THE DIAPASON NOVEMBER, 2010
St. Jerome Catholic Parish Oconomowoc, Wisconsin Cover feature on pages 30–31
Nov 2010 Cover.indd 1 10/11/10 12:20:40 PM Nov 2010 pp. 2-19.indd 2 10/11/10 12:23:13 PM THE DIAPASON Here & There A Scranton Gillette Publication One Hundred First Year: No. 11, Whole No. 1212 NOVEMBER, 2010 St. James’ Church, New York City, First Church of Christ, Wethers- Established in 1909 ISSN 0012-2378 presents its 2010–11 music series: No- fi eld, Connecticut, continues its music An International Monthly Devoted to the Organ, vember 1, St. James’ Compostela & series: November 14, David Spicer, the Harpsichord, Carillon, and Church Music Canterbury Choirs, music of Vaughan hymn festival; December 12, Handel, Williams; 11/20, Dessoff Choirs; De- Messiah (Part 1); January 30, Super Bell cember 16, Choir of St. Paul’s School XIX; February 27, The Alfred E. White Concord, NH, Lessons & Carols; Feb- Chorale; March 20, David Spicer; April CONTENTS Editor & Publisher JEROME BUTERA [email protected] ruary 3, Christopher Jennings, with 22, Handel, Messiah (Parts 2 and 3); 847/391-1045 violin; 2/12, Thomas Murray; March June 12, ASOF winners’ concert. For in- FEATURES 6, music for double choir and organ; formation: 860/529-1575 x 209; Ann Arbor Summer Festival Associate Editor JOYCE ROBINSON May 1, Choral Evensong; 5/14, Brian
NOVEMBER, 2010 3
Nov 2010 pp. 2-19.indd 3 10/11/10 12:23:36 PM view, Illinois; February 12, the Unitarian VocalEssence presents its Welcome Church of Evanston; March 13 and June Christmas concerts: December 4, Shep- 12, Pick-Staiger Concert Hall, Evanston. herd of the Valley Lutheran Church, For information: 773/741-6727; Apple Valley, Minnesota; 12/5, Plymouth
CERTIFIED APPRAISALS Collections of organ books, recordings, and music for gift, tax, and estate purposes
Stephen L. Pinel, Appraiser [email protected] / (609) 448-8427
4 THE DIAPASON
Nov 2010 pp. 2-19.indd 4 10/11/10 12:23:53 PM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Professor of Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Organ, Indiana University Montevideo, Uruguay Palm Beach, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Catherine Ennis Henry Fairs Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist/Lecturer Organist Dijon, France Spartanburg, South Carolina Frostburg, Maryland Gainesville, Florida London, England Birmingham, England
Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Tuscaloosa, Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea
David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Choral Conductor Organist/Pianist Organist Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana Helsinki, Finland Fort Worth, Texas Bergen, Norway New York, New York Champaign, Illinois
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Mark Quarmby Ann Marie Rigler Organist Organist/Lecturer Harpsichord & Organ Organist Organist/Teacher Organist/Lecturer Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa Sydney, Australia William Jewell College
Stephen Roberts Brennan Szafron Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Beth Zucchino Organist/Harpsichordist Organist/Harpsichordist Organist/Musicologist Organist Organists/Pianists organist/harpsichordist/pianist Danbury, Connecticut Spartanburg, South Carolina Speyer, Germany Charleroi, Belgium Edmonton, AB, Canada Sebastopol, California www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
Nov 2010 pp. 2-19.indd 5 10/11/10 12:24:10 PM The American Guild of Organ- Murray is the organist and choirmaster schedule. He was artistic director for ists bestowed its two highest awards at for Our Lady of the Atonement. “Musica Sacra,” a monthly series of cho- its annual meeting in July. The AGO Dr. Finster is known in San Antonio as ral, organ and other instrumental en- President’s Award was presented posthu- the founder and artistic director of the semble concerts at Our Lady of Sorrows mously to Messrs. Ronald G. Pogorzel- Texas Bach Choir from 1976–1990, and from 1999–2006. Artz continues to serve ski and Lester D. Yankee of New Hope as parish musician at St. Luke’s Epis- as director of music at the Far Brook (Bucks County), Pennsylvania, for their copal Church in Alamo Heights and at School in Short Hills, a private, inde- “dedicated support of the Guild and gen- Our Lady of the Atonement Church. For pendent school of 240 students in grades erous patronage of the King of Instru- eighteen years he was active in the Chi- Pre-K–8. On the faculty since 1990, he ments through the endowment of a new cago area as organist and choirmaster for conducts four choirs, the school orches- music competition, scholarship awards, St. Mark’s Church in Evanston, Illinois, tra, handbell ensembles, and teaches and the bequest of a pipe organ for the and as principal conductor for Ars Mu- classroom music. educational purposes of the AGO.” sica Chicago, an early music ensemble. An active member of the American The AGO Edward A. Hansen Lead- He taught liturgical music at Seabury- Guild of Organists, Artz served as dean ership Award was presented to AGO Western Theological Seminary in Evan- of the Metro New Jersey chapter from past president Frederick Swann of Palm ston and was an adjunct music faculty 2002–2004. He is also a member of the Springs, California, “in recognition of his member at Northwestern and DePaul Association of Lutheran Church Musi- stellar career as a concert artist and church universities and Garrett-Evangelical cians and the American Choral Direc- musician, and in gratitude for his lifetime Theological Seminary. tor’s Association. As a recitalist, he has Paul S. Hesselink, Marnie Giesbrecht, of leadership, devoted service, and ex- Having recently “retired” back to San performed in several Midwestern and and Joachim Segger traordinary generosity to the Guild.” Antonio with his wife Mary Lew, he is or- Northeastern states and in England, and ganist and choirmaster for St. Francis by played Vespers at the Cathedral-Basilica over the editing of the work done by the Lake Episcopal Church in Canyon in the presence of Pope John Paul II and Carl Weinrich. Lake, Texas. For information: 847/778- President Bill Clinton. Artz founded and The organ piece was performed by 4446; 210/695-2944; directs a select choral ensemble of 22 organist Marnie Giesbrecht, which was
David Hiett, Mark Kline, John Linker, Allison Boccia, Rosalie Cassiday, and Leon Nelson Connie Withhart Leon Nelson has been appointed Organ alumni from Northern Il- director of traditional music at South- linois University were featured in a minster Presbyterian Church, Arling- recital September 19 on the school’s 63- ton Heights, Illinois. He will direct the rank Martin Ott organ (1983) in Boutell Sanctuary Choir, maintain the music Memorial Concert Hall. The program F. Allen Artz, III library, and prepare the choir for an an- included music of Buxtehude, Bach, nual spring concert. The church houses duMage, Mendelssohn, Schumann, F. Allen Artz, III has been ap- a 30-rank Buzard organ (1992); Keith Lemmens, and Reger. The participants pointed director of music ministries at McNabb is organist. For 37 years Nel- included David Hiett (1989), Mark Kline Community Congregational Church in son was full-time director of music at (1980), John Linker (1997), Allison Boc- Short Hills, New Jersey. He will direct two of the largest Presbyterian church- cia (2009), Rosalie Cassiday (1985), and the Chancel Choir, lead worship with es in the Chicago area. He continues as Jeremy Filsell Connie Withhart (1975). James Russell the 54-rank Austin organ, and will also university organist at North Park Uni- Brown is adjunct professor of organ and oversee the activities of the church’s versity, Chicago. A new two-CD set, An Organ Legacy, harpsichord at NIU. youth and bell choirs. Artz received his on the Raven label (OAR-915, $14.98), Bachelor of Science degree in music marks 50 years of musical history at the Our Lady of the Atonement education from Elizabethtown College Basilica of National Shrine of the Im- Catholic Church, San Antonio, Texas, in Pennsylvania and a Master of Arts de- Here & There maculate Conception in Washington, announces the formation of Musica gree (summa cum laude) with a major in D.C., and celebrates the 50th anniversa- Sacra San Antonio, its new Schola in organ performance from Montclair State ry of completion of the Shrine structure Residence. Robert M. Finster has been University, studying with Jon Gillock. He Cameron Carpenter is featured on in 1959. Organ music fi rst played at the named artistic director of the new choir. has held full-time positions as education/ a new recording (CD and DVD), Cam- Shrine, by composers associated with the The Schola will present fi ne arts liturgi- music director in several large parishes eron Live!, on the Telarc label. The CD Shrine, or music that was played there by cal music at occasional Sunday afternoon in Pennsylvania and New Jersey, and was made at the Church of St. Mary the well-known organists was recorded for Solemn Evensong (Vespers) services. served as associate director of music/or- Virgin in New York City, and includes the CDs by Jeremy Filsell on the 172- The church is the founding parish for ganist at Newark’s Cathedral-Basilica of works by Bach (Preludes and Fugues in rank M. P. Möller pipe organ installed in the Anglican Use Liturgy within the Latin the Sacred Heart. F, b, e, a, D, and G) and Carpenter’s own 1964. Composers represented on the re- Rite of the Roman Catholic Church, one As director of music/organist at the Serenade and Fugue on B.A.C.H. cording include Jean Langlais, Maurice of several parishes in the United States Church of Our Lady of Sorrows, South The DVD was made on the four-man- Durufl é, Flor Peeters, Olivier Messi- that was established under the terms of Orange for nearly 10 years, Artz devel- ual Wurlitzer in the Hardman Studio in aen, Healey Willan, Fernando Germani, the Pastoral Provision granted by the late oped a music program involving four front of three HD cameras, and includes Marcel Dupré, Charles Tournemire, Pope John Paul II in 1980. Edmund G. choirs that sang at Masses on a weekly works by Carpenter, Shostakovich, Malcolm Williamson, Daniel Roth, and Schubert, Liszt, Sousa, and others. For Pierre Cochereau. For information: information:
6 THE DIAPASON
Nov 2010 pp. 2-19.indd 6 10/11/10 12:24:29 PM LAVISH APPOINTMENTS ~ EXCEPTIONAL TONALITY ~ ARTISTIC INTEGRITY
FALLS CHURCH PRESBYTERIAN CHURCH, FALLS CHURCH, VIRGINIA
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ALLEN ELITE™ The Gold Standard of Organ Building The Elite program places the resources and expertise of the world’s premier organ builder at the disposal of the world’s finest organ designers. Each Elite organ is the embodiment of well-articulated musical ideals. Every console is a numbered Opus.
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Allen Organ Company LLC, 150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 Phone: 610-966-2202 • Fax: 610-965-3098 • E-mail: [email protected] cine and spent the next 40 years in that ciphering the Metronome Marks in Max discipline. Upon retirement in 2000, she Reger’s Organ Music (2008). Both the returned to the organ and performed on CD and the book can be ordered from “Pipedreams Live from Las Vegas” for
The Great Organ at Methuen
Andrus Madsen Barbara Owen is the author of a new book, The Great Organ at Methuen: Henrico Stewen played on a clavichord built in 1974 by From Its Celebrated Arrival in 19th- Artis Wodehouse Christopher Clarke. century Boston to the Present. The book The 2-CD set is available for the price presents the story of that catalytic instru- Artis Wodehouse will present a se- of a single CD from
Sister Anita Smisek, OP, Sister Marie Virginia Walters, OP, Marijim Thoene, and Sister Marie Juan Maney, OP
Marijim Thoene was the featured kuk, op. 434 (with reader Sister Anita artist on August 11 at Queen of the Ro- Smisek, OP). sary Chapel, Sinsinawa Mound, Sinsin- Marijim Thoene received a DMA in awa, Wisconsin. The program included organ from the University of Michigan in Langlais, Suite Médiévale (with chants 1984. She is an active recitalist and direc- sung by Sister Anita Smisek, OP); Ave tor of music at St. John Lutheran Church Maris Stella (chant sung by Sister Ani- in Dundee, Michigan. Her two CDs, ta Smisek, OP); Ave Maris Stella (from Mystics and Spirits and Wind Song, are the Faenza Codex); Ave Maris Stella available from Raven Recordings. She is (from Cinq Improvisations), Tour- a frequent presenter at medieval confer- nemire/Durufl é; Alain, Luttes (from ences on the topic of the image of the Trois Dances); and Hovhaness, Habak- pipe organ in medieval manuscripts.
RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595
8 THE DIAPASON
Nov 2010 pp. 2-19.indd 8 10/11/10 12:24:53 PM
Walter Daumont Kimble died April Me, On December Five and Twenty, Nunc Dimittis 25 in Winter Park, Florida, at age 97. Here & There and Kling Glockchen. The set includes Born in Philadelphia, he moved at an study guides for the pieces for teaching early age with his family to Titusville, them to children’s choirs. Florida, where he played a Wurlitzer Michael’s Music Service announc- New organ music includes Toccata theatre organ, accompanying silent fi lms es new offerings. Alexander Russell on A Mighty Fortress (10-795, $8.00) by and vaudeville shows. He graduated was director of music and organist for the late Austin Lovelace; O Love, How from the Rollins College Conservatory both (New York & Philadelphia) Wa- Deep: Three Hymn Settings for Organ of Music in 1935 with a bachelor’s de- namaker stores and music professor at by Craig Phillips (10-240, $12.00), set- gree as a student of Herman F. Siewert, Princeton University, and brought over tings of Slane, Wer nur den lieben and earned a master’s degree from the Vierne, Dupré, and others for their fi rst Gott, and Deo gracias; Five Liturgi- University of Michigan, studying with American concerts. In preparation for cal Pieces for Organ by Lynn Trapp (10- Palmer Christian. the release of Russell’s St. Lawrence 641, $11.00), settings based on chants; After returning to Florida, he became Sketches, Michael’s Music Service is and Fanfare, Variations, and Toccata on music director at radio station WDBO offering a download of John Tasker Hark! A Thrilling Voice Is Sounding by and included a daily 15-minute program Howard’s booklet on Russell, with James Biery (10-637, $12.00). For infor- of organ music. Kimble served many comments on his music up to 1925 (it mation:
Pat Kovalsky (gifted program coordinator), Joseph Rulli (pipe organ builder and English teacher); students: Jesse Wehner, Josiah Bailey, Jessica Penatzer; and Kevin Lang (manufacturing technology instructor)
Three ninth grade students of Forest 8′ Gedeckt Hills Middle School in Sidman, Penn- 4′ Principal 2 ′ sylvania, will be re-engineering and re- 2⁄3 Quint 2′ Octave building a 1909 Möller tracker organ to 3 ′ be used as part of the school’s music pro- 1⁄5 Tierce (treble from C25) gram. Although the project had been in The project will be under the supervi- the planning stages for a few years, the sion of Joseph Rulli, pipe organ builder real catalyst was when organbuilder Irv and 29-year member of the English Lawless of Greencastle, Pennsylvania, faculty at the school. The day-to-day ac- donated the Möller organ chassis. The tivities will be coordinated by the gifted students will be reusing the four-rank program teacher, Pat Kovalsky, along slider chest, framework, keyboard, and with wood shop and technology teacher, tracker action parts as major compo- Kevin Lang. The principal of the school nents, which will be re-engineered into is Raymond Wotkowski. an essentially new instrument that will be Weekly progress will be updated at mobile as well as small enough to allow
10 THE DIAPASON
Nov 2010 pp. 2-19.indd 10 10/11/10 12:25:14 PM 10090118_JOH_HANAU_DIAPASON_246X360.indd 1 10/4/10 11:31 AM Hybrid Organ Solutions
We recently provided the
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organ. Of the organ’s 73 stops, 24 were
re-used from the existing pipe organ.
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is a state-of-the-art 36.3 audio system integrated
into the added facades. With the new four manual
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10090118_JOH_HANAU_DIAPASON_246X360.indd 1 10/4/10 11:31 AM Co. and inaugurated just two-and-a-half years before, were completely inundated and declared a total loss. The organ was Harpsichord News featured on the cover of the March 2009 by Larry Palmer issue of The Diapason. Thanks to the immediate and Hercu- lean efforts of the symphony staff, under Unusual scales at a recording the direction of President & CEO Alan session Valentine, the upper sections of the con- We’ve heard tell of “June bugs caught cert hall, most particularly the organ in a screen door” or “skeletons copulat- case, were outfi tted with gigantic, tem- ing on a tin roof” as descriptive terms porary air-conditioning equipment to for the sound of the harpsichord, but a control temperature and humidity. The three-foot-long snake rattling at a record- primary concern was the organ, and the ing session is a fi rst in your harpsichord Steiner-Reck organ at Chesterton United symphony’s fast action saved it from the editor’s experience. And scary, for one Methodist Church before Fabry project devastation of heat and humidity. This who is just a few degrees shy of complete also preserved the woodwork and other ophidiophobia! [In case the term is unfa- vulnerable elements of the hall. The en- miliar, it means “one who is irrationally tire building, including the organ, has afraid of snakes.”] been monitored for temperature and humidity control around the clock ever since. For information: 707/747-5858;
Steiner-Reck organ at Chesterton United Methodist Church after Fabry project Schoenstein organ, Schermerhorn Symphony Center, Nashville Fabry, Inc., Antioch, Illinois, over- hauled the stop and combination action of the Steiner-Reck organ at Chester- ton United Methodist Church, where it has served the church faithfully for 28 years. The organ recently developed a problem: the slider motors had diffi culty operating. After investigating this com- plaint, it was clear the motors themselves were not the origin of the problem—the archaic combination action was. Addi- tionally, fi nding replacement parts such as light bulbs and stop controls was get- David Kelzenberg with friend (photo ting increasingly diffi cult. It was impos- credit: Peter Nothnagle) sible to tell whether the stop was on or off. Plus, the battery backup system was Fortunately for composer-harpsi- a small car battery. Monarke Präludium, Hanau, Germany chordist Asako Hirabayashi, a member Fabry provided a major overhaul of of her support team at the quiet, congre- the stop controls and combination action. Johannus has installed a Monarke gation-less St. Bridget’s Church in rural They removed the push-button controls Schoenstein console, Schermerhorn Präludium hybrid organ in the Evange- Johnson County, Iowa, was tuner David that were housed on the left of the man- Symphony Center, Nashville lisch-Reformierte Kirche (Wallonisch- Kelzenberg, who has been known to uals and fabricated new stop jambs for Niederländische Gemeinde) in Hanau, provide housing for various reptiles (as both sides with all-new drawknob units. Schoenstein & Co. of San Fran- Germany. The four-manual organ has a well as the occasional traveling harpsi- Additionally, a Peterson SBDS (Single cisco has announced that the Nashville total of 72 voices, 25 of which have been chordist) at his own lodging in Iowa City. Board Duo-Set) combination action was Symphony’s fl ood-damaged organ will reused from the existing Peters pipe or- With Dave to capture the percussive in- installed, and new slider motor control- be back in operation early next year. In gan, which dates back to the 1950s. Ad- terloper (discovered dozing in a window lers were also installed. Since the new May 2010, the orchestra’s concert hall, ditional façades have been set up to the sill), all ended well, and the absolute combination action could handle it, Fab- Schermerhorn Symphony Center, was left and right of the organ, in the same quiet required for the recording session ry also cut in a new crescendo shoe. The devastated by an unprecedented fl ood style as the pipe organ. The façades in- was restored. new combination action box and new that within hours fi lled the building’s corporate the audio system, which con- The resulting compact disc, The drawknob banks were constructed to basement with roughly 24 feet of water. sists of 36.3 channels with 45 loudspeak- Harpsichord in the New Millennium, is a seem as if they had been there all along. The console and blowers of the three- ers. Three sub-loudspeakers reproduce highly recommended addition to the col- For information and more pictures, visit manual, 64-rank Martin Foundation the many 16′ and 32′ stops. For informa- lection of new music for and with harp-
We will sing concerts at the Cathedral in Salzburg, Melk Abbey, the Cathedral in Vienna, and one more pending.
Jennifer Powell, choir director, Ted Powell, accompanist, from the United Church of Christ, Yankton, South Dakota.
Please make your choir aware of this opportunity! We’ll take any number that want to go. Rehearse in your own community. We furnish robes and music.
Melk Abbey Call for pertinent details. Deadline is December 31.
Organized by Vi Ranney, 605/665-3596, Yankton, South Dakota, with Value Holidays of Chicago. Sold at cost to choir members and accompanying persons!
12 THE DIAPASON
Nov 2010 pp. 2-19.indd 12 10/11/10 12:25:45 PM able in most table saws, so when you want the edge of the board to be 30º off In the wind . . . square, you turn a crank that swivels the by John Bishop internal works—motor, arbor, and blade all move together. There’s a sliding fence that is square to the table and parallel to the blade. The woodworker sets the distance between the blade and the fence to set the width of the board he’s cutting. The table saw is running a lot in a busy organ shop. Nearly every piece of wood in the organ—from the tallest supports of pedal towers to the tiniest trackers— goes across that machine. The cost of the machine is depreciated on the company’s tax returns, but the use of the table saw is not usually billed di- rectly against the cost of the organ. It’s part of the cost of doing business. The other basic machines are the cut-off saw (which cuts boards to length), jointer (with a drum-shaped blade that planes one surface smooth and then another smooth face that’s square to the fi rst one), and thickness planer (that works off the Asako Hirabayashi and Gail Olszewski (photo credit: Peter Nothnagle) Appreciating depreciation jointed face of a board to bring the op- When a business owner purchases posite face parallel and fl at). A piece of Competition. Hearing it again on this a machine, it becomes an asset of the wood is typically jointed fi rst so an edge disc reminds one why. company, and its value is spread out over and a face are both fl at and square to Several works for fortepiano and harp- a period of years of tax returns. In some each other, run through the thickness sichord duo (with Gail Olszewski as the cases, the value of a machine is spread planer so the two faces are parallel and fi ne fortepianist) are captivating pieces out across the cost of doing business. the board is the correct thickness, and for this rare combination. Among my fa- For example, most pipe organ builders passed through the table saw so the two vorites is a Tango that already intrigues own a table saw. A table saw is a piece edges are parallel and square to the faces as a possible candidate for transcription of stationary equipment with a circular and the board is the correct width. With and performance on two harpsichords. saw blade that’s ten, twelve, fourteen, all that done, the true and square board However, to these ears the most in- or maybe sixteen inches in diameter, is cut to length. It takes four machines to gratiating and beautiful pieces from depending on the size of the machine. cut one board. this compilation of Hirabayashi’s recent There are saws with bigger diameter A workshop adage is measure twice, works are those for violin and harpsichord blades, but they are not so common, and cut once. The fi rst person to invent a ma- (played with panache by the composer they can be pretty scary. chine that will lengthen a board is going and Gina DiBello, principal second vio- Asako Hirabayashi and Gina DiBello The blade is mounted on an arbor to be rich and famous, just like the in- linist of the Minnesota Orchestra), espe- (photo credit: Peter Nothnagle) (shaft) turned by an electric motor. The ventor of the magnet that will pick up a cially the Suite for Children (fi ve charm- name of the machine is derived from the brass screw. 1 ing miniatures with a total duration of 7 ⁄2 com). For scores, contact the composer milled iron table through which the saw minutes), a stunning Fandango (slightly at
NOVEMBER, 2010 13
Nov 2010 pp. 2-19.indd 13 10/11/10 12:26:05 PM huge and have ten or twelve wheels. those machines and enough (heated) The bell in the temple works the same octave. Change by a factor of 3:2 and They’re very heavy to provide a stable space to handle the instrument. It’s not way—it produces the same pitch when you jump a fi fth. Hit a string and you platform for heavy lifting. The steering easy to make ends meet. hit with a sledge hammer or a soda can. get one tone. Stroke a string and you gears are fascinating—maybe the front So the organ is installed. It cost a With this information in mind, Tha- get another. Blow into a tube, blow three axles are involved in steering. million dollars. I wonder if we can pay gos noticed that there were secondary through a reed, etc., etc. It all started You might think that turning the steer- for it with a concert series. Let’s say pitches audible in the tone of an anvil or with the hammer and anvil. ing wheel would move all the wheels there are 500 seats in the church, and bell. He set up a cord under adjustable By the way, thinking about the evolu- the same, but if that were the case the let’s charge $20 a seat. That’s box offi ce tension that would produce a variety of tion of music, I think that Debussy dis- machine would hop around corners and revenue of $10,000 for each concert. It tones and duplicated the various sounds covered the whole-tone scale in church. eventually break itself apart because the only takes 100 concerts to pay for the he was hearing in a single tone. He real- The interiors of most pipe organs are ar- paths of the different axles actually need organ. But wait. How often have you ized that each different “overtone” rep- ranged in whole tones. The proof of that is to be concentric circles. In fact, each axle seen a 500-seat church fi lled to capac- resented a ratio to the original pitch: 2:1 the symmetry of most organ cases. Low C turns a different amount to allow those ity for an organ recital? And who’s go- (octave) was the fi rst one, 3:2 (fi fth) was is on one side of the case, C# on the oth- concentric circles. Once you know that ing to pay $20? the second, 4:3 was the third (fourth), er, D is next to C, D# is next to C#, and so you can see it easily. It takes some pretty Say $10 then, and 100 people at each etc. And he realized that a series of 13 on. Among other things, this distributes fancy fi guring at the drawing board to recital. Now it takes 1,000 recitals to pay consecutive fi fths would take him back the weight of the organ evenly from side get it right. for the organ. And we haven’t heated to the original pitch displaced by oc- to side. The organ tuner goes up one side I don’t know actual fi gures, but I’ll take the building, tuned the organ, paid for taves. These formulas are easy enough fi rst, then the other side—otherwise he’d a stab at the cost of such a machine. Let’s electricity to run the blower and light to understand, but the original discovery be jumping back and forth across the or- say the machine cost $600,000. The tires the church, paid the recitalists, or even was amazing. gan for each new note. are worth $3,000 each. The company bought the cider and doughnuts for Here’s another example of an extraor- It sounds like this: C-next, D-next, bills the customer $400 an hour. Maybe intermission. And if we’re doing ten dinary mathematical observation. A E-next, F#-next, G#-next, A#-next, etc. $100 of that is the cost of the operator concerts a year we’re talking about 100 perfect cone is one in which the height Claude D. walked along the river bank, and the operation—fuel, insurance, ex- years. We’ll have to releather the organ of the cone and diameter of its base are got a good impression noticing Claude cise taxes, maintenance. So $300 an hour at least once—and 60 years from now equal. The cool fact is that a perfect cone M. painting pictures of the same cathe- is applied to the cost of the machine. At that will probably cost close to the or- is half the volume of the sphere with the dral day after day, went into the cathe- that rate, the machine is paid for in 2,000 gan’s original price. same diameter. dral to hear the organ playing scales in hours. There are 2,000 hours in a work- It’s a terrible business plan. You’ll nev- All through his life, Pythagoras worked whole tones—another good impression. ing year. But the owner of the machine er get your money back out of it. You’re on these theories, developing systems Bet it was Aristide Cavaillé-Coll tuning probably can’t keep the machine busy better off buying a crane. of altering, or tempering, the intervals the organ. Did you know he was the in- with billable hours all the time. Maybe to increase the consonance. In simple ventor of the circular saw blade? it takes three or four years to make 2,000 What’s missing? words, he messed with the math to make In the fourteenth century AD, the billable hours. After that, every hour Meeting with the vestry or board of it sound better. organ was among the most complicated billed for the use of the machine is clear trustees of a church to discuss an organ The concept of the interval came devices built by mankind. In the early money for the owner. project, I have often heard a question from the physical world. Next, musicians twentieth century, organbuilders were When I was in high school, my home that sounds like this: “We’ve got a fur- thought it would sound great to sing in creating the fi rst user-programmable bi- church commissioned a new organ from nace to replace, a parking lot to pave, a two or more parallel parts using a given nary computers. They were bulky, made one of the premiere builders of mechan- roof to repair, and the city says we have interval, and using the scale of notes that of wood, leather, and metal, ran on elec- ical-action instruments. It had twelve to put in an elevator and bunch of ramps. had been derived from the natural over- tro-pneumatic power, and had memories stops with preparation for six more. The What’s this unit going to cost?” tones. It’s easy to imagine the moment of about .001KB. But the user could preparation meant that toeboards and I don’t like to think of a pipe organ as a when a couple singers, either by design program them. Amazing. Push a button rackboards were in place with center unit. And I don’t think the organ belongs or by error, sang in opposite directions with your thumb and you have the regis- holes marked, there was space on all the on the list with the potholes in the park- rather than parallel motion. (I think it tration for verse three. The organ is the stop-action rails for additional actions, ing lot or shingles on the roof. It goes was by mistake!) They started with a most mechanical of all musical instru- and there were plugged holes on the on the list with communion silver and fi fth. One went up a note while the other ments—an oxymoron, a conundrum. console for additional knobs. The origi- stained glass windows. It’s an expression went down a note and they were singing Organbuilder Charles Fisk talked nal cost of the organ was $36,000. The of our faith. It enhances our worship. It a third. It reminds me of a television ad about the magic of all that air being additional stops were added about ten raises our spirits. It facilitates our com- campaign featuring a collision between turned into musical sound. Think of the years later—they cost nearly as much munal singing. Where else in our society a truck carrying peanut butter and one air as fuel. Burn some air and you get a as the original organ. Today, the same do we sing together so regularly and with carrying chocolate. toccata. Or burn some air and you play organ with eighteen stops would cost such purpose? Did it take 1,000 years to get from a hymn. Share the air around the room, $500,000 or more. And this is a relatively Our music has evolved from natural Thagos’s blacksmith shop to a couple and the organ and the congregation can small organ. laws. On a sunny afternoon in 540 BC monks messing up while singing in par- do the same hymn. After looking at those fi gures, it’s on the island of Samos in the Ionian Sea, allel motion? If so it took another 1,500 All of that Samian observation, all of easy to see that a three-manual organ 30-year-old Pythagoras was walking past years to evolve the rules of four-part that math, all of that experimentation with 50 stops is going to cost more than a blacksmith shop. There were several harmony through Bach’s 371 Chorales, brought us to that million-dollar organ. a million dollars. A million dollars for smithies at work inside, and our friend Mozart’s symphonies, Mendelssohn’s It all comes from natural laws interpret- a pipe organ—the organbuilder must Thagos noticed that the hammer blows oratorios, and Saint-Saëns’ piano con- ed by a healthy dose of human reason, be making a killing. But when the con- were producing different pitches. He certos. Enter Debussy, Stravinsky, and wonder, trial, and error. The organ may tract is signed, the organbuilder buys went inside and watched for a while. At Alban Berg. be the most mechanical of all musical in- ten tons of exotic hardwoods and fancy fi rst he thought that a heavier hammer With all that development of the struments, but it’s not a machine. It’s not metals, and commits 10,000 person- made a lower pitch and a lighter ham- theory of music came the develop- a unit. It’s a gift. It’s the gift that keeps hours to the project. He’s paying in- mer made a higher pitch, but after a ment of the panoply of musical instru- on giving until it needs to be releathered. come tax, payroll taxes, liability insur- little while he noticed that the pitch was ments. The physics of each instru- You can’t pay for it by selling its use by ance, worker’s compensation insurance. determined by the anvil, not the ham- ment represents another exploitation the hour. You can’t justify it as a business He’s spending a lot of time research- mer. An anvil would produce the same of the overtone series. Change a pitch expense. It’s not practical, it’s not even ing, planning, designing, and drawing. pitch whether struck with a heavy or a by doubling or halving the number of necessary. But it feeds the soul. It’s just And he’s operating a workshop with all light hammer. cycles-per-second and you jump an that simple. Q
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6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations The Organ Clearing House FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions PO Box 290786 Charlestown, MA 02129 Solutions for Old Pipe Organs Ph: 617.688.9290 www.organclearinghouse.com
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14 THE DIAPASON
Nov 2010 pp. 2-19.indd 14 10/11/10 12:26:21 PM quarter-note beat with no motion. The lowest notes make up a true pedal part Concert hall instrument: Practice instruments: Local community instruments: On Teaching (always a question with Buxtehude, C.B. Fisk, 3 manuals, 35 stops Fisk, Holtkamp, Walker E.M. Skinner, Fisk-Schreiner, Flentrop, by Gavin Black since the sources don’t make it clear, and Tannenberg, Grooms & Payne, Austin also since the relationship between the sources and Buxtehude’s original inten- Timothy Olsen,RLUHUWYVMLZZVYVMVYNHU[email protected] tions is not always known), since there are stretches that cannot be executed by two hands alone. Four-note motive In the following example, some of the notes have been highlighted with either rectangular or oval outlines (see Example 1). The rectangular outlines indicate either an exact form—nine instances, including inversions—or a plausible variant—six instances—of the four-note motive that begins the entire praeludium (see Example 2). This mo- tive is found in crucial spots throughout the praeludium, sometimes as a marker of transitions or important moments, sometimes as part of “offi cially” motivic material, such as the second half of the fugue subject of the fi nal section of the piece. The section that we are looking Buxtehude BuxWV 141—Part 4: at here is clearly chock full of this short Free writing and trillo longo—mm. motive—it is present almost exactly half 51–59 the time. This is one of the sources of This month’s column is about just a continuity between this section and the little bit of music—the third overall sec- rest of the praeludium. tion of the Praeludium, nine measures It could well be argued that this mo- long, mm. 51–59. I will provide some tive is too simple, too ordinary, to count analysis of the passage, and offer some as a real, identifi able motive, or to serve thoughts and suggestions about fi ngering as a source of continuity or unity within a and pedaling. piece. After all, every piece has plenty of
Example 1
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*V\YZLZPUZHJYLKT\ZPJPTWYV]PZH[PVU >HKL>LHZ[KLHU VYNHUOPZ[VY`HUKSP[LYH[\YLHUKVYNHUWLKHNVN`
.LULYV\ZZJOVSHYZOPWZHUKNYHK\H[L[LHJOPUNHZZPZ[HU[ZOPWZ
2011 on campus auditions: 4LYP[ZJOVSHYZOPWJVUZPKLYH[PVU 7YVMLZZPVUHS(Y[PZ[*LY[PÄJH[L The Praeludium that we are study- Example 2 4HZ[LYVM4\ZPJ ing is, as I discussed in the column from 1HU -LI -LI June 2010, a one-movement work in sev- )HJOLSVYVM4\ZPJ (WYPS 4H` eral sections. There is both contrast and *VSSLNL(Y[Z+PWSVTH continuity amongst the sections. Sources The University of North Carolina School of the Arts is an equal opportunity campus of the UNC system. /PNO:JOVVS+PWSVTH of contrast are clear. Some sections are contrapuntal, some are not; some are regular in pulse and rhythm, some are free or essentially unmeasured; some use striking dissonance, some avoid it. Example 3 Sources of continuity can be more elu- sive, but can include the use of similar motivic material, or recurring rhythms or harmonies. This is the classic form of the toccata or praeludium as practiced by Frescobaldi and Froberger, among oth- short scale passages, and this one in par- ers, and adopted and adapted by Buxte- ticular is introduced in the most casual hude as the form of his organ praeludia. possible way. However, it seems to me It was also used by Bach for organ and that if the composer had not intended harpsichord pieces that we know or be- it to be heard, perhaps subliminally, as lieve to come from early in his career: a signifi cant motive, then we would not most of the harpsichord toccatas, the fa- be able to fi nd it quite so consistently mous D-minor organ toccata, BWV 565, through the whole piece. In any case, and some of the preludes and fugues we do fi nd it, and each teacher and each such as BWV 551. student—having initially noticed it—can The section that we are looking at muse about how signifi cant it really is, here is essentially non-contrapuntal, in and decide for him- or herself. that the writing is not in a set number of voices, although, as we will see, there Connections Dance 0 Design & Production 0Drama 0 Filmmaking 0 Music are recurrent motives. There are fairly The second element of this short sec- quick changes of texture, from one voice tion that ties it to the rest of the piece in m. 51 and elsewhere to four and fi ve is the cluster of notes in the fi rst half of later. Chords are built up out of pas- m. 57, highlighted with an oval box. This sagework. There are abrupt changes in is a foreshadowing of the fugue subject 1533 S. Main Street Winston-Salem, NC 27127-2188 the prevailing note values, as in m. 52, of the last section of the praeludium (see 336-770-3290 [email protected] www.uncsa.edu which starts with 32nd notes and then Example 3), especially as that subject somewhat surprisingly sits on the third appears when it is in parallel with itself.
NOVEMBER, 2010 15
Nov 2010 pp. 2-19.indd 15 10/11/10 12:26:37 PM Example 4 Example 6 Example 8
Example 7
Example 5
where the very last notes of the toccata are echoed in the mordent that begins the fugue subject.) This happens in several places, such as m. 104, for example (see Example 4). Trillo longo This section is also clearly related to One interesting feature of this passage the rest of the piece by its similarities to is the use of the term trillo longo, placed the transitional passage that constitutes over two spots in the pedal part, as seen the end of the second overall section of in Example 1. Of course it seems obvi- the piece and that therefore comes just ous, on one level, what this term means: before this section. This transition oc- long trill. And in both instances it is writ- ing is clear—why did Buxtehude (or his initially practice the notes of this trill in cupies mm. 47–50. It arises out of the ten above notes that are in the shape of copyist: we can’t be sure) use it here? the “as written” rhythm, learning them fugue that precedes it without break or a trill, one that begins on the lower of Was he simply observing that the printed more and more securely while thinking interruption. The fugal texture just gives its two notes. One surprising discovery notes constitute a “long trill”? Or was he about whether to try to set them free way to non-contrapuntal writing with about this term—trillo longo—is that instructing the player to execute a long from the printed rhythm. passagework and built-up quasi-arpeg- there is no evidence that it was ever in trill beyond what the notes indicate? If gio chords. This texture resembles that common use as a technical musical term so, is this to be accomplished by adding Pedaling of mm. 51–59, although it has the feeling or as a piece of accepted musical jar- notes and time, or by adding notes and Pedalings in this passage are mostly of both a cadence and coda to the long gon. A bit of research reveals that it is making them faster? Does the designa- straightforward. That is, there are easy fugue that has preceded it. The fl ourish not listed as a musical term in any mu- tion of a group of 32nd notes as a “long pedaling solutions involving toes—most- that ends the transitional passage and the sic dictionary or encyclopedia, and there trill” suggest that they can or should be ly alternate toes—as would have been pedal solo that begins the third section are no papers or articles that discuss it played freely, or given some particular the norm in Buxtehude’s time. A pos- are more or less versions of each other as a term or that mention any piece in grouping or shape? (For example, the sible pedaling—along with some fi nger- (see Examples 5 and 6). the entire history of music that uses it as 16th-note B that falls on “the ‘and’ of ing—is suggested in Example 8. The (A similar way of linking the end of a term, other than this piece. (A Google three” in m. 51 could be thought of as pedal notes marked with asterisks are one section to the beginning of the next search on the term “trillo longo” returns the beginning of a trill, and the 16th- (some of?) those that could very easily be was employed by Bach in, for example, seven results, one of them about a piece note/32nd-note rhythm rendered freely, played with heel if a player is so inclined, the Toccata in C Major, at the transi- that does not in fact use the term, and as the gradual beginning of the trill.) Or either because that happens to be more tion between the opening manual solo all of the other six about this passage. was he just reminding the player to resist comfortable for the particular player or and the ensuing pedal solo, where the Included in these search results is one the temptation to shorten or omit or sim- to avoid a disjunct articulation at those fi rst four pedal notes seem to answer the prior column in this series.) plify the trill due to its being in the pedal, spots. (Just for the record, I believe that last four manual notes [see Example 7], So if this term was not in particularly and therefore tricky to execute? Here’s I have usually used the left heel on the and in the F-major Toccata and Fugue, common use—even if its basic mean- another possibility: perhaps Buxtehude asterisked note in m. 51, where my par- wanted to employ some Italian language ticular posture makes it extremely com- at this point to signify that the trills in fortable and natural to do so, but not on question were Italian-style trills, that is, the one in m. 53.) The transaction that trills beginning on the main note. takes place between the second and third I don’t know the answers to these ques- pedal notes of m. 51 (G# and F#) is inter- tions, or whether any of these thoughts esting. The articulation created by sim- really apply. I throw them out there for ply using the right toe for both notes, as I the student—or teacher—to muse about. have indicated it, is natural and “musical” Meanwhile, the “long trill” continues to in that it precedes a note that is on a beat, be important as the section goes along, and confers a slight accent on that note. especially as manifested by the (very However, if in a particular player’s long) trill in one of the inner voices in conception of the passage that articu- m. 56. In this spot, unlike in mm. 51, lation seems jarring, then it is diffi cult 53, 55, and 57, the trill is accompanied (but probably not impossible) to fi gure throughout by motion in other voices. out a way to avoid it that works. Play- This is also the measure in this passage ers with very wide feet can play the G# that is in fi ve voices—and fi ve notes are with the extreme outside of the right toe actually sounding throughout the mea- and rotate the foot in order to play the sure—therefore it is literally the loudest F# with the inside of the foot—the big measure within this section. It has the toe. Some players might be comfortable largest number of total notes played of initially catching the F# with the left toe any measure at 32. (The following mea- and quickly substituting the right toe, in sure is second at 29.) All of this suggests order to free the left toe up to aim for the that this measure might be the rhetorical following note. It is hard to picture get- climax or high point of the section. The ting the heel involved since we are deal- major interpretive or performance issue ing with black notes. It is very possible to in this measure concerns the trill. Should turn the logic of this around and say that the notes that follow the pattern of a trill since it is so much more natural to use on E and D-sharp be played “as written,” a pedaling here that creates an articula- that is, as more or less measured 32nd tion, perhaps that is how the passage was notes, or should they be untethered from meant to be played. that timing and played as a fairly free trill? The latter is, to put it plainly, harder. It Fingering requires that the trill pattern be learned As always, the fi rst step in creating a and practiced so well that the fi ngers can fi ngering is to fi gure out, where there is execute it while the mind of the player is, any possible doubt, which notes belong in a sense, ignoring it. The player must in which hand. I have indicated some let those notes go their own way rhyth- “handing” choices in the example above, mically and concentrate on playing the using curved lines. There are several other—right hand—notes in the desired other options. For example, it would be rhythm, regardless of how those notes do possible to take the 16th notes on the or don’t line up with the notes of the trill. second beat of m. 52 in the left hand, or In any case, the student or player should the B# and C# in the second beat of m.
16 THE DIAPASON
Nov 2010 pp. 2-19.indd 16 10/11/10 12:26:52 PM 54 in the right hand. In the third beat of and the number of works in that category clude other themes associated with the ful musical career, and many would say m. 57, I have suggested taking the G# is probably triple the combined music season, although none of the new music he was very unsuccessful. This can- in the left hand. This is because I would for Advent and Epiphany, which serve found for review includes the Cana sto- tata, in Rococo style, has five move- fi nd it extremely awkward to play the re- as bookends for the holiday season. Fur- ry, so directors may have to search their ments, with the choir singing in three maining upper-voice notes of that mea- thermore, Epiphany is often just lumped church libraries. The music reviewed of them; the other two movements are sure while holding the G#, all in the right in. For example, an examination of the is appropriate for the nine weeks of for the soloists (S and A). The first hand. However, reaching the E/G# dyad 2010 Choral Music for Fall and Christ- Epiphany in 2010, so start your second and last movements are the same—a with the left hand is indeed also tricky. mas catalogue from Hope Publishing decade of the 21st century off with wiz- simple setting of the famous chorale It certainly involves a break immedi- Co. identifi es 13 categories of new mu- ened visage. Follow YOUR star. on which the cantata is based. After ately before those notes, and must be sic. They include Advent, Christmas, that, the movements have elaborate practiced carefully to avoid making that Communion, General Worship, etc., but Reges de Saba (Kings Come from rhythms, extensive ornamentation, break sound jarring or abrupt. there is no section for Epiphany. Even Sheba), Florian Leopold Gassmann with the keystone choral movement a I have included only a few fi ngerings All Saints is represented with three new (1729–1774), ed. Jane Hettrick. challenging one with wide vocal rang- as examples. Any of them can also be offerings. The one setting suitable for SATB unaccompanied or with organ, es, especially for the sopranos. The done a number of other ways. For ex- Epiphany is placed under Christmas. GIA Publications G-6579, $1.60 (M). orchestra score and parts are available ample, changing the numerals printed In the church, Christmas lingers until This contrapuntal Epiphany motet has from the publisher. above the upper staff in m. 52 from 2-3- Epiphany (January 6), even though in both Latin and English texts for perfor- 4-5-4 to 2-3-1-4-5 would result in an also the secular world decorations have been mance. The three musical sections each From a Far-Off Land (De Tierra Le- very good fi ngering (leaving the other reduced and the sales of Christmas mer- begin with the choir entering in stag- jana Venimos), Sondra K. Tucker. fi ngers the same). In the right hand in chandise in stores increased. gered imitative lines; the fi nal section SATB and keyboard with optional m. 53 the fi ngering could be (instead of Historically, much has been written is a rhythmic alleluia. The organ part fl ute, guitar, and percussion, Morn- 4-3-1-2-1-4-3) 5-4-3-2-3-4-3 or 4-3-1-3- about the phenomenon of a bright star merely doubles the choral parts. The vo- ingStar Music Publishing, MSM-50- 4-5-2 or a number of other possibilities. that appeared at about this time in the cal ranges are comfortable and diatonic. 1427, $2.25 (M+). For that matter either or both D#’s could ancient calendar. Through the tracking This scholarly edition does not include The choral score contains all the in- be taken in the left hand. Comfortable ability of modern computers that reverse dynamics and presents what was found strumental parts, but they also are avail- hand position is the main guiding prin- paths of stars, scientists have acknowl- in the original manuscript. able separately as 50-1427A. Both texts ciple, and this is something that varies edged some kind of marvelous occur- are for performance in this Puerto Rican from player to player, based on posture rence in the skies. Some church leaders Wie schön leuchtet der Morgenstern carol. The instrumental parts are very and the size and shape of the hands. have suggested this as a sign or proof. (How Fair the Morning Star Doth busy with interesting rhythms, especially Notice, however, that in all of these Once again, January 6 (Epiphany) Glow), Wilhelm Friedemann Bach in the introduction. The choral music is (m. 53) examples I am carefully preserv- is in the middle of the week, which (1710–1784). SATB, SA soli, and on two staves, with the opening material ing the use of a different fi nger to repeat complicates its celebration, and Ash chamber string orchestra with or- in unison. The fi rst section is repeated, the D# from the one that is already hold- Wednesday is not until March 9, so gan, Belwin-Mills Publishing Co., then followed by a lengthy coda, which ing it. The suggested fi ngering for the Epiphany lasts for over two months this BC 4, $4.00 (choral score) (M+). is actually longer than the main section. right hand in m. 56 is also designed to year. Perhaps this is the year to musi- W. F. Bach, the eldest son of J. S. The text tells of the star and the visit of use different fi ngers on repeated notes. cally expand the winter repertoire to in- Bach, had only a moderately success- the Kings. By and large, it is a good idea to keep the thumb off of black keys. In fact, the most physiologically comfortable use of ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
the thumb at the keyboard is for play- DOBSON CASAVANT FRERES ing white notes just before or just after another fi nger has played a black note. Much of my approach to fi ngering a pas- sage like this—in a heavily “black note” key—is derived from this concept of the use of the thumb. This can be seen in es- sentially all of the fi ngerings that I have written in here. The student and teacher can try some BOODY TAYLOR of my fi ngerings, but should primarily work fi ngerings out from scratch, bearing in mind the ideas discussed above. Then, of course, the next step is what it always is: careful and patient practice, starting with separate hands and feet—doing as much of that as turns out to be needed, better too much then too little—then
putting things together at a comfort- DYER R. ably slow tempo, speeding up gradually, keeping the hands and feet relaxed. Next month we will return to Boëll- mann, looking at the charismatic and popular Menuet Gothique. Q
Gavin Black is Director of the Prince- GARLAND FISK ton Early Keyboard Center in Princeton, New Jersey. He can be reached by e-mail at
Epiphany music: Star, manifestation, and baptism Your Church Needs a New Pipe Organ. GOULDING & WOOD But whom say ye that I am? And Peter answered and saith unto him, Thou are the Christ. What’s the First Step? Mark 8:29 To paraphrase the English Bard, Call or e-mail us! From information for your architect through fund-raising, APOBA Epiphany is much ado about something, has helpful publications concerning every aspect of an organbuilding project. usually the star. Although there are three primary stories associated with this sea- son—the transition from Christmas to Lent—it is the visit by the Magi who And, they’re FREE for the asking! followed a star that seems to garner the most attention, especially in music. That QUIMBY REDMAN SCHANTZ SCHOENSTEIN & story is the easiest to portray, and each HENDRICKSON year new choral music that celebrates To receive information about pipe organs this event is published. and recognized pipe organ builders It should be noted, however, that the oldest feast associated with Epiphany AP write or call toll free 1-800-473-5270 dates from about the third century—the or on the web @ www.apoba.com manifestation of God in Christ, revealing PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America Jesus as the Christ. This, of course, is eas- BO ily personifi ed through the Kings and the A P.O. Box 155 • Chicago Ridge, Illinois 60415 Star. Other Epiphany themes are Christ’s
baptism and Jesus’s fi rst miracle at Cana. OTT PARSONS Yet Epiphany does not really get the attention it deserves. By far, Christmas NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP settings are among the best selling items,
NOVEMBER, 2010 17
Nov 2010 pp. 2-19.indd 17 10/11/10 12:27:08 PM Epiphany Light, arr. J. Bert Carlson. few very low alto notes, a tricky modu- sor, an apprentice of Henry Willis I, in ty—an interesting and powerful gloss on SATB, organ, and optional assem- lation, and a vocal solo above a choral 2007. Peter Williams’s beautifully pro- Bach’s counterpoint by a seminal Bach bly, Augsburg Fortress, 978-0-8006- background, which adds character to the duced facsimile edition has now made performer who was himself a great con- 6417-6, $1.75 (M). fi ve verses of the anthem. the manuscript available to all. Henry trapuntist, composer, and improviser of This anthem uses the Nicolai chorale Leffl er’s handwriting is neat and legible counterpoint. Most especially, however, Wie schön (“How brightly shines the Emmanuel, God With Us, arr. Lloyd and each page of his manuscript is faith- it is Ritchie’s tribute to Walcha, who was morning star”) as its foundation. Before Larson. SATB and piano, Hope Pub- fully reproduced in full color. There was his teacher, mentor, and inspiration, and the choir sings the chorale, there is a long lishing Co., C 5642, $2.10 (M-). no need to compile an index since Mr. to whom this recording is dedicated. and dramatic choral introduction on the Based on a catchy recurring motive, Leffl er had compiled an excellent one Ritchie describes, in the accompa- word “darkness”; this builds to a climax this setting has two large sections and a himself. Perhaps he hoped that one day nying booklet and in the extraordinary on the word “light,” which is then fol- coda; the second section is faster with a the manuscript would be published. It is DVD that forms the second major part lowed by a series of alleluias. The organ driving, pulsating accompaniment. The good that now it has been. of this set—about which more below— then plays a more important role as the choral parts are on two staves, with much I recommend this delightful volume his encounter with Walcha’s approach to chorale unfolds fi rst by the choir, then in of the fi rst section for the women. to everyone with an interest in historic learning counterpoint for performance, a broad unison with the congregation. organs as a book in which they will spend or, more meaningfully, for understand- Their music is on the back cover for du- We Three Kings, Craig Courtney. countless happy hours of browsing. ing and performance. This approach in- plication. A very effective setting. SATB, congregation, and piano, with —John L. Speller volves studying each voice separately be- optional accompaniment for brass, St. Louis, Missouri fore putting any voices together. Ritchie The Lord Is My Light, John Fergu- strings, organ, and percussion, Beck- follows this approach in his own work on son. SATB and organ, MorningStar enhorst Press, Inc., CU 1003, $1.95 the contrapuntal organ music of Bach, Music Publishers, MSM-50-2514, (M). and the fruits of this study are abundant- $1.85 (M+). Courtney’s arrangement clearly states New Recordings ly to be heard in this recording. Although not strictly an Epiphany set- the popular hymn tune, with the congre- The clarity and lucidity of the coun- ting, Ferguson’s anthem using Psalm 27 gation joining on the refrains (“Star of terpoint is astonishing. The lines of each would be an interesting work during the wonder”) each time. Two of the verses Johann Sebastian Bach, The Art contrapunctus are so manifestly separate season that celebrates light through the are for a male soloist. This would be a of Fugue. George Ritchie. Desert independent melodies that the listener star and manifestation. It uses Sprech- very popular setting for the choir and Fugue Documentary Feature Film never feels the need to strain or labor to stimme to dramatize the text, including congregation. This music is not too dif- about Bach and The Art of Fugue. hear them as such. This also creates the a spoken glissando on the word “fall”; fi cult, yet creates a majestic character. Fugue State Films FSF-DVD-0001, pleasant illusion that it is equally easy for however, most of the music is sung. The
18 THE DIAPASON
Nov 2010 pp. 2-19.indd 18 10/11/10 12:27:27 PM section of the DVD. This segment gives ence to the remainder of the hymn tune. by occasionally having the melody in a du- it is based on the words “frail children of the viewer the opportunity to watch Dr. The next variation, entitled Ritornello, is ple rhythm against the right-hand fi gure. dust,” contains the beginning notes of Ritchie play—short examples—and cor- reminiscent of a Bach cantata movement In two places an unexpected rest and the the hymn in parallel sevenths. One has relate, for example, pair-wise fi ngerings such as “Sheep may safely graze.” A mov- melody note coming on an off-beat also the feeling that, as frail as we are, we do and same-toe pedaling with the articula- ing two-voice right-hand part against a adds interest. Syncopation and a 16th-note not have the strength to go on. tions that they create. stepwise moving pedal part allows the fi gure add interest to the two-part texture Burkhardt does go on, however, end- In keeping with the nature of this set, left hand to bring in the theme in a fl ow- in the third variation. A single running ing the variations with a brilliant toccata. even the booklet is jam-packed with ing manner. The surprise comes when 16th-note line, in E minor, which gen- A conventional right-hand fi gure above information, including stoplists, regis- you realize that the right hand is on an 8′ erally outlines the harmony of the tune, repeating chords in the left draws at- trations, a glossary of terms used in the fl ute while the left on a 2′, which sounds forms the fourth variation. Carter turns to tention to the thundering hymn tune in DVD, further analysis of all of the music much higher. The Bicinium that follows a two-part canon in three voices for the the pedal. Each of the fi ve variations is found on the two CDs, and more. Fur- is in traditional 16th-century style with a fi fth variation and a chorale setting for the paired with a verse of the hymn. thermore, the Fugue State Films website simple two-part texture: continuous 16th sixth. In the seventh, marked “Scherzan- Although slightly less diffi cult than the has even more, with a fascinating link or notes in the right hand and the theme on do” and written in 12/8 time, two voices in Carter variations, this piece gives a good two. Check it out! a solo reed in the left. triplets race back and forth as they outline account of itself and would be appropri- —Gavin Black The fi nal variation is a toccata. This the melody. The organist will need the “si- ate for church or recital. If you do not Princeton Early Keyboard Center variation is the most diffi cult and will esta” that follows—a highly ornamented want to end the prelude with a rip roar- require considerable working out. The soprano melody in the key of A minor. ing toccata, then that movement could toccata pattern did not lie easily under This variation becomes more chromatic be saved for the postlude, while playing my fi ngers, but this pattern is only used than the proceeding variations and is the the beginning movements as a prelude. I New Organ Music for the fi rst half of the piece where the only one containing a repeat. An inter- highly recommend this music. theme is very pronounced in the pedal. esting “Caprice” in 5/4 time follows; the —Jay Zoller After two and a half pages, the right hand melody is in chords in the right hand and Newcastle, Maine Variations on “Wondrous Love” for suddenly doubles in speed to 32nd notes in altered rhythm against a bouncing left organ, Robert Lau. Paraclete Press against sustained chords in the left hand. hand. A rousing toccata takes over for the PPM0845, $11.25. After a few moments the hymn theme fi nal variation. The pedal has the theme The composer has set the style and makes another entry in the soprano at and the manuals have a very unusual pat- New Handbell Music mood of each of the four verses of the the top of the texture! Since this melody tern, which is going to take some work to hymn and quotes the text at the begin- must be played with the little fi nger of learn. The pattern remains regular until ning of each of the four variations. The the right hand, there will be some non- the fi nal page, but the chromaticism adds Sing Praise to God Who Reigns variations are simple straightforward legato, which should be unnoticeable in not only to the delicious fl avor but also to Above, by Valerie W. Stephenson, ar- settings of the verses as he listed them. the full organ sound. In all, it is a signifi - the work to learn it. ranged for 3–6 octaves of handbells Each of the fi rst three is to be played cant contribution for church or recital. Of all these variations, this is the most with optional 3–5 octaves of hand- softly. The tune, which is well known, is interesting and challenging. It is at all chimes and B-fl at or C solo trumpet. set out in its entirety with brief episodes Village Variations, by Andrew Cart- times well written and keeps your inter- Agape (a division of Hope Publishing between the phrases. er. MorningStar Music Publishers est at a high level. Some of the move- Company), Code No. 2494, $4.75, The fi rst variation, based on the words MSM-10-976, $13.00. ments are quite easy, but as the com- Level 3 (M+). “What Wondrous Love is this, O my This is a most delightful set of varia- plexity increases, so does the diffi culty. The German tune Mit freuden soul . . .” and marked “In a lilting man- tions by a highly talented composer. Ac- I would rate it as medium to diffi cult. Zart is majestically set to provide a ner,” puts the melody in the soprano as cording to the composer’s notes, in 2007 However, it would make a wonderful re- strong expression of praise. This arrange- a solo on a second manual. The second he was to write a piece for the re-open- cital piece. ment is in the original stately 3/2 time, variation has the solo melody in the tenor ing of an organ in Suffolk. He wanted to and, as the publisher states, affords an and is based on the text “to God and to write a set of variations to show off the Oh, Worship the King—Variations excellent teaching opportunity to intro- the Lamb who is the great I AM.” It is various stops and searched for a Suffolk for Organ on Hanover, by Michael duce this meter to your choir. The addi- marked misterioso and would be effec- folk song to use as a theme. As none was Burkhardt. MorningStar Music Pub- tion of a trumpet adds to the festive na- tive with any string chorus. The third found that suited his purpose, he eventu- lishers MSM-10-583, $10.00. ture of the arrangement. Special effects variation has the melody in the soprano ally wrote his own, and the ten variations The set of variations opens with a tri- include mallets and shakes, along with again, but more hymn-like, without the that resulted take a light-hearted look at umphant trumpet tune, marked as Fan- the contrasting sound of handchimes. solo effect; it is based on the words “to what composers over the centuries might fare and Chorale; the accompanimental bear the heavy cross for my soul . . .” The have played had they visited the church, parts suggest the hymn tune and the solo God of Grace and God of Glory fourth variation, based on “And when Great Wenham. trumpet elaborates the tune majestically. (Cwm Rhondda), arranged for 3–6 from death I’m free, I’ll sing on,” is the Set in the key of E major, the “ditty” This movement could be used alone as octaves of handbells with optional B- only one marked forte and the only one Carter wrote is primarily conjunct in its a postlude. The Canon that follows as fl at trumpet, by Cynthia Dobrinski. that breaks the melody up into segments movement. In the center of its 16 bars variation two opens with the fi rst fi ve Agape (a division of Hope Publishing and uses short motives from it. there is a fl atted seventh, which gives a notes of the hymn before breaking into Company), Code No. 2531, $4.75, Robert Lau does not venture far har- characteristic charm to every repetition. falling eight notes, which dance around Level 3 (M+). monically from the hymn, and the writ- It is one of those melodies that you will in two parts until the actual canon en- Opening with a majestic two-page ing is generally easy. I used it recently fi nd yourself singing to yourself later. ters, parallel fourths in the right hand fl ourish, the arrangement moves into a as an effective prelude on a communion The theme is set forth very simply in and the pedal line following one mea- straightforward verse of the hymn and Sunday and felt that it set the tone for two parts. sure later. The left hand continues the then proceeds into a varied melodic the service very well. Variation one, for manuals alone, has a disjunct eight-note fi gure until the fi nal treatment. A very effective stanza set in rocking motion in the right hand where measures, where a short coda rounds out the minor mode brings the piece back Partita on Chesterfi eld—Hark the the fi rst note in every beat is the melody the movement. Variation three, which to a festive, convincing close. A separate Glad Sound, by Paul Bouman. Con- note, and the left accompanies in two is marked Pastorale, is in 6/8 and inter- part for B-fl at trumpet is also included, cordia Publishing House 97-7020, parts. Variation two, a pastorale, begins sperses snatches of the tune with related which would only add to the effectivenss $12.00. with a solo reed playing the theme in the fi gures over an accompaniment, which of the hymn. A variety of bell techniques This music consists of a theme and six left hand against a running triplet fi gure slowly gathers and releases held pitches. is incorporated throughout. variations on the popular hymn. In varia- in the right. Rhythmic interest is obtained The fourth variation is very short and, as —Leon Nelson tion one, a bright little dialogue between the right hand and pedals in 6/8 time is joined by the left hand with some of the Custom builder of pipe, combination theme, but it forgets the theme and joins the fun of the right hand. The second vari- and all-digital organs ation is a duet between the hands on one manual and contains hints of the theme from time to time. The third variation is the time to get out all those strings again, as the manuals have large seventh chords against the theme on a 4′ fl ute in the ped- al. Lilting sixths on 8′ and 4′ fl utes over long notes in the pedal mark the fourth Wicks variation. The theme makes its fi rst com- plete appearance in the left hand on a solo stop. The fi fth variation is fugal in nature Organ Company and built primarily on the fi rst four notes of the hymn. It is technically a three-voice fugue, but remains in two voices for much of its length. The last variation is a toccata, with the theme in long pedal notes. The harmonies do not go far afi eld and 1100 5th St. the writing is of easy–medium diffi culty. It will take some work to put it together, however, as there are a few tricky sec- Highland IL 62249 tions. This is a very effective set of varia- tions and completely acceptable for a church prelude. Partita on “Winchester New” by Trey 877-654-2191 Clegg. MorningStar Music Publish- ers MSM-10-331, $10.00. The theme is introduced with pedal and moving parts in the lower three voices. A short fugato based on the open- Opus 3047 www.wicks.com ing of the hymn follows, arriving at four Basilica of St. Mary Minneapolis, MN entries before closing with a brief refer-
NOVEMBER, 2010 19
Nov 2010 pp. 2-19.indd 19 10/11/10 12:27:41 PM Ann Arbor Summer Festival International Organ Series Lisa Byers
Presented July 11, 18, and 25, the Ann Arbor Summer Festival’s International Organ Series included performances by Marilyn Mason with soprano Brenda Wimberly; David Troiano with Finnish violinist Tapani Yrjola; and Horst Buch- holz with soprano Meeae Cecilia Nam. The series was coordinated by University Organist Marilyn Mason and all concerts were given in the Blanche Anderson Moore Hall in the E. V. Moore Build- ing at the University of Michigan. The hall features the Fisk mechanical-action organ, built in the style of Silbermann, closely resembling the instrument in the Georgenkirche in Rotha, Germany. July 11 The fi rst recital was presented by Marilyn Mason and soprano Brenda Wimberly, professor of voice at Gram- bling State University and an alumna of Michigan. The fi rst work for organ alone, Soprano Meeae Cecilia Nam and organ- Variations, Heil Dir im Siegeskranz by ist Horst Buchholz Johann C. H. Rinck, based on the tune America, featured various stop combi- musically versatile David Troiano, organ- nations, making each of the eight varia- ist, lyric tenor soloist, and choral conduc- tions distinctive. Ms. Wimberly then tor. Both have their doctorates in perfor- provided the alternate verses for the Le mance from the University of Michigan, Clerc Magnifi cat du Huitième Ton en Sol have received numerous awards, and en- Majeur. The score was obtained from joy active international careers. the British Museum and edited for per- The opening Sonata Prima by Vera- formance by Dr. Mason. cini featured several dance movements. The duo next offered Ave Maria Troiano then played three Neumeister by Bach/Gounod and The Lord Is My Chorales by Bach: Allein zu dir, Herr Light by Allitsen. Wimberly’s voice was Jesus Christ, BWV 1100; Erhalt uns, rich and robust as well as gentle when Herr bei deinem Wort, BWV 1103; and necessary in the upper registers. In O O Herre Gott, dein gottlich Wort, BWV Divine Redeemer by Gounod, organist 1110, aptly performed and registered. and vocalist produced a nice sense of en- Next was Handel’s Sonata in D, op. 1, semble. The program closed with three no. 13, for the duo. In this work and spirituals for organ by Calvin Taylor. throughout the recital, Troiano always Wimberly sang the melodies for “Steal kept in mind the timbre and volume of Away,” “This Little Light of Mine,” and his accompaniment, so as not to over- Fisk organ, University of Michigan “Swing Low, Sweet Chariot,” each fol- shadow the violin. lowed by the organ settings that were Marcello’s Sonata di Organo is a Jarnefelt, and Rondino by Jean Sibelius. sacred concerti by Schütz: Ich will den commissioned by Mason, a long-time charming piece, and proved to be a fun, All three works were originally written Herren loben allezeit and O süsser, o supporter of contemporary music. This somewhat pianistic fanfare. The “Al- for violin and piano, but here transcribed feundlicher, o gütiger Herr Jesu Christe. duo has performed together for several lemanda” from Bach’s Partita in B Mi- for violin and organ by Troiano. Both art- Buchholz then followed with Bach’s cho- years and was met with enthusiastic ap- nor for violin solo was sensitively per- ists showed great poise and were well rale prelude, Kyrie, Gott Vater in Ewig- proval by audience, who applauded until formed. Variations on a Finnish Chorale rewarded by the audience, who insisted keit, BWV 669, played with great clarity an encore was performed. for organ solo by Sulo Salonen featured on an encore. and accuracy. Psalm 99 Jubilate Deo for canonic and dramatic passages. The soprano and organ by French Baroque July 18 concluding three brief pieces were by July 25 composer André Campra showed Nam’s The second program was offered by Finnish composers: Chanson sans pa- The fi nal concert of the series featured vocal agility and expressiveness in the Finnish violinist Tapani Yrjola and the roles by Toivo Kuula, Berceuse by Armas soprano Meeae Cecilia Nam and or- multi-movement cantata. ganist Horst Buchholz. Originally from In Pachelbel’s partita Was Gott tut, South Korea, Dr. Nam is currently profes- das ist wohlgetan, the organist offered sor of voice at Eastern Michigan Universi- colorful registrations. Pergolesi’s Salve ty and has performed extensively with Dr. Regina, originally for soprano and string Buchholz, who is organist/choirmaster at orchestra, worked very well on the Fisk, Cleveland’s Trinity Cathedral and on the with Pergolesi’s highly expressive melo- faculty at Cleveland State University. dies and suspended harmonies. Buch- One could easily tell from Buchholz’s holz played his own most interesting ar- opening work, Voluntary in C Major by rangement of the famous Fantaisie in D John Stanley, that his European back- Minor, K. 397, by Mozart. His transcrip- ground and experiences made him at tion seemed to fi t naturally on the organ, home on this German-style instrument. with beautiful stop changes for the vari- Ms. Nam gave a convincing and stylish ous sections. rendition in impeccable German of two Dr. Nam’s voice was full of warmth and depth, and was also crystal clear in the demanding coloraturas of Mozart’s beautiful aria Dulcissimum convivium. The closing work by Carlo Morene, Versetti per il Gloria sopra la musica di Mozart, displayed good contrast in regis- trations and appropriate excitement. The audience insisted on an encore. Q
Lisa Byers, a native of Virginia, holds a B.A. from Westhampton College, University of Richmond, Virginia, a master’s in music education, and a master’s in organ perfor- mance, both from the University of Michi- gan. She earned a J.D. from the University of Toledo, Ohio.
20 THE DIAPASON
Nov 2010 pp. 20-21.indd 20 10/11/10 12:28:26 PM Sewanee Church Music Conference July 12–18, 2010 Jane Scharding Smedley
In its sixtieth year, the Sewanee Church Music Conference continues to offer a well-planned week of choral rehearsals, organ repertoire and anthem reading ses- sions, worship—and fun social events! Reg- ular attendees know to reserve the second week of July for their annual pilgrimage to the ‘holy mountain’ in East Tennessee, home of the gathering since its founding in 1951. This year’s faculty presented a triple encore: Malcolm Archer, Peter Conte, and Bishop Joe Burnett. One of the strengths of this confer- ence is the sensit