaries of key of E major, the third between B and ally three ranks though sometimes four make a lot of sense without it. Never- Opus 1, which are all Cornet volun- D# would have been particularly or more. A typical example would com- theless, bars 4 and 5 are repeated at taries, Op. 1, No. 6 is an Introduction unpleasant, and it is puzzling therefore mence at 17-19-22 in the bass and break bars 43 and 44, and the treble D is once and Fugue. This means that it is a “Sec- that Walond should have composed a back to 12-15-17 around middle C. It is again omitted, making it seem less like- ond Voluntary,” the type of organ piece voluntary in this key. There is no evi- just possible that Walond intended the ly that this was a mistake, and the ques- that was generally used at the end of dence, however, that this piece was ever solo to be played on the Sesquialtera tion remains something of an enigma church services. It is a magnificent in any key other than E major.11 Fur- alone, but it seems more likely that he (see Example 4). example of its kind. Written in the Ital- thermore, there is a contemporary intended other stops such as the Stopt The Trumpet movement is a very ian concerto style of Arcangelo Corelli, precedent for using the key of E major Diapason to be drawn together with it. well-crafted one in a slightly archaic the opening movement uses the Great in an organ voluntary by Maurice The movement does not seem to follow style. It has perhaps more in common Organ for the ripieno passages, with Greene.12 Indeed, elsewhere Walond the form of any of the usual types of with orchestral trumpet music from the the concertante passages being played was not afraid to modulate into four English organ voluntaries, and I am beginning of the eighteenth century—
AHIGHER L EVEL of E XCELLENCE
Great musicians need extraordinary instruments to deliver magnificent performances.
P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com
20 THE DIAPASON Example 5. William Walond, Voluntary in D minor and major, Op. 2, No. 4, bars posers for the organ in eighteenth-cen- later in the possession of organist Thomas Lea 52–55 Southgate (1836–1917), and is now in the Library tury England but, apart from the two of the Royal College of Organists. well-known Cornet voluntaries in G, 6. Old English Organ Music for Manuals, edit- Op. 1, Nos. 2 and 5, until now his works ed by C. H. Trevor (Oxford University Press, 1966), have been sadly neglected. I hope that vol. iii, pp. 17–20. 7. Old English Organ Music, vol. i, p. 17. this article will encourage a wider use of 8. Old English Organ Music, vol. iv, pp. 12–13. his voluntaries, as well as suggesting 9. The Organs of Oxford, vol. ii, OxRecs some of the rationales that lay behind OXCD-42. 10. I do have one very fine old 12w LP that their original composition and provid- includes Walond’s Op. 1, No. 6, recorded back in ing some hints about how to perform 1966 by Nicholas Danby on the 1764 John Byfield them in an authentic fashion. I organ at St. Mary’s, Rotherhithe. This is on Rother- hithe in the “Historic Organs of Europe” series of Oryx Recordings, ORYX 511. such as William Croft’s well-known registration on the Swell with Choir Dr. John L. Speller has degrees from the 11. In at least one instance a movement in an Trumpet Tune—than with mid-eigh- bass or on the Diapasons and Principal Universities of Bristol and Oxford in Eng- organ voluntary published in the eighteenth-centu- teenth-century organ voluntaries such of the Great Organ. land. As an organ builder he has worked for ry in E major does originally seem to have been in James R. McFarland & Co., Columbia Organ another key. The middle (Horn) movement of a as those of Stanley and Greene. Trum- The seventh voluntary in Opus 2 is Works, and Quimby Pipe Organs. He lives in voluntary published in c. 1780, by Edward Kendall pet voluntaries were treated very another very strange one. It is a single- St. Louis, Missouri, and is a frequent con- of Falmouth, seems to have been transposed into E orchestrally in eighteenth-century Eng- movement voluntary consisting of a tributor to THE DIAPASON and The Tracker. major from its original key, perhaps as a student land, and generally nothing was Fugue in B-flat. Second Voluntaries, for exercise. See my article cited above, “Before the First Lesson,” p. 82. demanded of the organ that could not use after the service, did not always Notes 12. See Maurice Greene, Voluntaries and Suites readily be accomplished on the valveless have introductory movements, and 1. Watkins Shaw, “William Walond,” in The for Organ, edited by Gwilym Beechey (Middleton, orchestral trumpets of the day. For this sometimes consisted solely, like this New Grove Dictionary of Music and Musicians, ed. WI: A-R Editions, 1975), Voluntary No. XII in E Stanley Sadie (London: Macmillan, 1980), vol. 20, major. reason Trumpet movements were nor- one, of a fugue. Fugues were usually p. 184. 13. Jennifer Bate’s From Stanley to Wesley was mally written only in the keys of C and played on full organ, and though there 2. William Walond, Three Cornet Voluntaries originally issued as a six-CD set on the Unicorn- D major, and modulations and even are again no suggestions for registration for Organ or Harpsichord, Tallis to Wesley series Kanchana label DKP 9096, 9099, 9101, & 9104–6 accidentals were kept to a minimum. in the original, full organ is probably the vol. 20, Hinrichsen Edition No. 1770a, 1961, con- and has subsequently been reissued as a five-CD tains Op. 1, Nos. 1, 3 and 5. William Walond, Three set on the Regis Records label RRC 5002. In the When it was desired to modulate, this registration that Walond would have Voluntaries for Organ or Harpsichord, Tallis to six-CD set Walond’s Voluntary in B minor is found would be done on another stop such as used. Although quite short, it is a rather Wesley Series, vol. 32, Hinrichsen Edition No. on the second CD (DKP 9099), and in the five-CD the Flute.14 This is precisely what complicated and academic fugue, with a 1770b, 1962, contains Op. 1, Nos. 2, 4 and 6. Stan- set it is found on Volume 2, Disc 1. ley, Walond, Boyce, Three Voluntaries for Organ 14. This is, for example, what John Marsh sug- Walond does in his Op. 2, No. 4. The very tedious subject consisting mostly of or Harpsichord, Tallis to Wesley series vol. 1, Hin- gests in his treatise on organ playing, arguing that first two pages are played on the Trum- the same notes repeated two or three richsen Edition No. 1713, 1956, contains Op. 2, Trumpet movements should not modulate: “As the pet in D major without the use of a sin- times. It contains quite a few old Eng- No. 1. real Trumpet is not capable of modulating into dif- gle accidental, and there is then a con- lish beats, printed like inverted mor- 3. William Walond, Six Voluntaries for Organ ferent keys . . . Trumpet pieces should therefore be or Harpsichord (1752), ed. Greg Lewin, Cat. No. very short; or else . . . a transition had better be trasting one-page Flute passage where dants but to be played as inverted OM02, 1998; William Walond, Ten Voluntaries for made for that purpose to the Flute, (in a minor key) variety is provided by modulating into shakes beginning on the lower auxil- the Organ or Harpsichord, ed. Greg Lewin, Cat. the Swell or Choir Organ, after which a return may several different keys. Finally the first iary.16 It seems somewhat archaic in No. OM10, 2001; and Facsimile Edition of William be made to the Trumpet.” John Marsh, Preface to Walond, Six Voluntaries for Organ or Harpsichord Eighteen Voluntaries for the Organ (London: Pre- Trumpet section is repeated. At the end style for a mid-eighteenth-century vol- (1752), Cat. No. OM02a, 1998. All published by ston & Son, 1791), p. 3. It is perhaps of interest in is a ten-bar concluding section in untary. The piece seems hardly to be Hawthorns Music, The Hawthorns, Hawthorn this connection that Marsh—a lawyer by profession octaves. Although the score does not worth the effort of learning it except, Drive, Wheaton Aston, Stafford ST19 9NQ, Eng- and an organist in his spare time—was the assistant make this clear, this ten-bar section was perhaps, for its value as a historical land.
In the USA: 1220 L Street N.W. In Canada: 16355, avenue Savoie Suite 100 – No. 200 St-Hyacinthe, Québec J2T 3N1 Washington, DC 20005-4018 Telephone: (450) 774-2698 Toll Free: (800) 625-PIPE Fax: (450) 774-3008 Fax: (202) 737-1818 e-mail: [email protected] 1184 Woodland St. SW, Hartville, Ohio 44632 e-mail: [email protected] www.letourneauorgans.com 330-966-2499 www.keggorgan.com
MARCH, 2006 21 A New Aubertin Organ in the German Baroque Style Saint-Louis-en-l’Isle Church, Paris, France Carolyn Shuster Fournier
Choosing a builder 8v Salicional Situated next to the famous Isle de la 8v Rohrflöte 4v Oktave Cité, the Isle Saint-Louis in Paris, 4v Spitzflöte France, is known for its quaint shops and 2 2 ⁄3v Nasat delicious Berthillon ice cream. Upon 2v Oktave entering its church, one is struck by the IV–VI Mixture well-lit interior, a drastic contrast to the 16v Dulzian inner darkness of the nearby Notre- 8v Trompete Dame Cathedral. Bernard Aubertin’s organ case shines brilliantly in the Saint- OBERWERK (56 n.) 8v Gedackt Louis-en-l’Isle Church. (See Photo 1.) 4v Principal The original 1745 Lesclop organ had 4v Rohrflöte been melted down during the Revolu- 2v Oktave 3 tion in 1789. In 1798, the church was 1 ⁄5v Terz 1 sold as a national property. In 1817, the 1 ⁄3v Quint city of Paris purchased the church and III Zimbel cleaned it. In 1888, the parish priest, 8v Vox Humana abbot Louis Bossuet, acquired a new PEDALWERK (30 n.) organ case, which was placed at the end 16v Principal of the nave. Its first level later lodged a 16v Subbass small 15-stop Merklin organ. In 1923, 8v Oktave Charles Mutin installed a 34-stop organ 4v Oktave in this vast organ case. According to the 2v Nachthorn organist Marie-Thérèse Michaux, it was IV Mixture in such poor condition when she arrived 32v Dulzian in 1975 that she was obliged to play on 16v Posaune 8v Trompete the Gutschenritter choir organ. 4v Trompete In 1976, the city of Paris began to 2v Cornet plan the purchase of a new organ for the Saint-Louis-en-l’Isle Church, one espe- Accouplements: OW/HW, RP/HW, cially suited to the 17th- and 18th-cen- OW/PW, RP/PW tury Germanic repertory, notably the Tremblants: RP et OW music of Johann Sebastian Bach.1 In 1977, Georges Guillard2 was named as a Around a dozen European organ second organist of the church. He builders submitted proposals. Unfortu- launched a project for the new organ nately, Jürgen Ahrend committed an that proposed the German builder Jür- error during the tendering and, conse- gen Ahrend, well known authority on quently, was disqualified. On January Baroque-style organs. An association 28, 1999, the city chose the French was founded with Monsieur Henry builder Bernard Aubertin. Ecoutin as president. According to Jean-Louis Coignet, the technical advi- Bernard Aubertin, Organ Builder, sor for historical organs of the city of Maître d’Art Paris since 1979, at that time the rules Bernard Aubertin (see Photo 2) was for constructing an organ in Paris were born into a family of woodworkers going not very strict, and the city had intend- back to the Napoleon Bonaparte era, ed for Jürgen Ahrend to build this Photo 1: The Bernard Aubertin organ at the Saint-Louis-en-l’Isle Church in Paris originally from Moselle. After studying organ. Unfortunately, various disagree- (photo: Jean-Claude Crespin) in Strasbourg, he designed organ cases ments between the builder and the for various firms, notably for the Fels- administration, notably with the head Coignet established a program of work 4v Rohrflöte berg Orgelbau in Switzerland. In 1978, 2v Waldflöte architect who did not approve Ahrend’s for the invitation to tender, detailing the 1 at the age of 25, he founded his own 1 ⁄3v Sifflöte proposed organ case, led to postponing 41 stops to be included in this three- II Sesquialtera company to build mechanical-action the project on numerous occasions. manual organ:3 organs with top quality materials in a IV Scharf 4 In the meantime, the legislation con- 8v Krümhorn traditional manner. He installed his cerning public markets and transactions RÜCKPOSITIV (56 n.) shop in two large wings of a historic had become much more rigorous. In 8v Principal HAUPTWERK (56 n.) Romanesque priory dating from the July 1997, it was therefore necessary to 8v Gedackt 16v Principal mid-twelfth century in Courtefontaine, 8v Quintatön 16v Quintadena launch a competition to determine the 4v Octave the region of eastern France known as builder of this new organ. Jean-Louis 8v Oktave the Franche-Comté, in the department of the Jura (between Dijon, Dole and Besançon). A fervent collector of 0.60 m gauge railway equipment, several nar- row tracks on his property enable him to Log On and take the tour! easily transfer heavy equipment and materials. He now employs up to 14 workers, including his wife Sonja, who is his secretary and accountant. In 1995, ANNUAL AND ONE-TIME COPYRIGHT the French Cultural Minister named Bernard Aubertin Maître d’Art. On PERMISSIONS WITH THE November 10, 2005 the city of Paris gave him the Médaille de Vermeil. CLICK OF A MOUSE Aubertin organs are installed in the following locations in France, Portugal, Scotland and Japan: the Besançon Con- servatory (1979 and 1981), the churches in Sarralbe (1987), Viry-Châtillon (1989), Saint-Vincent in Lyon (1994, with Richard Freytag), Saessolsheim (1995), Vertus (1996), Sainte-Catherine Church in Bitche (1997), Saint-Loup- sur-Thouet (1998), Saint-Cyr-sur-Loire (1999), Saint-Marceau in Orléans, the Nice Conservatory (2001), Saint-Louis- en-l’Isle in Paris (2005), a 24-stop house organ in Faro, Portugal (2003), the Uni- versity in Aberdeen, Scotland (2004), • EASY—online permission and reporting and for concert halls in Japan: in Shi- • ECONOMICAL—based on average weekend attendance rane-Cho (Yamanashi, 1993), Kobe • THOROUGH—your favorite songs (destroyed in the 1995 earthquake), Ichigaia, Karuizawa and Zushi.5 • CONVENIENT—includes a growing list of publishers Bernard Aubertin has also restored his- toric organs with a strict adherence to their original nature in Pontarlier LOG ON TODAY! WWW.ONELICENSE.NET (1982), West-Cappel (1984), Arbois (1985), Orgelet (1987), Seurre (1991), Saint-Antoine-l’Abbaye (1992) and
22 THE DIAPASON the Mutin organ had not been disman- tled, rendering it impossible to measure the organ tribune, necessary to deter- mine the exact layout of the new organ. The city decided to restore and reincor- porate two statues of angels from the former organ case into the new one. Discussions began with Aubertin to add six more stops to the new organ. According to Aubertin, in spite of an obtained tacit agreement, the future May 2001 elections paralyzed any offi- cial document concerning these addi- tional stops. From January to August 2002, the work was interrupted again to carry out the photogrammetrical mea- surements of the church. In August 2002, Aubertin visited several early his- torical German organs with the Ameri- can organ builder Gene Bedient, notably the 1750–1755 Gottfried Silber- mann at the Hofkirche in Dresden and the 1746 Zacharias Hildebrandt organ Photo 3: Aubertin logo at the St. Wenceslas Church in Naum- burg. These visits enabled him to Saint-Martin-de-Boscherville (1984). In choose the six new stops he wished to addition, he builds cabinet organs.6 install in the Saint-Louis-en-l’Isle organ. Instead of constructing direct copies From September 2003 to October 2004, of 17th- and 18th-century historic other numerous delays occurred to organs from northern and central allow the restoration of the tribune. Europe as well as France, Aubertin uses In the meantime, Aubertin construct- them as inspiring models. The craft logo ed this organ with the six new addition- of the Aubertin organ firm sums up his al stops: Allemande 4v in the Rückposi- production: it depicts an oak tree being tif, Cornet VI in the Hauptwerk, Sifflet blown by three forge bellows at its roots, 1v and Unda Maris 8v in the Unterwerk, with songbirds perched in its branches. and Bourdon 16v, Bourdon 8v and a (See Photo 3.) Tierce rank to the Mixture IV–V in the His organs are made of natural mate- Pedal. He considers that these additions rials: solid French oak for the organ provide supplementary musical possibil- cases, the windchests, the wind trunks, ities and augment the flexibility of the the sliders, the trackers, stickers, back- instrument for interpretation and falls and for parts of the stop action; improvisation. He explains them in the some of the bass pipes are made with following manner: chestnut, fruit tree or spruce wood. The Photo 2: Bernard Aubertin in his workshop (photo: Sonja Aubertin) sliders are made as wind-tight as possi- The Rückpositif Flûte allemande is ble with covers of soft leather; the stop Another one of Aubertin’s characteris- The latter was accepted on August 20, made of stopped pipes of triple length. Its sonority recalls the attacks and the strange action may be set between pads of felt, tic hallmarks: the pipe mouths of his the feast day of St. Bernard. The first sounds of the glass harmonica, whose and the lower parts of the windchests tower pipes are often decorated with order of service for this 45-stop organ moving glass containers are made to are sealed with large cowhides. The dancing golden flames. In addition, he was signed by Jean-Louis Coignet, the vibrate with the musician’s moistened fin- metal pipework is made mainly of alloys labels the names of the stopknobs in technical advisor for historical organs, gers. This stop combines very well with with a low tin content (35% or less). his own handwriting, in a dark blue (a on August 25 (the feast day of St. Louis the others, adding its characteristic attack. Some narrow-scale stops, such as the Prussian blue) and red ink on paper or and Aubertin’s birthday). The work offi- The Hauptwerk Cornet, known as a Gambe, the reed stops, and the façade parchment. cially began on the organ on September maritime cornet because it is used along pipes may contain up to 75 to 96% tin. 27, with a delivery deadline of 30 the coast from the English Channel to the The construction and installation Baltics, includes two 8v ranks in this six- All of the metal pipes are varnished to months. Aubertin collaborated well with rank stop: one 8v is open and the other one protect them against handling and long- of the new Aubertin organ at the Jean-Louis Coignet and François is stopped with very long chimneys. This term oxidation. Saint-Louis-en-L’Isle Church Lagneau, the architect of the historical solo stop fills out the upper range of the Among the unusual stops found in In accordance with Jean-Louis monuments. However, since the Saint- keyboard. Its average-size pipes provide a Aubertin’s organs, the Quintinal is a Coignet’s initial invitation to tender, Louis-en-l’Isle Church is classified as a certain elegance. It can easily be com- Quintadena in the bass and more string- Bernard Aubertin had the possibility of historical monument, the various archi- bined with the two Hauptwerk reeds to like in the treble. At his organ in Vichy, making a limited number of modifica- tectural agreements and work concern- form a sort of Grand Jeu. the 32v reed stop in the Pedal is labelled tions in the stoplist, providing that the ing the restoration of the tribune, the In the Oberwerk, the Sifflet 1v, found in numerous organs played by J. S. Bach, is “Napoleon.” His use of imitative har- number of stops did not exceed 45. It staircases, the arches and the two the highest pitched stop in the organ and monic flute pipes, overblown without was also possible to propose limited stained-glass windows near the organ reaches the limit of audible sounds. Its use piercing, such as the 2v Traversine at the changes in the tonal plans, for example, took a great deal of time, three years with other stops allows sonorities close to Saint-Marceau Church in Orléans, is a an Unterwerk instead of an Oberwerk. longer than anticipated. that of certain percussion instruments, copy of a 17th-century stop in the Jaco- On March 12, 1999, Aubertin submitted From March 2000 to September metallophones (Stahlspiel) or small bells. bikirche in Hamburg. For his three- an estimate of a 41- or a 45-stop organ. 2001, the work was interrupted because The Unda Maris 8v, an undulating Princi- manual, 27-stop organ at the University of Aberdeen in Scotland, he incorporat- ed two little pipes that imitate the bag- pipe drone. (See Photo 4.) Yale Institute of Sacred Music Several of Aubertin’s organs (Vertus, Orléans and Saint-Louis-en-l’Isle) are tuned in the mild 1800 Young tempera- 2006 Summer Study ment with six pure and six tempered fifths, suitable to a large part of the organ repertory. His organ at the Saint- SUMMER TERM AT STERLING DIVINITY QUADRANGLE Denys Church in Viry-Chatillon is WEEKLONG NONCREDIT COURSES IN JUNE tuned in the Kirnberger III tempera- ment. The pitch is often set at A=440 0REACHING AND 7ORSHIP IN A 0OSTMODERN #ONTEXT Hz. The balanced, suspended key action 7ORSHIP FOR THE 7HOLE #ONGREGATION is light and responsive. His standard wind pressure for the manual divisions #HURCH -USIC #LINIC 3 is 95 mm (3 ⁄4 inches), and for the pedal 7RITING 7ORKSHOP #ONTEMPORARY 0OETRY AS 4HEOLOGY 3 generally 105–115 mm (4 ⁄8 inches). The -USIC #OMPOSITION 7ORKSHOP 56-note keyboards are covered with boxwood, ebony or bone. The 30-note -OZART´S 3ACRED -USIC AND THE 3ACRED IN -OZART´S -USIC pedalboards are straight. The Positif (EAVENLY 'LORY ON %ARTH 4HE !RT OF )CON 0AINTING IN THE /RTHODOX keyboard is coupled to the primary manual à tiroir (in a drawer fashion). #HURCH 4HEORY AND 0RACTICE Aubertin has a special talent for designing each of his organ cases to 4UITION SCHOLARSHIPS AVAILABLE /THER COURSES OFFERED THROUGH 9ALE blend harmoniously with the building. $IVINITY 3CHOOL $ETAILS AT WWWYALEEDUSDQSUMMERTERM He often incorporates particular deco- rative emblems (often various astro- nomical elements: stars, planets and YALE AT NORFOLK flames of fire) into his sculptured ele- YALE SCHOOL OF MUSIC SUMMER SCHOOL AUGUST ¯ NORFOLK CT ments. At the Saint-Louis-en-l’Isle Church, the Trinitarian symbol in the #HAMBER #HOIR AND #HORAL #ONDUCTING 7ORKSHOP glory that is located in the apse is reproduced in the center panel of the organ case. Likewise, the mystical lamb that overhangs the Positif de Dos )NFORMATION AT corresponds to the lamb on the altar.
MARCH, 2006 23 pal stop known since the sixteenth century, II. GRAND-ORGUE demonstrated the various tonal colors of in France); organist Francis Jacob; in Dresden and Naumburg, is used in fan- (HAUPTWERK) (56 n.) the organ. He then played works by Bux- apprentice Alexandre Aubertin; and tasies and certain meditative pieces 16v Principal (façade pipes) throughout the centuries. Its combination 8v Octave tehude, Böhm, Bruhns, and Bach. A administrator Sonja Aubertin; as well as with the foundation stops is appropriate for 8v Gambe recording of J. S. Bach’s Clavierubüng craftsmen: Serge Bisson who did the romantic and contemporary music. 8v Flûte III by Francis Jacob, a member of wood carvings; Benoït Camozzi, the In the Pedal, the Bourdon 16v is a soft, 4v Prestant Bernard Aubertin’s team, was released assistant sculptor; and Marie-Odile deep stop that can fill out the others with- 4v Flûte cônique for the inauguration of the organ.9 Valot-Degueurce, who applied the gild- 2 out adding heaviness to the entire sound. 2 ⁄3v Quinte On September 18, 2005, a day conse- ing to the decorations. The large and soft Bourdon 8v with the 2v Octave crated to historical monuments in The author thanks Bernard Aubertin, Bourdon 16v allows a clear and light bass, it IV–VI Mixture France, Aubertin gave a presentation Jean-Louis Coignet, and Robert Ran- gives clarity without dominating the Violon VI Cornet (Open 8v, Chimney Flute 8v, 2 3 with Régis Allard, and then Vincent quet for providing her with information 16v or the Principal 16v and gives the 4v, 2 ⁄3v, 2v, 1 ⁄5v) I impression of a 32v when used with the 16v Basson Rigot improvised and gave a concert for for this article. 2 Bourdon 16v and the Quinte 10 ⁄3v. The 8v Trompette a packed church. The organ association addition of the Tierce rank to the Pedal of the church,10 presided by Monsieur Notes Mixture adds spice and definition to the III. INTERIOR POSITIF Robert Ranquet, organized five concerts 1. Jean-Louis Coignet, “Les Orgues de Tribune (UNTERWERK) (56 n.) de Saint-Louis-en-l’Isle,” Les Grandes Orgues de sound of these pipes, located at the for the first Europa Bach Festival in Saint-Louis-en-l’Isle, Paris: Association des Grandes extremities of the organ case. This mixture 8v Bourdon Paris and its region from September to Orgues de Saint-Louis-en-l’Isle, Action artistique de can also serve as a cantus firmus when used 8v Principal (beginning at F) December 2005. They were given by la Ville de Paris, 2005, p. 6. with the Prestant 4v. 8v Traversière (overblown) 2. Titular of the Alfred Kern gallery organ at the 8v Unda Maris given by Pascal Rouet, Carolyn Shuster Notre-Dame-des-Blancs-Manteaux Church in Paris 4v Octave Fournier, Eric Ampeau, Frédéric Des- since 1971, Georges Guillard is Director of the In addition, Aubertin added an Appel 4v Flûte enclos and Francis Jacob. Early Music Department at the Conservatoire 2 National de Région in Paris. In 1984, he founded Anches Pedal at the console that allows 2 ⁄3v Nazard the Cantate à Saint-Louis, which became the Cam- the organist to prepare powerful pedal 2v Traversine The search for a patron erata Saint Louis de Paris. He recently stepped stops and then to add them by simply 2v Octave Now that the Saint-Louis-en-l’Isle down from his organ post at the Saint-Louis-en- 1v Sifflet l’Isle Church to conduct all of J. S. Bach’s cantatas activating this pedal. This is extremely 3 organ is installed and inaugurated, will 1 ⁄5v Terz (cf.: www.camerata-saint-louis.com). Doctor in useful with sudden dynamic changes, 1 this organ continue to sound as the 1 ⁄3v Quinte Musicology, he is notably the author of J. S. Bach et often encountered in North German III Mixture builder conceived it, remaining intact L’Orgue (Bourg-la-Reine, Zurfluh, 2000). Baroque music. In addition, the Voix for present and future generations? If 3. Jean-Louis Coignet, “Orgue destiné à l’Eglise 8v Voix humaine Saint-Louis-en-l’Isle,” s.d. humaine stop on the Unterwerk is 16v Fagott the funding does not arrive after one 4. Bernard Aubertin’s address: Manufacture enclosed in a box whose cover can be year, Bernard Aubertin has said that he d’orgues Bernard Aubertin, L’ancien Prieuré, 9700 opened by activating another pedal. PEDALE (30 n.) might be obliged to remove the added Courtefontaine, France. Tel. 33 (0)3 84 81 32 66; On November 11, 2004, the complet- 16v Bourdon stops from the organ, even though he Fax 33 (0)3 84 71 19 42; e-mail: ed organ was inaugurated in the 16v Principal considers them to be indispensable to
Carolyn Shuster Fournier is a French- American organist and musicologist living in Paris, France where she is titular of the Aris- tide Cavaillé-Coll choir organ at La Trinité Church. An international concert organist, she wrote her doctoral thesis on Aristide MMORAVIAN MMUSIC FFOUNDATION Cavaillé-Coll’s secular organs. Her writings on French music and organs have appeared in numerous journals. 50 Years of Preserving, Sharing, and The Aubertin organ of Saint-Louis- Celebrating the Musical Culture of Moravians and Early America en-l’Isle, Paris by Bernard Aubertin, Organbuilder, Maître d’Art, English translation by Car- olyn Shuster Fournier We offer a variety of CDs, sheet music, and Introduction books covering the soundscape of The new 51-stop organ that I have Moravian music, from sacred to secular, built for the Saint-Louis-en-l’Isle Church in Paris is in the style of a 17th- vocal to instrumental. to 18th-century German instrument. I designed it according to the most renowned works of J. S. Bach’s favorite organbuilder Zacharias Hildebrandt (1688–1757), a student of Gottfried Sil- bermann. The balance between the var- ious families of stops, with its 16v, 8v, 4v stops and a 32v reed stop in the Pedal, is Southern Office Northern Office entirely in keeping with the cantor’s 457 South Church Street Be a part of our passion! 41 West Locust Street wishes: Majestät und Gravität. Winston-Salem, NC 27101 Bethlehem, PA 18018 This organ incorporates some of (336) 725-0651 www.moravianmusic.org (610) 866-3340 Hildebrandt’s innovative stops: the Vio- lon 16v (in the Pedal) and the Gemshorn 4v (the Hauptwerk Flûte cônique) as well
24 THE DIAPASON as some Nordic contributions: in the Young (1800), based on the same princi- Rückpositiv, the Sexquialtera II is nar- ple as the Tartini-Vallotti system row-scaled, the Mixture IV is a high- (Venice, 1740). pitched Scharf, the Flageolet 2v is a Waldflöte, the Dulciane 8v is an Oboe The reed stops (Hoboe); in the Unterwerk, the Fagott On the Hauptwerk, the conical Bas- 16v is a Dulcian, and in the Pedal, the son 16v (C–G half-length) is narrowly Cornet 4v recalls the Cornet 2v, as well as scaled, ranging from a deep to a brilliant the Dulciane 32v reed stop in the Pedal, sonority. In addition, a rather bright which Gottfried Silbermann never built. Trompette stop can be combined with In addition, this new organ contains the double Cornet 8v to form a sort of some colorful stops described in Praeto- Grand Jeu. These reeds can be easily rius’s Syntagma Musicum (1619), notably combined with the plenum. a Querpfeif (the Unterwerk Flûte Tra- On the Unterwerk, a Fagott 16v with a versine 2v) and the Schweitzerpfeif (the cylindrical body and leathered shallots Hauptwerk Gambe 8v). can serve as a foundation to the plenum The entire organ uses mechanical but can also be used for smaller combi- action and is constructed with noble nations. A colorful Voix humaine 8v is materials, solid oak and chestnut woods. installed in an individual expression box Knowledge of the practices of our pre- that tones down the upper harmonies of decessors is absolutely indispensable, this Renaissance Régale. Combined with especially since they were based on a the 16v, 8v and 4v foundations, this stop sensibility that is completely different has the distinctive feature of swelling from our own. these foundation stops when one opens the box and thus offers possibilities that Technical Description are not Baroque at all. The Rückpositiv contains a well- The organ cases Photo 4: Bernard Aubertin organ at the University of Aberdeen, Scotland (photo: rounded and colorful Dulciane 8v that While the organ case conforms more Nigel Allcoat) can be combined with any stop. to the curved surface of the 1745 organ The Pedal is quite full, due to four of gallery than to that of a German organ, of the Buzène 16v and Violon 16v pipes characteristic sound, in accordance with its stops. A Dulciane 32v (from the fami- its internal structure was conceived in a are made of spruce from the Vosges. the previously described divisions. ly of stops with cylindrical-shaped bod- spirit that respects the Werkprinzip: The principal stops have a clear sound in When the 16v, 8v and 4v principal stops ies) provides the indispensable Gravität the Rückpositiv projects over the spite of their rather high mouths. All of are played together with the 16v and 8v so cherished by the Cantor from Leipzig 2 gallery rail, the Unterwerk is placed the wooden pipes have metal lips, that is, Bourdons and the Quinte 10 ⁄3v, they pro- in large ensembles. A Buzène 16v (neol- above the keyboards, surmounted by the inner edge of the lower lip is planed duce a deep, full and poetic sound. ogism of the Latin Buccin) provides a the Hauptwerk, with the large 16v pedal down and garnished with a metal bar, In addition to these standard stops, foundation for the entire building. If one towers on the sides. thus providing: there are colorful flute stops, harmonic, could only place one reed stop in the • an immediate attack; with or without holes, and a very narrow- entire organ, this would be the one. The The windchests • a high development of harmonics, scaled Gambe in the Hauptwerk with its conical shallots are made of casted tin The various windchests are laid out in notably in the lower pipes, where the characteristic attack. The Rückpositiv and leathered. The feet and the blocks the following manner: human ear can scarcely distinguish the contains a third 4v stop named (Flûte) are made of oak, the bodies of spruce. The Rückpositiv is at the level of the precise pitch of the notes; Allemande. This is, in fact, a harmonic All of these various elements combine to organ gallery. • finally, a considerable economy of Bourdon whose body length is triple that produce a well-rounded and full sound On the first floor of the gallery, the wind, which is very important in the of an ordinary Bourdon. This stop recalls whose fundamental clearly stands out Pedal foundation stops are placed in the lower registers of the manual keyboards, the Glasharmonika with its strange from the harmonics (contrary to the front part of a large double windchest limiting the key depressions and main- attacks and its succession of rich har- French Bombarde). Therefore, the with the reeds behind. The Dulciane 32v taining a light touch. monies. The same applies to the Traver- upper harmonies have been weakened. is placed against the wall with the Violon The metal pipework is voiced as natu- sine 2v with its double length without a The Trompette 8v with its conical- 16v on a similar chest underneath. In the rally as possible with a minimum of nick- hole whose crystalline sonority is dou- shaped reeds sounds well-rounded and center, two diatonic V-shaped wind- ing on the languids. The feet are slightly bled by a supplementary pseudo-lower deep in the bass and progressively chests are used for the Unterwerk stops. closed in the bass pipes. octave sound. becomes brighter in the upper registers. On the second floor, the Hauptwerk The design consisted, more of less, of Some of these stops are unknown in This is reinforced by the Cornet 4v made bass pipes are placed on three wind- a quadruple plenum: France and yet they were used as early of tin, which is a very narrow-scaled chests in the center, followed by two dia- • the Hauptwerk plenum is deep, full as 1560 in northern Europe. As for the Clairon in the bass registers and wide in tonic windchests with the upper pipes and effective and can be reinforced by Unda Maris on the third keyboard, it the upper registers (in fact, the size of located towards the center. the Basson 16v reed stop; also appeared as early as the mid-16th these thirty notes does not really differ). • the Rückpositiv plenum has a much century from Italy to Scandinavia under Each stop played alone sounds gentle The mechanical key and stop clearer attack, is very present and can be different names: Voce Umana, Biffera, and calm but when combined, the 16v, 8v actions colored by the Sexquialtera II; Piffaro, Unda Maris, Schwebung. This and 4v stops produce a majestic sound. The mechanical key and stop actions • the Unterwerk plenum is more stop allows sounds that are clearly less This instrument is by no means a copy are as simple and efficient as possible. restrained, but can be brightened by the Baroque. Finally, a colorful Violon 16v, of an ancient organ. It is not the latest in 1 3 The 56-note keyboards are covered with Quinte 1 ⁄3v, the Sifflet 1v, the Terz 1 ⁄5v or with its precise attack, provides defini- fashion. It should be considered as a cre- bone for the natural keys and ebony for deepened by the Fagott 16v; tion to the Pedal division. ation in a given spirit, a creation that the sharps. The 30-note flat pedalboard • finally, the Pedal plenum is deep, The tuning of the organ is A=440 Hz would likely bring to life a tradition with- is made of oak. dark, and full, and can be spiced with the at 20°C. The organ is well-tempered out nostalgically claiming to bring to life Mixture Tierce. with six pure fifths and six tempered a particular period or any other alleged The wind Each principal stop possesses its own fifths according the system of Thomas bygone golden age. I Due to the shallowness of the organ gallery (and consequently the organ cases) and to the total lack of adjoining space, the wedge-shaped bellows were The Royal School of Church Music, in conjunction with the St Giles International Organ School, presents: placed near each of the windchests. The blowers are suspended in two double SUMMER COURSE FOR ORGANISTS 2006 isolated boxes placed on the floor of the organ gallery, underneath the large Monday 31 July-Saturday 5 August in London, England pedal towers. A ventil pedal, which cuts off the air in the pallet box, enables the Whatever your standard – beginner, intermediate or advanced – this course offers you the opportunity organist to bring on or put off the pre- pared stops. The wind pressure is 95 mm to develop your skills. You can: for the keyboards and 115 mm for the y Build your own course from the many activities on offer pedal. This strong wind permits narrow y note channels, trunks and conveyances Enjoy several performance opportunities (all optional) leading to pipes that are tubed off. The y Practise daily on a wide range of interesting pipe organs in the City of London windchest pipe valves are relatively thin, y Receive individual and group tuition from the tutors of St Giles International Organ School allowing a sensitive touch. y Attend classes and workshops with students at exactly your level The pipework—the voicing y Stay in the course accommodation in central London, or opt for a non-residential package All of the pipework has been made by y Mingle with a large number of student organists from all over the world artisans. The following stops are made of 75% and 96% fine tin: • on the Hauptwerk: Principal 16v, Directed by Anne Marsden Thomas and Rosemary Field Octave 8v, Gambe 8v, Basson 16v and Tutors include Kevin Bowyer, Gerard Brooks, Henry Fairs, Alison Hogg, Daniel Moult, Simon Williams Trompette 8v; • on the Unterwerk: Unda Maris 8v, For further details of this and other courses for organists and singers, Voix humaine 8v, Principal 8v and Octave 4v; contact us (quoting ref: 06/SCO1) at the following address: • on the Rückpositiv: Montre 8v and Chris Wardle, RSCM, Cleveland Lodge, Westhumble, Dorking, Prestant 4v. Surrey, RH56BW, United Kingdom The rest is made of a tin-lead alloy with a high lead content or of hammered Tel: +44 (0)1306 872807 Fax: +44 (0)1306 887260 lead, the languids of the flue pipes with E-mail: [email protected] Web: www.rscm.com/courses 3% lead. All of the capped pipes are sol- dered on. The wooden pipes are made either of oak or of chestnut. The bodies
MARCH, 2006 25 British and French Organ Music Seminars 2005 Christina Harmon
The fifth British Organ Music Semi- nar, led by Christina Harmon and Cliff Varnon, took place in England and Wales from June 24–July 3. With John Hosking, noted British concert organist, as guide, the group of 14 organists and their friends and spouses visited and played organs and attended Evensongs in London, Exeter, Truro, Wells, Bris- tol, Wales, Chester, Birmingham, and Blenheim. Well-known British organists Richard Townend, Daniel Cook, Andrew Millington, Robert Sharpe, Matthew Owen, Philip Rushforth, and Guillou and Terry Flanagan after the Duncan Middleton served as hosts and concert at St. Eustache teachers to the group along the way for extended two-hour or more playing ses- group to Burgundy and Switzerland, sions at each organ. In addition to where we were hosted in Burgundy by spending a whole day studying British Maurice Clerc, organist of Dijon Cathe- and French music with John Hosking at dral, and played many wonderful the St. Asaph’s Cathedral organ in organs, including the Dijon Cathedral Wales, the group was treated to a full organ. We continued to Romainmôtier, afternoon of playing the Klais organ in where we spent the afternoon playing the Birmingham Concert Hall. The FOMS group in front of the famous Cavaillé-Coll organ in Beaune, France, in the Alain organ. On July 3 the group took the Eurostar the heart of Burgundy The group spent a large part of one to Paris where they were joined by 32 day at the beautiful organ of the Ton- additional organists and their spouses halle in Zurich. Designed by Jean Guil- and friends to begin the French Organ lou, this contemporary organ is one of Music Seminar, led by Marie-Louise the most spectacular in Europe. Langlais and Sylvie Mallet. That after- Another wonderful day was spent in noon the group enjoyed a recital at Notre Lucerne with Wolfgang Sieber, organ- Dame Cathedral by Angela Kraft-Cross, ist of the Hofkirche in Lucerne, who former participant of FOMS, and in the presented the group with an incredible evening a session with Philippe Léfebvre crowd-pleasing concert, including his at the Notre Dame organ. show-stopping arrangement of “Bridge Monday the group visited the Temple Over Troubled Waters,” complete with du St. Esprit with Kurt Lueders, then organ effects guaranteed to win over went to St. Etienne-du-Mont for a even the many organ purists among us. demonstration by Vincent Warnier, co- With his virtuoso arrangements and titulaire, followed by Christina Harmon’s theatrical gymnastics, coupled with the performance of “Agnus Dei” by Thierry amazing organ of the Hofkirche, he Escaich. This piece was commissioned attracts full houses at his concerts in by FOMS member Bruce Westcott and Lucerne. dedicated to another FOMS member, Plans are underway for the 2007 his brother Michael Westcott. A long British and French Organ Music Semi- afternoon of playing this famous organ of nars, with a special celebration in the Duruflés followed the performance, France in honor of the 100th birthday of assisted by Mr. Warnier. Jean Langlais, which will include choral On Monday night, FOMS participants as well as organ events. Information will Lois Holdridge, Terry Flanagan and French Organ Music Seminar recitalists at St. Eustache in Paris with Jean Guillou be available beginning in July, 2006, at Colin Lynch joined Swiss organist Tobias
MANDER ORGANS
New Mechanical St. Peter’s Square Action Organs London E 2 7AF • England Organ Recitals [t] 011 44 20 7739 4747 [f] 011 44 20 7729 4718 [email protected]
Exquisite North American Representative Continuo Organs Malcolm Wechsler
Workshops & Masterclasses 1 Flak Lane New Fairfield • CT 06812-2406 [t] 203 746 7709 www.SusanJaneMatthews.com [f] 203 746 2180 [email protected]
www.mander-organs.com Imaginative Reconstructions Photo: Lorraine Dotson
26 THE DIAPASON Cover feature
Goulding & Wood, Inc., Indianapolis, Indiana 1 Second Presbyterian Church, Great (II, 3 ⁄2w wind pressure) Roanoke, Virginia, Opus 43 (2005) 16v Violone (50% tin) 8v Principal (30% tin; bass in façade) 8v Violone (ext 16v Violone) From the builder 8v Claribel Flute (poplar; open) Each church that undertakes an organ 8v Stopped Diapason (poplar and project seems able to find a unique 30% tin) method of tackling the monumental 4v Octave (50% tin) task, and as organ builders we are always 4v Spire Flute (30% tin) 2 amazed at the panoply of approaches. 2 ⁄3v Twelfth (50% tin) 2v Fifteenth (50% tin) Second Presbyterian Church of 3 1 ⁄5v Seventeenth (50% tin) Roanoke followed a path that took more 1 1 ⁄3v Fourniture IV (50% tin) time than most, but in the end the entire 8v Trumpet (zinc/50% tin) congregation became fully invested in 8v Festival Trumpet (Choir prep) the instrument. Notable in the process Tremolo were the organ selection committee Great to Great 16–Unison Off–4 chair Joe Duckwall, fund-raising com- mittee chair Linda Star, parish adminis- Swell (III, 4w wind pressure) trator Phil Boggs, property committee 16v Gedeckt (ext 8v Gedeckt) 8v Geigen Diapason (50% tin) member Whitney Markley, and of 8v Viole de gambe (50% tin) course the staff musicians Jeff and Mar- 8v Voix céleste (50% tin; from low G) ianne Sandborg. 8v Gedeckt (poplar) Second Presbyterian Church has a 4v Principal (50% tin) long and developed tradition of great 4v Clear Flute (poplar) choral singing, and the design of the 2v Octave (50% tin) Goulding & Wood Opus 43 (photo by James C. Morris) 2v Flageolet (30% tin) organ grew from the concerns specific 1 to choral accompaniment. As with all 1 ⁄3v Quint (50% tin) 2v Plein Jeu III–IV (50% tin) Goulding & Wood organs, the human some colleagues in Charlotte, North 1v Cymbale III (70% tin) voice provided a paradigm for the tonal Carolina about then-recent installations 16v Basson-Hautbois (zinc/50% tin) style: individual stops have an immedi- in the area, it was decided that we 8v Trompette (zinc/50% tin) ate, singing quality, and ensembles sup- would visit the five recommended 8v Hautbois (ext 16v Basson-Hautbois) port voices by giving a firm foundation churches. Three of the five organs had 8v Voix humaine (50% tin) of pitch. To accomplish this, voicing is been built by Goulding & Wood. 4v Clairon (zinc/50% tin) incisive, and the sustained tone devel- Soon after, the pipe organ study com- Tremolo ops generous fundamental. Harsh mittee was formed and eventually visit- Swell to Swell 16–Unison Off–4 attacks or treble-heavy ensembles both ed 14 church organ installations, met 1 Choir (I, 3 ⁄2w wind pressure) obscure the pitch and wear thin on the with the representatives of four organ 16v Conical Flute (ext 8v Conical Flute) ear. The power of the organ resides in builders, and traveled over 3,000 miles, 8v Diapason (50% tin) the 16v and 8v pitch stops, with the in addition to holding monthly meetings 8v Chimney Flute (poplar and 30% upperwork adding clarity and sparkle to to discuss and evaluate its findings. To tin) the foundation. Another hallmark of a be thorough, we also studied the possi- 8v Conical Flute (50% tin) good accompanimental instrument is a bility of renovation, versus replacement, 8v Flute Celeste (50% tin; tenor C) wide variety of colors. To this end, we of our 1952 Moeller. Our research for 4v Fugara (50% tin) 4v Spindle Flute (30% tin) take great care that no two stopped both ideas took place over the course of 2 2 ⁄3v Nazard (30% tin; tenor C) Opus 43 (photo by Robert Duffy) flutes or trumpets sound identical. two busy years. 2v Recorder (30% tin) 3 Throughout the organ we have maxi- Our group’s final visit was to 1 ⁄5v Tierce (30% tin; tenor C) 1 mized the spectrum of color and volume Greenville, South Carolina, where we on Palm Sunday, 2005. 1 ⁄3v Larigot (30% tin) in order to give the organist the greatest heard the magnificent 67-rank organ at Visually, the organ is both majestic, 2v Mixture III (50% tin) number of musical resources for the Christ Episcopal Church (Opus 35, yet understated, in accordance with the 8v Clarinet (50% tin) creative shading of hymns, solo reper- 2001), and met then-director of music church’s wishes and the design of the 8v English Horn (zinc/50% tin) toire, and accompaniments. and composer Robert Powell, who was sanctuary. The console’s Gothic Revival 8v Festival Trumpet (preparation) Tremolo Each division uses Goulding & extremely helpful and gracious. As with design is elegant and is a seamless aes- Choir to Choir 16–Unison Off–4 Wood’s unique design of slider-and-pal- the three organs in Charlotte, Goulding thetic fit. Everything about the work- let windchest. This action assists in & Wood once again demonstrated how manship is superb. Pedal (4w wind pressure) achieving our goal of warm, gentle expert the staff is in determining the In November 2005, we officially dedi- 32v Contra Violone (digital ext of 16v speech through the use of pneumatic most effective way of projecting sound, cated the instrument with a concert Violone) action to pull the pallets that furnish air no matter what the acoustical challenges. played by Carole Terry, professor of 32v Contra Bourdon (digital ext of 16v to the common key channels. The elec- After that important visit, we came home organ and harpsichord at the University Bourdon) tric key action allows for remote key to Roanoke and voted to build, versus of Washington School of Music in Seat- 16v Open Wood (pine and 50% tin; tenor octave in façade) action and a movable console. This flex- renovate; Goulding & Wood received a tle. Also featured was a commissioned 16v Bourdon (pine) ibility in arranging the console position resounding affirmative vote. piece by British composer Andrew 16v Violone (from Great) is particularly useful when accommo- From a sound standpoint, our Opus 43 Carter for choir, soprano and organ, 16v Gedeckt (from Swell) dating a variety of musical forces, from (2005) is most satisfying. The organ inte- entitled O Sing to the Lord, based on 8v Octave (ext 16v Open Wood) an organist conducting from the console grates German principal choruses, Psalm 98. 8v Bass Flute (ext 16v Bourdon) to large choir with instruments and sep- French color stops, and English accom- The dedicatory recital marked the cul- 8v Violone (from Great) arate conductor. paniment stops. At the time that the mination of a project that more than met 8v Gedeckt (from Swell) The organ is arranged in twin cham- design was conceived, the Choir division all of our expectations, and has given us 4v Choral Bass (50% tin) 4v Nachthorn (30% tin) bers on either side of the chancel with was the most single-minded and stylisti- an instrument that will inspire future 2v Mixture III (50% tin) cases containing pipes from the Great 8v cally pure that Goulding & Wood had generations. This spring we will present 32v Contra Posaune (digital ext of 16v Principal and Pedal 8v Octave in the dis- proposed. Second Presbyterian has a a Mozart festival on April 23 featuring Posaune) play. New tone openings were cut into strong choral program, and this division vocal and instrumental music by the 16v Posaune (poplar resonators) the walls facing the nave, allowing the reflects the type of literature that is fre- church’s Chancel Choir, the Roanoke 16v Basson (from Swell) organ to also speak directly to the con- quently performed. From Bach to College Choir, soloists and orchestra. 8v Trompete (zinc/50% tin) gregation through the nave façades. Mozart, Howells to Pinkham, including For information: 540/343-3659; 8v Basson (from Swell) Casework is of stained white oak with everything in between, the color range is
MARCH, 2006 27 New Organs
Bedient Pipe Organ Company, sions. The specification of this instru- Roca, Nebraska ment was modified to meet Mr. Grif- John Griffen Residence, Seattle, fen’s needs and wishes for playing organ Washington literature. In this case, the Great Flexibility is not the first trait that includes a Rohrflute 8v in addition to the comes to mind when contemplating Principal 8v. Vibrant stops such as the centuries of organbuilding tradition. Mixture and Cromorne were omitted But, to John Griffen, that attribute was from the specification due to the mod- critical in choosing Bedient Pipe Organ est space occupied by the organ. The Company to build his residence organ. Quinte and Terz stops were put on the Based on our Phoenix model (one of second manual instead of the first man- nine instruments in our Legacy Line), ual, where they usually reside on the Opus 77 represents Bedient’s ability to Phoenix model. listen to customers and respond. Other modifications include Mr. Opus 77 is a two-manual and pedal Griffen’s request for a bass octave for organ with 12 stops, electric stop and the Principal 8v, normally a tenor c stop combination action, and mechanical key on the Phoenix. Those extra wooden action. The case and external wooden pipes of the Principal and the bass of pipes are made of mahogany, with the the Rohrflute are located to the back internal wooden pipes made of poplar. and side of the organ case. The organ The metal pipes are an alloy of 2% tin also includes a Zimbelstern. and 98% lead with the façade pipes fea- Delivery, installation, and voicing turing 23-karat gold-leaf gilding around were in June 2005. John Griffen is cur- the mouths. rently playing a series of dedication The keyboard naturals are topped recitals for friends. with bone, and the accidentals with —Gene Bedient ebony. Pedal naturals are made of white oak, and the accidentals are capped with GREAT moridillo. Stopknobs are made of 8v Principal 8v Rohrflute cocobola. The pipe shade design, influ- 4v Octave enced by drawings by the French 2v Octave Baroque painter Jacques Stella, features an acanthus leaf and shell motif; the SWELL shades are made of linden or basswood. 8v Gedackt Manual and pedal windchests are slider 8v Salicional (tc) 4v Spitzflute chests. Some offset chests are tubular 2 pneumatic, and others are electro- 2 ⁄3v Quinte 2v Doublette pneumatic, played by relay switches 3 1 ⁄5v Terz from the manual windchests. Because the instrument is located in PEDAL the Griffen residence, Bedient’s crafts- 16v Subbass people first had to shrink the original 8v Flute Bedient Legacy Line Phoenix organ’s Couplers, etc. already compact size to fit into a room Great/Pedal only 12v x 22v feet with a height of 9v8w. Swell/Pedal Our designer, Alan Baehr, accom- Swell/Great plished this by subtracting nearly a foot Zimbelstern Bedient Opus 77 from both case height and depth dimen- Tremulant
Marceau remote keyboard next to the church’s Kenneth Jones organ
Marceau & Associates Pipe from the 8v Gedeckt (1–7) and 4v Har- Organ Builders, Inc., Portland, Ore- monic Flute (1–7). gon, has built a Choir Organ with MANUAL (56 notes) remote console for St. Mark Lutheran 8v Gedeckt (1–12 zinc, 13–56 50% tin) Church, Anchorage, Alaska. Marceau’s 8v Salicional (1–12 zinc & Haskell Opus XXV, which was completed in style, 13–56 50% tin) 2005, comprises one manual of 56 4v Harmonic Flute (1–12 zinc, 13–56 notes. This organ was installed in the 50% tin) rear gallery of the church to allow for the choir to assemble and present repertoire from the rear of the church. If your company was not listed The portable console allows for it to be in THE DIAPASON 2006 Resource located either in the gallery or in the Directory, visit front next to the existing Kenneth Jones
28 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church Park Ridge, IL 21 MARCH Pickle Piano & Church Organs McNeil Robinson; St. Mary the Virgin, New This calendar runs from the 15th of the month Bloomingdale, IL of issue through the following month. The deadline York, NY 7:30 pm is the first of the preceding month (Jan. 1 for William Gudger, with baritone; St. Luke’s Feb. issue). All events are assumed to be organ Chapel, Medical University of SC, Charleston, recitals unless otherwise indicated and are grouped SC 12:15 pm within each date north-south and east-west. •=AGO Charles Tompkins, with trumpet; Furman chapter event, • •=RCCO centre event, +=new University, Greenville, SC 8 pm organ dedication, ++= OHS event. Anne Phillips; Church of St. Louis, King of Information cannot be accepted unless it spec- France, St. Paul, MN 12:35 pm ifies artist name, date, location, and hour in writ- ing. Multiple listings should be in chronological 22 MARCH order; please do not send duplicate listings. THE Stephen Fraser; Dwight Chapel, Yale Uni- DIAPASON regrets that it cannot assume responsi- versity, New Haven, CT 12:30 pm bility for the accuracy of calendar entries. 23 MARCH The Choir of St. John’s College, Cambridge; St. Paul’s Episcopal, Chattanooga, TN 7 pm UNITED STATES East of the Mississippi 24 MARCH Margaret Marsch; Holy Trinity Lutheran, Lan- caster, PA 12:30 pm 15 MARCH The Choir of St. John’s College, Cambridge; Andrew Peters; First Presbyterian, Colum- Trinity Episcopal, Vero Beach, FL 7 pm bia, TN 12:15 pm Bach, Mass in b; First Presbyterian, Birming- Mark Johnson; Cathedral of St. John the ham, MI 7:30 pm Evangelist, Milwaukee, WI 12:15 pm William Ferris Chorale; Our Lady of Mt. Carmel Church, Chicago, IL 8 pm 16 MARCH Carissimi and Charpentier oratorios; Church 25 MARCH of St. Luke in the Fields, New York, NY 8 pm Paul Bisaccia, piano; St. Peter’s Lutheran, Cj Sambach; St. Petersburg College, St. Lancaster, PA 7:30 pm Petersburg, FL 7:30 pm Mario Perestegi; St. Patrick Church, Wash- ington, DC 6:30 pm 17 MARCH Pieter van Dijk; Miller Chapel, Princeton The- 26 MARCH ological Seminary, Princeton, NJ 7:30 pm David Kazimir; Ascension Memorial Church, Cynthia Kahler; Holy Trinity Lutheran, Lan- Ipswich, MA 4:30 pm caster, PA 12:30 pm Carl Klein, followed by Evensong; Church of Peabody Conservatory Organ Students; Old the Advent, Boston, MA 4:30 pm Presbyterian Meeting House, Alexandria, VA Heinrich Christensen; King’s Chapel, 8 pm Boston, MA 5 pm Jay Peterson; First Presbyterian, Springfield, Choir of St. John’s College, Cambridge; IL 7 pm South Church, New Britain, CT 4 pm Paul Jacobs; First United Methodist, Sche- 18 MARCH nectady, NY 3 pm Choral concert; St. Peter’s Episcopal, Morris- Paul Reese; St. Bartholomew’s, New York, town, NJ 7:30 pm NY 4:30 pm Peter Richard Conte; The Bryn Mawr Pres- Bach Vespers; Holy Trinity Lutheran, New byterian Church, Bryn Mawr, PA 10 am York, NY 5 pm Marilyn Keiser, with orchestra; Thomas Richard Pilliner; St. Thomas Church Fifth Wolfe Auditorium, Asheville, NC 8 pm Avenue, New York, NY 5:15 pm Paul Jacobs; Christ United Methodist, St. Richard Heschke; Christ Church, New Petersburg, FL 3 pm Brunswick, NJ 6:30 pm, Vespers at 6 pm Gail Archer; St. Andrew’s Episcopal, Madi- The Singing Boys of Pennsylvania; St. John son, WI Lutheran, Nazareth, PA 3 pm Northwest Choral Society; Edison Park Wayne Wold; Hood College, Frederick, MD 3 Lutheran, Chicago, IL 7:30 pm pm Robert Parkins; Duke University Chapel, 19 MARCH Durham, NC 5 pm Douglas Major; St. Michael’s, Marblehead, Ken Cowan; First Presbyterian, Naples, FL 7 MA 5 pm pm Mark Brombaugh; United Church on the James David Christie; Church of the Green, New Haven, CT 4 pm Redeemer, Sarasota, FL 7:30 pm Vincent Carr; Woolsey Hall, Yale University, Carol Williams; Hyde Park Community Unit- New Haven, CT 8 pm ed Methodist, Cincinnati, OH 4 pm Mark Steinbach; Memorial Art Gallery, East- Wesley Roberts; Gethsemani Abbey, Trap- man School of Music, Rochester, NY 5:30 pm pist, KY 3 pm Paul Murray; St. Bartholomew’s, New York, Bach, Mass in b; St. Andrew’s Episcopal, Ann NY 4:30 pm Arbor, MI 4 pm Bach Vespers; Holy Trinity Lutheran, New Grand Rapids Cantata Choir; St. Mark Epis- York, NY 5 pm copal, Grand Rapids, MI 4 pm Jeremy Bruns; St. Thomas Church Fifth Steinbach and Helvey Piano Duo; First Avenue, New York, NY 5:15 pm Wayne St. United Methodist, Fort Wayne, IN 7 Ken Cowan; Our Lady of Sorrows, South pm Orange, NJ 3 pm Bach, Ach Gott, wie manches Herzeleid; St. Christopher King; Christ Church, New Luke Church, Chicago, IL 4 pm Brunswick, NJ 6:30 pm, Vespers at 6 pm Kammerchor; Concordia University Wiscon- Craig Cramer; Calvary Episcopal, Pittsburgh, sin, Mequon, WI 3:30 pm PA 4 pm University of Minnesota Choirs; Cathedral of Nathan Laube; Holy Trinity Lutheran, Lan- St. Paul, St. Paul, MN 3:30 pm caster, PA 4 pm Nancy Lancaster; House of Hope Presbyter- Joan Lippincott, with strings; Greene Memo- ian, St. Paul, MN 4 pm rial United Methodist, Roanoke, VA 4 pm Cj Sambach; First Baptist Church, Lexington, 27 MARCH NC 9:45 am INformance, 3 pm recital The Choir of St. John’s College, Cambridge; Rutter, Requiem; Brevard-Davidson River St. Paul’s Episcopal, Troy, NY 7:30 pm Presbyterian, Brevard, NC 4 pm Anthony Pinel; St. Peter’s Episcopal, Morris- Paul Jacobs; St. Boniface Episcopal, Sara- town, NJ 7:30 pm Antone Godding sota, FL 4 pm Margaret Kemper; Elliott Chapel, The Pres- Todd Wilson, with orchestra; Umstattd Per- byterian Homes, Evanston, IL 1:30 pm Nichols Hills forming Arts Hall, Canton, OH 7:30 pm United Methodist Church Jamie Garvey, with voices and piano; St. 28 MARCH Oklahoma City John United Methodist, Augusta, GA 3 pm The Choir of St. John’s College, Cambridge; Eric Plutz; St. Philip’s Cathedral, Atlanta, GA Christ Church, Greenwich, CT 7:30 pm 3:30 pm, Evensong at 4 pm Patrick Kabanda; Central Synagogue, New David Higgs; St. Mark’s Episcopal, Grand York, NY 12:30 pm LORRAINELORRAINE BRUGH, BRUGH, Ph.D.Ph.D. Rapids, MI 8 pm Kirsten Uhlenberg; Church of St. Louis, King Choral Evensong; Cathedral Church of the of France, St. Paul, MN 12:35 pm Advent, Birmingham, AL 4 pm Associate Professor Choral concert, with orchestra; St. James 29 MARCH Episcopal Cathedral, Chicago, IL 4 pm Andrew Pester; Woolsey Hall, Yale Universi- University Organist William Berg, with orchestra; St. Raphael ty, New Haven, CT 12:30 pm Catholic Church, Naperville, IL 4 pm Anthony Newman, with flute; St. Valparaiso University Ed Zimmerman; Grace United Methodist, Bartholomew’s, New York, NY 7:30 pm Valparaiso, IN Naperville, IL 4 pm Choral Evensong, The Choir of St. John’s College, Cambridge; St. Thomas Church, New www.valpo.edu 20 MARCH York, NY 5:30 pm Todd Wilson and students; The Church of Laura Ellis; Morrison United Methodist, Lees- the Covenant, Cleveland, OH 7:30 pm burg, FL 12 noon 219-464-5084 David Higgs, masterclass; St. Mark’s Episco- Carlo Cotrone; Cathedral of St. John the [email protected] pal, Grand Rapids, MI 8 pm Evangelist, Milwaukee, WI 12:15 pm
MARCH, 2006 29 David Schrader, Dupré, Le Chemin de la Bach, Mass in b; Rockefeller Chapel, Chica- Croix; St. Chrysostom’s, Chicago, IL 7 pm go, IL 7 pm The Basilica Contemporary Ensemble; Queen of All Saints Basilica, Chicago, IL 7:30 9 APRIL pm Bach, St. Matthew Passion; Woolsey Hall, Yale University, New Haven, CT 3 pm 31 MARCH Ken Cowan; St. Bartholomew’s, New York, The Choir of St. John’s College, Cambridge; NY 4:30 pm St. Paul’s Cathedral, Buffalo, NY 7:30 pm Robert Gant; St. Thomas Church Fifth Roland Martin; Slee Hall, University at Buffa- Avenue, New York, NY 5:15 pm lo, Buffalo, NY 8 pm Choral concert; Church of the Covenant, Chapel Choir of Winchester College; St. Cleveland, OH 4 pm Brian Jones Bartholomew’s, New York, NY 7:30 pm Director of Music Emeritus Marilyn Keiser; Princeton University Chapel, 11 APRIL Princeton, NJ 8 pm Joan Lippincott; Central Synagogue, New TRINITY CHURCH Marcos Krieger; Holy Trinity Lutheran, Lan- York, NY 12:30 pm, masterclass at 10 am caster, PA 12:30 pm Mozart, Mass in c; St. Bartholomew’s, New BOSTON Frederick Swann; St. Luke’s Episcopal, York, NY 7:30 pm Atlanta, GA 8 pm Lily Ardalan; Church of St. Louis, King of Tallis Scholars; Rockefeller Memorial Chapel, France, St. Paul, MN 12:35 pm Chicago, IL 8 pm Bruce Neswick; Shryock Auditorium, Car- 12 APRIL bondale, IL 7:30 pm Sonia Kim; Woolsey Hall, Yale University, VocalEssence; Ordway Center, St. Paul, MN New Haven, CT 12:30 pm 8 pm, also 4/1 Haydn, The Seven Last Words of Christ; Rockefeller Chapel, Chicago, IL 8 pm 1 APRIL Paul Bisaccia, piano; Keeney Cultural Cen- 14 APRIL ter, Manchester, CT 6 pm Bach, The Passion According to St. John; Bach, St. John Passion; St. Mary’s Church, First Church of Christ, Wethersfield, CT 7 pm New Haven, CT 8 pm Stainer, The Crucifixion; Brick Presbyterian DAVID K. LAMB, D.MUS. Marilyn Keiser, lecture/demonstration; Miller Church, New York, NY 12:15 pm Chapel, Princeton Theological Seminary, Ken Cowan, Dupré, Le Chemin de la Croix; Director of Music/Organist Princeton, NJ 9:30 and 11 am St. Bartholomew’s, New York, NY 6 pm St. John’s College Choir; McGaw Chapel, Dupré, Le Chemin de la Croix; Brick Presby- First United Methodist Church Wooster, OH 8:15 pm terian Church, New York, NY 7 pm Columbus, Indiana Bradley Hunter Welch; Clayton College & Huw Lewis; First United Methodist, Ply- 812/372-2851 State University, Morrow, GA 2 pm mouth, MI 7:30 pm 2 APRIL 15 APRIL Handel, Messiah; Portland City Hall, Portland, Thomas Murray, Poulenc, Organ Concerto; ME 3 pm Woolsey Hall, Yale University, New Haven, CT Martin Jean, Dupré, Stations of the Cross; 8 pm JAMES R. METZLER Christ Church Episcopal, New Haven, CT 5 pm Gerre Hancock, accompaniment of Easter John-Eric Gundersen; Woolsey Hall, Yale Vigil service; St. Stephen’s Episcopal, Rich- TRINITY CATHEDRAL University, New Haven, CT 8 pm mond, VA 7:30 pm LITTLE ROCK Mozart, Great Mass in c; Trinity Church, St. Paul’s Chapel, New York, NY 3 pm 16 APRIL William Attwood; St. Bartholomew’s, New Bach Vespers; Holy Trinity Lutheran, New York, NY 4:30 pm York, NY 5 pm Bach Vespers; Holy Trinity Lutheran, New Jeremy Bruns & Christian Lane;St. York, NY 5 pm Thomas Church Fifth Avenue, New York, NY Karen Beaumont; St. Thomas Church Fifth 5:15 pm Avenue, New York, NY 5:15 pm Gerre Hancock, Easter morning worship ser- Erik Suter; Haddonfield United Methodist, vice; St. Stephen’s Episcopal, Richmond, VA Haddonfield, NJ 4 pm 11:15 am, recital 5 pm Gail Archer; Christ Church, New Brunswick, NJ 6:30 pm, Vespers at 6 pm 18 APRIL John Walker; Wilson College, Chambers- Michael Barone; Church of St. Louis, King of burg, PA 3 pm France, St. Paul, MN 12:35 pm Youth choir, with handbells; Doylestown Pres- byterian, Doylestown, PA 4 pm 19 APRIL Fauré, Requiem; Old Presbyterian Meeting Colin Lynch; Dwight Chapel, Yale University, House, Alexandria, VA 8:30, 11 am New Haven, CT 12:30 pm Todd Wilson; Severance Hall, Cleveland, Cj Sambach, school INformances; First Pres- OH 3 pm byterian, Charlottesville, VA 10:30 am, 1 pm, John Bate; St. Philip’s Cathedral, Atlanta, GA also 4/20 3:30 pm, Evensong at 4 pm Todd Wilson, with brass; Church of the Ken Cowan; St. Paul’s Lutheran, Michigan Covenant, Cleveland, OH 7:30 pm City, IN 4 pm Wesley Roberts; Trinity Episcopal, Coving- Stephen Schaeffer; Cathedral Church of the ton, KY 12:15 pm Advent, Birmingham, AL 4 pm Fauré, Requiem; First Presbyterian, Arlington 20 APRIL Heights, IL 4 pm Paul Jacobs; Northminster Baptist, Jackson, Music of the Baroque; First United Methodist, MS 7:30 pm Evanston, IL 7:30 pm Thomas Weisflog, Dupré, Stations of the 21 APRIL Cross; Rockefeller Chapel, Chicago, IL 3 pm True North Brass; Franklin & Marshall Col- Choral Evensong; St. James Cathedral, lege, Lancaster, PA 8 pm Chicago, IL 4 pm Cj Sambach; First Presbyterian, Char- Marijim Thoene, with flute; All Saints’ Epis- lottesville, VA 7:30 pm copal, River Ridge, LA 5 pm •Michael Ging, with harp; Resurrection Lutheran, Cary, NC 7:30 pm 4 APRIL Frederick Swann; First Presbyterian, Yekaterina Syrochkina; Central Synagogue, Elkhart, IN 7 pm New York, NY 12:30 pm Vincent Dubois; Salem United Church of Samuel Hutchison; Overture Hall, Madison, Christ, Huntingburg, IN 7:30 pm WI 7:30 pm Paul Jacobs, masterclass; Northminster Carolyn Diamond; Church of St. Louis, King Baptist, Jackson, MS 10 am of France, St. Paul, MN 12:35 pm 22 APRIL 5 APRIL Russell Weismann; Dwight Chapel,Yale Uni- Nancianne Parrella; Church of St. Ignatius versity, New Haven, CT 5 pm Loyola, New York, NY 7 pm Mozart, Requiem; Woolsey Hall, Yale Univer- Choral concert; Church of St. Ignatius Loyola, sity, New Haven, CT 8 pm New York, NY 8 pm Gerre Hancock, masterclass; Leith Syming- David Schrader, Dupré, Le Chemin de la ton Griswold Hall, Baltimore, MD 3 pm Croix; St. Chrysostom’s, Chicago, IL 7 pm Todd Wilson, lecture-recital; United Methodist Church, Berea, OH 10:30 am 6 APRIL Paul Jacobs; St. Norbert Abbey, De Pere, Charles Huddleston Heaton; St. Andrew’s WI 2 pm Cathedral Church of St. John Episcopal, Pittsburgh, PA 8 pm Albuquerque, New Mexico Chanson; West Liberty State College, West 23 APRIL www.stjohnsabq.org A two-inch Liberty, WV 7:30 pm Gillian Weir; Hendricks Chapel, Syracuse 505-247-1581 University, Syracuse, NY 4 pm Professional Card 7 APRIL Scott Foppiano; Cathedral of St. Patrick, Karl Moyer; Holy Trinity Lutheran, Lancaster, New York, NY 4:30 pm in THE DIAPASON PA 12:30 pm Maxine Thevenot; St. Thomas Church Fifth Singing Boys of Pennsylvania; First Presby- Avenue, New York, NY 5:15 pm For information on rates and terian, Lebanon, PA 7 pm The Practitioners of Musick; Christ specifications, contact: Carolina Baroque; St. John’s Lutheran, Salis- Church, New Brunswick, NJ 6:30 pm, Ves- bury, NC 7:30 pm pers at 6 pm Jerome Butera Stephen Hamilton; Holy Trinity Lutheran, Peter Richard Conte; Shadyside Presbyter- Akron, OH 8 pm ian, Pittsburgh, PA 4 pm [email protected] Alan Morrison; First Presbyterian, Virginia Iain Quinn Maxine Thevenot Director of Associate Organist- 847/391-1045 8 APRIL Beach, VA 4 pm Cathedral Music Choir Director Bach Vespers; Holy Trinity Lutheran, New Choral concert; First Presbyterian, Lynch- York, NY 5 pm burg, VA 4 pm
30 THE DIAPASON Sally Goff, with soprano, choirs and orches- Philip Baker; St. Thomas Church Fifth tra; Second Presbyterian, Roanoke, VA 4 pm Avenue, New York, NY 5:15 pm Gerre Hancock; Leith Symington Griswold David Hurd; Trinity Cathedral, Episcopal, RICHARD M. PEEK Hall, Baltimore, MD 4 pm Trenton, NJ 4 pm Len Langrick; St. Philip’s Cathedral, Atlanta, Seton Hall University Choir; Our Lady of Sor- IN MEMORIAM GA 3:30 pm, Evensong at 4 pm rows, South Orange, NJ 4 pm Ken Cowan; Church of Bethesda-by-the- Paul-Martin Maki; Christ Church, New May 17, 1927–November 28, 2005 Sea, Palm Beach, FL 4 pm Brunswick, NJ 6:30 pm, Vespers at 6 pm Vincent Dubois; First Presbyterian, Evans- Bradley Hunter Welch; Nativity Cathedral, ville, IN 4 pm Episcopal, Bethlehem, PA 4 pm +Jeffrey Verkuilen; First Presbyterian, Handbell concert; Doylestown Presbyterian, Neenah, WI 2 pm Doylestown, PA 4 pm Choral concert; Grace United Methodist, Maxine Thevenot; The Presbyterian Church Naperville, IL 4 pm of Chestnut Hill, Philadelphia, PA 3 pm John Walker; St. Paul Episcopal Church (Mt 24 APRIL Lebanon), Pittsburgh, PA 4 pm Nathan LeMahieu; Elliott Chapel, The Pres- Cathedral Choir; Cathedral of Mary Our byterian Homes, Evanston, IL 1:30 pm Queen, Baltimore, MD 5:30 pm Cj Sambach, INformance; Asbury United 25 APRIL Methodist, Harrisonburg, VA 9:45 am, recital 3 Ray Cornils, with choir; Portland City Hall, pm Portland, ME noon, 7:30 pm Kevin Kwan; Church of the Covenant, Cleve- Peter Richard Conte; Graystone Presbyter- land, OH 4 pm ian, Indiana, PA 7:30 pm Tom Trenney, hymn festival; United Marek Kudlicki; Queen of All Saints Basilica, Methodist Church, Painesville, OH 7:30 pm Chicago, IL 7:30 pm Clayton State Chorale; St. Philip’s Cathedral, Jon Laukvik; Lawrence University Memorial Atlanta, GA 3:30 pm, Evensong at 4 pm Chapel, Appleton, WI 8 pm Georgia Festival Chorus; Peachtree Road Jason Alden; Church of St. Louis, King of United Methodist, Atlanta, GA 5 pm France, St. Paul, MN 12:35 pm The Alleluia Ringers; Concordia University Wisconsin, Mequon, WI 3:30 pm 26 APRIL Peter Richard Conte; Cathedral of St. Satomi Akao; Woolsey Hall, Yale University, Joseph, Baton Rouge, LA 4 pm New Haven, CT 12:30 pm Frederick Swann; Buncombe Street United Methodist, Greenville, SC 7:30 pm UNITED STATES Jon Laukvik, masterclass; Lawrence Univer- West of the Mississippi sity Memorial Chapel, Appleton, WI 11:10 am 15 MARCH 27 APRIL Maxine Thevenot, with flute; Cathedral Monteverdi, 1610 Vespers; Church of St. Church of St. John, Albuquerque, NM 12:30 pm Luke in the Fields, New York, NY 8 pm Wesley Roberts; Cathedral of Our Lady of DONALD W. WILLIAMS Martin Jean; Illinois College, Jacksonville, IL the Angels, Los Angeles, CA 12:45 pm 7:30 pm 17 MARCH IN MEMORIAM 28 APRIL Bradley Hunter Welch; St. James United Vincent Dubois; First Presbyterian, Utica, Methodist, Little Rock, AR 7:30 pm August 5, 1939–September 22, 2005 NY 7:30 pm Melody Chen; Plymouth Congregational, Maxine Thevenot, with orchestra; Cathedral Seattle, WA 12:10 pm of the Incarnation, Garden City, NY 8 pm Bethany Miller; Christ Church (Episcopal), Tom Trenney, with orchestra; First Church Tacoma, WA 12:10 pm Congregational, Painesville, OH 7 pm Pärt, Passio; All Saints’ Episcopal, Beverly Davis Wortman RONALD WYATT Clay-Chalkville High School Chamber Choir; Hills, CA 8 pm Cathedral Church of the Advent, Birmingham, St. James’ Church AL 12:30 pm 18 MARCH Trinity Church Delbert Disselhorst; First Presbyterian, Bells in Motion; St. John’s Lutheran, Des New York Galveston Springfield, IL 7 pm Moines, IA 7:30 pm Bethany Miller; The United Churches of 29 APRIL Christ, Olympia, WA 7:30 pm •Paul Jacobs, masterclass; South Congrega- tional Church, New Britain, CT 10 am 19 MARCH Dong-ho Lee; Woolsey Hall, Yale University, Barbara Harbach; Christ Church Cathedral; New Haven, CT 8 pm St. Louis, MO 2:30 pm Marcia van Oyen mvanoyen..com Ken Cowan; St. Paul’s Episcopal, Philadel- Chanson; Shrine of the Sacred Heart, St. phia, PA 7:30 pm Louis, MO 3 pm Cj Sambach, INformance; Asbury United Bells in Motion; Dundee Presbyterian, Methodist, Harrisonburg, VA 2 pm Omaha, NE 7 pm Plymouth First United Methodist Church,,Plymouth,,Michigan Compline; St. Stephen’s Presbyterian, Fort 30 APRIL Worth, TX 7 pm Thomas Murray; Christ Church Cambridge, Pieter van Dijk; Christ the King Lutheran, Cambridge, MA 4 pm Houston, TX 5 pm •Paul Jacobs; South Congregational Church, Choral Evensong; Christ Church Cathedral, New Britain, CT 4 pm Houston, TX 5 pm Paul Bisaccia, piano; Immanuel Congrega- Iain Quinn; Church of the Holy Faith, Santa tional, Hartford, CT 4 pm Fe, NM 5 pm Gerre Hancock, hymn festival; Church of St. Founders Day Concert; Cathedral of the Vincent Ferrer, New York, NY 3 pm Madeleine, Salt Lake City, UT 8 pm
M Fit for King's - #0610. . . music from England's famous and historic A King's College Chapel in Cambridge, plus conversation with organist/choirmaster Stephen Cleobury. R C Seattle Serenade - #0611. . . concert performances by Guy Bovet, H James David Christie and Bruce Neswick from an American Guild of Organists Convention. 2 Around Bach - #0612. . . music by offspring, pupils, and later 0 enthusiasts for whom the works of Johann Sebastian Bach were 0 both beacon and benediction. 6 E. Power to the People - #0613. . . a centenary celebration (Part 1 of 2) of one of the most influential and effective advocates for the pipe organ, the late, great E. (Edward George) Power Biggs (March 29, 1906-March 10, 1997).
MARCH, 2006 31 Choral Evensong; Episcopal Church of the Ryan Dye; Plymouth Congregational, Seattle, 14 APRIL 30 MARCH Resurrection, Eugene, OR 5 pm WA 12:10 pm Bach, St. Matthew Passion; Christ the King Joseph Fort; St. Martin’s, Dorking, UK 1 pm John Stuntebeck; Grace Lutheran, Tacoma, Lutheran, Houston, TX 3 pm David Goode; Reading Town Hall, Reading, WA 3 pm 1 APRIL UK 7:30 pm Christoph Tietze; Cathedral of St. Mary of George Baker, improvisation masterclass; 16 APRIL the Assumption, San Francisco, CA 3:30 pm St. Stephen Presbyterian, Fort Worth, TX Carol Williams; Balboa Park, San Diego, CA 31 MARCH Thomas Murray; First Congregational, Los 10 am 2 pm Edward Norman; Christ Church Episcopal, Angeles, CA 4 pm Paul Jacobs; Canyon Creek Presbyterian, Vancouver, BC, Canada 7:30 pm •Bach Birthday Concert; Trinity Episcopal, Richardson, TX 8 pm 21 APRIL Santa Barbara, CA 3:30 pm Robert Bates; Walla Walla College Church, Bruce Neswick; St. John’s Cathedral (Epis- 1 APRIL Carol Williams; Balboa Park, San Diego, CA Walla Walla, WA 7:30 pm copal), Denver, CO 7:30 pm Cantores Olicanae; St. Margaret’s, Ilkley, UK 2 pm 7:30 pm 2 APRIL 23 APRIL 21 MARCH Kingsbury Ensemble; Christ Church Cathe- Eastertide Evensong; Christ Church Cathe- 5 APRIL Steve Gentile; St. Helena, Minneapolis, MN dral, St. Louis, MO 2:30 pm dral, St. Louis, MO 2:30 pm James Burchill; Cathedral Church of All Easter Lessons & Carols; St. Stephen’s Pres- 7:30 pm Elaine Dykstra; Bates Recital Hall, The Uni- Saints, Halifax, NS, Canada 12:15 pm byterian, Fort Worth, TX 11 am Choral concert; Christ Church Cathedral; St. versity of Texas, Austin, TX 3 pm Mel Butler, with accordion; St. Mark’s Cathe- Louis, MO 7:30 pm Choral concert; All Saints’ Episcopal, Beverly 6 APRIL dral, Seattle, WA 2 pm Burton Tidwell & Melody Steed; Westwood Hills, CA 5 pm Simon Preston, with trumpet; Symphony Bruce Neswick; Trinity Lutheran, Lynnwood, United Methodist, Los Angeles, CA 7:30 pm William Peterson; Pomona College, Clare- Hall, Birmingham, UK 7:30 pm WA 7 pm mont, CA 3 pm 22 MARCH John Scott; Walt Disney Concert Hall, Los Alan Morrison, with orchestra; Davis Concert 7 APRIL Cathedral Chamber Choir; Cathedral Church Angeles, CA 7:30 pm Jonathan Hope; SS. Peter and Paul, Hall, Fairbanks, AK 4 pm of St. John, Albuquerque, NM 12:30 pm Carol Williams; Balboa Park, San Diego, CA Godalming, UK 1 pm Carol Williams; Balboa Park, San Diego, CA 2 pm Naomi Gregory; St. Stephen Walbrook, Lon- 2 pm 24 MARCH don, UK 12:30 pm Jeffrey Campbell; St. Philip’s in the Hills 25 APRIL 5 APRIL Episcopal, Tucson, AZ 7:30 pm Huw Lewis; Wichita State University, Wichi- 10 APRIL Sheila Bristow; Plymouth Congregational, Maxine Thevenot; Cathedral Church of St. ta, KS 7:30 pm Gerard Brooks & Muriel Phillips; All Souls, Seattle, WA 12:10 pm John, Albuquerque, NM 12:30 pm Langham Place, London, UK 7:30 pm 28 APRIL 26 MARCH 7 APRIL Gail Archer; Church of St. Helena, Min- 12 APRIL Lent Evensong; Christ Church Cathedral; St. Gene Bedient; St. Paul United Methodist, neapolis, MN 7:30 pm James Burchill; Cathedral Church of All Louis, MO 5 pm Lincoln, NE 12:10 pm Joseph Adam; Kilworth Chapel, University of Saints, Halifax, NS, Canada 12:15 pm McNeil Robinson; Cathedral Church of St. Thomas Joyce; Plymouth Congregational, Puget Sound, Tacoma, WA 12:10 pm John, Albuquerque, NM 4 pm Seattle, WA 12:10 pm Lynn Butler; St. Mark’s Cathedral, Seattle, 20 APRIL Jeffrey Campbell; Arizona State University, Joseph Adam; Kilworth Chapel, University of WA 7:30 pm Andrew Sampson; St. Matthew’s Westmin- Tempe, AZ 2:30 pm Puget Sound, Tacoma, WA 12:10 pm ster, London, UK 1:05 pm Tom Joyce, with sopranos; St. Mark’s Cathe- 29 APRIL Douglas Hollick; St. John’s Smith Square, dral, Seattle, WA 2 pm 9 APRIL Gail Archer, lecture and masterclass; Church London, UK 1 pm David Hatt; Cathedral of St. Mary of the Bach, St. Matthew Passion; Christ the King of St. Helena, Minneapolis, MN 9:30 am Assumption, San Francisco, CA 3:30 pm Lutheran, Houston, TX 5 pm 23 APRIL Alan Morrison; First Congregational, Los 30 APRIL University of Oregon Collegium Musicum; Don Menzies, with The Mennonite Children’s Angeles, CA 4 pm Ars Lyrica Houston; Christ the King Lutheran, Church of the Resurrection, Eugene, OR Choir; Westminster United Church, Winnipeg, Houston, TX 5 pm 5 pm MB, Canada 8 pm 29 MARCH James David Christie; Lagerquist Hall, William Peterson; Bridges Hall of Music, John Buck; Cathedral Church of St. John, Pacific Lutheran University, Tacoma, WA 3 pm Pomona College, Claremont, CA 3 pm 28 APRIL Albuquerque, NM 12:30 pm Tim & Nancy Nickel; Zion Lutheran, Port- Paul Jacobs; La Jolla Presbyterian, La Jolla, Marnie Giesbrecht & Joachim Segger; land, OR 4 pm 30 MARCH CA 7 pm Christ Church Cathedral, Vancouver, BC, Cana- Alan Morrison; Davis Concert Hall, Fair- Carol Williams; Balboa Park, San Diego, CA da 7:30 pm banks, AK 8 pm 2 pm INTERNATIONAL 29 APRIL 31 MARCH 11 APRIL 15 MARCH Jonathan Rennert; St. Albans Cathedral, St. James David Christie; Pittsburg State Uni- Bach, St. Matthew Passion; Christ the King James Burchill; Cathedral Church of All Albans, UK 5:30 pm versity, Pittsburg, KS 7:30 pm Lutheran, Houston, TX 7:30 pm Saints, Halifax, NS, Canada 12:15 pm 30 APRIL 16 MARCH Felix Friedrich; Abteikirche, Hamborn, Ger- David Scott; St. Matthew’s Westminster, many 4:30 pm London, UK 1:05 pm Nicholas Fairbank, with Sooke Philharmonic Winds; Pemberton Chapel, Royal Jubilee Hos- 18 MARCH pital, Victoria, BC, Canada 2:30 pm Donald Mackenzie; Victoria Hall, Hanley, Stoke-on-Trent, UK 12 noon Mark Brafield; St. George’s Cathederal Southwark, London, UK 1:05 pm Organ Recitals Lewis Brito-Babapulle; St. John the Evan- gelist, Upper Norwood, UK 6:30 pm JULIE AINSCOUGH, St. Mary the Vir- David Sanger; St. Saviour’s, St. Albans, UK gin, Ewell, Epsom, UK, November 26: Aus 5:30 pm tiefer Not schrei ich zu Dir, BWV 686, Pas- sacaglia and Fugue in c, BWV 582, Bach; 19 MARCH Choral No. 2 in b, Franck; Variations sur un David Scott; Our Lady of Grace, London, UK thême de Clément Jannequin, Le Jardin sus- 4 pm pendu, Litanies, Alain; Etoile du Soir (Pièces 22 MARCH de Fantasie, op. 54), Vierne; Symphony No. 2 James Burchill; Cathedral Church of All in c-sharp, op. 26, Dupré. Saints, Halifax, NS, Canada 12:15 pm Ryoki Yamaguchi; Minato Mirai Hall, Yoko- PETER RICHARD CONTE, Forest Bur- hama, Japan 12:10 pm dett United Methodist Church, Hurricane, NEW INSTRUMENTS WV, November 6: Paean, Chuckerbutty; Con- MAINTENANCE 23 MARCH cert Variations on The Last Rose of Summer, RESTORATIONS James Hearn; St. John’s Smith Square, Lon- Buck; Variations on a Theme of Arcangelo 974 AUTUMN DRIVE don, UK 1 pm Corelli, Kreisler, transcr. Conte; Aria, Swin- ANTIOCH, ILLINOIS 60002 nen; Comes Autumn Time, Sowerby; Piano ABR 847-395-1919 26 MARCH Concerto in c, Rachmaninoff, transcr. Conte. F INCY PIPE ORGANS FAX 847-395-1991 Nigel Ogden; Alexandra Palace, London, UK www.fabryinc.com 3 pm PETER DU BOIS, The Charleston Bap- tist Temple, Charleston, WV, October 30: 28 MARCH Toccata and Fugue, op. 59, nos. 5–6, Reger; Gerard Brooks; St. Lawrence Jewry, Lon- An Wasserflüssen Babylon, BWV 653, Pre- don, UK 1 pm lude and Fugue in E-flat, BWV 552, Bach; Prière, Franck; Scherzo (Symphonie IV), 29 MARCH Widor; Psalm Prelude, op. 132, no. 1, How- James Burchill; Cathedral Church of All ells; Carillon de Westminster (Pièces de Fan- Saints, Halifax, NS, Canada 12:15 pm taisie), op. 54, Vierne.
White Blower Mfg., Inc. 2540 Webster Road Lansing, Michigan 48917 1-800-433-4614 www.whiteblowermanufacturing.com
32 THE DIAPASON MARIO DUELLA, St. Giles Episcopal Bach; Desseins Eternels, Dieu Parmi Nous MASSIMO NOSETTI, Church of St. JEREMY DAVID TARRANT, St. Mark’s Church, Northbrook, IL, October 28: Prelude (La Nativité du Seigneur), Messiaen; Con- Helena, Minneapolis, MN, October 23: Alle- Cathedral, Shreveport, LA, October 23: and Fugue in G, BWV 541, Wachet auf, ruft certo No. 1 in g, op. 4, Handel; Sicilienne, gro maestoso (Flöten-Concert, op. 55), Sketch in c, op. 58, no.1, Sketch in D-flat, op. uns die Stimme, BWV 645, Bach; Toccata in Toccata (Suite, op. 5), Duruflé. Rinck; Legend, op. 132 n. 1, Bossi; Prelude 58, no. 4, Schumann; Fantasia and Fugue in A, Scarlatti; Solo di flauto, Gran Coro Trion- and Fugue in e, BWV 548, Bach; Serenata g, BWV 542, Bach; There Is a Happy Land, fale, Capocci; Allegretto, op. 92, no. 3, HERMAN JORDAAN, Busch-Reisinger per Corno Inglese, Fumagalli; Legende “St. Shearing; Scherzo, Beethoven; Andante Rédemption, op. 104, no. 5, Bossi; Assolo, Museum, Cambridge, MA, October 16: Par- Francis of Paola walking upon the waves,” sostenuto (Symphonie gothique), Widor; Centemeri; Allegro brillante, Andante mosso, tite diverse sopra Ach, was soll ich Sünder Liszt, transcr. Rogg; Arioso (Psalm 84), Bur- Toccata, Vierne; Lied, Scherzo, Litaize; Allegretto grazioso (Messa Solenne), Petrali. machen, BWV 770, Bach; Three Organ tonwood; Fête, Langlais; improvisation on Nazard (Suite française), Langlais; Prélude, Pieces, Temmingh; Song of an old woman in submitted themes. Andante et Toccata, Fleury. SUSIE GOODSON, with Gene Goodson, her hut at dawn (Afrika Hymnus), Grové; baritone, First Baptist Church, Lafayette, Concerto in d, BWV 596, Bach; Introduction NANCIANNE PARRELLA, with ANITA EGGERT WERLING, First IN, September 17: Allegro moderato e and Passacaglia in d, Reger; Ertödt’ uns Jorge Ávila, violin, Victoria Drake, harp, Presbyterian Church, Macomb, IL, October serioso, Adagio (Sonata No. 1 in f), Draw durch dein’ Güte (Cantata 22), Bach, transcr. and Arthur Fiocco, violoncello, Church 23: Prelude in F, Hensel; Sonata in d, op. 65, Near, All Ye People, O Rest in the Lord (Eli- Duruflé; Fantasia in f, KV 594, Mozart; Vari- of St. Ignatius Loyola, New York, NY, no. 6, Mendelssohn; Toccata, Adagio and jah), Mendelssohn; We All Believe in One ations sur un thème de Clément Jannequin, October 30: Sonata, Albinoni; Concerto Fugue in C, BWV 564, Bach; Ach Gott, erhör True God, BWV 680, Jesus, Priceless Trea- Alain; Pièce d’Orgue, BWV 572, Bach. in B-flat, op. 4, no. 6, Handel; Fratres, mein Seufzen, Fantasia à gusto italiano in F, sure, BWV 610, I Call to Thee, Lord Jesus Pärt; Humoresque, op. 92, Jongen; Épi- Fugue in B-flat on B-A-C-H, Krebs; Médita- Christ, BWV 639, Christ Lay in the Bonds of THOMAS M. KOLAR, Church of Mary, thalame, Letocart; Andante (Double tion VIII (Méditations sur le Mystère de la Death, BWV 625, Bach; Lo, How a Rose E’er Mother of God, Massillon, OH, October 30: Concerto, op. 102), Brahms; Suite, op. Sainte Trinité), Messiaen; Christ avec le Blooming, Brahms; Amazing Grace, Wood; Toccata and Fugue in d, BWV 565, 14, Rheinberger. Saint-Esprit, dans la gloire du Père (Le The Ninety and Nine, Sankey; Now Thank Schmücke dich, o liebe Seele, BWV 654, Tombeau d’Olivier Messiaen), Hakim. We All Our God, op. 68, no. 59, Karg-Elert. Bach; Schmücke dich, o liebe Seele, Karg- NAOMI ROWLEY, with Julia Steinbach, Elert, Fox; Rondino, Elegy and Chaconne, piano, First United Methodist Church, CHERIE WESCOTT, First Christian TODD GRESICK, with Daniel Lagacy, Willan; Elegie, Massenet, arr. Parkhurst; Pre- Appleton, WI, October 23: Tone Piece in F, Church, Stillwater, MN, October 13: Valet violin, The Presbyterian Homes, Evanston, lude on Sine Nomine, Sowerby; Elms (Views Gade; Voluntary VIII in d, Stanley; Now will ich dir geben, Bach; Wachet auf, op. 78, IL, October 24: Kyrie, Gott heiliger Geist, from the Oldest House), Rorem; Festival Pre- Thank We All Our God, Sheep May Safely Karg-Elert; Lobt Gott, ihr Christen, Michel, BWV 671, Bach; Theme and Variations (Six lude on Ein’ Feste Burg, Faulkes. Graze, Bach; Toccata in d, Nevin; Praludi- Karg-Elert; Von Himmel hoch, Benson; Pre- Pieces for Violin and Organ), Rheinberger; um, Micheelsen; Petit Prelude, Jongen; Suite lude and Fugue No. 1 in c, op. 37, Sanctus for Violin and Organ, Karg-Elert; BRUCE NESWICK, Westminster United Sunday, Diemer; Minuetto (Duet Suite), Mendelssohn; Introduction to Act III, The Sonate No. 1, Hindemith; Prelude and Fugue Church, Winnipeg, MB, Canada, October Sortie (Liturgical Suite), Bedard. Tempest, Sullivan, arr. Bairstow; Carol, For- in a, BWV 543, Bach. 23: Toccata, Sowerby; Praeludium und Fuge lana (Five Bagatelles for clarinet and piano), in E-moll, BWV 548, Bach; Sonata I, op. 2, JOHN SCOTT, Christ Church Cathe- Finzi; Our God, Our Help, Parry; “ . . . ‘Hal- CHRISTOPHER HERRICK, Knox Unit- Howells; Fanfares to the Tongues of Fire, dral, Victoria, BC, Canada, October 12: lelujah’ has been restored . . .” (Rubrics), ed Church, Owen Sound, ON, Canada, King; Evening Song, Hurd; O Welt ich muss Was Gott tut, das ist wohlgetan, Pachelbel; Swing Low (Diptych), “The people respond October 28: Fanfare!, Mathias; Nun danket dich lassen, Brahms; Suite, op. 5, Duruflé; Toccata Septima (Apparatus Musico- – Amen!” (Rubrics), Locklair. alle Gott, BWV 657, Bach; Thanks in Blue, improvisation on a submitted theme. Organisticus), Muffat; Concerto in F, op. Penkulum; Choral and Fugue (Sonata No. 5 4, no. 5, Handel; Dies sind die Heilgen CAROL WILLIAMS, The State Universi- in c), Guilmant; Toccata and Fugue in F, DEREK NICKELS, Fourth Presbyterian Zehn Gebot, BWV 678, Jesus Christus ty of New York, Potsdam, NY, October 23: BWV 540, Bach; Recessional, Mathias; Blues: Church, Chicago, IL, October 28: Prelude unser Heiland, BWV 688, Prelude and Dialogue, Roberts; Fantasia in c, BWV 562, Die ganze Welt has du uns überlassen, and Fugue in C, op. 109, no. 6, Saint-Saëns; Fugue in a, BWV 543, Bach; Andante in C, Bach; Voluntary for Double Organ, Z719, Kiefer; Grand Choeur Dialogué, Gigout; Ach Herr mich armen Sünder, Fantasia K. 356, Fantasia in f, K. 608, Mozart; Purcell; Weinen, Klagen, Sorgen, Zagen, Evensong, Martin; Marche américaine, sopra Freu dich sehr, Krebs; Ein feste Burg Andante with Variations in D, Liszt; Morceau de Flutes, Lasceux; Pie Jesu Widor; Sonata Eroïca, Jongen. (Cantata 80), Bach, arr. Nickels; Moderato Mendelssohn; Handel in the Strand, (Requiem ), Fauré; Te Deum (Cinq Improvi- cantabile (Symphonie VIII, op. 42), Widor; Grainger, arr. Stockmeier; Miroir, sations), Tournemire; Toccata Primi Toni, PAUL JACOBS, Old First Church, Roulade, op. 9, no. 3, Bingham; Requiescat in Wammes; The Peace may be exchanged, Sark; Processional March, Stewart; Spreckels’ Springfield, MA, October 16: Sinfonia from Pace, H. 129, Sowerby; Toccata (Pièces de The people respond—Amen! (Rubrics), Fancy, Locklair; On a Spring Note, Torch, arr. Cantata No. 29, Trio Sonata in C, BWV 529, Fantaisie, op. 53), Vierne. Locklair; Carillon de Westminster, Vierne. Williams; Carilllon de Westminster, Vierne.
MARCH, 2006 33 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 33.
POSITIONS PUBLICATIONS/ HARPSICHORDS/ PIPE ORGANS AVAILABLE RECORDINGS CLAVICHORDS FOR SALE
The Cleveland Museum of Art, one of America’s OHS Catalog 2006 of organ and theatre organ Harpsichords from the workshop of Knight Reuter Opus #83 in residence music room; 4 leading comprehensive museums with a dynamic CDs, books, sheet music, DVDs, and VHS Vernon. Authentic replicas of historic instru- manuals, 39 ranks. Solo division and Moeller performing arts, music, and film department, seeks videos. Free. Thousands of items. Mailed gratis ments carefully made and elegantly decorated. 4-manual console added in 1985. New an Associate Director for Music to program its upon request to Organ Historical Society, P.O. 8201 Keystone, Skokie, IL 60076. Telephone drawknobs, coupler tabs, and toe studs 1989. annual western classical, contemporary, and exhi- Box 26811, Richmond, VA 23261, or request 847/679-2809. Web site: Ivory keyboards. Excellent playing condition. bition related music series. The Associate Director the printed catalog at www.ohscatalog.org. www.vernonharpsichords.mykeyboard.com. Residence also for sale. For information, stop- for Music will report directly to the Director for Per- list, photo: 405/378-0175 (after 5 pm CST); forming Arts, Music, and Film. S/he will be respon-
170 Park Row, Suite 20A New York, NY 10038
212.608.5651 www.glucknewyork.com
Send a copy of THE DIAPASON to a friend: Editor, The Diapason, 847/391-1045; e-mail:
Visit THE DIAPASON website at TheDiapason.com
34 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 33.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
1967 Wicks 2-manual, 3 ranks extended, Meidinger blower, $400. 2w static pressure, for Columbia Organ Leathers sells the finest Top Quality Releathering. Pouch rails, pri- under 8v residence ceiling, excellent condition; continuo-type organ, 1 or 2 stops. Housed in leathers available for organ use. We sell pre- maries, reservoirs and any other pneumatic $7,500, buyer to remove. 870/772-8184; silencing box, outside dimensions: 14-3/4w x 16- punched pouches and pre-assembled pouches, action. Removal and installation service avail- [email protected]. 3/8w x 11-1/2w. Very compact! $100—54-note and we specialize in custom releathering ser- able. Full warranty. Skinner, Casavant and tracker wind chest, 2 stops. Send for pix. vices. Call today for a catalogue. 800/423-7003 Kimball specialty. Spencer Organ Company, Heavy, about 75 lbs. Complete with pallets, or e-mail: [email protected]. Inc. Call, Fax or visit our website for quotation MISCELLANEOUS sliders and pull-down levers. Originally built for and information. 781/893-7624 Voice/Fax, FOR SALE 2-stop continuo organ. May be modified for use www.spencerorgan.com. in small organ. Originally made by Kleuker. Tuning with your laptop—Send $5 for a CD- Herb Huestis, #1502—1574 Gulf Road, Point ROM that features articles on temperaments, Welte 4-manual console—1928. New ivories Roberts, WA 98281, phone 604/946-3952, e- tuning, and reed pipe construction. RELEATHERING: also Pipe Organ Rebuild- and ebony, quarter-sawn oak, 101 stop knobs, mail: [email protected]. Shipping extra to U.S. Contact: www.mdi.ca/hhuestis or e-mail: ing, Repair and Maintenance Service in New gorgeous! Mike Jalving, 303/671-6708. or Canada—no overseas. [email protected]. Herbert L. Huestis, 1574 Gulf England area. Years of experience, fine work- Rd., #1502, Pt. Roberts, WA 98281. Phone manship. Reading Organ Works, A. Richard 604/946-3952. Hunter, P.O. Box 267, 1324 Vermont Route Voicing set-up, 3 stops, electro-pneumatic. 106, Reading, VT 05062. 802/484-1275. Includes blower, regulator, and 8 and Organ pipes for sale by Herb Huestis, v #1502—1574 Gulf Road, Point Roberts, WA E-mail [email protected]. 16v offset chests. Asking $600. T. R. Rench Co., Racine, WI. 262/633-9566 or 98281, phone 604/946-3952, e-mail: Highest quality organ control systems since [email protected]. Shipping extra to U.S. or [email protected]. 1989. Whether just a pipe relay, combination Austin actions recovered. Over 30 years Canada—no overseas. $400—4v Stopped Flute action or complete control system, all parts are experience. Units thoroughly tested and fully made by Detlef Kleuker, 1964 from a 2-rank compatible. Intelligent design, competitive pric- guaranteed. Please call or e-mail for quotes. Atlantic City Pipe Organ—Tellers: 5-rank unit continuo organ. Bottom 7 pipes slightly dam- ing, custom software to meet all of your require- chest with regulator, played 4 , 12th, 15th, Technical assistance available. Foley-Baker, v aged and difficult to repair. Very good condition ments. For more information call Westacott Inc., 42 N. River Road, Tolland, CT 06084. 19th, and 22nd—$1,000; Oboe, Cornet, from g to fvvv 47 notes, suitable as 3v Nazard. Organ Systems, 215/353-0286, or e-mail strings. Moller: 3-1/2 wp: 4 Oboe Clarion, II Phone 1-800/621-2624. FAX 860/870-7571. w v Very nice tone at 60mm+. $800—8v Regal [email protected]. [email protected]. Rausch Quint, 2v Principal; 1924 Moller 4- made by Detlef Kleuker, 1964 from a 2-rank 3/4wsc Trumpet, Capped Oboe, 8v Gemshorn, continuo organ. Very good condition through- Durst III pedal mixture/chest—12, 15, 19; II out. Bottom two octaves open shallots, Need help with your re-leathering Mixture. Breaking up 1932 Estey #3017— Bertouneche shallots from cv upwards. Very project? All pneumatics including Flue pipes in metal and wood–Mixtures beautiful pipework, Spitz Flutes, mixtures, nice tone at 60mm or greater. Austin. Over 45 years experience and upperwork are available from stock or Gemshorn, 8v Harmonic Flute, Harp, 16v Open (on the job assistance available). specify custom orders to meet your exact Wood, strings with Haskell 615/274-6400. requirements. Tuning Sleeves with basses. For more info visit flare–Order complete sets ready to install http://mywebpages.comcast.net/acorgan. ATTENTION ORGANISTS! The Diapason Gift Shop has wonderful new offerings or bulk quantities in each diameter. These E-mail: [email protected]. Phone sleeves are guaranteed to fit and will not 609/641-9422. that will delight you and your organist friends. New this month: Organbuilder tarnish or corrode. For excellent quality, Bobbleheads! Yes, now you can grace ALL REPLIES great pricing and timely delivery contact: 1985 Austin tripper combination action for five your console or dashboard with a lively International Organ Supply, P.O. Box 401, divisions, $350. 1985 Austin pedal contact assem- bobblehead doll featuring the counte- TO BOX NUMBERS Riverside, IL 60546. 800/660-6360. FAX bly with 25 switches, $150. Klann complete three- nance of your favorite classic organ- that appear 708/447-0702. division console system wired, $200. Relays, builder! Choose from Gottfried Silber- combo actions, pipes and other parts available. mann, Arp Schnitger, Aristide Cavaillé- without an address Inquiries: e-mail [email protected], phone Coll, Henri Clicquot, Henry Willis III, Dom should be sent to: Postal regulations require that mail 215/353-0286 or 215/788-3423. Bedos, Robert Hope-Jones, Ernest M. to THE DIAPASON include a suite num- Skinner, and G. Donald Harrison. (Coming THE DIAPASON ber to assure delivery. Please send 1995 Schantz French Horn 8v, 73 pipes, 6w soon: organbuilder’s hats—you too can scale, 6w pressure. Crated for shipment wear a chapeau like Cavaillé-Coll’s!) Box 380 E. Northwest Hwy., Suite 200 all correspondence to: THE DIAPA- from California. $3,500 or best offer. Bobble-Con, THE DIAPASON, jrobin- Des Plaines, IL 60016-2282 SON, 380 E. Northwest Hwy., Suite [email protected] or leave mes- [email protected]. 200, Des Plaines, IL 60016-2282. sage at 215/767-9530.
J. H. & C. S. Odell East Hampton, Connecticut • web: www.odellorgans.com voice: 860-365-0552 email: [email protected] PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
CHARLES W. M CMANIS In Memoriam March 17, 1913–December 3, 2004
MARCH, 2006 35 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 2385 Fenwood Road, Cleveland, OH 44118 Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Yoon-mi Lim AGO National Competition Winner Available 2004-2006
Stefan Engels Thierry Escaich* David Goode* Gerre Hancock Judith Hancock Martin Haselböck*
Vincent Dubois Calgary 2002 Recital Gold Medal Winner
David Higgs Marilyn Keiser Susan Landale* Olivier Latry* Joan Lippincott Alan Morrison
László Fassang Calgary 2002 Improvisation Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Simon Preston George Ritchie Gold Medal Winner Grand Prix de Chartres, 2004
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Westminster Cathedral, UK Martin Baker, Director October 13-24, 2006 Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland Thomas Trotter* John Weaver The Choir of Saint Thomas Church, NYC John Scott, Director March 1-8, 2007 WEBWEB SSITE:ITE: The Choir of Winchester Cathedral, UK wwwwww.concertorganists.com..concertorganists.coconcertorganists.com Andrew Lumsden, Director October 17-29, 2007
Gillian Weir* Todd Wilson Christopher Young *=European artists available 2006-2007