THE DIAPASON FEBRUARY 2015

St. Vincent Archabbey Basilica Latrobe, Pennsylvania Cover feature on pages 26–27 CHRISTOPHER HOULIHAN WITH THE LOS ANGELES PHILHARMONIC BRASS AT DISNEY HALL

“Houlihan is the next big organ talent...the evening belonged to Houlihan. The program included works for brass and organ, organ alone and brass alone. With an exception one or two, the standouts were the organ pieces.... Houlihan’s glowing, miraculously life-affirming performances...with everything sumptuously detailed... a splendidly colored performance of Bach...fascinatingly majestic performance of Vierne...enthusiastic audience. Houlihan’s solo encore was the Scherzo from Vierne’s Second Organ Symphony, and it was, as Vierne seldom is in the hands of other organists, seductive.” (Los Angeles Times, by Mark Swed, 2014) “L.A. PHILHARMONIC BRASS KINGS, ORGAN SOLOIST DAZZLE AT “A budding superstar with his WALT DISNEY HALL own veritable set of followers The Los Angeles Philharmonic affectionately known as ‘Houlifans.’… brass section playing with Think of it [performing with the one of the brightest stars Los Angeles Philharmonic brass in the new generation section] not as an organ recital, of organists, Christopher but rather a chamber music concert Houlihan….Thunderous featuring an atypical collection of ovation…Houlihan played wind instruments….Says LA Phil with great passion…a rousing Principal Trumpet Thomas Hooten, ovation…magic on the pedals of Houlihan, ‘He’s a very energetic, (allisyar.com, by C.K. of the organ.” great player.’” (Pasadena Star-News, by John Dexter Haven, 2014) M. Sherrard, 2014)

[email protected] (860)-560-7800 www.concertartists.com THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Sixth Year: No. 2, In this issue Whole No. 1263 This month, John Speller reports on the Organ Historical FEBRUARY 2015 Society’s 2014 convention, held last August in Syracuse, New Established in 1909 York. Speller’s narrative is accompanied by the beautiful pho- Joyce Robinson ISSN 0012-2378 tography of Len Levasseur. John Collins provides details on 847/391-1044; [email protected] composers of early organ music whose anniversaries, birth or www.TheDiapason.com An International Monthly Devoted to the Organ, death, fall in 2015; several of these are lesser-known names, but the Harpsichord, Carillon, and Church Music their works are certainly worth exploring. John Bishop refl ects challenging fi eld, made no less challenging by its average age; on the expressivity of the pipe organ, as well as the magnitude thus The Diapason wishes to acknowledge and encourage the CONTENTS of the architectural and acoustical elements in New York City’s up-and-coming younger members of our profession. Do not FEATURES Cathedral of St. John the Divine. miss this chance to highlight the accomplishments of talented OHS 2014: Syracuse Pipe Organ Holiday Gavin Black continues his essay on sight-reading, and Larry young people you know and work with! See the special bulletin The Organ Historical Society’s Annual Palmer remembers George Lucktenberg, one of the founding below for more information. Convention, August 11–14, 2014 by John L. Speller 20 members of the Southeastern Historical Keyboard Society (now part of the Historical Keyboard Society of North Amer- In preparation Early Organ Composer Anniversaries in 2015 ica). This month’s cover feature is Buzard Pipe Organ Builders’ In the coming months, we will be publishing reports on last by John Collins 24 instrument at St. Vincent Archabbey Basilica in Latrobe, Penn- year’s Haarlem International Organ Festival and the University sylvania. All this is in addition to our regular departments of of Michigan Organ Conference, and the relocation of a Hin- NEWS & DEPARTMENTS Editor’s Notebook 3 news, reviews, new organs, international calendar, organ recital ners organ in Roberts, Illinois, as well as an interview with Letters to the Editor 3 programs, and more. Pamela Ruiter-Feenstra by David Wagner, and Lorenz May- Here & There 3 cher’s compilation of Alexander Boggs Ryan’s correspondence Appointments 6 A gentle reminder with Marcel Dupré. Be sure your friends and colleagues do not Nunc Dimittis 10 To all teachers, supervisors, co-workers, fellow students, miss out on these important feature articles. Encourage them Harpsichord News by Larry Palmer 11 choir members, etc.: Please be sure to submit your nominations to subscribe to The Diapason (or give a gift subscription!). In the wind . . . by John Bishop 16 for our 20 under 30 awards by February 15. We work in a Contact me for details. Q On Teaching by Gavin Black 18

REVIEWS Music for Voices and Organ 12 Book Reviews 12 Special Bulletin New Recordings 13 New Organ Music 14 20 under 30 Evaluation of the nomina- New Handbell Music 15 The Diapason reminds you to submit your nominations for tions and selection of the NEW ORGANS 28 our “20 under 30” awards. We will be recognizing 20 young members of the Class of 2015 CALENDAR 29 men and women who have made signifi cant achievements in will take place in March; the ORGAN RECITALS 32 the organ, church music, harpsichord, carillon, and organ- winners will be announced CLASSIFIED ADVERTISING 34 building fi elds—before their 30th birthday. Please consider in the May 2015 issue of whether any of your students, colleagues, or friends would be The Diapason. worthy of this honor. (Self-nominations will not be allowed.) You can submit your nomination at TheDiapason.com (click Nominees will be evaluated on how they have demonstrated on “20 under 30”). leadership skills, creativity and innovation, career advance- If you are unable to use our website, you may submit a nomi- ment, technical skills, and community outreach. Evaluations nation by postal mail. Please include the nominee’s name, birth- will consider such things as awards and competition prizes, date, school or employer, and phone or e-mail address, along publications and compositions, offi ces held, and signifi cant with a brief (300–600 words) statement on why they should be positions. Nominations will close February 15, 2015. Nomi- considered, which highlights their accomplishments. And don’t nees cannot have reached their 30th birthday before January forget your own name and contact information. 31, 2015. We look forward to receiving all your nominations! Q COVER Buzard Pipe Organ Builders, Champaign, Illinois; St. Vincent Archabbey Basilica, Latrobe, Pennsylvania 26 Letters to the Editor

Editorial Director JOYCE ROBINSON November 2014 issue I knew about Fred Swann from my the Church! For me, Shepherd Sunday [email protected] I greatly enjoyed the review of the aunt, Eulalia Williams, whose husband, means Tom’s 23rd Psalm. He would 847/391-1044 Boston AGO convention. We are on the Dr. Daniel Day Williams, taught sys- play his new anthems for me and give Editor-at-Large STEPHEN SCHNURR same page for the spirit of playing and tematic theology at Union Theological me a copy. [email protected] worship. We listen and appreciate hear- Seminary. When I visited them, Fred Thanks for your work on The 219/531-0922 ing an instrument well used. Thanks for insisted that I enjoy an hour on the Riv- Diapason. It’s a pleasure to read. Sales Director JEROME BUTERA the refl ections on the opening homily erside organ. For several years I studied John Oliver [email protected] that we need to hear. with Tom Matthews. What a saint of Lacey, Washington 608/634-6253 Circulation/Subscriptions VY DUONG Here & There [email protected] 847/391-1043 Designer DAN SOLTIS Events in D Major, and works by Schubert and 3/19, Juilliard415, Vivaldi violin concer- CONCORA (Connecticut Choral Sumsion. For information: tos; 3/22, Peter Vinograde, piano, “Mostly Associate Editor LYNNE FORT Artists) continues its concert season: www.stvincentferrermusicnyc.com. Bach”; 3/29, Bach cantatas and motets; Contributing Editors LARRY PALMER February 1, Steven Sametz, conductor; April 19, New York City Children’s Cho- Harpsichord March 29, CONCORA’s annual “Bach!” Minneapolis-based choral ensemble rus; 4/26, Margaret Mills, piano; May 3, program. For information: concora.org. VocalEssence continues its concerts: St. Andrew Chorale & New York City JAMES MCCRAY Choral Music February 8, Witness: Let Freedom Ring; Children’s Chorus. For information: First Presbyterian Church, March 14–15, Radio Hour; April 10, www.mapc.com/music/sams. BRIAN SWAGER Arlington Heights, Illinois, continues P.D.Q. Bach & Peter Schickele Birthday Carillon its concerts: February 4, soprano and Bash; May 2, Gather at the River with The 9th Mikael Tariverdiev Inter- JOHN BISHOP baritone; 2/8, 30th annual Organ Fest; Mark Twain; 5/22, ¡Cantaré! Community national Organ Competition will take In the wind . . . March 4, Kris Ward, handbells, with Concert. For information: place April through September 2015 in piano; 3/15, Timothy Brinkman, guitar; www.vocalessence.org. Lawrence (Kansas), Hamburg, Moscow, GAVIN BLACK On Teaching April 1, Christopher Urban; May 3, and Kaliningrad. The competition is held choral concert. For information: The St. Andrew Music Society every two years in different cities, includ- Reviewers Allison A. Alcorn www.fpcah.org. of Madison Avenue Presbyterian ing Europe and the United States, with James M. Reed Church, New York City, continues its the fi nal tour taking place in Kaliningrad, John L. Speller St. Vincent Ferrer Church, New concerts: February 8, “Songs My Mother Russia. The 2013 competition featured John Collins York City, continues concerts: February Taught Me”; March 1, Nadejda Vlaeva, musicians from 32 countries. Jan-Piet Knijff 5, Mark Bani; May 3, Bach, Magnifi cat piano; 3/15, The Elora Festival Singers; ³ page 4 Leon Nelson

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2015. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $62; 3 yr. $85 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $75; 3 yr. $96. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 3 Here & There

³ page 3 Quire Cleveland concludes its sea- First selection rounds for the ninth son: February 27, The Song of Songs competition will be held in Lawrence, (Cathedral of St. John the Evangelist). Kansas (April 8–10), Hamburg (April For information: QuireCleveland.org. 20–24), and Moscow (August 29–31). The second and third rounds will take Duke University Chapel, Durham, place in Kaliningrad (September 3–10). North Carolina, presents organ recitals, Application mailing deadline is February Sundays at 5 p.m.: March 1, Marie Rubis 15, 2015. Bauer; 3/22, Robert Parkins. For infor- President of the jury for Kaliningrad is mation: chapel.duke.edu. Arvid Gast (Germany). For information, contact Artistic Director Vera Tariverdi- The 2015 Breda International eva, [email protected], tel. (+7 499) 151 Organ Competition on the four- RSCM-America Gulf Coast Course participants 53 28, or Executive Secretary Olga Spiri- manual Flentrop organ in the Grote donova, [email protected] or spiri- Kerk in Breda, the Netherlands, takes St. Paul’s United Methodist Church, Houston, hosted the 2014 RSCM-America [email protected], tel. (+7 495) 710 46 19. place from October 19 until October Gulf Coast Course (June 30–July 6), housed at Rice University. Managed by Anna 31, 2015. The interpretation competi- Teagarden, the course assembled 45 girls from Texas, California, Oregon, Arizona, Washington National Cathedral tion is open for professional organists Missouri, and Virginia. Guest clinician was Benjamin Hutto of St. Albans School, continues concerts: February 22, Jeremy born after November 1, 1980. Reper- National Cathedral School, and St. John’s Episcopal Church, Lafayette Square. Filsell; March 1, Douglas Buchanan; 3/22, toire includes works by Bach, Messiaen, Course organists were Ken Cowan (Rice University), Paolo Bordignon (St. Paul’s, Jonathan Biggers; April 5, Christopher Alain, Langlais, and Eben, and a new Houston), and students Bryan Anderson (Curtis Institute of Music) and Michael Betts, Benjamin Straley; 4/12, Kurt Ison; composition by Thierry Escaich for the Caraher (Interlochen Academy). The course included sung Evensong, Eucharist, and May 3, Jeremy Filsell; July 4, Christopher fi nal round. Compline services (together with members of St. Paul’s Choir), as well as a concert. Betts, Benjamin Straley. For information: The jury, presided by Dirk Out, com- The 2015 course (June 29–July 5) will be led by Frederick Teardo of Cathedral of the www.nationalcathedral.org. prises Jelena Bazova, Arno van Wijk, Advent, Birmingham, Alabama. For information: www.rscmgulfcoast.org. Ignace Michiels, Jan Hage, and Thierry The Cathedral Church of St. Paul, Escaich. The schedule also includes Detroit, Michigan, continues music concerts, guided city tours, and a visit events: February 22, March 22, April to the Van Gogh exhibition in the Breda 26, May 14, Choral Evensong; March Museum. Application is open until 29, Jeremy David Tarrant, with Oakland March 1, 2015. For information: Symphony; May 2 and 3, Three Cathe- www.organcompetitionbreda.org, drals Choir Festival Concert (choirs of St. or [email protected]. Paul’s Cathedral, Buffalo, Detroit, and London, Ontario, Canada). For informa- Fondation Académie d’Orgue tion: [email protected]. de Fribourg is offering a scholarship (5000 CHF/year) for organ students The Cathedral of St. John the who want to study at Fribourg Univer- Divine, New York City, continues its sity of Music in the 2015–16 academic concerts: February 24, works of Machaut year. The successful candidate will and Josquin; March 26, Verdi, Requiem; also be invited to play a concert in the May 14, Cathedral Choir with Rose of Fribourg International Organ Festival. the Compass. For information: Application closing date is March 1. For www.stjohndivine.org. further application details, see the news Choir of the Cathedral Church of St. Paul at Chichester Cathedral item on TheDiapason.com, or visit www.hemu.ch. The Choir of the Cathedral Church of St. Paul, Detroit, was in England from Twenty-Seventh Annual July 26 until August 6, 2014. In residence at Chichester Cathedral, the choir sang the England Organ Tour Musica Sacra, New York City, con- daily service of choral evensong as well as a concert. A second concert in Canterbury cludes its concert season: March 4, at the Cathedral on August 1 was followed by the morning and evening services in South- July 14– 27, 2015 Cathedral of St. John the Divine, three wark Cathedral on Sunday, August 3. The choir had the honor of singing a third service world premieres, including The Wisdom at Southwark, a vigil in commemoration of the beginning of the First World War. of the Wise Old Man by Juraj Filas, Lux The choir is under the direction of Jeremy David Tarrant, organist and choirmaster. London to Land’s Aeterna by Robert Paterson, and a new Richard Newman, associate organist from 2010–14 served as organist for the tour. End & Back work by Michael Gilbertson. For infor- mation: www.musicasacrany.com. Polyphony: Voices of New Mexico, held July 14–27, featuring organs in Hol- Playing organs in London, Reading, St. Luke in the Fields, New York City, announces upcoming concerts: March land, Paris, southern France, and Spain. Portsmouth, Wells, Exeter, Truro, Plymouth, continues its concerts: March 5, Handel, 13, MacMillan, Seven Last Words from Instructors are Pieter van Dijk, Anton Sherborne, Winchester, Guildford, Esther; April 30, Lassus, Missa Congrat- the Cross, and Handel, Messiah, Part II, Pauw, François Espinasse, Daniel Roth, Westminster & Three days at Southern ulamini mihi. For information: www. at Cathedral of St. John, Albuquerque; Olivier Latry, Christophe Mantoux, Cathedrals Festival, Salisbury Cathedral stlukeinthefi elds.org/music-arts/concerts. April 12, McCullough, The Holocaust Aude Huertematte, Beatrice Piertot, Cantata, at Las Placitas Presbyterian Didier Matry, Yannick Merlin, Sophie For information contact: The Indianapolis Symphonic Choir Church, Placitas, New Mexico. For Choplin, Eric LeBrun, Thomas LaCôte, Robert Clement continues its music events: March 7, Gala information: www.polyphonynm.com. Frederic Blanc, Jens Korndoerfer, and 124 Porthcawl Ct., Bel Canto: New York, New York; April 24, Ezequiel Menendez. Registration is still Avondale, PA 19311-1408 Fauré Requiem & Fairouz Zabur; June The French Organ Music Seminar open, and student discounts are avail- 610-268-5811 12, 13, and 14, Beethoven’s Ninth. For 2015, directed by Christina Harmon, able. For information: www.bfoms.com. [email protected] information: indychoir.org. Masako Gaskin, and Cliff Varnon, will be The 2015 St. Albans International Leslie Peart, Director Emeritus Organ Festival Competitions will take place July 8–18. The interpretation competition will feature a new work www.organtours.com commissioned from composer Paul Patterson, and a concerto fi nal round, with the Wiener Akademie directed by Martin Haselböck. Improvisers will have an opportunity to perform in alternatim with sung chant and an array of percus- sion. The competitions are open to organists under the age of 33; closing date for receiving entries is March 16. For information: www.organfestival.com.

The fi rst season of the Terra Sancta Organ Festival took place in Greece, Israel, and Palestine, from September 30 through November 28. Overseen by AUSTINORGANS.COM the Custody of the Holy Land (a part of 
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4 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Michael D. Boney Richard Brasier Daniel Bruun Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Presenter Organ/Choral Organist/Editor Organist Indiana University Montevideo, Uruguay Charlotte, North Carolina St. Michael's, Boise, ID London, UK Copenhagen, Denmark

Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Organist/Harpsichordist Organist/Lecturer Organist/Pianist Organ/Carillon Head of Organ Studies Professor of Organ Ann Arbor, Michigan Birmingham, Alabama Hutchinson, MN University of Florida Birmingham Conservatoire University of Alabama

Simone Gheller Johan Hermans James D. Hicks Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Organist/Recording Artist Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Oconomowoc, WI Hasselt, Belgium Morristown, NJ Brooklyn, New York Ripon College San Mateo, California

David K. Lamb Mark Laubach Yoon-Mi Lim Philip Manwell Christopher Marks Katherine Meloan Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Organist Organist/Professor of Music Organist Columbus, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX Reno, Nevada U of Nebraska-Lincoln New York, New York

Scott Montgomery Shelly Moorman-Stah lman Anna Myeong David F. Oliver Gregory Peterson Ann Marie Rigler Organist/Presenter Organist/Pianist Organist/Lecturer Organist Organist Organist/Presenter Champaign, Illinois Lebanon Valley College University of Kansas Morehouse College Luther College William Jewell College

Brennan Szafron Frederick Teardo Michael Unger Maria Welna Rodland Duo Christine Westhoff Organist/Harpsichordist Organist Organist/Harpsichordist Pianist/Organist/ Viola and Organ & Timothy Allen Spartanburg, S. Carolina Birmingham, Alabama Cincinnati, Ohio Singer/Composer Eastman School of Music/ Soprano & Organ Sydney, Australia St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 a non-traditional representation celebrating its 27th year of operation Here & There Appointments Buzard Pipe Organ Builders announces the addition of two new members to its staff in Champaign, Illinois. Mark Dirksen is the new business manager for the fi rm, having recently moved to Champaign from the Boston area, where he operated his own real estate business on the North Shore and served as Associate in Music at All Saints Parish, Brookline. The Dirksen family roots are in Illinois where his grandfather was a designer/builder for the Reuter Organ Company; his wife, the Rev. Beth Maynard, is the Rector of Emman- Mark Dirksen uel Memorial Episcopal Church in Champaign. Viktoria Franken comes to the Buzard fi rm from Germany, where she earned a Certifi cate of Successful Completion from the Oscar-Walcker School of Organ- building in Ludwigsburg. An experienced pipe maker and voicer, Franken will assist Tonal Director Brian Hurricane Mama participants Davis in all areas of the tonal department, including voicing of new organs and organ rebuilding projects. Two special programs in the February schedule for American Public Media’s She immigrates to the United States via an “O” Visa, Pipedreams show will highlight two of the foremost modern concert-hall organs in which is reserved for persons of extraordinary abilities the United States, at the Walt Disney Concert Hall in Los Angeles and the Kimmel in their professions. Center in Philadelphia. Program #1506 (in distribution beginning 2/9/15) will highlight the 10th anniver- Michael Kleinschmidt has been appointed Canon Viktoria Franken sary sold-out concert for “Hurricane Mama,” the Glatter-Götz/Rosales pipe organ at Musician at St. Mark’s Cathedral, Seattle, Washington, Disney Hall, with its iconic Frank Gehry-designed façade, recorded on November 23, effective March 1, 2015. Since 2010 he has served as 2014. Shown in the photo are organists Carol Williams, Cameron Carpenter, Cherry Canon for Cathedral Music at Trinity Cathedral in Rhodes, Ken Cowan, Frederick Swann (who played the offi cial inaugural concert on Portland, Oregon, having previously served at Trinity the instrument in 2004), Chelsea Chen, Christoph Bull, Aaron David Miller, Michael Church, Copley Square in Boston, All Saint’s Parish in Barone, and Pipedreams host/producer Michael Barone. Works played were by Bach, Boston, and St. Thomas-Fifth Avenue in New York City. Searle Wright, Robert Hebble, Dezsö d’Antalffy-Zsiross, Clarence Mader, Maurice Kleinschmidt holds degrees from the Eastman School Ravel, plus Williams, Miller, and Carpenter. of Music and Oberlin College Conservatory of Music. Program #1508 (in distribution beginning 2/23/15) is devoted to works by Marcel An accomplished organist, he has played recitals world- Dupré and Sergei Rachmaninoff. Along with Dupré’s Opus 36 set of three preludes wide and presented an all-Bach concert on St. Mark’s and fugues, soloist Jeremy Filsell will play his organ arrangement of Rachmaninoff’s Flentrop organ in 2012. He also serves on the faculty Symphonic Dances, Opus 45, and collaborate with Wanamaker organist Peter Rich- of the Royal School of Church Music summer courses. Michael Kleinschmidt ard Conte in Rachmaninoff’s Piano Concerto No. 1, Opus 1. The Dupré and some (photo credit: Dan Bronson) of the Rachmaninoff selections were performed on the Fred J. Cooper Memorial Sigurd Melvær Øgaard has been appointed Organ (by Dobson Pipe Organ Builders) in the Kimmel Center’s Verizon Hall, and Cathedral Organist at Christ Church Cathedral, Hous- the concerto on the Wanamaker Organ in nearby Macy’s department store. ton, Texas. In addition to his duties as organist, he will Other February programs feature the music and commentary of American com- assist Robert L. Simpson (Canon for Music) with the poser Gerald Near (#1505; 2/2/15) and fi nalists from the Miami International Organ daily activities of the music department. Originally Competition (#1507; 2/16/15). Pipedreams, distributed by American Public Media, from Norway, he studied organ, harpsichord, and is aired weekly at various times on ca. 130 classical-music/public-radio stations. For church music at the Grieg Academy in his hometown of information and online program access: www.pipedreams.org. Bergen. He also spent a semester at the Conservatoire in Birmingham (UK) where he studied with David Saint and David Bruce-Payne, while serving as organ ³ page 4 Two new scholarships will be awarded scholar at St. Mary’s Collegiate Church, Warwick. He the Holy Land), the festival featured for 2015–16, one for an incoming fresh- subsequently worked as assistant director of music and organists Mark Pacoe (United States), man ($7,500), the other for a fi rst-year organist at First United Methodist Church, Lubbock, Sigurd Melvær Øgaard Ulrich Pakusch (Germany), Eugenio graduate student ($15,000). Application Texas, during which time he completed his master’s Maria Fagiani (Italy), and Axel Flierl deadline is February 15. For informa- and doctoral degrees in choral conducting under Dr. John Dickson, and for (Germany) presenting concerts in loca- tion: agohq.org/education. three years as the organist at Palmer Memorial Episcopal Church in Houston. tions including Rhodes, Nazareth, Jaffa, Øgaard is an active recitalist, having performed at the Washington National Bethlehem, and Jerusalem. For informa- The Friends of the Kotzschmar Cathedral; St. Paul’s, Westminster, Coventry, St. David’s and Birmingham tion: www.tsorganfestival.org. Organ (FOKO) and the Choral Art Cathedrals (UK); and St. Bavo Church, Haarlem. Q Society (CAS), Portland, Maine, have The American Guild of Organists, joined together in an alliance to bolster through a bequest from the estate of Ron- their creative output and reduce admin- feature Portland’s own Municipal Organ- The Estey Organ Museum of ald G. Pogorzelski and Lester D. Yankee, istrative overlap in their respective ist Ray Cornils as well as other performers Brattleboro, Vermont, has acquired a awarded six scholarships for the 2014–15 performance, outreach, and education and organizations from around the world. rare Estey Upright Minuette. Between academic year. Graduate scholarships programs. The two organizations will CAS comprises three ensembles, rang- 1929 and 1932, Estey produced some were awarded to Chelsea Barton, McGill remain separate, but will share staff, ing from 17 singers in their Camerata 56 of these two-manual, three-rank University, and Jacob Taylor, Indiana offi ce space, and equipment. CAS will to upwards of 115 in their Masterworks unit organs (diapason, fl ute, and string, University; undergraduate scholarships collaborate with FOKO and the Portland Chorus. Founded by Dr. Harold Brown or Vox Humana, fl ute, and string, most were awarded to Clara Gerdes, Curtis Symphony Orchestra. in 1972, CAS has been under the direc- with fi ve chime tubes), 30 resembling Institute of Music; Garrett Law, Cleve- FOKO operates as a steward for the tion of Dr. Robert Russell since 1979. For a grand piano (the “Grand Minuette”) land Institute of Music; Prince Nyatanga, Kotzschmar Organ, which has been more information about CAS or FOKO, and 26 resembling an upright piano (the Eastman School of Music; and Mary Pan, housed in Merrill Auditorium for over please visit their respective websites at “Upright Minuette”). The museum’s University of Hartford. a century. FOKO’s concerts primarily choralart.org and foko.org. ³ page 8 Dry overheated churches can MANDER ORGANS wreak havoc with pipe organs!

New Mechanical ’=c`TcZZgOaaS[PZSR Action Organs ]`UO\Vc[WRW¿QObW]\ Q]\b`]ZagabS[aOZZ]e Vc[WRWbgb]PSaS\b eVS`SWbWa\SSRSR[]ab´ bVSW\bS`W]`]TbVS]`UO\ ’6WUVZgSTTSQbWdSO\R Q][^ZSbSZgOcb][ObWQ ’2SaWU\W\abOZZObW]\ O\R]\aWbSbSQV\WQOZ OaaWabO\QSOdOWZOPZS ³ St. Peter’s Square - London E 2 7AF - England Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 A^SQWOZWabaW\@Sab]`ObW]\ Continuo Organs [e] [email protected] 1]\aS`dObW]\D]WQW\UB]\OZ4W\WaVW\U ]T6WUV>`Saac`S>W^S=`UO\a www.mander-organs.com &"#A]cbV;WQVWUO\/dS\cS '# JL Weiler, Inc. 1VWQOU]7ZZW\]Wa$$ $ PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS ! &" %"%# Imaginative Reconstructions XSTT.XZeSWZS`Q][jeeeXZeSWZS`Q][

6 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM MONARKEINTRODUCING THE NEW SERIES

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³ page 6

Estey Opus 2819 new acquisition, Opus 2819, was previ- Paul Jacobs with current and recent students at Bach marathon ously owned by Joe and Jinny Vanore of Ridgewood, New Jersey, who were On November 22, 2014, Paul Jacobs (shown front row, third from left) and his founders and long-time members of the current and former students from Juilliard presented the complete organ works Garden State Theatre Organ Society. of J. S. Bach in an 18-hour marathon concert (New York City’s fi rst) at St. Peter’s Mrs. Vanore passed away two years ago, Lutheran Church in Manhattan, presented by the country’s largest classical radio sta- and Mr. Vanore is now in an assisted- tion, WQXR. The event began at 7 a.m. and continued through 1 a.m. the following living facility, and so the organ has Paul Cienniwa, By Heart: The Art of morning; many of the time slots sold out, and a line of people had to be turned away been turned over to the museum. The Memorizing Music at the door. Footage from the event can be viewed at tinyurl.com/q9qgbmo; Paul instrument was fi rst placed in the Estey Elie’s commentary in The New Yorker can be read at tinyurl.com/pwofvbs. studio in New York City. Another previ- musician and will give newcomers to ous owner of the organ is Fred Feibel of memorization the skills and techniques Ridgefi eld Park, New Jersey, one of the to get started with the process. Even including Sanders’ Prelude, Recitative organists of New York City’s Paramount those who already have a solid memo- and Fugue, commissioned by the Wichita Theatre. The organ will be reassembled rization practice will learn some new AGO Chapter, and Cradle Song. in the museum in the spring. or different approaches while also rein- To celebrate their 20th anniversary of forcing their own convictions. Many of performing as a duo, Sanders composed the techniques presented are good for for Dr. Martin Weidner Rhapsody Nr. People any type of practice, even for the non- 3: Incline your Heart (Proverbs 2,2) for memorizing musician. trumpet and organ. They performed the premiere together in Nendingen, Ger- many, on April 6, 2014. A native of DePere, Wisconsin, Sanders received his Bachelor of Music degree, magna cum laude, from St. Nor- bert College, the Master of Music degree Norberto Guinaldo from Wichita State University, and a diploma in organ performance from a complete recording by the composer the Hochschule für Musik in Hamburg. of each piece. Celebrating 49 years as He has also completed examinations for Malcolm Bilson, Janette Fishell, Peter organist of the Garden Grove United church music in Hamburg and Cologne. Sykes Methodist Church, Guinaldo presides Sanders is full-time music director at the over the 1966 III/48 Reuter organ, for parishes of St. Gallus and Mary Queen The 2014 Performa Clavis Internacio- Mario Duella which he wrote his compositions and of Heaven in Tuttlingen, diocesan liaison nal hosted by the University of Sao Paulo, premiered them during services and in and an offi cial organ consultant for the Brazil, December 3–5, 2014, featured Mario Duella recently presented concert. Born in Buenos Aires, Argen- Tuttlingen area (Baden-Wurttemberg). Malcolm Bilson, Janette Fishell, and concerts in the Chicago area. On October tina, Guinaldo studied organ there with In 2012, he joined the faculty at the Peter Sykes. Each presented lectures, 27, he performed his fourth recital on the the Italian organist Hermes Forti and Hochschule für Musik in Trossingen as masterclasses, and recitals utilizing the Dobson organ in Elliott Chapel at the harmony with Alberto Ginastera; further a lecturer on the history of the organ and university’s modern and historically Presbyterian Homes in Evanston, Illinois; organ study was with Clarence Mader in organ building. inspired pianos, harpsichords, and organ. other recitals took place October 29, at the United States and with Jean Langlais Janette Fishell also performed a recital the Cathedral of St. John the Evangelist in France. For information: in Sao Paulo’s Catedra Evengelica. in Milwaukee, Wisconsin, November www.guinaldopublications.com. 2 on the Fisk organ at St. Chrysostom’s Paul Cienniwa has released By Church in Chicago, and November 5 at Bernard Wayne Sanders has com- Heart: The Art of Memorizing Music First Presbyterian Church, Arlington pleted several composition commissions. (ISBN-13: 978-1496180698, ISBN 10: Heights. The last piece played was Invocation, for organ, brass quintet, and 1496180690, $12.95; available in print Alleluia by Giuseppe Rosetta, in 19th- tympani, celebrating the completed res- and Kindle formats at Amazon.com). century French toccata style. toration of the 1928 E.M. Skinner organ (See Cienniwa’s article, “Dear Harp- at the First Congregational Church in sichordists, Why Don’t We Play from Organist-composer Norberto Gui- Saginaw, Michigan, was premiered on Memory?” in the September 2011 issue naldo announces his new website, which October 19, 2014, with the Saginaw Brass of The Diapason.) offers his entire catalog of organ music Quintet and music director Nicholas The book presents practical skills (58 pieces at this writing). The website Schmelter on the organ. Further com- for becoming a successful memorizing features partial copies of each score and missions include a multi-movement work for a house organ, and a Mass in honor of Christ the King for choir, soloists, Richard Szeremany organ, and strings to celebrate the 50th anniversary of Christ the King Church in On Sunday, November 23, 2014, Göppingen, Germany. East Liberty Presbyterian Church in Seven Propositions for Organ, pre- Pittsburgh, Pennsylvania, honored its miered by Hartmut Siebmanns in Pöß- former director of worship, music, and neck, Germany, on May 18, 2014, is in the arts, the Reverend Dr. J. Richard the form of a suite in French classical Szeremany, with the premiere perfor- style; each movement bears the inscrip- mance of a new setting of Joyful, Joyful, tion of one of the “I am” phrases from We Adore Thee for organ, choir, and the Gospel of St. John. Carson Cooman, congregation by Alfred V. Fedak. composer in residence at the Memorial On the staff of East Liberty Church Church, Harvard University, commis- since September 1994, Szeremany had sioned a four-movement Sonata da cam- previously served several New Jersey era for the dedication of a new two-stop congregations as both senior pastor and instrument by John Bennett Early Key- as organist/director of music ministries. board Instruments of Westerly, Rhode At East Liberty Church he founded the Island. Cooman premiered the work on Hope Academy of Music and the Arts, Nantucket Island, Massachusetts, on which offers more than three hundred Like us on Facebook! October 12, 2013. These two works were children and young people a program www.pipe-organ.com www.facebook.com/TheDiapason recently published by Christoph Dohr including musical theater, dance, choral (Cologne, Germany) in a collection also ³ page 10

8 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM La Trompette Des Fondateurs

“Because of the historic Catholic and French heritage of Maternity B.V.M., plus the beauty it exhibits, we pursued a combination pipe and digital French Terrace console that blended well with the church décor. We also chose to have a Festival Trumpet incorporated into our instrument, and named that stop the “La Trompette Des Fondateurs”, honoring all of our founding lay parishioners, Viatorians and Sisters.” Ms. Chris Lord, Director of Music and Liturgy Maternity B.V.M.

“Our new organ is beautiful to hear, beautiful to see, and working in collaboration with the Allen Organ Company, was a beautiful experience.” Fr. Richard Pighini C.S.V. Pastor, Maternity B.V.M. Catholic Church Allen offers organs for worship spaces THE WORLD’S MOST CHOSEN CHURCH ORGAN! Bourbonnais, Illinois of every size, shape and acoustics. Allen Organ Company, LLC 150 Locust Street, Macungie, PA 18062 email: [email protected] Bring us your dreams! Phone: 610-966-2202 www.allenorgan.com Here & There Nunc Dimittis Malcolm D. Benson died on January 1, ³ page 8 2015, in Ontario, California, of complica- and instrumental ensembles, and private tions from pneumonia. He was 94. Born in instruction in vocal arts, piano, organ, Winchester, Indiana, on March 27, 1920, and other instruments. Upon his retire- he served in the Army in New Guinea dur- ment in 2010, Szeremany was named ing World War II. He earned a bachelor’s Pastor Emeritus as well as Minister of degree in music from the University of Cali- Music Emeritus. He continues serving in fornia, Los Angeles, and a master’s in organ interim positions and teaches organ and at the American Conservatory of Music in piano privately. Chicago, where he studied with Frank Van Duzen. He was an assistant professor of Malcolm D. Benson music at Wheaton College in Illinois where he met the love of his life, Phyllis J. Holzwarth; they were married in 1950, and their son Daniel was born in 1953. They moved to San Bernardino in the mid-1950s where he worked for the local school district. He earned a second master’s degree in library science from the University of Southern California and served as a public school librarian until the mid-1970s. In San Bernardino, Benson served as organist at St. Paul’s Methodist Church, then as organist and choir director at St. John’s Episcopal Church, a post he held for 30 years. He was a member of the American Guild of Organists, and a subscriber to The Diapason since he was 19. Malcolm D. Benson is survived by his son Daniel and his sister Eloise Nicholl of Pasadena. John Rutter, A Gaelic Blessing Robert S. MacDonald, 77, died on Octo- To mark John Rutter’s 70th birthday ber 4, 2014. Born in Ipswich, Massachusetts, Joe Utterback year in 2015, the Royal School of on December 1, 1936, he earned a bachelor’s Church Music has produced new anni- degree in organ performance from Boston Joe Utterback was honored for 20 versary editions of his music. University and a master’s degree from the years of teaching at Sacred Heart Uni- The four-part choral version of his New England Conservatory of Music. versity, Fairfi eld, Connecticut. Utterback popular anthem A Gaelic Blessing is now In New York City, he played at Grace teaches courses including music his- available from RSCM Music Direct, in a Church and at Radio City Music Hall, tory, the history of jazz, and a survey of brand new edition, re-set by the composer where for many years he was the organist Broadway music. He celebrated his 70th on open staves, rather than the previous for the annual Christmas show. MacDonald birthday with a concert on October 5, closed-stave version. Rutter’s setting of then played at Sacred Heart Cathedral in 2014, at the First Congregational Church, the Prayer of St Francis, Lord, make me Newark, New Jersey. He served as organist Robert S. MacDonald Stratford, Connecticut, which included an instrument of thy peace, is also pub- at the First Presbyterian Church in Fort a performance by Andrew Shenton and lished in a new John Rutter anniversary Worth, Texas, where he played for 19 years before retiring. Upon his return David Allen Wehr of Utterback’s organ edition. For information: www.rscm.com. to Massachusetts, he again was called on to play at the First Congregational and piano duet, Celebrations. Jazzmuze, Church in Rowley. Inc. has just published Utterback’s Five Robert S. MacDonald is survived by brothers Richard C. MacDonald and New Spirituals for Organ, volumes 1 and Recordings his wife Mary Ellen, and John E. MacDonald and his wife Judy, along with 2; for information: www.jazzmuze.com MSR Classics has issued Tapestries— nephews Colin, Aiden, and Edward MacDonald, a niece, Jennifer Mariani, (search the category ORGAN IV). The Choral Music of Dan Locklair (MS four grandnephews, and two grandnieces. Q 1463), a two-CD set featuring 15 of Locklair’s choral works, performed by Publishers the Bel Canto Company, conducted by on December 7, before a capacity crowd. for Ladue Chapel Presbyterian Church David Pegg, and the Choral Arts Society, A recital was presented by Daniel Tappe of St. Louis, Missouri. The fi ve-division led by Robert Russell. For information: of Germany. Chinese and Canadian media instrument will be placed in chambers www.msrcd.com/catalog/cd/MS1463. covered the event. The organ’s design is on either side of the chancel with an Other recordings of Locklair’s works inspired by the 1888 Cavaillé-Coll organ Echo organ in the west end gallery. The are available on Naxos, Ondine, Koch, originally installed in the cathedral. instrument is designed along symphonic Albany, Loft, Priory (UK), and other Here in the United States, the fi rm lines with particular emphasis on vari- labels. His primary publishers are fi nished its new two-manual organ for ety of tonal color and dynamic control Ricordi and Subito. Dan Locklair is the United Methodist Church of Mount for accompaniment and support of the Composer-in-Residence and Professor Vernon, Iowa, Opus 3901, dedicated service. Chamber façades will be of clas- of Music at Wake Forest University in September 14 in a recital by the church’s sical style in keeping with the colonial Winston-Salem, North Carolina. For organist, Dr. Lynda Hakken. architecture of the church, which seats information: www.locklair.com. In 2015, Casavant will be shipping 500. This leading St. Louis church has an organ to St. Paul Parish in Bergen, an extensive music program headed by Norway. The four-manual, 46-rank Music Director David Erwin. The new Organ Builders organ built in 1920 was salvaged from a organ is part of a sanctuary renovation closed church in Québec and thoroughly plan that includes acoustical improve- restored in Casavant’s shop. Installation ments under the direction of Scott R. will be completed in collaboration with Riedel & Associates. Completion is Åkerman & Lund, an organbuilding fi rm planned for fall of 2015. For informa- established in Sweden in 1860. For more tion: www.schoenstein.com. A Forest of Pipes information: www.casavant.ca. Sellcom announces the Brick Wall The newly revised 10th anniversary Randall Dyer & Associates, Inc., AC Surge Suppressors/Powerline Fil- edition of Jennifer A. Zobelein’s book Pipe Organ Builders, of Jefferson ters, suitable for both pipe and digital A Forest of Pipes: The Story of the Walt City, Tennessee, announces the signing organ installations. Brickwall surge Disney Concert Hall Organ has been of a contract for their organ #100, a new protectors use a power fi lter technology released. The author interviewed the three-manual instrument of 31 ranks, now referred to as Series Mode—no architects, designers, builders, and musi- for the First United Methodist Church, surge diversion to ground, no sacrifi - cians; the book describes the planning, Lebanon, Tennessee. Rev. Charlie Over- cial components (i.e., no failures), and construction, installation, and enjoyment Casavant Opus 3905, Beijing ton is minister of music and worship; exceptional powerline fi ltering. They of the Glatter-Götz/Rosales organ at Joseph Walker is organist. In 2015, Ran- also feature the fastest response time, Disney Hall in Los Angeles, inaugurated Casavant Frères, Limitée, of Saint- dall Dyer begins his 50th year of profes- lowest clamping level, and lowest let in 2004. Printed in a larger format, the Hyacinthe, Québec, Canada, completed sional pipe organ work. For information: through voltage. Brick Wall PW2R15, book includes updated information, color its fi rst organ for a church in mainland rdyerorgans.com. 2-plug surge protector, dimensions: 3″ photographs, a clear diagram of the organ China in late 2014. The North Cathedral H x 8.5″ W x 4″ D, $169, plus shipping. divisions, and a current stop list. For “Beitang” in Beijing dedicated its new Schoenstein & Co. is building a new For information: 800/735-5266, sellcom. information: aforestofpipes.com. three-manual, 42-rank organ, Opus 3905, organ of three manuals and 46 ranks com/brickwall.html.

10 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM Harpsichord News By Larry Palmer

Remembering George Lucktenberg (1930–2014) Artist Walt Kuhn’s serious but jaunty painting of a horse jockey graced a color postcard from George Luckten- berg, received in Dallas on October 26. Morose information overfl owed the small space for writing on the reverse side of the card: sad news of the suicide of a mutual friend. George continued with several lines about his own dete- riorating health: “MY news isn’t quite THAT bad, but I AM in less-good shape than before . . .” Later the same day, while I sat at my computer trying to formulate some comforting words as a response, an e-mail arrived from harp- SEHKS Presidents 1980–2006, by Jane Johnson; George Lucktenberg is at far left sichord maker Richard Kingston with the shocking report of George’s massive thanking her for her helpful reading of the heart attack and death that very day. original manuscript. Included as well were A person who contributed a great Martha’s penciled jottings of possible cor- deal to the growth of an American rections and some linguistic suggestions. harpsichord culture in our time, Dr. Many years ago, another treasured col- Lucktenberg was indeed a man of many league, Dr. Betty Louise Lumby, assured talents. We fi rst met during my Virginia me that each departed friend leaves us a years (1963–70) when he and his violinist gift if only we are acute enough to realize wife Jerrie Cadek Lucktenberg stopped what it is! I hope that George and Martha the charmingly labelled “Harpsi-cart” in will let me know what they have discov- Norfolk during one of their many tours ered about even more resonant keyboard as a violin-harpsichord duo. George instruments in the hereafter (thereby “looked me up” since we both owned joining J. S. Bach and Claude-Bénigne German instruments from the Pas- Balbastre in correspondence with your sau factory of Kurt Sperrhake. In 1969 Harpsichord Editor, who will, of course, George returned alone to marvel at my share any such communications with our new William Dowd harpsichord, which esteemed readers). But for now, I remain he told me was his fi rst experience with Dr. Lucktenberg, with Dorothy (Dordie) Freeman, primary patron of Aliénor content with their substantial earthly an instrument constructed in a histori- contributions and keep in memory the cally accurate style. George soon joined Following retirement from Converse, My own copy of this useful book came warmth of their friendship. Q the swelling ranks of advocates for these George and his instruments moved to to me from the personal library of another ear-opening instruments. Georgia, where he taught in Atlanta departed friend, the noted scholar of early Comments and news items are wel- After my move to Texas, there was and served as artist-in-residence at keyboards Dr. Martha Clinkscale. When I come. Please send them to Dr. Larry another memorable encounter with Reinhardt College in Waleska. There retrieved the volume from my overstocked Palmer, Division of Music, Southern George during the second harpsichord he was genial host to the annual meet- bookshelves, I found, inside its cover, a Methodist University, Dallas, TX 75275 weekend organized by Bruce Gustafson ing of his own offspring organization, gracious note from George to Martha, [email protected]. and Arthur Lawrence at St. Mary’s Col- SEHKS, a meeting made memorable lege in Indiana (1979). A walk together by the incredible artistry of the jazz- back to the motel after an evening harpsichordist Don Angle. Incidentally, program gave opportunity for George George was very proud of the double to fl oat the idea of organizing an early meaning that occurred in his society’s keyboard society. I, being inherently acronym. At Reinhardt, Dr. Luckten- shy of organizations as time-consuming berg remained musically active, pre- distractions from writing and practicing, senting his fi nal public concert on Feb- suggested that perhaps the American ruary 17, 2013, in the college’s Falany Guild of Organists was already enough, Performing Arts Center. and we interested players should try to There was so much more to George’s include more harpsichord information legacy than successful organizing and within the context of programs presented artistic performing, not the least of by that august body. which included his 52 summers of Obviously not sharing my reluctance, teaching eager young students at the George returned to Converse College Interlochen Arts Academy in Michi- in Spartanburg, South Carolina (where gan. Among his printed contributions he served on the faculty from 1960 until are volumes of early music, editions of 1990), and within a few years he became contemporary works, and, as a result of the founding president of a new group: his many trips across the Atlantic Ocean the Southeastern Historical Keyboard to visit historic instruments, a 1997 Society (1980). An offshoot of this orga- Indiana University Press book, Early nization was the founding of Aliénor: a Keyboard Instruments in European privately funded interest group promot- Museums, co-authored with University ing the creation of contemporary rep- of Iowa musicologist and harpsichord ertoire for the harpsichord. It probably builder Ed Kottick. From the preface comes as no surprise that George was its to this volume: fi rst executive director. Happily, if not surprisingly, both groups have fl ourished . . . The more I found out about his- —sometimes together, sometimes sepa- torical keyboard instruments, the more I rately. Currently both are included in wanted to know. A delightful discovery was the extent to which a similar passion exist- the recently formed Historical Keyboard ed in kindred spirits; a thirst for fi rsthand Society of North America, whose fourth knowledge and a professorial compulsion annual conclave will take place May to share it with others led to the Luckten- 21–24, 2015, in Montreal, and is sched- berg Historical Keyboard Tours of Europe. uled to include the most recent iteration On all but my earliest ventures I have been ably abetted and seconded by my esteemed of Aliénor’s harpsichord-composition colleague Edward Kottick, whose amiable competition as the culminating event of presence and broad knowledge soon made the meeting. him indispensable to the endeavor. CLAYTON ACOUSTICS GROUP Duchon’s Organ Pipes 2 Wykagyl Road Carmel, NY 10512 New Reeds & New Flues 845-225-7515 [email protected] Additions & Repairs www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM 330/257-0491 ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 11 Reviews

Music for Voices and Organ Palm Sunday spirit. Although there are moments of used sparingly and does not dominate by James McCray Ride On, Ride On in Majesty, Mark divisi for the choir, their music is not the choir. Sophisticated yet not overly Shepperd. SAB and keyboard, Morn- diffi cult. The text is a combination from diffi cult writing with lots of dynamic Palm Sunday and Easter ingStar Music Publishers, MSM-50- writings of John, Zechariah, and Psalm and meter changes. 3520, $2.25 (M). 24. Delightful setting. This peerless dawn shuts night away. Rejoice, O Earth, in bright array; This joyous, rhythmic setting will be This Peerless Dawn, Paul Gibson. For Christ your Lord is risn’n today! very exciting for those choirs with lim- Look Who’s Coming!, Michael Bed- SATB, organ, and optional brass Let all creation rise and say: ited tenors. The keyboard part is mod- ford. Unison with piano or organ quintet, ECS Publishing, No. 7862, Alleluia! erately diffi cult as its jagged rhythms and optional trumpet, Choristers $3.40 (M+). —This Peerless Dawn, Paul Gibson keep both hands busy. Above it the choir Guild, CGA 1358, $2.10 (M-). While this choral score on three Historians remind us that Easter was begins in unison, then changes to two Although the cover says unison, be staves clearly has organ registrations, it once the name of the old Germanic god- parts as the John 12:13 text is stated. The advised that the score is mostly for is not for use when brass are employed; dess of the dawn and spring, and a name second section changes key, tempo, and optional two parts and in some passages, a separate score and brass parts will be that is connected with the east where text as it moves into a three-part texture. three. The trumpet part, in addition to needed (6200 and 6201) for that per- the dawn rises. Originally, there was a The ABA format is completed as the a separate line in the score, is also pro- formance. Each of the seven verses has festival that was celebrated at the time of music returns to the opening material in vided separately on the back cover. Its varying textures and styles, including a the spring equinox and so, by confusion, a more contrapuntal style for the choir. music has a fanfare quality to it and is doxology and an extended contrapuntal one of the great Christian holidays bears Strongly recommended. used throughout the setting. The singer’s Alleluia for the fi nal verse. This is a large a pagan name. In 2015, it will be April 5, music is easy, antiphonal when in two (244 measures), sophisticated anthem two weeks later than spring’s arrival on Draw Nigh to Your Jerusalem, O parts, and usually jaunty. Lovely music with many tempo changes and a bravura March 20. (Unlike Christmas and some Lord (An anthem for Palm Sunday), for Palm Sunday. character that will be a triumph for good other holidays, Easter’s date changes Robert Powell. SATB and organ, GIA choirs. Wonderful music and highly rec- each year.) Publications, G-7714, $1.90 (M-). SATB Easter music ommended for good, solid choirs. The Easter season lasts until Pen- The text by Jeremy Taylor (1611–1667) with brass choir tecost. In addition to its opening high opens with unison statements above a Easter Alleluia, Andrew R. Motyka. Book Reviews point, the other signifi cant day during chordal organ accompaniment on two SATB, cantor, and brass quintet, Can- Raabe, Nancy M. Carl F. Schalk: A this period celebrates the Ascension, a staves. The second section is unaccom- tica Nova Publications, #3038, $1.95, Life in Song. St. Louis: Concordia major holy day in the Catholic Church. panied but not diffi cult. The fi nal section brass parts #3038-p, $5.00 (M). Publishing House, 2013. xv, 208 For many Protestant congregations it has returns to the opening material and is Brass used are two trumpets, horn, pp.; 1 black and white illustration, become a time of relative unimportance, mostly in unison. There is a juxtaposi- trombone, and tuba; their fanfare style 17 musical examples. ISBN: 978-0- and when it does not occur on a Sunday, tion of E-minor and D-major harmonies in the fi rst half will make it useful for an 7586-4154-0. $29.99 (paper), $14.39 Ascension is overlooked. in the outer two sections, which has a introit when only that is performed. The (Kindle edition). The Sunday before Easter is Palm haunting attraction. second half contains three choral verses, Nancy Raabe closes her preface with Sunday, which is also called Passion drawing on Psalm 118; here the brass has the words of Martin Luther, words that Sunday. In many denominations, the Hosanna!, Christian Gregor (1723– just brief, one-measure phrases. There is clearly encapsulate the theology of music focus on that Sunday is from the stand- 1801), arr. Jeffrey Blersch. SATB, a reproducible four-measure phrase that in worship for her subject, Carl F. Schalk: point of the entrance of Christ and the children’s choir, organ or piano, Con- may be sung by the congregation when waving of palms, often by people pro- cordia Publishing House, 98-4140, the cantor sings. Exciting style in the fi rst Dear Christians, one and all, rejoice, With exultation springing, cessing and/or singing in the aisles of $1.95 (M). half of the setting. And with united heart and voice the sanctuary. Using a children’s choir on Palm Sun- And holy rapture singing, These two days, Palm Sunday and day is certain to be a hit with the congre- The Day of Resurrection! Robert Proclaim the wonders God has done, Easter, are times of great celebrations gation. Here they sing an independent Buckley Farlee. SATB, organ, and How His right arm the vict’ry won. What price our ransom cost Him! in the life of the church. Music usually line, often as an echo to the choir, and optional brass quintet, and assembly, (xiv, Lutheran Service Book #556) plays a key role in those celebrations, they participate throughout the entire Augsburg Fortress, 978-1-451-9260- and music directors are urged to make work. The keyboard part, on two staves, 6, $1.95 (M). The theme is reiterated many times early plans in selecting and rehearsing is primarily chordal and a strong support A full score and brass parts are avail- throughout this small volume. It is a music for those days, which may draw for the choirs. This moderate, march-like able; they differ from this choral score, necessary repetition, for it soon becomes the largest number of worshipers. Listed tempo and style for the keyboard helps which only has an organ accompaniment. evident that to understand Schalk is to below are new choral settings for each of act like a processional, which adds to the This setting has a majestic style with a understand that the basis of his entire these important Sundays. Start prepar- joyful character. long instrumental opening. There are oeuvre is the fundamental assumption ing now by selecting and ordering music two verses, which may be reproduced that music in corporate worship is func- and hiring the extra musicians who will Hosanna to the King of Kings!, Lloyd for the assembly, and two verses for the tional, the function of music is procla- be needed. In these dark days of winter, Larson. SATB and keyboard, Becken- choir. All verses use the same basic the- mation of the Gospel, and the function spring is just around the corner, and I horst Press, Inc., BP 1950, $2.00 (M-). matic material. of the church musician is ministerial. wish an early, heartfelt happy Easter to The tune is based on a traditional Furthermore, the reader quickly realizes each of you! English melody that has a bold triumphal That Easter Day with Joy Was Bright, that Schalk is wholly committed to tradi- Hal Hopson. SATB, organ with tional (i.e., historical) liturgical Lutheran optional brass quartet, MorningStar worship, and all of his philosophies on Music Publishers, MSM-50-4125, composition, choral music, and the roles $1.65 (M). of the choir, organ, and cantor grow from A Precious Gift The hymn tune Lasst uns that commitment. erfreuen serves as the basis for Several sites market Carl F. Schalk: Hopson’s newly composed setting. A Life in Song as a biography, which is from the Past This very popular melody is also misleading—and a slight disservice in joined with an Adoramus te, Christe that Raabe omits numerous elements for the Present setting in Latin that has overlay state- one might expect to fi nd in a true biog- ments of Puer Nobis, sung by a treble raphy, such as details of his family and ensemble (children) in English. That childhood or his formative education and the Future melody ties Easter to Christmas; all and musical experiences. The book has of these melodies are very familiar to biographical elements, to be sure, but Supremely beautiful and blendable the congregation so they will heighten simple biography does not seem to be the tonal color – a Gift from the Venetian the celebration surrounding Easter. point. In some senses, actually, the book School of organbuilding, a monumental part of our The choral parts are on two staves, and suffers from a lack of focus this issue JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH this score has only organ accompani- brings to the fore. Is it a biography? Kind SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN ment. A full score and parts may be of. Is it compositional analysis? A little. Is ordered (MSM-50-4125A) for use with it an overview of Schalk’s philosophies? brass. The last broader section has a Defi nitely. Is it denominational chatter? Intriguing? Let us build your dream. unison ATB melody of the hymn with a Sometimes—and often uncomfortably soprano descant that brings everything so, at least from an outsider’s point of to a loud, fi nal Alleluia. A sure winner. view. A Life in Song does a bit of all that, and in so doing, never seemed to settle Welcome, Happy Morning!, Dan truly comfortably. Locklair. SATB and brass quartet, Lutheran church musicians will be Subito Music Publishing, 91480630, pleased with the excellent analyses of $2.35 (M). representative examples of Schalk’s There are six verses; three are compositions. These are not just of Builders of Fine Pipe Organs to the World strophic using the same music, and abstract scholarly interest, but are of the other three, also strophic, use practical assistance to the practitioner www.ruffatti.com contrapuntal settings of different (yet seeking insight into Schalk’s choral related) music. The brass parts are pieces and hymnody. Raabe does occa- Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 available (91480361); their music is sionally lapse into effusive praise, if not

12 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM Reviews the hyperbole she denies; for example, of one of the true leaders in Lutheran de Trompette, Trio de Flûtes, Dialogue, image of the performer deep in score- “ . . . if the world had known Schalk’s worship music. Petit plein jeu). reading concentration! Overall, however, setting [of ‘Lord, It Belongs Not to My —Allison A. Alcorn The Sonata III in A by Felix Mendels- this is a typical Raven disc with much to Care’] fi rst it would be hard to think Illinois State University sohn-Bartholdy is given a very respect- recommend it and a most worthwhile of the text in any other musical guise” able performance, and Scanlon captures addition to any musician’s collection. (p. 164). On the other hand, she does the grandeur and slightly sonorous mood —James M. Reed also include analysis or mention of a New Recordings of the work with an excellent pleno in the Worksop, England few less-than-successful pieces as well, Solemn and Celebratory. Andrew fi rst movement, although the playing is such as “There Through Endless Ranks Scanlon, organist; the C. B. Fisk perhaps a little too legato at times. Mau- The American Symphonic Organ. of Angels,” for which the Lutheran organ, Op. 126, St. Paul’s Episcopal rice Durufl é’s Sicilienne (from Suite, op. Jean-Baptiste Robin, Skinner Organ Book of Worship (LBW) supplanted Church, Greenville, North Carolina. 5) is beautifully played, despite the com- of the Cincinnati Museum Center at Schalk’s tune with another—the deci- Raven OAR 947, $15.98; 804/355- plex technical challenges of the piece, Union Terminal. Brilliant Classics sion that Schalk seems content to chalk 6386, www.ravencd.com. and both performer and organ seem to compact disc 94726; up to preference—and “Look, Now He This instrument is one held extremely excel in this romantic French repertoire. www.brilliantclassics.com. Stands,” eliminated entirely from sub- dear to my own heart—having attended Master Tallis’s Testament (from Six Pieces La cathédrale engloutie, Debussy; sequent hymnals and Schalk acknowl- so many services prior to its installation, for Organ) is a magnifi cent work, uttered Asturias (Leyendo), Albéniz; Prélude à edges as “ . . . trying to be something as well as its dedicatory service. It is in Howells’ typically modal, melan- l’après-midi d’un faune, Debussy; Six that I didn’t know how to be” (p. 148). a vast improvement on the electronic cholic language; Scanlon’s realization is Romanian Folk Dances, Sz56 BB68, These analyses are solid scholarly organ that preceded it and speaks won- quite acceptable (although nothing can Bartók; Entr’acte (Act 2) from Carmen, work that make a somewhat jarring derfully into the room from its somewhat improve upon Jonathan Dimmock’s per- Bizet; Adagio for Strings, op. 11, Barber; juxtaposition with the more chatty unusual vantage point, at the west end of formance on another Raven disc, Sounds Prelude in C-sharp Minor, op. 3, no. 2, nature of the fi rst three chapters detail- the building on ground level. The church of an Empire). Rachmaninov; Urlicht from Symphony ing Schalk’s early work with churches is a rather ordinary, barn-like structure A solid performance then follows of No. 2, Mahler; Prelude and Fugue on and then with the Lutheran Hour and with the musical forces accommodated J. S. Bach’s Fantasia and Fugue in G BACH, Liszt; Cercles Lointains from the development of the LBW. None- at the rear of the nave, and the openness Minor, BWV 542, with well-measured Cercles Réfl échissants, Robin. theless, those chapters likely hold of the room certainly assists the instru- tempi, excellent registration, and fi ne The main concourse of the St. Louis great fascination for denominational ment in fi lling every crack and corner articulation. The disc ends with the Union Station is dominated by a magnifi - old-timers who recall the turmoil sur- of the building. It is a beautifully voiced Final from Louis Vierne’s Première cent semi-circular Louis Tiffany window rounding the LBW or younger liturgi- instrument and a real testament to the Symphonie in which the instrument featuring “The Spirit of St. Louis,” and cally oriented church musicians within recent work of the Fisk workshop; the gives a fantastic account of itself, and this window gave its name to the plane the Lutheran Church-Missouri Synod condensed specifi cation is as follows: as the piece progresses, Scanlon’s used in Lindbergh’s fi rst transatlantic 2 3 who perhaps never learned the back- Grand: 16 8 8 8 8 4 4 2 ⁄3 2 1 ⁄5 II–VI controlled performance relaxes a little, fl ight. I have often thought that this story to their Lutheran Service Book. VI 16 8 8 4 and builds the work to a colorful and would be a wonderful place for a big Likewise, some will fi nd the greatest Récit: 16 8 8 8 8 4 2 III IV–V 16 8 8 4 dramatic climax. symphonic organ by Kimball or Skinner, 2 3 allure in the review of Schalk’s theology Positif: 8 8 4 4 2 ⁄3 2 1 ⁄5 IV 8 8 Scanlon is a talented musician, there though this might not go down too well of music in worship, developed over a Pédale: 32 16 16 16 8 8 8 4 32 16 16 can be no doubt (and the biography with the Hilton Hotel, since the space is lifetime of involvement in corporate 8 8 4 printed in the booklet certainly details currently their foyer! So I am green with Lutheran worship. It is not a critical This panoramic tour of Fisk opus 126 an extensive list of past recital venues!). envy at Cincinnati where there is indeed analysis of his theology by any means, begins with Fanfare by John Cook, a The instrument sounds exceedingly well a magnifi cent four-manual Skinner organ but Raabe has woven Schalk’s theology wonderfully exciting and thrilling work under his control; although, personally, in the main concourse of the old Union and stances admirably throughout the given a solid performance here, and I feel it occasionally seems a little too Terminal. The Union Terminal houses entire book. showcasing the striking Tuba Mirabilis. well controlled and measured, lacking a a number of independent libraries and Lack of a complete works list of both Jean Langlais’ Mors et resurrection certain excitement at times. museums, comprising the Cincinnati music and word is a substantial disap- (from Trois Paraphrases Grégoriennes) As is to be expected from Raven Museum Center. The Skinner organ pointment. Raabe includes an index is a moving, spiritual, and dramatic piece recordings, the audio quality is superb is Opus 660, originally in the Roman of titles of hymns and songs as well as that Scanlon handles well, especially the and clear, capturing the intimacy of the Catholic Church of the Immaculate an index of hymn tunes, but one pre- dynamics, giving a sense of continuous room as though the listener were seated Conception in Philadelphia, together sumes Schalk’s total output of hymns is crescendo through the piece. Jean-Yves at the front of the nave. The 12-page with an Antiphonal division made up greater than what she happens to cite Daniel-Lesur’s In Paradisum is equally booklet is excellent; its approachable and from Opus 726, which was originally in a small book, not to mention choral moving, imbued with a wonderful interesting notes cover the instrument, in the residence of industrialist Powel or instrumental works. (Has Schalk sense of eternal, celestial mysticism, repertoire, and performer. With several Crosley, Jr., of Cincinnati. Altogether composed instrumental works? Without and beautifully realized by Scanlon. beautiful black and white photographs it comprises four manuals and pedals a complete works list, the reader can With its decidedly French personality, of the instrument contained therein, it is with a total of 79 ranks. The instrument only wonder.) Raabe mentions that, in the instrument is wonderfully at home just a pity that the only full-color photo- was installed over a period of 25 years honor of its 100th anniversary, Schalk with these two, and the following Suite graph on the front of the booklet could beginning in 1986. It certainly doesn’t offered to write a short history of music du second ton of Jean-Adam Guilain not have accommodated the gorgeous 16′ hurt the effect that the building has a at Grace Lutheran Church, River For- (Prélude, Tierce en taille, Duo, Basse Fisk façade, rather than the ponderous ³ page 14 est, Illinois, focusing on its organs and organists (p. 86). No further mention is made, and without a list of works, after a Google search, the reader is unable to determine if Schalk never wrote the Penny Lorenz Artist Management history or if he wrote it, but it was never presents published. (Michael Costello, cantor at Grace Lutheran Church, reports that the church does have an unpublished history written by Schalk before Costello arrived at Grace. Communication with author, July 19, 2014.) Raabe utilizes extensive footnotes, thankfully, but even if she has cited each of Schalk’s written works, because there is also no bibliogra- phy and she uses shortened citations for subsequent entries from the same work, the reader is forced to leaf back page by page to search for the full citation when Robert Bates Craig Cramer Kathrine Handford Balint Karosi fi rst mentioned. A slight printing glitch left a mis- labeled running header through the For Organ Recitals & Workshops, fi nal chapter, and anyone who has had dealings with publication proofs can Please Contact: only shake heads in understanding. The number of eyes that surely read multiple sets of proofs, and everyone missed that Penny Lorenz running header . . . frustrating, but 425.745.1316 something like that almost always slips [email protected] through. Fortunately, it is also an easy fi x in the next print run. www.organists.net All told, Raabe’s book is an excel- Aaron David Miller Jack Mitchener lent addition to the body of research in Lutheran worship practices and in honor

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 13 Reviews

³ page 13 from Bizet’s last great opera, Carmen, piece by Robin called Crop Circles. The introduction includes Marsh’s reverberation period in excess of six sec- and Samuel Barber’s Adagio for Strings. All these are remarkable because of own comments from his journal on onds. This recording comprises mostly The Barber piece, of course, is frequently Robin’s unique ability to evoke different when, where, and with whom he played transcriptions made by the performer, played on the organ, but I particularly kinds of circular movement by means of these pieces. As we have come to expect Jean-Baptiste Robin, who is the organ- liked this performance. I could not quite music. The movement on this recording, from David Patrick, the music is clearly ist of the Royal Chapel in the Palace of decide whether the particular richness of Cercles Lointains, is remarkable for its printed, although page turns may prove Versailles and professor of organ at the this version was due to Robin’s transcrip- virtuosity and rhythms. diffi cult in a few places. These generally Conservatoire à Rayonnement Régional, tion, or to the warm voices of the Skinner This is altogether a very interesting not over-demanding pieces will be great Versailles. One track, Urlicht, from organ, or to both. The last of Robin’s recording—indeed it is likely to appeal fun to play and should prove excellent Mahler’s Symphony No. 2, also features transcriptions for organ is Rachmaninov’s to an audience much wider than just the experience in coordinating articulation mezzo-soprano Stacey Rishoi as soloist. well-known Prelude in C-sharp Minor. organ community—and I am happy to and ornamentation for the two players; The recording begins with Robin’s Robin’s performance is particularly inter- recommend it. they would make excellent additions to transcription of Debussy’s La cathédrale esting for its sudden transitions between —John L. Speller the recital repertoire as well as being engloutie, so at once we have a chance loud and soft, fast and slow. Played like Port Huron, Michigan something different for a closing volun- to experience the particularly fi ne strings this, the Skinner organ seems in some tary and offer excellent teaching mate- under expression, in a pianissimo with ways more expressive than the piano, for rial for either two students or for teacher distant-sounding chimes evocative of the which the piece was written. New Organ Music and student. bells of the sunken cathedral. From here Robin’s recording next features a tran- G. F. Handel arranged by John —John Collins there is a seamless buildup to the full scription for organ and voice. Here we Marsh: The Grand Hallelujah in Sussex, England swell before a return to softer registra- are treated to the lovely mezzo-soprano ‘The Messiah’ & Grand Coronation tions in which particularly effective use voice of the American opera singer Sta- Anthem ‘Zadok the Priest’ and Two David Traugott Nicolai (1733–1799), is made of the Vox Humana. The distant cey Rishoi in Urlicht from Mahler’s Sec- New Fugues. Edited by David Pat- Organ Works (Fantasie [sic] and bells return at the end, making for a very ond Symphony. The last two tracks on rick. Fitzjohn Music Publications Fugue in G, Fugue in B-fl at). The atmospheric performance. the compact disc are devoted to works £7.50 + shipping per volume. Obtain- Contrapuntal Tradition, ed. W.A. The next piece, Isaac Albéniz’s composed for the solo organ. The fi rst able from www.impulse-music.co.uk/ Little, vol. 1. Wayne Leupold Edi- Asturias, is evocative in a different way, of these is Lizst’s Prelude and Fugue on fi tzjohnmusic.htm. tions, WL600276 (2013), $19.00. capturing the rich and vibrant culture of BACH, of which Robin gives a spirited The pieces that David Patrick has This volume heralds Leupold’s new the Costa Verde. In its contrasts between performance. The last piece, Cercles published in these slim volumes are series The Contrapuntal Tradition, vigorous Spanish rhythms and haunting Lointains (“Distant Circles”), is from a taken from “Handel’s Hallelujah in whose aim it is “to offer the organ com- melodies, it is very much suited to the major organ work, Cercles Réfl échissants ‘The Messiah’, and Grand Coronation munity unknown or unfamiliar works colors of the Skinner organ. Debussy’s (“Refl ecting Circles”) of Robin’s own Anthem; to which are prefi x’d Two New from the eighteenth to the present Prélude à l’après-midi d’un faune is just composition. It was commissioned by Fugues; the whole adapted & com- century that demonstrate the sustained the sort of music one would expect to the University of Kansas, the Marcelle posed for 2 Performers on one Organ vitality and resilience of contrapuntal come off well on the warm voices of this and Robert de Lacour Foundation for or Harpsichord by J. Marsh,” originally music.” Here then, to begin with, are two instrument, and so it is no surprise to Music and Dance, and the Association of published by Robert Bremner in 1783 works by David Traugott Nicolai, a son discover that it does. I particularly liked Friends of the Organ of Nontron, Aqui- and then republished by Preston from of the Bach student David Nicolai. The Robin’s effective use of rubato in this taine, and composed in 2007–08. It is a the same plates circa 1795. younger Nicolai succeeded his father in piece. After this, Bartók’s Six Romanian complex work in seven movements, of The two fugues, both in C major, are 1764 as organist in Görlitz, Germany, Folk Dances give us an opportunity to which Cercles Lointains is the second. It each introduced by short preludes, both where the latter had been appointed in hear the colors of the Skinner organ would be nice to have been able to listen marked Largo and cadencing on the 1729—recommended, incidentally, by again, though this time in some rather to the whole thing, though I did fi nd a dominant. In the fi rst prelude, progress- none less than his great teacher. more light-hearted pieces. Two further recording of one of the other move- ing mainly in quarter notes, the second The fl agship of the volume is surely pieces that are obvious choices for such ments, Cercles de Vent, on the Internet. player’s right hand is an octave lower than the highly chromatic Fantasia in G. (The a recording are the Entr’acte (Act 2) I also discovered a separate orchestral the fi rst player’s, whereas in the second title is spelled Fantasia on the fi rst page prelude the fi rst player has several fast of the score; elsewhere in the volume, upbeat runs (tirades). This piece was the pair is consistently referred to with THE EIGHTEENTH ANNUAL recycled as the fi rst movement of Volun- the linguistic hybrid “Fantasie and tary XVI from “20 Voluntaries for Organ Fugue.”) In his preface, the editor argues second sett [sic]” which Marsh published that the work “stands alone as the single Albert Schweitzer ca. 1795. The subject of the fi rst fugue greatest work written for the organ in the covers an octave, with much of the sec- century between the death of Bach . . . ond player’s part in octaves (one note per and the publication of Mendelssohn’s Six Organ Festival hand). There are a few 16th-note runs for Sonatas for the Organ.” Wait: Did I just A Weekend in Celebration of Excellence in Organ Music: both hands, but most of the writing is in hear Carl Philipp Emanuel Bach turn in eighth notes at a lively tempo. The second his grave? A Gala Concert, ORGAN COMPETITION, Services, and Masterclass fugue subject covers a sixth and includes Still, the Fantasy is an interesting work three short sequential passages. It also from a period traditionally regarded as High School Division First Prize: $2,000 proceeds mainly in eighth notes, with relatively unimportant in the organ rep- Other prizes also awarded 16th notes entering in bar 60 for 15 bars; ertoire. Remarkable for its time is per- the second player also has many passages haps not so much the chromaticism per in octaves; bar 88 sees the subject given se, but the bold use of chromatic scales. College/Young Professional First Prize: $3,500 out in unison over four octaves! Both “The Fantasie has all the earmarks of an Through age 26 Other prizes also awarded fugues conclude with cadences on the extended improvisation that has been dominant followed by Adagio codas that successfully codifi ed,” Little concludes. This includes an appearance on our include thick textured chords—quite a I am not so sure that the “free,” even 2015 – 2016 Concert Series 2015 strain on the contemporary wind supply! rhapsodic, character of the work neces- JUDGES The Hallelujah setting follows the sarily hints at a written-down improvisa- AUDITION CDS: original closely, but the Grand Corona- tion; nor do I hear the sporadic dotted tion Anthem is in two parts, a Preludio rhythms in the Fantasy as “faint echoes” Due on June 8, 2015 Diane Meredith being followed by the section based of Bach’s Prelude in E-fl at Major, as Belcher on “God save the King.” The introduc- Little suggests. A certain similarity with THE COMPETITION: tion (“Zadok the priest and Nathan the the Fantasy in G Minor (BWV 542) on September 11-13, 2015 prophet”) and the triple-time vivace the other hand is undeniable, but that (“and all the people rejoiced”), which may simply be due to the shared key feature in Marsh’s later adaptation for rather than point to Bach’s masterpiece For Information & organ or pianoforte (Volume Two of the as a source of inspiration. Application: Peter six volumes of adaptations published The Fantasy starts clearly in G minor Conte ca. 1809–28), are absent here. The long and there are B-fl ats in practically every 16th-note runs on the “Amen” appear in bar until the ending on the dominant; First Church each hand simultaneously and are also the companion Fugue is in G major. punctuated by eighth-note chords. The The edition presumably follows the of Christ only registration indications included are notation of the source in not applying a 250 Main Street Choir Organ in bar 22 and Great Organ key signature in the Fantasy; moreover, Wethersfield, CT 06109 in bar 37 of the Hallelujah; the tempo accidentals apply only to the notes they John indications are limited to Adagio at the precede immediately. The result is a firstchurch.org/asof Walker end of each piece and Largo e staccato rather busy text. for the Preludio to the Grand Corona- While the Fantasy is notated on two 860.529.1575 tion Anthem. The writing in these pieces, staves, the Fugue has a separate pedal Ext. 209 clearly aimed at the increasing amateur staff from the moment the bass enters, music@firstchurch.org market, shows a good awareness of the in measure 16. I am not sure whether economy of means. this notation refl ects the fi rst edition

14 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM Reviews

(Leipzig: Breitkopf, 1789; the auto- coeli—although the pieces are not tech- The rather lean texture is part of what a variety of rhythmic and percussive graph manuscript does not survive). If nically terribly demanding and har- makes the score so attractive. Decker motifs, which creates an unusual and the original notation is on two staves, monically fairly conservative (perhaps in thus artfully avoids the enormous danger almost whimsical feeling. Use of mal- the question is whether the use of the keeping with the original material, there of overloading a piece for organ duet with lets makes this piece easily manageable, pedal is indicated at all. In any event, is very little modulation). thick chords or complex (but quite pos- especially on the lower end. about two-thirds of the fugue can easily Frequent off-beat chords in the left sibly hardly audible) counterpoint. The be managed without pedal, and some hand provide rhythmic continuity and added benefi t of this “light” writing is that Triune Praise, arranged by Thomas passages seem more at home in the perhaps a mild “jazzy” element in the the work is practically sight-readable for a R. Pearce for 4–5 octaves of hand- left hand. (The eighth-note D followed corner movements. In the last of the trip- pair of good organists, be it two seasoned bells. MorningStar Music Publishers, by an eighth rest on the downbeat of tych, the “Song of the Country Farmer,” professionals or a teacher with a good stu- MSM 30-870, $4.50, Level 2+ (M+). measure 62 in the “pedal,” coinciding the parallel fi fths and mild (diatonic) dis- dent. That the composer developed her Some tricky rhythmic material makes with an eighth note D in the “left hand,” sonances add a mild Bartókian fl avor. In own mode (based on the Dorian mode, this piece come alive, along with sets of also points in this direction. Likewise, the fi rst piece, “Four Seasons,” the C D but extended à la Messiaen) is surely of polychords in various keys. This original the missing F-sharp in the tenor on C D C D C motive appears to echo Bux- interest to music theorists and other Wise ode of praise is a great tool for learning the downbeat of measure 60 is easily tehude (surely surprised to hear himself Men, but does not need to concern either unusual rhythm patterns as a group. The explained if it coincides with the same in this company!). the performers or the listener. I do love end result will be gratifying. bass note in the same hand.) It is only The edition is generally clear. Here the C-major ending with last line of the from measure 98 that one needs the and there it might have been advisable hymn starting on E-fl at! Praise to the Lord, the Almighty pedal and it is noteworthy that the pedal to divide beams for easier reading. The The “left-hand” quintuplets for the sec- (Stralsund Gesangbuch, 1665), writing is much more straightforward in long trill in measure 2 starts on the C, ond player on the last page surely want to arranged by Hart Morris for 3–5 that section. To my way of thinking, an not two notes earlier on the F. be played with two hands (two notes left, octaves of handbells and organ with edition of the piece on two staves would It seems to me that these pieces are three right); and most second players will optional 8 handchimes. Agape (a be preferable. (Such an edition would of most attractive in the able hands of the want to add the hymn melody in the left division of Hope Publishing Com- course not prohibit anybody from play- composer herself, but organists traveling hand in measures 153–54 (it’s not strictly pany), Code No. 2703, $4.95; sepa- ing the bass in the pedal throughout; nor to Taiwan (or elsewhere in Asia) may necessary, but more fun to play at least rate director/organ score, Code No. do I suggest that this would have been want to take this cute little trio along. with one hand than only with one’s feet). 2703D, $7.95, Level 3+ (D). beyond the abilities of the best of late- This is a piece that deserves to be This setting of the hymn tune Lobe eighteenth-century German organists.) Pamela Decker, Conditor alme sid- played widely in liturgical and semi- den Herren pulls out all the stops, cap- The second piece in the volume, a erum for Two Players at One Organ. liturgical, perhaps even non-liturgical, turing the praise expressed by the text of stand-alone Fugue in B-fl at Major, can Wayne Leupold Editions, WL710012 contexts. Next year’s Lessons and Carols, this beloved hymn. There are a variety also be played conveniently by the hands (2013), $37.00. ladies and gentlemen! of dynamics, and the use of mallets and alone and likewise appears more idiom- Commissioned by Region IV of the —Jan-Piet Knijff handchimes provides a change of mood atic that way. For example, in measures American Guild of Organists for its Louisville Classical Academy from the gala opening statement. A bril- 64–75 the bass is most easily played by 2013 convention and dedicated to the Louisville, Kentucky liant meter and key change brings this the left hand, with the right hand com- Chenaults (“with admiration”), here is an arrangement to a resounding conclusion. bining soprano, alto, and the suspiciously attractive and highly original composi- high tenor without much diffi culty. tion for organ duet. That the piece is not New Handbell Music Reproducible Rings II, arranged In this edition, measure 35 of the terribly long—I would think some eight All Creatures of Our God and King, by Lloyd Larson for 2–3 octaves of G-major fugue starts with an awkward minutes—is perhaps one of its greatest arranged by Linda R. Lamb for 2 handbells. Agape (a division of Hope open octave; surely a tied-over G-natural strengths: a good performance will leave octaves of bells. Agape (a division of Publishing Company), Code No. needs to replace the quarter rest in the the listener wanting more, always a very Hope Publishing Company), Code 2715, $39.95, Levels -2–3 (E+–M). tenor here. In the same piece, perform- desirable thing. No. 2590, $4.50, Level 1+ (E+). These eight hymn settings can be ers would do well to add frequent ties An extroverted in mediis rebus Here is a creatively arranged setting quickly learned and ready to perform in the interest of better legato. As this introduction is followed by the theme, of the tune Lasst uns erfreuen. It with limited preparation time. Creative, standard aspect of performance practice the age-old Advent hymn, sung by begins percussively by clicking mallet engaging settings of these hymn tunes is often overlooked, it might have been the Flute, duly accompanied by the handles together, then playing with mal- should have a broad appeal to both ringer helpful to add ties—dotted or not—in Voix céleste. In the fi rst variation, the lets for the fi rst verse. Some ringing and and listener. the edition. In the B-fl at-major fugue on melody is offered by the Principal, some table damping effects, combined Titles include Ah, Holy Jesus, All the other hand, many tied notes might counterpointed by a solo reed; a second with the “clicking” motif, bring this piece Glory, Laud and Honor, America, the have been respelled without ties (using variation places the tune in the pedal to a brilliant fi nish. Beautiful, Fairest Lord Jesus, I Know dotted quarters, half notes, and dotted (played with a 4-ft. stop, so classy!) with That My Redeemer Lives, Spirit of God, halves). It would probably have been the hands garlanding around it with six- Be Thou My Vision, arranged by Descend upon My Heart, The Day of helpful to print a fl at—even as a cour- teenth-triplets and thirty-second notes. Sandra Eithun for 2 or 3 octaves Resurrection!, and What Wondrous Love tesy—before the last note in the soprano A brief forte interlude is followed by of handbells. Choristers Guild, Is This. Buy one book and copy all the of measure 74. the last variation, a toccata, the melody CGB819, $3.95, Level 2 (E+). music for use by your choir. The Fantasy and—at least in their once again in the pedal, with the length This brief arrangement, based on the —Leon Nelson present form with continuous pedal— of notes creatively varied. familiar hymn tune, Slane, contains Vernon Hills, Illinois both fugues are by no means easy to play. Nicolai’s counterpoint is sound, but that is not always the same as imagina- tive musical writing. Organists may like programming the fugues with the highly unusual Fantasy, however. And of course the connection with J. S. Bach adds sig- nifi cant interest to the musical output of the Nicolai family.

Chelsea Chen, Three Taiwanese Folksongs. Wayne Leupold Editions, WL600279 (2013), $21.50. Chelsea Chen, a graduate from the distinguished organ programs at Juilliard and Yale, has a strong interest in organ culture in Taiwan, or perhaps in the development thereof. As a composer, she has previously come to the fore with a Taiwanese Suite (2003) and Taiwan Tab- leaux (2007). Here are Three Taiwanese Folksongs in equally straightforward and elegant settings for organ. Rieger builds classics It seems to me that the nature of the original material is the most appealing for the future. aspect of these pieces: something dif- ferent, for once, than a Lutheran hymn, a Gregorian chant, or even a French Noël. In Taiwan, in particular, these pieces will fi nd a grateful audience, I’m Rieger-Orgelbau GesmbH sure. Stylistically, Chen seems to lean A-6858 Schwarzach-Vbg., Hofsteigstraße 120 towards the Dupré school—the central T +43 (0) 5572/58132-0, F +43(0) 5572/58132-6 “Cradle Song” is somewhat reminiscent www.rieger-orgelbau.com, [email protected] of Jeanne Demessieux’s intimate Rorate Essen Folkwang University of the Arts, Germany 2014

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 15 In the wind...

“The Ugly Duckling” The many passages that describe the I am a hopelessly besotted fan of handling of those great nineteenth-cen- Patrick O’Brien’s magnifi cent series of tury ships are equally colorful and accu- novels about the British Navy during rate, making two passions of mine that the Napoleonic Wars. Through twenty- are nurtured as I re-read these books. one novels, O’Brien carries his cast of Early on, Jack gets by on his innate characters from exuberant youth to deep seamanship alone, relying on others for old age, hardened by the experiences of the advanced mathematics necessary for more than twenty years at war. The main navigation. But when Stephen is away characters are “Lucky Jack” Aubrey and on a mission and there’s no music, Jack Stephen Maturin. We fi rst meet Aubrey listens in to the on-board schoolroom of as an unruly lieutenant, who matures into his midshipmen (who are young teenag- one of the most illustrious post captains ers), one of whom is so gifted that Jack is in the Navy. Captain Aubrey is impos- shamed into joining in. He is enchanted sibly unlucky and foolish when ashore, by spherical trigonometry (whatever exposing himself to scams, cuckolding that is!), and quickly adds deep scientifi c his superior offi cers, and occasionally skills to his toolbox. That student, whose winding up in prison for debt. When at fi rst name is Richard, is “horribly disfi g- A frigate Nave of St. John the Divine (photo credit: sea, he is universally admired for his sea- ured” by acne and is given the nickname Helena Kubicka de Bragança, courtesy of the Cathedral of St. John the Divine) manship, leadership, intuition, courage, of Spotted Dick, which is a dessert dish and cheerful demeanor. of custard and currants, popular among His close friend is Stephen Maturin, a the offi cers. of the client, who nods his head, signs the The Meyerson Fisk is a landmark in complicated and curmudgeonly charac- Several novels later we meet up with contract, and hopes for the best. my opinion, as it was the fi rst of a new ter, who is a physician and “natural phi- Spotted Dick again, acne long past, who I often hear comments from parishio- wave of brilliant concert instruments losopher” (biological researcher). When has matured into a “seagoing Apollo, ners indicating that it had never occurred with tracker key action. we meet him he is fl at broke because his perfectly unaware of his beauty.” He is to them that the organ was separate from And let’s not forget that early in the wealthy patient died, and a servant made serving as fl ag lieutenant under Admiral the building, that it required mainte- twentieth century, a tribe of brilliant off with all the money. But as the story William Pellew, also a musician who nance, and was in any way sensitive to concert organists, many of whom as progresses, we learn that he is not only “never sailed with anything less than a what goes on around it. How often have municipal organists were city employees, widely recognized as a brilliant scientist, clavichord,” and “required his steward we fi nished a project, only to learn that played with just as a great a dynamic and but is one of the most important mem- to take tuning lessons” in a long series the fl oors of the church would be sanded expressive range, as they explored the bers of the British Naval Intelligence of unlikely foreign ports, and who was and refi nished the next month? How extraordinary, newly conceived electro- Service. Stephen is responsible for much known for “his appreciation of beautiful could that have failed to come up as we pneumatic instruments being produced of Jack’s seagoing success as he cooks up young men.” neared the end of the project, BEFORE by such innovators as Ernest Skinner. secret missions, insisting that Jack sail as The transformation from “Spotted we put the reeds in? Perhaps twenty years ago, I was having captain with him. Dick” to “A Seagoing Apollo” reminds a conversation with organ historian and In the opening paragraphs of Master me of Hans Christian Andersen’s tale, A shuttered view consultant Barbara Owen, during which and Commander, the fi rst novel in the The Ugly Duckling, in which all the It’s easy enough to understand inno- she asserted, “We need to get the organ series, Jack and Stephen meet at a con- farmyard creatures make fun of the cent ignorance regarding the organ as a out of the church.” At fi rst I thought that cert, and the fi rst days of their friendship clumsy, unsightly little black bird and musical instrument, but it troubles me to was ridiculous. After all, without the are based on music, the one thing they receive their comeuppance when he realize that more than a few prominent long illustrious history of the organ in have in common. Jack convinces Stephen matures into a beautiful swan. symphony conductors consider the pipe church, we wouldn’t have the pipe organ to sail with him in his fi rst command to organ to be expressionless. I think this today. But refl ecting on the (let’s face it) serve as ship’s surgeon, allowing him to There’s no such thing notion comes from the concept that a diminishing role of organized religion take advantage of world travel to fuel his as bad publicity. violinist, clarinetist, or trumpeter can in American society, it’s true that if we scientifi c studies. Over the years working in the organ alter the volume and timbre within the would only fi nd organs in churches, most Stephen plays the cello and spends a business, I’ve enjoyed it when our proj- duration of a note, while a single organ people would never hear an organ. lot of time during long voyages, between ects have attracted the attention of the pipe can only play a single note at a sin- battles, arranging various masterpieces local press. When a little weekly country gle volume level. Also, the classical idea How ordinawy for them to play together. Jack plays the newspaper gets wind of an organ project of terraced dynamics, which has played So says Madeline Kahn as Lily von violin, well enough that having received in a church, they show up fl annel-shirted such an important role in our study Shtupp as she receives a gift of fl owers a “fortune in prize money” for capturing with camera hanging from a strap and of historically informed performance, in Mel Brooks’s zany 1974 movie, Blaz- an enemy vessel, he indulges himself in ask ridiculous, ubiquitous questions. As enforces the idea of the uninitiated that ing Saddles. the purchase of an Amati violin. (Ste- we answer, we can tell that they don’t the pipe organ is unexpressive. When we think of the pipe organ, we phen goes to the shop with him to offer understand what we’re talking about, and These are simplistic views. Organ- might be thinking of the grand and glori- his opinion about the instrument.) invariably, when the story is published it’s ists know that expression comes from ous instruments that knock our socks off They both play quite well for ama- full of inaccuracies. I remember a front- the manipulation of stops and shut- in church and in the concert hall. But teurs, often sharing a game of improvisa- page photo of my teenaged self proudly ters. It’s a physical and mechanical fact we have to admit that for every inspiring tion and fi nding relief in blasting through holding up a stenciled façade pipe, that any accent, crescendo or decre- and beautiful organ, there are at least their favorite pieces, such as the “often bearing the caption, “Organbuilder John scendo, “soloed out” melody, change two dowdy old tubs lurking in dusty bal- played, yet ever fresh Corelli in C Major.” Bishop voices an organ pipe.” That made of timbre—in short, any alteration of conies. Through decades of working in Night after night in the captain’s cabin, two promotions for me—to organbuilder dynamics at all—is accomplished by the and around organs, I’ve been aware that Aubrey’s steward, Preserved Killick, pre- and voicer—and my co-workers bowed organist manipulating “the machine” thousands of people think of the organ pares toasted parmesan cheese in a silver and scraped appropriately, tongue in by pushing buttons, operating pedals, as a wheezy, murky thing that utters chafi ng dish, complaining to his mate cheek, dope-slaps included. drawing stops, each motion in addition incomprehensible sounds at unexpected about the horrible noise of the tuning, As I grew into my newly acquired “in to the simple playing of notes. The moments. (I suppose that some of this “There they go again, screech, screech, name only” skills (I’m still not much of a uninitiated may focus on the machine, may be operator error.) scrape, scrape . . . and never a tune you voicer—I rely on my smarter colleagues but the effect is all art. I’ve written many times that it was could sing to, not if you were drunk as for that), I learned to understand that The apparent ugly duckling blossoms the corporate assessment of these dull Davie’s sow . . . “ the pipe organ is an arcane subject. I into the dramatic and beautiful expres- cousins that inspired the revival of clas- The musical subplot is always bubbling received an important lesson from a sive instrument. sic styles of organbuilding that ultimately through this massive tale. It’s accurate member of a church where the Organ I believe that the modern pipe organ, led to the further revival of interest and learned, and often very funny. One Clearing House was delivering a rebuilt with its sophisticated combination in the spectacular electro-pneumatic afternoon while in London, Jack takes organ. We had organized an “Open actions and effi cient and effective expres- instruments that dominated the early refuge in a church where he is delighted House” in the nave of the church the sion enclosures, is the most expressive of twentieth-century. Many people defi ned to fi nd that the organ is being played, but evening after unloading the truck. Some musical instruments. The skillful organ- this movement as “organ wars,” known as halfway through the piece, it whimpers fi fty people showed up, and I walked ist can take the listener smoothly from a the battle between electric and mechani- to a stop mid-phrase and a surly teenager about through the heaps of bewildering distant whisper to a heroic roar in a few cal actions. But it was deeper than that— lurches out of the loft and onto the street. parts, picking things up and explaining seconds—and today’s large instruments I think it was the battle between good The priest who was playing comes down, their purpose, trying to give the group a have a greater dynamic range than a full and bad organs. Something had to be apologizes for the sudden stop (the teen- general idea of the assortment of com- symphony orchestra. done in response to the content-lacking ager was pumping the organ and the hour ponents it takes to make up a working There’s an apocryphal story that I factory-produced organs of post-World was up), and Jack compliments the beau- pipe organ. One gentleman spoke up, believe is true about the fi rst rehearsal of War II America. tiful playing, “Händel, wasn’t it?” The saying that now he understood why it all the Dallas Symphony Orchestra with the There’s that ugly duckling again. priest mentions that the organ was built cost so much. brand-new Fisk organ in the Meyerson by Father Willis. Jack offers to pump the When an organbuilder is selling or Center. The orchestra was preparing The best of both worlds organ himself so he can hear the end of planning a project with a committee of a (of course) Camille Saint-Saëns’ Organ Last Thursday night, one of Wendy’s the piece. As the music continues, Jack client church, he may be the only person Symphony. When the last movement clients treated us to fancy “down front” starts chuckling as he thinks, “it would be in the room who understands the subject. started with the monumental C-major seats at Paul Winter’s “Winter Solstice a pity to leave Händel (handle) up in the Through those experiences, I realize chord from the organ, a trombone player Celebration.” The venue was New air for lack of wind.” what a responsibility it is to carry the trust raised a white fl ag with his slide. York’s Cathedral of St. John the Divine,

16 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM By John Bishop

sun, depicted as the mother of all gongs the staff of QPO with the installation of in polished, spotlighted brass, rose out the completed organ. It was a thrill for the depths and ascended to a dizzying us to experience that building “up close height. The thing must have been ten and personal,” learning the legends of feet in diameter, big enough to look the place and experiencing the singular dramatic in that vast place. It was accom- acoustics when the space was empty. panied toward the heavens by a safety- The organ was used heavily during the harnessed “Gonger,” wielding a mallet Paul Winter extravaganza, and I wept of suitable heroic size in a slow rhythm as we were enveloped by its gorgeous that produced a crescendo of earth- tones. The emotions generated by the shaking tones that echoed throughout scope of the sound were enhanced by the cathedral. memories of the spooky heights of the Wendy and I have visited the site of hoisting scaffolding, the diffi culties of the quarry where those fi fty-foot high getting four semi-trailers full of organ columns were made on a specially built parts into the hundred-feet-up organ lathe. It’s in Maine on the island of chambers, and the incongruity of logis- Vinalhaven in Penobscot Bay. As the tics meetings held while sitting in folding through which he played were almost Philippe Petit (photo credit: Chrisa Hickey, spectacle of the sunrise unfolded, I chairs surrounding the bronze medallion directly in front of us, the organ was by licensed under CC by 3.0) remembered that visit and marveled at in the chancel fl oor. far the more present—a triumph for the role those columns were playing in Through the miracle of concert tech- acoustic music. that glorious theater. nology, the instrumentalists on the stage The majesty of the room, the creativ- affectionately known as St. John the In 2008, Quimby Pipe Organs com- in the Great Crossing were effortlessly ity of the music and the production, the Unfi nished. It’s a grand Gothic structure pleted a comprehensive rebuilding and accompanied by the organ, more than energy of the instrumentalists, singers, on Amsterdam Avenue, unfi nished as renovation of the cathedral’s great Skin- a hundred feet away. I pointed out to and dancers, and the enthusiasm of the the West End façade and towers are not ner/Aeolian-Skinner organ. The Organ our hosts that the organ was the only vast audience (must have been over complete, transepts haven’t been built, Clearing House was privileged to play instrument that was not amplifi ed, and three thousand people) combined to and interior stonework is incomplete. a role in that herculean job, providing while Paul Winter’s soprano saxophone create a beautiful artistic and spiritual We understand that it will remain in scaffolding and rigging and assisting was much nearer to us, and the speakers experience. What’s wrong with that? Q this state of perpetual incompletion. The six-hundred-foot-long interior is breathtaking, and it has all the functions, chapels, and memorial spaces needed for majestic worship and pageant. As an unfi nished edifi ce, it’s a metaphor for Work in Progress, symbolizing the state of religious celebration and thought. INSANITY \ in-’san-et-é\ noun: I am well aware that many colleagues disagree with the frequent secular use Doing the same thing over and over of that most grand of sacred spaces. Since the twelfth century, worshippers again and expecting different results. have been building Gothic spaces out of stone—spaces that are so lofty and ~Albert Einstein massive as to be inspirations to us before the introduction of any content, whether religious or secular. The Episcopal Diocese of New York has condoned and How many electronic organs will your promoted the liberal use of its landmark space for decades. congregation purchase before they realize On August 7, 1974, Philippe Petit sur- reptitiously strung a high-wire between WKDWDSLSHRUJDQODVWVLQGHÀQLWHO\" the two towers of New York’s World Trade Center and famously spent forty- fi ve minutes walking back and forth, saluting, kneeling, even lying on the wire. New Yorkers were transfi xed and the police were baffl ed by the spectacle. That incredible feat and the years of planning that preceded it are documented in the award-winning documentary fi lm, Man on Wire. To commemorate that singular public expression of self-confi dence, the- ater, and the human spirit, the Cathedral of St. John the Divine includes Petit on a long list of Artists in Residence and has installed permanent fi ttings in the fabric of the building that allow him to hang a high-wire across the nave. For thirty-fi ve consecutive years, the cathedral has hosted the Paul Winter APOBA.COM Consort’s celebration of the winter sol- stice. The heavily amplifi ed instruments 1-800-473-5270 of the Consort (saxophones, oboe, cello, bass, keyboards, percussion) and the Latino night-club style of Puerto Rican headliner Danny Rivera are not the usual Call today for fare of Episcopal cathedrals, but the pro- duction standards, the choreography, and APOBA’s free 66+ the iconography combined to provide a deeply moving spiritual experience. page color prospectus We were especially moved by the depiction of the sunrise that ended the fi rst half of the three-hour production. A procession down the length of the BUILDER MEMBERS SUPPLIER MEMBERS seemingly endless nave, up the steps ANDOVER ORGAN COMPANY DOBSON PIPE ORGAN BUILDERS NOACK ORGAN COMPANY, INC. QUIMBY PIPE ORGANS, INC. A.R. SCHOPP’S SONS, INC. BEDIENT PIPE ORGAN COMPANY GARLAND PIPE ORGANS, INC. PARKEY ORGANBUILDERS RANDALL DYER & ASSOCIATES, INC. HARRIS PRECISION PRODUCTS to the chancel, and all the way to the BERGHAUS PIPE ORGAN BUILDERS, INC. GOULDING & WOOD, INC. PARSONS PIPE ORGAN BUILDERS SCHANTZ ORGAN COMPANY INTEGRATED ORGAN TECHNOLOGIES, INC. great granite columns that defi ne the BOND ORGAN BUILDERS, INC. HOLTKAMP ORGAN COMPANY PASI ORGANBUILDERS, INC. SCHOENSTEIN & CO. SOLID STATE ORGAN SYSTEMS apse was accompanied by brilliant music BUZARD PIPE ORGAN BUILDERS, LLC J.H. & C.S. ODELL PATRICK J. MURPHY & ASSOCIATES TAYLOR & BOODY ORGANBUILDERS SYNDYNE CORPORATION C.B. FISK, INC. KEGG PIPE ORGAN BUILDERS PAUL FRITTS & CO. ORGAN OSI - TOTAL PIPE ORGAN RESOURCES dominated by the sounds of more than CASAVANT FRÈRES LÉTOURNEAU PIPE ORGANS PETERSON ELECTRO-MUSICAL PRODUCTS a dozen great bronze gongs. Dramatic lighting and smoky effects focused on the distant front of the church as the

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 17 On Teaching

Sight-reading II Visual factors any sort of bi- or tri-focal or progressive you have what might be called interpre- The fi rst thing that is required for It is interesting that the best position lenses. Not everyone needs to make a tive reactions—“how would this sound if effective sight-reading is that the read- at which to read music is not the same change in this department. But if your I . . . ?” or “this should be more free, or ing process itself not be impeded by from one person to another. This has to visual focus on the music desk is uncom- more clear, or more jaunty, or . . . ” then anything practical. It is ineffi cient—and do in part with eyesight, and in part with fortable, then correcting that is crucial. you should just ignore those feelings. In unfair to yourself and to your efforts—to habit. But it also has to do with the mat- any case, nothing except getting the next work on sight-reading when there is too ter of the dominant eye. There is a simple All things considered: note or notes on time and in the right little light, or when you are trying to test that you can do to determine which Practice vs. performance rhythm has any priority whatsoever. This read from music that is small, cramped, of your eyes is dominant. Sit or stand I am writing this about sight-reading. It also includes anything having to do with poorly photocopied, annotated in a way comfortably with your arms at your side. is also true of any playing: just even more registration, being on a keyboard other that obscures the notes, or for any other Look at something in the middle distance. important for sight-reading. The same is than the one you want to be on, swell reason diffi cult to see. There are times Point to that thing with one of your index true of other aspects of work on playing. pedal position, and so on. Finally, if you when we can’t avoid problems of this fi ngers—fairly quickly and spontaneously, To turn it around for a minute, much of have to omit part of the texture—notes, sort. It is easy to forget that these things without stopping to think about anything. what I have written about recently (and chords, inner voices, one and/or the matter, but they do: it is worth some Without moving your arm, hand, or fi nger, over the years) in connection with play- other, or the feet, or conceivably one trouble to get all of this right if possible. close fi rst one eye and then the other. You ing and learning to play is applicable to foot—then that is all right: much better Copying onto clearer paper, enlarging, should observe that with one eye open working on sight-reading, or just to the than breaking rhythm. erasing unneeded notes: all good ideas. your index fi nger is actually pointing to the act of sight-reading, only more so. This is This stance or approach or attitude Setting up good lighting: an extremely spot that you tried to point at, and that with true, for example, of not needing to look is very different from what we want good idea. (And of course, good light the other eye open it is not. The eye that at the hands and feet very much, and of in “real” performance. However, it is should light the pages evenly, not cast shows your fi nger pointing at the object being committed to keeping the music uncannily similar to what performance bright light here and shadows there.) is your dominant eye. This is completely going, as well as of having an openness to can feel like if something starts to go If there is a choice of edition, large different from the vision that is tested seeing the keyboard score as being one wrong (as it really does at least once in a size and clarity should be taken into by an eye doctor or optometrist. You can texture played by ten fi ngers (rather than while for everyone). When playing feels account. (They don’t trump accuracy of see music more easily on the side of your the upper staff’s being the right hand like this, we indeed often actually say, the musical text and any of its historical dominant eye than on the other side. part and the lower staff the left hand) “It was as if I had never seen that piece or musicological aspects when it comes Speaking of vision tests, it is most and being in the habit of paying atten- before.” Therefore, practicing sight- to learning and performing pieces, of important that your eyes’ focus on the tion, in the pedals, to what each foot has reading with this attitude also constitutes course, but they might for practicing music as it sits on the music desk be cor- last been doing, not just to what the last practice keeping any playing going when sight-reading.) rect. Or in other words, that your glasses’ note of the pedal part was. doing so partakes (fl eetingly, we all hope) It is also worth remembering to posi- prescription be right. Most reading It is also true that any habitual of that feeling of hanging on for dear life. tion the music in the most sensible way glasses are designed to focus too near to approach to fi ngering can be an aid to along the music desk. It is natural to put the reader’s eyes—maybe about fi fteen sight-reading. It is likely that part of A system for sight-reading the beginning of a passage at the exact inches—to be good for reading music the reason for the existence of “normal” So what does it take to practice sight- spot that seems easiest to read from on the music desk of a keyboard instru- fi ngerings for certain kinds of pas- reading systematically? As with aspects (very possibly the middle) and then ment. That distance is usually more like sages—scales and chord shapes, primar- of doing sight-reading, practicing sight- to have to cope with the fact that two- twenty-two inches. It is not a problem ily—is that those fi ngerings can, by their reading is not so different from practic- thirds (or so) of the music is sort of off to for an optometrist to create glasses that very nature as unconsciously available ing any other keyboard skill (in particu- one side. It is fi ne to slide music about focus for reading at twenty-two inches, defaults, make sight-reading easier. The lar, practicing pieces to learn them) but to get the part that you are currently but you must ask for this. These should details of those fi ngerings have varied just requires being mindful of what the reading into the best position, if there is specifi cally focus at whatever distance with time and place, for reasons that emphasis should be. time to do so. This can’t always come out you think is right for you, or that you don’t in themselves have anything to do First of all, in order to practice real perfectly, but it is worth remembering to actually measure. They should be tra- with sight-reading. It is the very fact of sight-reading, it is necessary to have a think about. ditional single-focus glasses, not part of their being learned defaults that makes fairly extensive source of printed music them relevant to sight-reading. available to you that you have never On the other hand, there is one played and don’t know very well (or at major theoretical confl ict between all) by ear. Very few of us want to pur- sight-reading and ideal performance. In chase a lot of music expressly for the sight-reading, keeping the piece going is purpose of playing through it exactly an absolute requirement. It should be once: that seems wasteful. There are in any performance as well, of course, a few ways to approach this. Of course and also in practicing. However, in you can acquire music that you are going sight-reading, by defi nition, no interpre- to want to learn or to use for something tive decisions have been made, and no beyond sight-reading practice, and then interpretive ideas have been brought to use it (once) for sight-reading practice. LAWRENCE PHELPS bear on fi ngering and pedaling choices. You can download free music, print it ORGANBUILDER So it must be very clear that interpretive out, and then, if you don’t have a musical dimensions of the “performance” do not use for it later on, use the reverse sides as LAWRENCE PHELPS greatly influenced have any priority. If in order to get the scrap paper. You can put a computer— mid-20th-century American organbuild- next notes you must use a fi ngering that perhaps a tablet or something—on the ing through his design and use of com- creates a detached articulation when music desk and sight-read directly off you might have preferred legato, or a the screen. You can get music from the pound stops, his advocacy for a return pedaling that undermines clarity, or if library, or fi nd old volumes out of which to slider windchests, more empirical scal- an ornament has to be too slow or too you played just some of the pieces. (Just ing of pipes, full encasement, and me- fast or badly timed, or, for that matter, be careful to avoid the ones that you chanical action. Burton Tidwell’s study omitted, that must be judged to be OK. did play before: that really wouldn’t be Likewise if, as you hear the music go by, sight-reading.) chronicles Phelps’s prolific work from his tonal design of the monumental Ae- olian-Skinner in Boston’s Mother Church and his pioneering work as tonal direc- The Sound of Pipe tor of Casavant Frères, to the organs built by his own company, Lawrence Organs Phelps & Associates. Profusely illus- M. McNeil, 191 pages A new technical study of the trated, the book pays homage to the relationships between scaling, quest of one musician to realize his vi- SUBSCRIBE NOW! voicing, the wind system, and sion of an ideal vehicle for communicat- RESERVE YOUR COPY OF THIS tuning. Search on the title at ing the great body of idiomatic organ lit- UPCOMING PUBLICATION ONLINE AT: the Organ Historical Society erature while inspiring other musicians and Amazon websites. and composers. WWW.ORGANSOCIETY.ORG/OHSPRESS

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18 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM By Gavin Black

The good news is that, just as anyone So, once there is music on the desk will be? This involves compromise, and can work on any piece no matter how and you are ready to drill sight-read- different people can fi nd their own exact diffi cult or “advanced” it is—if he or ing, what should you do? Essentially ways. I would say that choice of tempo can she will keep the tempo slow enough— just start playing, but slowly, with a very depend in part on key signature—which likewise any music can be used for strong commitment to moving your eyes you should look at in advance—and on a sight-reading practice if you are willing forward systematically, and keeping the very rough scan of the overall density of to use an appropriate tempo. There is playing going. notes. For some people this rough scan nothing wrong with using music that is Again, this is not so different from should include noticing how active the fairly simple—simple enough that you practicing a piece. In a sense, the main pedal part is, how many accidentals there can sight-read it at a tempo that makes difference is just that you have purposely seem to be, how much is chordal and it “sound like music.” However, there put a piece in front of your eyes that you how much is scale or passage-work, and is no reason to stick only to that sort have not seen before. Some differences what the smallest common note-value is. of music. Since really well-developed in emphasis are these: The correct slow enough tempo has to do sight-reading is a coping skill of sorts, it —You should just ignore and forget not with the “beat” as defi ned by the time is not a bad idea to work on practicing whatever just happened (no need to try signature, but with the smallest prevail- sight-reading with anything that you can to remember any problems in the back ing note value. throw at yourself at random. However, of your mind to inform future practice, I mentioned last month that I myself actually did next. Subconsciously your again, it is only good practice if you keep as we would do when playing a piece that can do a spiffi er job of sight-reading mind narrows down the possibilities and the tempo realistic: the more diffi cult the you are working on to learn); pieces that are in styles most familiar to likelihoods about where your fi ngers sight-reading, the slower the tempo. —You should use your eyes very pur- me as a performer than I can music with and feet should be heading. This also I should mention here that there are posefully, scanning a note or two ahead, which I have less learning and perfor- explains why different people fi nd dif- nowadays quite a few websites that offer scanning steadily up and down—all the mance experience. I can sight-read Bux- ferent repertoires diffi cult. But, since we music for sight-reading practice. I will voices or components of the texture; per- tehude or Scheidemann or Froberger are talking here about sight-reading, we not mention specifi c ones, as I don’t haps you should use a voice in your head more readily (which essentially means at should note that these perceived differ- have enough experience with any one of to explicitly mention pitch names as they a tempo closer to performance tempo) ences in diffi culty are often mediated by them to offer an assessment (let alone an come up (I seem to fi nd this helpful, than I can Reger or Widor or Rhein- assumptions or experiences of trying to endorsement) and, of course, they are though I could also imagine its being a berger. I am certain that this is about sight-read different types of repertoire, likely to change all of the time. At any distraction); my experience and the expectations that rather than trying to practice it patiently moment when you are undertaking to —You should be consciously aware of it creates, not about anything intrinsic and systematically. Practicing sight-read- practice sight-reading systematically (or not expecting any pre-awareness (or so- to the repertoire. The “hardest” Reger ing unfamiliar repertoire can be fruitful a student is), it is not a bad idea to do a called “muscle memory”) to kick in; pieces, for example, are probably harder in de-mystifying that repertoire and search on a phrase such as “sight-reading —As we have said, you should neither than the hardest Buxtehude pieces, but in making the real learning process for materials” or “sight-reading resources” look at and study the pieces and passages I believe that in developing my under- that repertoire seem more accessible, if and see what turns up. Some of these in advance, nor use the same material standing of my own experience with that sight-reading is done (again) slowly services offer music that you or the stu- more than once. sight-reading I am correcting for that. enough and with good focus. Q dent will certainly not have seen before, “Not looking” is important, but also I do believe that most players can more since it is generated for the purpose. creates a sort of paradox. If in order to readily sight-read music that is closer in Gavin Black is director of the Princeton They mostly do seem to offer music practice sight-reading strictly you need compositional style to music that they Early Keyboard Center in Princeton, New arranged according to a diffi culty scale. to have the sight-reading moment be the have studied and played. I assume that Jersey. He has recently begun making I would probably recommend some of fi rst time you so much as glance at a piece, the mechanism of this is that a kind of informal recordings of some of his harpsi- the time sticking to the next few pieces but you also want to do the sight-reading generalized “muscle memory” kicks in: chord and organ performances available up in that scale, and some of the time practice at a slow enough tempo, then that you can anticipate what the com- through Soundcloud: https://soundcloud. leap-frogging ahead a bit, and slowing how do you determine, even approxi- poser probably did next, even though com/gavinblack. Gavin can be reached by the tempo down. mately, what that slow enough tempo you don’t know what the composer e-mail at [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 19 Convention report

OHS 2014: Syracuse Pipe Organ Holiday The Organ Historical Society’s Annual Convention, August 11–14, 2014 By John L. Speller he Organ Historical Society’s 59th TAnnual Convention took place in central New York with the historic Genesee Grande Hotel, Syracuse, as convention headquarters, though some of us stayed at the equally pleasant Park View Hotel three or four blocks away, owing to a lack of accommoda- tion at the main hotel. One might not normally bother with such details, but I would like to begin by mentioning that Birnie’s Bus Service of Rome, New York, provided the OHS with the best bus ser- vice I think I have ever experienced on any convention. I also have to say that after the Vermont convention of last year, perhaps the best OHS convention ever, I was not expecting the Syracuse convention to be nearly as good. But in the event, I was very presently surprised to fi nd that, if a little shorter than last year’s, it was in many ways equally fi ne. Silviya Mateva Bryan Anderson Kola Owolabi Enormous credit for this is due to Ryan J. Boyle, the chair of the convention, showman in the tradition of Virgil Fox screechiness in the voicing, such as one belonged to Trinity Episcopal Church in and his committee, as well as the Rich- and, ably assisted at the console by his fi nds in many instruments of the period. Bethlehem, Pennsylvania, which origi- mond staff and the Board of Directors frog Harry, gave us a very entertaining That such an instrument could sound so nally possessed an 1872 Willcox with a of the OHS. recital. His performance of the Aria from fi ne in a relatively unfavorable acoustic practically identical stoplist; this organ Bach’s Suite in D Major, BWV 1068, is a great tribute to the Tellers fi rm. The had been electrifi ed by Durner c. 1920 Sunday, August 10, and reminded me a great deal of Virgil’s. organ proved an excellent medium for and replaced by Aeolian-Skinner Opus Monday, August 11 Among other things, he gave us some Bach’s Prelude and Fugue in E-fl at (“St. 1240 in 1955. On Sunday, August 10, there was a very interesting stereophonic cuckoo Anne”) while Jean-Yves Daniel-Lesur’s I was therefore looking forward to pre-convention tour of New York State effects in the Allegro from Handel’s haunting In Paradisum gave Joby Bell hearing what an original Willcox sounded wineries, and on Monday morning Organ Concerto No. 13 (“The Cuckoo the opportunity to show off the contrast- like, as there are very few of them still there were further wine events, tours, and the Nightingale”), and ended with ing fl utes of the Antiphonal and Echo around. Organist and organ-builder J. H. and museum visits. The pre-convention an improvisation on a submitted theme, divisions. The recital ended with a fi ne Willcox was one of several members of events included a recital by Jillian which turned out to be the hymn tune performance Sowerby’s Pageant. the E. & G. G. Hook fi rm that left and Gardner, a student of James David Lasst uns erfreuen, fi nishing with a We proceeded then to St. Anthony started their own companies shortly after Christie at the Oberlin College Con- skillfully improvised fugue. of Padua Catholic Church in Syracuse Frank Hastings took over from the Hook servatory of Music. Gardner’s recital where Silviya Mateva, one of last brothers. After a couple of years, J. H. took place in the Lodi Historical Society Tuesday, August 12 year’s OHS Biggs Fellows, treated us to Willcox & Co. morphed into Hutchings, on E. & G. G. Hook Opus 140, a two- Tuesday, August 12, began with a short a recital on the church’s 1951 Casavant Plaisted & Co., and then into Hutchings manual organ built in 1852. bus trip to Temple Concord in Syracuse. organ. This organ, which replaced an & Co. I was by no means disappointed The convention proper, however, This is one of the oldest Reform syna- earlier one by Morey of Utica, was an in my expectations, since the Willcox began at 8 p.m. on Monday evening gogues in the United States; its present old-style Stephen Stoot Casavant, built at organ turned out to be one of the out- with Hector Olivera’s recital on the building dates from 1911. the time when the fi rm had hardly begun standing organs of the convention, and 1952 Walter Holtkamp, Sr., III/61 Joby Bell treated us to a recital on the to take note of the neo-classical move- Christopher Marks gave an excellent organ, Job number 1659, in Hendricks IV/44 Tellers organ, Opus 998 of 1965. ment. Its rich tone suited it extremely recital on it. The organ has some exqui- Chapel, Syracuse University. This organ The Tellers Organ Company, successors well to the Elegy of William Grant Still, site strings and fl utes, a bright, sparkling incorporates much of the action and to A. B. Felgemaker & Co. of Erie, Penn- and Ms. Mateva made good use of the Great chorus and a surprisingly impres- pipework from the previous Aeolian sylvania, was of course a relatively local Swell Cornet as a solo stop in Bach’s sive full Swell. Among other things, the organ, Opus 1771 of 1930. The instru- company in this part of the country. I Chorale Prelude on ‘Allein Gott in der recital included some interesting pieces ment was designed in consultation had never heard any of their instruments Höh sei ehr,’ BWV 662. Lionel Rogg’s by American composers. Among these with the redoubtable Arthur Poister from the 1960s before and was quite Partita on ‘Nun freut euch’ also came off were the Miniature Suite of James H. (1898–1980), who served as music impressed with the sound of this organ. very well despite being a modern piece Rogers (1857–1940) and the Variations director of Hendricks Chapel from 1948 It has a neo-baroque specifi cation, but is in neo-baroque style. I did feel, however, on an American Air (Stephen Foster’s to 1965. Mr. Olivera is, of course, a great a warm sound with no tendency toward that the organ was a little heavy for the “Old Folks at Home”) by I. V. Flagler Buxtehude Präludium und Fuge D-Dur, (1844–1909), of whom there will be BuxWV 139, and though it was very well more to say more anon. The recital con- played, I rather wished she could have cluded with the fi rst ever performance of chosen a piece more suited to this par- Romance and Tarantella by Kurt Knecht ticular instrument. (b. 1971), commissioned for this conven- After lunch at the Franciscan Church tion by Christopher Marks. of the Assumption, where we were Later in the afternoon, we went able to inspect the historic plumbing to Westminster Presbyterian Church in the restrooms, we took the buses in Syracuse to visit another delight- to St. Cecilia’s Catholic Church in ful tracker organ, a II/21 instrument Solvay, New York. The City of Solvay William A. Johnson of Westfi eld, Mas- developed largely around Ernest Sol- sachusetts, Opus 43 of 1855, enlarged vay’s ammonia-soda process for the by Johnson & Son c. 1865. The recital production of sodium carbonate. The was given by Robert Kerner, one of Solvay plant closed in 1986, leaving the the principals of the organbuilding fi rm city both economically depressed and of Kerner & Merchant, and again we environmentally compromised, but fol- were by no means disappointed. Though We are working in your area, how can we help you? lowing massive redevelopment, things more refi ned and less brilliant than the have greatly improved in recent years. Willcox, the Johnson organ proved to I was particularly looking forward to be an excellent medium for both clas- hearing the organ at St. Cecilia’s, a II/15 sical and romantic music, including tracker by J. H. Willcox & Co. of Boston, Sweelinck, Buxtehude, Bach, Franck, Opus 23 of 1872. Since in the 1980s, I and Boëllmann. Kerner included some

20 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM John Ronald Daniels at St. Mary’s, Cort- land, Morey & Barnes Opus 165

Westminster Presbyterian, 1855 William A. Johnson Opus 43

St. Cecilia’s Catholic Church, Solvay, 1872 J. H. Willcox Opus 23 movements from Franck’s L’ Organiste, and I thought the beautiful fl ute stops of the Johnson organ were particularly effective in these. We heard again the Prière à Notre-Dame from Boëllmann’s Suite Gothique, also included in Hector Olivera’s recital at Hendricks Chapel the previous evening, and I have to say I much preferred hearing Mr. Kerner play Annie Laver plays 1966 Brombaugh it on the Johnson. Opus 2 at Trinity Lutheran, Utica Later in the afternoon we took the buses to Plymouth Congregational Church in Syracuse, which is the home of one of the fi nest four-manual Möller organs I have ever heard, Opus 5827 of 1930, with some tasteful additions made by Kerner & Merchant in 2012. The organist was Bryan Anderson, a four-year student at the Curtis Institute who is surely going to be one of the out- standing organists of his day. Brilliant, yet quiet and unassuming, he played the recital entirely without music. The main work in his program was Karg- Elert’s Homage to Handel, a series of 54 variations on a ground bass. Besides being highly virtuosic, this is a wonderful piece to demonstrate an organ, since in the course of its 54 variations it uses just about every registration conceivable. First Unitarian Society of Ithaca, 1975 Following cocktails and dinner at the Setnor Auditorium, Syracuse University, 1950 Holtkamp Job number 1649 Hellmuth Wolff Opus 16 Drumlins Country Club, we fi nished Tuesday’s program with a recital given by the middle of the recital, we also heard Following some several solo organ short recital by Annie Laver on John the Syracuse University Organist (now Owolabi play J. G. Walther’s Partita on pieces by Théodore Salomé, Daniels was Brombaugh’s Opus 2 of 1966, a small on the University of Michigan faculty), ‘Meinen Jesum lass ich nicht’ on the other joined by the Clinton String Quartet one-manual-and-pedal instrument of Kola Owolabi, with Gabriel DiMar- organ in Setnor Auditorium, a I/4 tracker in Salomé’s exceptionally beautiful Ber- nine ranks. The recital included works tino, trumpet. This was performed on with pull-down pedal by the Strasbourg ceuse, op. 59, no. 5 (1894). This piece by Buxtehude, Böhm, and Reincken. another three-manual Walter Holtkamp, fi rm of Schwenkedel, Opus 123 of 1968. was written for a concert organized by Following lunch at First Presbyterian Sr., organ, Job number 1649 of 1950, in It is a very pretty little instrument of its Guilmant, but not performed, and has Church (whose fi ne IV/84 instrument the Setnor Auditorium, Crouse College, kind. And so to bed . . . rarely if ever been performed since until by Russell & Co., Opus 47 of 2006, Syracuse University. It incorporates now. Following it came Rheinberger’s we were unfortunately unable to hear pipework from previous instruments by Wednesday, August 13 well-known Cantilène from Sonata 11, owing to construction work in the Roosevelt and Aeolian. It was a ground- The Wednesday program required us which furnished an opportunity to show church) we went to the First Unitarian breaking instrument at the time it was to get up a little earlier than normal for off the organ’s uncommonly fi ne Oboe. Society of Ithaca, New York, which is completed. Crouse College was originally a day trip to Ithaca, New York. On the The Trumpet was similarly showcased in the home of Hellmuth Wolff & Associés the women’s department of Syracuse way we stopped at St. Mary’s Catholic David N. Johnson’s Trumpet Tune in E. Opus 16 of 1975. This is a II/26 tracker, University; then it became the perform- Church in Cortland, New York, where The recital ended with Lefébure-Wély’s and it has a sister organ in Wolff’s Opus ing arts center, and now—the artists John Ronald Daniels gave us a recital wonderfully tasteless Boléro de concert. 6, formerly in the Anabel Taylor Chapel and dramatists having moved to other on the church’s II/21 Morey & Barnes I shall probably not be around to see it, of Cornell University in Ithaca, and buildings—it is occupied exclusively tracker, Opus 165, which was fi rst used but it is very much my hope that this fi ne now at Binghamton University (SUNY). by the music department. The concert on Christmas Day of 1895. The organ is Morey & Barnes organ will still be there Jonathan Biggers, who played the included Bach’s Prelude and Fugue in G feisty, bright, and forthright. In some of to be enjoyed by future OHS members recital at the Unitarian Church in Major, BWV 541, as well as Mussorgsky’s its moods it reminded me of the work of in another 34 years’ time. Ithaca, is professor of organ at Bing- Pictures at an Exhibition transcribed for Father Willis in England. It had previ- On our arrival in Utica we split into hamton, so he gets to play the other organ and trumpet by Vincent DiMartino, ously been visited 34 years ago on the two groups, and the group I was in went Wolff organ there. He gave an excel- Gabriel DiMartino, and Kola Owolabi. In 1980 OHS convention. fi rst to Trinity Lutheran Church for a lent recital of Bach, Böhm, and Bruhns

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 21 Convention report

(the G major), and the organ sounded exceedingly fi ne, though perhaps a little loud for the room. After lunch we moved to the Uris Hall Auditorium for the OHS Annual Meeting, after which we divided into three groups, which perambulated the Cornell campus for the rest of the afternoon. My group went fi rst to the Sage Chapel of Cornell University for a recital given by Gregory Crowell on the I/7 Vicedomini organ built in Italy in 1748. As well as seven speaking stops, this instrument has an Ussignoli (Nightingale) stop and a double-acting Sforzando marked “Tiratutti.” Appro- priately, Mr. Crowell’s recital consisted mostly of early Italian music, though an exception was James Woodman’s Gagliardo, which gave us an oppor- tunity to hear the Ussignoli. Another piece, Bernardo Storace’s Ciaccona, enabled us to hear the 8-ft. Voce Umana (Principal Celeste). Our group next went to Barnes Hall Auditorium for a lecture by Cornell Sage Chapel, Cornell University, 1748 Vicedomini Anabel Taylor Chapel, Cornell Baroque Organ music professor and university organist, Annette Richards, on “The Genesis of the Cornell Baroque Organ,” describ- ing how the Wolff organ in the Anabel Taylor Chapel was replaced by a replica Schnitger organ built in collaboration with GOArt at the University of Gothen- burg, Sweden. This collaborative effort was overseen by Munetaka Yokota, and involved a cooperative enterprise between workers from GOArt, Parsons Pipe Organs, and CCSN Woodwork- ing of Ithaca, the latter being respon- sible for the case. The Schnitger organ Annette Richards chosen for replication was that of the Court Chapel at Charlottenburg, built in 1706 and unfortunately destroyed in World War II, though not before every aspect of it had been painstakingly catalogued by Karl Schucker. The case was based on the instrument at Claus- tahl-Zellerfeld and the mechanism on several North German Schnitger organs. However, the tonal design of the Charlottenburg organ that has been duplicated was most unusual in being, unlike other Schnitger organs, designed primarily for the performance of music of the Galant style. The room where the lecture was held also contains a GOArt pipe organ, a I/5 with divided keyboard built in 2003, but we unfortunately did not get to hear this. After the lecture we went to the David Yearsley Sage Chapel, Cornell University, 1940 Aeolian-Skinner Opus 1009 Anabel Taylor Chapel to hear a recital on the II/42 GOArt Schnitger replica Following a cash bar and dinner at the Thursday, August 14 York, home of a II/21 Schlicker of 1965. organ of 2009–10 that Professor Rich- Celebrations Banquet Hall in Ithaca, The doyen of Syracuse organists is Allison Evans Henry gave a recital of ards had been discussing. The recital we returned to Sage Chapel for the Cornell University Organist Emeritus Bach, Howells, Vierne, and from the was given by another Cornell music evening recital given by Christopher Will Headlee, a familiar fi gure at OHS Syracuse Collection, Homage to Persi- professor, David Yearsley, who appro- Houlihan on the celebrated III/68 conventions. Thursday, August 14, chetti by Janet M. Correll (b. 1942). We priately included mostly repertoire Aeolian-Skinner organ, Opus 1009 of began with a recital given by Professor also heard a charming arrangement for from the Galant style. The organ case 1940, which incorporates quite a bit Headlee on the Ernest White Möller Vivaldi’s Concerto in D Major, arranged dominates the Anabel Taylor Chapel, of pipework from the previous organ, organ at the Episcopal Church of the for organ and classical guitar. The solo and I was afraid that the sound might Ernest M. Skinner Company Opus 175 Saviour, Syracuse, New York. This was guitarist was Timothy Schmidt. This prove overwhelming. I was pleasantly of 1909. This was a landmark organ in M. P. Möller Opus 9734, an instrument was a very nice little organ, and indeed surprised, however, to discover that the its day. The recital included three works of three manuals and fi ve divisions, built I don’t think a small church looking for volume was just right for the room, and by J. S. Bach, together with the Grande in 1962. The recital was titled, “Homage value for money in 1965 could have done that it was indeed a magnifi cent instru- pièce symphonique of Franck. Although to Ernest White 1901–1980,” and I was any better than to buy a Schlicker organ ment of its kind. the latter is probably my least favorite of expecting something rather screechy- such as this. We then split into groups Franck’s twelve major organ works—I sounding. Once again I was pleasantly again, and my group went fi rst to Caze- fi nd it a little long and rambling—Hou- surprised for, as Professor Headlee novia College for an extremely pleasant lihan gave a magnifi cent performance explained, the church asked for an organ luncheon. For anyone who is looking for THE WANAMAKER ORGAN of it. At the end of the recital we were in the English Cathedral tradition and a college for their undergraduate degree treated to the Scherzo from Vierne’s this is exactly what Ernest White gave and who is especially fond of ice cream, Listen to it worldwide Symphony No. 2 as an encore, and I them. Two manual doubles and indepen- of which they had a splendid selection, also thought this came off very well on dent, pure-tuned mutations on the Pedal Cazenovia College ought to be near the over the Internet! the organ. Houlihan played the three division add to the instrument’s rich top of the list. Hourlong streamcasts Bach pieces, including the Passacaglia effect. Indeed, I thought it in many ways In the afternoon we went fi rst to the in C Minor BWV 582, extremely well, more useful as an eclectic organ than the First Presbyterian Church in Cazenovia, are featured at 5pm ET but here I thought the Aeolian-Skinner Aeolian-Skinner in Sage Chapel, being home of C. B. Fisk Opus 70, a II/32 basses a little ponderous for Bach—cer- equally at home, for example, in works tracker of 1976. The organ contains the first Sunday of tainly in comparison with the GOArt by Bach and Karg-Elert. some pipework from the previous instru- each month at wrti.org organ we had just heard. Organ design Following this we all piled in the ment by J. G. Marklove. Christopher J. has come a long way since 1940! And so buses for a visit to St. Michael’s Howerter treated us to a program of de back to Syracuse . . . Lutheran Church in Camillus, New Grigny, Bach, Buxtehude, and Canadian

22 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM First Presbyterian, Cazenovia, 1976 Fisk Opus 70

May Memorial Unitarian-Universalist Society, Syracuse, 1965 Holtkamp Cathedral of the Immaculate Conception, Syracuse, 1892 Frank Roosevelt Opus 520

First Baptist Church, Meridian, 1872 Johnson & St. Mary of the Assumption, Auburn, 1890 Willard Memorial Chapel, Auburn, c. 1891 Steere & Turner Son Opus 510 Carl Barckhoff composer Sir Ernest Campbell MacMil- OHS convention. Immaculate Concep- back to the Midwest. The lucky few got lan’s Cortège académique. We also heard tion’s organ is a three-manual built by to stay another day for the optional post- our Convention Chair, Ryan J. Boyle, Frank Roosevelt of New York City, Opus convention tour. This included visits to singing bass, and alto Abby Witmer, 520 of 1892, rebuilt and tastefully aug- Johnson & Son Opus 510 of 1878 at First accompanied by the organ in Dudley mented by Schantz in 1980. Schantz’s Baptist Church, Meridian, New York, to Buck’s “The Lord is My Light.” This is an head voicer, Bob Maye, did excellent Skinner Organ Company Opus 644 of excellent organ all round; one of Charles work matching the new work to the old, 1927 at St. James Episcopal Church, Ska- Fisk’s best, I would say. and the organ now has three manuals neateles, New York, a Steere & Turner We went then to the May Memorial and pedals and 60 ranks. Our recital- of c. 1891 at Willard Memorial Chapel, Unitarian-Universalist Society of Syra- ist was the internationally acclaimed Auburn, New York, and St. Mary of the cuse where we heard a recital given by Diane Meredith Belcher, who played Assumption Roman Catholic Church in Glenn Kime on the II/28 Holtkamp an excellent program commencing with Auburn, New York, which has both an organ, Job Number 1797 of 1965. The the Passacaglia on a theme by Dun- 1890 Carl Barckhoff Church Organ Co. repertoire consisted of Pachelbel’s Prae- stable by John Weaver, who was present organ and another one of 1872 by Gar- ludium in D Minor, three Bach chorale in the audience and indeed as an OHS ret House. Recitals were given by Carol preludes, the last movement of Men- member had attended the whole of the Britt, Rosalind Mohnsen, Matthias delssohn’s Sonata No. 1, and two move- convention. This was followed by the Schmelmer, and Nicholas Bideler. For ments from Spirits and Places by Ernst Lullaby from the Second Suite of Cal- an even more select few who had been Bacon. These were very pleasant and vin Hampton, Gigout’s Pièce jubilaire able to register early, there was also a most unusual, and we were honored to en forme de prélude et fugue, Étoile lunch cruise aboard the Judge Ben Wiles have the composer’s widow in the audi- du soir from the third suite of Vierne’s motor launch. Q ence. In spite of it having no swellbox, I Pièces de fantaisie, and Rheinberger’s thought that this was the most versatile magnifi cent Sonata No. 8 in E Minor. Dr. John Speller has degrees from the and attractive of all the Holtkamp instru- Altogether a wonderful end to a won- Universities of Bristol and Oxford in the ments we heard during the convention. derful OHS convention. United Kingdom. He is a retired pipe Following dinner in the Armory organ builder and has been a member Square neighborhood of Syracuse, we Friday, August 15 of the Organ Historical Society for more walked to the Catholic Cathedral of the On Friday morning, my wife and than thirty years. Immaculate Conception for the last, and I departed Syracuse and wended St. Mary of the Assumption, Auburn, one might say culminating, recital of the our weary way through Ontario and Photos by Len Levasseur 1872, Garret House

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 23 2015 anniversaries

Early Organ Composer Anniversaries in 2015 By John Collins

n 2015 there are several composers obtainable via La Stanza della Musica, and fi ve canzonas, of which the fi rst, teacher as well as echo devices. A highly Iwhose anniversaries can be com- Rome (www.lastanzadellamusica.com). an arrangement of his ensemble piece ornamented Chorale Fantasia on Nun memorated, albeit some of the dates La Loda, has basic similarities to the komm der Heiden Heiland also shows are not known for certain; some of the Gregorio Strozzi (ca. 1615–after capriccio, and the second is based on an continuation of the North German tra- names need no introduction but there 1687). Organist in Naples and doctor intriguing sequence of four descending dition of Scheidemann, Reincken, and are also several lesser-known names in both civil and canon law, in addition broken triads. The next three canzone Tunder. Modern editions, which also listed here whose compositions are well to sacred works he left a Capricci da have been attributed tentatively to include an adagio and a praeludium, worth exploring. No claim is made for sonare cembali et organi, published in Merula, no. 3 being a version of his of which only fragments survive, have completeness and there is no guarantee open score in Naples in 1687, which ensemble Canzona La Marca. All of been prepared by Klaus Beckmann, that every edition is in print—there may is indebted to Trabaci, Mayone, and these pieces together with a cromatica published by Schott in the series Mas- well also be editions by other publishers. Frescobaldi, its 31 pieces covering the by Soncino and a canzona by Fasolo ters of the North German School vol. main compositional genres of the time have been edited by Alan Curtis and 13, and also edited by Harald Vogel for Christopher Gibbons (1615–76). including three capriccios, three ricer- published by L’Organo, Brescia, as Breitkopf & Hartel. Eldest surviving son of Orlando Gibbons, catas, three sonatas, four toccatas, two Monumenti di Musica Italiana Series he was organist of the Chapel Royal and balletti, three gagliardas, three sets of 1, Organo e Cembalo, vol. 1, available Johann Hanff (1665–1712). Organist Westminster Abbey; only a few compo- variations, eight correntes, a mascara, from Armelin. There is also a reprint by in Hamburg and Schleswig, only three of sitions for keyboard survive in various and a Toccata de passacagli. This impor- Kalmus, which lacks the introduction. his cantatas and six chorale preludes sur- manuscripts, comprising two short pieces tant print has been re-edited by Barton vive in manuscripts. Five of the preludes (corrente and saraband) for harpsichord, Hudson for American Institute of Musi- Wolfgang Ebner (1612–1665). are in a similar style to Buxtehude’s, four verses or voluntaries and three verses cology in the Corpus of Early Keyboard Organist of St. Stephen’s Cathedral, with highly ornamented melodies in the or double voluntaries (i.e. requiring two Music series (CEKM 11). Vienna, and court organist, contemporary right hand, but in Erbarm dich mein two manuals for their execution), with pas- with Froberger. Three works certainly by verses are set, the second verse opening sages for solos on Cornet, Sesquialtera, Heinrich Bach (1615–92). Great him include three toccatas, a courante, a with a fugue based on the descending and Trumpet. Some versions of these uncle of Johann Sebastian and organist Capriccio sopra L’aria Pergamasco, the chromatic fourth before reverting to double voluntaries seem to have been in Arnstadt, almost all of his composi- Partite sopra l’Aria Favorita with seven a right hand solo of the ornamented considerably amended and elongated tions in various genres have unfortu- variations, and the 36 variations divided melody. They have been edited by Ewald by the scribe. All nine pieces have been nately been lost. He was the father of into three groups of 12 (the second Kooiman for Harmonia Uitgave, Incog- re-edited by John Caldwell for American Johann Christoph and Johann Michael and third groups being in the form of a nita Organo Part 7. Institute of Musicology’s Corpus of Early Bach, who also became composers. courante and sarabande) on an Aria in Keyboard Music series (CEKM 18). For keyboard he left a Chaconne in A, A Minor composed by Ferdinand III. Johann Fischer (ca. 1665–1746). edited by Laura Cerutti for Armelin, and Works of uncertain authenticity include Kapellmeister to Ludwig Wilhelm of Spiridionis a Monte Carmelo two chorale preludes, on Erbarm dich 56 versets encompassing various forms Baden, he published chamber and vocal (1615–85). German organist, who mein and Da Jesu an dem Kreuze stund, (i.e. toccata, capriccio, fugue in the eight music. His keyboard works include four traveled widely in Belgium, Germany, included in Organ Works by the Bach church modes), eight of which are vari- sets of pieces, comprising two sets of and Prague before taking a position in Family, edited by Diethard Hellmann ants of pieces by Froberger and one by suites for harpsichord/clavichord in 1696 Bamberg in 1664. He composed sacred for Edition Peters. Frescobaldi, two preludes, a partita in A, and 1738, which show the French infl u- music and also published a two-volume and eight individual dance movements. ence, and two sets of pieces for the organ, keyboard tutor, Nova instructio pro Tarquinio Merula (ca. 1594–1665). Published by Bärenreiter in 2 volumes, which show a more Italianate infl uence. pulsandis organis, spinettis, manuchor- Organist and violinist active mainly in edited by Siegbert Rampe, the publica- Musikalischer Blumenstrauss of 1732 is diis, in Bamberg, of which the fi rst part, Cremona, he published a number of tion also includes keyboard works by a collection of pieces on the eight tones which appeared in 1670, contained sacred concertos, Mass and psalm set- Georg Muffat. comprising a praeludium, six fugues, and a very large number of cadences, 35 tings, as well as madrigals and ensemble fi nale for each tone. Ariadne Musica, of canzonas, and 15 dances including canzonas. Fourteen keyboard works Nikolaus Bruhns (1665–97). Pupil 1702 and 1715, contains 20 short pre- corrente, and the second part, which have survived in manuscripts, including of Buxtehude, he became organist in ludes and fugues, each in a different key appeared the following year, contains a chromatic Capriccio and Sonata, the Husum in 1689. Comparatively well (including B, E-fl at, and A-fl at major, B, mainly cadenzas, as well as ten canzo- former based on the chromatic tetra- known to players today, particularly for F#, and C# minor), which were known to nettas, seven toccatinas, two gagliardas, chord, the latter on a fi gure covering a his preludes in E minor, Bruhns was also J. S. Bach, who used some of the subjects and four corrente. Part three contains major ninth by semitone (!), although a highly skilled violinist who, according in his Well-Tempered Clavier, and fi ve more formulas for cadentiae followed many subsequent entries are limited to to undoubtedly reliable contemporary ricercars on hymns for Advent, Christmas, by ligaturae and trilli; part four contains the tetrachord. There are three inton- accounts, accompanied his violin play- Quadragesima, Passiontide, and Easter. the actuarium for parts one and two, an azioni cromatiche (which may well be ing at the organ by a bass played with The complete keyboard music has aria, allemanda, sarabanda, and modus incorrectly attributed), a toccata (which great dexterity on the pedals. None been edited by Ernst von Werra for variandi. A modern edition by Edoardo contains a fugal section sandwiched of his organ works were printed in his Breitopf & Hartel. The Ariadne has been Bellotti of parts one and two has been between sections akin to Merula’s toc- lifetime, and no autograph manuscripts edited by Ernst Kaller for Schott as Liber published by Andromeda. Parts three catas but lacking his inventiveness), a have survived. His small opus survived Organi vol. 7 and the Musikalischer and four have also been edited by capriccio with an insistent rhythmic in a virtually unbroken transmission in Blumenstrauss by Rudolph Walter for Bellotti and published by Il Levante, fi gure and much sequential writing, both manuscripts of the 18th century Musikverlag Alfred Coppenrath, Altöt- and printed editions from the 19th for- ting as Süddeutsche Orgelmeister des ward. He wrote chamber music, which Barock vol. 1, available through Carus The right regrettably has not survived, and 12 can- Verlag. Facsimile editions have been pub- tatas, and left four brilliant praeludia for lished by Broude Bros in the Performers’ organ at the organ in manuscripts—multi-sectional, Facsimiles series nos. 197 (Ariadne) and right price and clearly showing the infl uence of his 199 (Musikalischer Blumenstrauss).

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24 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM Publishers’ websites

American Institute of Musicology—CEKM series: www.corpusmusicae.com/cekm.htm Armelin: www.armelin.it Associated Board: shop.abrsm.org Bärenreiter: www.baerenreiter.com Breitkopf & Hartel: www.breitkopf.com Johann Molter (1696–1765). Ger- Charles-Joseph van Helmont Broude Bros: www.broude.us man organist in Eisenach and Karlsruhe (1715–90). Organist in Brussels, he com- Calcant: www.janvanmol.be whose comprehensive works embrace posed a large quantity of sacred vocal Carus Verlag: www.carus-verlag.com all genres. Six chorale arrangements music including Masses and motets and Doblinger Verlag: www.doblinger-verlag.at have been edited by Siegbert Rampe for a much smaller amount of secular vocal Fuzeau: www.editions-classique.com Bärenreiter in German Organ and Key- music. His keyboard works comprise the Greg Lewin Music: www.greglewin.co.uk board Music from Bach’s Period. Pièces de clavecin of 1737, which include Monumenta Musicae Belgicae: www.dbnl.org two suites, the pieces of which have Musica Rinata: www.berliner-chormusik-verlag.de Xarava y Bruna (ca. 1640–1715). French titles. The fi rst suite and four OUP: ukcatalogue.oup.com/category/music.do Nephew of Pablo Bruna. Two pieces fugues have been edited by J. Watelet Schott Music: www.schott-music.com by him, an Ydea Vuena por a la mi re and published by Vereniging voor Muz- and fuga, and an Obra en lleno de 3 iekgeschiedenis te Antwerpen in 1948 as Tono (a tiento accidental found in the Monumenta Musicae Belgicae vol. 6 (also Domenico Scarlatti, it may well be that Letteratura organistica toscana dal XVII Jaca manuscript is a short version of contains pieces by Dieudonné Raick), further pieces are by other composers. al XIX secolo (Accademia di musica itali- the fuga), are to be found in one of the with the second set edited by Laura Many of the sonatas are far better suited ana per organo, Pistoia). Some twenty Martín y Coll manuscripts, and have Cerutti for Armelin, with a facsimile to stringed keyboard instruments but pieces have been edited by Maurizio been edited by Julian Sagasta for Union edition published by Anne Fuzeau. The nos. 9–11 sound well on the organ. All 13 Machella in two volumes for Armelin as Musical Española in Tonos de Palacio complete set of Six Fugues has been sonatas have been edited as Sonatas para L’organo Italiano nell’Ottocento (OIO y Canciones Communes vol. 2, and by edited by Jan Vanmol for Calcant. Clave by Dionisio Preciado and published 222 and OIO 223). An offi cial download Carlo Stella and Vittorio Vinay for Zani- by Real Musical, Madrid, as Teclado of Gherardeschi’s complete organ works, bon in Composizioni Inedite dal ‘Flores Johann Doles (1715–97). Pupil Espanol Siglo XVIII, vol. 1. No. 2 in G together with many other pieces from de Musica’ di Antonio Martin y Coll. of Bach in Leipzig, where he became minor and a further Sonata in C Minor, the Pistoia cathedral archives, is avail- Kantor, he composed much sacred and both taken from MS 1665 at Montserrat, able from www.accademiagherardeschi. Georg Wagenseil (1715–77). Organ- secular vocal music, harpsichord sonatas, are included in Early Spanish keyboard it/eng-partiture.php?id_sezione=6 for a ist and composer to the court in Vienna, and some chorale preludes, of which music: an anthology—Vol. 3, The eigh- payment of 10 Euros. he composed operas, chamber music, four pieces from the fi fth volume of teenth century, edited by Barry Ife and concerti, and organ and harpsichord Singbare und leichte Choralvorspiele has Roy Truby for Oxford University Press. Domenico Puccini (1772–1815). music. Although considered as one of been edited by Eberhard Hofmann for organist in Lucca and grandfather of the the most important Viennese composers Musica Rinata in Orgelpräludien vom Pietro Morandi (1745–1815). After famous opera composer, he composed of the 18th century, very few of his many Barock zur Klassik. studying with Padre Martini in Bologna both sacred and secular vocal music, as keyboard works have been published, he worked in Pergola and Senigallia well as operas. He left 42 one-movement and conspicuous by their absence are John Alcock Sr. (1715–1806). Organ- cathedrals. He composed sacred and sonatas for organ in manuscripts, which the organ works, including 97 versets in ist at Lichfi eld Cathedral from 1750 until secular vocal and damatic music and also have been edited in four volumes by various tones, a cycle of Praeambula and 1765, and thereafter at Sutton Coldfi eld left 12 Concerti per L’Organo solo, with Maurizio Machella for Armelin. A further Versets on the Eight Tones, and numer- and Tamworth, he composed sacred cho- instructions for registration, and twenty volume contains sonatas for violin with ous other individual pieces. Five pieces ral music, numerous secular vocal works, sonatas and sinfonias, all of which have accompaniment for organ or fortepiano. have been edited by Erich Benedikt and Six Suites of Easy Lessons and a Trumpet been edited in four volumes by Maurizio An increasing number of pieces, rang- included in Viennese Organ Music from Tune for the harpsichord, which has been Machella for Armelin. ing from complete original publications/ around 1750 published by Doblinger as edited by Richard Jones and published manuscripts (which present the usual DM1335 in the Diletto Musicale series, by the Associated Board of the Royal Giuseppe Gherardeschi (1759– problems of multiple clefs as well as orig- including a praeludium on the 1st and Schools of Music, as Easier Piano Pieces 1815). Organist in Pistoia, fi rst of S. inal printer’s errors) to modern versions on the 2nd tones, a Fuga in D Minor, (vol. 15), and a set of Ten Voluntaries for Maria dell Umiltà and then the cathe- of complete or individual works, are to a piece titled Das Glockengeläut zu the Organ or Harpsichord, a new edition dral, he composed much sacred vocal be found on various free download sites, Rom dem Vatican (in C minor), and an of which has been edited and published music and several sonatas for harpsi- most noticeably IMSLP; however, the Andante in D minor taken from the third by Greg Lewin. chord or fortepiano plus violin and also accuracy of some modern typesettings Divertimento of opus 1, better perhaps concerti. His numerous organ composi- is highly questionable, and all should be suited to stringed keyboard instruments. Carlmann Kolb (1703–65). Organist tions, which include versetti, offertorios, treated with caution before use. Q of the community of Asbach and priest, elevazioni, sonatas, and rondos, contain James Nares (1715–83). Became he left a sinfonia for harpsichord and precise instructions for registration, John Collins has been playing and research- organist of York Minster in 1735. In strings and the Certamen aonium pub- including drum pedals and toy stops ing early keyboard music for over 35 years, addition to much sacred music including lished in 1733, a set of pieces on the eight such as the Uccello. Many have been with special research interests in the English, services and secular vocal music, he left tones, including a fairly expansive pre- edited by Umberto Pineschi in Musiche Italian, and Iberian repertoires. He has con- tributed many articles—on repertoire and several publications for keyboard includ- lude, 3 fugal verses in a variety of styles pistoiesi per organo (Biblioteca Classica performance practice, including translations ing two sets of lessons for harpsichord and meters, and a toccata-like cadenza. dell’Organista, vol. M05 and M06), Anto- and commentaries on treatises in German, and a set of six fugues with introductory Some of the preludes, particularly the logia del Settecento organistico pistoiese Spanish, and Portuguese, and reviews to Eu- voluntaries for organ or harpsichord, third, are almost extravagantly eccentric (Biblioteca Classica dell’Organista, vol. ropean and American journals, including THE which are available in a modern edition in their modulations and dramatic rests. 19), Musiche d’organo a Pistoia (Bib- DIAPASON. He has been organist at St. George’s by Greg Lewin as well as in facsimile Modern editions by Rudolf Walter for lioteca Classica dell’Organista, vol. 30); Church, Worthing, UK, since June 1984. from Oxford University Press. Only nos. Musikverlag Alfred Coppenrath, Altöt- 1, 3, and 5 are preceded by an introduc- ting as Süddeutsche Orgelmeister des tion. Also available in facsimile from Barock vol. 5, available through Carus Oxford University Press is Il Principio, Verlag, and by Gregor Klaus for Willy or A Regular Introduction to Playing on Müller Süddeutscher Musikverlag, avail- the harpsichord or Organ, which gives able from Bärenreiter. basic information on ornamentation and fi ngering followed by a graduated series Jose Ferrer (1745–1815). Organist of pieces. in various Spanish cathedrals, including Oviedo, he composed mainly secular Georg Reichardt (1715–89). Pupil and chamber music. Seven sonatas for 16355, avenue Savoie of Jakob Adlung. His Sechs fugierte keyboard by him are preserved in a Saint-Hyacinthe (Québec) J2T 3N1 Orgeltrios have been edited by Rudolph manuscript now in Zaragoza, and a fur- Canada Walter for Hänssler Verlag and are avail- ther six have been attributed to him on able from Carus Verlag. stylistic grounds, although as no. 8 is by T 450 774-2698 [email protected] Music of Ed Nowak www.letourneauorgans.com Choral, hymn concertatos, psalm settings, organ, piano, orchestral and chamber ensembles F O L L O W U S O N F A C E B O O K http://ednowakmusic.com

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 25 Cover feature

Buzard Pipe Organ Builders become apparent to most all the monks Organ accompanied the college’s choral will be on the left. The large 32′ and Champaign, Illinois because of the old organ’s deteriorated ensembles and monastic services in the 16′ Pedal Trombone resonators and the St. Vincent Archabbey Basilica, mechanical condition, but its greatest Great Choir; the electronic instrument 16′ Double Open Diapason basses are Latrobe, Pennsylvania fl aw was that the former instrument was was used for parochial Masses and ser- made of wood so that they can lie down Buzard Organs Opus 40 tonally only about 30 percent as large vices in the nave. under the window, with the remaining Gallery Organ, and as would be required to fi ll this large When it was determined to proceed Pedal stops, the Solo Tubas and Trombas 40-R Apse Organ building with a wide variety of tone with the Gallery Organ, the budget standing vertically under and around colors and volume levels. Abbey Organ- allocated for it 18 years previously was the window. The large façade pipes are From the organbuilder ist and Choir Director Rev. Cyprian insuffi cient for the complete instru- all made of copper-lined polished tin, It has been a high honor for me and my Constantine, OSB, embarked on a tire- ment and could not be increased. We comprising the Pedal 16′ First Open fi rm to design and build this new three- less effort to educate his confreres and had a dilemma on our hands: if we Diapason, the continuation of the Great manual pipe organ for the St. Vincent superiors to what was really required, if built an organ to simply accommodate 16′ Double Open Diapason from the Archabbey Basilica. The new Gallery sacred music at the abbey, parish, col- the budget, it would repeat the past wood basses behind, the Pedal 8′ Prin- Organ of 51 stops and 72 ranks of pipes lege, and seminary were to be taken to mistake of being too small for the cipal, and the Great 8′ First and Second was installed beginning in July 2014 and the highest level. basilica’s heroic size, volume, and the Open Diapasons. The smaller façade completed in October, having spent the Following the old organ’s demise, use musical requirements placed upon an pipes in the central display are from previous two years in construction. The of an electronic instrument gave the instrument in such an important and the Pedal 4′ Open Flute. The largest basilica is home to St. Vincent Archab- community the time to raise the funds to enormous place. So, we decided to pipe in the façade, low CCC of the 16′ bey, the oldest American Benedictine begin construction. Suffi cient funds had build an organ with the infrastructure Pedal First Open Diapason weighs over monastery, St. Vincent Parish, St. Vin- been raised from the parish in a previ- of a complete instrument of the cor- 350 pounds and required six men to cent College, a four year co-educational ous campaign to allow us to design and rect size, installing the Great, Swell, hoist into the gallery; the smallest pipe’s institution, and St. Vincent Seminary. construct a small Apse Organ and a con- and Pedal, but preparing the Choir speaking length is only an eighth of an This organ is the culmination of 18 sole, which would control both it and the division for future addition. This would inch. The metal pipes were all made in years of thought, prayer, vision, and planned-for Gallery Organ. The Apse provide the abbey with heroic bodies of the south of Germany, coincidental to tenacity on the parts of the Benedic- Organ is installed in two small cham- sound to support the liturgical needs the south German heritage of St. Vin- tine community and the organbuilder. bers carved out of the sacristy behind and accommodate a goodly body of the cent Archabbey. Nearly 20 years ago, I was asked to pro- the apse and utilizes the best pipework solo organ literature. The prepared-for The decorations on the cases’ wood- vide consulting services to address the from the previous organ as well as new Choir division will include a wide vari- working take their cues from the painted failing organ previously installed in the stops. From its installation in 2007 until ety of softer orchestral reed colors and decorations in the colonnades in the basilica. The need for a new organ had the new Gallery Organ arrived, the Apse fl ue choruses for more registrationally basilica. These include 24-karat red- involved choral accompaniments, and gold-leafed interlocking rings on a deep will act as a secondary foil to the Great green background between maroon and for playing solo literature requiring gold-leaf striping, with blue enameled three independent manual divisions. rosettes with gold-leaf highlights cen- Currently a single console controls tered in each ring. Although the lower both organs. A second gallery console portion of the case cannot be seen from is also prepared for future addition for the main fl oor, being blocked by the solid recitals and solo work, so the organ- balcony rail, it is made of 1½′′-thick solid ist doesn’t have to suffer the delay of white oak, incorporating Romanesque sound reaching his ears—while playing arches in each panel opening, stained in real time—as at present. and fi nished to match the other wood- Architecturally, the gallery posed a working in the basilica. challenge: the gallery is not large, nor is John-Paul Buzard’s tonal style is easy the wheel window located high enough to describe, but the most diffi cult to up on the wall to allow a generous con- carry out successfully: “classically sym- fi guration of pipes and their mechanical phonic” (a term coined by a reviewer in systems to live under it. Additionally, The Diapason), Buzard organs intend we were instructed that the organ must to play music from every historical be located entirely in the gallery with and nationalistic school with musical no pipes over the rail. After reviewing éclat and fl air. (A bold statement, to the many drawings I had made during be certain!) The challenge in achieving past years, Rev. Vincent Crosby, OSB, success in this diffi cult style is how to the abbey’s resident artistic director, create an instrument that plays most suggested that he simply wanted to everything, yet has its own singular and see pipes in the gallery, with only the very individual artistic character. But, amount of casework necessary to sup- because we are Americans in the 21st port them. This general direction and century, I believe that our liturgical and a rough sketch was the genesis for the concert organs need to be able to play visual design. everything. Therefore, every historic The Great division is split into two and nationalistic style of organbuild- windchests located just behind the ing is represented to some degree in front of each of the large façade pipe each Buzard organ, but interspersed groupings. The Swell is located on the through the instrument evenly so that Nearly 1,200 people attended the dedication service and concert (photo credit: Kim Metzgar) right; the prepared-for Choir division a balanced eclecticism is achieved.

Buzard Organs Opus 40 Gallery Organ, and 40-R Apse Organ St. Vincent Archabbey Basilica, Latrobe, Pennsylvania

GREAT SWELL CHOIR PEDAL 4′′ wind pressure 4′′ wind pressure (Prepared for future addition) Large metal pipes in the case façade Manual II, unenclosed Manual III, expressive 4′′ wind pressure 32′ Double Open Diapason (1–12 digital) Large pipes in the case façade 8′ Open Diapason Manual I, expressive 32′ Subbass (1–12 digital) 16′ Double Open Diapason 8′ Stopped Diapason 16′ Lieblich Gedeckt (stopped wood) 32′ Lieblich Gedeckt (1–12 digital) (polished tin in façade) 8′ Salicional 8′ English Open Diapason 16′ First Open Diapason (tin in façade) 8′ First Open Diapason 8′ Voix Celeste (CC) 8′ Melodia (open wood) 16′ Second Open Diapason (Great) (polished tin in façade) 4′ Principal 8′ Gedeckt Flute (ext 16′) 16′ Bourdon 8′ Second Open Diapason 4′ Harmonic Flute 8′ Flute Coelestis II (Ludwigtone) 16′ Lieblich Gedeckt (Choir) 2 (1–8 from 16′, in façade) 2⁄3′ Nazard 4′ Principal 8′ Principal (tin in façade) 8′ Viole de Gambe 2′ Octavin 4′ Koppel Flute 8′ Violoncello 3 8′ Flûte Harmonique 1⁄5′ Tierce 2′ Doublette 8′ Bourdon (ext 16′ Bourdon) 2 1 (polished tin in façade) 2⁄3′ Grave Mixture II 1⁄3′ Larigot 8′ Gedeckt Flute (Choir) 1 1 8′ Bourdon 1⁄3′ Plein Jeu III 1⁄3′ Fourniture IV 4′ Choral Bass (ext 8′ Principal) 2 2 3 4′ Principal 16′ Bassoon 2⁄3′ Sesquialtera II (2 ⁄3′ & 1 ⁄5′) 4′ Open Flute (ext Bourdon) 2 4′ Spire Flute 8′ Trompette Harmonique 16′ English Horn 2⁄3′ Mixture IV 2 2⁄3′ Twelfth 8′ Oboe 8′ Cornopean 32′ Contra Trombone (wood) 2′ Fifteenth 8′ Vox Humana 8′ Clarinet 16′ Trombone (wood & metal, ext 32′) 8′ Cornet V (tc) 4′ Clarion Tremulant 16′ Bassoon (Swell) 2′ Mixture V Tremulant 8′ Trombas (Pedal) 8′ Trumpet (ext 16′) 1′ Scharf III Cymbalstern 8′ Tuba Mirabilis 4′ Clarion (ext 8′) 8′ Trompete 8′ Tuba Mirabilis 8′ Tuba Mirabilis Tremulant 8′ Trombas (Pedal Trombone) 51 stops, 72 ranks 4′ Clarion (ext 8′ Trombas) Choir division of 13 stops prepared 8′ Tuba Mirabilis

26 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM Rt. Rev. Douglas Nowicki, Archabbot, dedicates the new organ (photo credit: Kim Metzgar) A part of the central façade The Swell Plein Jeu

We don’t create this by building entire divisions of the organ in single styles as many do: a German Great, a French Swell, an English Choir, for example. The reason that we could in good conscience prepare the Choir division for the future is because of this even- handed dispersion of the style of the stops’ construction and voicing. When the Choir division is installed, then this instrument will be a complete artistic achievement. Although this organ is currently very impressive sounding, I liken it to a tapestry that is missing a color or two of embroidery. The sumptuous acoustical environ- ment of the basilica allowed us to truly freely exercise our voicers’ art. The St. Vincent Archabbey Basilica has, at its maximum, a reverberation time of 6.5 seconds; bass frequencies are nicely amplifi ed by means of hard refl ective surfaces on the walls, fl oor, and ceiling. The Swell 8′ Voix Humaine Pedal 16′ First Open Diapason The right pedal tower This allowed us to achieve the rare effect that depending upon the piece of music Dennissia Hall, Receptionist and played, you can easily imagine yourself in Administrative Assistant Paris, Haarlem, or York Minster! John Jordan, Service Technician The organ was dedicated in a sol- Michael Meyer, Master Cabinetmaker emn service and concert on Sunday, Dennis Northway, Chicago-area Rep- November 23, 2014. Our own tonal resentative and Service Technician associate, Jonathan Young, fi lled in for Jay Salmon, Offi ce Manager Father Cyprian Constantine, OSB, as Stuart Weber, Service Technician recitalist, due to Father Cyprian’s need John Wiegand, Service Technician for emergency retinal surgery. Every- Ray Wiggs, Console and Windchest one on the staff of Buzard Pipe Organ specialist Builders brings his or her own individual Jonathan Young, Tonal Associate talents to the family table (although not —John-Paul Buzard every one of us can sit down and play a concert with two weeks’ notice!). And a From the tonal associate new generation of organbuilders is being (and recitalist) nurtured at the Buzard shop, as you will There are some unusual sounds in this note in the “Here and There” column of organ, designed and scaled by our Tonal this issue of The Diapason. Director Brian Davis, who grasped the Deepest thanks to Father Cyprian Con- potential of the basilica and took full stantine, OSB, Father Donald Raila, OSB, advantage of the unique acoustical envi- Organist Jonathan Young addresses Father Stephen Concordia, OSB, Arch- ronment to use some stops that don’t the congregation (photo credit: Kim Metzgar) The Great 8′ Trompete abbot Douglas Nowicki, OSB, and all the typically work in American churches. priests and monks at St. Vincent who were The empty room features around six sec- bass-friendly room enables the pedal I had the honor of playing the dedica- so complimentary and encouraging of onds of reverberation and, perhaps more registers to provide a generous amount tion recital when Fr. Cyprian Constantine, the project. importantly, strong side and rear refl ec- of gravitas without being pushed. A main the incumbent organist, had to undergo Thanks especially to the staff of tions, especially from the curved wall at chorus that extends up through fi ve-rank emergency eye surgery. I chose a pro- Buzard Pipe Organ Builders for their the apse. The organ contains no fewer Mixture and three-rank Scharff provides gram that was French-biased but eclectic, tireless efforts. than three harmonic fl utes, including clarity in an acoustic that has the poten- including music from Preston, Widor, the very wide-scale 8′ on the Great that tial to be muddled at times. Franck, Bach, Vaughan Williams, and Charles Eames, Executive Vice Presi- functions like a true French Flûte Har- Not surprisingly, the organ plays Tunder—the latter, music that typically dent and general manager monique. The chorus reeds in the Swell French music with ease. But, some of isn’t played on “symphonic” organs like Brian K. Davis, Tonal Director are harmonic as well, and contrast nicely the stops that we might think of as being this. But the variety of colors, clear princi- Keith Williams, Director, Service with the German-style Great Trumpet. peculiarly “French” lend themselves pal choruses, generous fl utes, and panoply Department Very unusual among American organs is very well in this room to other schools. of reeds enable a wide range of literature David Brown, Foreman, Service this Vox Humana, built in French style The Vox Humana in particular is quite to be rendered effectively. Tunder’s cho- Department and based on an example by Callinet. the chameleon, at home in Böhm’s Vater rale fantasy on In dich hab’ ich gehoffet, Shane Rhoades, Foreman, Production The large 8′ Great First Open Diapason unser im Himmelreich as much as it is in Herr, especially, sounds amazing here— department and a mounted Cornet elevated six feet Franck’s A-Major Fantasy. One of the not what one would expect! Trevor Dodd, Service Technician above the north Great windchest are more ravishing sounds on the instrument —Jonathan Young Christopher Goodnight, Master particularly effective in the accompani- is the Swell Celeste, which extends all Photos by John-Paul Buzard Cabinetmaker ment of congregational singing; the the way to low C. except as noted

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 27 New Organs

Rieger Orgelbau, Schwarzach, Austria Basilica of the Holy Sepulchre, Jerusalem; Basilica of All Nations, Gethsemane

In 2014, two new organs were deliv- ered to important churches in the Holy Land by Rieger Orgelbau of Austria: the Basilica of the Holy Sepulchre in the old city of Jerusalem, and the Basilica of All Nations in Gethsemane. The Basilica of the Holy Sepulchre is a large complex dating from the time of the fi rst Christian emperor, Constantine, who had churches erected over the sites of Christ’s crucifi xion and burial in 325 to 326 A.D. Over the years, despite damage by fi re, earthquakes, wars, and many alterations, these buildings were Close-up view of choir organ façade, Basilica of the Holy Sepulchre preserved and eventually united into one complex, of which the primary custodi- ans are the Orthodox, Armenian, and Roman Catholic Churches, the latter being represented in the Holy Land by the Franciscan Order. The Basilica of the Holy Sepulchre has housed a substantial Rieger organ of 39 stops since 1982. Being placed on the second story of the ambulatory of the basilica’s main dome, it is almost out of sight of the thousands of pilgrims streaming through the church. In 2014, this instrument was supple- mented by a choir organ of two manu- als and fi fteen stops. The choir organ is divided into two sections, with the fi rst manual’s stops in a small, but fi ne case in the area adjacent to the tomb itself, allocated to the Franciscans, and the second placed behind a screen on a gallery close by. This also houses the general console from which the main organ and divisions of the choir organ can be played. As a result, the main organ and two Basilica of the Holy Sepulchre, Jerusalem Basilica of All Nations, Gethsemane sections of the choir organ together form one large instrument, which, with on the night that he was betrayed. The account. With no provision for an organ accompaniment, the latter group being the aid of the building’s generous acous- name refl ects the contributions from having been made by the architect, borrowed for the second manual. tic, can fi ll the basilica with glorious many nations used to construct the and the danger of a large instrument The result is a quite versatile instru- sound; on the one hand returning the building, which is now in the custody obstructing the view of the magnifi cent ment, despite its having only nine inde- tranquillity needed in such a mystical of the Franciscans. The ceiling vaults mosaics, the organ has been designed pendent stops (Manual II stops are shared venue by transcending the hustle and and walls of the three front apses are to be small, low, and mobile—made with Manual I). Its tone is rich and warm bustle of countless visitors; on the other, covered with beautiful mosaics portray- possible by having both the organ and with a beautiful singing quality and quiet triumphantly heralding Christ’s victory ing Christ’s agony in the garden at night; the detached console on wheels. The brilliance that complement the hauntingly over the tomb. the fl oor mosaics replicate the mosaics of specifi cation is economical with a com- beautiful interior of this unique church. The Basilica of All Nations is an early the former Byzantine church; together, plete chorus of principal-toned stops on Details of both of these instru- 20th-century building built on the foun- turning the building into a jewel of this the fi rst manual, of suffi cient strength ments are to be found on www.rieger- dations of a former Byzantine church art form. to fi ll the basilica tonally but not overly orgelbau.com. over the rock that, it is believed, Christ The organ built for these beautiful strong, and a number of fl ute and string- —Stephen Hamilton prayed on in the Garden of Gethsemane surroundings takes these factors into toned stops for quieter effects and Photo credit: Rieger Orgelbau

Rieger Orgelbau Basilica of the Holy Sepulchre, Jerusalem Basilica of All Nations, Gethsemane

Holy Sepulchre—Choir Organ All Nations Organ

Manual I (C–g3) Manual I (C–g3) 16′ Bordone 8′ Principale 8′ Principale 8′ Salicionale 8′ Flauto 8′ Bordone 8′ Bordone 4′ Ottava 4′ Ottava 4′ Flauto 2 2′ Decimaquinta 2⁄3′ Duodecima 1 1⁄3′ Ripieno III 2′ Decimaquinta 1′ Ripieno II–III Manual II (C–g3) 8′ Principalino Manual II (C–g3) 8′ Viola da gamba 8′ Salicionale 8′ Quintadena 8′ Bordone 8′ Bordone a camino 4′ Ottava 4′ Flauto 4′ Flauto 2′ Flautino Tremolo Pedal (C–f1) 16′ Subbasso Pedal (C–f1) 16′ Subbasso Couplers 8′ Bordone II/I, I/P, II/P Couplers II/I, I/P, II/P View of nave, Basilica of All Nations

28 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Evensong; Cathedral Church of St. Paul, Park Ridge Presbyterian Church This calendar runs from the 15th of the month Detroit, MI 4 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Evensong; Christ Church, Grosse Pointe Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Farms, MI 4:30 pm Feb. issue). All events are assumed to be organ Bloomingdale, IL Anthony & Beard; Auburn United Meth- recitals unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO odist, Auburn, AL 3 pm chapter event, • •=RCCO centre event, +=new organ Harry van Wijk; St. Chrysostom’s, Chi- cago, IL 2:30 pm dedication, ++= OHS event. Cantata 106 Christopher Babcock Information cannot be accepted unless it Bach, ; Grace Lutheran, Riv- specifi es artist name, date, location, and hour in er Forest, IL 3:45 pm writing. Multiple listings should be in chronological St. Andrew’s by the Sea, 23 FEBRUARY order; please do not send duplicate listings. Hyannis Port THE DIAPASON regrets that it cannot assume Choral Society of the Palm Beaches; responsibility for the accuracy of calendar entries. Florida Atlantic University, Jupiter, FL 4 pm Cameron Carpenter; Orchestra Hall, Detroit, MI 7:30 pm UNITED STATES Harry van Wijk; Elliott Chapel, Presbyte- East of the Mississippi rian Homes, Evanston, IL 1:30 pm Dean W. Billmeyer GAVIN BLACK Princeton Early Keyboard Center 24 FEBRUARY University of Minnesota 15 FEBRUARY Julliard 415; Holy Trinity, New York, NY 732/599-0392 Cameron Carpenter; Jorgenson Center 12 noon Minneapolis 55455 • [email protected] www.pekc.org for the Performing Arts, Storrs, CT 3 pm Cathedral Choir of St. John the Divine; Thomas Trotter; Third Presbyterian, Cathedral of St. John the Divine, New York, Rochester, NY 4 pm NY 7:30 pm Bach Vespers; Holy Trinity, New York, NY James Hicks; First Presbyterian, Allen- 5 pm town, PA 6:30 pm Byron L. Blackmore THOMAS BROWN John Scott; St. Thomas Church Fifth Av- UNIVERSITY enue, New York, NY 5:15 pm 25 FEBRUARY Crown of Life Lutheran Church PRESBYTERIAN CHURCH Chelsea Chen ; First Presbyterian, Ruth- Mark Jones, with harp; First Presbyte- Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA erford, NJ 3 pm rian, Pompano Beach, FL, 12 noon Raúl Prieto Ramírez; Front Street Unit- 623/214-4903 ThomasBrownMusic.com ed Methodist, Burlington, NC 4 pm 26 FEBRUARY Adam Pajan; Advent Lutheran, Mel- Nancy Siebecker; Christ Church, Bra- bourne, FL 3 pm denton, FL 12:15 pm Mozart, Mass in F Major; Christ Church, ROBERT CLARK Bradenton, FL 11 am 27 FEBRUARY Houston Texas DELBERT DISSELHORST Bradley Hunter Welch; Christ Church, Gavin Black, harpsichord; Christ Con- Master Classes, Consultation Professor Emeritus Bradenton, FL 4 pm gregation, Princeton, NJ 8 pm [email protected] Organized Rhythm; Christ Presbyterian, Chelsea Chen; Grace Covenant Presby- 513/478-0079 University of Iowa–Iowa City Canton, OH 4 pm terian, Richmond, VA 7:30 pm Early Music Festival; St. Peter in Chains Quire Cleveland; Cathedral of St. John Cathedral, Cincinnati, OH 3 pm the Evangelist, Cleveland, OH 7:30 pm Cameron Carpenter Jonathan Rudy; St. Catharine of Siena, ; Norton Center for JAMES DORROH, AAGO, PhD STEVEN EGLER Cincinnati, OH 3 pm the Arts, Danville, KY 8 pm Central Michigan University Vincent Dubois; First Presbyterian, Yp- Nicholas Schmelter; First Congrega- Saint Luke’s Episcopal Church Mt. Pleasant, Michigan silanti, MI 4 pm tional, Saginaw, MI 12:15 pm Samford University Artist in Residence Evensong; Cathedral Church of the Ad- Birmingham, Alabama First Congregational Church vent, Birmingham, AL 3 pm 28 FEBRUARY Saginaw, Michigan Phillip Kloeckner; Madonna della Stra- Craig Cramer; Anabel Taylor Chapel, Organ Consultant Organ Recitals [email protected] da Chapel, Loyola University, Chicago, IL Cornell University, Ithaca, NY 8 pm 3 pm Concordia College Choir; First Presbyte- Women’s Voices Choral Festival; Rock- rian, Pompano Beach, FL 7:30 pm efeller Memorial Chapel, Chicago, IL 5 pm Rockefeller Chapel Choir; Rockefeller JOHN FENSTERMAKER STEPHEN HAMILTON Gerrit Lamain; St. Stephen’s Lutheran, Memorial Chapel, Chicago, IL 7:30 pm St. Paul, MN 4 pm TRINITY-BY-THE-COVE recitalist–clinician–educator 1 MARCH Jonathan Ryan; St. John’s Episcopal, www.stephenjonhamilton.com 16 FEBRUARY NAPLES, FLORIDA •Mickey Thomas Terry; First United Stamford, CT 4 pm Methodist Church at the Chicago Temple, Chelsea Chen; Hitchcock Presbyterian, Chicago, IL 7:30 pm Scarsdale, NY 4 pm Karen Beaumont; St. Thomas, New ANDREW HENDERSON, DMA 17 FEBRUARY York, NY 5:15 pm WILL HEADLEE Thomas Trotter; Overture Hall, Madi- Marilyn Keiser; West Side Presbyterian, 1650 James Street Madison Avenue Presbyterian Church son, WI 7:30 pm Ridgewood, NJ 3 pm New York, NY Douglas Buchanan; Washington Na- Syracuse, NY 13203-2816 18 FEBRUARY tional Cathedral, Washington, DC 5:15 pm www.andrewhenderson.net Robert Bates; Fairchild Chapel, Oberlin Marie Rubis Bauer; Duke University, (315) 471-8451 College, Oberlin, OH 8 pm Durham, NC 5 pm Ken Cowan; Englewood United Method- 19 FEBRUARY ist, Englewood, FL 3 pm Stefan Engels; Lake City Presbyterian, Fauré, Requiem; Trinity-by-the-Cove Lake City, SC 7:30 pm Episcopal, Naples, FL 4 pm David Herman Carol & James Hawkinson; Christ Alan Morrison; St. Luke’s Presbyterian, Church, Bradenton, FL 12:15 pm Dunwoody, GA 4 pm Trustees Distinguished Professor Emeritus of Music and University Organist Evensong; Christ Church, Grosse Pointe The University of Delaware Q [email protected] 20 FEBRUARY Farms, MI 4:30 pm St. James School Choir; St. John’s Epis- Richard Clemmitt & Jay Petersen; St. copal, Hagerstown, MD 7 pm Chrysostom’s, Chicago, IL 2:30 pm Nicholas Schmelter, with fl ute; First Aaron David Miller, with sopranos; Congregational, Saginaw, MI 12:15 pm House of Hope Presbyterian, St. Paul, MN A Professional Card in 4 pm 21 FEBRUARY The Diapason Thomas Trotter; Spivey Hall, Clayton 2 MARCH For rates and digital specifi cations, contact Jerome Butera State University, Morrow, GA 3 pm Nathan Laube; Cincinnati Museum Cen- Georgia Boy Choir Festival; Peachtree ter, Cincinnati, OH 7:30 pm 847/391-1045; [email protected] Road United Methodist, Atlanta, GA 7 pm 3 MARCH 22 FEBRUARY Paul Detterman; Ransdell Chapel, LORRAINE BRUGH, Ph.D. Scott Lamlein; St. John’s Episcopal, Campbellsville University, Campbellsville, West Hartford, CT 12:30 pm KY 12 noon Colin MacKnight; St. Thomas Church Elizabeth Walden; Lutheran School of Associate Professor Fifth Avenue, New York, NY 5:15 pm Theology, Chicago, IL 12:15 pm Evensong; Shadyside Presbyterian, University Organist Pittsburgh, PA 4 pm 4 MARCH Valparaiso University Jeremy Filsell; Washington National Ca- Musica Sacra; Cathedral of St. John the thedral, Washington, DC 5:15 pm Divine, New York, NY 7:30 pm Valparaiso, IN Christian Lane; Christ Lutheran, Balti- Brian Rotz; Camp Hill Presbyterian, www.valpo.edu more, MD 2:30 pm Camp Hill, PA 12:15 pm Choral Society of the Palm Beaches; Flor- Timothy Brumfi eld, First Presbyterian, ida Atlantic University, Jupiter, FL 7:30 pm Pompano Beach, FL, 12 noon 219-464-5084 John Scott; Sykes Chapel, University of Kris Ward, handbells; First Presbyterian, [email protected] Tampa, Tampa, FL 2 pm Arlington Heights, IL 12:10 pm

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 29 CALIFORNIA LUTHERAN UNIVERSITY Gary L. Jenkins Calendar Director, Schmidt Concert Series Kyle Johnson, DMA Director of Music, Carmelite Monastery 5 MARCH Ahreum Han; Christ Church, Bradenton, University Organist Cameron Carpenter; Sanders Theatre, FL 4 pm Curator of Organs Rose-Hulman Institute of Technology 

r
LFKPIOT!DBMMVUIFSBOFEV Harvard University, Cambridge, MA 8 pm Gail Archer; Divinity Lutheran, Parma Handel, Esther; St. Luke in the Fields, Heights, OH 3 pm Terre Haute, Indiana www.callutheran.edu New York, NY 8 pm Cincinnati Children’s Choir; Christ’s Julane Rodgers, harpsichord; Christ Church, Mason, OH 4 pm Church, Bradenton, FL 12:15 pm Evensong; Christ Church, Grosse Pointe KIM R. KASLING Yun Kyong Kim; Westminster Presbyte- Farms, MI 4:30 pm Brian Jones rian, Dayton, OH 12:10 pm David Jonies; Madonna della Strada D.M.A. Director of Music Emeritus Katherine Meloan; All Saints Chapel, Uni- Chapel, Loyola University, Chicago, IL 3 St. John’s University versity of the South, Sewanee, TN 7:30 pm pm TRINITY CHURCH BOSTON Collegeville, MN 56321 6 MARCH 16 MARCH James O’Donnell; St. Paul’s Episcopal, Marilyn Keiser; St. Peter’s Episcopal, Cleveland Heights, OH 7:30 pm Charlotte, NC 12 noon & 7:30 pm Tom Trenney, silent fi lm accompani- JAMES KIBBIE ment; First Presbyterian, Savannah, GA 17 MARCH 7 pm Thomas Murray; Church of the Resur- The University of Michigan Carl Angelo; First Congregational, Sagi- rection, New York, NY 8 pm Ann Arbor, MI 48109-2085 naw, MI 12:15 pm Andrew Henderson; Syracuse Univer- ORGAN CONSULTANT 734-764-1591 FAX: 734-763-5097 University Chorus and Women’s Ensem- sity, Syracuse, NY 8 pm www.gabrielkney.com email: [email protected] ble; Rockefeller Memorial Chapel, Chicago, IL 7 pm 18 MARCH Chuck Stanley; First Presbyterian, Pom- 7 MARCH pano Beach, FL 12 noon David K. Lamb, D.Mus. A Professional Card in Schola Cantorum on Hudson; St. Mala- chy’s, New York, NY 8 pm 19 MARCH Director of Music The Diapason For rates and digital specifi cations, James O’Donnell, choral conference; Michael Edward Stuart; Christ Church, Trinity United Methodist Church contact Jerome Butera Trinity Episcopal Cathedral, Cleveland, OH Bradenton, FL 12:15 pm New Albany, Indiana 608/634-6253 9 am Kathy Maresca, with fl ute; Westminster 812/944-2229 [email protected] Apollo Chorus; University of Chicago, Presbyterian, Dayton, OH 12:10 pm Rockefeller Chapel, Chicago, IL 7:30 pm Cameron Carpenter; Foellinger Great Hall, Urbana, IL 7:30 pm 8 MARCH Domecq Smith, Gail Archer, William 20 MARCH Entriken, and Ryan Kennedy; Crescent Mickey Thomas Terry; St. Paul’s Episco- Avenue Presbyterian, Plainfi eld, NJ 3 pm pal, Greenville, NC 7:30 pm Pittsburgh Youth Symphony Orchestra; Brian Jones; Emmanuel Church, Ches- Shadyside Presbyterian, Pittsburgh, PA 4 pm tertown, MD 7:30 pm Paul Jacobs; Evangelical Lutheran- James Gladstone; First Congregational, Church, Frederick, MD 3 pm Saginaw, MI 12:15 pm Shannon Mendoza; St. John’s Episco- Orpheus Choir; Buchanan Chapel, pal, Hagerstown, MD 3 pm Fourth Presbyterian, Chicago, IL 12:10 pm Mark Jones, with vocalists; First Presby- Cameron Carpenter; Wilson Center for ANDREW PAUL MOORE terian, Pompano Beach, FL 4 pm the Arts, Brookfi eld, WI 8 pm A.S.C.A.P. Bach Society of Dayton, Mozart works; FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Kettering Adventist, Kettering, OH 7:30 pm 21 MARCH Kim Heindel, Mendelssohn’s 1840 Bach 345 SADDLE LAKE DRIVE Alan Morrison; St. Vincent Archabbey ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS recital; St. Mary’s Cathedral Basilica of the Basilica, Latrobe, PA 8 pm (770) 594-0949 Assumption, Covington, KY 3 pm Cameron Carpenter; Overture Hall, Evensong; Cathedral Church of the Ad- Madison, WI 8 pm vent, Birmingham, AL 3 pm Isabelle Demers; St. Norbert Abbey, De MARILYN MASON Evensong; Christ Church, Grosse Pointe Pere, WI 2 pm CHAIRMAN, DEPARTMENT OF ORGAN Farms, MI 4:30 pm UNIVERSITY OF MICHIGAN Jonathan Rudy; St. Mary’s Cathedral, 22 MARCH ANN ARBOR Peoria, IL 3:30 pm The Dessof Choirs; Peter Norton Sym- “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it phony Space, New York, NY 7 pm with awesome technique and a thrilling command of its daring writing.” 10 MARCH Seton Hill Una Voce Choir; Shadyside The American Organist, 1980 Christopher Berry; Church of the Gesu, Presbyterian, Pittsburgh, PA 12:30 pm Milwaukee, WI 7:30 pm Barbara Bruns; St. Paul Cathedral, Pittsburgh, PA 4 pm 11 MARCH Jonathan Biggers; Washington Nation- Mark Jones , with fl ute; First Presbyte- al Cathedral, Washington, DC 5:15 pm LARRY PALMER rian, Pompano Beach, FL 12 noon PHILIP CROZIER Robert Parkins; Duke University, Dur- CONCERT ORGANIST Professor of 12 MARCH ham, NC 5 pm Lutz Felbick, with saxophone; Sykes ACCOMPANIST Rosalind Mohnsen; Busch Museum, Harpsichord and Organ Cambridge, MA 12:15 pm Chapel, University of Tampa, Tampa, FL 3355 Queen Mary Road, Apt 424 Eric Dudley; St. Ignatius of Antioch, New 2 pm Meadows School of the Arts York, NY 7 pm Gail Archer; St. Joseph Catholic, Ma- Montreal, H3V 1A5, P. Quebec con, GA 3 pm SOUTHERN METHODIST UNIVERSITY Cynthia Roberts-Greene; Christ Church, Canada Bradenton, FL 12:15 pm Scott Atchison & Zachary Hemenway; Peachtree Road United Methodist, Atlanta, (514) 739-8696 Dallas, Texas 75275 Judy Bede; Westminster Presbyterian, Dayton, OH 12:10 pm GA 7 pm [email protected] Evensong; Cathedral Church of St. Paul, Musical Heritage Society recordings 13 MARCH Detroit, MI 4 pm Steven Egler; First Congregational, Sag- Evensong; Christ Church, Grosse Pointe inaw, MI 12:15 pm Farms, MI 4:30 pm Cameron Carpenter; Edwin J. Thomas Mozart, Requiem; Regina Dominican Performing Arts Hall, Akron, OH 8 pm High School, Wilmette, IL 3 pm James O’Donnell; First Congregational, Bach, Mass in B Minor; Grace Lutheran, The Diapason announces... Columbus, OH 8 pm River Forest, IL 4 pm 20 Under 30 Nominations 14 MARCH 23 MARCH Kim Heindel, Bach works; Trinity Epis- Derek Nickels; Elliott Chapel, Presbyte- Deadline: February 15 copal, Covington, KY 4:30 pm rian Homes, Evanston, IL 1:30 pm St. John Passion We will be recognizing 20 young Bach, ; Nativity of Mary Choir of King’s College, Cambridge; Ca- Catholic Church, St. Paul, MN 7:30 pm thedral of St. Paul, St. Paul, MN 7:30 pm men and women whose career Oratorio Society Chorus; Augustana Lu- accomplishments place them at theran, West St. Paul, MN 7:30 pm 24 MARCH the forefront of the organ, church Cameron Carpenter; Brooks Center for music, harpsichord, carillon, and 15 MARCH the Performing Arts, Clemson, SC 7:30 pm organ-building fi elds—before Schubert, Mass in G; St. John’s Episco- GSU Singers, UGA Hodgson Singers, their 30th birthday. pal, West Hartford, CT 4 pm Emory University Concert Choir; Peachtree The Chenaults; First United Methodist, Road United Methodist, Atlanta, GA 7 pm Visit TheDiapason.com Schenectady, NY 3 pm Choir of King’s College; Fourth Presbyte- Elora Festival Singers & Andrew Hender- rian, Chicago, IL 7:30 pm for more information and to nominate. son; Madison Avenue Presbyterian, New York, NY 3 pm 25 MARCH Eric Dudley; St. Peter’s Episcopal, Sa- Gail Archer; Asylum Hill Congregational, Stay up to date on all of the latest industry news and events. vannah, GA 2 pm Hartford, CT 7 pm Visit TheDiapason.com regularly. Raúl Prieto Ramírez; Piedmont College, Mark Jones, with piano; First Presbyte- Demorest, GA 4 pm rian, Pompano Beach, FL 12 noon

30 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer LEON NELSON Recitals – Consultations Choral concert; Corbett Auditorium, Uni- Evensong; St. John’s Cathedral, Denver, Director of Traditional Music versity of Cincinnati, Cincinnati, OH 8 pm CO 3 pm Director of Music Emeritus Lyn Loewi, harpsichord, with violin; St. Southminster Presbyterian Church Cathedral Church of the Advent 26 MARCH John’s Cathedral, Denver, CO 7:30 pm Arlington Heights, IL 60005 Birmingham, Alabama Olivier Latry, with Boston Symphony; Hans Uwe Hielscher; St. Mary’s Cathe- Symphony Hall, Boston, MA 8 pm dral, San Francisco, CA 4 pm Oratorio Society of New York; Cathedral of St. John the Divine, New York, NY 7:30 pm 16 FEBRUARY ROBERT L. Haig Mardirosian; Christ Church, Bra- •James Welch; Holy Family Roman Cath- Nicholas E. Schmelter denton, FL 12:15 pm olic Church, South Pasadena, CA 1 pm Director of Music and Organist SIMPSON 27 MARCH 20 FEBRUARY First Congregational Church Christ Church Cathedral Olivier Latry, with Boston Symphony; Mark Steinbach; St. Mark’s Episcopal Saginaw, Michigan 1117 Texas Avenue Symphony Hall, Boston, MA 1:30 pm Cathedral, Seattle, WA 7:30 pm Houston, Texas 77002 The Philadelphia Singers; Temple Uni- versity, Philadelphia, PA 7:30 pm 21 FEBRUARY Choir of St. Lorenz Middle School; First Houston Chamber Choir; South Main Stephen Tappe Congregational, Saginaw, MI 12:15 pm Baptist, Houston, TX 7:30 pm Christian Lane; First Presbyterian, Roy- Organist and Director of Music 22 FEBRUARY Mark Steinbach Saint John's Cathedral al Oak, MI 7 pm Brown University John W. W. Sherer, Fourth Presbyterian, Dorothy Young Riess; Mayfl ower Con- Denver, Colorado Chicago, IL 12:10 pm gregational, Oklahoma City, OK 3 pm Clive Driskill-Smith; St. Paul’s Cathe- www.sjcathedral.org 28 MARCH dral, Oklahoma City, OK 5:30 pm Olivier Latry, with Boston Symphony; 24 FEBRUARY Symphony Hall, Boston, MA 8 pm ORGAN MUSIC OF THE SPANISH BAROQUE The Philadelphia Singers; Temple Uni- Thomas Trotter; California Lutheran versity Philadelphia, PA 7:30 pm University, Thousand Oaks, CA 7:30 pm David Troiano Joe Utterback 25 FEBRUARY DMA MAPM COMMISSIONS & CONCERTS 29 MARCH Scott Schilbe; First Presbyterian, Roch- Scott Lamlein; St. John’s Episcopal, 586.778.8035 ester, MN 12:15 pm 732 . 747 . 5227 West Hartford, CT 12:30 pm [email protected] Lynn Trapp, with Age to Age Choral En- CONCORA; Immanuel Congregational semble; St. Olaf Catholic Church, Minne- Church, Hartford, CT 4 pm apolis, MN 7:30 pm Professional Choir of MAPC & St. An- drew Orchestra; Madison Avenue Presby- 26 FEBRUARY Marcia Van Oyen terian, New York, NY 3 pm David Wagner Messiah, James Welch; Aspen Community First United Methodist Church Handel, Part II; Grace Church, Church, Aspen, CO 6 pm DMA New York, NY 4 pm Plymouth, Michigan www.davidwagnerorganist.com Bach Vespers; Holy Trinity, New York, NY 27 FEBRUARY mvanoyen.com 5 pm Estonian Philharmonic Chamber Choir; Coro Vocati; Peachtree Road United St. John’s Cathedral, Denver, CO 7:30 pm Methodist, Atlanta, GA 5 pm Everglades Legacy Choir; First Presbyte- 1 MARCH rian, Pompano Beach, FL 4 pm Stephen Distad; Chapel, St. Mary’s Frederick Teardo; Cathedral Church of Hospital, Rochester, MN 3 pm Kevin Walters KARL WATSON the Advent, Birmingham, AL 2:30 pm Bradley Hunter Welch; Boston Avenue Jeremy David Tarrant, with orchestra; United Methodist, Oklahoma City, OK 5 pm M.A., F.A.G.O. SAINT LUKE’S Cathedral Church of St. Paul, Detroit, MI James Hicks; Pacifi c Lutheran Univer- Rye, New York 4 pm sity, Tacoma, WA 8 pm METUCHEN Stephen Hamilton; Grace Cathedral, 31 MARCH San Francisco, CA 5 pm Olivier Latry, with Boston Symphony; Symphony Hall, Boston, MA 8 pm 3 MARCH Alan G Woolley PhD James O’Donnell; St. Mark’s School, RONALD WYATT Musical Instrument Research UNITED STATES Belmont Chapel, Dallas, TX 7 pm Edinburgh Trinity Church West of the Mississippi 4 MARCH [email protected] Galveston Rosalie Alcoser; First Presbyterian, 15 FEBRUARY Rochester, MN 12:15 pm St. Olaf Choir; Orchestra Hall, Minneapo- James Hicks; Cathedral of Our Lady of lis, MN 3 pm the Angels, Los Angeles, CA 12:30 pm Gail Archer; Bethel Lutheran, Roches- DIAPASON Student Rate ter, MN 4 pm 6 MARCH RUDOLF ZUIDERVELD Douglas Cleveland; St. Mark’s Episco- James Hicks; Trinity Episcopal, Reno, $20 one year pal, St. Louis, MO 3 pm NV 12 pm Illinois College, Jacksonville First Presbyterian Church, NEW! 847/391-1044 Springfi eld [email protected]

Charles Dodsley Walker, FAGO Artist-in-Residence Founder/Conductor Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 - (917) 628-7650 (212) 222-9458 , *HWWLQJ1HDUWKHPXVLFDQGFRPPHQWVRID ) SURPLQHQW$PHULFDQFRPSRVHURIRUJDQDQGFKXUFKPXVLF 9 *HUDOG1HDU A two-inch Professional Card < +DSS\%LUWKGD\+XUULFDQH0DPDHLJKWVXSHUE in The Diapason VRORLVWVFHOHEUDWHWKHWKDQQLYHUVDU\RIWKHLFRQLF*ODWWHU For information on rates and specifi cations, contact Jerome Butera: ( *|W]5RVDOHVSLSHRUJDQDW:DOW'LVQH\&RQFHUW+DOOLQ [email protected] 608/634-6253 9 /RV$QJHOHV @ 0LDPL0DJLF¿QDOLVWVIURPWKH0LDPL ,QWHUQDWLRQDO2UJDQ&RPSHWLWLRQDQGRWKHUVRORLVWVSHUIRUP ArtistArtist Spotlights Spotlightspotlight s DAVID SPICER LQFRQFHUW  Artist Spotlights First Church of Christ 'XSUpDQG5DFKPDQLQRIIYLUWXRVLFPXVLFE\WZR are available on Wethersfi eld, Connecticut RIWKHWRZHULQJOHJHQGVRIWKHHDUO\WKFHQWXU\NH\ERDUG  H[SORUHGE\-HUHP\)LOVHOO The Diapason  website and  e-mail newsletter. Contact Jerome

7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK Butera for rates [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM and specifi cations. [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY 608/634-6253 ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZŽ HWVIHJVT House Organist [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

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7 MARCH 17 MARCH INTERNATIONAL F. ALLEN ARTZ, III, Crescent Avenue Scott Dettra; St. John the Divine, Hous- Bryan Dunnewald; Aspen Community Presbyterian Church, Plainfi eld, NJ, Oc- ton, TX 5 pm Church, Aspen, CO 6 pm 15 FEBRUARY tober 26: Concerto in a, BWV 593, Air for Ryan Leonard; St. Paul’s Cathedral, the G String (Suite in D), Bach; Partita on 8 MARCH 18 MARCH London, UK 4:45 pm Freu dich sehr, Böhm; Fugue No. 1 in B fl at, Michael Hey; Our Lady of Lourdes Gail Thurnau; First Presbyterian, Roch- Schumann; Fugue in g, BWV 578, Bach; Church, Sun City, AZ 3 pm Paul Carr; Westminster Cathedral, Lon- ester, MN 12:15 pm don, UK 4:45 pm Prelude and Fugue in d, op. 37, no. 3, Men- Jonathan Dimmock; Lagerquist Hall, Pa- delssohn; Cortège et Litanie, Dupré; Bells cifi c Lutheran University, Tacoma, WA 3 pm Martin Ford; Westminster Abbey, Lon- 20 MARCH (Three Characteristic Pieces), Langlais; Les Isabelle Demers; Davies Symphony don, UK 5:45 pm Judith Hancock; Christ Episcopal, Little Benjamin Straley; Westminster United Cloches, le Bègue; Von Gott will ich nicht Hall, San Francisco, CA 3 pm lassen, BWV 658, Bach; Fugue sur le thème James Hicks Rock, AR 7:30 pm Church, Winnipeg, MB, Canada 2:30 pm ; St. Mary’s Cathedral, San du Carillon des heures de la Cathédrale de Francisco, CA 4 pm Richard Robertson; St. John’s Cathe- David Stratkauskas; Ryerson United Soissons, Durufl é; Carillon, Sowerby; Caril- Simon Thomas Jacobs; St. James dral, Denver, CO 7:30 pm Church, Vancouver, BC, Canada 3 pm lon de Westminster, Vierne. Episcopal, Los Angeles, CA 6 pm Paul Hesselink; Doc Rando Hall, Uni- 16 FEBRUARY versity of Nevada, Las Vegas, NV 7:30 pm DANIEL BECKWITH, Episcopal Church 10 MARCH Macalester Concert Choir; Christ Epis- Thomas Trotter; Town Hall, Birmingham, James O’Donnell of Bethesda-by-the-Sea, Palm Beach, FL, Oc- ; St. James Episcopal, copal, Tacoma, WA 7:30 pm UK 1 pm Alexandria, LA 7 pm tober 5: Comes Autumn Time, Sowerby; Flute 17 FEBRUARY Tune, Arne; Prelude on Iam sol recedit ig- 22 MARCH 11 MARCH Jeremy David Tarrant; St. Paul’s Cathe- neus, Simonds; Final (3ème Symphonie pour Nathan Laube Cynthia Betz; First Presbyterian, Roch- ; St. Louis Cathedral, New dral, London, ON, Canada 12:15 pm Orgue), Vierne. ester, MN 12:15 pm Orleans, LA 5 pm Evensong; Our Lady of the Atonement 20 FEBRUARY MICHAEL COSTELLO, Grace Lutheran 12 MARCH Catholic Church, San Antonio, TX 4 pm Edward Norman, silent movie accompa- Church, River Forest, IL, October 12: Prelude John Salveson; St. Barnabas Lutheran, Stephen Hamilton; Trinity Episcopal, niment; Holy Rosary Cathedral, Vancouver, and Fugue in C, BWV 547, Komm, Heiliger Plymouth, MN 12:30 pm Tulsa, OK 5 pm BC 8 pm Geist, Herre Gott, BWV 651, O Lamm Gottes, Isabelle Demers; First Presbyterian, Joan Lippincott; St. Alban’s Episcopal, unschuldig, BWV 656, Nun danket alle Gott, Bryan, TX 7:30 pm Tucson, AZ 3 pm 21 FEBRUARY BWV 657, Schmücke dich, o liebe Seele, BWV Cristina Garcia Banegas; Resurrection Martin Stacey; Priory Church of St. 654, Komm, Gott Schöpfer, heiliger Geist, 13 MARCH Dominic, London, UK 2:15 pm master- BWV 667, Concerto in C, BWV 595, Wir Handel, Messiah, Part II; Cathedral of St. Parish, Santa Rosa, CA 3:30 pm class, 4:30 pm recital glauben all an einen Gott, BWV 1098, Erhalt John, Albuquerque, NM 7 pm 25 MARCH Jennifer Bate; St. Albans Cathedral, St. uns, Herr, bei deinem Wort, BWV 1103, Aus ti- 15 MARCH Andrew Galuska; First Presbyterian, Albans, UK 5:30 pm efer Not schrei ich zu dir, BWV 1099, Canonic Isabelle Demers Evensong; St. John’s Cathedral, Denver, Rochester, MN 12:15 pm ; Maison Symphonique Variations on ‘Vom Himmel hoch da komm ich CO 3 pm de Montreal, Montreal, QC, Canada 8 pm her,’ BWV 769, Ach Gott, tu dich erbarmen, Scott Dettra; Broadway Baptist, Fort 28 MARCH BWV 1109, Nun lasst uns den Leib begraben, Worth, TX 7 pm 22 FEBRUARY BWV 1111, Herzlich lieb hab ich dich, O Herr, Houston Chamber Choir; South Main Daniel Cook; St. Paul’s Cathedral, Lon- Evensong; Christ Episcopal, Tacoma, Baptist, Houston, TX 7:30 pm BWV 1115, Christ, der du bist der helle Tag, WA 5 pm don, UK 4:45 pm BWV 1120, Liebster Jesu, wir sind hier, BWV Macalester Concert Choir; Christ Epis- Kristiaan Seynhave; Westminster Ca- 731, Prelude and Fugue in D, BWV 532, Bach. 29 MARCH thedral, London, UK 4:45 pm copal, Tacoma, WA 7:30 pm Gerrit Lamain; St. Stephen’s Lutheran, Iveta Apkalna; First Congregational, Los Jeremy Woodside; Westminster Abbey, PHILIP CROZIER, Karlstad Domkyrka, West St. Paul, MN 4 pm Angeles, CA 3 pm London, UK 5:45 pm Karlstad, Sweden, August 6: Praeludium in e, Stephen Hamilton; First Lutheran, Bruhns; Canzon Quarta, Frescobaldi; Varia- Sioux Falls, SD 3 pm 16 MARCH 24 FEBRUARY tions: Cantilena Anglica Fortunae, SSWV Daryl Robinson; Herrick Chapel, Occi- Annette Richards; Trinity Lutheran, Philip Bricher; St. Andrew’s, Rugby, UK 134, Scheidt; Deux danses à Agni Yavishta, dental College, Los Angeles, CA 8 pm Lynnwood, WA 7 pm 1 pm Postlude pour l’offi ce de Complies, Fantas- magorie, Intermezzo, Alain; Passacaglia in 27 FEBRUARY Edward Norman, silent fi lm accompani- d, BuxWV 161, Buxtehude; Komm, Heiliger ment; Holy Rosary Cathedral, Vancouver, Geist, Herre Gott, Tunder; Aria in F, BWV BC, Canada 8 pm 587, J. S. Bach; Hommage à Dietrich Buxte- hude, Eben. 7 MARCH Lemvig Kirke, Lemvig, Denmark, August Bach, St. Matthew Passion; Pablo Casals 8: Variations: Cantilena Anglica Fortunae, Symphony Hall, San Juan, Puerto Rico 8 pm SSWV 134, Scheidt; Aria in F, BWV 587, J.S. Bach; Postlude pour l’offi ce de Complies, 17 MARCH Alain; Praeludium in e, Bruhns; Adagio, Jeremy Lloyd; Town Hall, Reading, UK Bédard; Toccata, op. 7, no. 3, Barié. 1 pm -+ &62GHOO MARIO DUELLA, Presbyterian Homes, 21 MARCH Evanston, IL, October 27: Fantasia in a, odellorgans.com s 860-365-8233 Pieter van Dijk; St. Saviour’s, St. Albans, ‘Schmücke dich, o liebe Seele,’ Kittel; Fanta- P.O. Box 405, East Haddam, Connecticut 06423 UK 5:30 pm sia in g, BWV 542, ‘Valet will ich dir geben,’ REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 A. David Moore, Inc. TRACKER ORGAN DESIGNERS & BUILDERS HC 69 Box 6, North Pomfret, Vermont 05053 ATOS ExperienceAmerican Theatre Organ Society 801-756-5777 www.bigeloworgans.com 802/457-3914 Preserving a unique art form. Member Firm: The Associated Pipe Organ Builders of America GAN BUILDERS - EST E OR . 187 Concerts, education, silent film, preservation, PIP 7 RANDALL DYER fellowship and more. www.atos.org & ASSOCIATES, INC. Jim Merry, Executive Secretary, [email protected] Schoenstein P.O. Box 5327, Fullerton, CA 92838 PIPE ORGANS OF QUALITY AND DISTINCTION SAN FRANCISCO BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 w ww 58 ◆ .sch 47-58 [email protected] www.rdyerorgans.com oenstein.com - (707) 7

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32 Q THE DIAPASON Q FEBRUARY 2015 WWW.THEDIAPASON.COM Organ Recitals

Bach; Marcia festiva, op. 118, no. 8, Bossi; ing; Prelude and Fugue in E-fl at, op. 99, no. 3, MARK LAUBACH, St. George’s Episco- ANDREW SCHAEFFER, St. John Lied per organo, Wolstenholme; Sinfonia in Saint-Saëns; Naïades, op. 55, Vierne; Pasticcio pal Church, Schenectady, NY, September 19: Evangelical Lutheran Church, Forest Park, C, Candotti. (Organ Book), Langlais; Andantino, op. 51, Grand Choeur Dialogué, Gigout; Allegretto IL, September 21: Les cloches de Hinckley Vierne; Carillon, op. 27, no. 4, Dupré. (Sonata for Organ in e-fl at, op. 65), Parker; (Pièces de Fantaisie), Vierne; Aria, op. 51, ANDREW PAUL FREDEL, St. Mary’s Prelude and Fugue in E-fl at, BWV 552, Lobe Peeters; Cortège et Litanie, op. 19, no. 2, Catholic Church, St. Mary’s Ridge, WI, Octo- JEANNINE JORDAN, St. Georgenkirche, den Herren, BWV 650, Bach; Olivet, Jones; Dupré; Three Preludes Founded on Welsh ber 12: Sonata III, op. 65, no. 3, Mendelssohn; Glauchau, Germany, September 7: Komm, Hyfrydol, Phillips; Improvisation on St. Clem- Hymns, Vaughan Williams; Two Pieces Based Herzlich tut mich verlangen, op. 122, no. 10, Gott, Schoepfer, heiliger Geist, BWV 667, Nun ent, Hancock; Nun danket alle Gott, Hovland; on Early American Hymns, Shearing; Sym- Brahms; Wachet auf ruft uns die Stimme, BWV komm’ der Heiden Heiland, BWV 659, Jesus Sonata I in f, op. 65, no. 1, Mendelssohn; phony No. 1, op. 14, Vierne. 645, Fugue in G à la Gigue, BWV 577, Bach; Christus, unser Heiland, BWV 665, Fantasia Psalm-Prelude, op. 32, no. 1, Psalm-Prelude, Two Gregorian Paraphrases, Bedard; Ubi cari- super Komm, heiliger Geist, BWV 651, Pre- op. 32, no. 2, Howells; Variations on a Noël, NICHOLAS SCHMELTER, First Con- tas, Biery; Were You There, Bennett; Capriccio lude and Fugue in b, BWV 544, Fugue in E- op. 20, Dupré. gregational Church, Saginaw, MI, September ‘on the notes of the Cuckoo,’ Purvis; Berceuse, fl at, BWV 552ii, J.S. Bach; Prelude in D, Fuge 26: Fanfare, Wyton; Prelude Through All Ma- Vierne; Spinning Song, Young; Ave Maria, in d, Adagio per il Organo, C.P.E. Bach; Fuge NATHAN LAUBE, Winnetka Congrega- Bossi; Postlude in d, op. 105, no. 6, Stanford. in g, Chorale prelude on Wir Christenleut han tional Church, Winnetka, IL, September 27: jor Keys, op. 39, no. 2, Beethoven; Variations jetzund Freud, W.F. Bach. Clavierübung III, Bach. on ‘Old Folks at Home,’ Buck; Sinfonia aus der WILLIAM GUDGER, St. Luke’s Cha- Kantate Nr. 29, BWV 29, Bach; Country Gar- pel, Charleston, SC, October 4: Sonata in a, DEXTER KENNEDY, United Presbyte- PHILIP MANWELL, Resurrection Par- dens, The Sussex Mummers’ Carol, Grainger; C.P.E. Bach; 12 Partite super ‘Freu dich sehr rian Church, Binghamton, NY, October 10: ish, Santa Rosa, CA, October 26: Choral in Passacaglia, Sowerby; Nave, Hebble; Prelude o meine Seele,’ Böhm; Freu dich sehr (Can- Fantasie and Fugue in B-fl at, op. 18, no. 6, E, Prelude, Fugue and Variation, Cantabile, and Fugue in B, op. 7, no. 1, Dupré. tata 32), J.S. Bach; Requiem, Liszt. Boëly; Schmücke dich, o liebe Seele, BWV 654, Fantasie in A, Prière, Choral in a, Franck. Bach; Concerto in d, BWV 596, Bach; Fanta- DAVID SCHRADER, Lutheran School CHRISTOPHER HOULIHAN, Trinity sia and Fugue in c, C.P.E. Bach; Transports LARRY PALMER, organ and harpsi- of Theology, Chicago, IL, October 4: Toccata College Chapel, Hartford, CT, October 24: de joie d’une âme devant la gloire du Christ chord, Southern Methodist University, Dal- and Fugue in d, BWV 538, Prelude and Fugue Toccata, Sowerby; Vocalise-étude en forme de qui est la sienna (L’Ascension), Messiaen; las, TX, September 8: Allegro giocoso (Seven in d, BWV 539, Schübler Chorale Preludes, Habanera, Ravel, arr. Houlihan; Italian Con- Andante sostenuto (Symphonie Gothique, Improvisations, op. 150, no. 7), Saint-Saëns; Toccata and Fugue in F, BWV 540, Bach. certo, BWV 971, Bach, arr. Houlihan, Passaca- op. 70), Widor; Scherzo (Douze Pièces), Lit- Récit de Tierce en Taille, de Grigny; Come glia and Fugue in c, BWV 582, Bach; Romance aize; Adagio (Symphonie No. 3, op. 28), Final Holy Ghost, Our Souls Inspire, Held; Con- ANDREA TOSCHI, Presbyterian Homes, and Final (Symphony No. 4, op. 32), Vierne. (Symphonie No. 2, op. 20), Vierne. sonance, Hampton; Allegro (Concerto in G, Evanston, IL, September 22: Variationi ca- BWV 592), Bach; Carnival, Hewitt-Jones; pricciose, Pasquini; Schmücke dich, o liebe PAUL JACOBS, Grace Lutheran Church, CHRISTINE KRAEMER, St. Luke Epis- Prélude (Premier Livre), Air Grave pour Seele, BWV 654, J.S. Bach; Sonata VI, Ich ruf River Forest, IL, October 19: Prelude and copal Church, Evanston, IL, September 14: les Incas du Pérou (Les Indes galantes), La zu dir, Herr Jesu Christ, C.P.E. Bach; Elevazi- Fugue in D, BWV 532, Von Gott will ich nicht Comes Autumn Time, Sowerby; Toccata, Ada- Dauphine, Rameau; Sonatina ‘ad usum in- one, Bergamo; Ballet (Petite Suite), Debussy. lassen, BWV 658, Prelude and Fugue in a, gio and Fugue, BWV 564, Bach; Diptyque: fantis, pro clavicimbalo composità,’ Molto BWV 543, Bach; Voluntary in d, op. 5, no. 8, essai sur la vie terrestre et l’éternité bien- tranquillo, Andantino melancolico, Vivace, ELISABETH ULLMANN, with Samuel Stanley; Andante in F, K. 616, Mozart; Organ heureuse, Messiaen; Sonata No. 4 in B-fl at, Molto tranquillo, Polonaise, Busoni; Allegro Bisson, cello, and ORGANIX String Ensem- Sonata in d, op. 42, no. 1, Guilmant. Mendelssohn; Sarabande (Partita for Organ), (Ten Little Preludes, op. 35), Hessenberg; Howells; Choral Varié sur le Theme du ‘Veni Prelude in D, BWV 874 (The Well-Tempered ble, Our Lady of Sorrows Church, Toronto, DAVID JONIES, St. Joseph Catholic Creator,’ op. 4, Durufl é. Clavier, Book II), Bach; Canción y Danza X, ON, Canada, October 19: Prelude in C, Bux- Church, Lake Linden, MI, July 21, First Lu- transcr. Palmer, Mompou; Sonata in D, K. WV 138, Buxtehude; Canzona IV, Canzona theran Church, Iron Mountain, MI, July 23, WOLFGANG KREUZHUBER, St. An- 119, Scarlatti. V, Kerll; Ciacona in G, Toccata Octava (Ap- St. Paul’s Episcopal Church, Marquette, MI, drew Catholic Church, Salzburg, Austria, paratus musico-organisticus Salzburg), Muf- July 25: Concert Variations on The Star Span- September 14: Magnifi cat du 1er ton, Leb- H. RICARDO RAMIREZ, Loyola Univer- fat; Sonata in F, K. 244, Sonata in G, K. 274, gled Banner, op. 23, Buck; Organ Concerto in ègue; Tiento de falsas 1 tono, Cabanilles; sity, Chicago, IL, September 21: Litanies, JA Sonata in C, K. 328, Sonata in C, K. 336, Mo- B fl at, op. 4, no. 2, Handel, arr. Dupré; Fugue Präludium und Fuge in e, BWV 548, J.S. 119, Alain; Scherzo, op. 2, Prélude et Fugue zart; Prelude and Fugue in C, BWV 547, Trio on the Magnifi cat, BWV 733, Bach; Amazing Bach; Sonate in g, Wq 70/6, C.P.E. Bach; sur le nom d’Alain, op. 7, Meditation, op. Sonata III in d, BWV 527, Bach; Four small Grace, I Love Thee, My Lord, Once More, Fuge Nr. 6 (Sechs Fugen über den Namen Posthum., Prélude, Adagio et Choral Varié Choral-Preludes, Schmidt; Adagio: In Festo My Soul (Sacred Sounds for Organ), Shear- Bach), Schumann; improvisation. sur le theme du ‘Veni Creator,’ op. 4, Durufl é. Corporis Christi (Sonata II), Heiller.

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Wanted: Organists visiting Maui. Lahaina’s Suite for an Old Tracker Organ, the First Prize The new Nordic Journey series of CD record- Holy Innocents Episcopal Church invites visit- winner in the 1967 OHS composition com- Harpsichord Technique: A Guide to Expres- ings reveals premiere recordings of symphonic ing organists to play its Beckerath Positiv organ petition, in print for the fi rst time in 47 years! sivity, 2nd Edition, with recordings by organ music—much of it still unpublished—from Nancy Metzger, is the practical, hands on at Sunday services. Built in 1972 by Rudolf von See, listen, and purchase score at www. Nordic composers, played by American organist guide to historical keyboard performance. Beckerath and then-apprentice Hans-Ulrich guinaldopublications.com. James Hicks on a variety of recently restored $35 at www.rcip.com/musicadulce. Erbslöh for Honolulu’s Lutheran Church, the 408- Swedish organs. It’s a little bit like Widor, Reger pipe Shrankpositiv has a 54-note “split” manual, OHS Convention CDs: Historic Organs of and Karg-Elert, but with a Nordic twist. Check it 30-note pedal, 11 stops, 8 ranks, and 6 registers. Baltimore, Historic Organs of Boston, Historic out at www.proorgano.com and search for the The OHS Organ Atlas chronicles the organs Holy Innocents acquired the instrument in 1977 Organs of Buffalo, Historic Organs of Chicago, term “Nordic Journey.” and the history of the area visited by OHS con- and moved it to Maui where it has been played Historic Organs of Colorado, Historic Organs of ventions. Available since 2006, these beautiful by parish musicians such as Carol Monaghan Connecticut, Historic Organs of Indiana, Historic full-color journals include stoplists, photographs, and visiting artists including Angus Sinclair of Organs of Louisville, Historic Organs of Maine, PIPE ORGANS FOR SALE and well-researched articles on the organs and Canada and Dalibor Miklavcic of Slovenia. The Historic Organs of Montreal, Historic Organs of venues visited during the convention. Of special instrument is extremely responsive and fi lls the New Orleans, Historic Organs of Pennsylvania, 1965 4-rank Moller pipe organ. Two-manual interest is the recently-published Atlas from the worship space beautifully. The parish community Historic Organs of Portland, Historic Organs of and pedal electro-pneumatic cabinet organ, 58th convention of the OHS in 2013 celebrating is “exemplary in its hospitality to all visitors,” and Seattle, Historic Organs of SE Massachusetts. cherry fi nish, tilting tablets, blower included. the bicentennial of the pipe organ in Vermont, that especially includes visiting organists. For Visit the OHS online catalog for over 5,000 Reasonable. Serious buyers only. Contact 1814–2014. Researched and written by archivist information: 808/661-4202; holyimaui.org organ-related books, recordings, and sheet [email protected]. music: www.ohscatalog.org. Stephen Pinel, this 235-page publication includes evocative writing about the state of music-making PUBLICATIONS / RECORDINGS and organ building during a period of two hun- Positive organ by Gabriel Kney, ca. 1980. Four ChicAGO Centenary Anthology, by Alan J. dred years, as well as a particularly fi ne history stops (8′, 4′, 2′, 1-1/3′). Height 76″, width 48″, Hommerding, Paul M. French, Richard Proulx, et of Vermont’s most famous and ubiquitous organ depth 20.5 inches. All serious offers considered. Johannes (John) Zundel, beloved organist: al. This joint effort of the Chicago Chapter of the builder, the Estey Organ Company of Brattleboro. Buyer to remove (Michigan location). Send inqui- 200th anniversary. Before moving to the U.S. in American Guild of Organists and World Library An extraordinary compendium by E. A. Boadway, ries to [email protected]. 1847, he studied organ building with Walcker and Publications presents specially commissioned Jr. is a complete index of pipe organs found today playing with Rinck. Best known for “Beecher.” Due organ works by Chicago composers, as well throughout the state. Readable and entertain- to his strong German accent, he used to say, “I as rare or unpublished pieces by earlier organ- ing—a collector’s item! Visit www.ohscatalog.org. M. P. Möller Artiste Opus 9750, 1962. Diapa- cannot pray with my lips, but I pray with my fi n- ists from the city including Leo Sowerby. Also son, Gedeckt, Viola, and Trumpet, 2 manuals gers.” michaelsmusicservice.com; 704/567-1066. includes a jubilant Bailado Brasileiro by Richard Certifi ed appraisals—Collections of organ and pedal, 20 stops. Chimes and Zimbelstern Proulx, the AGO’s 2006 Composer of the Year! available. Freestanding swell box, detached 003074, $25.00, 800/566-6150, Wlpmusic.com. books, recordings, and music, for divorce, console with ~ 75 feet cable. Good condition. From Fruhauf Music Publications: “Sing the estate, gift, and tax purposes. Stephen L. Pinel, Buyer to arrange disassembly, crating and ship- Waters” is a traditional three-verse anthem for Appraiser. 629 Edison Drive, East Windsor, NJ ping. Los Angeles area. Contact ralphsargent@ SATB choir, soprano solo and organ. Based on Ed Nowak, Chicago-area composer, arranger, 08520-5205; 609/448-8427. and church musician, announces his new web- verizon.net. the tune NETTLETON, it is paired with a new inspira- site, featuring Nowak’s original choral works, tional text appropriate for general church seasons hymn concertatos, chamber and orchestral The OHS Catalog is online with more than and occasions. Learn more from FMP’s complete works, organ hymn accompaniments, organ 5,000 classical and theater organ CDs, books, Randall Dyer organ, 4 ranks, all-electric action ′ listings of music for voices and organ, and down- and piano pieces, electronic music, and psalm sheet music, and DVD/VHS videos. Visit www. with expansion channel, solid-state relay; 9 tall load a PDF Catalog 2015 for details. Online: www. settings. The website offers scores and recorded ohscatalog.org. To add your name to the OHS x 7′ wide, 4′6′′ deep with bench. randalldyer@ frumuspub.net; or write P.O. Box 22043, Santa examples that are easy to sample and can be Catalog mailing list, send an email to catalog@ bellsouth.net, 865/475-9539. See photo and Barbara, CA 93121-2043; phone M–F mornings purchased in downloaded (PDF and MP3) or organsociety.org or mail to Organ Historical stoplist at www.TheDiapason.com/classifi ed/ 805/967-7316. printed form. Visit ednowakmusic.com. Society, Box 26811, Richmond, VA 23261. dyer-4-rank-organ.

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PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SERVICES / SUPPLIES

2-manual & pedal Visser/Wahl practice organ. 1960 two-manual Reuter/Milnar organ, 24 Wood pipes. Missing pipes made to match. Klann has reintroduced their compound Lower–Flute 8′ (wood), Upper–Flute 8′ (metal), ranks. For more information please go to www. Damaged pipes in any condition repaired. Over magnet to replace the EM41 compound mag- Pedal (30 notes, fl at) pulldown lower. Silent milnarorgan.com. 25 years experience. Filip Cerny, 814/342-0975. net discontinued in the 1960s. It has a 3/8-inch blower in case. Fits under an 8′ ceiling. Easy exhaust with a 180-ohm coil. 877/457-5804; [email protected], klannorgan.com. to move. Asking $29,000. Greg 708/243-2549, 1981 Casavant tracker—3 manuals, 23 Möller 16′ Principal (32 pipes) in zinc. Suit- [email protected]. stops, 30 ranks. Footprint 10′ x 14′; height 18′. able for a façade with over-length bodies. Asking Good working order. Available now. Seller will $5,000. For information: mail@letourneauorgans. Aeolian/Robert Morton-style maroon consider offers on a competitive basis. For com or 450/774-2698. leather is now available from Columbia Organ 1955 Rieger tracker. Two manuals and pedal, Leathers! Highest quality. 800/423-7003, ′ ″ ′ ″ ′ ″ details, contact consultant Dr. David Lowry at 14 stops. 7 4 high, 7 4 deep, 5 8.5 wide. [email protected]. www.columbiaorgan.com. Playable but needs some repair. In Boulder, Consoles, pipes and numerous miscellaneous Colorado. $50,000 or best offer. Contact Bal Pat- parts. Let us know what you are looking for. 1986 Rudolf von Beckerath, 2/15 (20 ranks) Complete Pipe Organ Services from the Organ terson, [email protected]. E-mail [email protected] (not comcast), 162″ H, 146″ W, 114″ D. $150,000, Organ Clear- Clearing House: 450 vintage pipe organs avail- phone 215/353-0286 or 215/788-3423. ing House, [email protected]; able, renovation, tuning, consultation. Other Bigelow studio/practice organ: two manuals, 617/688-9290. services include transportation, cleaning and six stops—8, 4; 8, 4; 16, 8. Currently being re- SERVICES / SUPPLIES renovation of carvings, reredos, liturgical furnish- built. 801/756-5777, [email protected]. ings. Call John Bishop at 617/688-9290. john@ organclearinghouse.com. See details at bigeloworgans.com. Click on 1938 Kimball studio/practice organ, 4 ranks, 21 stops, excellent condition, 91″ H, 85″ W, BrickWall Series Mode AC Surge Suppres- News, then on Opus 3. 56″ D (+pedalboard). Organ Clearing House, sors from 800SELLCOM, stop 6,000-volt surges, 617/688-9290, [email protected]. no MOVs. Perfect protection for pipe and digital ANNOUNCEMENTS N.Y. builder Thomas Robjohn’s sole surviv- organs. Model PW2R15, $169, plus shipping. 800/735-5266; www.sellcom.com/brickwall.html. ing instrument—1859—2 manuals, 10 stops. HYBRID ORGANS FOR SALE The clock is ticking! Be sure to submit Stunning rosewood case with gold pipes. your nomination for THE DIAPASON 20 under Beautiful sound. Museum piece. 801/756-5777, 30 awards. Deadline is February 15. Visit Three-manual Rodgers Hybrid with seven Do you have a pipe organ that you would [email protected]. See photo and more www.TheDiapason.com and click on 20 sets of pipes; all working and in excellent like to interface with an electronic or digital under 30. To submit an entry without information at http://www.thediapason.com/ condition. For more information please go to organ? We can interface any digital organ or accessing our website, please contact classifi ed/1859-robjohn-ny. www.milnarorgan.com. any organ console with any pipe organ. For more Joyce Robinson, [email protected], information e-mail [email protected] (not 847/391-1044. Comcast) or call 215/353-0286. Expressive and compact—3/27 Kilgen (1940). MISCELLANEOUS FOR SALE Two expressive divisions. 17 manual 8-foot fl ues. Postal regulations require that mail to THE Reeds include Tuba, Cornopean, Oboe, Clarinet, Releathering all types of pipe organ actions Atlantic City Pipe Organ Co. Hook & Hastings DIAPASON include a suite number to assure Vox Humana. Harp. 16′ Open Wood. H: 237″, W: pipework restored: Diapasons, Strings, pedal and mechanisms. Highest quality materi- delivery. Please send all correspondence to: 170″, D: 189″. Stopkey console. Original restor- ′ and manual Flutes. C.S. Haskell 16 Pedal Dul- als and workmanship. Reasonable rates. THE DIAPASON, 3030 W. Salt Creek Lane, Suite able condition. $30,000. Organ Clearing House, ciana and Bourdon; much more. 609/432-7876, Columbia Organ Leathers, 800/423-7003; 201, Arlington Heights, IL 60005. 617/688-9290, [email protected]. [email protected]. www.columbiaorgan.com/col.

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WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2015 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Jonathan Rudy 2014 AGO National Competition Winner Available 2014-2016

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2017

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Choirs

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison Thomas Murray The Choir of Saint Thomas Church, NYC John Scott, Director April 2016

James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Daryl Robinson Daniel Roth* Jonathan Ryan Celebrating Our 94th Season!

*=Artists based outside the U.S.A.

Ann Elise Smoot Donald Sutherland Tom Trenney Thomas Trotter* Todd Wilson Christopher Young