THE DIAPASON FEBRUARY 2018

Zion Lutheran Church Appleton, Wisconsin Cover feature on pages 26–27 www.concertartists.com 860-560-7800 [email protected] PO Box 6507, Detroit, MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ

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DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAMÍREZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER ™ 50th Anniversary Season ™ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 2, 2018: Here we go! Whole No. 1299 As I write this note to you, it is just after New Year’s Day, FEBRUARY 2018 and most of the United States is experiencing a defi nite “deep Established in 1909 freeze” effect, which is a bit early in the winter season. How- Stephen Schnurr ISSN 0012-2378 ever, as I think about how this note will arrive to you in a month 847/954-7989; [email protected] or so, many of us will be preparing for the beginning of Lent www.TheDiapason.com An International Monthly Devoted to the Organ, and the following Easter seasons. So, it seems as if we have the Harpsichord, Carillon, and Church Music barely fi nished Christmas and Epiphany, and here comes Lent Sisters of St. Joseph. Earlier installments of this series may be and Easter! (I don’t know about you, but I’m usually pleased to found in August 2015, pp. 20–22, June 2016, pp. 20–22, and CONTENTS have an early Easter, at least, after it’s over. . . .) July 2017, pp. 20–21. FEATURES In these last few weeks before another busy season begins Among our regular columnists, Larry Palmer, in “Harp- Early Organ Composer Anniveraries in 2018 for church musicians, do take some time to refresh yourself: sichord Notes,” presents us an example of each of the small- by John Collins 20 attend a recital or evensong; meet with fellow church musi- est and the largest harpsichords to be found anywhere, both Hinners & Albertsen on the Mississippi cians to better understand each other’s situations; and read in Texas. The instruments range in size from eight inches Bluffs, Part 1 The Diapason! to twelve feet. In “In the Wind,” John Bishop muses on the by Allison Alcorn 22 amount of time it takes to craft a pipe organ. His calculations Pipe Organs of La Grange, Illinois, and the In this issue reinforce to us that organbuilding is an art form, indeed. Gavin Architectural Edifi ces That House Them, Part 4, Convent of the Sisters of St. Joseph We are pleased to bring you the fi rst of a two-part series Black, in “On Teaching,” discusses the relationship between by Stephen Schnurr 25 by Allison Alcorn on an early pipe organ built by Hinners & being a player and being a performer, whether a student or a Albertsen for St. Paul Norwegian Lutheran Church, Red teacher, or both. NEWS & DEPARTMENTS Wing, Minnesota. Alcorn presents a history and documenta- Our cover feature is the Russell & Co. Organ Builders Editor’s Notebook 3 tion of this modest organ in the context of the history of its instrument in Zion Lutheran Church, Appleton, Wisconsin. In Meet the Editor-at-Large 3 Here & There 3 builder, one of many examples by this Pekin, Illinois, fi rm. As “Organ Projects,” we feature the Bigelow & Co., Inc., rebuild- Appointments 6 has become a tradition for our early issues of each year, John ing project of a Steiner-Reck organ at Trinity Lutheran Semi- Nunc Dimittis 10 Collins outlines the lives and works of composers of early music nary, Columbus, Ohio. As always, browse our Here & There Harpsichord Notes by Larry Palmer 11 whose anniversaries (birth or death) fall in 2018. The fourth section to read tidbits of the latest news in the world of the In the wind . . . by John Bishop 16 installment of my series on pipe organs of La Grange, Illinois, organ and church music. And don’t forget our Calendar sec- On Teaching by Gavin Black 18 continues with descriptions of the organs of the Convent of the tion, so that you can fi nd that recital or evensong to attend! Q

REVIEWS Choral Music 12 Meet the Editor-at-Large Book Reviews 12 New Organ Music 13 New Recordings 14 then director of music and organist. He Schwandt. My dissertation: “The Scot- New Handbell Music 15 agreed to take me on as a student as tish Rite Pipe Organ in the United States soon as my feet could reach the pedals. from 1900–1930” will examine the role ORGAN PROJECTS 28 Luckily, I was an exceptionally tall child, of the pipe organ in American Freema- CALENDAR 29 and my organ studies commenced when sonry in the context of the pipe organ RECITAL PROGRAMS 33 I began the third grade. My parents fur- boom of the early twentieth century. In CLASSIFIED ADVERTISING 34 ther kindled my fascination by regularly addition to my academic work, I serve taking me to observe Paul Manz in action as the full-time director of music and at the Evangelical Lutheran Church of organist at the First United Methodist THE DIAPASON Andrew Schaeffer Saint Luke, also in Chicago. Church of Edmond, Oklahoma. There, I FEBRUARY 2018 I hold a Bachelor of Church Music direct two adult choirs, three children’s Allow me to introduce myself! As of degree from St. Olaf College in North- choirs, a small chamber orchestra, and December 1, I am the editor-at-large of fi eld, Minnesota, where I was one of play organ for three Sunday morning ser- The Diapason. It is indeed an honor John Ferguson’s last organ students prior vices. I’m also currently serving a term as to work alongside Stephen Schnurr to to his retirement. Following my years the dean of the Oklahoma City Chapter ensure that this venerable journal not in Minnesota, I matriculated at the Yale of the American Guild of Organists. only upholds the high standards readers Institute of Sacred Music where I earned My wife Jenny is a registered nurse, have come to expect from it, but also to a Master of Music degree studying organ and we make our home in Oklahoma oversee its growth and continued rel- performance with Thomas Murray and City. I am excited and humbled by this Zion Lutheran Church Appleton, Wisconsin Cover feature on pages 26–27 evance in the years to come. organ improvisation with Jeffrey Brillhart. new position, and I am appreciative of It is hard to pinpoint when my fas- While there, I also served as the organist your support during this transition. I COVER cination with both the pipe organ and for the University Church in Yale. look forward to serving you! Q Russell & Co. Organ Builders, Chester, church music began. As a child, I grew I am currently a Doctor of Musical —Andrew Schaeffer Vermont; Zion Lutheran Church, Appleton, up at Edison Park Lutheran Church in Arts degree candidate at the University Editor-at-Large Wisconsin 26 Chicago, where David Christiansen was of Oklahoma under the tutelage of John [email protected]

Editorial Director STEPHEN SCHNURR and Publisher [email protected] Here & There 847/954-7989

President RICK SCHWER Events [email protected] The Cathedral Church of the 847/391-1048 Advent, Birmingham, Alabama, contin- ues its music series events: February 2, Editor-at-Large ANDREW SCHAEFFER [email protected] With the Sound of Trumpets, Ambassa- dor Brass Quintet and Frederick Teardo, Sales Director JEROME BUTERA organ; April 13, Joel Bacon; 4/19, High- [email protected] 608/634-6253 land Consort; 4/29, Choral Evensong. Circulation/ The cathedral’s Mid-Day Music Series, Subscriptions EBONY FENDLEY Fridays at 12:30 p.m., continues April Fisk Opus 98, First Presbyterian Church, [email protected] Evansville, Indiana 847/391-1028 27, with Samford University A Cappella Choir. The cathedral organ was built in Designer KIMBERLY PELLIKAN 1988 by M. P. Möller and consists of four Fisk, Inc., Opus 98, begins at 7:00 p.m.: [email protected] manuals and 6,056 pipes.For information: February 2, Stephen Smith; March 2, St. Luke’s Episcopal Church, Evanston, 847/391-1024 www.adventbirmingham.org. Brendan Conner; April 6, Leah Mar- Illinois, Skinner organ Contributing Editors LARRY PALMER tin; May 4, Collin Miller; June 1, Katie Harpsichord First Presbyterian Church, Evans- Burk; July 6, Yumiko Tatsuda. April 29, Opus 327 NFP, a not-for-profi t BRIAN SWAGER ville, Indiana, continues its 2017–2018 Messiah, Parts Two and Three, with the organization founded by St. Luke’s Carillon season of musical events. The First Choir School. For information: Episcopal Church, Evanston, Illinois, Friday Recital Series, featuring C. B. http://fi rstpresevansville.com. ³ page 4 JOHN BISHOP In the wind . . .

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of GAVIN BLACK Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles On Teaching 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Subscriptions: 1 yr. $42; 2 yr. $75; 3 yr. $100 (United States and U.S. Copyright ©2018. Printed in the U.S.A. Reviewers Anne Krentz Organ Possessions). Canada and Mexico: 1 yr. $42 + $10 shipping; 2 yr. $75 + $15 shipping; No portion of the contents of this issue may be reproduced in any form without the 3 yr. $100 + $18 shipping. Other foreign subscriptions: 1 yr. $42 + 30 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Stephen Schnurr 2 yr. $75 + $40 shipping; 3 yr. $100 + $48 shipping. Single copies $6 (U.S.A.); photocopies of the material contained herein for the purpose of course reserve reading Jeffrey Schleff $8 (foreign). Digital subscription (no printed copy): 1 yr. $35. Student (digital only): $20. at the rate of one copy for every fi fteen students. Such copies may be reused for other Jay Zoller Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the John L. Speller 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, Leon Nelson This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 3 Here & There

³ page 3 organ recitals at 12:20 p.m. in Ransdell for the preservation of the church’s 1922 Chapel or Our Lady of Perpetual Help Skinner Organ Company pipe organ, Catholic Church: February 6, James continues its 2017–2018 concert series: Sperry; March 6, John A. Deaver; February 2, 7:30 p.m., Alexander Frey; April 10, Wesley Roberts. In addition, 2/24, 7:00 p.m., Bach organ works and a recital is offered at 8:00 p.m. in Rans- cantatas; March 14, 7:00 p.m., Stephen dell Chapel, February 27, by Kevin Tharp; February 21, 2/28, March 7, and Vaughn. For information: 3/21, 11:30 a.m., Lenten organ recitals www.campbellsville.edu. with Christine Kraemer; April 22, 3:30 p.m., Messiaen Diptyque and Quartet The Evangelical Lutheran Church for the End of Time. For information: of the Holy Trinity, New York, New www.opus327.org. York, continues its 2017–2018 Bach Ves- pers series, its fi ftieth anniversary: Feb- Blue Heron, Scott Metcalf, artistic ruary 11, Bach, Cantata 1; 2/18, Music director, continues its 2017–2018 season, of Schütz, 3/25, Weckmann, Wie liegt die with concerts at First Church, Congre- Stadt so wüste; March 4, Schein, Israels- gational, Cambridge, Massachusetts: brünnlein; 3/11, Charpentier, Leçons de February 3, Music from the Peterhouse ténèbres; 3/18, Bach, Cantata 131; 3/25, Partbooks; March 3, Missa Fors seule- Buxtehude, Membra Jesu Nostri; April 1, ment and other music based on songs; Bach, Easter Oratorio; 4/8, Bach, Can- April 14, The Iberian Songbook: Spanish tata 4; 4/25, Bach, Mass in B Minor. For songs and dances, 1450–1600. For infor- information: www.bachvespersnyc.org. mation: www.blueheron.org. The plaque celebrating the centennial of the fi rst Reuter organ installation in Trinity Episcopal Church, Mattoon, Illinois (above), and the console of the organ (below)

The centennial of the fi rst organ installed by the Reuter Organ Com- pany was celebrated at Trinity Epis- copal Church, Mattoon, Illinois, on St. James Episcopal Cathedral, Chica- November 19, 2017, with a recital by go, Illinois Ron Krebs, vice-president of Reuter. The program was scheduled 100 years St. James Episcopal Cathedral, and one day after the instrument’s inauguration, November 18, 1917. The recital Chicago, Illinois, continues special cho- program included works by Pelz, Buxtehude, Bach, Mendelssohn, and Shaw on ral services for 2017–2018: February 4, the two-manual, eight-rank instrument, a product of Reuter’s fi rst shop in Trenton, Candlemas Evensong; March 4, Even- Shadyside Presbyterian Church Illinois. As a part of the celebration, a plaque commemorating the anniversary was song; 3/25, Evensong; May 6, Evensong presented to Allen Webnar, Trinity Church music director. The event concluded a featuring music of Leo Sowerby, who Shadyside Presbyterian Church, year long series of fi ve programs. For information: http://reuterorgan.com. served as organist and choirmaster of St. Pittsburgh, Pennsylvania, continues James, 1927–1962; June 3, Evensong. its 2017–2018 Music in a Great Space For information: Concert Series, Sundays at 3:00 p.m.: www.saintjamescathedral.org. February 11, Heaven to Earth: Earth to Heaven, with Pittsburgh Camerata and Pittsburgh Girls Choir; March 11, pianist Abigail Eagleson, fl utist Anna Cooper, and oboist Natalie Beckenbaugh; April 15, Katelyn Emerson, organist. Additional music events at the church include Candlelight Vespers featuring the Shadyside Strings, Cha- tham Baroque, and Pittsburgh Girls Choir, Wednesdays at 7:00 p.m. in Lent (February 14, 2/21, 2/28, March 7, 3/14, and 3/21). Music for Midsummer Nights takes place Wednesdays at 7:00 p.m.: June 6, How Can I Keep from Singing?: An Eve- ning of American Music, with Pittsburgh Ransdell Chapel, Campbellsville Uni- Camerata; 6/13, Happy Birthday, Irving versity, Campbellsville, Kentucky Berlin, with mezzo-soprano Suzanne DuPlantis, baritone Randall Scarlatta, and Campbellsville University, Camp- pianist Harold Evans; 6/20, pianist James Washington National Cathedral bellsville, Kentucky, continues its 10th W. Iman; 6/27, organist Justin Wallace. Annual Noon Concert Series with For information: www.shadysidepres.org. Washington National Cathedral, Washington, D.C., continues Sunday Duke Chapel, Duke University, Durham, afternoon organ recitals: February 11, North Carolina, Aeolian organ George Fergus and Benjamin Straley; 2/18, Ryan Hebert; March 11, Anthony Choral and instrumental programs Williams; 3/18, Jeremy Filsell; April 1, include: Bach Cantata Series, Febru- Easter Day organ recital; 4/8, James ary 25; February 4, Evensong Singers Kealey; 4/15, Axel Flierl; 4/22, Jamila Winter Concert; March 4, Mendels- Javadova-Spitzberg; 4/29, Joseph Ripka; sohn, Elijah; March 30, Tenebrae; April May 6, Aaron Goen; 5/13, Jeremy Fil- 8, J. Samuel Hammond, carillon; 4/8, sell; 5/27, Mark Thewes and Chad Pitt- John Ferguson, hymn festival; May 6, man; June 3, Chuck Seipp and Randall Ascension Evensong with Messiaen, Sheets, trumpet and organ; 6/10, Rob- L’Ascension. For information: ert Knupp; 6/17, Michal Markuszewski; https://chapel.duke.edu. 6/24, Tyler Boehmer; July 4, Indepen- dence Day Concert. For information: Second Presbyterian Church, St. https://cathedral.org/music/organ/. Louis, Missouri, continues its 2017–2018 concert season: February 11, Courtney Duke University Chapel, Durham, Loveless jazz concert; March 4, W. Mark North Carolina, continues special Akin, guitar; April 22, Earth Day concert AUSTINORGANS.COM musical events for 2017–2018. Organ with soloists and orchestra conducted by 
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recitals: February 11, Dongho Lee and Andrew Peters. For information: www. Andrew Pester; March 25, Robert Par- secondchurch.net. kins; April 22, David Briggs. ³ page 6

4 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Conductor/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Montevideo, Uruguay Charlotte, North Carolina Ann Arbor, Michigan Birmingham, Alabama Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Sarah Hawbecker James D. Hicks Organist Organ/Carillon Professor of Organ Organist/Recording Artist Organist/Presenter Organist Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Atlanta, GA Califon, NJ

Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Wynford S. Lyddane Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Pianist/Instructor Brooklyn, New York San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX Washington, D.C.

Colin Lynch Philip Manwell Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Organist/Conductor Organist Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Boston, Massachusetts Reno, Nevada U of Nebraska-Lincoln Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

Anna Myeong David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Organist/Lecturer Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Madison, Wisconsin Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK

Clarion Duo Duo Majoya Rodland Duo Christine Westhoff Keith Benjamin, trumpet Organ and Piano Viola and Organ & Timothy Allen University of Missouri-Kansas City Marnie Giesbrecht, Joachim Segger Eastman School of Music/ Soprano and Organ Melody Steed, organ, Bethany College U of Alberta, King's U, Canada St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 30th year of operation Here & There

³ page 4 Musica Sacra San Antonio, San First Baptist Church, Ann Arbor, Antonio, Texas, Owen Duggan, music Appointments Michigan, continues its 2017–2018 director, announces its 2017–2018 series, Raúl Prieto Ramírez was appointed Coffee Break Concert Series, its sev- the organization’s eighth: February 18, civic organist and artistic director of the enth season, Thursdays at 12:15 p.m.: Solemn Evensong for Lent, works by Spreckels Organ Society by the City of San February 15, Andrew Jennings, violin, Purcell, Willan, and Vaughan Williams, Diego, San Diego Park and Recreation and Gail Jennings, piano; March 15, Our Lady of the Atonement Catholic Department, and the Spreckels Organ HyoJin Moon and Dean Robinson, Church; April 8, Encounters, Music Society in December 2017. He is the organ; May 10, Shin-Ae Chun, harpsi- of John Taverner and John Tavener, eighth person to hold the position of civic chord. For information: with the Viols of Austin Baroque, Little organist for San Diego, California. www.fbca2.org. Flower Basilica. For information: Ramírez is artistic director and founder [email protected]. of the Barcelona Summer Organ Festival St. Margaret’s Episcopal Church, Raúl Prieto Ramírez and Academy. From September 2013 Palm Desert, California, continues its Westminster United Church, Win- through November 2017, he was organ- 2017–2018 Desert Friends of Music nipeg, Manitoba, Canada, continues ist-in-residence at Sursa Concert Hall and professor of organ at Ball State events, featuring 1998 Quimby Pipe organ recitals, Sundays at 2:30 p.m.: University, Muncie, Indiana. Ramírez has served as a jury member at inter- Organs, Inc., Opus 50 of four manuals, February 18, Raúl Prieto Ramírez; April national organ competitions and has recorded for the Brilliant Classics label. 71 ranks: February 16, John Wright; 8, Rachel Mahon. For information: He has taught masterclasses at universities throughout the United States and 2/23, Los Angeles Harptette; March 2, http://westminsterchurch.org. abroad. He founded the Sursa American Organ Competition in partnership Philip Hoch; 3/9, Amy Rooney, piano; with the Moscow Conservatory. 3/16, John Bayless, piano; 3/23, Fred His fi rst concert as civic organist was January 7; a formal inaugural concert Swann. For information: will be presented April 14 at 7:30 p.m. on the Austin Organ Company instru- www.stmargarets.org. ment in Spreckels Organ Pavilion, Balboa Park. For information: www.spreckelsorgan.org and www.raulprietoramirez.net. Raúl Prieto Ramírez is represented by Phillip Truckenbrod Concert Art- ists. For information: www.concertartists.com.

Jay White is appointed artistic director of Quire Cleveland, Cleveland, Ohio, effective July 2018. He succeeds Ross W. Duffi n. White holds a Master of Music degree in historical performance practice from the Early Music Institute of the Jacobs School of Music, Indiana University, Bloomington, and a Doctor of Musical Arts degree from the University of Mary- Peachtree Road United Methodist land, College Park. He sang for eight seasons with the Church, Atlanta, Georgia, Mander organ San Francisco-based a cappella group, Chanticleer. He has sung with Quire Cleveland since 2012. White Peachtree Road United Methodist Jay White (photo credit: has held choral positions with Washington National Church, Atlanta, Georgia, continues its Amber Bowers) Cathedral Choir of Men and Boys, Grace Cathedral, events: February 22, Nicole Marane, with San Francisco, Maryland Handel Festival, Washing- John Lemley, narrator, and John Lawless, ton Bach Consort, Folger Consort, Spire, Carmel Bach Festival Chorale, and percussion, Prokofi ev, Peter & the Wolf; Apollo’s Fire Singers, among others. He has served on the faculties of Uni- 2/17, Georgia Boy Choir Festival; 2/27, versity of Maryland, University of Delaware, and DePauw University. White Ivan Bosnar and Jacob Taylor; March is currently professor of voice at the Kent State University Hugh A. Glauser 18, Passion of the Christ: The Musical School of Music, Kent, Ohio. For information: www.quirecleveland.org. Q St. Ignatius Loyola Catholic Church, Stations of the Cross, Scott Atchison, New York, New York, Mander organ Zachary Fritsch-Hemenway, and Schola; April 5, Three Choirs Festival; 4/22, Coro Trinity Lutheran Church, Worces- Sacred Music in a Sacred Space Vocati; June 3, Pilgrimage to England ter, Massachusetts, continues its 2017– continues its 2017–2018 season of Preview Concert, with the Chancel Choir. 2018 season, Reformation: Past, Present, concerts at St. Ignatius Loyola Catholic For information: www.prumc.org. Future: February 25, Clara Gerdes; Church, New York, New York, which March 24, Bach, St. Mark Passion; April celebrates the 25th anniversary of the St. Paul’s Episcopal Church, 29, Bay State Winds. For information: church’s N. P. Mander organ of four Greenville, North Carolina, announces http://trinityworc.org. manuals, 68 stops. The organ was musical events: February 23, John featured in the November 2017 issue. Cummins and Michael Messina; March Advent Lutheran Church, Mel- Organ recitals include performances by 16, Katherine Johnson; April 11, Can- bourne, Florida, continues its 2017–2018 Renée Anne Louprette, February 18, terbury Cathedral Choir of Men and concert series, Sundays at 3:00 p.m.: and David Higgs, April 15. Boys. For information: February 25, Monica Czausz; May 6, Additional programs with organ www.stpaulsepiscopal.com. Kathrine Handford. For information: include: March 21, chorales, motets, www.adventlutheranbrevard.org. and arias of Johann Sebastian Bach, Spivey Hall, Clayton State Univer- with Andrew Henderson; May 23, Pou- sity, Morrow, Georgia, continues events Longwood Gardens Aeolian organ lenc, Concerto for Organ, Strings, and for its 2017–2018 series featuring the console (photo credit: Duane Erdmann) Timpani, with Renée Anne Louprette. Albert Schweitzer Memorial Organ, Guest choral group Chanticleer per- built by Fratelli Ruffatti: February 24, Longwood Gardens, Kennett forms April 26. For information: Alan Morrison; April 14, Alcee Chriss. Square, Pennsylvania, is accepting appli- www.smssconcerts.org. For information: www.spiveyhall.org. cations for its Summer Organ Acad- emy, a weeklong residential summer Confident pedal work intensive program for college students pursuing degrees in organ performance, comes with practice and to be held July 23–28. Events will include instruction on organ transcriptions, lec- the right shoes tures, and performances on Longwood’s 10,010-pipe Aeolian organ. Instructors on the include Peter Richard Conte, Alan Mor- Finney Chapel, Oberlin, Ohio, Fisk organ rison, Ken Cowan, and John Schwandt. pedals Application deadline is March 5. For Oberlin Conservatory, Oberlin, further information: x Men’s & Women’s Organ Shoes Ohio, announces its Summer Organ longwoodgardens.org/organ-academy. Academy for high school organists, June with suede soles and heels 24–30. The intensive week schedule Historic Organ Study Tours x Whole & Half includes daily lessons and masterclasses (HOST) announces its summer 2018 tour in performance, sacred music skills, to Switzerland: From Geneva to Zürich Sizes in 3 Widths beginning improvisation, introduction and Beyond, August 23–September 1. x Quick & Easy to harpsichord, and preparations for This 25th anniversary tour includes stops Returns collegiate auditions and competitions. in Lausanne, Geneva, Vevey, Fribourg, Faculty includes James David Christie, Bern, Basel, Olten, and Zürich, visiting OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET Jonathan Moyer, and Oberlin alumni. organs from the 17th through the 20th 44 Montague City Rd Email: [email protected] Application deadline is June 1. For infor- centuries, including the Alain family Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes mation: oberlin.edu/summer. ³ page 8

6 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM Inspiring Innovation

The variety of churches, sounds, and techniques we come across on our journey as the world’s largest organ builder is astounding. As you might expect from a leader in our field, we aim to keep changing the organ world and help it to evolve and innovate. It’s only by embracing innovation that we can continue to deliver on our promise of providing a sound performance that’s nothing short of excellent.

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³ page 6 The Hamilton program was given on the church’s 83-rank Casavant, includ- ing organ works by Christopher Pardini, J. S. Bach, João de Sousa Carvalho, C. H. H. Parry, John Rutter, Jean Lan- glais, Léon Boëllmann, John Longhurst, Dale Wood, and Charles-Marie Widor, as well as a work for piano by Frédéric Chopin. Welch will return to California in the summer of 2018, where he will David Hatt enter Stanford University as a freshman.

David Hatt will present Joerg Abbing’s transcription of Max Reger’s Competitions Variations and Fugue on a Theme of The 13th International Organ Compe- Mozart, op. 132, February 21, at the tition organized jointly by the Academie Cathedral of Our Lady of the Angels, André Marchal and the Association Los Angeles, California. The recital Gaston Litaize was held October 24–27 follows the 12:10 p.m. Mass. Hatt is in the Ile de France and in Paris. There assistant organist at the Cathedral were 26 candidates from 12 nations par- Stadtkirche, Winterthur, Switzerland, of St. Mary of the Assumption, San ticipating. The jury was chaired by Louis 1888 E. F. Walcker organ restored in 1984 Francisco, California. During the fi rst Robilliard (France), and included Elzbieta Bach’s Memento by Th. Kuhn (photo credit: William T. Van Pelt) half of 2017 he also served as interim Karolak (Poland), Shin Young Lee (South organist of Grace Episcopal Cathe- Korea), Liesbeth Schlumberger (France), Largo (“Ombra mai fù,” from Serse), residence organ. Organ visits will be led dral, San Francisco. For information: and Pascal Marsault (France). The Grand transcribed by F. Linden and “reviewed by Christophe Mantoux. Tour directors 415/640-6815. Prix Marchal-Litaize in improvisation was and corrected” by Widor. For informa- are Bruce Stevens and William T. Van awarded to Gabriele Agrimonti (Italy), tion: www.crescendomusicpubs.com.au. Pelt. For information: bbstevens@erols. with special mention with distinction to com or 804/355-5876. Geerten Liefting (the Netherlands). Editions Walhall announces new The Grand Prix André Marchal in inter- publications: 11 Lyrische Stücke, by pretation was awarded to Lucile Dollat Edvard Grieg (EW1024, €19.80), is a People (France). The Giuseppe Englert Memo- collection of works arranged by Reinhard rial Prize for best interpretation of a work Ardelt for cello and organ. Six Songs for composed since 2000 was presented to Lent (FEM122, €13.80), op. 123a and Hina Ikawa (Japan) with special mention op. 161a, by Klaus Miehling, is a collec- to Mayu Harada (Japan). The audience tion of six standard chorales arranged for prize was presented to Lucile Dollat tenor recorder and basso continuo. For (France). The second prize for interpre- information: www.edition-walhall.de. Jeannine Jordan and Betty Jo Couch, tation was presented to Thomas Kientz minister of music, Advent Lutheran (France). The special prize for interpre- Church, Melbourne, Florida tation of Bach and French music was awarded to Raphael Oliver (France). Jeannine Jordan presented a The Gaston Litaize Prize, which includes workshop on American organ music on the recording of a CD, went to Raphael November 11, 2017, at Advent Lutheran Oliver. For information: Church, Melbourne, Florida. The event www.academieandremarchal.org. was sponsored by the Space Coast Chapter of the American Guild of Organists. The following day, Jordan and media-artist Publishers David Jordan performed their organ and Advent Press announces the pub- multi-media concert, “From Sea to Shin- lication of The Georgetown Collection, ing Sea” as part of the Advent Lutheran seven Christmas and seven Easter hymns Church concert series. For information: arranged by Richard Webster for two www.fromseatoshiningsea.net. trumpets, organ, and congregation. The Joy Briggs and Randall Dyer at All Saints’ collection was commissioned by Christ Episcopal Church, Norton, Virginia Church, Georgetown, Washington, D.C. Published in two volumes, each consists Joy Briggs presented a recital of of a full score and trumpet parts. Price is Advent meditations at All Saints’ Episco- $150 each, $250 for both volumes. Each pal Church, Norton, Virginia, on Decem- order includes a complimentary record- ber 10. Briggs is organist at Central ing of the arrangements, on compact disc Presbyterian Church, Bristol, Virginia, or by digital download. For information: The Centenary of the Cathedral Church and recent past dean of the Northeast http://advent-press.com. of Christ Choir, Lagos Tennessee/Southwest Virginia Chapter of the American Guild of Organists. The Crescendo Music Publications Godwin Sadoh has published his organ at All Saints’ was built by Randall Nicholas Welch at Casavant organ, Cen- announces publication of Charles- book, The Centenary of the Cathedral Dyer & Associates in 1972. Norton is a tral Presbyterian Church, Hamilton, On- Marie Widor’s Bach’s Memento and Church of Christ Choir, Lagos. The 420- small coal mining community of about tario, Canada Handel’s Célèbre Largo, edited by John page paperback book covers the history 4,000 in the southwestern Virginia. R. Near. This is the fi rst critical edition of the oldest choral group in Nigeria, Nicholas Welch performed a recital of Bach’s Memento (1925), the collec- housed in the nation’s oldest Anglican at Central Presbyterian Church, Ham- tion of arrangements by Widor of six of cathedral. A history of the cathedral, A. E. Schlueter Pipe Organ Co. ilton, Ontario, Canada, on November J. S. Bach’s works: Pastorale, BWV 590 its organs, and its chief musicians is 24, 2017. This is the fourth recital (third movement), Miserere Mei Domine included. Price is $135.02. For informa- Welch has given in Canada since he (Prealudium No. 6, BWV 851), Aria in E tion: www.lulu.com. began his two-year volunteer service Minor (Praeludium No. 10, BWV 855), as a missionary for The Church of Marche du Veilleur de Nuit (Wachet auf Michael’s Sheet Music Service Jesus Christ of Latter-day Saints. ruft uns die Stimme, BWV 140, fourth announces sheet music restorations: Petite Previous recitals in Ontario have been movement), Sicilienne (Sonata No. 2 for Marche Champêtre de Noël, by Robert presented at Yorkminster Park Bap- Flute and Keyboard, BWV 1031, second Leech Bedell, was composed in 1942 tist Church, Toronto, George Street movement), Mattheus-Final (Saint Mat- and carries the English subtitle “Rustic United Church, Peterborough, and thew Passion, BWV 244, double-chorus March of the Villagers at Christmas;” In The Church of Jesus Christ of Latter- fi nal movement). Also included in the Bethlehem’s Town, by Carl Mueller, is day Saints, Oakville. publication is G. F. Handel’s Célèbre ³ page 10  New Instruments  Tonal Additions  Rebuilding  Maintenance Duchon’s Organ Pipes  New Consoles  Tuning New Reeds & New Flues How can we help you? Additions & Repairs 800-836-2726 330/257-0491 www.pipe-organ.com [email protected]

8 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM

Here & There

Nunc Dimittis Robert Malcolm Speed, 87, died June 18, 2017, in Des Moines, Iowa. Born in Knoxville, Iowa, he played piano and harmonized tunes before starting school. By age 15, he was accompanying musi- cal events in Knoxville. Soon thereafter, he began playing for church services and played in a local band. By high school graduation in 1948, he was organist for First Methodist Church of Knoxville. Organist Juan Paradell-Solé at Allen Or- Speed earned his Bachelor and Master gan in St. Peter’s Basilica, Vatican City of Music degrees from Drake University, Des Moines, where he studied with Dean Detroit, Michigan. Monsignor Massimo Robert Malcolm Speed in 1967 Jordan. In 1952, at what is now Grand View Palombella, maestro of the Sistine Chapel University, Des Moines, he began teach- Choir, was pleased with the organ, and the ing music theory, music appreciation, piano, organ, and English literature, Sistine Chapel Choir commenced contact in addition to directing the 60-member choir. For two summers, he studied with the Allen fi rm. organ with Marilyn Mason at Columbia University. He also spent two sum- The new three-manual Allen GeniSys mers studying English literature at the University of London. organ and its audio system include special For 48 years he served as organist of Central Presbyterian Church, Des adaptations to enable the instrument to be Moines, where he was instrumental in the design and acquisition of a 39-rank moved throughout the Vatican and other Aeolian-Skinner organ. As a recitalist, he presented many programs, notably locations. While in St. Peter’s Basilica, one at the cathedral of Copenhagen, Denmark. the organ’s speaker cabinets are located On October 8, Robert Malcolm Speed was remembered in a concert behind the choir with its sound also being presented by the Central Iowa Chapter of the American Guild of Organists amplifi ed through the Basilica’s PA system at West Des Moines United Methodist Church. Performers included Ruth The Casavant organs in Christ Church, to allow the organ to be heard by as many Harris, Sawyer Shiffl er, Linda Bryant, Deanna Snyder with fl utist Joni Kin- Washington Park, Washington, DC and as 12,000 people attending Mass. During nan, Carl Gravander, the Grand View University Choir under the direction First Lutheran Church, Bemidji, Minneso- the fi rst week of December, Allen presi- ta (photo credit, Christ Church photo: David Storey) of Kathryn Duffy, Mark Babcock, David Raymond, and William Ness. The dent Steven Markowitz and vice president program included fi ve compositions by Speed. Q Barry Holben traveled to the Vatican to as Bemidji is the central hub of multiple install the organ and introduce it to Juan Indian reservations. On November 1, All Paradell-Solé, organist of the Vatican, ³ page 8 Saints’ Day, Christ Church, Washington and Monsignor Palombella. The Allen based on “O Little Town of Bethlehem” Parish, on Capitol Hill, Washington, D.C., organ was tested and approved for use in and “Fairest Lord Jesus;” Grand Choeur dedicated its new two-manual, 17-rank St. Peter’s Basilica. Allen is the exclusive No. 2, by Alfred Hollins, is a moderately Casavant organ. For information: organ of the Sistine Chapel Choir for all diffi cult work that was apparently dedi- www.casavantfreres.com. papal celebrations in St. Peter’s Square. cated to the composer’s friend and col- In addition, the organ will be used in St. league, Roger Ascham; Toccata on “How Peter’s Basilica to support the Basilica’s Brightly Shines,” by Garth Edmundson, music ministry. For information: was written in 1955 in a similar style to www.allenorgan.com. the composer’s earlier work on “Vom Himmel hoch.” For information: www.michaelsmusicservice.com.

Recordings A Year at St. Patrick’s

Regent Recordings announces new releases: A Year at St. Patrick’s (REGCD418), featuring the choir of St. Patrick’s Cathedral, Dublin, Ireland, directed by Stuart Nicholson, David Leigh, organist. Considered the national cathedral of Ireland, St. Patrick’s is home to the country’s only choir school, founded in 1432. The recording includes music selected from throughout the litur- gical year, with works by Stanford, David Briggs, Philip Moore, Stuart Nicholson, and more. In My Father’s House: Choral St. Paul’s Chapel, New York, New York, Music by Philip Stopford (REGCD422) Noack Organ Company Opus 111 Dongo Lee recording features the Truro Cathedral Choir and the BBC National Orchestra of Wales, St. Paul’s Chapel, New York, New New Apostolic Church, Burlington, On- Raven announces a new CD featur- conducted by Christopher Gray. This York, part of Trinity Parish, Wall Street, tario, Canada ing Dongho Lee performing on the marks the second disc by the Truro choir will inaugurate its new organ on February Aeolian-Skinner organ formerly in the singing works of this composer. For 19, as part of the New York City Chapter Schmidt Piano and Organ Service, Kennedy Center, Washington, D.C., and information: www.regentrecords.com. of the American Guild of Organists Pres- Kitchener, Ontario, Canada, has com- relocated and rebuilt by Parkey Organ- idents’ Day conference. The instrument pleted installation of a custom three-man- Builders in 2015 for Providence United is Noack Organ Company Opus 111, ual Viscount Sonus 359 American Classic Methodist Church, Charlotte, North Organbuilders built in 1989 for Church of the Redeemer organ console with Viscount’s patented Carolina, where Lee is artist-in-resi- Casavant Frères, Limitée, Saint- in Boston’s Chestnut Hill neighborhood. Pipe Modeling technology and custom- dence. Lee is also organist and director Hyacinthe, Québec, Canada, completed a In its new installation, the organ is fi tted built Schmidt Classique Organ System for of music ministries for First Presbyterian new organ for First Lutheran Church, in the church’s 1802 Geib/England case. the New Apostolic Church, Burlington, Church, Belmont, North Carolina. The Bemidji, Minnesota, in time for celebra- Opus 111 received extensive modifi ca- Ontario. This new church building houses disc features works by Elgar, Stanford, tion of the 500th anniversary of the Refor- tions for its new home, including a new the amalgamation of three congregations Rheinberger, Thalben-Ball, Dudley mation in October 2017. The two-manual, Swell enclosure and new Swell reeds. in the Halton region. The building was Buck, Dupré, and Petr Eben. The CD is 25-rank organ included a fl ute stop espe- The keydesk is now attached to the case. designed to consider favorable acoustic available as Raven OAR-143. For infor- cially developed to mimic the sound of the The instrument, now Noack’s Opus 161, qualities for the sanctuary. The organ fea- mation: www.ravencd.com. traditional Native American Bibigwan, comprises three manuals, 35 stops. For tures four standard specifi cations: Ameri- information: www.noackorgan.com. can, Baroque, Romantic, and English, and four user specifi cations from a library BACH AT NOON Allen Organ Company, Macungie, of 300 organ stops and orchestral voices Pennsylvania, has installed an organ in for traditional and contemporary music. Grace Church in New York JL Weiler , Inc. St. Peter’s Basilica, Vatican City. In Sep- The console has custom solid wood organ tember 2017, during a visit by the Sistine keyboards. The system has 21 speakers in Museum-Quality Restoration Chapel Choir to the United States, an two chambers. For information: http:// www.gracechurchnyc.org of Historic Pipe Organs jlweiler.com Allen organ was rented for a concert in schmidtpianoandorgan.com. Q

10 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM Harpsichord Notes By Larry Palmer

The Art of the Harpsichord: Two Texas Treasures In mid-June 2017 the Dallas Chapter of the American Guild of Organists hosted its most recent regional convention, an event that attracted a record number of registrants. In addition to programs fea- turing the plethora of recent organ instal- lations in the metroplex, the area’s most unusual harpsichord also made a stellar impression. I had not been aware that the Magnum Opus instrument was now at home in Texas, but its current owner, Jason Alden, graciously loaned it for a recital by Elizabeth Farr, whose choice of works by Elisabeth-Claude Jacquet de la Miniature harpsichord by Art Bell (photo Guerre, J. S. Bach, and Claude-Bénigne credit: Clyde Putman) Balbastre proved to be the right vehicles for her skillful demonstration of the forth ensued, his with pictures of several varied registrational possibilities made completed instruments that were avail- possible by this unique instrument. able, and I opted for a French double The harpsichord’s builder wrote the Magnum Opus harpsichord (photo credit: Jason Alden) with a decorated soundboard. Then came following description of the 12-foot long the biggest surprise of all: it was a gift! instrument for publication in the con- What a generous and thoughtful person! vention program book: Several years later when I learned that my fi rst harpsichord mentor Isolde Ahl- The harpsichord was built in 1983 by grimm, now in an assisted-living apart- Keith Hill and Philip Tyre. It is the largest harpsichord in existence having three key- ment, had donated her David Rubio boards, each of which has its own sweet- harpsichord to the Gesellschaft der sounding 8-foot set of strings, plus a vocal Musikfreunde in Vienna, I turned again 4-foot played on the middle manual and to Art Bell and requested another min- a robust-sounding 16-foot set of strings iature instrument that could be sent to played only on the lowest manual. Called help her overcome the terrible sense of ‘Magnum Opus,’ this harpsichord was re- cently rebuilt by Keith Hill for the purpose loss that not having her instrument any of upgrading the acoustics, which involved longer had engendered. For the second replacing both soundboards. This harp- time Bell refused payment. However, sichord also has three buff stops (called we were both deeply touched and amply ‘lute’ stops) in which pads of soft leather rewarded by Frau Ahlgrimm’s heartfelt are brought into contact with the strings to dampen the bright harmonics of the response in the last typewritten letter I plucked strings. Additionally, there are received from her, dated July 22, 1992. three pedals: one activates the 4-foot reg- I have kept her idiomatic spelling and ister for suddenly increasing the brilliance syntax in the following excerpts: of the sound, another engages the 16-foot register for suddenly increasing the depth, . . . you should have seen me, the packing breadth, and power of the sound, and a was put aside, I started to cry! Having my third pedal makes possible the coupling of Magnum Opus keyboards (photo credit: Jason Alden) harpsichord back means so much to me. all the three registers to be playable from that it would work for my budget. After It was the worst moment of my moving . . the lowest manual for creating the loudest, some lengthy discussions, I decided that it . . As it is now, [the model] has a place of strongest, richest sound of which any harp- would, in fact, work as a home instrument. honour in my bookshelf and I feel as if it sichord is capable. Magnum Opus had been neglected for would have come back, telling me that I Owner Jason Alden is himself quite an years, and Keith reported to me that when should not be unhappy, it always will keep me in memory . . . . I do still hope to get addition to the metroplex’s musical scene: the instrument entered his shop the origi- nal soundboard had 17 cracks in it! It was a place on the side of my harpsichord, a Renaissance man who keeps busy with irreparable! So, he began by replacing both somewhere on a nice cloude, the little one his Alden Organ Service Company and is soundboards. We decided that there should holding in my hand as a little baby. Mr. also a top-notch organist whom I heard be decoration [on the soundboard] since Bell did a wonderful work . . . for the fi rst time in concert as he played the original was decorated. From there it a superb recital at the most recent East required re-stringing and re-quilling. The He did indeed! I only wish that these result is as good as I could ever hope for Texas Pipe Organ Festival, thrilling us as regards my preference for harpsichord minute instruments were playable; an with a demanding program that culmi- sound. I fi nd it not just thrilling to play (it is Detail of Magnum Opus harpsichord 8-by-3-inch model would be a dream nated in the entire Vierne Symphonie IV. rather a harpsichord version of the Cavail- (photo credit: William Leazer) instrument to transport, but its key I subsequently invited Jason to relate the lé-Coll organ at Rouen Cathedral), but the span assuredly would be too narrow for history of his involvement with the Mag- harpsichord remains intimate and inspires the proud owner of one of Bell’s model human fi ngers. Might there be a viable me each time I sit down to play it. num Opus harpsichord. He responded: instruments. I fi rst met the modeler solution? Q himself at one of Linton’s annual faculty My association with the instrument was An Exception to recitals, told Bell how much I admired Comments and questions are wel- really a result of familiarity with Edward “Everything is Bigger in Texas” his painstaking work in producing these come. Address them to lpalmer@smu. Parmentier’s studio instrument at the Uni- A favorite trick question for visitors scale miniatures, and asked him if I might edu or 10125 Cromwell Drive, Dallas, versity of Michigan. I really still love that instrument because it sounds so colorful, to our spacious music room is “How commission one. A few letters back and Texas 75229. warm, and transparent all at once. Also, it many harpsichords do you see here?” seemed well suited to a very wide variety The most obvious answer is “four.” The of literature. You can imagine I heard just usual complement of instruments on about everything played on it during Par- display comprises a William Dowd single, www.pekc.org mentier’s studio classes. plus two-keyboard instruments by Yves Once I was ‘out in the world’ I really longed for that kind of sound in my own in- Beaupré, Richard Kingston, and Willard Princeton Early Keyboard Center strument (a Hubbard double that had been Martin. A few inquisitive guests may have built from a kit by my fi rst harpsichord teach- noticed an additional canvass-covered Gavin Black, Director er, Bill Eifrig at Valparaiso University). The wing-shaped instrument stored behind Hubbard ended up with a number of prob- the pipe organ: an Italian single by Tom lems related to case stress and the collaps- The Princeton Early Keyboard Center, with its principal ing of the gap spacers (which I had already and Barbara Wolf. But only a few very replaced on my own some years before). So observant viewers give the exact correct studios on Witherspoon Street in Princeton, NJ, is a small, I decided to sell it even though I didn’t have total, which would be “six.” The omission independent school offering lessons and workshops in another specifi c instrument in mind. of the usually overlooked harpsichord is After looking at Keith’s website and hav- not surprising, for it is only eight inches harpsichord, clavichord, continuo playing, and all aspects ing a couple of phone conversations with of Baroque keyboard studies. Facilities include two him, I quite resigned myself to the idea long and three inches wide: a handcrafted that I’d never be able to afford one of his mini-harpsichord made for a dollhouse by antique harpsichords, several other fi ne harpsichords, instruments. I planned a trip to his shop Arthur Bell of Arlington, Texas. and clavichords, both antique and modern. Lessons at the anyway, hoping he’d take pity on my poor Art Bell was a meticulous observer and soul! So, I had a nice evening with him in connoisseur of miniature models, and his Center are available in a wide variety of formats, tailored to Nashville, and played a couple of instru- the needs of each student. All enquiries are very welcome at ments he had recently fi nished. We got very rare specialty was the creation of to talking about many things that night, exact scale replicas of historical keyboard 732/599-0392 or [email protected]. and he mentioned that the Magnum Opus instruments. My University of Texas at was ‘available.’ I was curious, but doubtful Arlington colleague Linton Powell was

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 11 Reviews

Choral Music major for a syncopated middle section shimmering timbre to the fl owing piano your voice in joyful song. Join to cel- building to a climax before returning to accompaniment. May be sung as SAB or ebrate with singing.” It is simple enough Ten Anthems for SAB Choir the Latin phrases as at the beginning. SATB, as it works well either way. to pull together quickly at the beginning The following are ten anthems that This selection would also be appropriate of the choir season or to fi ll in the sched- work throughout the liturgical church for All Saints Sunday or perhaps even a General ule when working up a more diffi cult year. Consider these as good options for funeral service. Hope of the World, by Taylor Davis. anthem for a subsequent week. The a teen-age youth choir, or as an alterna- SAB and piano, Augsburg Fortress, trumpet part adds brilliance and energy. tive for your SATB choir. All are well Easter Season ISBN #9781451401004, $1.75. —Anne Krentz Organ written and satisfying to sing. I’m So Glad Jesus Lifted Me, by John Georgia Harkness (1891–1974) was St. Luke’s Lutheran Church Helgen. SAB and piano, Kjos Music the fi rst woman to teach theology in an Park Ridge, Illinois Thanksgiving Company, Ed. 5771, $1.95. American seminary. Her hymn, “The O Praise the Lord, by Adam Gumpelz- Helgen has arranged this African- Hope of the World,” was chosen by haimer (1559–1625), ed. Richard American spiritual in a lively, jubilant the Hymn Society of America (now the Book Reviews Proulx. SAB a cappella, GIA Publica- setting. That said, the piece begins quite Hymn Society in the United States and An American Organ Omnibus, tions, G-2294, $1.80. slowly with a solo line (sung either by a Canada) for the second global meeting James Lewis. 2017, James Lewis. This arrangement, based on Psalm 67, soloist or a section) setting the stage for of the World Council of Churches, which 145 pp., 47 illustrations, softbound. sounds harder than it is. A fairly short the rest of the piece. The piano accom- was held in Evanston, Illinois, in 1954 and $30.00 for Organ Historical Society piece, it is good for teaching how three paniment is fun to play and includes a had as its theme, “Christ, the Hope of the members; $34.00 for non-members, independent lines add up to more than few jazz chords that add just the right fl a- World.” Taylor Davis has set Harkness’s available from OHS catalogue, www. the sum of their parts. There is consider- vor. The fi nal verse transitions up a step, text in a fresh harmonic setting, using the ohscatalog.org. able repetition, which allows the singers from F major to G major, and ends with interval of a fourth quite extensively. James Lewis is the author of numer- to gain confi dence quickly when learning a terrifi c coda including a bluesy solo line ous books and articles on American pipe the piece. over the three-part harmony “ooh.” Praise the Lord, God’s Glories Show, organ history, several of these books self- by David Schelat. SAB and conga published. Each item contributes in a Christmas Pentecost drums, Oxford University Press, noteworthy fashion to our contemporary In Dulci Jubilo (Now Sing We, Now Come, O Source of Joy and Gladness, ISBN #9780193865518, $2.80. knowledge of organbuilding of the past. Rejoice), by Dietrich Buxtehude. by Michael Larkin. SAB and organ While listed as SAB, this piece is (See the March 2017 issue, page 14, for a SAB, continuo, and two violins, Con- with optional trumpet and optional primarily two-part mixed, with only six review of another of Lewis’s books, Archer cordia Publishing House, available congregational refrain, Alfred Pub- measures (out of 76) breaking into S/A. Gibson: A Life in Letters and Articles. See either as print on demand or as a lishing, #5866, $1.25. The text, by Henry Francis Lyte (1834), also Lewis’s article in the October 2009 downloadable fi le. It is cheaper to This piece is based on Franz Joseph is punctuated frequently with “Alleluia, issue, “Organs in the Land of Sunshine: purchase the downloadable scores: Haydn’s Austrian Hymn. The text for gloria!” The piece is written in 6/8 time, A look at secular organs in Los Angeles, choral part $1.75 (#981501pdf), full verses one and four is from Paul Ger- with a middle section that relies heav- 1906–1930.”) The present book is another score $2.50 (#981500pdf). hardt’s “Holy Ghost, Dispel Our Sad- ily on hemiolas. The conga drums add welcome addition to the treasury of vol- There are four stanzas to this piece; ness;” verses two and three come from rhythmic interest and complexity. umes about American organs. the fi rst and second stanzas use identical Charles Wesley’s “Love Divine, All Loves The Introduction states the book’s music, and the third stanza is quite simi- Excelling.” The back page provides a bul- Thy Perfect Love, by K. Lee Scott. purpose: lar, which cuts down on rehearsal time letin insert for optional congregational SAB or SATB and keyboard, Choris- An American Organ Omnibus gathers needed to learn the notes. The instru- singing of verses one and four, with the ter’s Guild, CGA704, $1.95. many of the historic newspaper and maga- ments have sparkling interludes that add choir only singing verses two and three. K. Lee Scott is a master of melodic zine articles I have collected for more years to the joyful nature of the piece. Great The trumpet part, also included, adds a writing. This fl owing, triple-meter set- than I care to remember, weaving them into for a Lessons and Carols service, as part majestic, glorious element. Appropriate ting is a mixture of two- and three-part a series of essays about American organs and organ building. Included with many of of an extended prelude for Christmas at any time during the worship service, vocal writing, with the occasional option the essays are historic photographs. Eve or Day, or during distribution of but especially effective when used as a for four-part harmony. Written for a The subject matter ranges from church Holy Communion. choral prelude. youth choir festival, for the Houston organs and concert organs, to residence Chapter of the Choristers Guild, the and theatre organs, organs in cities across America, organs on steamships, in automo- Transfi guration Baptism men’s part tends to be more in the tenor/ bile showrooms, and much more. Coram Deo (In the Presence of Washed Anew, by Thomas Kee- baritone range than the low bass range, God), by Roger Emerson. Three- secker. SA(T)B, keyboard, optional yet is still easily sung by all. This book is ideal for the armchair part mixed and piano, Hal Leonard handbells (2 octaves) and optional reader who enjoys perusing a collection Corporation, HL 8551096, $1.70. congregation, Augsburg Fortress, Sing Forever, by Franz Schubert, of short entries of a page or a few pages This contemporary-sounding piece ISBN #9786000001353, $1.75. adapted and arranged by Patrick regarding various organs, most of which begins with the repetition of a phrase There is a reproducible page for Liebergen. Three-part mixed, key- were built in the nineteenth and early using the Latin words, “Coram Deo.” the congregation, should you want to board, with optional B-fl at trumpet, twentieth centuries. The articles present It changes from cut time to 6/8 meter, include them in singing the refrain, Alfred Publishing, SV9339, $1.40. the reader with an interesting image of and from F major to A-fl at major for the “Washed anew with life-giving water, This piece is appropriate any time a how organbuilding was perceived at that English text, “I will stand in the presence bathed and cleansed, Kyrie eleison!” The cheerful, music-themed anthem is called time: the novelties and development of God!” The piece switches back to F handbell part, although optional, adds a for: “Sing forever, sing together, raise of organ actions (tubular-pneumatic and electric) as well as new accessories recently developed (such as combina- tion actions, crescendo shoes, etc.). The Penny Lorenz Artist Management choice of articles is excellently balanced, presents featuring instruments in large and well- known cities and venues (such as New York City, Chicago, Washington, and San Francisco), but also shining a spotlight on communities and instruments for which we do not know much from other sources (such as Louisville, Kentucky; Charleston, South Carolina; Newport, Rhode Island; and Topeka, Kansas). As an omnibus, a book containing reprints of a number of works (one of the defi nitions of omnibus presented by Merriam-Webster), this item lives Craig Cramer Kathrine Handford Balint Karosi Christophe Mantoux up to its title and its purpose. However, the book would be even more valuable, especially to the researcher, if it included For Organ Recitals & Workshops, page numbers, a table of contents, and/or Please Contact: an index. (Endnotes are provided, which list the source for each reprinted item.) If these helpful additions had been made, Penny Lorenz the reader would be able to navigate the book much more easily and to return to 425.745.1316 these historical vignettes repeatedly for [email protected] other research work or simply to savor a www.organists.net favorite entry once more. Still, the lack of these aids does not Aaron David Miller Jack Mitchener distract from enjoyment of the book’s contents. It is remarkable to read of the days when a Cadillac motorcar

12 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM Reviews dealership showroom featured an organ the book easy to read for aging eyes. The Glorious Things of You Are Spoken/ at Augsburg Fortress Publishers and was for its clients’ enjoyment. The story number of typographical errors is some- Love Divine, All Loves Excelling very much involved in the publication of of Clarence Eddy’s arrival to play the what above normal, but this does not (Blaenwern); Lift Up Your Heads Evangelical Lutheran Worship, the lat- dedicatory recital on a W. W. Kimball distract from the value of the informa- (West Leestad); Lord Our God, with est book of worship for the Evangelical organ at the civic auditorium of Topeka, tion provided. Omnibus has something Praise We Come (Romedal); The Only Lutheran Church in America. Kansas, is memorable, particularly when for every reader in the organ community. Son from Heaven (Herr Christ, der There is magic in this volume. Among a reporter “remarked that the manufac- —Stephen Schnurr einig Gott[e]s Sohn); There in God’s the older musical treasures, Farlee seizes turer tried to persuade the city not to put Gary, Indiana Garden (Shades Mountain); To Christ upon the majesty of the hymn tunes of in the 32-foot stop and [Eddy] replied, Belong, in Christ Behold (Wonders); others, from the heart and pen of the ‘You will never regret that he did not suc- You Servants of God (Lyons). likes of Herbert Howells (Michael), ceed.’” For all of this reviewer’s work and New Organ Music Robert Buckley Farlee writes, “This H. Thomisson (O Jesu, an de Dina), writing about Chicago organ history, it Treasures Old And New: Hymn Pre- collection includes preludes on hymn William Penfro Rowlands (Blaenw- was a revelation to read about Chicago’s ludes for Organ, Robert Buckley tunes both old and new—hence the title. ern), Zebulon M. Highben (West Central Music Hall Johnson & Son organ Farlee. Augsburg Fortress, ISBN For the four tunes not yet published in Leestad), Petter Daas (Romedal), K. of 1880. 978-1-4514-9909-4, $20.00. hymnals, harmonizations are provided Lee Scott (Shades Mountain), and All of the book’s illustrations are in All My Hope on God is Founded in this volume . . . .” Farlee is associate Johann Michael Haydn (Lyons), as well black and white, which is expected in a (Michael); Around You, O Lord Jesus pastor and director of music at Christ as Herr Christ, der Einig Gotts book of this period of history. The vol- (O Jesu, an de Dina); Before the Lutheran Church in Minneapolis, Min- Sohn from the ancient treasure, the ume is softbound, though the binding Ancient One, Christ Stands (Christ nesota. He is a graduate of Christ Sem- Enchiridion of 1524, the little Erfurt seems durable for regular use. The size Church, Minneapolis); The Day of inary-Seminex, St. Louis, Missouri. He hymn book of 26 hymns. Using the of the pages and type font used make Resurrection! (Anastaseos Himera); also serves on the worship editorial staff tunes and texts as inspiration, Farlee

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WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 13 Reviews weaves attractive and engaging settings of legato eighth-note groupings mildly church music. Capably played, this Cantabile, Franck; Processional, Math- that, in this reviewer’s opinion, are sec- reminiscent of Bach’s “Jesu, Joy of Man’s special collection could serve as the core ias; Dances, Ronald Watson; Arabesque, ond to none. Desiring.” While this prelude is devoid of material for a most moving hymn festival. op. 31, no. 15, Vierne; Introduction and An endless stream of simple and basic solo chorale material, it utilizes an effec- It is likely the contents of this volume Passacaglia in D Minor, Reger; Andante major and minor chords is eschewed. tive two-tiered dynamic scheme that will inspire you and others. Without a in F, Wesley; Sonata in A Major, op. 65, In its place, Farlee uses harmonies that has life and buoyancy. After extended doubt, Robert Buckley Farlee’s treasury no. 3, Mendelssohn; Grand Choeur in D contribute to a grandeur that urges the and “fl owing” four-part writing for fl ute of hymns and hymn preludes serves the Major, op. 18, Guilmant. singer and listener forward at every turn. stops, the prelude on “To Christ Belong, purpose of elevating the value of quality The fi rm of Henry Willis & Sons, Throughout this volume, Farlee uses in Christ Behold” shifts to a three-voice church music in our 21st century. based in England at London and Liver- added notes that create dissonances akin texture when the chorale theme is intro- —Jeffrey Schleff pool, was famous for instruments such as to the judicious seasoning in a master duced fi rst in the upper manual voice Grand Prairie, Texas St. George’s Hall, Liverpool; St. Paul’s chef’s recipes. High church and large and then in the lower keyboard voice. Cathedral and Royal Albert Hall, Lon- cathedrals are pictured in one’s mind The collection concludes with a short Concert Samba for Organ, Joe Utter- don; and Salisbury Cathedral, all built by throughout these settings, creating a but blazing setting of Lyons, complete back. Jazzmuze, 2016-412, $15. “Father” Henry Willis I (1821–1901), and sound both traditional English and with reeds and plenum choruses. Available from www.jazzmuze.com. for instruments like Westminster Cathe- Lutheran all at once. As the title suggests, this collection This delightful piece was commis- dral, London, and Liverpool Cathedral, Among Farlee’s hymn preludes based also includes new hymn preludes based sioned by Michael Britt in honor of John built by Henry Willis III (1889–1966). on the hymn tunes attached to old[er] on three new[er] hymn tunes written by Walker and composed in the summer Henry Willis II (1852–1927) ran the treasured hymns are “All My Hope on Farlee himself and a setting of one hymn of 2016. Joe Utterback is a master at fi rm from his father’s death in 1901 until God Is Founded,” “Around You, O Lord tune by Zebulon M. Highben (b. 1979). composing in a jazz-inspired style. This 1915 when he was forced into an early Jesus,” “Glorious Things of You Are Farlee includes the verses of each new captivating music is established around a retirement. He built comparatively few Spoken” (“Love Divine, All Loves Excel- hymn and his harmonization to support Brazilian dance styled with earlier roots organs, which is a great shame since ling”), “Lord, Our God, with Praise We congregational singing, followed by a in African music. Utterback’s interpreta- many think the Willis II organs were the Come,” “The Only Son from Heaven,” prelude on each respective hymn tune. tion is authentic. Jazz inspired chords are best of the lot. The Henry Willis II organ “There in God’s Garden,” and “You Ser- These new hymn tunes and preludes derived over a rapid rhythm of 1–2–3; at St. George’s Church in Gateshead vants of God.” Some hymn tunes, such are based on the following unpublished 1–2–3; 1–2/1–2–3; 1–2–3; 1–2. After near Newcastle, England, which has as Michael, are found in hymnals used hymns: “Before the Ancient One, Christ 20 measures a bright solo enters in the three manuals and pedal with 30 stops in a wide variety of denominations. Oth- Stands” with text by Susan Palo Cher- soprano with this same hypnotic rhythm. and tubular-pneumatic action, is all the ers are found in a more limited number wien (b. 1953), “The Day of Resurrec- The piece is broken up in the center by more remarkable for being in completely of hymnals, such as “There in God’s tion!” with text by John of Damascus a 12-measure pedal solo, before the solo original condition. It was ordered in July Garden” (Evangelical Lutheran Wor- (c. 696–c.754) and translation by John melody re-enters. 1901, a mere fi ve months after the death ship, Lutheran Service Book, and Glory Mason Neale (1818–1866), and “Lift Up It begins to build until a “full organ of Henry Willis I, and completed in to God). Still others are found only in Your Heads” and “To Christ Belong, in sound” is reached. However, one will December of the same year. It is in very Lutheran hymnals, or only in Evangelical Christ Behold,” with texts by Susan R. need to save a little in reserve as Utter- good condition following restoration Lutheran Worship (ELW). Briehl (b. 1952). back then calls for an even brighter by Harrison & Harrison of Durham in Played “with majesty and breadth,” Susan Cherwien’s text is matched by stop setting, which brings the piece to a 2003. The neo-Gothic Victorian church, the prelude on “Before the Ancient a most inventive hymn tune by Farlee, crashing conclusion. designed by architect Stephen Piper One, Christ Stands” effectively utilizes a utilizing fi ve broad phrases, each with As a bit of a warning, if you decide to of Newcastle and completed in 1897, recommended solo Trumpet stop for the an 8+8 metrical scheme. The opening perform this rollicking piece, do not be provides an excellent acoustical environ- chorale melody preceded and followed motive of this C-major melody imme- surprised to see people jumping up and ment for the Willis organ. by plenum passages that do more than diately reveals that this is no ordinary dancing in the aisles! The momentum David Ratnanayagam was born in ample justice to the attractive hymn tune melody. The fi rst phrase commences and motion make it almost impossible to Sri Lanka and received his musical by Howells. The slightly shorter prelude with an essential quarter-note rest fol- sit still. education in Sri Lanka, Australia, and on “The Day of Resurrection!” follows lowed by sturdy rising quarter-note A remarkable photo graces the cover. England. Formerly assistant organist at similar construction with the solo 8′ pitches of middle C, E, G, B(!), and C In bright colors, it at fi rst appears to be Melbourne Cathedral in Australia and Trumpet presented in the tenor voice. In before a mostly stepwise consequent an abstract painting. On closer examina- later at Durham Cathedral in England, the lush and meditative prelude on “Lift gesture ending the opening phrase. The tion, it is a dancer swirling in so much he is currently organist and choirmaster Up Your Heads,” the composer suggests arresting arpeggiated melodic contour is color that it practically moves across the of St. Cuthbert’s Church in Darlington, a registration featuring a softer reed (8′ repeated at the onset of the second long cover by itself. It is a delightful photo, home of a fi ne three-manual Binns Clarinet or Krummhorn) set against qui- phrase, followed by a similar consequent hinting at the music inside. The volume organ. As well as being a church organist, eter string and pedal stops. Preceded by stepwise melodic gesture settling on the is spiral bound and has large enough Ratnanayagam is well known as a recit- legato chord clusters on string stops, the dominant tone, ushering in the roving print that it is easy to turn and to read. alist and for his work promoting organ hymn tune is presented fi rst in the tenor third and fourth phrases. The fi nal fi fth Utterback has outdone himself with this playing among young musicians. and later in the soprano voice. After con- phrase reintroduces the hymn tune’s new piece. The opening work is Brahms’s Prelude trolled but growing intensity courtesy opening motive leading to an unexpected —Jay Zoller and Fugue in G Minor, an early composi- of constant eighth-note movement, the leap to the hymn’s highest pitch before Newcastle, Maine tion that represents Brahms in his most piece ends as quietly as it began. resolution in the consequent portion of classical mood. Ratnanayagam’s perfor- “The Only Son from Heaven” is a per- the phrase. With Farlee’s captivating har- mance is both virtuosic and clear, and sonal favorite, written in a graceful 12/8 monic language and use of added tones New Recordings every note can be heard distinctly and in meter with the hymn tune presented to conventional major and minor triads, Maestoso: David Ratnanayagam its proper place. The clarity of the organ’s in the pedal part. Farlee’s more recent the marriage of Cherwien’s hymn and plays the organ of St. George’s choruses is also apparent and gives the lie prelude on Shade Mountain (see his Farlee’s hymn tune, Christ Church, Church, Gateshead. Broadwater to the assumption that Edwardian organs earlier setting in Many and Great: Hymn Minneapolis, was up to the challenge Studios, DR010716. Available from are dull, though there is a richness in the Settings for Organ, Augsburg Fortress, of celebrating the 100th anniversary of www.amazon.com. diapasons that was sometimes lacking in 2000, ISBN 0=80065894-0 and in Augs- Christ Lutheran Church. Prelude and Fugue in G Minor, the organs of the builder’s father. This burg Organ Library: Lent, Augsburg Treasures Old and New is a unique Brahms; Chorale Prelude on ST. CROSS, is followed by Parry’s Chorale Prelude Fortress, 2000, ISBN 0-8006-5897-3) is and outstanding addition to the ever- Parry; Chorale Prelude on DUNDEE, on ST. CROSS. The tune written by J. B. also in 12/8 meter, with a predominance burgeoning body of contemporary Parry; Scherzo in A-fl at, Bairstow; Dykes for Fr. Faber’s Good Friday text,

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14 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM Reviews

“O come and mourn with me awhile,” is organist of Durham Cathedral back in organ, as we have heard it before in the The newest installment in the useful now largely forgotten, but there is both the middle of the twentieth century. Reger piece, but the sound becomes Pathway to Ringing series, this book offers warmth and pathos in Parry’s treatment Dances is structurally very interesting. more and more brilliant and virtuosic as music that teaches mastery of rhythms. of it, and the performer enters well into There are three basic dances, a gigue the movement proceeds. I couldn’t quite Pieces have been carefully written and/ its gentle, plaintive character, as well (somewhat reminiscent of C. S. Lang’s work out what registration he was using or selected from folk, classical, and sacred as giving us an opportunity to listen to Tuba Tune), a minuet, and a sarabande. in the second movement, Andante tran- repertoire in order to approach the some of the quieter voices of the Willis The gigue is followed by the minuet, quillo, but whatever it is it is very attrac- teaching of rhythms in a manner easy to organ. By contrast in his chorale pre- and then repeated. After this comes tive. Finally we hear Guilmant’s Grand comprehend. As an additional benefi t for lude on the much-better-known hymn the sarabande, followed by a shortened Choeur in D Major. This is a work that developing ensembles, there are no page tune Dundee, from the CL Psalmes version of the gigue—leading back into seems to be played less frequently today turns for any of the selections. The selec- of David (1615), Parry gives the hymn the minuet. Then follows a fi nal sec- than it was half a century ago, which is tions are reproducible. a more solid and upbeat treatment. Its tion based on the gigue—altogether a rather a shame. It is certainly the sort of Germanic harmonies refl ect Parry’s time charming and vivacious piece. The next thing that would have been played on the All Hail the Power of Jesus’ Name, as a student of Pierson in Stuttgart, remi- piece, the Arabesque from the 24 Pièces Willis organ when it was fi rst built, and I arranged for 3, 4, 5, or 6 octaves niscent in some ways of the organ music en style libre of Louis Vierne, has a poi- think it makes a very fi tting conclusion to of handbells, by Joshua Evanovich. of Rheinberger, and not particularly gnant quality, and its numinous tonalities David Ratnanayagam’s excellent compact GIA Publications, Inc., G-8078, characteristic of Parry himself. Again are prophetic of later twentieth-century disc, which I thoroughly recommend. $4.95, Level 2+ (M). rather uncharacteristic of its composer composers such as Alain, Messiaen, —John L. Speller The hymn tunes Coronation and is the little-known and playful Scherzo and Langlais. Ratnanayagam here again Port Huron, Michigan Diadem are combined in this jubilant by Edward Bairstow, a composer whose makes effective use of the quieter voices setting for handbells alone; however, work is generally much more austere and of the Willis organ, particularly the this piece is compatible with G-8077, an august. Ratnanayagam’s performance strings and harmonic fl ute. New Handbell Music arrangement of these tunes by the same enters very much into the playful char- The last part of David Ratnanayagam’s Four Reproducible Processionals, for composer, featuring organ, brass quar- acter of the piece. compact disc consists of four contrast- 4 octaves of handbells and 2 octaves of tet, and timpani, making it a wonderful The performer then turns to nine- ing works from the nineteenth century. handchimes, by Michael Burkhardt. selection for a hymn festival or for any teenth-century France for Franck’s The fi rst of these is Reger’s monumen- MorningStar Music Publishers, MSM- festive occasion, as well as worship. Cantabile, one of the Trois Pièces that he tal Introduction and Passacaglia in D 30-855, $15.00, Level 1+ (E+). wrote for the inauguration of the Cavaillé- Minor. Here the performer shows his Although these pieces could be used Easy to Ring Praise & Worship Coll organ at the Palais du Trocadéro in skill as a virtuoso, at the same time as alone as handbell solo material, they were VIII, for 2–3 octaves of handbells, Paris in 1878. Here good use of the Wil- demonstrating the massive effect of the specifi cally intended for players process- arranged by Peggy Bettcher. Agape lis reed stops produces a very effective Willis organ and its inexhaustible wind ing down the middle, left, and right isles (a division of Hope Publishing Com- imitation of a Cavaillé-Coll organ. David supply despite its relatively modest size of a church or concert venue. The actual pany), Code No. 2791, $14.95, Level Ratnanayagam also makes good use of of 30 stops. In the Passacaglia, the Willis music is laid out in fi ve staves indicating 1–2 (E+). the reed stops in the piece that follows, organ’s almost seamless build-up from a bell/handchime use. They are creatively Ten popular praise songs are included William Mathias’s Processional, probably mere whisper to a fortissimo is worthy written, and titles include “Ding, Dong, in this latest volume in this series. Each the best known of Mathias’s organ com- of a large Cavaillé-Coll organ. Following Merrily on High,” “Holy, Holy, Holy,” is a complete performance or worship positions. Mathias, who was the leading this, in contrast with the seriousness of “Hymn to Joy,” and “Tempus adest fl ori- composition. Eighth notes are used Welsh composer of the second half of the Reger piece, is S. S. Wesley’s cheerful dum.” These selections are reproducible. sparingly, and the diffi culty levels range the twentieth century, was for many years Andante in F, where once again effective from 1 to 2. Titles include “At the Cross,” professor of music at my grandfather’s use is made of some of the softer voices Pathways to Musical Ringing, Volume “Cornerstone,” “Oceans,” “10,000 Rea- alma mater, University College, Bangor. of the organ. 2: Rhythms, by Sandra Eithun and sons,” “Your Love Never Fails,” and We then proceed to a composer whose Next follows the third of Mendels- Michael W. Joy. Choristers Guild, more. 3–5 octave score is also available, works I had not previously experienced. sohn’s organ sonatas. In the fi rst move- CGB1016 (2–3 octaves). CGB1017, Code No. 2763. Ronald Watson (b. 1936) was a student ment, Ratnanayagam commences by (3–5 octaves), $39.95, Levels 1-, 1, 2, —Leon Nelson of Conrad Eden, the distinguished demonstrating the majesty of the Willis 2+ (E–M). Vernon Hills, Illinois

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Editors: Pieter Dirksen, Matthias Schneider, David Schulenberg, Jean-Claude Zehnder et al.

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 15 In the wind...

We’re working on it. in bronze requires immense dedication, This is a lovely moment to be writing. and handling the materials involved It’s about 7:00 on a Tuesday morning, is heavy physical work. Is that harder and I’m sitting at the dining table in our work than the dogged pursuit of a poet, house in Maine, with a nice view down demanding of himself hundreds of drafts the river. It’s 19 degrees and snowing, of an 80-word poem? with wind from the northeast at eight- The other day, I stacked this year’s to-ten. Wendy left here yesterday for an cord of fi rewood in the usual place along important engagement in Providence, the north wall of the garage. It had been bugging out a day early to beat the bad delivered by a dump truck and was in weather. I’d say I’m alone in the house, a knee-high pile near the stack site. It except Farley the Goldendoodle is here took me two hours to move two tons of with me. A half hour ago, I lit the dining wood from below knee level on to a stack room woodstove, so it’s nice and cozy. To with more than half of it above waist complete the lovely scene, there’s a boat level.2 That work was like Donald Hall’s coming up the river. Did I mention that grandfather’s chore of tossing forkfuls of it’s snowing? hay into the loft of the barn, a necessary The Damariscotta River is a tidal seasonal chore. Some of that wood is estuary, 12 miles from the Gulf of Maine burning in the stove now. to the bridge between the villages of Henry Moore moved tons of clay from Newcastle (where we live) and Damar- table height to the extremes of height of iscotta. We’re about eight miles up from his largest pieces. I suppose he carried the ocean. The river is fully tidal —the clay in buckets up ladders. His hands water rises and falls an average of about would have been iron-hard like those of ten and a half feet, twice a day—and the hay-pitching farmer. it’s renowned for aquaculture. Farm- ers raise mussels and oysters in large Back to work waterborne plots that they rent from the Michelangelo’s famous marble statue, towns. Mussels grow underwater hang- David, is about 17 feet tall and weighs ing from ropes, and oysters grow in half- nearly 12,500 pounds. I love the (per- submerged fl at baskets that fl oat on the haps) apocryphal quote from Michelan- surface, and the farmers tend them using gelo when he was asked how he accom- 20 to 25 foot skiffs with outboard motors. plished such a masterpiece: “All I did One summer, our daughter, Meg, was chip away the stone that didn’t look worked for an oyster farmer. It was back like David.” That leads me to wonder breaking work, leaning out of boats to what the original stone weighed. Was it turn those baskets, and digging in the twice as much, three times as much mud for the natural oysters. The farm was as the fi nished statue? Let’s say it was just down the road, so she could come 30,000 pounds—fi fteen tons. First, that home for lunch, muddy and tired, but rascal was cut from a hillside in Carrara happy with the dozen oysters she’d share near Italy’s Ligurian coast, then moved with her mother. She tanned dark brown almost 90 miles to Florence. That would and went back to school strong and slim. be enough of a challenge today with But catch my key word there. Summer. heavy trucks, hydraulic lifting equip- If you’re going to work on the water, ment, and modern highways. Imagine it you might as well be out on a boat in the with ox-drawn carts, levers, and muddy, sunshine. The magic ends when that little rutted hilly roads. boat is churning upriver against a bitter And once that mighty stone was in wind during a snowstorm, whitecaps place, Michelangelo had to remove breaking over the bow, covering the farm- 17,500 pounds of marble chips. Popeye Flentrop organ, Trinity Episcopal Cathedral, Cleveland, Ohio (photo credit: William T. ers in freezing salt spray. It’s much nicer had nothing on him for hands and fore- Van Pelt) work to be sitting by the fi re, writing. arms. He would have had stone chips in In 1993, the poet Donald Hall wrote his eyes and fi erce aches and pains at the more sheets of sandpaper? Because you the myriad miter joints is perfect, ready Life Work, a slim book of musing about end of the day. It’s meaningful to appre- wear it out with elbow grease. for close-up inspection. what it means to work at what matters ciate this work of art from that point of In a 50-week year of 40-hour weeks, a Have you been inside such an organ? to you.1 Early in his career, Hall was on view, that the result of such extreme worker produces 2,000 person-hours. If Row upon row of gleaming pipes, each the faculty at the University of Michigan, physical labor would be the emergence there was an average of seven people in row a unique voice waiting to be called living a suburban life of cocktail parties of the monumental, elegant, sensual the Noack shop over the years, that would on. Precise matrices of mechanical parts, and dealing with the mechanics and fi gure taking life under the tools of the make 14,000 person hours each year. some massive and powerful for stop minutia that are the workings of a large master. Just how did he know which chip Opus 9 was built in 1962, so Fritz’s career actions, some feathery and light for key- institution. His marriage failed, and he was part of David and which wasn’t? spanned 53 years during which he pro- board actions. Or if the organ uses electric- took a lifetime risk, leaving the security There are some pretty sensitive areas duced 149 organs in 742,000 person hours. ity in its actions, you’ll fi nd neat bundles of tenure and pension and moving onto there that would be a shame to whack Let’s guess that a quarter of those hours of wires, carefully obscured, carrying the the rural New Hampshire farm where with a chisel.3 (185,500) were spent on service, mainte- complex signals that are the music. his grandparents had lived to focus on I wonder if he knew that the immense nance, tuning, rebuilding, and other work I spend a lot of time around pipe writing. He supported himself writing toil of quarrying and transporting that not related to the numbered organs. That organs. Some are ordinary, unremark- reviews, magazine articles, and several stone and chipping away almost nine would mean that 556,500 hours were spent able, and some are downright awful. books, while working endlessly on his tons of marble to reveal that image building 149 organs—an average of 3,735 But those instruments add to my appre- poetry. He describes how a brief poem would leave fi ve centuries of viewers in hours per organ. I suppose that some took ciation, my awe of an organ produced by would travel through scores, even hun- awe, moved to tears by the beauty, maj- fewer than 2,000 hours, and a few probably true craftspeople. The Organ Clearing dreds of drafts. He also describes the esty, and humanity of that image. took 10,000 or more. House is frequently engaged by other repetitive annual routine of his grand- That’s a staggering amount of work fi rms to assist in the installation of new father’s farming—how the changing The work of life and a splendid heritage. The display of instruments. We always regard that as seasons drove the succession of work When you visit the Noack Organ photos on the workshop stairway shows a special statement of trust, as we are days through plowing, planting, harvest- Company in Georgetown, Massachu- the development and maturation of an allowed an intimate look into the ways ing, milking, haying. His grandfather’s setts, you’re greeted by a display of pho- artist as well as the progression of styles and work of the individual fi rm. Often unfailing work ethic was inspiration to a tographs of all the instruments built by of expression in American organ build- the paperwork and specifi cations that lifetime of writing. the fi rm. They’re currently working on ing. Nice going, Fritz. precede a job are beautifully crafted, In Life Work, Hall wrote about his Opus 162 for St. Peter’s Church in Wash- forming a prelude to our relationship friendship with the British sculptor ington, D.C. Fritz Noack retired in 2015, Stop to think. with the instrument itself. Henry Moore (1898–1986). Moore is and Didier Grassin is the active leader Have you ever been in the presence As thrilling as it is to see a fi nished best known for monumental bronze of the company. Didier reports that he of a new monumental organ? Have you organ, working with an instrument sculptures located across the world. He has been responsible for the last three touched one, played one, or just sat in pieces is the best way to appreci- worked in the abstract, creating small- Noack organs, and that the fi rst “real alone in the room gazing at it? Every ate what goes into it. Once when we scale clay models as he explored shapes, organ” built by Fritz Noack was Opus 9, surface is made smooth by the hands of were delivering a new instrument to a and increasing the scale as he passed so Fritz’s career spans 149 organs. What a craftsman. Hand-turned drawknobs church, unloading thousands of com- through multiple “drafts” of each work a remarkable achievement. Think of that gleam. Maybe there’s an exquisite bit of ponents from a truck and laying them before committing them to the eternity in terms of tons of tin and lead, hundreds marquetry on the music rack, and snazzy out on blankets across the backs of the of bronze. Hall refl ected on artists’ pas- of thousands of board feet of lumber, carvings on the key-cheeks. Tilt back and pews, a parishioner commented to me, sion, as they devote their lives to their perhaps tens of thousands of sheets of look up at the tower crowns. They might “Watching this for three minutes has work. Creating monumental sculpture sandpaper. You know why you need be 30 feet off the fl oor, but every one of told me more about why the organ is

16 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM By John Bishop

of hours of intellectual and artistic toil, always developing new peda- gogic skills to further the freedom of artistic expression. It takes countless repetitions and hundreds of hours of knuckle busting nit picking to absorb and express a complex score. It takes motivation, diligence, fervor, and devo- tion to take a program of music from the printed page and pass it through an organ, turning it into audible art. It’s a life’s work to build a repertory and to nourish a creative soul capable of such sophisticated expression. Recently, I watched the BBC docu- mentary, Simon Rattle: The Making of a Maestro, an hour-long look into the Sometimes the organ seems to us to development and career of that bril- be the center of the universe, and for liant musician. (You can fi nd this easily many of us, it is the center of our uni- on YouTube: just search “Simon Rattle verse. But in reality, it’s an eloquent part Documentary.”) His love and ability as of a much larger whole, perhaps using a musician was the force behind the its noble voice to speak for other artists. rejuvenation of an entire city. Under We are not living in normal times, and his leadership, the City of Birmingham we are not the fi rst society to have that Symphony Orchestra was established in experience. In response, we are called a terrifi c new performing arts center, to “hold fast to that which is good,” to transforming the town and its popula- proclaim the necessity of the arts in our tion. What an eloquent example of the lives. We do that by living artistic lives in power of music. whatever capacity we can. Leonard Bernstein famously said, “This That leaves the rest of us. will be our response to violence: to make I’m no Simon Rattle. The fate of the music more intensely, more beautifully, city doesn’t hang on my success. I’m more devotedly than ever before.” Sub- also not the old-time farmer, doggedly stitute strife, confusion, injustice, or anger moving from one chore to the next at for the word “violence,” and follow the the behest of the seasons. I’m fortunate great artists who have paved the way for to work in a fi eld that I care about. And us. And be sure you’re paving the way for I value the examples of geniuses around those who follow in any way you can. Q me, and the geniuses that came before Notes Noack Opus 98 (1982), built for Cathedral of St. John, Wilmington, Delaware, now in who helped defi ne all the expressions 1. Published by Beacon Press. Hertz Hall, University of California, Berkeley. (photo credit: Kathleen Kam) of humanity—the Humanities. Writers, 2. I know it was two tons because I guessed painters, sculptors, philosophers—artists three, Wendy doubted it, and I googled it! The philosophy of that organ was in general have collaborated to form the 3. https://en.wikipedia.org/wiki/David_ grounded in the heritage of eighteenth- human condition. (Michelangelo). century northern European instru- ments. Careful planning was involved in determining pipe scales, case dimen- sions, wind conveyance, and mechanical action. But don’t forget for a moment THE AEOLIAN PIPE ORGAN that the splash of sunlight sparkling on the polished tin and gold leaf was part of the plan. It was making music before the AND ITS MUSIC blower was hooked up. Flentrop Orgelbouw was founded in 1903 by Hendrik Flentrop (1866–1950). His son, Dirk (1910–2003), grew up ROLLIN SMITH working for the family fi rm and assumed leadership control in 1940. During his IT WILL SOON BE 20 YEARS since THE AEOLIAN PIPE tenure, the fi rm produced around 250 organs and restored more than 100 ORGAN AND ITS MUSIC was published by the Organ instruments, another wonderful example Historical Society. This landmark volume has been Fritz Noack (photo credit: John Burke) of a life’s work devoted to the organ. out of print for so long that copies now sell for more than $500. A second edition, revised and greatly so expensive than hundreds of hours of Somebody play. expanded, is now in publication and, in addition to committee meetings.” Once an organ is built, we need some- We select organ parts in the correct one to play it. In the last several years, emendations and many new photographs, the an- order, carry or hoist them to their spot the editors of The Diapason have been notated opus list of over 900 organs (with contract in the loft, lay them out and screw them recognizing rising young stars through dates, prices, additions, and alterations) has been together. Perfect. Just like it was made the program “20 Under 30.” These updated to refl ect subsequent activity. that way! After the many thousands of brilliant young artists are chosen from THE AEOLIAN PIPE ORGAN AND ITS MUSIC is hours spent making all that stuff, it’s a fi elds of more than 100 nominations, touch of magic to put it all together in all of which refl ects the extraordinary the story of America’s oldest, largest, and longest- its fi nal location. In 1977, I had the privi- level of musicianship and artistry from lived residence organ company, whose instruments lege of helping install the new Flentrop the younger generations of organists. It provided music in the home in the era before the organ at Trinity Episcopal Cathedral in seems to me a thrilling upswing in this wide-spread use of the phonograph and radio. A Cleveland, Ohio, a three-manual organ noble art, which is essential to ensuring list of Aeolian patrons is a veritable Who’s Who in American business, industry, and fi nance. with Rückpositiv and a tall mahogany the future of the fabulously expensive case perched on a beautiful loft. In those art of building organs. This book not only documents the organs, but also the music they were programmed days, I was the 21-year-old brute who did Recently, Stephen Tharp posted a to reproduce, Aeolian’s commissions from Saint-Saëns, Stravinsky, Stokowski, and Hump- some of the heaviest lifting, so I was in tidbit informing us that he had played erdinck, and their reproduction of performances of renowned artists. A special section fea- the thick of it as we installed the gleam- his 1,500th organ recital. Now in his tures a wealth of unpublished photographs of Aeolian installations. In addition to a study ing polished façade pipes. That’s a spe- mid-40s, Stephen is a consummate of the 48 recording organists, dozens of stoplists are included and complete catalogues of cial kind of work, handling 700-pound artist, dazzling audiences with rich and polished pipes, 30 feet off the marble thrilling performances. He serves as Aeolian organ rolls. fl oor. Leaving the church at the end of artist-in-residence at St. James’s Epis- As a companion volume to Rollin Smith’s PIPE ORGANS OF THE RICH AND FAMOUS, this that grueling day, we turned to look back copal Church in Manhattan, where his notable publication makes for reading as fascinating as it is entertaining. at the instrument. The façade pipes were full-time job is to practice many hours bathed in the deep tones of blue and red every day, always working on music RESERVE YOUR COPY ON-LINE TODAY! as the afternoon sun poured through the to feature in the next tour. That work stained-glass windows, and I burst into is comparable to Donald Hall’s mul- www.O rganH istoricalS ociety.org tears. Some tough guy. tiple drafts of each poem—hundreds

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 17 On Teaching

Performance that what I am doing is valuable to those Something that has been on my who are hearing it? mind for a while now is the relationship But this in turn expands to a host of between being a player and being a per- specifi c questions and things to think former. This has been on my mind in one about. This includes everything that we way or another for most of my adult life, call interpretation. Interpretation as a but it has recently come to the fore and part of actual performance includes not presented itself as an interesting subject just interpretive choices that we know for this column. we are making (tempo, registration, There are a few reasons for this. I articulation, approaches to rhythm, etc.), have been playing more concerts over but also all sorts of intangibles that make the last fi ve years or so than at any other the worked-out and describable inter- period of my life. As a result, I have been pretation seem compelling and convinc- focusing directly and intensely on my ing. This “compelling and convincing” own experience of being a performer phenomenon is probably one reason that and my feelings about that experience. I a given listener can like so many differ- Teacher and student (photo credit: Stuart Student in performance (photo credit: have had a larger than usual infl ux of new ent interpretations of the same piece. Rich) Stuart Rich) students over the last several months, The describable interpretive choices are and whenever that happens I have to by no means all of what makes a perfor- to address it over the years. Indeed I least an attitude that has consequences. focus as consciously as possible on my mance effective: you can make a case am not going to answer it in this or any One way to frame how I felt when I was own thinking about the goals and needs that they are often only a small part, or future column. However, in raising and young and trying to play piano is that, of those students. Over the last fi ve or six that they essentially just set the stage for considering all sorts of questions about in effect, if I would only get a medal for years, I have also been a more frequent effectiveness rather than create it. what performance is and what it is to (perfect) results, then I might as well not audience member both at concerts and at The relevant questions might well be a performer, I will perhaps approach try. That’s only about performing, not other sorts of artistic endeavors —theater, include things about presentation. Is the some ways of answering it over time. about engaging with music, which I did dance, and so on—than I had been over way I look while playing important? Is The other big matter about performing with great energy in private. the preceding couple of decades. In this I it important that a written program be is nervousness. There are all sorts of ways I don’t believe that my early piano have looked for (not totally) offbeat, non- presented a certain way? Shall I talk to the to help students deal with that. To start teachers (or other teachers or any adults traditional, semi-improvisatory, some- audience? Looking at it from another point with, helping a student to be highly com- in my circle) directly conveyed this fear times mixed-media, or otherwise some- of view, is it better to pay as little attention petent at all of the practical dimensions of of making mistakes in public to me. I what avant-garde sorts of performance. as possible to those trappings and think playing, and to know and to trust that, is a imagine that many of them felt about the This has been partly for practical reasons only about how the music sounds? major part of that picture. Perhaps other whole subject more or less the way I do (a lot of such things take place near where The strongest reason that I have not aspects of understanding performance as now. But this is a reminder that being I live, tickets are usually easy to get, and dealt very much with the question of such can also be helpful. afraid of doing something wrong is a much of this sort of work is not costly “Is what I am doing valuable to the powerful force and one that we have to to attend) and partly because this is an audience?” in these columns is that I Thoughts about performance think about how to counter. One tremen- area—or a set of overlapping areas—that feel I don’t want to dictate anything to and being a performer dous benefi t to me from my memories of I had previously neglected. This has given my students about interpretive choices. So here are various questions and my own early refusal to perform is that I me an interesting look at new aspects on I do not want to say, “This is right, and thoughts about performance and being a can tell the story to my students. Those performance as a phenomenon. that is wrong,” or even “These could be performer. I will address more of them who are more or less beginners and who By and large this column has dealt right, but all of those are wrong.” Nor do in future columns. And we will see how are nervous about performing—and with two sorts of things over the years: I want to say, “This is how I do it. Why many of them wind their way to answers. about whether they can ever learn to be the really practical, such as a protocol don’t you try that out?” Should students be expected or comfortable performing—take a good for learning pedal playing, suggestions Helping a student to become a required to perform? When I was very deal of comfort from my history. for solving hand distribution diffi culties, competent, eventually exceptionally young and taking piano lessons, I used all When I was a student at Westminster general practice strategies, or exercises accomplished, player or to become a of my wiles to avoid playing in any of my Choir College, the organ department for trills; and the tangential but relevant, well-educated, well-rounded musician, teachers’ studio classes or recitals. I am was very systematic in introducing us to such as tuning and temperament, an artist, and person, can all be addressed pretty sure that from the moment of my performance. With pieces that we were introduction to the clavichord, or my without prejudice as to interpretive fi rst piano lesson in the fall of 1965 when working on there were levels of perform- thoughts on the ways in which trying stance. Can that also be said of helping I was eight years old, no member of any ing that were pretty carefully stepped to learn golf has informed my playing students to deal directly with the ques- public ever heard me perform so much up. First there were two informal ones: and teaching of music. What I have not tion, “Will what I do be valuable to the as a note at a keyboard instrument until the awareness that everything that went dealt with very much is the whole set of listeners?” I think that it can. But I also mid February 1974. I was then 16. on in any practice room could be heard questions that bridge the gap between feel that this is one of the most elusive My debut that month involved my pretty easily by anyone who walked by, playing and performance. Some of aspects of teaching and among the most playing one organ piece at a Valentine’s and the customary practice of students these perhaps boil down to what might diffi cult to describe. I think that I have Day-themed service at United Church playing informally for their friends. The be called the fundamental question of deliberately (or let’s say subconsciously on the Green in New Haven, Con- next step was studio class, where the musical performance: how do I know deliberately) shied away from trying necticut. Do I think that my avoiding atmosphere was relaxed, where all of the performing for all those years was good? other people in the room were in exactly Did it do any harm to my development as the same boat, and where you could a musician? How do I square that history play a given piece more than once as the with the fact that I am now a more-than- weeks went by and get more comfort- average comfortable performer? (That able with it. Then some pieces would be is, regardless of whether a given listener brought to performance class, the same ii — 19 ranks ii — 19 likes my approach or doesn’t, I greet sort of thing, but department-wide, with concert performance with very little ner- the ever-present possibility that some vousness these days, 40 years and more people from outside the department winchester, virginia after the events described above.) might be there. Then on to various recit-

opus 130 Why did I not want to play for people als, shorter or longer, with or without in those days? It wasn’t for lack of interest memorization, depending on the student in music or for lack of identifying myself and his or her program. I credit this as a musician. Both of those things were systematic and humane approach with present in abundance. I spent a lot of a signifi cant proportion of my evolution time at the piano, not necessarily prac- into a comfortable performer.

The Village at Orchard Ridge ticing what I was “supposed” to practice, I have had students who start out but playing. I listened a lot to LP’s and to thinking that they don’t want to per- concerts. I even composed a bit. I think form. Their interests in music or in that I was infl uenced by a feeling that if I playing organ or harpsichord are inner rneauor ou ga played for someone, it had to be perfect. ones, and expecting to play for other et n .l s .c w The only thing I would have meant by people would only add a layer of tension follow o w us on m w facebook! that at the time was note perfect. This is to an experience that they want to be an attitude that is very easy to pick up serene. I have a lot of respect for that from our society and culture. sort of feeling. However, I can report There is a billboard that I often pass on that almost everyone who starts out the highway near where I live that says, saying something of this sort and whose “You don’t get medals for trying, you inner-directed interest is strong enough only get medals for results.” This may be to cause them to stick with their studies 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA literally true as to “medals,” but it strikes for a while ends up actually wanting to t 450 774-2698 [email protected] me as a harmful attitude to try to instill in play for others, if only in an informal people in general and certainly in aspiring studio class, and getting a lot of satisfac- musicians. To put it more neutrally, it is at tion out of doing so.

18 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM By Gavin Black

I am fairly certain that there is a dif- have been the logical approach) because when it is specifi cally expressed as humil- ferent or competing reason that some of two inhibiting assumptions: I couldn’t ity, can be inhibiting. people feel reluctant to perform or to be learn to improvise music of the quality of This is not utterly unlike the ways in identifi ed or to self-identify as perform- the greatest pieces in the repertoire, and which too much reverence for other, ers rather than just as people who play I couldn’t learn to improvise as well as the more famous performers can be. So music. In a way it’s the opposite of the fear great and famous improvisers. Were these here’s my thought: one of the ways to of making mistakes or playing badly, but assumptions correct? I have no idea. But conceptualize a partial goal of live per- it also stems from a set of societal biases I know that they cut me off from trying. formance of repertoire is that the pieces about performing. It is a fear of seeming I close with a stray idea about perfor- should seem improvised. They should arrogant, vain, or self-indulgent by put- mance, though as you will see, a logical have a kind of spontaneity and ability to ting oneself forward as a performer. This segue from the above, which came into surprise performer as well as listener— stems at least in part from the awareness my head at some point over the last year that we would ideally associate with that we tend to elevate performers to the or so. It stems in part from my experi- something that was being brand new. rank of “celebrities.” It gives rise to such ence watching certain theater and dance This notion, though paradoxical when inhibiting questions as “Who am I to play performances that included an element applied to a piece that we have leaned this great piece?” or “Who would want to of improvisation. It is in a way an effort to through hours of practicing, can be a listen to me when they could be listening counter the notion that as performers we strong antidote to staleness. But if I play that an actor plays a role. This is just a to X or Y?” Such thoughts probably exist must always be humble and self-effacing a piece that was actually written by Bach concept. But it feels to me like one that and function mostly at a subconscious with respect to the composer. Such an or Franck or Sweelinck or Messiaen and can bridge the gap between respect for level. But I believe that for a lot of people idea is not without merit: it makes a lot I feel like I am improvising it, then I am the composer and the fortitude neces- they are present. The great, famous of sense, especially, for me, as a kind of embracing at that moment the idea that sary to perform. Q touring and recording virtuosi are doing specifi c practical point. The composer I am someone who could be improvising things that many of our students are not probably knew a lot about the essence of that extraordinary musical content. More to come . . . going to do, and indeed that you and I the piece, and it might very well turn out I am in fact not such a person. Even might not do either. that that knowledge can be of use to us in a fi ne improviser would, here and now, Gavin Black is director of the Prince- The truth is that most of those things fi guring out how we want to play it. (How be improvising that piece. In a way, I ton Early Keyboard Center in Princeton, that are inevitably different are about we tap into that knowledge is a complex am playing the role of that person, in New Jersey. His website is gavinblack- circumstances. My experience is that subject.) But I also think that too much a way that is perhaps not the same as baroque.com, and he can be reached by almost any student can play at least as reverence for the composer, especially but also not completely alien to the way email at [email protected]. many pieces as effectively, with as much benefi t to the listener, as any experienced or famous performer might play them. The chief difference is that the famous performer probably has a larger reper- toire and performs more. There may be individual pieces that are too diffi cult for us to learn comfortably, at least given realistic limits on our practice time. But DEFINING AFFORDABILITY this knocks out only some of the reper- toire and has no bearing whatsoever on the effectiveness (or lack thereof) of the performance of any other piece. The most FOR THE NEXT GENERATION beautiful and moving performance I have ever heard of Variation 25 from the Gold- berg Variations of J. S. Bach was given recently by a student of mine at a studio class. That reaction of mine as a listener did not come about because the perfor- mance refl ected my specifi c interpretive ideas. It aligned with them in part, but not in full. And I mention this example only because it is the most recent. It is one INVEST ONCE... of many from over the years, on organ, harpsichord, and clavichord. At any given moment in history, there are many listeners for whom the perfor- THINK APOBA. mances of certain pieces by well-known touring and recording artists are indeed the fi nest performances out there. Those performers are not excluded from the community of those who might give great or even transcendent readings of great music. But no one who gains some level of competence at an instru- ment is excluded from that community NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING, REBUILDING AND SERVICE FIRMS either. It can be liberating to students BUILDER MEMBERS to be reminded of this. The answer to A. 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Quimby Pipe Organs, Inc. Peterson Electro-Musical Products has been at play in my own life in the area of improvisation. If it comes up in conversation, I always say that I am not someone who can improvise. This is true of me as I stand now. But why is it? Some time very early in my engagement with Call today for APOBA’s Please watch and share music I decided that I couldn’t become Pipe Organ Resource Guide our short video at: someone who could improvise. This and Member Prospectus www.apoba.com/video was in spite of my being a developing organist, and the organ’s being one of the corners of the “classical” music world where improvisation is most likely to be found. Looking back, I am pretty sure that I never chose to study improvisation Apoba.com 1-800-473-5270 and thereby fi nd out what I could and couldn’t do in that fi eld (which would

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 19 2018 Anniversaries Early Organ Composer Anniveraries in 2018 By John Collins

n 2018 there are several composers his collection of madrigals. Three intab- for organ. The theoretical treatise Conclu- facsimile edition of the complete manu- Iwhose anniversaries can be com- ulations for keyboard, perhaps made by sioni del suono dell’organo published in script has been produced by Godelieve memorated, albeit some of the precise Claudio Veggio, have survived in the 1609 is available in facsimile from Arnaldo Spiessens. A selection of 5 Fantasias, Ver- birth and death dates are not known for manuscripts at Castell’ Arquato, tenta- Forni. His most useful work for today’s sus 1 Toni, and 2 Fugas has been edited by certain. Several names below need no tively dated as mid-sixteenth century player, L’Organo suarino, which gives vast Ewald Kooiman for Harmonia in the series introduction, but there are also quite (although possibly earlier), and have amounts of useful information as well as Incognita Organo, no. 32 (HU3699). The a few lesser-known names listed here been edited by H. Colin Slim in Key- short pieces suited to the non-professional complete contents of the manuscript have whose compositions are well worth board Music at Castell’ Arquato (Ameri- player, has gone through several editions. been made available on IMSLP with tables exploring. No claim is made for com- can Institute of Musicology, CEKM The fi rst, in 1605 (op. 13), contained 19 of analysis and an introduction. pleteness, and there is no guarantee that 37-3). In addition to an organ Mass, this pieces (13 Sonatas, four Capricci, and two every edition is readily available and in volume contains some excellent ricercars Ripieni); the second edition of 1611, op. Albertus Bryne (ca. 1621–1668) was print—there may well also be editions by and other intabulations. 25, contained a further 18 pieces of vari- organist of both St. Paul’s Cathedral and other publishers. ous genres. The third edition (of 1622 and Westminster Abbey, London. Some 30 An increasing number of pieces, rang- Caspar Hässler (1562–1618) was the 1638) contained a further fi ve new pieces keyboard pieces attributed to Bryne, all ing from complete, original publications elder brother of Hans Leo Hassler and including four Sonatas and a Gloria, but one Voluntary being dance move- or manuscripts (which present the usual worked in Nuremberg. Only one piece resulting in 42 pieces in total in the three ments, have survived in ten manuscripts. problems of multiple clefs as well as orig- by him has survived, a Fantasia a 4 in editions. A facsimile with introduction The modern edition edited by Ter- inal printer’s errors) to modern versions C in three repeated sections. Originally by Giulio Cattin has been published by ence Charlston for Norsk Musikforlag of complete or individual works, are to edited by Ernst von Werra in 1903, it is Frits Knuf, Amsterdam. The 1605 edition contains invaluable information about be found on various free download sites, included as no. 14 in German Organ and has been edited by Edoardo Bellotti for performance practice of the period most noticeably IMSLP/Petrucci Music Keyboard Music of the 17th Century II, Il Levante Libreria (TA31). Thirty-nine including fi ngering, ornamentation, Library (http://imslp.org); however, the edited by Siegbert Rampe (Bärenreiter pieces have been edited by Raimund rhythm, tempo, and ties which can be accuracy of some modern typesetting is BA8427). The two volumes in this series Schächer (Cornetto Verlag, CP128). A applied to Bryne’s successors Blow and highly questionable, and all should be contain much little known music and are volume of Canzone alla Francese Libro Purcell, as well as the anonymous pieces treated with caution before use. well worth investigating. Segundo of 1596 contained 14 pieces, by the post-Restoration composers. of which the 11 in four parts have been The edition includes an audio CD with Jacob Arcadelt (ca. 1505–1568) was Adriano Banchieri (1568–1634) was intabulated for keyboard by Alessandro exemplary recordings of the pieces by a Franco-Flemish composer who wrote an Italian theorist and composer from Bares (Musedita, BA 1 20). The Moderna Terence Charlston and an interactive both sacred and secular vocal music. He Bologna. He composed much vocal music, Harmonia, op. 26, contained 15 Canzonas CD-ROM containing the full edited text, is perhaps best known for his motet set- but his main achievements were in the in 2 parts, 2 Fantasias in 4 parts, and a transcripts, and images of all ten manu- ting of Ave, Maria. His principal legacy is fi eld of providing instructions and pieces Magnifi cat in concerto à 4 voci, of which scripts and printed sources. the Canzonas and Fantasias have been edited in open score by Alessandro Bares François Couperin “Le Grand” (Musedita, BA 1 OR). Banchieri also (1668–1733) is best known for his four contributed two Ricercars to the second books of harpsichord works published part of Diruta’s 1609 Il Transilvano; they between 1713 and 1730 and his treatise, are included in the modern edition of the L’Art de toucher le clavecin. He also pieces from the two parts, edited by Tamás published two organ Masses in 1690, Zászkaliczky (Editio Musica Z8608, Pièces d’orgue consistantes en deux Budapest). One further Ricercar Tertii messes, l’une à l’usage des Paroisses Tono is in manuscript from 1581, Munich, pour les Festes Solennelles, L’autre pro- and has been edited by Clare Rayner as pres pour les Couvents des Religieux et no. 69 in München, Bayerische Staats- Religieuses. They contain verses for the bibliothek Ms. Mus 1581 for American Kyrie, Gloria, Offertoire, Sanctus, Bene- Institute of Musicology, Corpus of Early dicus, Agnus Dei, and Deo Gracias. The Keyboard Music, volume 40, part III. This volume has been edited by Paul Brunold, piece was printed originally as “Fantasia Kenneth Gilbert, and Davitt Moroney Decima Nona” in Fantasie ovvero can- for Oiseau Lyre as Oeuvres complètes zone alla francese per suonare all’organo III. There are other editions edited by et altri stromenti musicali, a Quattro voci, Norbert Dufourques for Schola Canto- in 1603, which collection was edited by rum (two volumes). A facsimile has been André Vierendeels for Schott’s Söhne, published by Anne Fuzeau. Mainz (ANT12). Twenty-two pieces have been edited by Enrico Capaccioli in 22 José de Nebra (1702–1768) was born Composizioni per organo (Edizioni Car- in Calatayud and worked in Madrid. He rara, EC3187). left operas, zarzuelas, and dramas as well as Masses and vocal music. Like many of Abraham van den Kerckhoven the Spanish composers of the eighteenth (ca. 1618–1702) served organist of St. century, a complete edition of his key- Catherine’s Church, Brussels, from ca. board music is much needed. Modern 1632, and also chamber and court organ- editions include the following three ist to Archduke Leopold Wilhelm. His volumes in the series Tecla Aragonesa surviving keyboard pieces are contained published by the Institución Fernando in a large manuscript now at the Biblio- el Católico Zaragoza. Volume I (Joseph thèque Royale Albert I in Brussels; this Nebra Tocatas y Sonata para órgano ó manuscript is dated 1741 and was signed clave) edited by Roman Escalas includes by Jacobus Cocquiel. It contains some three Tocatas, a Sonata, and a Grave; 364 pieces, comprising a large number volume III (Joseph Nebra Obras inéditas of versets on the eight tones, settings of para tecla) edited by María-Salud Álva- Salve Regina and an organ Mass along rez includes three Sonatas, three Toca- with Fantasias and separate Fugas. Many tas, and an Obra para órgano. In Volume pieces were left unascribed, and a few VII (Músicos Aragoneses en Valencia en were ascribed to other composers, some el siglo XVIII) edited by Vicente Ros, from the same circle or later. A partial edi- there is a Pange Lingua setting. tion with selected items was edited by Jos Watelet as Monumenta musicae Belgicae Friedrich Wilhelm Marpurg II which has been reprinted and published (1718–1795) was a German composer, by B-Note Musikverlag (BM14876). A theorist, and critic. He published several

20 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM important treatises including Abhandlung by Armelin, Padua (AMM 2, 3, 56, and by Carr and 14 more pieces by nine Broude Bros: www.broude.us von der Fuge, and Die Kunst das Klavier 60). Volume I contains six short one- other composers. Butz Verlag: www.butz-verlag.de zu spielen. His numerous compositions for movement sonatas, a two-movement Carus Verlag: www.carus-verlag.com keyboard include Sei Sonate per Cembalo, sonata, and a one-movement sonata Francisco Cabo (1768–1832) was Consejo Superior de Investigaciones 1755, edited by Raimund Schächer for which may be connected to the follow- born in Naquera (province of Valencia, Científi cas, Barcelona: www.csic.es Carus Verlag (CV18.002/00) and by Laura ing Fuga, which has been completed by Spain) and worked in the cathedrals of Cornetto Verlag: www.cornetto-music.de Cerutti for Armelin, Padua (AMM10). the editor. Volume II contains 14 Versetti Orihuela and Valencia from 1796 onward, Doblinger: Being very similar to C. P. E. Bach’s organ in various unconnected keys. Volume III succeeding Rafael Anglés in 1816. He www.doblinger-musikverlag.at sonatas, they would also sound well on contains an Apertura per Organo and six composed vocal music and left 19 organ Edition Walhall: www.edition-walhall.de the organ. The Fughe e Capricci, 1777, three-movement sonatas, of which the works in manuscripts comprising Versos, Edizione Carrara: which contains a prelude, 2 Capricci, central movement is in the tonic minor. Pasos, and sonatas for specifi c feasts in the www.edizionicarrara.it and 7 Fughe, has been edited by Martin The fourth volume is unnumbered and liturgical year, the majority of which are Forni Editore: www.fornieditore.com Weyer (Forberg, F25048) and is available contains a Trattenimento and a Pastorale. annotated with the year of composition. Il Levante Libreria: as a facsimile from Anne Fuzeau and from These pieces, which demonstrate a pro- www.illevante-libreria.it Broude Brothers, New York (PF 142). Carlos Baguer (1768–1808) was nounced Romantic approach, have been Musedita: www.musedita.it The Versuch in fi gurirten Choräle sowohl organist of the cathedral of Barcelona, edited by José Climent for the Sociedad Norsk Musikforlag: für die Orgel als für das Clavichord I, Spain, and composed symphonies, con- Española de Musicología, Madrid. https://musikkforlagene.no/ which contains 21 pieces, and the Zweiter certi, fl ue duets, and much religious vocal Oiseau Lyre: http://vca-mcm. Versuch in Figurirte Choräle . . . , Part music. Although he left many keyboard Bartolomeo Franzosini (1768– unimelb.edu.au/about/publications/ II, ca. 1792, which contains a further 15 works in manuscripts, very few are avail- 1853) was an architect and composer lyrebird-press-australia pieces, are available as facsimiles from able in modern editions. Those available in northern Italy. He left a Pastorale in Schott Music: www.schott-music.com Broude Brothers, New York (PF136 and are Siete Sonatas edited by Maria Ester A, which has been edited by Maurizio Scola Cantorum: 137). Other works best suited to stringed Sala (Union Musical Española, 22055) Machella for Armelin (AMM75) and is www.schola-editions.com keyboard instruments appeared in prints and Tres Sinfonías para Tecla, possibly also included in Itinerari Italiani vol- Sociedad Española de Musicología: and anthologies, several of which are also arrangements for keyboard of sym- ume X, L’Organi in Piemonte tra ‘700 e www.sedem.es available in modern editions. phonies composed by Baguer himself ’800, edited by M. Rossi and G. Vessia Stainer & Bell: www.stainer.co.uk rather than Haydn to whom they are for Edizioni Carrara (EC4583) and in Union Musical Española: www. Joseph Aloys Schmittbaur (1718– attributed in the manuscript (edited by Organum Italicum Volume III edited by musicsalesclassical.com/companies/ 1809), born in Bamberg, Germany, Maria Ester Sala for Instituto Español A. Macinanti and F. Tasini for Edizioni unionmusicalediciones worked in Rastatt and Karlsruhe. He de Musicología, Consejo Superior de Carrara (EC4654). His Nove Danze per Ut Orpheus: www.utorpheus.com composed operas, symphonies, concer- Investigaciones Científi cas). Organo have been edited by Riccardo tos, vocal music, and some 50 pieces Zoja for Armelin (AMM278). Q John Collins has been playing and for keyboard. His Vierundzwanzig Vor- Benjamin Carr (1768–1831) was researching early keyboard music for over und Nachspiele—Für Orgel have been born in London and studied organ with Publishers’ websites: 35 years, with special research interests in edited by Rudolph Walter (Carus Verlag, Samuel Wesley and composition with A-R Editions: www.areditions.com the English, Italian, and Iberian reper- CV91.088/00). Samuel Arnold. In 1793 he moved to the American Institute of Musicology— toires. He has contributed many reviews United States, working in Philadelphia as CEKM series: www.corpusmusicae. and articles on repertoire and perfor- Fedele Fenaroli (1730–1818), a a singer, teacher, organist, and composer. com/cekm.htm mance practice, including translations pupil of Francesco Durante, became He published pieces for piano, songs and Anne Fuzeau facsimiles: www. and commentaries on treatises in Ger- Maestro di Cappella of the Santa Maria works for the stage, but only one volun- editions-classique.com man, Spanish, and Portuguese, to Euro- in Loreto conservatory in Naples in tary has been listed. It has been edited Armelin (and Zanibon): pean and American journals, including 1762. He wrote mainly sacred vocal by J. Bunker Clark in Anthology of Early www.armelin.it THE DIAPASON. After serving as organist at music, but a few organ pieces have sur- American Keyboard Music 1787–1830, B-Note Musikverlag: www.bnote.de St. George’s Church, Worthing, UK, for vived and have been edited in four vol- Part 1 for AR Editions (A001), which Bärenreiter: www.baerenreiter.com 33 years, in June 2017 he began service umes by Maurizio Machella, published volume contains a further three pieces Breitkopf & Hartel: www.breitkopf.com for Christ Church, Worthing.

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 21 Pipe organ history

Hinners & Albertsen on the Mississippi Bluffs Part 1: the Genesis

By Allison Alcorn The Hinners & Albertsen factory in Pekin, Illinois

unique fi gure in the story of the ideas about meeting the musical, reli- John Leonard, therefore, spent his AAmerican organ is John Leonard gious, and social needs of rural churches. childhood in any number of small, rural Hinners (1846–1906), who perhaps congregations throughout the Midwest, epitomizes the late nineteenth-century Family background shaping his future in profound ways. As entrepreneurial spirit in the face of John Leonard Hinners was the son of a musician deeply involved with these the closing frontier (Figure 1). He German immigrants who set out from churches, he certainly would have felt is something of a musical amalgam of Hanover, Germany, with a group of Pietists the limitations of the typical church reed Henry Ford and Montgomery Ward: seeking religious freedom. In 1849, Peter organ from both a musical and an aes- Ford brought the passenger car to the Hinners (1824–1887), John Leonard’s thetic/cultural point of view. Moreover, common man and Hinners brought the father, was accepted as a missionary of the he would have been intimately familiar pipe organ, and just as Montgomery German Methodist Episcopal Church. with the frustration of these rural con- Ward successfully reached the isolated Peter and his family left Wheeling, West gregations who struggled to pay their Midwestern farm house with its mail Virginia, to work a circuit in the Midwest, ministers, much less fi nd additional cash order merchandise, Hinners reached locating variously in Iowa, Wisconsin, for a pipe organ. Peter, known for his out to the isolated Midwestern country Illinois, and Indiana for the next number skills as a church builder, must have pro- church with his mail order pipe organ of years. Unlike the English-speaking vided John Leonard’s basic woodworking business. Although Hinners was not the Methodist circuit riders, the German mis- skills, since one might reasonably expect only company to use the mail order idea, sionaries tended to use river transporta- that Peter’s sons would have assisted him he seems to have been at least among tion, traversing north on the Mississippi to with his building projects. Music occu- the most successful with it. In fact, the visit German settlements scattered across pied a central position in the Peter Hin- Hinners Organ Company never exten- the Midwest, particularly along the line ners household as well and so, as Peter’s sively employed outside salesmen. All of St. Louis-Chicago-Milwaukee, each son, John Leonard was reared with his preliminary business was conducted by of which was home to more than 10,000 hands on a hammer and his feet on the Figure 1: John Leonard Hinners catalog and letter, the organ was crated Germans in 1860. Peter’s particular skill pedals, learning skills of building and up and shipped by rail, and the fi rst time was constructing churches, and many of music that he would later combine into these catalogs—such as the Hinners the buyer had any real contact with the his assignments involved mission sites in a business that produced nearly 3,000 catalog from 1895 in Figure 3—were company was when an employee, whose which he erected a church before moving pipe organs and approximately 20,000 not much more than testimonials from expenses were included in the contract, to the next site. With Pekin located as a reed organs in its fi ve and a half decades satisfi ed customers, and occasionally arrived to direct the parishioners in major port on the Illinois River, the deci- of existence.1 the accounts were somewhat improved installing the new instrument. John sion to move the John L. Hinners family in the editing process, and some were Leonard’s entrepreneurial ambition was to Pekin in 1879 may have been related Marketing and sales models probably entirely fabricated. Catalog clearly shaped by the experiences of his to the work of the Methodist missionaries, John Leonard accepted a position houses such as Montgomery Ward and entire life, combining to formulate his among several other factors. with Mason & Hamlin in Chicago in the Sears carried entire lines of musical 1870s, a time when reed organs were instruments, including reed organs. The rapidly gaining popularity throughout catalog houses’ sales philosophies were America. Music was seen as a worthy followed almost to the letter by John L. pastime, one that was integral to a happy Hinners in his pipe organ business. A Precious Gift home. Further, owning a reed organ signifi ed a measure of prestige that was The move to Pekin from the Past second only to the piano, the latter more Why John Leonard chose to move of a “citifi ed” instrument and the former his family to Pekin, Illinois, in 1879 is a more of a status symbol in rural areas. subject for speculation. Pekin is located for the Present Reed organs were such a desirable com- on the banks of the Illinois River about modity that in the mid-1880s, a small 50 miles due north of present-day and the Future reed organ was offered by the Ladies’ Springfi eld and was organized under a Home Journal as a premium for submit- city charter dated August 20, 1849. It Supremely beautiful and blendable ting 350 one-year subscriptions at .50 is said that the town was named after tonal color – a Gift from the Venetian each (Figure 2). Peking, China, when Ann Eliza Crom- School of organbuilding, a monumental part of our The sales techniques of reed organ well, wife of one of the original town companies are particularly important, title-holders, pushed a hat pin through JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH because it appears that John L. Hinners “Townsite” on a globe and it came out SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN modeled his pipe organ enterprise, both on the opposite side at Peking, China.2 target audience and sales approach, Because of the town’s prime location Intriguing? Let us build your dream. directly on that of the reed organ busi- on the river and its status as a terminal ness. Advertisements in periodical litera- railroad station, numerous industries ture were ubiquitous. Everything from developed in Pekin. More than that, popular magazines and newspapers to however, if one conjectures that John church journals ran the advertisements Leonard had the rural church market of dealers or manufacturers hawking in mind right from the start, a Mid- their particular brand of organ. Some western location was desirable as an ads were a full page, but many were no effort to gain the trust of an Eastern- larger than an inch square, squeezed wary rural Midwestern clientele. Builders of Fine Pipe Organs to the World in among advertisements for women’s Because the fi rst settlers in Pekin were shirtwaists and Calumet Baking Powder. primarily native-born Americans, the www.ruffatti.com A common technique of these ads was earliest churches in each denomina- to include an “inquiry address” to which tion were English-speaking, but when Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 one could write for a free catalog. Often the Germans began to arrive in large

22 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM Figure 3. 1895 Hinners & Albertsen reed organ catalog

The city did offer a small amount of then apply to the manufacture of pipe competition for the Hinners organs. organs. Specifi cally, in addition to the In an 1878 Pekin newspaper, Geiger & marketing and sales acumen modeled Thompson’s Sewing Machine Exchange on the reed organ trade, John Leonard also advertised “the Matchless Burdett brought to his pipe organs an under- Organ” (Figure 5). standing of compactness, mechanical After Chicago, however, the competi- reliability, and superb carpentry that tion in Pekin offered little intimidation he had learned in reed organ construc- or resistance for the ambitions of John tion.3 Perhaps the most important Leonard, though some even continued entrepreneurial application, later seen to offer Mason & Hamlin organs, like as a defi ning characteristic of the pipe the local musical merchandise dealer organs, was his standardization of the in this advertisement in Figure 6. reed organ. In an 1895 Hinners Reed Another competitor, however, suc- Organ catalog (in English and German) cumbed to the offer of employment he lays out just fi ve action types and by the Hinners fi rm, as is documented ten cabinet styles. By strictly control- in the 25th anniversary booklet listing ling variations, he was able to produce Gilbert Skaggs as a 14-year employee. them literally by the dozens. When he Skaggs is cited in the 1905 Pekin City turned this idea to pipe organs, such Directory as an independent organ- standardization permitted him to offer builder and may have been one of the quality instruments at signifi cantly men recruited to help get the pipe lower prices. Figure 2, Ladies’ Home Journal, vol. IV/4 (March 1887): 18 organ enterprise underway, as his ten- ure coincides with the beginning of Hinners & Albertsen numbers in the 1850s (attracted pipe organ production. Schaefer sold his instrument manu- initially by the T. & H. Smith Wagon Regardless of the impetus, John L. factory and musical merchandise busi- Company), German-speaking con- Hinners’s Perfection Organ Manu- ness in early 1881. John Leonard took gregations were established. The fi rst factory in Pekin began a new era of the opportunity to cash in on the repu- German congregation in Pekin was the industry for the region. He set up tation he had built for himself in the Methodist Episcopal, building a small shop in a back room of Schaefer’s new previous year and recruited a group of frame structure in 1850 and becoming building on Court Street, across from local investors to back the Perfection a leading congregation in the St. Louis the courthouse and spent the next ten Organ Works as a private reed organ Methodist Conference. years building reed organs, perfect- factory. Ubbo J. Albertsen (Figure 7) Undoubtedly, the Hinners family ing the skills and techniques he would purchased the interest of the original had contact with that congregation through their strong involvement with the national German Method- ist Episcopal denomination. After his years as a circuit rider, Peter Hinners, John Leonard’s father, functioned as a fi nancial agent for the denomination and traveled frequently to the regional German Methodist Episcopal churches, surely visiting Pekin on a regular basis. Pekin’s congregation even hosted the 1875 Conference of the German Meth- odist Episcopals, which John Leonard may well have attended, probably then meeting Fred Schaefer, for whom he initially manufactured his reed organs. Schaefer was a member of the church, and as a musical instrument dealer, he certainly would have spoken with an employee of Mason & Hamlin who hap- pened to be visiting his church. In the course of conversations, it would have been quite natural for John Leonard to voice his frustrations with hopes of advancing within the Mason & Hamlin operation as well as his desire to build his own organs. The scope of Schaefer’s businesses shows him to be nothing if not enterprising (Figure 4), and it is “dazzling … a deftly balanced presentation of strikingly contrasting essays, easy to picture the wheels turning in Miss Archer off ers beautifully turned, refl ective and buoyant readings” his mind at the idea of enticing a young — WORLD MUSIC REPORT — Figure 4. Fred Schaefer advertisement, organbuilder to manufacture reed The Pekin Weekly Times, April 26, 1878 organs for him right there in Pekin. MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 23 Pipe organ history

Figure 6. Berr advertisement. The Pekin Weekly Times, April 20, 1889

Figure 8. Swell box interior Figure 10. Hinners & Albertsen (1898), made for St. Peter Lutheran Church, Red Wing, Minnesota

Allison A. Alcorn received her PhD from the University of North Texas, Denton, in 1997 and is now professor of musicology at Illinois State Univer- sity, where she is active in the Honors Program, Study Abroad, and Faculty Development and mentoring. Alcorn served as editor of the Journal of the American Musical Instrument Society Figure 7. Ubbo J. Albertsen from 2012–2017 and joined the AMIS Board of Governors in 2017. She has organ added two 2′ ranks to the No. 5 previously served as councilor for specifi cations. Churches close to Pekin research for the Organ Historical Soci- could reduce the cost by sending mem- ety and on the governing board of the Figure 5. Geiger & Thompson advertise- bers of its congregation to the factory American Organ Archives. Publications ment, The Pekin Weekly Times, April 26, with their own wagons, handling drayage include articles for the Grove Dictionary 1878 and set-up themselves. In this case, the of American Music and the Grove Dic- organ would cost only $75 a rank, which tionary of Musical Instruments as well investors in 1885, and the company amounts to a signifi cant savings for as articles in a variety of national and became Hinners & Albertsen.4 With budget-minded congregations. international journals. the infusion of Albertsen’s capital, the If shipped, the swell box served as firm expanded once again and reed the shipping crate, and many of these Notes organ sales soared. The turn to pipe still have the shipping labels nailed 1. Cf. Allison Alcorn, “A History of the organ production was announced in to what is now the inside of the box Hinners Organ Company of Pekin, Illinois,” a special catalog that was written in (Figure 8, nailed on the far back side). The Tracker, vol. 44, no. 3 (2000): 13–25. German and English—with a sketch In the early years, all of the non-local The Tracker article provides a more detailed of the Boston Music Hall organ on organs were shipped via the railway. account of the complete company history, though much in the present article’s over- the cover. These Hinners & Albertsen The pipes and components, all num- view is indebted to that work. This article organs had one manual and pedals, bered, were placed in numbered crates provides a simple company overview up to available in three ranks for $375, four and loaded into the boxcars. When the the date of the Red Wing organ and then a ranks for $485, five ranks for $575, and organ arrived at its destination, church focus on the story of that Red Wing, Min- six ranks for the bargain price of $635. members retrieved the crates from the nesota, instrument. The 1890 catalog introduced “Our depot along with the company rep- Figure 9. Installation numbering system 2. Louella Dirksen, The Honorable Mr. New No. 5 Pipe Organ” for $485 with resentative who directed the organ’s Marigold (New York: Doubleday, 1972), economical specifications: installation. The numbering system per hour. The Hinners fi rm managed 1. Mrs. Cromwell must have had a rather (cf. Figure 9) made installation quick to keep even the switch to motor- crooked pin, actually, because the direct an- 8′ Open Diapason (metal, 61 pipes) and easy, usually requiring only one ized drayage within the family—or tipode of Pekin is in the Indian Ocean off the ′ far southwestern tip of Australia. 8 Melodia (wood 61 pipes, enclosed) company man to oversee the opera- at least within the extended organ 8′ Gamba (metal, 61 pipes, enclosed) tion, though larger organs sometimes family—when Philip Kriegsman, a 3. Unfortunately, the only Hinners organ 4′ Principal (metal, 61 pipes) remaining in Pekin is at St. John Lutheran required teams of two or, rarely, three. 13-year tuner for Hinners, purchased Church. In 2014 it was rebuilt by the Buzard ′ 16 Pedal Bourdon (wood, 15 pipes) The Hinners representative’s signa- the drayage company that had been Organ Company of Champaign, Illinois. The ture and the installation date is often handling organ shipping and became Super Coupler original console was gone, so they used a 1927 Manual to Pedal Coupler found penciled somewhere inside the the contractor who moved the organ console from the Hinners built for Hope Re- Swell Pedal instrument, frequently somewhere on business from horse-drawn wagons to formed Church in Chicago plus a number of or in the swell box. Trucks eventually motorized vehicles. other console materials from the Hinners that The three-rank organ included two 8′ replaced the horse-drawn wagons, and The 1898 Hinners & Albertsen organ had been built for the Pekin Elks Club Lodge ranks and one 4′ rank; for the fi ve-rank organs within an eleven-state radius built for the St. Peter Norwegian Evan- (the last Hinners pipe organ built before the instrument, they added a 2′ rank to the of Illinois were delivered by truck, gelical Lutheran Church in Red Wing, company closed). Some odds and ends were used in the interior from the 1913 organ No. 5 specifi cations, and the six-rank which drove at a top speed of 25 miles Minnesota, exemplifi es the typical built for the Hinners’ family church, which smaller two-manual organ (Figure 10). assumed the non-Germanic name of Grace Like the reed organs, the one-manual Methodist Episcopal Church when it rebuilt pipe organs had a keyboard divided in 1914 after a devastating 1911 fi re. That or- The Sound of Pipe at middle C, each half controlled by gan is now completely dismantled, with only a treble and bass knob. Most often, the façade pipes remaining as visual display to Organs the Hinners & Albertsen pedal ranks house an Allen electronic organ. M. McNeil, 191 pages encompassed only the lower octave, 4. An unfortunate typographical error in the 2000 Tracker article (op. cit., 15) cites A new technical study of the and the second octave was supplied as a pull-down. The catalogs claimed “Uddo” J. Albertsen as John Leonard’s part- relationships between scaling, that the notes above the lower octave ner. Some confusion had already existed about Albertsen, as early sources sometimes incor- voicing, the wind system, and were only very rarely used for church tuning. Search on the title at rectly reference Urban J. Albertsen as the services, and so they were omitted “as a partner in the organ business. Urban, how- the Organ Historical Society needless expenditure.” Q ever, was not born until 1887, and it was his and Amazon websites. father, Ubbo J. Abertsen (1845–1926), who To be continued. bought into the Hinners organ enterprise.

24 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM Pipe organ history

Pipe Organs of La Grange, Illinois, and the Architectural Edifi ces That House Them Part 4, Convent of the Sisters of St. Joseph

By Stephen Schnurr

4′ Flute d’Amour (ext, 16′ Bourdon) This article is a continuation of a 2 2⁄3′ Nazard (ext, 16′ Bourdon) feature in the August 2015, June 2016, 2′ Flautino (ext, 16′ Bourdon) and July 2017 issues of The Diapason. 8′ Oboe Horn (metal, 73 pipes) This essay was delivered as a lecture for 1 blank tablet the Midwinter Pipe Organ Conclave on PEDAL January 19, 2015, in La Grange, Illinois. 16′ Sub Bass (“big scale”, stopped wood, The research for this project provides a 32 pipes) history of a number of pipe organs in the 16′ Lieblich Gedeckt (fr Swell, 16′ village, but not all. For instance, organs in Bourdon) residences and theaters are not surveyed. Couplers Great to Pedal he Convent of the Sisters of St. Swell to Pedal Great to Great 16 TJoseph in La Grange Park, Illinois, Great Unison Off is the home of the Sisters of St. Joseph, Great to Great 4 established on this site on October Swell to Great 16 9, 1899, by Mother Stanislaus Leary. Swell to Great 8 Swell to Great 4 Mother Leary had been superior of her Swell to Swell 16 order in Kansas and came to Chicago Swell Unison Off to seek medical help as her health was Swell to Swell 4 failing. She was accompanied by oth- ers of the order. The pastor of nearby Mechanicals St. Francis Xavier Church, La Grange, Tremulant Convent of the Sisters of St. Joseph, La Grange Park, Illinois, 1969 Noack Organ invited the sisters to settle in the rela- Crescendo Indicator by light Company Opus 44 tively new suburb. The sisters opened a school for girls in Adjustable combinations 1968 Noack Organ Company September 1900. Some of the students 3 Great and Pedal Opus 42 were boarders. Soon, the sisters would 3 Swell and Pedal MANUAL open another school for boys. Nazareth 8′ Gedackt (4 stopped wood basses, Academy, now co-educational, is still Pedal movements remainder metal, 56 pipes) located on the La Grange Park mother- Great to Pedal Reversible 4′ Stopped Flute (12 open trebles, Balanced Swell Pedal metal, 56 pipes) house campus. Grand Crescendo Pedal ′ On July 14, 1900, the cornerstone 2 Principal (metal, 56 pipes) of a motherhouse and chapel was laid. The chapel contained an organ built in The present chapel of strikingly mod- In the summer of 1969, Noack 1929 by M. P. Möller of Hagerstown, ern design was built in 1967 and 1968 to installed its Opus 44, blessed on August Maryland, Opus 5555, a two-manual, the designs of John Voosen of Chicago. 15. The Positive is in Brustwerk position, eight-rank instrument. The contract The motherhouse and chapel were ded- with Great above and Pedal to the sides. was dated March 20 of that year, with icated on Sunday, September 29, 1968. A dedication recital was presented by a projected completion date of June Sister Mary Victoria Rokos, SSJ (later Benn Gibson on November 9. 1. Cost was $3,200.00, with one-third known as Sister Emily), convent organ- due upon completion, one-third in two ist, was charged with developing plans 1969 Noack Organ Company equal payments at four and eight months for a new organ. She sought the advice Opus 44 thereafter, without interest. The electro- of persons at Northwestern University GREAT (Manual I) Keydesk, Noack Opus 44 pneumatic action organ had a detached of Evanston. The Möller organ was sold 8′ Principal (in façade, 56 pipes) console of walnut, with “Gold Bronze” and removed. 8′ Chimney Flute (56 pipes) façade pipes and grille. Stop control was The result was a recommendation of 4′ Octave (56 pipes) Accessory by tablets above the upper manual. Wind the Noack Organ Company of George- 4′ Spielfl öte (56 pipes) Tremulant (toe lever, hitch-down) 2′ Nachthorn (56 pipes) pressure was 5 inches. Pitch was speci- town, Massachusetts, to build a new 1 V–VI Mixture (1 ⁄3′, 312 pipes) fi ed at A=440 Hz. The Chicago agent for two-manual, 20-stop, 31-rank organ of 8′ Trumpet (56 pipes) Opus 44 was the fi rst permanent Möller, and the installer of the organ, mechanical key and stop action in a free- installation of a modern tracker organ was Ford & Reynolds. standing case in an elevated balcony at POSITIVE (Manual II) in a Catholic institution in the Archdio- 8′ Gedackt (56 pipes) the rear of the nave. A landmark design 4′ Koppelfl öte (56 pipes) cese of Chicago. In its early years, it was 1929 M. P. Möller Opus 5555 for the neo-classical organ revival move- 2′ Principal (in façade, 56 pipes) a frequently used recital instrument. 1 ment in the Chicago metropolitan area, 1⁄3′ Quinte (56 pipes) Performers have included Marie-Claire GREAT (Manual I) the organ was to cost what was then a II Sesquialtera (122 pipes) Alain, Christa Rakich, David Hurd, and ′ 1 8 Open Diapason (scale 44, wood III Cymbal ( ⁄2′, 168 pipes) basses, 73 pipes) large sum of money, $40,000. 8′ Krummhorn (56 pipes) Gustav Leonhardt. Q 8′ Dulciana (scale 56, metal, 73 pipes) The convent purchased a smaller 8′ Melodia (wood, 73 pipes) PEDAL ′ ′ Noack organ as a temporary instrument Stephen Schnurr is editor and pub- 4 Flute (ext, 8 Melodia) until the larger organ was completed, 16′ Subbass (32 pipes) lisher of The Diapason and director Chimes (prepared) 8′ Principal (in façade, 32 pipes) at which time the smaller organ was 8′ Gedackt (32 pipes) of music for St. Paul Catholic Church, SWELL (Manual II, enclosed) removed to the Academy on the cam- 4′ Choral Bass (32 pipes) Valparaiso, Indiana. His most recent ′ 2 16 Bourdon (wood and metal, 97 pipes) pus. This organ has since been relocated IV Mixture (2 ⁄3′, 128 pipes) book, Organs of Oberlin, was published 8′ Stopped Diapason (ext, 16′ 16′ Bassoon (32 pipes) Bourdon) elsewhere. Opus 42 was inaugurated in 2013 by Chauncey Park Press (www. 8′ Salicional (scale 60, metal, 73 pipes) in recital by James Leland on July 14, Couplers (toe lever, hitch-down) organsofoberlin.com). He has authored 8′ Dolce (fr Great, 8′ Dulciana) 1968. The one-manual, mechanical- Great to Pedal several other books and journal articles, 8′ Voix Celeste (TC, scale 62, metal, 61 action organ was provided with a pull- Positive to Pedal principally on pipe organ history in the pipes) down pedal. Positive to Great Great Lakes region.

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 25 Cover feature

Russell & Co. Organ Builders, Chester, Vermont Zion Lutheran Church, Appleton, Wisconsin

From the Builder The organ that preceded the new instrument began its life in 1903: a two-manual, 19-rank tubular-pneumatic instrument built by John H. Sole of Fre- mont, Ohio. The tonal scheme was typi- cal of many late-nineteenth and early- twentieth century instruments, with broad foundations, a well-developed Principal chorus on the Great, colorful fl utes, and reeds of the period. Overall quality of the pipework was quite good. It is speculated that the physical layout was also well engineered and provided adequate tonal egress based on other Sole instruments of the period. Sadly, the tubular mechanism was not as robust and was failing by mid-century. In 1946 J. H. McGaw, a former employee of W. W. Kimball of Chicago who relocated to Green Bay, Wisconsin, after Kimball ceased its pipe organ pro- duction in 1942, completed a rebuild of the instrument, enlarging it by one rank, but redistributing the resources over three manuals, 36 stops. The physical layout of the organ was changed to accommodate the new supply house electro-pneumatic windchests that occupied considerably more room. A supply house console was Zion Lutheran Church, Appleton, Wisconsin, Russell & Co. organ also provided. The entire instrument, save one Pedal rank, was enclosed in long builders. It was acknowledged that funds narrow expression chambers to regulate for such a project were limited, but their the volume, with minimal tone openings sights were set high. Russell & Co. was at their front. This necessitated very selected to build a new organ for the loud and forced voicing of the pipework church with the intent of utilizing as to create enough sonic energy to escape much as possible of the best pipework the confi nes of its enclosure, adequate in from the old organ. This was both in the the sanctuary, but unpleasantly loud for spirit of valuing, honoring, and building the choir singers sitting directly in front on the past and recycling for the future. of the organ. Much of the Sole pipework In other words, it was a “green” solution was retained, though in some cases repur- compatible with the faith and tradition of posed for the new specifi cation. Several Zion Lutheran Church. Console ranks were changed to add softer string During discussions on design and cost and celeste sounds to the organ. in 2007 and 2008, a rare, substantial The Great and Swell divisions have The organ was repaired, revoiced, symphonic organ built by M. P. Möller well-developed and blended choruses and modifi ed in 1980 by J. C. Taylor & in 1931 (Opus 6007) located in Elmira, with an emphasis on foundation tone. Co. with the addition of higher-pitched New York, became available. The avail- In the Great, the original Sole chorus 2 pipes to add brilliance to the ensemble, ability of this instrument changed the of Principals (8′, 4′, 2 ⁄3′, and 2′) was ultimately resulting in an instrument of direction of the project, leading to a fi nal reinstated to its rightful place. The pipes 22 ranks. The organ was further repaired proposal for a grand instrument founded of the 8′ and 4′ stops were rebuilt for and modifi ed in the mid 1990s. on the symphonic tradition for Zion a cleaner tone. The other ranks were By the turn of the twenty-fi rst century Lutheran Church and the Fox Valley. revoiced to the power and tone as they it was evident that the organ’s mecha- The symphonic organ is all about might have been in the early twentieth Right stop jamb nism was worn out and that a major warmth, color, and blend, with a smooth- century. A new Mixture stop of four mechanical and electrical rebuilding ness and luxury of tone not appreciated ranks was added to complete the chorus division. The Pedal division is rich and would be required. The issues with tonal for many years. While powerful, the tone and add a crowning brilliance to the smooth, providing a solid underpinning egress also needed to be addressed. lacks harshness, unlike far too many organ, well suited to the music of Bach for the instrument. The organ committee of Zion Lutheran organs built in recent times. At the same and the Lutheran liturgy. The Choir and Installation of the organ commenced Church in conjunction with their consul- time this instrument goes beyond the Solo divisions are more orchestral in in March 2013 with the fi rst sounds tant, John Schwandt, was determined confi nes of a purely symphonic instru- nature, full of colorful reed and string heard in October of that year. As the to do something special for both the ment and can perform a wide variety of ranks. An organ Harp, a percussion instrument neared completion at the church and the community at large. In both liturgical and concert music from stop similar to a vibraphone, crowns the end of 2015, Zion was able to commis- 2006 proposals were sought from several all periods of history. instrument at the top of the upper Solo sion a design for a new gothic-inspired

Russell & Co. Organ Builders

2 GREAT – unenclosed 2⁄3′ Nazard 61 pipes 8′ Gemshorn (ext 16′) 16′ Tuba Profunda 85 pipes 16′ Contra-Diapason (ext Pedal 4′ 2′ Flautino 61 pipes 8′ Gemshorn Celeste 61 pipes 8′ Tuba Mirabilis (ext 16′) 3 Choralbass) 24 pipes 1⁄5′ Tierce 61 pipes 4′ Gemshorn (ext 16′) 8′ French Horn 61 pipes 8′ Principal 61 pipes 2′ Plein Jeu IV–V 296 pipes 16′ Bass Clarinet 73 pipes 4′ Tuba-Clarion (ext 16′) 8′ Rohrfl oete 61 pipes 16′ Contra-Oboe 73 pipes 8′ Tromba 61 pipes Tremulant 4′ Octave 61 pipes 8′ Trumpet 73 pipes 8′ Clarinet (ext 16′) Solo 16 4′ Nachthorn 61 pipes 8′ Oboe (ext 16′) Tremulant Unison Off 2 2⁄3′ Twelfth 61 pipes 4′ Clarion (ext 8′) 8′ Tuba (Solo) Solo 4 2′ Fifteenth 61 pipes Tremulant Harp (Solo) 3 1⁄5′ Seventeenth 61 pipes 8′ Vox Humana 61 pipes Chimes (prepared for) SOLO II 1 1⁄3′ Mixture IV 244 pipes Vox Tremulant Choir 16 16′ Gemshorns II (Ch) Swell 16 Unison Off 8′ Koppelfl oete (Sw) SWELL – expressive Unison Off Choir 4 8′ Gemshorns II (Ch) 16′ Lieblich Gedeckt 24 pipes Swell 4 4′ Gemshorns II (Ch) (ext Koppelfl oete) SOLO – expressive 4′ Rohrfl oete (Gt) 8′ Open Diapason 61 pipes CHOIR – expressive 8′ Diapason (unenclosed) 61 pipes 2′ Gemshorn (Ch) 8′ Bourdon 61 pipes 16′ Gemshorn 85 pipes 8′ Flauto Mirabilis 49 pipes 16′ Vox Humana (TC) (Sw) 8′ Viola Pomposa 61 pipes 8′ English Diapason 61 pipes (1–12 Pedal Open) 8′ Tromba (Ch) 8′ Viola Celeste 61 pipes 8′ Harmonic Flute 49 pipes 8′ Gamba 61 pipes 8′ Trumpet (Sw) 4′ Principal 61 pipes (1–12 fr Gemshorn) 8′ Gamba Celeste 61 pipes 8′ Oboe (Sw) 4′ Koppelfl oete 61 pipes 8′ Quintadena 61 pipes 4′ Hohlpfeife 61 pipes 8′ Clarinet (Ch)

26 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM Façade pipes

The console from the organist’s viewpoint

this historic church sanctuary. We expect it to bring much joy to the congregation, community, and musicians alike. —Stephen J. Russell Russell & Co. Organ Builders Chester, Vermont

From the Music Minister Preserving the past to move forward into the future has been a goal of both Zion Lutheran Church and this organ project. The casework and façade pipes The worship space at Zion dates from 1903 and is a beautiful, classic sanctuary but rather warmly enveloping the listener with large stained-glass windows and a glo- in the breadth of sound the organ creates. rious main altar. It is fi tting that the organ It has been an honor and privilege to committee and organbuilder created an step into such a momentous organ proj- instrument that harmonizes visually and ect. Working with the organ committee aurally with its grand surroundings. upon my arrival, it was clear that this Zion has long been the congregation was going to be an instrument unlike the that breaks with tradition and strives for Fox Valley of Wisconsin has ever seen. something different. This was evident The vision, dedication, and artistry of when they installed the Sole organ in 1903, our organ consultant, John Schwandt, Sunlight through stained glass on the 16′ Open Wood Diapason pipes and they continued this tradition with the and organbuilder, Stephen Russell, has case installation Russell & Co. Opus 57. helped Zion to ready themselves for a for the project as well as pipes from Since starting my work at Zion in early long, continuing, future of music. This organ case and solicit bids for its con- the bottom octave of the 32′ Tuba. The 2014, I have been able to hear the organ instrument is, using Dr. Schwandt’s struction. Local craftsman Dwayne smaller façade pipes at the outer two at all stages of the process. From its very words, “a blessed gift.” To God Alone be “Doc” Sultzbaugh was commissioned sections are from the original Sole organ early sounds to what graces the sanctuary the Glory. by Zion to construct the case according façade. The case and fi nal pipework was today, the organ has been a joy to play —Matthew Walsh, Music Minister to plans developed by Charles Ford of installed in the fall of 2016. each week. Stephen Russell has worked Zion Lutheran Church Quimby Pipe Organ Builders (QPO) It has been a privilege to see this fi ne so that the organ at its softest sings beauti- Appleton, Wisconsin in conjunction with Stephen Russell. organ unfold from its original conception fully, and when the organ is roaring at full QPO donated the largest façade pipes in our shop drawings to its completion in capacity, it isn’t screaming at the listener, Photo credit: Tricia Kasten

Zion Lutheran Church, Appleton, Wisconsin

2 8′ Vox Humana (draws Trem) (Sw) 2⁄3′ Mixture V 48 pipes Solo to Pedal 8 Swell to Solo 16 Harp 61 notes (draws 4′ Choralbass) Solo to Pedal 4 Swell to Solo 8 Chimes (prepared for) 32′ Contra Tuba (ext 16′) 12 pipes Swell to Solo 4 Zimbelstern 32′ Fagotto (Harmonics) Swell to Great 16 Great to Solo 8 Solo II is unaffected by couplers 16′ Tuba Profunda (Solo) Swell to Great 8 16′ Contra-Oboe (Sw) Swell to Great 4 SELECTED ACCESSORIES PEDAL 16′ Bass Clarinet (Ch) Choir to Great 16 All Swells to Swell 32′ Contrabass (resultant) 8′ Tromba (Ch) Choir to Great 8 Hidden MIDI control panel with lighted 32′ Contra-Bourdon (resultant) 8′ Trumpet (Sw) Choir to Great 4 pistons 16′ Open Wood Diapason (25–32 Solo 4′ Tromba-Clarion (Ch) Solo to Great 16 MIDI on Solo 1, 2, 3 Flauto Mirabilis) 24 pipes 4′ Clarinet (Ch) Solo to Great 8 MIDI on Swell 1, 2, 3 16′ Contra-Diapason (Gt) Chimes (prepared for) Solo to Great 4 MIDI on Great 1, 2, 3 16′ Subbass 32 pipes Pedal Divide MIDI on Choir 1, 2, 3 16′ Lieblich Gedeckt (Sw) Pedal Silent Swell to Choir 16 MIDI on Pedal 1, 2, 3 16′ Gemshorn (Ch) Swell to Choir 8 8′ Diapason (Solo) COUPLERS Swell to Choir 4 49 ranks, 2,825 pipes 8′ Bourdon 32 pipes Great to Pedal 8 Solo to Choir 16 8′ Lieblich Gedeckt (Sw) Swell to Pedal 8 Solo to Choir 8 Builder’s website: www.russellorgans.com. 8′ Gemshorn (Ch) Swell to Pedal 4 Solo to Choir 4 Church website: www.zionappleton.com. 4′ Choralbass 32 pipes Choir to Pedal 8 4′ Nachthorn 32 pipes Choir to Pedal 4

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 27 Organ Projects

Trinity Lutheran Seminary, Columbus, Ohio Bigelow & Co., Inc., Organ Builders, American Fork, Utah Bigelow & Co., with signifi cant assis- tance from Oyster Pipe Works, Ltd. (Louisville, Ohio), has completed an extensive rebuild of the 1983 Steiner- Reck organ at Trinity Lutheran Seminary in Columbus, Ohio. Issues addressed include the following: 1. Metal pipes were collapsing. 2. Tracker action, though innovative, had proven to be unserviceable. 3. Stop action (slider solenoids) had become unreliable. 4. Manual keyboards were badly worn. 5. Swell pedal was very diffi cult to operate, and swell effect was poor. 6. Tuning access was diffi cult. Pipework 7. Sound was top-heavy and defi cient in fundamental. Two factors contributed to the col- lapsing and sagging of metal pipes: soft metal and insuffi cient racking. All pipe repairs were sub-contracted to Oyster Pipeworks, who removed the nearly 2,000 pipes to their shop in nearby Lou- isville, Ohio. All pipes were washed and straightened, and miters were repaired and reinforced. Three awkwardly mitered pipes were cut short and fi tted with Haskell tubes. Pipes as short as 1′ Keyboards had their toes reshaped, while heavy- duty cast toes were soldered onto over some of them quite inaccessible, were 300 of the largest pipes, including some centralized. Dust covers, which also in the 4′ range. Racking was improved by offer protection from falling objects, reinforcing existing rack boards, adding were added. Trinity Lutheran Seminary, Columbus, Ohio, Bigelow & Co., Inc., rebuild of Steiner- upper supports to many pipes, and add- The original natural keys were plated Reck organ ing bracing to existing upper supports. with padouk. They must have been visu- The mechanical key action was ally stunning when new, but they did not Swell shades were carefully trimmed and completely redesigned, incorporating withstand the test of time: middle C of felted to improve closure. carbon fi ber trackers, conventional roller the Hauptwerk manual was nearly worn Tuning access in the Hauptwerk had boards, and top-quality wooden tracker through! New custom keyboards with been severely hampered by an elevated squares. A notable feature of the original ebony naturals and bone-plated ebony toeboard for the Scharfzimbel, which action was the use of ultra-fi ne aircraft sharps were supplied by Heuss. Thumb had stood between the back of the chest cable for trackers, which was not a bad pistons, also by Heuss, are black with and all the other pipes except the reeds. idea in itself, but interfacing it with other white engraving—a marked improvement Tonal revisions (see below) permitted components turned out to be problem- over the original ones, which were blank, the middle section of that toeboard to be atic. Further, the layout of the original identifi ed only by illegible, adjacent labels. removed, much to the relief of the local action involved multiple angles and Excessive friction in the swell shade technicians. Tuning access in the Pedal Façade detail layers, which made servicing the action, action had been caused by a rack and division was improved simply by cutting a and other parts of the organ behind it, pinion that had transferred the motion small door in the side of the case. damaged wood was repaired, especially diffi cult if not impossible. of the swell pedal to a cable connected Tonal changes included: in the keydesk area. All 30 slider solenoids were replaced to the swell shades. Because a simpler 1. Replacing the Scharfzimbel with • Stop jamb was refi nished and laser- with new ones, which are less prone mechanical connection was not possible, a 2′ Super Octave, to make a complete engraved, replacing original dry transfer to sluggishness from exposure to dust. an electric swell motor (Peterson) was principal chorus in the Hauptwerk lettering. Power controls, which had previously connected to the cable. The new swell 2. Replacing the quarter-length 16′ • Pipe shades were repaired. been mounted to each solenoid, making pedal operates smoothly and easily. Englischhorn in the Schwellwerk with a • Stoppers of all 82 wooden pipes new half-length 16′ Dulzian were refurbished. 3. Replacing the half-length resona- • The motor-driven tremulant was tors in the low octave of the Pedal 16′ replaced with a new, simpler solenoid- Steiner-Reck/Bigelow & Co., Inc. Posaune with full-length resonators driven system. Trinity Lutheran Seminary, Columbus, Ohio 4. Raising the wind pressure in the Special thanks are due Fred Oyster of Schwellwerk Oyster Pipe Works, Ltd., and his team. In HAUPTWERK PEDAL 5. Raising cut-ups and opening toes of addition to the items mentioned above, 16′ Quintadena (electro-mechanical 16′ Principal (electro-mechanical action) foundation ranks in all divisions Fred regulated all the existing reed ranks, action, 1–12) 16′ Subbass (wood, electro-mechanical 8′ Principal (1–8 fr Pedal 16′) action) 6. In the Schwellwerk, revoicing the mitered the new reed rank, assisted with 8′ Rohrfl öte 8′ Octave original 4′ Viola as a Principal and the on-site reed voicing, and that still is not an 4′ Octave 8′ Bordun (metal) original 2′ Italian Principal as a Wald- exhaustive list. Lastly, we are grateful for 4′ Spitzfl öte 4′ Choralbass fl öte. (Even before revoicing, both of the friendly support of Peebles-Herzog, 2 2⁄3′ Nasat IV Mixtur 2′ Super Octave (new) 16′ Posaune (1–12 new full-length these stops, in the majority of their com- Inc., local caretakers of this organ. Their 2′ Flachfl öte copper resonators) pass, sounded more like their new names willingness to loan us tools and equip- 3 1⁄5′ Terz 8′ Trompete than their old ones.) ment—often for lengthy periods of time— IV-VI Mixtur 4′ Rohrschalmei (formerly “Schalmei”) Additionally: was extremely helpful and much appreci- 8′ Trompete Hauptwerk to Pedal 8′ Krummhorn Schwellwerk to Pedal • The original dual memory combi- ated. The job turned out to be much more Schwellwerk to Hauptwerk Zimbelstern nation action was replaced with a new involved than originally planned, and 128-level system that included a piston everyone at Bigelow is grateful for the SCHWELLWERK (enclosed) 58/32 notes—AGO pedalboard. sequencer and “stick drive” (USB port extra patience and support of Prof. May 8′ Holzgedackt (1–8 fr Gemshorn) Manual keys: ebony naturals, bone-plated 8′ Gemshorn (1–8 capped metal, ebony sharps. for backup and portable memory). Schwarz and everyone at Trinity. James cone-shaped caps) Self-regulating mechanical key action, except • Video cameras and monitors Bobb, professor of organ and church 8′ Gemshorn Celeste (TC) as noted. were added, and keydesk lighting was music at St. Olaf College, played the fi rst 4′ Principal (formerly “Viola”) Slider chests with electric stop action. improved. recital on the rebuilt instrument on June 4′ Traversfl öte (formerly “Flöte”) 128-level combination action with piston 2′ Waldfl öte (formerly “Ital. Principal”) sequencer and USB port for backup and • Service lighting inside the case was 6, 2017, to an enthusiastic audience. 2 3 1 III Aliquot (2 ⁄3′, 1 ⁄5′, 1 ⁄7′) portable memory. improved. —David Chamberlin 1 1⁄3′ Quint Electrically operated swell shades. • The blower was enclosed to reduce Vice-president/Tonal director III–IV Scharff 2 manuals, 45 ranks. noise. Bigelow & Co., Inc. 16′ Dulzian (new) 8′ Oboe • Wiring was neatened and confi ned Tremulant to raceways where practical. Photo credit: Katherine Bigelow and • Case surfaces were cleaned, and David Chamberlin

28 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Jack Mitchener; St. Paul’s Episcopal, Park Ridge Presbyterian Church This calendar runs from the 15th of the month Wilmington, NC 7:30 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline John Cummins & Michael Messina; Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ St. Paul’s Episcopal, Greenville, NC Bloomingdale, IL recitals unless otherwise indicated and are grouped 7:30 pm within each date north-south and east-west. •=AGO Bach, St. John Passion; Cathedral of St. chapter event, • •=RCCO centre event, +=new organ Philip, Atlanta, GA 7:30 pm dedication, ++= OHS event. Christopher Babcock Michael J. Batcho Information cannot be accepted unless it 24 FEBRUARY specifi es artist name, date, location, and hour in Yale Schola Cantorum; Battell Chapel, Director of Music writing. Multiple listings should be in chronological Yale University, New Haven, CT 7:30 pm St. Andrew’s by the Sea, order; please do not send duplicate listings. David Briggs, silent fi lm accompani- Hyannis Port CATHEDRAL OF ST. JOHN THE DIAPASON regrets that it cannot assume ment; Cathedral of St. John the Divine, MILWAUKEE responsibility for the accuracy of calendar entries. New York, NY 7:30 pm Alan Morrison; Spivey Hall, Clayton State University, Morrow, GA 3 pm UNITED STATES Bach, St. John Passion; Roswell Pres- East of the Mississippi byterian, Roswell, GA 4 pm Dean W. Billmeyer Bach organ works & Reformation can- 15 FEBRUARY tatas; St. Luke’s Episcopal, Evanston, IL University of Minnesota James Guyer; Christ Church, Braden- 7 pm ton, FL 12:15 pm Gail Archer; St. Procopius Abbey, Lisle, Minneapolis 55455 • [email protected] IL 7:30 pm 16 FEBRUARY Jacob Reed; Marquand Chapel, Yale 25 FEBRUARY Divinity School, New Haven, CT 2 pm Clara Gerdes; Trinity Lutheran, Worces- AVIN LACK Byron L. Blackmore Champaign Centennial High School ter, MA 4 pm G B Choir; St. Patrick’s Cathedral, New York, Choral Evensong; St. John’s Episcopal, Princeton Early Keyboard Center Crown of Life Lutheran Church NY 4 pm West Hartford, CT 5 pm 732/599-0392 Sun City West, Arizona Sarah Stender, harpsichord; St. John’s Bach Vespers; Holy Trinity Lutheran, Episcopal, Savannah, GA 11 am New York, NY 5 pm www.pekc.org 623/214-4903 Stephen Tharp; Rollins College, Winter Bach Cantata; Duke University Chapel, Park, FL 7:30 pm Durham, NC 5:15 pm Christopher Lynch; Cathedral of St. 17 FEBRUARY Philip, Atlanta, GA 3:15 pm recital; 4 pm THOMAS BROWN Georgia Boy Choir Festival; Peachtree Choral Evensong Carson Cooman Road United Methodist, Atlanta, GA 7 pm UNIVERSITY Monica Czausz; Advent Lutheran, Mel- PRESBYTERIAN CHURCH Composer and Concert Organist Greg Zelek, hymn sing; Overture Hall, bourne, FL 3 pm CHAPEL HILL, NORTH CAROLINA Harvard University Madison, WI 11 am Craig Cramer; Church of the Covenant, Cleveland, OH 4 pm ThomasBrownMusic.com www.carsoncooman.com 18 FEBRUARY Wesley Roberts; St. Paul United Meth- Renée Anne Louprette; St. Ignatius odist, Louisville, KY 3 pm Loyola Catholic Church, New York, NY 3 pm Bach Vespers; Calvary Episcopal, Lou- Bach Vespers; Holy Trinity Lutheran, isville, KY 4 pm Your professional card New York, NY 5 pm Choral Evensong; Cathedral Church of DELBERT DISSELHORST Benjamin Sheen; St. Thomas Church could appear here! St. Paul, Detroit, MI 4 pm Fifth Avenue, New York, NY 5:15 pm Choral Evensong; Christ Church, Professor Emeritus Christopher Houlihan; St. Stephen’s Contact: [email protected] Grosse Pointe Farms, MI 4:30 pm University of Iowa–Iowa City Episcopal, Millburn, NJ 4 pm or 608/634-6253 North Shore Choral Society; Regina Mercersburg Academy Chorale; St. John’s Episcopal, Hagerstown, MD 7 pm Dominican High School, Wilmette, IL 3 pm Ryan Hebert; Washington National Ca- Lenten Evensong; Church of the Holy thedral, Washington, DC 5:15 pm Comforter, Kenilworth, IL 5 pm STEVEN EGLER Gregory Peterson; Como Park Luther- JOHN FENSTERMAKER Gail Archer; Trinity Episcopal, Central Michigan University Staunton, VA 5 pm an, St. Paul, MN 4 pm School of Music RINITY BY THE OVE Clayton State Collegium Vocale; Cathe- T - - -C 26 FEBRUARY dral of St. Philip, Atlanta, GA 3:15 pm con- Mt. Pleasant, MI 48859 Stephen Tharp, Dupré, Stations of the cert; 4 pm Choral Evensong [email protected] NAPLES, FLORIDA Cross; St. James’s Church Madison Av- Monica Czausz; Moorings Presbyte- enue, New York, NY 7 pm rian, Naples, FL 4 pm Andrea Handley; Presbyterian Homes, Stephen Tharp; St. John’s Church, Evanston, IL 1:30 pm Norberto Tampa, FL 5 pm Todd Wilson; Wabash College, Craw- 27 FEBRUARY Susan Goodson Guinaldo fordsville, IN 3 pm Students from the University of Ala- Christa Miller ; Loyola University, Chi- bama; Central Synagogue, New York, NY Emanuel United Church of Christ His Music cago, IL 3 pm 12:30 pm Manchester, Michigan See—Listen—Buy Lenten Lessons & Carols; Mount Olive Ivan Bosnar & Jacob Taylor; Peachtree www.GuinaldoPublications.com Lutheran, Minneapolis, MN 4 pm Road United Methodist, Atlanta, GA 7 pm David Jenkins; Como Park Lutheran, Kevin Vaughn; Campbellsville Univer- St. Paul, MN 4 pm sity, Campbellsville, KY 8 pm A Professional Card in 20 FEBRUARY Timothy Strand; St. Louis King of STEPHEN HAMILTON Bach, St. John Passion; Cathedral of St. France Catholic Church, St. Paul, MN The Diapason John the Divine, New York, NY 7:30 pm 12:35 pm For rates and digital specifi cations, recitalist–clinician–educator Kathrine Handford; St. Louis King of contact Jerome Butera 28 FEBRUARY www.stephenjonhamilton.com France Catholic Church, St. Paul, MN David von Behren 847/391-1045; [email protected] 12:35 pm ; Woolsey Hall, Yale University, New Haven, CT 12:30 pm 21 FEBRUARY Candlelight Vespers; Shadyside Presby- Candlelight Vespers; Shadyside Presby- terian, Pittsburgh, PA 7 pm terian, Pittsburgh, PA 7 pm Cecily DeMarco; The Pink Church, David Herman Michael Petrosh; Morrison United Pompano Beach, FL 12 noon Methodist, Leesburg, FL 12 noon David Bellows; Morrison United Meth- Trustees Distinguished Professor Emeritus of Music and University Organist Glenna Metcalf; Calvary Episcopal, odist, Leesburg, FL 12 noon Louisville, KY 12:05 pm Daniel Martin; Calvary Episcopal, Lou- The University of Delaware Q [email protected] Christine Kraemer; St. Luke’s Episco- isville, KY 12:05 pm pal, Evanston, IL 11:30 am Christine Kraemer; St. Luke’s Episco- pal, Evanston, IL 11:30 am 22 FEBRUARY Nicole Marane, with narrator and per- 1 MARCH cussion, Prokofi ev, Peter & the Wolf; James Culver; Christ Church, Braden- Peachtree Road United Methodist, Atlan- ton, FL 12:15 pm ta, GA 10 am Lorraine Brugh, Ph.D. Robert Edwards; Christ Church, Bra- 2 MARCH Professor of Music denton, FL 12:15 pm TENET; St. Luke in the Fields Church, New York, NY 7 pm University Organist 23 FEBRUARY Greg Zelek; Metropolitan Museum of Art, Valparaiso, Ind. New York, NY 8 pm Peter Richard Conte, with fl ugelhorn; valpo.edu Longwood Gardens, Kennett Square, PA Joshua Stafford; SUNY Buffalo, Buffalo, 8 pm NY 7:30 pm 219.464.5084 Dexter Kennedy; Emmanuel Episco- The Chenaults; The Pink Church, Pam- [email protected] pal, Chestertown, MD 7:30 pm pano Beach, Florida 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Brendan Conner; First Presbyterian, Rachel Kresha & Brian Kapp; Sacred New York, NY Syracuse, NY 13203-2816 Evansville, IN 7 pm Heart Music Center, Duluth, MN 2 pm www.andrewhenderson.net (315) 471-8451 3 MARCH 11 MARCH Polyhymnia; Church of St. Ignatius of An- Mark Steinbach; Brown University, Prov- tioch, New York, NY 8 pm idence, RI 4 pm Fauré, Requiem; St. Paul’s on-the-Green Richard Barrick Hoskins 4 MARCH Episcopal, Norwalk, CT 4 pm Brian Jones Gail Archer; St. Anthony of Padua Cath- Director of Music & Organist Dessoff Choirs; Basilica of St. Patrick’s Director of Music Emeritus olic Church, New Bedford, RI 4 pm Old Cathedral, New York, NY 4 pm St. Chrysostom's Church Jacob Street; St. John’s Episcopal, West Joseph Ripka; Cathedral of St. John the TRINITY CHURCH Chicago Hartford, CT 12:30 pm Divine, New York, NY 5 pm [email protected] BOSTON David Briggs; Cathedral of St. John the Bach Vespers; Holy Trinity Lutheran, Divine, New York, NY 5 pm New York, NY 5 pm Bach Vespers; Holy Trinity Lutheran, Choral Evensong; St. John’s Episcopal, New York, NY 5 pm Hagerstown, MD 5 pm KIM R. KASLING JAMES KIBBIE Adam Pearl, harpsichord, Bach, Gold- Anthony Williams; Washington National D.M.A. The University of Michigan berg Variations; Princeton Seminary Cha- Cathedral, Washington, DC 5:15 pm Ann Arbor, MI 48109-2085 pel, Princeton, NJ 3 pm Michael Hey; Kennedy Center, Washing- St. John’s University ton, DC 7:30 pm 734-764-1591 FAX: 734-763-5097 Bryan Holten; Longwood Gardens, Ken- Collegeville, MN 56321 nett Square, PA 3 pm Christopher Young; Trinity Lutheran, email: [email protected] Scott Dettra, with Cathedral Choral Newport News, VA 4 pm Society; Washington National Cathedral, Jeremy McElroy; Cathedral of St. Philip, Washington, DC 4 pm Atlanta, GA 3:15 pm recital; 4 pm Choral David K. Lamb, D.Mus. Mendelssohn, Elijah; Duke University, Evensong Durham, NC 4 pm Greg Zelek; Prince of Peace Lutheran, Director of Music Mark Pacoe; Cathedral of St. Philip, Largo, FL 4 pm Trinity United Methodist Church Simon Thomas Jacobs; Episcopal ORGAN CONSULTANT Atlanta, GA 3:15 pm recital; 4 pm Choral New Albany, Indiana Evensong Church of the Good Shepherd, Lexington, www.gabrielkney.com 812/944-2229 Katelyn Emerson; RiverCenter, Colum- KY 4:30 pm bus, GA 4 pm Choral Evensong; Cathedral Church of Ahreum Han; Christ Church, Bradenton, St. Paul, Detroit, MI 4 pm FL 4 pm Choral Evensong; Christ Church, Grosse Adam Brakel; First Presbyterian, Na- Pointe Farms, MI 4:30 pm Kola Owolabi; Cathedral Church of St. A.S.C.A.P. ples, FL 4 pm FELLOW, AMERICAN GUILD OF ORGANISTS Brenda Portman; Hyde Park Commu- Paul, Detroit, MI 5:30 pm nity United Methodist, Cincinnati, OH 4 pm 345 SADDLE LAKE DRIVE 13 MARCH OSWELL TLANTA EORGIA Richard Gray; St. George’s Episcopal, R -A , G 30076 Rhonda Sider Edgington (770) 594-0949 Nashville, TN 4:30 pm ; Central Syn- agogue, New York, NY 12:30 pm Choral Evensong; Christ Church, Grosse Jonathan Ryan; Moorings Park, Naples, Pointe Farms, MI 4:30 pm FL 7:30 pm Choral Evensong; St. James Episcopal Paul Barte; St. Louis King of France Cathedral, Chicago, IL 4 pm Catholic Church, St. Paul, MN 12:35 pm Dean Billmeyer, with orchestra, Guil- mant, Symphonie I; Bethel University, Ar- 14 MARCH Professor Emeritus – University of Michigan – Ann Arbor den Hills, MN 3 pm Professor of Organ for 67 years Candlelight Vespers; Shadyside Presby- terian, Pittsburgh, PA 7 pm MarilynThe University’s longest-serving faculty memberMason 5 MARCH Steven Williams; The Pink Church, • Dale Krider, masterclass; St. Mark’s Pampano Beach, Florida 12 noon United Methodist, Easton, MD 7 pm A two-inch Professional Card in The Diapason Shaw Dawson; Calvary Episcopal, 6 MARCH Louisville, KY 12:05 pm Stephen Tharp; St. Luke’s Episcopal, Musica Sacra; Cathedral of St. John the Evanston, IL 7 pm For information on rates and specifi cations, contact Jerome Butera: Divine, New York, NY 7:30 pm [email protected] 608/634-6253 James Deaver; Campbellsville Univer- 15 MARCH sity, Campbellsville, KY 12:20 pm Nancy Siebecker; Christ Church, Bra- Thomas Hamilton; St. Louis King of denton, FL 12:15 pm France Catholic Church, St. Paul, MN HyoJin Moon & Dean Robinson; First 12:35 pm Baptist, Ann Arbor, MI 12:15 pm PHILIP CROZIER LARRY PALMER 7 MARCH 16 MARCH Candlelight Vespers; Shadyside Presby- Erwin High School Chorus; St. Patrick’s CONCERT ORGANIST Harpsichord – Organ terian, Pittsburgh, PA 7 pm Cathedral, New York, NY 4 pm • Hymn Festival; Christ Church, Easton, ACCOMPANIST Maxine Thévenot; Emmanuel Episco- Professor of Music, Emeritus MD 4 pm pal, Chestertown, MD 7:30 pm 3355 Queen Mary Road, Apt 424 Josiah Armes; Morrison United Meth- Katherine Johnson; St. Paul’s Episco- Montreal, H3V 1A5, P. Quebec odist, Leesburg, FL 12 noon pal, Greenville, NC 7:30 pm SMU, Dallas, Texas Wesley Roberts; Christ Church Cathe- Canada dral, Bowling Green, KY 12 noon 17 MARCH (514) 739-8696 Recitals — Lectures — Consultancies Christine Kraemer; St. Luke’s Episco- Simon Thomas Jacobs, masterclass; pal, Evanston, IL 11:30 am [email protected] Bower Chapel, Naples, FL 4 pm [email protected] + 214.350-3628 8 MARCH 18 MARCH Choir of St. Luke in the Fields; St. Luke in Renée Anne Louprette; College of the the Fields Episcopal, New York, NY 8 pm Holy Cross, Worcester, MA 3 pm Glen Olsen; Christ Church, Bradenton, Paolo Bougeat; Brown University, Provi- FL 12:15 pm dence, RI 4 pm Benjamin Sheen; Cathedral of St. John A gift subscription to 9 MARCH the Divine, New York, NY 5 pm David Hurd; St. Paul’s Chapel, Trinity Bach Vespers; Holy Trinity Lutheran, Church Wall Street, New York, NY 1 pm New York, NY 5 pm The Diapason Benjamin Sheen; Calvary Episcopal, Chelsea Chen; Cathedral Basilica of the Pittsburgh, PA 7:30 pm Sacred Heart, Newark, NJ 4 pm The perfect gift for Katelyn Emerson; River Road Church, Neil Harmon; Longwood Gardens, Ken- Baptist, Richmond, VA 7:30 pm nett Square, PA 1 pm + organist colleagues + choir directors Todd Wilson, with Naples Philharmonic, Alan Morrison; Ursinus College, Colleg- + students + organ builders Saint-Saëns, Symphonie III; Artis Naples, eville, PA 4 pm Naples, FL 8 pm Jeremy Filsell; Washington National Ca- + teachers + clergy thedral, Washington, DC 5:15 pm 10 MARCH Scott Atchison & Zachary Fritsch- Each month your gift will keep on giving by providing the Fauré, Requiem; St. John’s Episcopal, Hemenway; Peachtree Road United Meth- important news of the organ and church music fi eld. Know that West Hartford, CT 4 pm odist, Atlanta, GA 7 pm your gift will be just right. Isabelle Demers; Abingdon Episcopal, Michael Bahmann & Paul Cienniwa, For information, contact Ebony Fendley, 847/391-1028; White Marsh, VA 5 pm harpsichord, Bach, Art of the Fugue; St. [email protected]. Or visit www.thediapason.com and click Todd Wilson, with Naples Philharmonic, Paul’s Episcopal, Delray Beach, FL 3 pm Saint-Saëns, Symphonie III; Artis Naples, “subscribe.” Simon Thomas Jacobs; First Presbyte- Naples, FL 8 pm rian, Naples, FL 4 pm Bella Voce Camerata; St. Luke’s Episco- $42 one year USA; $35 one year digital; $20 one year student Joshua Stafford; Holy Trinity Episcopal, pal, Evanston, IL 7:30 pm Gainesville, FL 4 pm

30 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Henry Glass; St. Michael & All Angels TENET; St. Vincent Ferrer Catholic Southminster Presbyterian Church Church, New York, NY 8 pm Episcopal, Sanibel, FL 6 pm SHORT HILLS Arlington Heights, IL 60005 Choral Evensong; Christ Church, Grosse Pointe Farms, MI 4:30 pm 25 MARCH Jonathan Oblander; Loyola University, CONCORA, Bach, St. Matthew Pas- Chicago, IL 3 pm sion; Immanuel Congregational, Hartford, ANDREW SCHAEFFER, M.MUS Music Institute of Chicago Choral, Mo- CT 4 pm DEREK E. NICKELS, DMA Bach, St. Matthew Passion; Madison zart, Mass in c; Nichols Concert Hall, Church of the Holy Comforter First United Methodist Church Avenue Presbyterian, New York, NY 3 pm Evanston, IL 3 pm Edmond, Oklahoma Bach Vespers; Holy Trinity Lutheran, Kenilworth, IL 60043 Karen Beaumont; St. John’s Lutheran, New York, NY 5 pm [email protected] Milwaukee, WI 2 pm Nathan Laube; First Presbyterian, Allen- (847) 251-6120 • [email protected] Recitals — Hymn Festivals town, PA 3 pm 19 MARCH Robert Parkins; Duke University Cha- David Schrader; Presbyterian Homes, pel, Durham, NC 5 pm Evanston, IL 1:30 pm Stephen G. Schaeffer A one-inch Professional Card Choir concert; Cathedral Church of St. in The Diapason Paul, Detroit, MI 4 pm 20 MARCH Recitals – Consultations Bach, St. John Passion; Christ Church, Choir concert; Cathedral of St. John the Director of Music Emeritus For information on rates and specifi cations, Grosse Pointe Farms, MI 4:30 pm Divine, New York, NY 7:30 pm Choral Evensong; St. James Episcopal Cathedral Church of the Advent contact Jerome Butera: Stephen Tharp; First Presbyterian, Cathedral, Chicago, IL 4 pm Birmingham, Alabama [email protected] 608/634-6253 Waynesboro, VA 7 pm Bryan Dunnewald; St. Louis King of 26 MARCH France Catholic Church, St. Paul, MN Benjamin Sheen; St. Thomas Church, 12:35 pm Fifth Avenue, New York, NY 7 pm Jeffrey Schleff, Ed.D. Organist – Teacher – Consultant STEPHEN SCHNURR 21 MARCH 27 MARCH Saint Paul Catholic Church Choir concert, works of Bach; St. Igna- Students of St. Olaf College; Central Sulphur Public Schools, Sulphur, OK tius Loyola Catholic Church, New York, NY Synagogue, New York, NY 12:30 pm First Presbyterian Church, Grand Prairie, Texas Valparaiso, Indiana 8 pm Daniel Hyde; St. Thomas Church, Fifth [email protected] Candlelight Vespers; Shadyside Presby- Avenue, New York, NY 7 pm terian, Pittsburgh, PA 7 pm Bellarmine University Schola Cantorum; 30 MARCH Calvary Episcopal, Louisville, KY 12:05 pm Tenebrae; Duke University Chapel, Dur- ROBERT L. ham, NC 7:30 pm Wolfgang Rübsam; Valparaiso Univer- sity, Valparaiso, IN 7:30 pm SIMPSON Mark Steinbach UNITED STATES Christine Kraemer; St. Luke’s Episco- Brown University West of the Mississippi Christ Church Cathedral pal, Evanston, IL 11:30 am 1117 Texas Avenue Houston, Texas 77002 22 MARCH 16 FEBRUARY Brahms, German Requiem; St. Thomas Isabelle Demers; St. John’s Episcopal Church Fifth Avenue, New York, NY 7:30 pm Cathedral, Denver, CO 7:30 pm ] Manhattan School of Music choirs and Mark Brombaugh; Christ Episcopal, Joe Utterback orchestra; Riverside Church, New York, NY Tacoma, WA 12:10 pm David Wagner 7:30 pm John Wright; St. Margaret’s Episcopal, www.jazzmuze.com]] ] DMA Palm Desert, CA 12 noon James Walton; Christ Church, Braden- www.davidwagnerorganist.com ton, FL 12:15 pm 18 FEBRUARY 203 386 9992 Lenten Lessons & Carols; Mount Olive 23 MARCH Lutheran, Minneapolis, MN 4 pm Herndon High School Choir; St. Patrick’s Jeannine Jordan, with media artist; Cathedral, New York, NY 1:30 pm Woodburn United Methodist, Woodburn, Hopkins High School Choir; St. Patrick’s OR 3 pm Kevin Walters KARL WATSON Cathedral, New York, NY 4 pm Randal Harlow; First Congregational, David Higgs; Cathedral of St. John the Los Angeles, CA 4 pm M.A., F.A.G.O. SAINT LUKE’S Evangelist, Cleveland, OH 7:30 pm Caroline Robinson; St. James’s Epis- Rye, New York Monty Bennett; Holy Trinity Lutheran, copal, Los Angeles, CA 6 pm METUCHEN Kingsport, TN 7 pm Peter Richard Conte & Andrew Ennis; Martin Jean; Second Presbyterian, In- Walt Disney Concert Hall, Los Angeles, dianapolis, IN 7:30 pm CA 7:30 pm Alan G Woolley PhD 24 MARCH 20 FEBRUARY RONALD WYATT Musical Instrument Research Bach, St. Mark Passion; Trinity Lutheran, Stefan Engels; Southern Methodist Worcester, MA 7:30 pm University, Dallas, TX 7:30 pm Edinburgh Trinity Church

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A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] F [email protected] 608/634-6253 E !"#$%&%'()%*+,-.+/%012,%+-%3+45)2%6)+5-%7+-()25+8% B 9%9%9%!"#$%$&'$()*"+,-%.)/0$+)%($#1"#!,+'$.%1#"!%,% A two-inch Professional Card in The Diapason 2*($0#$,!.%3*4$5%6$$7$+0%,)%)8$%9,.)!,+%:'8""-%*+% R ;"'8$.)$#<%=$6%>"#7? U For information on rates and specifi cations, contact Jerome Butera: !"#:%&%;<<2%;+?5)8,%?%?%?%(#*@$6*++$#.%($#1"#!%0/#*+A% [email protected] 608/634-6253 A )8$%BCDE%3"+A6""0%F+)$#+,)*"+,-%G#A,+%H"!($)*)*"+?

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WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2018 Q 31 Calendar

21 FEBRUARY 8 MARCH Fred Swann; St. Margaret’s Episcopal, 25 FEBRUARY Jeffrey Daehn; First Presbyterian, Geoff Olson; St. Barnabas Lutheran, Palm Desert, CA 12 noon Benjamin Sheen; Westminster Abbey, Rochester, MN 12:15 pm Plymouth, MN 12:30 pm John Walker; Campbell United Method- London, UK 5:45 pm David Hatt; Cathedral of Our Lady of ist, Campbell, CA 7:30 pm the Angels, Los Angeles, CA 12:50 pm 9 MARCH 27 FEBRUARY Herndon Spillman; University of Iowa, 24 MARCH Simon Williams; Grosvenor Chapel, 23 FEBRUARY Iowa City, IA 7:30 pm John Walker, workshop; First United London, UK 1:10 pm Erik Goldstrom; Trinity Episcopal Ca- Douglas Leightenheimer; Trinity Epis- Methodist, Palo Alto, CA 4:30 pm thedral, Phoenix, AZ 12:10 pm copal Cathedral, Phoenix, AZ 12:10 pm 28 FEBRUARY 25 MARCH Thomas Lennartz; Frauenkirche, Dres- 25 FEBRUARY 11 MARCH Choral Vespers; Gethsemane Lutheran, den, Germany 8 pm Hymnus Angelicus Choir; Gethsemane Lola Wolf; St. Benedict Monastery, St. Hopkins, MN 4 pm Greg Morris; Temple Church, London, Lutheran, Hopkins, MN 4 pm Joseph, MN 2 pm Philip Manwell; Cathedral of St. Mary of UK 1:15 pm Choral Evensong; Trinity Episcopal Ca- Dupré, Stations of the Cross; Trinity Epis- the Assumption, San Francisco, CA 4 pm thedral, Phoenix, AZ 4 pm copal Cathedral, Phoenix, AZ 4 pm 4 MARCH Frederick Burgomaster; Cathedral of Chelsea Chen; La Jolla Presbyterian, La Greg Morris; Marylebone Parish St. Mary of the Assumption, San Fran- Jolla, CA 4 pm INTERNATIONAL Church, London, UK 4 pm cisco, CA 4 pm Gail Archer; Anchorage Lutheran Isabelle Demers; Neighborhood Church, Anchorage, AK 4 pm 15 FEBRUARY 7 MARCH Church, Palos Verdes Estates, CA 4 pm Andrés Cea Galán; Cathedral, Oaxaca, Jens Wollenschäger; Kreuzkirche, Choral Compline; St. James’s Episco- 14 MARCH Mexico 8 pm Dresden, Germany 8 pm pal, Los Angeles, CA 7:30 pm Cheri Benson; First Presbyterian, Roch- ester, MN 12:15 pm 16 FEBRUARY 10 MARCH 28 FEBRUARY Jan Willem Jansen; San Matías Jalat- Christophe Mantoux; St. Gervais, Paris, Sebastian Modarelli; First Presbyte- 16 MARCH laco, Oaxaca, Mexico 8 pm France 4 pm rian, Rochester, MN 12:15 pm Guy Whatley; Trinity Episcopal Cathe- Ex Cathedra; Cathedral, Birmingham, dral, Phoenix, AZ 12:10 pm 17 FEBRUARY UK 5 pm 2 MARCH Brett Oliver; Christ Episcopal, Tacoma, Darius Battiwalla; Victoria Hall, Hanley, 11 MARCH Jillian Gardner; Trinity Episcopal Cathe- WA 12:10 pm Stoke-on-Trent, UK 12 noon dral, Phoenix, AZ 12:10 pm Nathan Laube; Maison Symphonique de Philip Hoch; St. Margaret’s Episcopal, 18 MARCH 18 FEBRUARY Montreal, Montreal, QC, Canada 2:30 pm Palm Desert, CA 12 noon Ryan Mueller; Our Lady of Good Coun- Andrew Furniss; Methodist Central sel Chapel, Mankato, MN 2 pm 14 MARCH Hall, London, UK 3 pm David Franke; Kathedrale, Dresden, 4 MARCH Stainer, The Crucifi xion; Church of the Paul Carr; St. Paul’s Cathedral, Lon- Jeannine Jordan, with media artist; St. Holy Family, St. Louis Park, MN 3 pm Germany 8 pm don, UK 4:45 pm Paul’s Lutheran, Des Peres, MO 7 pm Angela Kraft Cross; Cathedral of St. Peter Holder; Westminster Abbey, Lon- Isabelle Demers; Gold Canyon United Mary of the Assumption, San Francisco, 17 MARCH don, UK 5:45 pm Methodist, Phoenix, AZ 2 pm CA 4 pm Thomas Trotter; Bloomsbury Central Raúl Prieto Ramírez Iain Quinn; Pacifi c Lutheran University, ; Westminster Baptist, London, UK 4 pm Tacoma, WA 3 pm 21 MARCH United Church, Winnipeg, Manitoba, 18 MARCH Jillian Gardner; Cathedral of St. Mary of Paul Kosower; First Presbyterian, Roch- Canada 2:30 pm Gail Archer; Basilica of Santa Maria, the Assumption, San Francisco, CA 4 pm ester, MN 12:15 pm Edward Norman, with oboe; Ryerson United Church, Vancouver, BC, Canada Igualada, Spain 8 pm 7 MARCH 23 MARCH 3 pm 21 MARCH Lois Marsh; First Presbyterian, Roches- Karen Taylor; Trinity Episcopal Cathe- Jan Willem Jansen; San Jerónimo, Tla- Samuel Kummer; Frauenkirche, Dres- ter, MN 12:15 pm dral, Phoenix, AZ 12:10 pm cochahuaya, Mexico 11 am den, Germany 8 pm Andrés Cea Galán; Santa María Tla- Greg Morris; Temple Church, London, colula, Tlacochahuaya, Mexico 6 pm UK 1:15 pm

20 FEBRUARY 24 MARCH Greg Morris; St. George’s, Hanover James Johnstone; St. Albans Cathe- Square, London, UK 1:10 pm dral, St. Albans, UK 5:30 pm

21 FEBRUARY 28 MARCH Johannes Trümpler; Kathedrale, Dres- Johannes Trümpler; Kulturpalast, den, Germany 8 pm Dresden, Germany 8 pm Greg Morris; Temple Church, London, 24 FEBRUARY UK 1:15 pm Sarah Kim; Bloomsbury Central Bap- tist, London, UK 4 pm 30 MARCH Peter Holder & Simon Johnson; St. Ex Cathedra, Bach, St. Matthew Passion; Albans Cathedral, St. Albans, UK 5:30 pm Symphony Hall, Birmingham, UK 2 pm

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32 Q THE DIAPASON Q FEBRUARY 2018 WWW.THEDIAPASON.COM Recital Programs

KHRISTIAN ERICH BAUER-ROWE, Dump, Woodman; Canzona, Krieger; My La- Hummingbird (Three Short Studies, op. 68), NAOMI ROWLEY, First Congregational Old West Church, Boston, MA, August 1: Pre- dye Nevels Grownde, Byrd. Finale, op. 78, Laurin. Church UCC, Appleton, WI, July 19: Fanta- lude and Fugue in D, BWV 532, Bach; Fan- sie on Ein feste Burg ist unser Gott, Zwart; taisie (L’orgue mystique XV, Laetare Sunday), MONICA CZAUSZ, St. Boniface Catholic RENÉE ANNE LOUPRETTE, Abbaye Nun komm, der Heiden Heiland, BWV Tournemire; Choral (Symphonie X, op. 73), Church, Cold Spring, MN, August 9: Pas- St.-Benoît-du-Lac, St.-Benoît-du-Lac, QC, 659, Bach; Fugue on Vom Himmel hoch da Widor; Variations on Weinen, Klagen, Sorgen, sacaglia on a Theme by Dunstable, Weaver; Canada, July 7: Kyrie, Gott heiliger Geist, komm’ ich her, Pachelbel; Lobe den Herren, Zagen, Liszt. Dialogue of the Mockingbirds (Three Short BWV 671, Vater unser in Himmelreich, BWV Drischner; Variations sur Herzlich tut mich Studies, op. 68), Laurin; Blithely Breezing 682, Bach; Pange lingua en taille à 4, Fugue verlangen, Bédard; Toccata on Nun danket STEPHANIE BURGOYNE, St. Paul’s Along (Baronian Suite), Paulus; Stèle pour un à 5, Récit du chant de l’Hymne précédent alle Gott, Hovland. Anglican Church, Stratford, ON, Canada, Au- enfant défunt (Triptych, op. 58), Vierne; Alle- (Livre d’orgue), de Grigny; Intermezzo, Moto gust 29: Praeludium (Sonata No. 2), Yon; Ada- gro, Chorale, and Fugue in D, Mendelssohn; perpetuo, Fugue triangulaire (Douzes courtes JOSEPH RUSSELL, St. Patrick’s Cathe- gio, Mozart; Toccata (Sonata No. 1), Becker; Phantasie über den Choral Wachet auf, ruft Pièces, op. 43, vol. 1), Laurin; Mytò, Wammes; dral, New York, NY, July 16: Prelude and Fugue Melodia (12 Stücke für die Orgel, op. 59, no. uns die Stimme, op. 52, no. 2, Reger. Crucifi xus (Mass in b), Bach, transcr. Bouvard; in E, BWV 566, Bach; Scherzo, Adagio, Finale 11), Reger; Variaties en Fuga, Mudde. Variations über den basso continuo der ersten (Symphonie III in f-sharp, op. 28), Vierne. ISAAC DREWES, St. George’s Catholic Satzes der Kantata Weinen, Kleinen, Sorgen, CHELSEA CHEN, Chapel of Our Lady Church, West Newton Township, MN, August Sagen und des Crucifi xus der h-moll-Messe JOHN SCHWANDT, Mount Olive Lutheran of Good Counsel, Mankato, MN, August 8: Fantasy for Organ, Sulyok; Scherzo (Sym- von Johann Sebastian Bach, S. 139, Liszt. Church, Minneapolis, MN, August 7: Fantasy 8: Sinfonietta, Gjeilo; Prelude, Adagio, and phony No. 1, op. 36), Laurin; Jesus Calls Us on the 8th Tone, Cornet; Aria, Loeillet; Choral Variations on Veni Creator, op. 4, Durufl é; O’er the Tumult (Gospel Preludes, Book 2), ALEXANDER PATTAVINA, Old West II in b, Franck; Wachet auf, ruft uns die Stimme, Cantilène (Suite Brève), Langlais; Chorale- Bolcom; Prelude on Veni Creator Spiritus, Church, Boston, MA, July 11: Prelude and Sellenbräutigam, Wie schön leuchtet der Mor- Prelude on Bethold, Mountain of Youth (Tai- Larsen; Epilogue, Willan. Fugue in C, BWV 547, Schmücke dich, o liebe genstern, Manz; O Ewigkeit, du Donnerwort, wanese Suite), Chen; God with Hidden Maj- Seele, BWV 654 Bach; Sonata III in A, op. 65, Schmidt; Toccata, Monnikendam. esty, Lobe den Herren (Lobe den Herren), RHONDA SIDER EDGINGTON, no. 3, Mendelssohn; Prelude and Fugue in a, Niedermaier; Finale (Symphonie III), Saint- First Baptist Church, Hudson, WI, August BWV 543, Bach. NICOLE SIMENTAL, Jehovah Lutheran Saëns, transcr. Briggs. 5: Middlebury and Foundation (An Church, St. Paul, MN, August 10: Toccata in American Hymn Tune Sampler), Sanders; MATTHEW PHELPS, Christ Church Ca- F, BuxWV 156, Buxtehude; Jesus Christus KEN COWAN, with Lisa Shihoten, violin, Six Variations on a Ground Bass, Sandresky; thedral, Cincinnati, OH, July 12: Prelude in unser Heiland, BWV 688, Bach; Schmücke Angela Grundstad and Kim Sueoka, sopra- Prelude on an Old Folk Tune, The Fair b, BWV 544i, Bach; Fantasy on the Alleluia dich, O liebe Seele, op. 122, no. 5, Brahms; nos, Linda Kachelmeier and Clara Osowski, Hills of Éire, O, Beach; Preamble and Final Chant for Easter Day, Benoit; St. Francis of Variations sur un theme de Clément Janequin, altos, Cathedral of St. Paul, St. Paul, MN, (Suite for an Old Tracker Organ), Guinaldo; Assisi Preaching to the Birds, Liszt, transcr. Alain; Toccata, Near. August 6: Rákóczi March, Berlioz, transcr. Andante (First Organ Sonata in F, op. 5), Saint-Saëns; Festival Toccata, Whitlock. Baker, after Liszt/Horowitz; Fantasie-Choral Dayas; Scherzetto (Twelve Short Pieces, op. MARK STEINBACH, Cathedral, Dresden, No. 1 in D-fl at, Whitlock; Prelude and Fugue 43), Laurin; Four Short Pieces for Manuals, CHERRY RHODES, Église Ss.-Anges Germany, July 24: Nun komm’, der Heiden in G, Martin; Wotan’s Farewell and Magic Pinkham; Planctus II (Piccoli fi ori musicali), de Lachine, Lachine, QC, July 4: Lor qu’en Heiland, Heiller; Prelude and Fugue in e, BWV Fire Music (Die Walküre), Wagner, transcr. Cooman; Toccata (Seven Compositions, op. la saison qu’ai jaule (Variations sur un Noël 548, Bach; Missing Absence, Lu; Passacaglia in Lemare; Étude-Caprice: Beelzebub’s Laugh, 71), Fletcher. bourguignon), Fleury; Combat de la mort c, Heiller; Dance No. 4, Glass. op. 66, Laurin; Fuge, Kanzone, und Epilog et de la vie (Les Corps glorieux), Messiaen; (Dritte Sinfonische Kanzone, op. 85, no. 3), CHRISTOPHER HOULIHAN, Court Deuxième Légende (Douze Pièces, op. 7), DAVID VON BEHREN, Old West Church, Karg-Elert; Variations sur un vieux Noël, op. Street United Methodist Church, Lynchburg, Bonnet; Impromptu (Pièces de fantaisie, Boston, MA, July 25: Allegro e deciso (Evoca- 20, Dupré. VA, June 18: Fantasia and Fugue in g, BWV Troisième suite, op. 54), Vierne; Chorale, tion, op. 37), Dupré; Trio Sonata in C, BWV 542, Bach; Ludus, Lash; Andantino (String Diferencias, and Gloses on Puer natus in 529, Bach; Toccata (Variations on The Old PHILIP CROZIER, Klosterkirche, Rid- Quartet), Debussy, transcr. Guilmant; Trans- Bethlehem, Walter. Hundredth), Bédard; Adagio (Six Studies, op. dagshausen, Germany, July 30: Air, Gavotte, ports de joie (L’Ascension), Messiaen; Suite, 56), Schumann; Allegro (Symphonie VI in g, Wesley; Trio Sonata in c, BWV 526, Bach; op. 5, Durufl é. JEAN-BAPTISTE ROBIN, McGill Uni- op. 42, no. 2), Widor. Epigrams, Kodály; Kyrie (Messe Double, versity, Montréal, QC, Canada, July 5: Plein Livre d’Orgue de Montréal), anonymous; RACHEL LAURIN, Cathedral of St. jeu, Tierce en taille, Basse de trompette, Trio, JAMES WELCH, Mount Angel Abbey, Praeludium in e, BuxWV 143, Buxtehude; Hyacinthe the Confessor, St. Hyacinthe, QC, Fond d’orgue (Suite du premier ton), March- St. Benedict, Oregon, July 26: Prelude and Partite diverse sopra De Lofzang van Maria, Canada, July 7: Fugue (Sonata III), Daveluy; and; Passacaille d’Armide en Rondeau, Lully, Fugue in D, BWV 532, Canonic Variations on Post; Hommage, Bédard; A Mighty Fortress Is Praeludium in d, BuxWV 139, Buxtehude; transcr. Robin; Capriccio sopra il Cucu, Kerll; Vom Himmel hoch, BWV 769, Bach; Blessed Our God, op. 69, no. 10, Peeters. Andante sostenuto (Symphonie gothique, op. Pièce d’Orgue, BWV 572, Bach; Ciel éternel, Assurance, Hebble; Con moto maestoso (So- 70), Widor; Fugue chromatique sur un Thème Veni Creator en taille à 5, Flamboiement, nata III, op. 65, no. 3), Mendelssohn; Allegro GREGORY CROWELL, St. Wendelin original (Twelve Short Pieces, vol. 4, op. 68), Fugue à 5, Au-delà, Duo, Le temps qui dan- (Concerto in C), BWV 594, Fugue in g, BWV Catholic Church, Luxemburg, MN, August Laurin; Toccata Exultate Deo, Leclerc; Fan- se, Dialogue sur les grands jeux (Cinq versets 578, Bach; Sonata in D, Carvalho; Wonderful 9: Voluntary, Berg; Andantino, Volckmar; taisie in A (Trois Pièces, M. 35), Franck; Laby- sur le Veni Creator), Robin, and (Hymne Veni Words of Life, Wood; Introduction and Pas- Prayer, Grieg, transcr. Crowell; Wardie’s rinth IV, op. 818, Cabena; The Flight of the Creator), de Grigny. sacaglia, Reger.

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sound INSPIRATION Check your listing in DIAPASON Student Rate Acoustical Design & Testing • Organ Consultation & $20 one year Inspection • Organ Maintenance & Tuning • Sound & Video The Diapason 847/954-7989 System Design, Evaluation & Training WOW! www.riedelassociates.com • (414) 771-8966 [email protected] email: [email protected] Resource 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Directory Don’t just tell people what you _ If changes are needed in your have for sale. Show them! listing, contact Jerome Butera Own a piece of history! 608/634-6253 The cover of the 100th Anniversary [email protected] Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

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Organ/Accompanist Position. Northwest Cov- World Library Publications: From the Piano The OHS 2018 Calendar celebrates the 63rd Ed Nowak, Chicago-area composer, arranger, enant Church in Mt. Prospect, Illinois (Chicago’s Bench to the Organ Bench, by Alan J. Hommerd- Annual Convention of the OHS—Rochester, and church musician, announces his new web- Northwest Suburbs) is seeking an organist/ ing. This complete method book offers a variety New York, July 29 to August 3, 2018—show- site, featuring Nowak’s original choral works, accompanist. This position is part-time and of exercises to increase pedal technique and casing a diverse collection of American and hymn concertatos, chamber and orchestral would include one Sunday morning service and a manual/pedal dexterity. Explore topics such as European organs from the 18th to 21st centuries. works, organ hymn accompaniments, organ weekly choir rehearsal. If interested please send service playing/accompanying—when to lead, This calendar is fi lled with photographs by Len and piano pieces, electronic music, and psalm settings. The website offers scores and recorded a resume and cover letter to the Director of Music when to follow; playing pianistic accompani- Levasseur, ranging from the Baroque splendor examples that are easy to sample and can be at [email protected]. ments on the organ; introduction to improvisation of both the “Craighead-Saunders Organ”—a process-reconstruction of a 1776 A. G. Caspa- purchased in downloaded (PDF and MP3) or on the organ; basics of choral conducting from printed form. Visit ednowakmusic.com. rini organ—and an original 18th-century Italian Wanted: Organists visiting Maui. Lahaina’s the console; and much more. 003057, $19.95, Baroque organ to the subdued polychroming Holy Innocents Episcopal Church invites visit- 800/566-6150, Wlpmusic.com. of two late 19th-century Hooks and an early ing organists to play its Beckerath Positiv organ Rheinberger Organ Sonatas, Vol. 5. Bruce Ste- 20th-century New York builder C. E. Morey. Also at Sunday services. Built in 1972 by Rudolf von vens plays three 19th-century American organs. Organs of Oberlin chronicles the rich history of Beckerath and then-apprentice Hans-Ulrich included is the massive carved case of the 2008 Sonatas No. 7 in F minor, op. 127; No. 9 in B minor, organs at Oberlin College, the Conservatory of Erbslöh for Honolulu’s Lutheran Church, the 408- Fritts at Sacred Heart Cathedral, referencing op. 142; No. 13 in E-fl at, op. 161. The organs are: Music, and the town of Oberlin, Ohio. The hard- pipe Shrankpositiv has a 54-note “split” manual, Dutch Renaissance models; the extravagant 1860 E. & G. G. Hook 3m, op. 288, St. John’s bound, 160-page book with many illustrations 30-note pedal, 11 stops, 8 ranks, and 6 registers. conservatory of the George Eastman Museum Church, Bangor, Maine; 1898 Geo. Jardine & Son, Holy Innocents acquired the instrument in 1977 is the most comprehensive study of traceable and its signature 4-manual Aeolian console; and op. 1248, St. Peter’s Church, Haverstraw, New York; 1868 E. & G. G. Hook 3m, op. 472, Christ Episcopal and moved it to Maui where it has been played organs from 1854 to 2013. The book measures modernist designs of the Organ Reform Move- ″ ″ Church, Charlottesville, Virginia, relocated in 2012 by parish musicians and visiting artists. The 8½ x 11 and features a dust jacket with color- ment represented by Holtkamp and Schlicker. by Andover Organ Co. Raven OAR-993 $15.98 instrument is extremely responsive and fi lls the ful illustrations not found in the book. Organs by Additional features include the neo-historical postpaid. Raven, Box 25111, Richmond, VA 23261; worship space beautifully. The parish community the Skinner Organ Company, Aeolian-Skinner, cases from C.B. Fisk and Taylor & Boody, as 804/355-6386, RavenCD.com. is “exemplary in its hospitality to all visitors,” and C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, well as the Apollonian restraint and grace of that especially includes visiting organists. For and many others are featured. Text by Stephen Hope-Jones Organ Co. Opus 2 at First Univer- information: 808/661-4202; holyimaui.org. Schnurr, foreword by James David Christie; salist Church. Nathan Laube’s article provides Pipe Organs of the Keweenaw by Anita photographs by William T. Van Pelt, Trevor a snapshot of the offerings—organological and Campbell and Jan Dalquist, contains his- Dodd, Halbert Gober, as well as rare vintage otherwise—that conventioneers can expect to tories, stoplists, and photos of some of PUBLICATIONS / RECORDINGS examples. $50, plus $5 shipping. Visit www. discover in Rochester and its surroundings. The the historic organs of the Keweenaw Pen- organsofoberlin.com. Calendar highlights U. S. Holidays and the major insula, the northernmost tip of Michigan’s Certifi ed appraisals—Collections of organ dates of the Christian and Jewish year. Member Upper Peninsula. Organs include an 1899 books, recordings, and music, for divorce, price: $14.99; mon-member price: $19.99. For Barckhoff and an 1882 Felgemaker. The booklet estate, gift, and tax purposes. Stephen L. Pinel, Organa Europae calendars featuring famous information: organhistoricalsociety.org. ($8.00 per copy, which includes postage) is Appraiser. 629 Edison Drive, East Windsor, pipe organs of Europe; years 1969 to 1977. available from the Isle Royale and Keweenaw NJ 08520-5205; phone: 609/448-8427; e-mail: $10.00 each. 219/662-0677, [email protected]. Parks Association, 49445 US Hwy 41, Hancock, The new Nordic Journey series of CD record- [email protected]. Michigan 49930. For information: 800/678-6925. ings reveals premiere recordings of symphonic From Fruhauf Music Publications: a compli- organ music—much of it still unpublished—from Prelude on “Divinum Mysterium” by Frederick mentary online posting of two sample pages from Nordic composers, played by American organist PIPE ORGANS FOR SALE Candlyn. His most beautiful piece is an absolutely Free Harmonizations of Hymn Tunes, Volumes 1 James Hicks on a variety of recently restored gorgeous and playable arrangement of “Of the and 2. Featured for Lent—and all seasons—are Swedish organs. It’s a little bit like Widor, Reger, Circa 1860 Pfeffer eight-rank organ, available Father’s Love Begotten” that captures the beauty two verse settings of Rock of Ages. Please visit and Karg-Elert, but with a Nordic twist. Check it rebuilt and custom fi nished. Also 1884 choir of the chant melody. If you don’t have this, get it www.frumuspub.net to access the PDF fi le, out at www.proorgano.com and search for the organ by Louis Debierre. Both are pictured on the now! michaelsmusicservice.com 704/567-1066. posted on FMP’s home page Bulletin Board. term “Nordic Journey.” Redman website: www.redmanpipeorgans.com.

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43-rank Casavant–Létourneau pipe organ for Rieger 23-rank mechanical pipe organ for Expressive and compact—3/27 Kilgen (1940). Aeolian/Robert Morton-style maroon sale with 10-year warranty: $839,000. Orgues sale. Two 61-note manuals and 32-note AGO Two expressive divisions. 17 manual 8-foot fl ues. leather is now available from Columbia Organ Létourneau is offering a 43-stop pipe organ rebuilt concave, radiating pedals. 1,221 pipes, manual Reeds include Tuba, Cornopean, Oboe, Clarinet, Leathers! Highest quality. 800/423-7003, to like-new condition for US$839,000. The core is and pedal couplers, and tremulant; includes 3 Vox Humana. Harp. 16′ Open Wood. H: 237″, W: www.columbiaorgan.com. Casavant’s Opus 2295 from 1955 with electro- separate mixture stops and 2 reed stops. Gen- 170″, D: 189″. Stopkey console. Original restor- pneumatic wind chests; the revised specifi cation tly voiced for a chapel or home use. Compact able condition. $30,000. Organ Clearing House, ′ 1 ″ ′ ″ Do you have a pipe organ that you would can incorporate up to eighteen new stops built design: width: 5 -8 ⁄8 , depth 7 -3¼ , height ′ ″ ′ ′ ″ 617/688-9290, [email protected]. like to interface with an electronic or digital by Létourneau. Installation costs, on-site voicing, 7 -3½ with separate electric blower 2 x 2 -1 x 2′-5″. Mechanical key and stop action, slider organ? We can interface any digital organ or an allowance for casework in red oak, a rebuilt any organ console with any pipe organ. For more three-manual solid-state console, and a ten-year windchest. Asking $55,000.00. For more details MISCELLANEOUS FOR SALE call 360/945-0425 or see OHS Organ Data Base, information e-mail [email protected] (not warranty are included. Transportation from Qué- Rieger Orgelbau, Gaspar Schulek Residence. Comcast) or call 215/353-0286. bec is not included. The organ requires approxi- Excellent used pipes, like new Austin actions mately 500 sq. ft. with 20′ ceiling for 16′ ranks. half price, all sizes of re-leathered bellows and Complete Pipe Organ Services from the Organ For more details, visit www.letourneauorgans. Historic 1859 ROBJOHN, II+Ped, 11 ranks. Drop solid-state equipment. Milnar Organ Company, com, e-mail [email protected] or call dead gorgeous rosewood case, 14′-2″ tall. Lovely Clearing House: 450 vintage pipe organs avail- 615/274-6400, [email protected]. Please able, renovation, tuning, consultation. Other Andrew Forrest at 450/774-2698. for chapel, large residence, or museum. www. visit our website for information on available services include transportation, cleaning and bigeloworgans.com. Click on News. inventory: www.milnarorgan.com. renovation of carvings, reredos, liturgical furnish- The Holtkamp Organ Company is proud to offer ings. Call John Bishop at 617/688-9290. john@ this fi ne instrument for sale. It is a1937 Votteler- Casavant Freres Opus 3818, 2004. 3-manual organclearinghouse.com. Consoles, pipes and numerous miscellaneous Holtkamp-Sparling, originally located at St. drawknob, 52 ranks, E/P action in excellent play- parts. Let us know what you are looking for. Mary’s Church in Millersville, Ohio. It was fea- able condition. Scottsdale, AZ. Steve Beddia, ANNOUNCEMENTS tured in The Organ In Church Design, by Joseph 609/432-7876, [email protected]. E-mail [email protected] (not comcast), Edwin Blanton. It is two manuals, 7 stops, and phone 215/353-0286 or 215/788-3423. ′ ″ THE DIAPASON E-Newsletters are e-mailed 9 ranks. It’s dimensions are roughy 12 -0 high, 1874 Hutchings-Plaistead. 2 manuals, 11 stops. ′ ″ ′ ″ monthly to subscribers who sign up to receive 8 -6 wide, and 5 -6 deep. The attached console Good restorable condition. Free to a good home. Gothic White Oak Organ Case. 25′ x 25′ x 12′. them. Don’t miss the latest news, featured artists, ′ ″ adds another 2 -10 to the depth. After a com- Boston area. Contact John Bishop, the Organ Spiky towers, lots of fi ligree. Organ Clearing House, and classifi ed ads—all with photos—some before plete restoration, it will make a beautiful organ Clearing House, [email protected]. 617/688-9290, [email protected]. they appear in print! Visit www.TheDiapason. for a small worship space. Contact the Holtkamp com and click on Subscribe to our newsletter. For Organ Company for further details. 216/741-5180. assistance, contact Stephen Schnurr, 847/954- [email protected]. 7989, [email protected]. CLASSIFIED ADVERTISING WORKS FOR SERVICES / SUPPLIES YOU! TWO organs in The Diapason’s Postal regulations require that mail to THE BIGELOW Opus 23 (1992), II/15 tracker. Big January Classifi ed ads are sold and no Releathering all types of pipe organ actions DIAPASON include a suite number to assure ′ longer available. To place your ad, contact and mechanisms. Highest quality materi- sound, 16 Posaune. Quartered white oak case, delivery. Please send all correspondence to: 19′ high x 13′ wide x 5′ deep. $70K + move/ Jerome Butera: [email protected], als and workmanship. Reasonable rates. 608/634-6253. THE DIAPASON, 3030 W. Salt Creek Lane, Suite install. [email protected], 801/756- Columbia Organ Leathers 800/423-7003. 201, Arlington Heights, IL 60005. 5777; bigeloworgans.com, click on news. www.columbiaorgan.com/col.

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