THE DIAPASON MAY, 2007
Episcopal Church of the Advent Madison, Georgia Cover feature on pages 30–31
The Associazione Culturale Stori- Requiem. For information: ci Organi Del Piemonte of the Pied-
First Church in Oberlin The larger 1914 Skinner for Oberlin Grateful thanks to Halbert Gober for College’s Finney Memorial Chapel, his informative article concerning his opus 230, is announced with stoplist on firm’s 2004 instrument at First Church page 1 of the July 1914 issue. in Oberlin, Ohio (THE DIAPASON, Mr. Gober discusses his judicious March 2007). incorporation of some of the 1914 Skin- Mr. Gober cites data about previous ner pipework and other components instruments at First Church, including a into his instrument for First Church. 1914 organ built by the Ernest M. Skin- Another noteworthy instance of the ner Company for Second Congregational recycling of Skinner pipework in a new Church in Oberlin. That instrument, mechanical-action organ occurred in moved to First Church in 1927, is Skinner 1964. Charles Fisk included some of Opus 229 (not Opus 230, as mentioned). the previous 1909 Skinner pipework The July 1914 issue of THE DIAPASON (from Opus 170) in his instrument for includes an announcement of the Sec- King’s Chapel, Boston. ond Church organ; its stoplist appears Roy F. Kehl on page 11 of the November 1914 issue. Evanston, Illinois Shown left to right at the Friends of the Wanamaker Organ ribbon-cutting are Frederick Haas of the Haas Charitable Trusts, Friends president Ray Biswanger, Robin Hall of Macy’s special events, and store manager James Kenny.
On January 14, the Friends of the the fine art of historic pipe organ Here & There Wanamaker Organ dedicated its new restoration. A generous gift from the pipe organ shop at the Philadelphia Haas Charitable Trusts has allowed the Macy’s with a gala reception and bene- teaching facility to be equipped with The Cathedral of St. Mary of the The Cathedral of the Madeleine, fit concert featuring Peter Richard state-of-the-art woodworking and pipe- Assumption, San Francisco, continues Salt Lake City, Utah, concludes its con- Conte. Macy’s has dedicated two wings cleaning equipment. The after-hours its recital series on Sundays at 3:30 pm: cert season with “The Madeleine Festival of the third floor gallery of the historic recital was enthusiastically received, May 6, Matthew Walsh; 5/13, Uppsala Concert,” May 18 and 20. The program John Wanamaker Store to the Friends and featured the first hearing of the Cathedral Choir; 5/27, June 3 and 17, includes Chichester Psalms by Leonard of the Wanamaker Organ Symposium Vox Humana Chorus, the completed Christoph Tietze; 6/10, David Hatt; Bernstein and General William Booth Program. The symposium hosts organ first phase of the Wanamaker Organ 6/24, Stephen Lind. For information: Enters into Heaven by Charles Ives. Infor- technicians from around the world who Orchestral Division restoration.
MAY, 2007 3 k Orgelfreunde GdO; South German in the Crypt Church of the Basilica of with Yuko Hayashi & Jon Gillock June Organ Academy, August 2–5, featuring the National Shrine of the Immaculate 25–29. Sessions take place on the 1971 “ rank Lloyd Wright, historical instruments of Gabler, Riepp, Conception will range from simple sung Fisk organ at Old West Church in F Holzhey in Weingarten, Ochsenhausen, Mass in Latin and English to morning downtown Boston. The schedule offers I have spent Rot, Ottobeuren; course director, Franz and evening prayer, from Benediction two daily masterclasses. Limited prac- Raml. For information: hymns to a high Mass (Missa Cantata) at tice is available each day at Old West. much money in my life
Around the Wurlitzer console in the Hoppes home are Rex Hoppes, Joshua Good- win, Jeff Lyons, Patrick Lyons, Karol Farris, Zachary Guenzel, Kirk Rich, and (kneeling) Matthew Vanover.
Students in the University of Wurlitzer organ study trip and played Evansville AGO chapter have had a two instruments—a two-manual at the busy year. In November they joined home of Mr. and Mrs. Rex Hoppes in forces with the UE MENC chapter to Petersburg, Indiana, and a three-manu- sponsor a concert in memory of Evans- al in the Green Activities Center at Vin- ville’s first music educator, Milton Z. cennes University. The trip was led by Tinker, who came to Evansville in 1867 Jeff Lyons, meteorologist for WFIE-14, and taught music in the public schools an Evansville TV station. In February for 47 years. After his death in 1914, a they sponsored two concerts of patriotic community-wide effort led to the pur- music, at First Methodist Church in chase of a large M. P. Möller organ that Evansville and Salem United Church of was installed in the newly constructed Christ in Huntingburg, Indiana. Karol Robert Bates Craig Cramer Aaron David Miller Soldiers’ and Sailors’ Memorial Colise- Farris, Zachary Guenzel, Charles Lef- um and dedicated in 1919. The concert ererink, Kirk Rich, Patrick Ritsch, and in memory of Mr. Tinker was held at St. Matthew Vanover performed patriotic John United Church of Christ, which is music suitable for celebrating the birth- 425.745.1316 [email protected] www.organists.net near the Memorial Coliseum. days of George Washington and Abra- In January they participated in a ham Lincoln.
4 THE DIAPASON figured bass in the church music of the (+43-699) 11 30 50 16;
ConcertArtistCooperative thth 20ANNIVERSARY
Sabin Levi Yoon-Mi Lim Ines Maidre Mary Mozelle David F. Oliver Organist/Harpsichordist/Carillonneur/ Organist Organist/Pianist/Harpsichordist Organist/Recording Artist Organist/Lecturer/ Lecturer/Recording Artist 2004 NYACOP Winner Associate Professor of Organ Associate Organist Recording Artist Organist and Composer in Residence Director of Music Grieg Academy of Music The National Presbyterian Church College Organist First Christian Church of Independence Fairlawn Presbyterian Church Bergen, Norway Washington DC Assistant Professor Assistant Music Director Columbus, Indiana “The Sights & Sounds Department of Music Shireinu Choir of Kansas City of the Pipe Organ” Morehouse College Kansas City, Missouri Atlanta, Georgia
Larry Palmer Roman Perucki Gregory Peterson Stephen Roberts Clair Rozier Harpsichordist/Organist Organist/Lecturer/Recording Artist Organist Organist/Harpsichordist/Lecturer Organist/Lecturer Professor of Harpsichord and Organ Director, Frederic Chopin College Organist and Instructor of Organ Director of Music Meadows School of the Arts Polish Baltic Philharmonic Assistant Professor of Music Western CT State University St. David's Episcopal Church Southern Methodist University International Organ Music Festival Luther College Director of Music Wayne, Pennsylvania Dallas, Texas J.P. Sweelinck Organ Music Competition Decorah, Iowa St. Peter Church Organist, Oliwa Cathedral Danbury, Connecticut Gdansk, Poland
Lisa Scrivani-Tidd Michael Stefanek Heinrich Walther Jane Watts Duo Majoya Organist/Lecturer Organist Organist/Clavichordist/Virginalist/ Organist Organ and Piano Assistant Professor of Music Director of Music Recording Artist Exclusive Recording Artist Recording Artists SUNY at Jefferson Aldersgate United Methodist Church Faculty, University of Music Priory Records Marnie Giesbrecht and Joachim Segger Watertown, New York Redford, Michigan Freiburg, Germany First RCO Performer of the Year Professors of Music University Organist Faculties, Church Music Schools Organist of the Bach Choir University of Alberta St. Lawrence University Heidelberg and Rottenburg London, England The King’s University College Canton, New York Germany Edmonton, Alberta, Canada
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
MAY, 2007 5 Bach. The concert featured works by Kimberly Meisten has been performed recitals at Minato Mirai torate (1994) from Nashotah House Buxtehude and Bach, performed by appointed director of community Concert Hall in Yokohama (Fisk organ), Seminary in Wisconsin and the Distin- members of the Santa Barbara AGO engagement for VocalEssence, Min- St. Alban’s Anglican Church in Tokyo guished Alumni Award (2007) from the chapter: Steve Hodson, Julie Neufeld, neapolis, Minnesota. In this role she will (Jaeckel organ), and St. Alban’s Hospital Peabody Conservatory in Baltimore, David Gell, Mahlon Balderston, Carol oversee the Witness school program, Chapel of Tokyo (Garnier organ). Other where she earned her bachelor’s and Schaeffer, and Charles Talmadge, the Essentially Choral reading program performances in 2006–07 have taken master’s degrees in organ performance, organ; William Beasley and Randolph for emerging choral composers, the him to over a dozen venues including studying with Arthur Howes. Scherp, harpsichord; and Nona Pyron, Welcome Christmas! carol contest, the Lausanne Cathedral in Switzerland, St. During her tenure at the Advent, she Baroque violoncello. A birthday party Talented Tenth apprentice program, Bonifatius Church, Wiesbaden, Ger- introduced the music of little-known on the lawn followed the concert. and the development of new initiatives. many; St. Philip’s Cathedral, Atlanta; St. Renaissance composers, much of which Meisten previously served as director of Mark’s Cathedral, Seattle; University of has now been recorded by her choir. On February 10, The Cathedral public programs at the Baltimore Muse- Iowa, and the University of Calgary’s Over the last decade, Ho and the choir Church of St. John, Albuquerque, um of Art, and before that in the office new Jurgen Ahrend organ. In April, have forged a close association with New Mexico, presented the second of continuing education at Winterthur Cleveland recorded a CD for Loft Robert Schuneman and Arsis Audio. annual Trelease Memorial Concert Museum & Country Estate in Recordings on the new Fritts organ at With the end of her tenure, Arsis will honoring the life and ministry of The Delaware. She holds a bachelor of arts St. Joseph’s Cathedral in Columbus, have released ten compact discs with Right Reverend Richard M. Trelease, in music from the College of William Ohio. He is represented by Karen the Advent Choir—recordings that have Jr., former Bishop of the Diocese of the and Mary and a master of arts from McFarlane Artists. earned high praise in the American Rio Grande. The concert featured the Cooperstown Graduate Program. Record Guide, Fanfare, and Early cathedral choirs, guest soloists, mem- Music America. Her final CD with the bers of the New Mexico Symphony choir, to feature music for double choir Orchestra, and conductors Iain Quinn by Hieronymus Praetorius, will be (director of cathedral music & organist) Here & There recorded by Arsis in June. and Maxine Thevenot (associate organ- She made early Renaissance music, ist-choir director) performing Bach particularly the works of Guillaume cantatas 72 (Alles nur nach Gottes Dufay, Johannes Ockeghem, and willen), 106 (Gottes Zeit ist die Josquin Desprez, a repertoire staple at allerbeste Zeit), 192 (Nun danket alle the Advent. Ho introduced the music of Gott), and the motet, Komm Jesu, Dufay to the Advent during the first komm. Performers and guests included years of her tenure, and his music con- soprano Johanna Sindelar, resident tinues to figure prominently in the year- conductor of NMSO Roger Melone, ly cycle of mass settings. At the opposite tenor Jay Hill, Carol Tucker Trelease, Craig Cramer at the Bader/Timpe organ end of the spectrum, she has also Chris & Kay Trelease, Thom Sloan, in Zutphen, The Netherlands enjoyed close working relationships Jerry Wellman, countertenor Robert with many contemporary composers, Isaacs, and baritone David Farwig. Craig Cramer, professor of organ at including Sir Peter Maxwell Davies, the University of Notre Dame, will Rodney Lister, Daniel Pinkham, Robert make two European concert tours this Lehman, Theodore Morrison, James year. The first tour takes place in May. Reyes, and Judith Weir, among others. Appointments To honor the 300th anniversary of Bux- —Richard Giarusso tehude’s death, several of these concerts will feature the music of Buxtehude and will be performed with Christoff Keggenhoff, Domkantor of the Cathe- Robert Clark dral in Speyer, Germany: May 6 at the Speyer Dom, May 9 at St. Albertus Robert Clark is featured on a new Magnus Kirche in Bonn-Bad Godes- recording on the Brombaugh organ, op. berg, May 26 at the Evangelische 35, at First Presbyterian Church, Kirche in Mahlberg, and May 28 at the Springfield, Illinois (Arsis SACD 405, Evangelische Kirche in Neckarhausen. two-disc set). The program includes Solo concerts will be performed on May works of Bach: BWV 593, 528, 564, 13 at the Basilika, Steinfeld/Eifel, Ger- 645–650, 540, 582, 527, 590, 652, 655, many on the 1727 König organ (an all 656, 657, 667, and 572. For information: Buxtehude concert); May 18 in Tanger-
Edith Ho
On the Feast of Corpus Christi, June 7, Edith Ho will conclude her 30-year tenure as organist and choirmaster of the Church of the Advent, Boston. Under her leadership, the music pro- gram at the Advent has earned interna- Susan Barrett and Alison Luedecke tional acclaim for its dedication to pre- senting the best music of the Western Millennia Too!—Alison Luedecke, Catholic tradition. With a focus on organ, and Susan Barrett, oboes— music of the Renaissance, she has pre- gave the premiere of Veni Creator by sented over 160 settings of the Mass San Francisco Bay area organist and Ordinary—ranging from Gregorian composer John Karl Hirten at the res- chant to world premieres. Ho recog- idence of Jacques Littlefield, Portola nizes that “it is the singers who make a Valley, California, on January 20, and at good choir,” but it is her own standards Grace Cathedral, San Francisco, on Jan- that have attracted so many fine musi- uary 21. The work was commissioned by cians to the Advent. Her many accom- Millennia Too!. The thematic material plishments earned her an honorary doc- for Veni Creator is taken from the Pen-
6 THE DIAPASON ALLEN PIPE AND DIGITAL COMBINATION INSTRUMENTS: ELEGANT SOLUTIONS FOR UNIQUE NEEDS
St. Joseph’s Catholic Church in Biddeford, Maine faced the challenge of coordinating a cantor located in the front of the church with the organist and choir in the rear balcony. Utilizing fiber optic technology, Allen designed a state-of-the-art pipe/digital organ and interface. Consoles and tonal resources in both of these locations can be played simultaneously or independently. The organist, choir and cantor now enjoy the versatility of performing from diverse locations without distracting sound delays. Organists have the added luxury of using both consoles at the same time to play duets.
Allen is pleased to have served the music ministry of St. Joseph’s Church and looks forward to meeting your church’s unique needs.
Photo by Amber Gormley
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GREAT (Unexpressed) PIPES SWELL PIPES PEDAL (Unexpressed) PIPES 16 Bourdon 16 Bourdon 8 Stopped Diapason 8 Stopped Diapason 32 Contre Bourdon 8 Open Diapason 8 Open Diapason 8 Bourdon 16 Diapason 8 Harmonic Flute 8 Salicional 16 Soubasse 16 Soubasse 8 Gedeckt 8 Gedeckt 8 Voix Celeste 8 Voix Celeste 16 Lieblichgedeckt 16 Lieblichgedeckt 8 Salicional (Sw) 4 Principal 4 Principal 16 Contra Viole (Ch) 4 Octave 4 Octave 4 Harmonic Flute 4 Harmonic Flute 8 Octave 4 Spitzflute 4 Spitzflute 2 2/3 Nazard 2 2/3 Nazard 8 Bourdon 2 2/3 Twelfth 2 2/3 Twelfth 2 Octavin 2 Octavin 4 Choralbass 2 Fifteenth 2 Fifteenth 13/5 Tierce Mixture IV Fourniture IV Mixture III 32 Contre Posaune 8 Trumpet 16 Basson 16 Posaune (Pipes only) 4 Great 8 Cornopean 8 Cornopean 16 Basson (Sw) Chimes Peterson Chimes 8 Trumpet 8 Trumpet MIDI on Great 8 Hautbois 8 Hautbois 4 Clarion Bass Coupler 4 Chalumeau 4 Chalumeau MIDI on Pedal Melody Coupler CH>GT (Pipes only) 16 Swell GT-CH Manual Transfer Swell Unison Off Swell Unison Off COUPLERS (Pipes only) 4 Swell Swell Tremulant MIDI on Swell CHOIR 8 Great to Pedal (All Digital) 8 Swell to Pedal 16 Contra Viole 8 Choir to Pedal 8 Holzgedeckt (Pipes only) 16 Swell to Great 8 Erzähler Celeste II 8 Swell to Great 4 Prinzipal (Pipes only) 4 Swell to Great 4 Koppelflöte 8 Choir to Great www.allenorgan.com 2 Octav 8 Swell to Choir 11/3 Quintflöte Choir Unison Off Mixture III MIDI on Choir 150 Locust Street, P.O. Box 36 8 Festival Trumpet Gallery Choir Off Macungie, PA 18062-0036 USA 8 Krummhorn Chancel Choir On Phone: 610-966-2202 Fax: 610-965-3098 Celesta (Sw) Gallery Gt/Sw/Pd Off E-mail: [email protected] Tremulant Chancel Gt/Sw/Pd On tecost plainsong hymn. It is set for organ National Cathedral, Washington, DC; and oboe d’amore. The piece is section- recordings of his Regina Cæli and al, containing variants of the hymn as in Dignare me o Jesu (from Trois motets, a traditional set of variations, but also éditions Delatour DLT 1403 and 1404), cyclical as several opening sections are and Missa de Archangelis (éditions restated, though changed, at the end. It Delatour DLT 1311) on Motette 50771. is currently available from the composer For information: at
Nigel Potts
Nigel Potts will present a recital for the Rotary Club’s Gift of Life program June 2 at St. Peter’s by-the-Sea Episco- pal Church, Bay Shore, New York. The Paul and Ruth Manz concert takes place on Elgar’s 150th birthday and will include Elgar’s Sonata, John Rose Concordia University in St. Paul, op. 28, and Nimrod, along with popular Minnesota has become the home for a works by Bach, Mozart, Rachmaninoff, past presidents of the college as well as newly established Paul Manz Archive. Sousa, and more. All proceeds will be hundreds of Rose’s Trinity friends. Joe Utterback Through the generosity of Paul and donated to the Rotary Club’s Gift of Life The service was the first event in a Ruth Manz, materials spanning the program, which flies in third-world chil- yearlong schedule of concerts, lectures, Jazzmuze, Inc. (
Lectures: Michael Barone, Peggy Kelly Reinburg, Kerala Snyder and Christoph Wolff and UM faculty Pamela Ruiter-Feenstra
For additional information: Marilyn Mason, Professor of Music, University Organist The University of Michigan School of Music, Theatre and Dance 1100 Baits Drive, Ann Arbor, MI 48109 734-764-2500 [email protected] Maxine Thévenot played a recital at St. Petersburg College, Florida, on February 23. Seated on the organ bench: Edward Barbieri (St. Peter’s Episcopal Cathedral), Maxine Thévenot, Paul Dixon (St. Petersburg College), and Sylvia Chai
8 THE DIAPASON WHY
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Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue • Hillsboro, Oregon 97124 503.648.4181 • fax: 503.681.0444 Email: [email protected] • www.rodgersinstruments.com America’s Most Respected Organ Builder ies at age six, and in his teens began play- Frances Robinson; two daughters, and ination and the whole region. He was Nunc Dimittis ing the organ in his father’s church. In two grandchildren. Donations in his especially helpful to fellow musicians of 1961 he graduated from Eastern memory may be made to Wake Forest all denominations. Nazarene College in Quincy, Massachu- Baptist Church, P.O. Box 7326, Win- Dr. Williams graduated in music Kent S. Dennis died January 1 at the setts, where he earned two music ston-Salem, NC 27109. from Illinois Wesleyan College in 1941, age of 78 in Midland, Michigan. Trained degrees, one in organ. In 1966 he moved —Scott Carpenter joined the U.S. Navy, and served as a chemist, Dr. Dennis had a long to New York City and began a 29-year throughout World War II in London, career at Dow Chemical Co. in Midland; career with Western Electric, retiring as a William E. Seifert died December where he played for American service- he retired in 1986 after 32 years as a computer systems analyst. Mr. Keeler 26, 2006 in Campobello, South Caroli- men and, on occasion, for Queen Eliza- senior research associate. He served as served as organist for numerous churches na, at the age of 71. A graduate of Wof- beth and her father, King George VI. organist at Memorial Presbyterian and was an active member of the AGO. ford College, he later earned a master of He also performed at the Glasgow Church in Midland for 47 years, and was He was preceded in death by his parents divinity degree from Duke University Cathedral. After the war he entered the named organist emeritus in 2003. There and is survived by his wife of 40 years, and a master of education degree from School of Sacred Music at Union Theo- he performed annual organ recitals for Carole. A memorial service was held Sep- Western Carolina University; he was a logical Seminary in New York, graduat- 46 years; he also taught organ students tember 17, 2006, at St. Andrew’s Episco- United Methodist minister for many ing in 1948 with an MSM degree. There for many years. A charter member of the pal Church in Greensboro. years and also taught in South Carolina he studied organ with Robert Baker and Saginaw Valley AGO chapter, serving as public schools. After retirement he Hugh Porter, composition with Harold dean for three terms, he also served on Paul S. Robinson died February 15 worked for the Dower Organ Building Friedell, and the history of music with the board of managers of the Midland in Winston-Salem, North Carolina, at Co., builders of the organ at Episcopal Clarence and Helen Dickinson. Center for the Arts and as president of the age of 99. Born March 8, 1907, in Church of the Holy Cross in Tryon, From Union he came directly to the Midland Symphony Orchestra, New Wilmington, Pennsylvania, he North Carolina, where he was a mem- Spartanburg and set about mustering which, with the Music Society, honored graduated from Westminster College in ber. Mr. Seifert was dean of the Spar- support for the founding of a local chap- him as Musician of the Year in 1987. 1929 and began study at the Curtis tanburg AGO chapter from 1988 to ter of the American Guild of Organists. In 2002 Steven Egler commissioned Institute of Music in Philadelphia that 1989, and at the time of his death was Success came in 1954 when he became an organ piece, Fantasia on Dennis, by same year. His first venture into North the chapter’s chaplain. He is survived by a charter member of the new chapter David Gillingham in honor of Dr. Den- Carolina was in 1932 as the summer his wife, two sons, two daughters, three and, at the same time, inaugurated the nis. With his technical background, he organist at Duke University where he sisters, and seven grandchildren. Spartanburg Oratorio Society, directing built a pipe organ in his home, and continued for 10 years. for several years its performances of when his health declined, he donated After obtaining a master’s degree major choral and orchestral master- the instrument to St. Joseph the Work- from Union Theological Seminary in pieces. He was known and loved for his er Church in Beal City, Michigan. He New York City, he became a year-round lively sense of humor, witty repartee, was predeceased by his parents, a sister, North Carolina resident in 1938 as and buoyant personality. He maintained and a brother. Memorials may be made organist for Centenary United high artistic standards and refined taste. to the Kent S. Dennis AGO Scholarship Methodist Church in downtown Win- He enjoyed popular music and jazz, but Fund, Saginaw Valley AGO Chapter, ston-Salem. There he started his long he never allowed these secular elements Gregory Largent, Dean, 121 South Har- association as organist and accompanist to intrude into his music for worship. rison St., Saginaw, MI 48602. for the Mozart Club’s annual presenta- He was married to Patricia Gilmore tion of Handel’s Messiah. Williams, a distinguished local artist and August Humer died January 17 in The 1941 presentation was Decem- portraitist who predeceased him by sev- Linz, Austria, at the age of 59. He had ber 7, during which the Messiah radio eral years. He is survived by a sister in studied organ and harpsichord with broadcast was interrupted by the news Illinois, two married daughters, a mar- Anton Heiller and Isolde Ahlgrimm in of the Pearl Harbor attack. Two months ried son, five grandchildren, and a Vienna; after finishing his diploma, he later, Paul was inducted into the Army’s great-grandson. A memorial service was traveled to the U.S., where he began an Third Armored Division as a chaplain’s held at First Presbyterian Church on active career as a recitalist under the assistant. He traveled with them in Eng- March 20. Donations in his memory management of Phillip Truckenbrod land, France and Germany, where he may be sent to the Dr. John E. Williams Concert Artists. In 1972–74 he won played a folding reed organ for services. John Edward Williams Music Scholarship Fund in care of First prizes at the international competitions Discharged in 1945, he returned to Presbyterian Church, 393 E. Main St., in Innsbruck and Nuremberg, and sub- Centenary United Methodist staying John Edward Williams died on Spartanburg, SC 29302. sequently performed in Europe and in until he started doctoral studies, also at March 16 at his home in Spartanburg, —John M. Bullard North America. Union Theological Seminary, where he South Carolina, after a bout with In 1972 he was appointed head of the received a Doctor of Sacred Music esophageal cancer. He was 87. For 43 organ and historical keyboard instru- degree in 1951. In 1952, he came to years he had served First Presbyterian ments department at the Bruckner Kon- Wake Forest College for a temporary Church as organist/choirmaster and was Here & There servatorium in Linz, Austria. He became position at about the same time as anoth- elected an elder of the congregation. On organist at Linz Old Cathedral in 1975, er temporary instructor, Mary Frances his retirement in 1991, Converse Col- and made numerous recordings on its McFeeters. Within a few years, they lege conferred on him the honorary CanticaNOVA Publications has organ, a three-manual instrument by became indispensable both to Wake For- degree Doctor of Music in recognition released its spring catalog of “traditional Franz Xavier Chrismann (1768) and Josef est and to each other. Paul and Mary of his significant contribution to the cul- music for the contemporary church.” Breinbauer (1867). Professor Humer was Frances were married in 1955, and they tural life of the community. The church Among the releases are the Liber cantu- a frequent visiting lecturer in Europe and moved with the college to the new Win- further honored him in 1995 by dedicat- alis in the Solesmes edition, along with the U.S., and served as an adviser to the ston-Salem campus in 1956. He served ing a new Schoenstein organ, named for works by Angela Birkhead-Flight, historical instrument collection of the as professor of music and university him, in their chapel. He had supervised Bernard Kirkpatrick, J. William Greene, Upper Austria Regional Museum. organist until his retirement in 1977, and the installation of the church’s large Gary Penkala, Colin Brumby, Orlando was the organist for Wake Forest Baptist Aeolian-Skinner sanctuary organ in Gibbons, Michael Altenburg, Stephen Herbert James Keeler died Septem- Church from 1956 to 1993. He contin- 1968. Recognized as a leader in church McManus, and others. For information: ber 6, 2006, in Greensboro, North Caroli- ued accompanying Messiah until 1997. music circles, he was widely known and
Join the Organ Historical Society’s 2007 convention in Central Indiana to sample the rich and diverse organ culture of America’s heartland
30 ORGANS from ca. 1840 to 2004 will be heard from the pre- convention event July 11 through the final concert on July 17th. We’ll spend two days in Indianapolis and four days exploring the organs and scenery north, east, south, and west of the city. HEADQUARTERS is The Sheraton Indianapolis Hotel & Suites, located just off I-465 at Keystone at the Crossing. Our special convention room rate is $103. Parking is plentiful and free! Book now via the OHS website below, or by phone at 800-325-3535.
For full convention information and to register visit www.organsociety.org/2007
10 THE DIAPASON including the Masses and the Office, the training software CD-ROMs from Ear- exquisite sound. It gives us a lot of vari- Officium Majoris Hebdomadae et Master APS. eMedia has been distribut- ety to play different types of music. It’s Octavae Paschae, Cum Cantu, Juxta ing EarMaster Pro and EarMaster just a dream come true . . . One of the Ordinem, Breviarii, Missalis et Pontifi- School in the U.S. since 2006. EarMaster challenges and one of the pleasures is to calis Romani, 533 pages. The book is Pro includes 651 ear training lessons for play a variety of music to enhance ser- available both for a free download and recognizing and transcribing intervals, vices to a variety of people. This particu- in a printed edition ($30). For informa- chords, scales, rhythms and melodies. lar organ gives us a lot of variety to tion:
We are pleased to announce the commissioning of a new pipe organ for Christ Church United Methodist in Louisville, Kentucky. Our Opus 107 will enjoy pride of place at the front of an all-new sanctuary designed by Sherman Carter Barnhart Architects in collaboration with acoustician Dennis Fleischer. The stoplist was prepared in Photo 1. The Grand Court (photo by John Bishop) consultation with Dan Stokes, Director of Music, and will offer a total of 53 stops over three manuals and pedal, Size matters word Puzzle. According to their on- including two divisions under expression, an 8’ Tuba stop We’re fascinated by superlatives. We line catalogue, it “hangs on a full on high wind pressure and two 32’ ranks. For more admire great engineering feats and geo- seven feet by seven feet of wall space information about this instrument and others, please visit graphical marvels, and we are skeptical and has 28,000 clues for over 91,000 of fallacious claims. When a family squares . . . a 100-page clue book, with our redesigned website at www.letourneauorgans.com. restaurant advertises “the world’s no repeats, provides the hints.” largest ice cream sundae,” we expect (“Comes with a storage box.”) ORGUES LÉTOURNEAU LIMITÉE something big but we doubt whether Until I started writing today, I the claim is true. I went to
12 THE DIAPASON long. It’s located in a very remote area Lindenhurst boasted an important per- 1904. It was planned that after the Organbuilder George W. Till had forbidden to foreign travelers, and has sonal art collection and a large two- World’s Fair, the organ would be moved worked with Odell in New York for apparently been revealed only recently manual Roosevelt pipe organ, all of to a new convention hall in Kansas City, many years. When he left that firm in to the rest of the world. which was destroyed in a catastrophic Missouri (the initials “KC” were carved 1905, he had heard that John Wana- The world’s largest city is Bombay fire in 1907.4 in the console’s music rack). The scope maker was looking for an experienced where the population was 12,778,721 in Longtime Grand Court Organist of this contract necessitated the build- organbuilder who could also repair and 2005. That’s larger than the entire coun- Mary Vogt linked John Wanamaker’s ing of a larger factory and considerable tune player pianos. By the time the try of Zimbabwe (12,671,860). New original inspiration for the construction expansion of the firm’s staff, and the Wanamakers were considering the pur- York City is number eight with of a truly monumental organ in the company’s capital was stretched so thin chase of the St. Louis organ, George 8,143,197 residents in 2005. Philadelphia store to this fire. He lav- that stockholders were assessed $10 a Till was well ensconced as the house The Nile is the longest river in the ished attention on Rodman, his only share to raise needed cash. Their out- “organ-man.” Till was dispatched to world with a total length of 4160 miles. surviving son, and knew how much the rage led to the end of Harris’s associa- inspect the organ in storage and was While the Amazon is second longest Lindenhurst organ meant to him. The tion with the firm, which was reorga- later charged with closing the purchase (4049 miles), it’s the largest in volume, Grand Court organ was therefore nized with company superintendent and arranging for the organ to be discharging something like seven mil- offered as consolation to Rodman, and William Boone Fleming in charge. shipped to Philadelphia. lion cubic feet of water into the ocean once the project was underway, John The organ was a great success at the While most organbuilders are accus- every second. Wanamaker deferred to Rodman’s World’s Fair, attracting millions of visi- tomed to being able to move their I looked up tallest buildings and exquisite artistic and musical taste for tors to hear recitals played by the world’s instruments in rented trucks, the St. found an argument about whether or the fulfillment of the vision that has now greatest organists, including a landmark Louis World’s Fair organ filled 11 rail- not antennas should be counted provided the world with one of its most series of 40 recitals by French master road boxcars. The train left St. Louis on (Sears Tower in Chicago if you don’t, important musical instruments.5 Alexandre Guilmant. But when the fair the evening of August 5, 1909. William Taipei 101 in Taipei if you do). What The Grand Court of the Wanamaker was over, both Murray Harris and the Fleming was engaged to supervise the a time-sink is Guinness! (Get back to Store in Philadelphia is an immense Los Angeles Art Organ Company were installation of the organ. George Till was your writing.) space, taller than it is long or wide. insolvent. While the organ was being to be the “tonal man.” From the first We brag about our pipe organs by cit- America’s major organbuilders were built, in the confusion during the reorga- times the organ was heard in the store, it ing statistics: “It has 20 reeds.” “It has considered for the commissioning of a nization that resulted in the formation of was evident that it was inadequate to fill three 32′s.” “It has three 8′ Opens on the new organ, but John Wanamaker com- the latter firm, the contract with officials the immense space of the Grand Court Great.” But let’s be careful. In the organ mented that it would take years to con- in Kansas City had never been ratified. It with sound. Shortly after its dedication world (or elsewhere in the world of the struct a new organ large enough to fill was voided and the organ was placed in on June 22, 1911, the Wanamaker Organ arts), bigger is not necessarily better. the space, and the financial climate of storage in St. Louis in default.6 Shop under the direction of both Till Most of us have generally known that the the time was unstable (the Panic of 1907 The organ had been in storage for five and Fleming was established on the 12th Midmer-Losh organ in the Convention was just ending). Then a wonderful years before John Wanamaker focused floor of the store. Over the ensuing years Hall in Atlantic City, New Jersey, is the opportunity presented itself. on acquiring it. Finding such an the organ was expanded from its original largest in the world, but we also know Organbuilder Murray Harris had immense organ “ready-made” seemed specification of approximately 130 stops that it’s not playable, and when we read been chosen to construct a huge concert an ideal solution for the grand space in to its present gargantuan size. more carefully we find that some experts organ for the St. Louis World’s Fair of the Philadelphia store. My source for this historical back- believe that the entire specification has never been playable at once. One legend says that the early staff of the organbuild- ing workshop at the Wanamaker Store in Philadelphia claimed that the Atlantic St. John’s Episcopal Church – Norwood Parish City organ was never finished.1 Small wonder that they would want to make Chevy Chase, Maryland such a claim—they were involved in building what they believed would be the Three manual & pedal – 58 stops, 63 ranks world’s largest organ. As with skyscrapers, it turns out that Currently under construction it depends how you count. Here is what seems to be current and definitive regarding the dimensions of the largest pipe organ in the world: Atlantic City Wanamaker’s Ranks 452 469 Pipes 33,112 30,067 Weight (tons) 150 2872 It’s easy to guess why the Atlantic City organ has more pipes but fewer ranks— the bottom three of seven keyboards have 88 notes! Wanamaker’s has the edge by 17 ranks, but where did the extra 137 tons come from? (I imagine that the same person who figured out the weight of these organs also did the numbers for the cubic capacity of the Amazon.) (See Photo 1, The Grand Court.) The customer is always right John Wanamaker was the personifica- tion of the classic American success story. He attended school through the age of 13 and opened his first store in Philadelphia at the age of 22. His stores grew progressively larger as he intro- duced retail policies that are central to the industry today. Wanamaker was among the first to offer guarantees, refunds, and fixed prices; he introduced the first restaurant in a store, and was a pioneer in the use of newspaper adver- tising for retailing, including the first full-page newspaper ad.3 The unprecedented opulence of the Wanamaker stores in both Philadelphia and New York allowed customers to express their personalities as they shopped. The very wealthy were catered to in special ways—those with more modest incomes were made to feel special, and had specialty goods of high quality made available to them as never before. It was John Wanamaker’s apprecia- tion of beauty that inspired him to include pipe organs in his stores from the very beginning. That appreciation was instilled in his son Rodman whose BERGHAUS love of the organ began early in his life. Devout Presbyterians, John Wanamak- er was a Sunday school teacher at Philadelphia’s Bethany Presbyterian Church, and young Rodman was the organist. The family’s country home
MAY, 2007 13 Photo 3. String/Orchestral Pedal Organ, 32′ Contra Diaphone and 32′ Contra Photo 2. The String Division (photo by John Bishop) Gamba (photo by Charles Kegg) ground is the beautifully produced book a “straight organ.” There is very little Music in the Marketplace written by borrowing. A large percentage of the Ray Biswanger, president and one of manual ranks have 73 notes. And true the founders of the Friends of the curiosities such as the two-rank Clarinet Wanamaker organ. If you are interested in the Swell, the nine-rank chorus of in reading the history of this unique Vox Humanae (recently reconstructed organ and the people who built it, fund- as an independent division!), or the cho- ed it, and have played on it, visit rus of strings in the String/Orchestral 2 1 2
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14 THE DIAPASON Using a text by Delores Dufner, OSB, Choir Editions. Only Latin is used for natural attractiveness. Singers and con- Music for Voices this sensitive setting is crafted well. The performance in this typically very con- gregation will enjoy this folklike setting. choral parts are syllabic, usually unac- trapuntal late Renaissance motet. and Organ companied in alternation with the Although the lines are typical Palestrina, I Will Remember You, Lloyd Larson. by James McCray organ, which completes the phrases and the work may be somewhat challenging SATB and keyboard, Beckenhorst moves forward to the next harmonic for most church choirs since it requires Press, BP 1704, $1.75 (M). area. There are three verses with similar two tenor parts; however, it is excellent The keyboard part is an easy arrange- To this table we come or identical music that has a sense of repertoire for concert groups. ment of the choral lines, but there is one development. This work of quiet dignity section that is to be sung unaccompa- Bread of the world in mercy broken, and depth is highly recommended. Give Us Your Body and Your Blood, nied. The homophonic choral parts are Wine of the soul in mercy shed: George F. Handel (1685–1759). easy with some unison singing. This By whom the words of life were spoken, And in whose death our sins are dead. We Remember You, Stan Pethel. Two-part mixed or TB, organ, and straightforward pragmatic anthem is —Reginald Heber (1783-1826) SATB, keyboard, and optional optional violin, cello, Concordia suitable for small church choirs. soprano solo, Monarch Music of Publishing House, 98-3785, $1.75 The taking of the bread and wine for Lorenz Corporation, 10/3515 M, (M-). At This Table, Allan Robert Petker. communion is a ritual of personal reju- $1.85 (M). Edited by Don Petering who provid- Any two parts, keyboard and venation. W. H. Auden in an essay titled Most of the settings reviewed this ed the text, this is part of Concordia’s optional obbligato instrument, Fred The Guilty Vicarage wrote month are slow and quiet, but this one Treasury Series; however, no docu- Bock Music Company, BG 2439, has an energetic, rhythmic keyboard mentation for the source of the music $1.70 (E). A ritual is a sign of harmony between the accompaniment of flowing sixteenth is given. Separate parts for the option- The treble obbligato line is a series of aesthetic and the ethical in which body notes that develop syncopations through al violin and cello are included at the short phrases above the choral parts, and mind, individual will and general laws, five-note thematic patterns within end of the choral score, but those and its easy part is also included on a are not in conflict. groups of four sixteenth notes so that string lines do not appear in the choral separate score at the end. After a two- the pulse is constantly shifting. The score. The instrumental music is filled part introduction there are two verses For Christians, this sign of harmony is choral parts are short block-chord syl- with ornamentations. that could be sung by soloists. The between their God and themselves. In labic statements. The short, easy solo sweet music has an easy accompani- that moment the old axiom that “It is occurs in the last section as a contrasting We Come as Guests Invited, Austin ment that provides contrast to the vocal better to have a future than a past” is antiphonal set of phrases in alternation Lovelace. SATB and keyboard, GIA lines. Easy yet attractive music. brought into stark reality, and as people with the choir. Publications, Inc., G-5033, $1.30 return to their pews, there is a quiet (M-). Lord, to Your Feast We Come, Alex- sense of hope. Coenantibus Illis, Giovanni da Based on Wedlock, an American folk is Feodorovich Lvov (1798–1870). Some churches offer communion in Palestrina (1525–94). SATTB unac- hymn, this tuneful melody is sung three SATB with optional organ, GIA each week’s service, others only occa- companied, NDC Editions of C. F. times: in unison, as a four-part unac- Publications, G-4434, $1.20 (E). sionally, usually at specific times in Peters Corp., No. 43, $3.95 (M+). companied chorale, and as a canon Although there is some divisi in this the church year. For almost all of my This scholarly edition by Ralph Bux- between SA and TB voices. The simple setting, the music is relatively easy. An life I attended Protestant churches in ton is part of the series Notre Dame music uses modal harmony adding to its optional organ introduction has been which the latter format was dominant. Now, as the new church choir director in a church where taking communion is a weekly occurrence, I must admit that weekly is preferable. That formal- ity is strengthening to me (and I sus- pect everyone in the church) because it blends in the Socratic dictum to “know thyself.” In Donald P. Hustad’s book, Jubilate! Church Music in the Evangelical Tradition, he points out the following:
Fellowship with God and with each other is a prominent part of our worship services, and should reach its highest level in the service which we call “Com- munion” in which we also eat and drink the Lord’s Supper, or Eucharist. This then is the Christian peace offering: we offer ourselves to God and to our neigh- bors, in fellowship.
Music plays an important role during communion. Singing appropriate hymns brings the experience into a heightened awareness before and after the actual taking of the bread and wine. Singing together is a part of a ritual just as say- ing “The Lord’s Prayer” or reading a Psalm. These elements within a service are not just intellectual experiences— they increase emotional responses for all participants. As musicians, we tend to focus on the craft of our performances. Attacks and releases, intonation, tone and other parts of a choir’s performance all con- tribute to the beauty of a performance. Most choir directors would agree with Sigmund Freund, who in that famous late essay titled Civilization and Its Dis- contents, wrote that “beauty has no obvious use; nor is there any clear cul- tural necessity for it. Yet civilization could not do without it.” Our weekly challenge is to commin- gle these components of beauty, emo- tion and craft into a service—not intrud- ing into the moment of communion, but rather subtly emboldening it. That is not an easy task, but it is accomplished by choosing sensitive musical settings for use during communion or in the anthem slot to start the process of focus. The music reviewed this month aims at those characteristics and should serve your choir and congregation well. But also be aware that having the congrega- tion sing at least one hymn during the communion process will probably be more valuable than anything the choir does autonomously. Be reminded of the words of author Timothy Dudley- Smith, “We come as guests invited.” O Wheat Whose Crushing Was for Bread, Rosalie Bonighton. SATB and organ, Paraclete Press, PPM 000507, $1.60 (M).
MAY, 2007 15 provided by editor Hal Hopson. The aggressive, twisting, rhythmic principal separately or as the complete set of choral parts, on two staves, are block theme whenever it appears in the pseu- eleven compact discs. They may be chords, with the final section a more- do-sonata-form movement that follows. obtained (postpaid) from Raven flowing setting of a Latin Kyrie Eleison, The organist’s detached fingering here
16 THE DIAPASON ticularly pretty, though I did not find Other aspects of George Ritchie’s organ works of J. S. Bach, this 11-com- settings include works for flute and some of the initiation characteristics registrations also impressed me. On pact disc set is probably the best value organ, trumpet and organ, bass trom- quite as pleasant as those of some of the instruments where one is available, he for money on the market today. I partic- bone and organ, and really exciting other organs. The similarity in the sound often uses the Tertian to color the cho- ularly recommend volumes 4 and 6. works for percussion and organ. A non- of these two organs leads me to suspect ruses as well as in solos, and in this —John L. Speller Psalm piece, if there is such a term, is that both Fritz Noack and Munetaka respect he is probably being true to St. Louis, Missouri the Aria and Scherzo for flute and Yokota did a fine job of capturing the what organists of Bach’s day would have organ, which would be great in recital. Hildebrandt sound, and Volume 4 is done—demonstrating the color that a Everything is beautifully played. If you from this point of view most instructive. tierce can add to the chorus of an organ The Psalms of Emma Lou Diemer. were to buy one of these three CDs, The instruments used on the record- that is not in equal temperament. He Joan DeVee Dixon; 1991 Reuter this may be the one to purchase first. ings are “well-tempered” in a number of also shows praiseworthy restraint in full organ, University of the Ozarks Most of these compositions would be unequal or “well-tempered” tempera- organ passages, usually limiting himself (III/39). RBW Record Co., P.O. Box suitable for service use or in recital, and ments, among which the 1/5-comma to the Hauptwerk Mixtur and omitting 14187, Parkville, MO 64152. are well worth hearing. Kellner “Bach temperament” seems to the Cimbel, for example, on the Taylor Volume 1: Twenty-three Psalm set- predominate. There is no doubt that & Boody at Christ Church Cathedral in tings for organ solo (Sacred Music Press) Bach—The Trio Sonatas. Joan Lip- Bach liked unequal temperaments like Indianapolis in Volume 2. Volume 2: Nineteen Psalm settings with pincott; 1995 Taylor & Boody this, and a couple of the organs he Although 32′ reeds are readily avail- Emmanuel Brass (Various publishers) organ, 21 stops, St. Thomas Church, played were tuned this way. In this able, he only uses them twice—in the Volume 3: Seventeen Psalm settings New York City. Gothic #G49116, respect the recordings give an authentic Fantasia in G minor BWV 542 and plus Variations on Rendez à Dieu and
MAY, 2007 17 4′, reeds 16′ - 8′, does not offer enormous and follows the standard format of the tions provides a succinct introduction to covered in this anthology. Articulation variety for this music. other volumes in this series, i.e., the the different genres utilized by Italian is covered with customary thorough- The performance, on the other hand, pieces themselves being preceded by a composers, and the lengthy sections on ness, with extracts from Diruta in 1593 is splendid. Students who want to know section containing historical informa- the organs themselves with specifica- through to Prelleur’s legato approach in how the pieces ought to sound could tion, subdivided into ten chapters, each tions of instruments from 1581 to 1755 1758. The section on ornamentation benefit from listening to this disc. Per- one devoted to a specific topic. These is essential reading, particularly the covers over 20 pages, again including sonally I regret that two or three differ- include information on the instruments notes on unusual stops and historical examples and explanations drawn from ent organs could not have been used, in use during the period and their role firsts, which will hopefully lead the per- many different sources, and with sever- although the logistics no doubt would in the services, types of composition, former to an appropriate choice of stops al thought-provoking exercises and have been formidable. registrational possibilities, performance on a modern instrument without any questions as to how they may be —Charles Huddleston Heaton practice (with special emphasis on fin- anachronistic registers being used. The applied to the pieces in the anthology. Pittsburgh, Pennsylvania gering, ornamentation, articulation), sections on registration include Diruta’s Brief comments on rhythmic flexibility and a list of sources and both contem- classification by mode and registrations are extremely helpful and are applica- porary and modern editions, concluding by type of piece and function taken ble to several of the pieces that follow. with an invaluable list of articles and from several early 17th-century sources, There follow 15 pieces including four New Organ Music books in English relevant to the subject. followed by the registration suggestions Versets, the Offertorio, Post Comunio In this volume the pieces are arranged by the Flemish builder Hermans from [sic] and Pastorale by Zipoli, a Tastata, in a general graduated order of difficul- the mid to later 17th century, and con- Passagagli, and Pastorale by Pasquini, a Historical Organ Techniques and ty rather than chronologically, which cluding with mid-18th-century registra- Toccata and Canzona by Storace, a Toc- Repertoire: Volume 10 Italy does make it more difficult to chart an tions found in compositions and recom- cata per l’elevazione and a Capriccio by 1650–1725, edited by Calvert John- unfolding development of style and dif- mended by builders. Strozzi, and sonatas by Aresti, Giustini- son. Wayne Leupold Editions, ferentiated treatment of form by indi- The comprehensive section on fin- ani, Ziani and Bassani taken from WL5000015, 2006, $39.00. vidual contemporaries. gering includes plenty of examples Aresti’s 1697 publication. As a group, I am delighted to write that this vol- A brief history of the earliest organs in taken from treatises and original works, they cover all the genres of composition ume maintains the overall high stan- Italy shows that the instrument was with two tables to illustrate a summary utilized in the period, including the imi- dards we have come to expect from known from the eighth century, and the of fingering for scale passages and one tative style as used in Zipoli’s second to Calvert Johnson that were applied to section on the use of the organ in Italy for intervals and chords. There are also fourth versets and the sonata by Ziani the volumes covering Italy 1550–1650 makes interesting reading for under- a few exercises to get the student to with its repeated notes in the subject, and 1725–1830 published in the same standing the requirements for the organ- think about the implications of the con- and the freer style as demonstrated in series. This volume under review cov- ist during the Mass, with nine sum- nection between fingering and phras- the Toccata for the Elevation by Strozzi ers the period from shortly after the maries of participation from Cavazzoni ing, although some of the examples with its many trills and clashing har- death of Frescobaldi in 1643 until just in 1547 to Martini in the later 18th cen- from the later 18th century may not monies and the Toccata and Canzone by after the death of Alessandro Scarlatti, tury. The section on types of composi- necessarily have applied to the period Storace. The two pastorales, particularly the one by Zipoli with its chromatic, dis- sonant ending, are charming examples From Das Orgeleinbuch, by Leonardo Ciampa (Op. 193, No. 4) of this type of composition that was par- ticularly popular in the 18th century. As is the custom with this series, each piece is prefaced with extensive notes as well as stimulating questions on various aspects of performance. Fingering is also suggested in many places, but the student is left to work out some tricky passages for him or herself, particularly in the Strozzi Capriccio with its part- crossings. Several of the pieces contain a pedal part, though elementary by North German standards. Original note values and beamings provide the student with practice in assimilating the at times bewildering streams of stand-alone 16th notes in the Strozzi pieces. It is a pity that because of size con- straints of the volume there was not room to include pieces such as one of the Pensieri by Casini, ricercare by Fontana and Battiferri, a toccata or fugue by Alessandro Scarlatti and a sonata by Martini, but there is plenty of material in this volume that requires careful study. The general standard of accuracy in the printed scores is exem- plary, although a sharp is required before the penultimate note in the RH in the Aresti Elevazione on p. 93, and probably before the final RH note of the first bar as well. All of the pieces are well suited for use in a liturgical setting and in a recital. This volume is very highly recom- mended, and particularly with regard to the thorough treatment of every facet of performance practice, should be consid- ered an essential addition to the library of anyone who has yet to explore the variety of forms of Italian post-Fres- cobaldi keyboard music prior to the vast production of lighter sonatas and offer- tories as the 18th century progressed. Calvert Johnson and his many associates again deserve the deepest commenda- tion for making this material accessible under one cover, especially the enor- mous range of contemporary sources on all aspects of performance practice. It is to be hoped that this will provide the stimulus to encourage further explo- ration of the organ works by the com- posers included here, as well as by the composers mentioned in the list of modern editions on page 72–73, most of which are readily available. —John Collins Sussex, England
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18 THE DIAPASON A Musical Tour of England Henry Glass
Wells Cathedral as seen from the author’s bed and breakfast. The propri- etor had a son who sang in the Choir of Men and Boys under Malcolm Archer (who is now at St. Paul’s Cathedral, London).
The high pulpit of Canterbury Cathedral The façade of St. John’s College, Cam- York Minster had one of the loveliest bridge. David Hill directed his scholars Evensongs of the trip. The girls choir nating. Since my wife worked for at the Evensong service, since the sang, and three of the female choristers boys were excused that afternoon. were honored with special medals for Hallmark Cards in Kansas City, Mis- their years of service to the choir. Here souri, we were especially fascinated two of the staff are seen washing the that Churchill’s cards were later pub- lenged and had to resort to the pitch glass lanterns in front of the Minster. lished by the Hallmark company. The pipe very frequently. palace is the home of the Dukes of On to Canterbury with its history. grandchildren, she told us that a day Marlborough. The first John The cathedral close is very beautiful— does not go by without her thinking of Churchill won an important battle on Jean and I love to travel in the late the Canadian soldier. the continent, and he charged a Vir- spring to see the gardens in full bloom. It is truly fascinating to hear the many ginian to hurry back to England to tell Here an 80-year-old docent told us that stories and talk to the people during our of his victory. It took the American she was engaged to marry a Canadian travels. I eight days to make the trip with the soldier when she was just 18 years of news. One member of our party sug- age. Since her English family had no Henry Glass is director of music at Uni- gested that the early Americans had means at all, the Canadian family sent versity United Methodist Church in Univer- as much trouble with the round- her a beautiful wedding dress. She sity City, Missouri. Past dean of the St. Louis abouts in England as we do! found that her fiancé was killed in Ger- AGO and now Missouri State convener, he is During our visit to Coventry Cathe- many one week before the war ended. also organ instructor at Webster University, dral, Jean and I remembered seeing Although she married another man, St. Louis. many of the silver crosses of reconcilia- lived happily and raised children and Photos by Jean Glass. tion in churches around Europe. The ruins of Coventry Cathedral Coventry Cathedral presents these to other churches on the continent. We onderful choral music, spacious especially remembered the cross in St. Wacoustics, massive organs and gift- Nicolas Church in Leipzig, Germany. A ed musicians—all comprised a success- college choir from William Jewell Col- ful trip to England last spring for my lege in Liberty, Missouri, was to per- Eloquence and Artistry wife and me. We spent six days in Lon- form at the Coventry Cathedral the fol- don, and then we drove through the lowing week. countryside. Naturally, in London we The charming city of York brought us in Organ Building visited as many churches, museums and another Evensong service. This Sunday art galleries as possible. St. Martin in afternoon service featured the Girl’s the Fields has a thriving restaurant in Choir with the lay clerks. Three of the the undercroft, serving food until well girls were honored and elevated to head into the evening and scones and tea dur- choristers at the service. It was beauti- ing the afternoon. When an evening fully sung. concert dismisses, the restaurant fills The town of Cambridge is a not to be quickly. A store and brass rubbing facil- missed musical delight. Evensong at ity are also on the premises. King’s College Chapel is a must. This Our trip to St. Paul’s Cathedral chapel offered the only service where allowed us to climb to the dome; how- the officiant received the pitch from the ever, Evensong was said because the organ. Stephen Cleobury sat away from choristers were on Easter holiday. the choir for half of the service. He Westminster Abbey provided an Even- directed only the stirring anthem by song at 3:00 p.m. on a Saturday after- Edward Elgar. Each side of the choir noon. One of the docents, well-marked was directed by one of the lay clerks. My with a dark green cape, told us that she organ teacher, Ronald Arnatt, former was standing in the choir area one day president of the AGO, informed me that when a woman approached her with in his day at King’s one finger directed the question: “Do you feel the spirit?” the choir. As a child, Dr. Arnatt sang the The docent told her that the Holy Spir- Once in Royal David’s City solo for the it was always at work in the abbey. The Nine Lessons and Carols three years in strange woman told her that another a row. He also pointed out that one of spirit was definitely in the quire area. his good friends across the stalls would The docent still is wondering who the try to make him laugh, especially before spirit could be! important solos. Evensong brought about 200 wor- It is poignant to hear a prayer for shipers to the abbey. The officiant gets peace offered on the hour by clergy at his pitch from a handy box of tuning every major cathedral in England. All Saints Episcopal Church, Atlanta, GA forks behind his prayer desk. James Most of the cathedrals also have quite a Raymond & Elizabeth Chenault, Music Directors O’Donnell leads a wonderful Choir of large marble inlay that honors the men Men and Boys. and women who, during the blitz of We were late to attend the Evensong World War II, stayed on the roofs of at Wells Cathedral in the western part the cathedrals and threw the incendi- Member, Associated Pipe Organ of England. Since ropes were complete- ary bombs off the roof before damage John-Paul ly shutting us out of the quire area, we could be done. Builders of America sat in the cathedral area to hear the rest Jean and I returned the next day to Buzard 112 West Hill Street of the service. What a wonderful sound St. John’s College Chapel for Evensong. Pipe Organ Builders Champaign, Illinois 61820 in this spacious building. The choristers were excused this day, so The organs were not in use at the service was sung by the lay clerks. 800.397.3103 • www.Buzardorgans.com Blenheim palace, but the presence of Although the young men sang beautiful- the Churchill memorabilia was fasci- ly, the clergy officiant was pitch chal-
MAY, 2007 19 Duquesne University Celebrates Jean Langlais Centennial Kenneth Danchik
Andrew Scanlon, Eric Lebrun, Susan Ferré, Ann Labounsky Ann Labounsky, Robert Sutherland Lord, Carolyn Shuster Fournier, Andrew Scanlon
uquesne University in Pittsburgh, Drawing on her vast experience of This collection contains many Langlais tions that he taught, particularly in the DPennsylvania, was the site of a cen- studying and recording the complete scores and recordings, in addition to the music of Franck and Tournemire. tennial celebration of the birth of organ works of Langlais for Musical Boys Town Collection of Sacred Music Langlais often referred to those who French organist-composer Jean Heritage Society, and as author of Jean and holdings from Allen Hobbs, David learned and performed his style as his Langlais (1907–1991). Organized by Langlais: The Man and His Music Craighead, Richard Proulx, Paul Koch, “grandchildren.” Ann Labounsky, Langlais’ leading (2000, Amadeus Press), Labounsky Paul Manz, Edmund Shay, and Paul Susan Ferré presented an organ American disciple, and by Andrew shared her keen insights into Langlais’ Harold. Of particular interest was an recital at St. Paul Monastery on the Scanlon, adjunct professor of organ, the music, and explained the musical code edition of César Franck’s Six Pièces, 1981 M. P. Möller organ (III/35). Dr. event gathered Langlais scholars and that he sometimes used to quote names annotated by Charles Tournemire who Ferré, a member of Independent Con- students for a six-day celebration, Feb- and textual passages in his music. studied the work with Franck, and a cert Artists and faculty member at ruary 16–21, 2007, with workshops and Organ alumni of Labounsky and the rare copy of Dom Bedos’ Treatise on North Texas University, was a long-time performances on campus at the Mary sacred music department played a Organ Building, donated by organ- student of Langlais and served as his Pappert School of Music and at local recital of Langlais’ organ music at the builder Dan Jaeckel. Also in the collec- guide during his 1969 American tour. churches. The organ and sacred music First Presbyterian Church on its 1988 tion are Tournemire’s chamber music Her recital, “The Organ as Storyteller: A department at Duquesne is one of the Casavant organ (IV/77), followed by a scores from the Paris Conservatory, Decade of Impressions,” featured nation’s largest, and a testimony to the dinner at the church. given to Alan Hobbs by Tournemire’s chant-inspired music composed during vision and leadership of Dr. Laboun- second wife Alice. the years 1928–37 by Langlais, Tourne- sky’s 37-year faculty tenure. Sunday, February 18 A noon Mass was celebrated in the mire, Dupré, and Messiaen. Langlais first visited the city in 1967 Sacred choral and organ music of University Chapel featuring Langlais’ at the invitation of the University of Langlais was featured during church ser- sacred and instrumental music, includ- Tuesday, February 20 Pittsburgh and Robert Sutherland Lord. vices at St. Paul Cathedral, Duquesne ing Ave Maris Stella and Ave Verum Musicologist and organist Robert Later, Langlais presented masterclasses University Chapel, First Lutheran from Trois Prières. Sutherland Lord (University of Pitts- and recitals at Duquesne on his fre- Church, First Presbyterian Church, and Ann Labounsky narrated a discussion burgh professor emeritus), long-time quent United States tours. One student Trinity Episcopal Cathedral. of her recent DVD The Life and Music student and personal friend of Langlais, quipped that “Pittsburgh is the Langlais Eric Lebrun, professor of organ at of Jean Langlais, produced by the Los developed his ideas about “The Sainte- capital of the world” due to the great the Regional Conservatory of Saint- Angeles AGO chapter, featuring a rare Clotilde Tradition,” a term that he local interest in Langlais’ music and the Maur des Fossés, France, played a glimpse into his public and private per- coined describing the musical lineage of number of local musicians who person- recital on the 1992 Casavant organ sona. Along with footage of Langlais’ César Franck, Charles Tournemire, and ally knew Langlais. (III/44) at First English Evangelical birthplace and the churches he fre- Jean Langlais at the Basilica of Sainte- Lutheran Church. Repertoire included quented early in his life, Langlais was Clotilde in Paris. He gave four common Friday, February 16 works of Langlais, Alain, Litaize, and an seen with his wife and children, and characteristics of the principal masters The centennial celebration began improvisation on two submitted themes. with his beloved dog Paff. Langlais’ of Ste.-Clotilde: 1) all were indepen- with a recital of Langlais’ music, played The day ended with a Compline ser- teaching style was shown in footage dent—somewhat apart from the organ- on the 1963 Casavant organ (IV/137) at vice at Heinz Memorial Chapel on the from a masterclass at Duquesne and in ists of the time; 2) all wrote organ music Calvary Episcopal Church, an organ University of Pittsburgh campus. his private home. expressive of the liturgy rather than that Langlais played on his 1981 tour. Organist Mark King played a prelude of Ann Labounsky, Eric Lebrun, Robert music for concert use; 3) all composed Current organ students of Dr. Laboun- Langlais’ Prelude modal from Vingt- Lord, and Susan Ferré led a panel dis- for the Ste.-Clotilde organ(s)—1859 sky were joined by Mary Pappert School quatre Pièces, and Méditation from cussion, “The Langlais Legacy.” Dr. (Franck), 1933 (Tournemire), and of Music Dean Edward Kocher, who Suite Médiévale. The choir, directed by Labounsky described three distinct c.1964 (Langlais); 4) Tournemire and played trombone with a brass quartet in Andrew Scanlon, sang Libera me from styles of Langlais’ compositions: chant- Langlais maintained a poetic free Langlais’ Cortège. Langlais’ Deux Déplorations. based, of flexible style based on the (rather than strict) style in performing Solesmes Chant division into groups of Franck’s music. Saturday, February 17 Monday, February 19 two or three; folkloric, based on simple Using notes he had made from Ann Labounsky presented an organ Music librarian Terra Mobley gave a folk melodies; and rhapsodic, freely Tournemire’s unpublished Mémoire, masterclass at Trinity Episcopal Cathe- tour of the Duquesne University Gum- integrating emotional connotations as Dr. Lord pointed out that Tournemire dral on the 1968 Möller organ (IV/92). berg Library Sacred Music Collection. the source of inspiration. The said nothing about his serving in 1892 as endurance of Langlais’ compositions suppléant (assistant) to Charles-Marie was discussed in light of changing styles, Widor at Saint-Sulpice. It was Vierne A.E. Schlueter Pipe Organ Co. tastes, and the liturgical reforms of Vat- who was appointed to that position. ican II. Dr. Lord felt that Langlais’ Tournemire did say that after complet- Current Projects for 2007-2008 music was a bit out of vogue, but that ing his studies at the Paris Conservato- also was the case with Dupré. Professor ry, he had to spend time in military ser- New Organs: Atlanta First United Methodist Church: 5-manual, 120 stops Lebrun stated that young organists are vice. It is also curious that Tournemire New Orleans Baptist Theological Seminary, Leavell Chapel: 4-manual, 78 ranks beginning to rediscover Langlais’ music never mentioned studying composition Midway Presbyterian Church, Powder Springs, GA: 3-manual, 55 ranks in a fresh way. Langlais’ affinity with with Vincent D’Indy at the Schola Can- First United Methodist Church, Carrollton, GA: 3-manual, 42 ranks and appreciation of early composers— torum. That institution only opened in New Orleans Baptist Theological Seminary, Recital Hall: 3-manual, 33 ranks Frescobaldi, Couperin, de Grigny, and 1894. However, Tournemire described (new & existing pipes) Dandrieu—was mentioned, along with Franck’s organ class as really a “class in Newberry A.R.P., Newberry, SC: 2-manual, 13 ranks (new & existing pipes) his dislike of neo-Baroque organs. composition.” For the record, it is worth St. Andrew’s Episcopal Church, Rocky Mount, NC: 2-manual, 22 ranks The panel agreed that Langlais’ repeating that Tournemire did not elec- Rebuilds: First Baptist Church, Orangeburg, SC: enduring legacy embraces both the trify the Ste.-Clotilde organ in 1933. Dr. 3-manual, 31 rank M.P. Moller - complete rebuild with additions popularity of certain organ composi- Lord played that instrument in 1958 Selwyn Avenue Presbyterian Church, Charlotte, NC: tions, and the traditions and interpreta- and, like many others, reported that the 3-manual, 22 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Jackson, GA: 2-manual, 20 rank Austin - complete rebuild with major additions David Petty & Associates Cumberland United Methodist Church, Florence, SC: Organbuilders 2-manual, 10 rank M.P. Moller - complete rebuild with additions Covenant Presbyterian Church, Fayetteville, GA: rebuild 4-manual console 27 Marlboro Lane • Eugene, OR 97405 800-836-2726 y www.pipe-organ.com (541) 521-7348 [email protected]
20 THE DIAPASON Ann Labounsky, Ethan LaPlace (at Trinity Cathedral) action was very heavy. Indeed, Tourne- mire mentioned in the Mémoire his Susan Ferré, Robert Sutherland Lord great disappointment with the extreme- ly difficult key action. Pierre Cogen (1976–1994) and Jacques A recital featuring Langlais’ music for Taddei (1988 to the present). Other organ, piano, instruments, and solo famous organists served as substitutes, Eric Lebrun, Susan Ferré voice was presented in the University including Maurice Duruflé, André Chapel, including the American pre- Fleury, Daniel-Lesur, Henriette Roger, Wednesday, February 21 Ann Labounsky and a host of students miere of Suite Brève, for flute, violin Bernard Schulé, Roger Stiegler, and Carolyn Shuster Fournier presented and colleagues who admired him and and viola (op. 15, 1935). Pierre Denis. Also mentioned were the final centennial event, an organ his music, and who wish to see his great Professors Labounsky, Lord, and organists Théodore Dubois, Samuel recital on the 1995 Reuter organ legacy honored and continued both in Ferré presented “Langlais as a Teacher Rousseau, and Maurice Emmanuel, (III/73) in Heinz Memorial Chapel, on concert and in liturgy. I and Improviser.” All had studied with who assisted at Ste.-Clotilde. the campus of the University of Pitts- Kenneth Danchik is associate organist at him in Paris at the Schola Cantorum, Dr. Fournier presented information burgh. Featured were works by Jean St. Paul Cathedral in Pittsburgh, Pennsylva- privately in his home, and/or at Ste.- and specifications of Ste.-Clotilde’s Langlais, Nadia Boulanger, Jehan Alain, nia, and organist liaison for the Pittsburgh Clotilde. They agreed that Langlais had Cavaillé-Coll organ, the Mustel model and Pierre Cogen. NPM. He earned his MM at Duquesne as a a special way of bringing out the best of K harmonium of 19 stops, and the 14- The centennial celebration was a fit- student of Ann Labounsky, and frequently a student’s ability in improvisation and stop Merklin choir organ. ting tribute to Jean Langlais given by played in masterclasses with Langlais. repertoire playing, even with students of lesser skills. Langlais inspired such confidence in his students that often it was said “he could make a rock impro- vise.” An improvisation lesson often would include an assignment to com- pose a duo, trio, or fugue. At the lesson Langlais would ask the student to expand on the composition and to develop a plan for an improvisation. Most often Langlais talked as the stu- dent improvised, giving instructions Experts in historical restoration such as “change key,” “modulate,” “go to the dominant.” If a mistake or bad harmonization was made, Langlais said to “repeat it,” to make it sound inten- Co-cathedral of St. John tional. Langlais would lightly tap the beat on the student’s shoulder, and insisted that the student not stop during Valletta, Malta the exercise. Usually short themes or fragments based on chant themes would be used. Organbuilder Dan Jaeckel discussed his proposal and aesthetic for a 50-stop mechanical-action organ for a concert hall to be constructed on the Duquesne campus. Key actions, tuning tempera- ments, and construction details were discussed, along with Cavaillé-Coll organs and their special sonorities. Ann Labounsky discussed the reason for errata in Langlais’ published music. The process of transcribing the music from Braille sketches began with Langlais dictating the music, note by note, to his wife Jeannette or to another person. The work then was submitted to one of several publishers. The publisher subsequently sent pre-publication proofs to Langlais for correction. A stu- dent was asked to play through the proofs in order to aurally alert Langlais to inaccuracies. Often the student men- tally corrected certain notes or acciden- In spite of extreme damage and decay, Fratelli Ruffatti restored the oldest pipe organ tals that were left uncorrected in the score. The resulting publication con- in Malta, built in 1579, to its original beauty. For the intriguing story, visit tained the errors. Certain reprinted edi- www.ruffatti.com/MaltaNews.htm tions contained corrections, others did not. This was a constant annoyance to Langlais who wondered if people would buy his music, knowing that there were many inaccuracies. Carolyn Shuster Fournier, musicolo- Corroded gist and titular organist of the Cavaillé- Coll choir organ at La Trinité Church in façade pipes Paris, presented “The Sainte-Clotilde are patched and Tradition: Neglected Links.” Dr. restored. Fournier, who accompanied Langlais on his 1983 tour of England, spoke of the choirmasters, choir accompanists, and titular organists at Sainte-Clotilde. Although the lineage of Franck-Tourne- mire-Langlais is most often recognized, Dr. Fournier cited titular organists Gabriel Pierné (titular 1890–1898) Distinguished pipe organ builders of Padua, Italy between Franck and Tournemire, and www.ruffatti.com Via Facciolati, 166 • 35127 Padua, Italy [email protected] Joseph Ermend Bonnal (titular 1942–1944) between Tournemire and Telephone (39-049) 750-666 Telefax (39-049) 850-483 In the United States: 330-867-4370 Langlais. Later in the lineage were
MAY, 2007 21 Joseph Ermend Bonnal, a French Organist-Composer: His Quest for Perfection Carolyn Shuster Fournier
This article is dedicated to my friend Example 1. Ermend Bonnal, Paysage landais, mm. 73–77 (Paris, A. Durand & Fils, 1904, Jacqueline Englert-Marchal, the daugh- printed with the publisher’s permission) ter of André Marchal, and in memory of her husband Giuseppe.
Son royaume n’était pas de ce monde, car la musique touche à de vastes et mys- térieux univers. Il vivait dans ce royaume féerique; il en était un des génies et son oeuvre variée, touffue, protectrice, ressemble à ces grands chênes séculaires qui, dans leurs frondaisons, abritent des peuples d’oiseaux. [His realm was not of this world, because music touches vast and mysterious uni- (1887–1979), Joseph Boulnois (1884– In 1902, Bonnal composed a Petite verses. He lived in this magical realm; he 1918), Felix Fourdrain (1880–1923), Rapsodie sur un theme Breton, Op. 6. was one of those geniuses and his works, 7 varied, complex, protective, resemble René Vierne (1878– 1918). They all had Dedicated to Guilmant, Bonnal had nev- large age-old oak trees which, in their studied with Louis Vierne (1870–1937), ertheless noted down “this popular foliage, shelter birds of all kinds.] the assistant of the organ class since 1894. theme at Conquet—in the Finistère, Ermend Bonnal’s tombstone inscription Vierne was quite aware of Tournemire’s during a trip to the Ouessant Island.”11 (by Pierre d’Arcangues)1 strong ties with Bonnal. The essentially impressionistic style of In October 1901, Joseph Bonnet this work marks a stylistic break with his His musical formation in Bordeaux (1884–1944), another of Tournemire’s earlier three Verses. Again, Tourne- Joseph Ermend Bonnal2 (Bordeaux, private students from Bordeaux,8 mire’s influence on Bonnal was quite July 1, 1880–Bordeaux, August 14, 1944) entered Guilmant’s class. Bonnal was strong: Tournemire’s own work, Le Sang was born into a musical family. His Photo 1. Joseph Ermend Bonnal (Photo: four years older than Bonnet, and they de la Sirène [The Siren’s Blood], Op. 27, father, Jean-Emile Bonnal (born in F. Morgan, in the E. Bonnal Association were undoubtedly friends since their which won a prestigious music competi- 1851), was an amateur violinist who invit- Archives in Saint-Victor-des-Oules, France) youth. Bonnal had written the critique tion sponsored by the city of Paris in ed his friends to his home twice a week to for the concert Bonnet had given on 1902, was based as well on a legend from play chamber music (Beethoven, Mozart, Pierre Church: according to their man- April 17, 1901, at Saint-Michel Church Brittany that was set on the Ouessant Haydn, etc.). He began to give his son uscripts,6 the first one, a commentary on in Bordeaux, where he was organist. Island. It also included modal themes. music lessons when he was five years old, the third verse of the Magnificat in E- They remained close friends throughout Bonnal had been fond of the Landes starting him on piano at the age of seven flat major, is based on a popular theme their entire lives. since his childhood vacations in Arca- (like his younger sister Marthe). At age that he had notated during one of his In July 1903, Ermend Bonnal and chon and developed a lifelong passion 12, Ermend Bonnal entered Gaston Sar- trips to Tournemire’s home on the Nadia Boulanger were both awarded the for this picturesque region. Like reau’s piano class at the Bordeaux Con- Ouessant Island (in the Finistère, the Second Prize in Organ at the Paris Con- Charles Bordes (1863–1909), Bonnal servatory and gave his first public recital western province of Brittany); the two servatory. During this period, Tourne- was one of the first musicians to incor- the following year, performing one of the others (respectively completed in May, mire wrote to Bonnal’s father to assure porate popular Landes traditional songs solos in J. S. Bach’s Concerto for Two 1895 and on November 2, 1896) were him that his son would successfully win a into his compositions: three such popu- Pianos in C minor. “Irresistibly drawn written for the Holy Thursday evening First Prize the following year: “[Il] tra- lar themes appear in this work. In 1903, towards the organ,”3 he began on his own service, during which the organist vaille remarquablement . . . et il est Bonnal composed his Rapsodie landaise to learn several of J. S. Bach’s preludes responds in G minor or in B-flat major doué admirablement.” [“[He] does out- for piano and orchestra. He dedicated it and fugues. to the Pange Lingua hymn. standing work . . . and he is wonderfully to a pianist from the Landes, Francis While continuing his musical studies, talented.”]9 In 1904, Tournemire faith- Planté (1839–1934), who performed it Bonnal received a general education and The Paris Conservatory fully continued to give Bonnal daily often. This important creation won the excelled notably in the field of literature Destined for a musical career by age lessons to prepare him for his First Prize Second Prize of the Society of Music and classical humanities. In 1894, at age 17, Bonnal was admitted into Charles in Organ (Interpretation and Improvisa- Composers, which awarded both Bon- 14, Bonnal met Charles Tournemire Wilfred de Bériot’s (1833–1914) piano tion) at the Paris Conservatory, which nal and Nadia Boulanger their Prix (1870–1939) on vacation with his family class at the Paris Conservatory on Octo- crowned his studies there in July. Tolède in 1905. in Bordeaux, his home town.4 Bonnal ber 25, 1897. Tournemire had studied According to Bonnal: Bonnal’s Paysages landais [Land- knew that he was in the presence of an with him ten years earlier. Knowing scapes from the Landes] for organ had exceptionally talented artist who was Bonnal’s desire to become an organist, Quel merveilleux professeur d’improvi- been published by A. Durand & Fils in animated by high ideals. In appreciation Tournemire continued to give him organ sation était cet être possédé par la joie de 1904. On January 26, 1905, Bonnet pre- créer librement, spontanément. 12 of Bonnal’s vast culture and musical tal- lessons so that he could leave Bériot’s . . . je recevais de lui une leçon quotidi- miered it on the E. & J. Abbey organ in ents, Tournemire offered him continu- piano class and enter Alexandre Guil- enne. Il me préparait des thèmes the large Salle Pleyel concert hall in a ous encouragement and advice. He pro- mant’s organ class in 1898. He also stud- soigneusement élaborés et souvent rem- concert organized by the Society of vided him with a solid organ technique, ied composition with Gabriel Fauré. plis d’embûches. Quelle n’était pas sa joie Music Composers. Dedicated to enabling him to become a substitute Guilmant (1837–1911) had developed quand je parvenais à en triompher, ou Tournemire, this piece in G minor organist at Saint-Pierre Church in Bor- an international career as an eminent lorsque je réussissais un bon développe- begins with a Franck-like melody on the deaux, where he himself had been concert organist, an excellent liturgist, ment, une jolie rentrée, une modulation Swell Trumpet. After a brief interlude organist at the age of 11. and a strict, disciplined professor. His imprévue! C’était alors en guise de récom- on the Voix Celeste, the theme appears pense, une promenade . . . sans préjudice In 1895, Tournemire dedicated to eclectic repertory, his knowledge of organ d’un bon petit dîner. in the tenor on the Positive Gambe cou- Bonnal one of his Six Piano Pieces, Op. building, and his colorful registrations Dans ces escapades, Tournemire n’était pled to the Great Harmonic Flute; it is 20: Le Ménétrier [The Strolling Fid- opened up endless avenues of lifelong plus pour moi qu’un camarade aussi, gai, then developed on the Great with the dler].5 The title of this Allegretto in D discoveries for Bonnal and his fellow stu- aussi primesautier que je l’étais moi- Swell foundation stops added, leading to major, a highly rhythmical musette, cer- dents: Louis Andlauer (1876–1915), même, avec dix ans de moins que lui.10 a high D-sharp in the Pedal, which tainly referred to Bonnal’s father. In Emile Aviné (born in 1879), Augustin becomes an E-flat. (See Example 1.) 1895–96, Bonnal composed three organ Barié (1883–1915), Auguste Bernard [What a marvelous improvisation pro- The final section begins on the Voix verses for the liturgical services at Saint- (born in 1877), Nadia Boulanger fessor, possessed by the joy of creating Celeste, with a bell-like motive in the with freedom and spontaneity. Pedal on soft 16′ and 4′ Flute stops, then . . . I received daily lessons from him. He ′ carefully prepared elaborated themes for ends peacefully on the Swell Bourdon 8 . me to improvise on, which were filled with Bonnal’s Reflets solaires [Solar pitfalls. He was filled with joy when I suc- Reflections], Op. 17 (completed in cessfully came up with a good develop- April, 1905), was composed in this same ment, a beautiful recapitulation of the spirit. It was dedicated to and pre- theme, an unforeseen modulation! To miered by Bonnet on March 17, 1906, reward me, we went for a walk . . . and then on the Mutin organ at the Schola Can- enjoyed a good, small dinner together. During these jaunts, he was a gay com- torum (in a concert organized by panion, as impulsive as I was, ten years his Société nationale de musique). The pro- junior.] gram of Bonnet’s concert at Saint- Eustache Church on January 22, 1911, The b e s t of the European tradition describes this piece: His early compositions Proudly made in America In addition to giving Bonnal organ En pleine justification de son titre, ce lessons in interpretation and improvisa- morceau nous dépeint les jeux et les rythmes du soleil dans les vitraux d’une tion, Tournemire also taught him com- rosace, sans toutefois que cet impression- 1003 Barnwood Lane position. In 1898, Tournemire encour- nisme nuise en rien à une construction aged him to become an active member Camillus, New York 13031 nettement musicale. Deux thèmes de car- of the Société des Compositeurs de actères opposés, le second présenté avec Musique. Between 1900–1902, Tourne- insistance dans la forme canonique. (315) 751-0505 mire dedicated an Offertoire in G major, www.lewtakorgan.com Op. 21, no. 5, to Bonnal. It appeared in [In full justification of its title, this piece a collection of 40 Pieces for the harmoni- depicts the reflections and rhythms of the sun in stained glass rose windows, without um entitled Variae Preces, which were allowing this impressionism to hinder the edited by Janin in Lyon in 1904.
22 THE DIAPASON clearly constructed musical form. Two On March 1, 1910, Bonnal performed Example 2. Ermend Bonnal, Reflets solaires, Op. 17, mm. 55–58 (Copyright J. Ermend themes of opposing character, the second three of his own Four Pieces, Op. 26 (all Bonnal, 1906, Mutuelle Edition) presented insistently in the canonic form.] but the second) in a concert organized Bonnet provided yet another dimension by the Saint-Jean Society in Paris. of this work, in the program notes of a Ermend Bonnal performed on the 15- concert he gave in Bayonne in 1930: stop house organ, built by Charles Mutin in 1909 for the home of Count Bérenger Cette pièce d’un grand lyrisme semble de Miramon Fitz-James (1878–1952). évoquer à nos yeux, le matin de Pâques: He lived on the Dumont-d’Urville “Le premier jour qui suit le Sabbat, les Street in the sixteenth district in Paris. Saintes Femmes vinrent au sépulcre alors que le Soleil était déjà levé,” dit l’Evangile He invited young artists with a First du jour. Le deuxième thème est traité en Prize in organ from the Paris Conserva- variations canoniques fort savoureuses, tory to give concerts with the quartet écrites avec une grande souplesse de con- Gaston Poulet and the violinist Joseph trepoint. Calvet, both close friends of Bonnal. The ists, he did not believe that most people Avec Ermend BONNAL, nous regagnons Count imposed “a religious silence that were talented enough to improvise dur- des sphères élevées. Voilà un musicien des [This highly lyrical piece seems to evoke a 16 plus personnels, un poète ému par la was appropriate for such events.” ing a recital and that the musical result nature, un être d’une sensibilité profonde vision of Easter morning: “The first day fol- Bonnal’s clear, distinct playing was was often quite poor.18 lowing the Sabbath, the Holy Women et émouvante. Ce grand modeste, artiste came to the tomb when the Sun had due to the fact that underneath his dans l’âme, est Bordelais—comme already arisen,” as is written in the Gospel absolutely legato melodic lines, he His departure for Bordeaux and TOURNEMIRE et BONNET—et il for the day. The second theme is treated in repeated certain notes in the accompani- Bayonne montre que Bordeaux enfante des êtres some quite enjoyable canonic variations, ment. This procedure is evident in many On August 19, 1903, Bonnal married généreux. Son passage à la classe de written with much supple counterpoint.] of his organ compositions, such as in his a second cousin, Suzanne Bonnal, a pro- GUILMANT fut celui d’un beau tra- Reflets solaires, in the following passage fessor of voice. They had two children. vailleur, doué également pour l’improvisa- tion et l’exécution. Il sortit avec un pre- In September 1908, Bonnal com- when the left hand plays the melody on What a coincidence that Tournemire mier prix sensationnel; jamais je n’ai com- posed in Switzerland his Four Pieces, the Positive Clarinet while the right hand also married in this same year, on 13 ′ ′ pris pourquoi il ne fit pas une grande car- Opus 26, for organ or harmonium: accompanies on the 8 and 4 foundation November 5, to his student Alice rière d’instrumentiste; il avait tout ce qu’il Allégresse (dedicated to Félix [Alexan- stops with 16′ and 8′ stops in the Pedal. Georgina Taylor (1870–1919). Although fallait pour cela. Comme compositeur, il dre] Guilmant), Prière et Choral (in (See Example 2.) Bonnal was renowned Bonnal seems to have earned an ade- révéla un tempérament tout à fait original, memory of Samuel Rousseau, with an as a stunning improviser, even on small quate living, he needed to solidly sup- exprimant sa pensée dans un style hardi additional version for organ and string organs, such as the one-manual Gaston port his family. Impassioned by teach- mais nullement excentrique; en ce qui quintet), Petit canon (to Placide Maille five-stop organ at Saint-Léon ing, he began to apply for positions as a regarde spécialement l’orgue, il écrivit 17 tout de suite des pièces significatives Thomas), and Petit Pastorale (to his Church in Anglet (near Biarritz). While conservatory director. Louis Vierne, comme Reflets solaires, par exemple.19 mother). To supplement his income, Bonnal highly approved of improvisa- who had dedicated his Canzona to Bon- Bonnal, under the pseudonym of Guy tions in church services, even consider- nal in 1913, regretted that he had not [With Ermend Bonnal we return to high- Marylis, began composing dance music ing them to be obligatory for all organ- pursued a concert career: er realms. Here is a musician with very for piano—waltzes, ragtimes, tangos— which was quite popular in Paris at the turn of the century. His early church positions Thanks to Tournemire, Bonnal sub- stituted for him in various Parisian Bach Week at St. Lorenz Lutheran Church parishes (notably for the Vesper ser- vices): at Saint-Nicolas-du-Chardonnet Church (beginning in Decembre 1897) Frankenmuth, Michigan and at Sainte-Clotilde Basilica (follow- ing Tournemire’s nomination as titular there, on Easter, 1898). Tournemire also arranged for Bonnal to become, in 1899, the official substitute organist at Sunday, May 13, 4:00 pm James Kibbie, organist Saint-Séverin Church for Albert Péril- hou (1846–1936), who played there Join us for an afternoon of organ works by J.S. Bach presented by until 1914 (along with Camille Saint- this masterful concert organist from the University of Michigan. Saëns). In 1901, Bonnal was named tit- ular at Saint-Médard Church, succeed- ing Maurice Blazy, who had been titular Tuesday, May 15, 7:00 pm St. John Passion there from 1892 to 1901.14 In 1903, Bonnal was appointed choirmaster at Join us for an unforgettable evening as the Bach Choir from Notre-Dame Church in Boulogne-sur- Seine (actually Boulogne-Billancourt). Valparaiso University, Christopher Cock, director, presents one of the monuments of the Bach choral repertoire. His first concerts Bonnal performed concerts on both piano and organ. As a pianist he often Thursday, May 17, 7:00 pm Ascension Day Bach Vespers performed chamber music, notably his Sonata for violin and piano15; already in Our week’s festivities conclude as the mass choirs of St. Lorenz 1897 he performed an Allegro (certainly its first movement) in Tournemire’s Lutheran Church combine forces with the Flint Master Singers home, 91, rue de Rome; Bonnal per- and the choir from Valley Lutheran High School in presenting formed often with the violinist and musicologist Eugène Borrel (1876– BWV 128, Auf Christi Himmelfahrt allein, in the setting of 1962). He also gave a concert with the Evening Prayer. Christopher Cock, director. organist Henri Letocart (1866–1945) for the Saint-Jean Society (for the Encouragement of Christian Art) in the workshop of the sculptor Edmond de Laheuderie. In 1912, Bonnal created La Noon Time Concert Series Quinte, a string quartet with piano, which gave chamber music concerts for Additional concerts will be presented Monday – Thursday at 12 Noon – 12:45 pm over ten years. In his solo organ recitals, Bonnal per- formed an eclectic repertory: in addi- tion to works by J. S. Bach and César Franck, he performed his own works as For further information please contact: well as those by his contemporaries. Scott Hyslop Two of his concerts at Saint-Pierre Church in Bordeaux give us a good idea St. Lorenz Lutheran Church of his programs: 1030 W. Tuscola Rd August 18, 1899: Frankenmuth, MI J. S. Bach, Toccata and Fugue in D minor J. Ropartz, On a Theme from Brittany 48734 S. Rousseau, Trio C. Tournemire, Symphonic Piece 989.652.6141 A. Guilmant, Invocation [email protected] C. Franck, Third Choral L. Vierne, Final from the First Symphony January 16, 1903: Vivaldi/J. S. Bach, Concerto in A minor A. Guilmant, Communion This concert series is presented through the generosity of the Leona Geyer Foundation C. Franck, Final C. Tournemire, Capricietto and Ite Missa All concerts are free and open to the public. est (from his 40 Pieces for the Harmoni- um, Op. 21).
MAY, 2007 23 personal gifts, a poet deeply moved by Bach. . . . Il fut l’un des premiers à donner the Trio Pasquier; it received the Grand nature, a man with deep and moving sen- à l’orgue contemporain une richesse har- Prix de Disque in 1935. sitivity. This grand and modest artist from monique, un éventail de nuances, une var- Among his piano pieces that were Bordeaux—like Tournemire and Joseph iété de registres saisissants et qui devait Bonnet—proves that this city has given us plus tard ouvrir la voie à un Olivier Messi- inspired by Basque folklore are 21 Berceuse des pins (1926) and the Petite people who are generous. While in Guil- aen, par exemple. 24 mant’s class, he was a hard worker, equal- Suite basque (1934). In 1938, Bonnal ly talented in improvisation and in inter- [Thanks to Bonnal, I had the privilege of produced Le Ballet basque. The Paris pretation. He left with a sensational First listening to the entire works of Franck for Opera had accepted this work due to Prize; I never understood why he did not the first time, which he interpreted in an the Count Miramon Fitz-James, who pursue a brilliant career as an instrumen- incomparable manner, unforgettable for sent the scenario for this ballet to its talist; he had all one needed for that. As a their greatness, their conception, their vir- director, Jacques Rouché,25 but the war composer, he revealed a great deal of orig- tuosity and their rich registrations. . . . His inality, expressing his thoughts with bold- tasteful and exquisite interpretations of prevented its presentation. ness, but by no means in an eccentric works by French organists from the 17th During this period, Bonnal remained manner. Concerning the organ in particu- and 18th centuries and countless immortal in contact with Tournemire who had lar, he wrote right away some significant pages of Bach were a revelation to me. . . . come to give a chamber music concert pieces, such as the Solar Reflections.] He was one of the first to give to the con- at the Théâtre Municipal in Bayonne on temporary organ a harmonic richness, a Saturday, April 12, 1924. Tournemire In spite of Bonnal’s robust physical con- wide range of nuances, a variety of fasci- accompanied on the piano his future dition, his constant good nature, his nating stops, which later prepared the way wife, Alice Espir (1901–1996), a violin- for an Olivier Messiaen, for example.] appreciation of good wine and gourmet ist with a First Prize in the class of Photo 2. Bonnal with his daughter meals, the asthma attacks that he had Lefort at the Paris Conservatory, as well Marylis in their home in Ene Gutizia endured since his childhood had On December 28, 1919, Bonnal pre- as a singer and a violoncellist, Yvonne (near Biarritz) in 1941 (Photo in the E. Bon- become more violent. In 1914, this ill- miered his Noël landais in a concert at Simonot. Tournemire and Miss Espir nal Association Archives) ness exonerated him from enlisting in Saint-Michel Church. According to the performed works by Buxtehude and the armed forces. In addition, he was program, Bonnal wanted to give its orig- Bach. Tournemire also accompanied court, Jacques Ibert, Adolphe Marty, becoming deaf. According to Norbert inal theme a simple character and the premieres of his own Poème for vio- Achille Philip, Albert Roussel, Charles Dufourcq, Bonnal possessed invoke the call of the shepherds during loncello and piano, his Mélodies based Tournemire and Louis Vierne— their march towards the star. This piece, on poems by A. Le Braz, and his Trio for awarded their prize of 5,000 francs to une intelligence supérieure, une culture composed in 1918 and published by violin, violoncello and piano. Bonnal Maurice Duruflé for his Prélude, Ada- des plus vastes, un coeur exquis et cette Durand in 1938, was dedicated to accompanied Miss Espir in the first per- gio et Choral varié sur le Veni Creator; haute et noble silhouette . . . et ses yeux Mademoiselle Jehanne Paris, organist of formance of his own Légende for violin a very honorable mention was given to lumineux et bons, qui parfois reflétaient Sainte-Eugénie Church in Biarritz. and piano, and also premiered his own Bonnal for his Paysages euskariens une naïveté d’enfant, parfois la douleur de 26 celui qui n’entend pas.20 During this period, Bonnal also com- Nocturne, Soir aux Abatilles for piano. [Euskerian Landscapes] (entitled posed numerous religious songs for In 1925–1926, Bonnal composed his Paysages Pyrénéens [Pyrenean Land- [a superior intelligence, a very vast cul- voice and organ or harmonium (occa- most important and his favorite work: scapes]), and congratulations were ture, an exquisite heart and this noble sil- sionally with violin and/or harp)—many his Poèmes Franciscains (Ariettes pour given to Henriette Roget for her Suite houette . . . with enlightened and warm settings of Ave Maria, O Salutaris, etc. les Anges) for soloists, choir and orches- sur un thème de l’office de Noël. eyes, which sometimes reflected a child- The year 1920 was a crucial turning tra, set to 19 mystical poems by Francis Impregnated with Basque folklore, like naïveté, sometimes the pain of those point in Bonnal’s life. His first wife died Jammes (1868–1938), the poet from Bonnal’s three Euskerian Landscapes who do not hear.] of tuberculosis in May. Thankfully, Bon- Béarn.27 These calm and noble medita- depict the peaceful Basque countryside, Fortunately, an effective hearing aid nal accepted the city of Bayonne’s tions that last 65 minutes evoke the with its green valleys and hills. The first, enabled him to continue his musical proposition to direct their School of major mysteries and the most beautiful La Vallée du Béhorléguy au matin [The career. Music, situated in the heart of the feasts of the liturgical year. On Decem- Béhorléguy Valley in the Morning], is Due to his chronic asthma, in 1914 Basque region, which Bonnal loved ber 27, 1926, they were performed at Bonnal’s most popular organ work. In Bonnal returned to settle in Bordeaux, dearly; he remained there for 21 years, the Théâtre Municipal in Bayonne. In the tonality of e (the transposed mode where he was named titular organist at until 1941. In addition to fulfilling his 1929, Bonnal won a composition com- of b), its poetical impressionism evokes Saint-Michel Church. In 1915, he gave functions at the conservatory, he contin- petition from the Society for the the serenity of the Béhorléguy peak, in over 100 benefit concerts throughout ued to compose, to teach and to play Advancement of Music in Synagogues the Basse Navarre, near Saint-Jean- France for the Red Cross. From chamber music: in 1922, he founded the in San Francisco, for his psalm Adon Pied-de-Port. The second movement, 1916–1920, Bonnal presented a series of Société des Amis de la Musique; in Olam, for soloists, choir and orchestra. Le Berger d’Ahusquy, is a calm pastoral organ recitals each Sunday at his church, 1931, he conducted the L’Association Tournemire was proud of Bonnal’s on the Flute stops with the Clarinet. during the mass at 11:15 a.m., like those des Concerts Jean-Philippe Rameau as achievements. On January 2, 1929, he The last movement, Cloches dans le of Bonnet at Saint-Eustache in Paris. In well as Les Chanteurs de la Renais- had written: “Et puis, comme disait ciel, is a virtuosic carillon in the vibrant spite of the war, over 100 concerts were sance, an orchestra of more than 70 pro- Liszt, il n’y a pas d’élèves, il n’y a que tonality of E. announced in the papers and their pro- fessional and amateur musicians. Due des collaborateurs.” [“And my dear On June 12, 1930, Tournemire wrote grams were printed. Bonnal performed to his demanding occupations, Bonnal friend, as Liszt said, there are no stu- to Bonnal, his student who had become an immense repertory, from the no longer composed for the organ. dents, there are only collaborators.”]28 a master: Baroque and Classic periods (works by In 1921, Bonnal remarried, to Hélène On March 22, 1929, he wrote to express Frescobaldi, Zipoli, Bach, Buxtehude, Chevenot, an art historian, a pianist and his admiration for his First String Quar- Votre oeuvre est grandiose. Le début, sur Pachelbel, Walther, Clérambault, de singer who was very religious. They had tet: “une oeuvre extrêmement un thème basque (peut-être de vous) est 22 d’une fraîcheur incomparable. . . . Votre Grigny, Roberday, Mozart) to the con- nine children. Their home, the villa intérieure, pleine de poésie, originale, 32 temporary period, with numerous pre- Amentcha (the “house of dreams”), was raisonnable . . .” [“an extremely interior- Toccata en pleine de force, de puissance. miere performances (of pieces by A. continuously open to visiting artists ized work, full of poetry, original, rea- [Your work is grandiose. The beginning, Barié, E. Bernard, P. Dukas, H. Mulet, from all over the world. sonable . . .”]. Tournemire had spent on a Basque theme (perhaps by you), has A. Périlhou, C. Quef, F. Schmitt, D. de two hours presenting it to his chamber an incomparable freshness . . . Your Toc- Séverac, F. de la Tombelle, L. Vierne). His mature compositions, music class at the Paris Conservatory. cata is full of force, of power.] His playing fascinated and inspired the influenced by the Landes When Tournemire had sent Bonnal young Henri Sauguet (1901–1989), who Bonnal continued to compose works one of the cycles of his L’Orgue mys- On the other hand, Tournemire discovered Franck’s organ works. based on Basque folklore themes: in tique,29 Bonnal responded, in a letter encouraged him to avoid composing in 1921, his Chansons dans le style landais; addressed to “mon bon Maître et Ami” Franck’s style, which leads to too many Son jeu me fascinait. Je lui dois d’avoir in 1929, his Chansons d’Agnoutine—a on March 25, 1929, long passages. He continued: entendu, pour la première fois, l’oeuvre cycle based on texts by Loÿs Labèque, a intégrale de César Franck qu’il interpré- poet from the Landes. Among his J’ai reçu l’exemplaire de l’Orgue Mystique Vous, vous êtes un maître. De plus, vous tait d’une manière incomparable, inoubli- et j’ai été émerveillé. Vous parlez une avez l’âge des grandes choses. Et votre able dans sa grandeur, sa conception, de chamber works, his two string quartets (1925 and 1934) were performed often langue nouvelle: l’orgue, ce qui semblait oeuvre m’a donné grande joie. Vous avez virtuosité, et de richesse des registrations impossible après pape Franck! Bravissi- écrit un chef d’oeuvre. qui lui étaient personnelles. Il m’a révélé by the famous French Calvet, mo! Merci aussi. la savoureuse et exquise littérature des Loewength, Pascalet and Parenin quar- 23 [You, you are a master. In addition, you oeuvres des organistes français des XVIIe tets; his String Trio (1934) was dedi- [I received the score from l’Orgue Mys- are at an age of great achievements. And et XVIIIe et tant de pages immortelles de cated to, premiered and recorded by tique and I was amazed. You speak with a your work filled me with great joy. You new language: the organ, that which have written a masterpiece.] seemed impossible after pope Franck! Bravissimo! Thank you as well.] On August 19, 1930, he offered a Petite Elevation to his daughter Marylis. According to a letter from Bonnal to (See photo 2.) In January, 1931, Bonnal Tournemire, written on February 27, had also composed a charming Petit 1930, Bonnal requested that the library Noël in A major. On February 3, 1931, of his conservatory order the complete Louis Vierne, the godfather of Bonnal’s collection of Tournemire’s L’Orgue daughter Mayette, wrote a letter to “his mystique. dear friend” Bonnal, congratulating him for his honorable mention. In spite of His compositions for Les Amis de Vierne’s recommendation, the Lemoine l’Orgue30 editors did not accept Bonnal’s triptych In 1930, Bonnal also composed a for publication. Durand published its triptych for the first composition com- movements separately in 1931.33 petition organized by the “Amis de It appears that after this competition, l’Orgue.”31 The candidates were to in preparation for their publication by compose a work in three movements Durand (January 1932), Bonnal rewrote in the form of a fantasy or a program- certain passages of his Euskerian Land- matic work. This competition took scapes and added the names of the ded- place on June 20, 1930, at the Institut icatees. The first movement was dedi- National des Jeunes Aveugles in Paris. cated to his friend and organ student, The following members—Gabriel Count Christian d’Elbée. Bonnal dedi- Pierné (president), Nadia Boulanger, cated the second movement to his dear Joseph Bonnet, Pierre de Bréville, friend, Count Bérenger de Miramon Alexandre Cellier, Claude Delvin- Fitz-James, the president-founder of
24 THE DIAPASON Example 3. Bonnal, Le Berger d’Ahusquy, mm. 106–109 (Paris: Durand, 1931, reprinted as a conservatory director in Belfort and members of the jury were Gabriel with the publisher’s permission) in Aix (where he was refused). On Feb- Pierné (president), Alexandre Cellier, ruary 3, 1932, Bonnal wrote to Tourne- Maurice Emmanuel, Arthur Honegger, mire to express his gratitude and ongo- Paul Le Flem, Henri Mulet, Henri ing support: Nibelle, Achille Philip, Gustave Samazeuilh, Florent Schmitt, and sans doute ma destinée est-elle de mourir Canon François-Xavier Mathias. An à Bayonne. Je m’en réjouirais au reste si honorable mention was granted to ma situation y était en rapport avec mes André Fleury for his Prélude, Andante charges familiales. Je vous remercie de tout Coeur de l’aide précieuse qu’une fois et Toccata, and congratulations were encore (après tant d’autres!) vous m’avez given to Daniel-Lesur for his work La généreusement et cordialement consentie. Vie intérieure. Bonnal’s symphony is a free para- [without doubt my destiny is to die in Bay- phrase in three movements that corre- onne. I would really be thrilled if my posi- spond to the following texts from Septu- tion was in keeping with my family agesima Sunday, the first of three Sun- expenses. I thank you from the bottom of days before the Lenten season: my heart for the precious aid (after so many others) which you have so generous- 1. In the midst of Life we deal with Les Amis de l’Orgue, who had advised awarded Bonnal the Charles Berthault ly and cordially granted.] him to rewrite its conclusion: Prize with 500 francs. Bonnal, however, Death. To whom can we turn if not to You, Savior, who has suffered so much for our was looking for other financial awards sins. . . . refaites un autre épisode médian—qui for his compositions. On March 29, On April 25, Bonnal admitted to 2. Holy and Merciful Savior, do not vous laisse dans le plein-air. . . . qui fasse 1932, he admitted in a letter to Tourne- Tournemire that he was behind sched- deliver us to a bitter death. Our fathers une trentaine de mesures et nous ramène mire that the private music lessons he ule and that he hoped to send some- le carillon. Il n’y a pas—si je ne m’abuse— have hoped in You, and You have deliv- de thèmes spécifiquement euskariens gave did not at all cover his expenses: thing to the next competition of the ered them. dans ce final—n’est-ce pas le cas d’en Amis de l’Orgue. In May, 1932, Bonnal 3. Our fathers have cried toward You; introduire un et ne tombez pas à la ren- . . . et vous n’êtes pas là pour m’encour- composed at Amentcha his most monu- they cried, and they were not disappoint- verse, si je vous dis que dans l’intérêt de ager . . . Je desespère parfois! . . . Alors, je mental work: his Symphonie d’après ed. Holy God, God full of strength, do not l’exportation, si un pâtre venait se m’endette terriblement . . . et je ne sais ce “Media vita,” Répons du temps de la deliver us to a bitter death. promener là dedans avec quelques que je vais devenir. Septuagésime in C-sharp minor. Mau- The first movement, rather slow and chèvres bélantes—mais bêlant ‘à la mys- rice Duruflé played it during the second very calm, presents two themes: the tique’, cela ne serait pas maladroit.34 [ . . . and you are not there to encourage me . . . I sometimes become desperate! . . . “Amis de l’Orgue” composition compe- first one is contrapuntal; the second is [. . . write another intermediary episode— Then, I am deeply falling into debt . . . and tition, which took place at Saint- like a chorale. In the second move- which leaves us in the open air. . . . which I don’t know what will happen to me.] François Xavier Church in Paris on June ment, a luminous trio—a sort of color- constitutes about thirty measures and 20, 1932. This time, Bonnal won First ful arabesque (with the Positive ′ 3 ′ which leads us to the carillon. There are He even began to apply for other posts Prize and received 4,000 francs. The Nazard, Flute 4 and Tierce 1 ⁄5 in the not—if I am not mistaken—any specific Euskerian themes in this last movement— wouldn’t it be appropriate to introduce ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD one? And don’t fall off your chair, if I tell you that, from a viewpoint of the export HENDRICKSON WOOD & GOULDING GARLAND FISK DYER R. DOBSON FRERES CASAVANT [of this work], if a shepherd began to walk around with several bleating goats—but bleating ‘mystically’, this would not be inappropriate.] This second movement, in total keeping with this letter, ends mystically with 28 measures on the Voix Celeste, with a solo on the 8′ Harmonic Flute. (See example 3.) The third movement was dedicated to André Fleury, titular organist at the Saint-Augustin Church in Paris. On February 16, 1931, Bonnal wrote to Tournemire that he had taken out all of the accents that were too Franck-like, but that he left all that could recall Tournemire, Fauré or Debussy: “cela c’est encore permis, paraît-il!” [“that it is still allowed, supposedly!”]. On February 28, 1931, Tournemire finally finished composing the 33rd office of his L’Orgue mystique, Op. 57 (for the eighth Sunday after Pentecost), which he dedicated “to his dear student and friend, an eminent musician, Ermend Bonnal, Director of the Bay- onne Conservatory.”33 Bonnal only received his personal copy on April 21. He immediately wrote to Tournemire:
Il n’y a pas une heure que le Facteur m’a remis mon office et déjà je le connais à fond, parce que je me suis précipité au piano pour le lire. Quelle belle chose claire, pure, lumineuse comme le ciel de mon cher pays basque! Oui, c’est vrai- ment cet office qu’il fallait me dédier! Thinking of Purchasing a Pipe Organ? Quelle poésie dans les morceaux courts et quelle joie dans l’Alleluia! Je suis très fier que mon humble nom soit inscrit en tête de tant de Beauté. Vous m’avez fait APOBA Can Help! un grand honneur et une grande joie. Laissez moi vous en remercier de toute la sincerité de mon Coeur ému, et vous From information for your architect through fund-raising, APOBA has helpful embrasser Filialement. publications concerning every aspect of an organbuilding project. [It was not yet one hour ago that the mail- man delivered my cycle and already I know it deeply, because I ran to the piano And, they’re FREE for the asking! to play through it. What a beautiful piece, clear, pure, full of light like the sky of my dear Basque country! Yes, it was indeed this service that ought to have been dedi- cated to me! The short pieces are so poet- To receive information about pipe organs ic and what joy in the Alleluia! I am very proud that my humble name be printed at A and recognized pipe organ builders the beginning of so much beauty. You P write or call toll free 1-800-473-5270 have rendered so much honor and great joy to me. Allow me to thank you most sin- O or on the web @ www.apoba.com cerely from my deeply moved heart, and I B embrace you as a brother.] A Associated Pipe Organ Builders of America P.O. Box 155 • Chicago Ridge, Illinois 60415 On June 15, Tournemire played the TT PARSONS QUIMBY REDMAN SCHANTZ SCHOENSTEIN TAYLOR & BOODY final “Alleluia” movement in a concert O at Sainte-Clotilde that was broadcast live on Paris Radio. NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP In 1931, the Institut de France had
MAY, 2007 25 Photo 4. Bonnal with his student Renée Gemain at the console of the organ at the Saint-André Church in Bayonne (1933) (Photo conserved at the Saint-André Church)
His adherence to the neo-classical PÉDALE (30 notes) organ 16′ Flûte Around 1930, Bonnal had been 8′ Flûte 16′ Bombarde appointed titular organist at Saint-André ′ Church in Bayonne, a neo-Gothic 8 Trompette church built 1856–1869. The 32-stop, Combination Pedals: Thunderstorm Pedal, three-manual organ was built in 1863 by G.O./Péd, Pos/Péd, Réc/Péd; Pos./G.O., the Wenner et Götty firm from Bor- Réc/G.O.; Réc./Pos; Réc/G.O. 4, Pos/G.O. 16. deaux (Georges Wenner and Jacques To activate the Reeds: on the Réc, Pos and Götty founded their firm in Bordeaux in G.O. To activate the G.O. keyboard. To acti- 1848). This organ was a gift to the city vate the Pos Mixtures; Réc Tremulant. from Napoléon III. When a vault col- Pistons under the G.O. keyboard: Soft Foun- lapsed above the organ loft in December dation stops, Foundations 8 and 4, Founda- 1895, Gaston Maille, who had taken over tions 8, 4 and 2, Tutti Plein-Jeu, General the Wenner firm in 1882, restored this Tutti. symphonic organ from 1898 to 1902; an electric blower was installed probably during the 1920s. (See photo 3.) Bonnal performed the inaugural In 1933, Bonnal supervised the recital on September 27, 1933: restoration of this instrument by Victor Gonzalez, in collaboration with André I. Marchal, who had a home in Hendaye, J. S. Bach’s Toccata and Fugue and Norbert Dufourcq, much of whose A Sarabande grave by François Couperin Father Martini’s Gavotte (for the new “car- family lived in Labastide-Clairence, a illon-like stop” [the Swell Plein-Jeu II]) Photo 3. The organ at the Saint-André Church in Bayonne (1933) (Photo conserved at village about 20 kilometers from Bay- N. de Grigny’s Trio en dialogue (utilizing the Saint-André Church) onne. Bonnal described its neo-classi- the Cromorne stop) cal aesthetic: D. Buxtehude’s Fugue in C major right hand, the Swell 8′ foundation chrétien. Ton œuvre, comme toutes les ′ précédentes du reste, témoigne d’une on the Swell, we added a Plein-Jeu II and stops in the left hand and the Pedal 8 35 II. ′ haute sincérité humaine et artistique. a Clairon that came from the Positive; on C. Franck’s Third Choral and 4 stops)—seems to express the the Positive, some new stops were hope mentioned in the text; after a sec- Tournemire’s L’Orgue mystique, Op. 57 [Your new work is magnificent, a very installed: Nazard, Doublette and Tierce, (nos. 1–4), which had been dedicated to tion on the Swell Voix Celeste with a deep, peaceful expression of great musi- replacing the Gambe, Trompette and him Flute 4′ in the Pedal, the piece ends on cality and poetry. You have brought out Clairon; for early music, the Clarinet was ′ Joseph Bonnet’s Epithalamé, Op. 5 (1909) an A-flat major chord with a quiet 16 the best in the beautiful melody and transformed into a Cromorne . . . The E. Bonnal’s Cloches dans le ciel (first public in the Pedal. The third movement, translated the feelings contained in the deteriorated pneumatic elements were performance). which uses themes from the other literary text as expressed by a great Chris- replaced with a modified tubular system tian artist. Your work, like all of your pre- which provided more rapid and perfect movements, becomes increasingly vious ones, testifies to an utmost human precision . . .36 On November 8, 1933, Bonnal’s organ flamboyant, leading to a free, lyrical and artistic sincerity.] students gave another concert: second melody on the Positive Clarinet 8′, followed by an arabesque on the Finally, this 35-stop instrument was Irène Darricau performed two pieces by Great Harmonic Flute 8′. After a pro- In this same letter, Bonnet advised Bon- entirely revoiced to give more fullness to J. J. Lemmens gressive crescendo with the theme nal to contact the publisher Leduc, who, the foundation stops and more distinc- Jeanne Larre (Vierne) Renée Gemain (Franck) announced tutti in the Pedal, two mea- thanks to Bonnet’s intervention, pub- tion to the reed stops. (See photo 4.) Marylis Bonnal [his daughter] (a piece by sures of silence and a brief return to lished this work in 1933. Bonnet played Périlhou) the Clarinet solo, there is a final dis- this symphony on numerous occasions, Saint-André Church, Bayonne Wenner et Götty / Maille (1902) / Mady Galtier, the organist at the Saint- tressful cry. Bonnal dedicated this work notably for a mass at Saint-Eustache Gonzalez (1933) Charles Church in Biarritz (a Bach to his friend Joseph Bonnet who great- Church in Paris on January 28, 1934. He Fugue) Christian d’Elbée (Franck’s First Choral) ly appreciated it: also recorded it for the BBC. Encour- I. GRAND ORGUE (56 notes) aged by these successes, which placed ′ Ermend Bonnal (his own Paysages Ta nouvelle œuvre est magnifique, d’une 16 Montre euskariens). him in the upper ranks of the French 8′ Montre grande profondeur de sentiment d’une ′ haute sérénité musicale et poétique. Tu as organ scene, Bonnal participated in a 8 Bourdon series of eight recitals organized by the 8′ Flûte Harmonique This beautiful organ has remained tiré un parti excellent de la mélodie si belle ′ et traduit les sentiments exprimés par le Amis de l’Orgue on the Mutin organ at 4 Prestant unchanged to this day and was classified 2 2 ⁄3′ Nazard texte littéraire sous l’âme d’un grand artiste Saint-Bernard College in Bayonne. ′ as a historical monument in 2001. 2 Doublette According to the present titular organist, Plein-Jeu IV Cornet V (C3) Etienne Rousseau-Plotto, in addition to 16′ Bombarde the French symphonic repertory, 8′ Trompette French organ music from the 1930s MANDER ORGANS 4′ Clairon sounds absolutely spectacular on this organ.37 II. POSITIF (56 notes) In 1933, the same year as the restora- 16′ Bourdon tion of the Saint-André organ in Bay- New Mechanical 8′ Principal ′ onne, Tournemire had requested the Action Organs 8 Bourdon Société Cavaillé-Coll firm to modify his 8′ Salicional 4′ Flûte own historic 1858 A. Cavaillé-Coll organ 2 at Sainte-Clotilde Basilica in Paris. 2 ⁄3′ Nazard 2′ Doublette According to an article by Bérenger de 3 38 1 ⁄5′ Tierce Miramon Fitz-James, following the Exquisite 8′ Cromorne reinauguration of this organ on June 30, Continuo Organs 1933, the following ten stops had been III. RÉCIT (56 notes) St. Peter’s Square added to this instrument: a Cornet on 8′ Cor de nuit the Grand-Orgue; a Tierce and a Picco- London E 2 7AF • England 8′ Violoncelle ′ ′ lo on the Positif; a Quintaton 16 , a [t] 011 44 20 7739 4747 8 Flûte Harmonique Nazard, a Tierce, a Plein-Jeu IV and a [f] 011 44 20 7729 4718 8′ Voix Céleste 4′ Flûte Octaviante Bombarde on the Récit; and a Bourdon [email protected] ′ 1 ′ 2′/1′ Plein-Jeu II 16 and a Quinte 5 ⁄3 in the Pedal. The 8′ Voix Humaine wind pressure was lowered on the Posi- www.mander-organs.com 8′ Basson-Hautbois tif, the Positif Unda Maris was trans- Imaginative Reconstructions 8′ Trompette Harmonique formed into a Salicional, and the Positif 4′ Clairon Clarinet was moved to the Récit. In
26 THE DIAPASON addition, a new console was installed L’Orgue in homage of Tournemire, pete. However, this competition was able to substitute for him. (See photo with three 61-note manuals and a 32- entitled “L’Homme et L’Oeuvre,” cancelled, due to the fact that many of 5, page 28.) note pedalboard, along with numerous which was published in March, 1940.41 the possible candidates were held as Bonnal felt that making music in pedal combinations. Following this In the summer of 1940, Sainte- prisoners or were demobilized in the French conservatories during this tragic restoration, a series of seven benefit Clotilde Basilica reopened. The organ free zone during the war, thereby pre- time represented a sign of hope for the recitals was given to help cover the was played during services by Bernard venting them from coming to Paris to future. He encouraged students to restoration expenses. On March 22, Schulé (1909–1996), an organ student officially apply for this post. This was, in maintain the following objectives: 1934. Bonnal ended the fourth concert, of Joseph Bonnet who was the titular any case, Daniel-Lesur’s situation. On given with the following artists who per- at the British Embassy Church since December 14, 1941, Norbert Dufourcq D’abord le travail et la discipline dans formed their own works: 1935 and who had substituted at wrote a letter to Jean Langlais, inform- l’effort: c’est à dire les deux ferments qui Sainte-Clotilde for Tournemire since ing him that the competition would forgent, grandissent et trempent les car- Daniel-Lesur – La Vie intérieure fall 1938. Schulé was a close friend of occur at a later date.43 actères, purifient et annoblissent les Olivier Messiaen – Diptyque ambitions. Ensuite: la recherche con- both Norbert Dufourcq and André Then it was decided that an interim stante de la qualité. Songez qu’il ne doit André Fleury – Prélude, Andante, Toccata Marchal.42 organist would be designated at Saint- Maurice Duruflé – Adagio and Choral varié pas vous suffire d’être d’excellents virtu- on the “Veni Creator” In 1941, Bonnal returned to live in Clotilde until a competition could be oses possédant de sérieuses qualités tech- Ermend Bonnal – Symphonie sur le Répons Paris, where he was appointed to work held after the war. When Sainte- niques, il vous faut devenir d’authen- “Media Vita” with Henri Busser as Inspecteur Clotilde reopened in February, 1942, tiques musiciens. Général de l’Enseignement Musical à Canon Verdrie, the church priest, La musique vous la découvrirez dans la In 1934, Bonnal was awarded the Prix la Direction des Beaux-Arts [General named Bonnal as titular without a com- pratique quotidienne, dans la fréquenta- tion permanente des grands musiciens, Durand (with Guy Ropartz) as well as Inspector of Musical Education for the petition, due to his fame as a well- des Bach, Mozart et Beethoven, pour n’en the Grand Prix of a wine competition in Direction of Fine Arts] throughout known and respected musician who had citer que trois parmi les plus grands. Vous Bordeaux for his Hymn au Vin. Bonnal France. Dufourcq then organized a been highly recommended by Count devez par la méditation fréquente, essayer then gave a series of prestigious organ competition to determine Tournemire’s Bérenger de Miramon Fitz-James. d’entrer en communion avec l’âme de ces concerts. On March 28, 1936, he per- successor at Sainte-Clotilde. It was sup- After his nomination to this prestigious grands humains qui furent de très grands formed a recital on Emile Bourdon’s posed to take place on December 20, post, Bonnal thus became the successor penseurs. N’en jouer, même parfaitement, organ at the Monaco Cathedral. On Sep- 1941, precisely at 1:30 p.m. According to his lifelong friend and professor, que le texte musical, c’est n’en connaître tember 1, 1936, he inaugurated, with to the announcement, the public was Charles Tournemire.44 According to que la lettre, mais cela ne suffit pas, il vous faut en rechercher l’Esprit. André Marchal, the organ restored by invited to attend with free admission; Bonnal’s daughter Marylis, numerous Soyez donc très ambitieux spirituelle- Victor Gonzalez at the Bayonne Cathe- the church was to be heated. The can- prominent musicians encouraged him ment et vous aurez un jour la surprise de dral. On January 28, 1937, he performed didates (Jean Langlais, Antoine to accept this post (notably Norbert découvrir la musique là où elle se trouve, his own La Vallée du Béhorléguy au Reboulot, and Daniel-Lesur) were to Dufourcq, Béranger de Miramon Fitz- en son seul domaine qui est celui des matin in the eighth concert of La Spirale improvise a prelude and fugue and the James, André Marchal, Noëlie Pierront, mouvements de l’Ame, de la connaissance at the Schola Cantorum, with his fellow verses of a hymn and to perform a work Gaston Poulet, René Calvet). Bonnal humaine . . . en un mot: de la poésie! colleagues: Jehan Alain (Suite), Olivier each by Bach, Franck, and Tournemire. rarely remained in Paris since he often Je n’ai jamais oublié ce mot admirable que me dit un jour mon cher ami Paul Messiaen (Jules Le Febvre’s Prélude, Daniel-Lesur, who was supported by traveled throughout France to inspect 45 Aria et Final and selections from his La Olivier Messiaen, was hoping to com- conservatories. Thankfully, Schulé was Dukas: “il n’y a pas d’art sans poésie.” Nativité du Seigneur [Les Bergers, La Vierge et l’Enfant, and Les Anges]); Daniel-Lesur premiered his own Cinq Hymnes; Jean Langlais, his own Hom- mage à Francesco Landino and Mors et resurrectio; and André Fleury, his own Deux mouvements (Très lent and Vif et agité). How exciting it must have been to attend this concert! On April 26, 1937, Bonnal inaugurated the Debierre organ in the Preparatory School at the Aire- sur-Adour Seminary. In the mid 1930s, both Bonnal and Tournemire were drawn to St. Francis of Assisi. On July 19, 1933, Bonnal had thanked Tournemire for having sent him his Fioretti pieces:
J’admire qu’après le monument qu’est l’Orgue mystique vous puissiez écrire d’autres pièces en renouvelant encore votre style. Une telle abondance dans sa richesse est une chose magnifique et si rare qu’on ne l’avait pas vue depuis Bach! Quel haut exemple vous êtes pour nous: vos dis- ciples! Donc merci mon bon maître et ami d’être la lumière qui nous aide à avancer dans la voie difficile, mais belle! [I admire that after the monument which is the Orgue mystique that you can write other pieces while continually renewing your style. Such a rich abundance, so mag- nificent and rare, has not been seen since Bach! What a noble example you are for us, your disciples! Therefore, thank you my dear master and friend to be such a light which helps us to advance on the difficult but beautiful path.]
A year and a half later, on May 7, 1935, Bonnal’s Franciscan Poems39 were performed in a concert at the Grand Théâtre in Bordeaux, broadcast live on the radio. That same year, Tournemire and his second wife, Alice, became members of the third order of Saint Francis of Assisi. In 1937, Tournemire finished a theatrical work that crowned his career: Il Poverello di Assisi, Op. 73 (five lyrical episodes in seven scenes on a text by Joséphin Péladan).40 Both Bon- nal’s and Tournemire’s two monumental works, centered around this great saint, certainly prepared the way for Olivier Messiaen’s future opera Saint François d’Assise (1983). His positions in Paris In 1938, the French Institut awarded Bonnal the coveted Prix Lassere for his compositions. On September 3, 1939, the Second World War broke out. On November 3, Tournemire died mysteri- ously, leaving the organist post vacant at Sainte-Clotilde Basilica in Paris. Howev- er, since the government had closed the church (which was located just across from the Ministry of War) for fear of bombings, no successor was named. Bonnal did indeed write a text for
MAY, 2007 27 Photo 6. Bonnal with the Dupouy family and the members of Joseph Calvet’s quar- tet. First row: J. Calvet, E. Bonnal, Jean Dupouy; second row: Mr. Recasens, Jean Champeil, Janine Dupouy, Mr. Husson, Mr. Cohort (a friend and musician from Saint-Sever) (Photo: Madame Janine Dupouy)
Improvisation on a given theme (by E. Bon- onne, with the singer Madame Malnory- nal) Marsillac, the program included works by Bach, Couperin, Franck, Tourne- E. Bonnal: O Salutaris mire, and Bonnal (the second movement Josquin des Près: Ave Vera Virginitas E. Bonnal: Tantum Ergo (in the Basque of his “Media Vita” Symphony). On May style) (sung during the exposition and 15, 1952, Marchal performed another benediction of the Most Holy Sacrament) concert on the Saint-André organ in To conclude, Bonnal played J. S. Bach’s Bayonne, in Bonnal’s memory, with Chorale on the Veni Creator (most cer- commentaries by Norbert Dufourcq, for tainly his Fantasia super “Komm heiliger the Jeunesses Musicales de France. This Geist, Herre Gott,” BWV 651). group was highly promoted in the Basque region by Bonnal’s very close Photo 5. Bonnal at the console of the Sainte-Clotilde organ after his nomination Following this concert on July 31, friend, Joseph Calvet. Marchal’s eclectic (Photo: Janine Dupouy) Bonnal went to Saint-Sever to rehearse program displayed the various tonal col- for a “Grand Concert Spirituel” that he ors of this organ: [First of all, one must work and disci- beautiful A. Cavaillé-Coll organ there in was planning to give on Friday, Septem- pline one’s efforts: this will forge, 1898—who died at the end of World ber 8, 1944, at the Abbatial Church Louis Couperin - Chaconne in G minor expand and solidify one’s character, War II), and his son Jean Dupouy there, in collaboration with the Calvet François Couperin – “Kyrie,” 5 verses from purify and ennoble one’s ambition . . . (1896–1965), who succeeded him. Quartet and the Parish Schola directed the Mass for the Parishes Constantly search for quality; it’s not J. S. Bach – Chorale: Christ lag in Todes- enough to be an excellent virtuoso with Ambroise Dupouy’s daughter Jeanine, by the organist Jean Dupouy. The pro- banden a serious technique, you must become born in 1922, took daily lessons with posed program: C. Franck – Prélude, Fugue et Variation authentic musicians. Bonnal and her father. She has testified Louis Vierne – “Final” from the First Sym- You must daily discover the great musi- to Bonnal’s rigorous and severe I. phony. cians: Bach, Mozart and Beethoven, to approach, emphasizing his noble ideas J. S. Bach: Toccata and Fugue (in D minor) mention only these three among the great- and his meticulous care concerning In 1975, Ermend Bonnal’s body was est. Through frequent meditations, you II. details of touch, phrasing and fingering. N. de Grigny: Trio en dialogue transported from Bordeaux to the must try to enter in communion with the At the beginning of his summer vaca- Arcangues cemetery, in the Pyrenees souls of these great people who were very F. Couperin: Sarabande grave great thinkers. It does not suffice to play tion in 1844, Bonnal gave an organ con- N. Clérambault: Dialogue du 1er Ton mountains, an area he loved dearly. For the musical text perfectly, this only allows cert with Jean Etchepare’s Double Vocal Cl. Balbastre: Noël (“Joseph est bien marié”) this occasion, Henri Sauguet rendered you to know the letter; you must look for Quartet at Saint-André Church in Bay- homage to Bonnal’s positive inspiration the Spirit. onne on Monday, July 31, 1944 at 3:45 III. on his own personal career as well as his Dare therefore to be spiritually ambi- p.m. This may seem like an odd time to Händel: Sonata (in D major) for organ and contribution to 20th-century French tious and you will one day be surprised to give a concert, but this was due to the violin (with Joseph Calvet) music. Sauguet evoked Francis discover that music belongs to the exclu- fact that many of the organ concerts in IV. Jammes’ poem written in homage to sive field . . . of poetry! churches at that time served as an intro- Ermend Bonnal: I’ll never forget the admirable words of E. Bonnal: Paysage landais my dear friend Paul Dukas who told me duction and a conclusion to the exposi- Noël landais one day: “There is no art without poetry.”] tion and benediction of the Holy Sacra- Improvisation (on a given theme) Taillé dans le dur bois d’un chêne har- ment. Bonnal’s eclectic programs com- monieux, bined classical music with the popular V. Ton pur profil, Bonnal, se confond avec Maurice Ravel: Quatuor (played by the Cal- l’orgue; During the war, Bonnal took his vaca- traditional Basque repertory: Mais de nous déchiffrer le silence des cieux tions each August at Saint-Sever (in the vet Quartet during the exposition and J. S. Bach: Toccata and Fugue (in D minor) benediction of the Holy Sacrament) Ne te remplis jamais de vile et sotte morgue. Landes). He stayed in the home of At the end, Bonnal had programmed C. Comme aux astres, le jour, voilés par leur Father Binsoll, the priest in Arièle, a C. Franck: First Choral A Basque Cantique (sung by the Double Franck’s Final. pudeur, nearby village. Each day, Bonnal visited Vocal Quartet) L’ombre est ce qui convient à ta noble carrière. his dear friends Ambroise Dupouy C. Franck: Second Choral Ah! que tombe la nuit, et toute ta splendeur (organist at the Abbatial Church in E. Bonnal: Joie et Joie for a men’s choir, set During his visits to rehearse in Saint- Saura la consteller de notes de lumières. Saint-Sever since 1840—who was to a text by Loÿs Labèque Sever, the following photo was taken Third Choral [Carved in the hard wood of a harmonious responsible for the installation of its C. Franck: (See photo 6). oak tree, Unfortunately, Bonnal’s deteriorat- Your pure profile, Bonnal, is merged with ing health, due to his many personal the organ; sacrifices and concerns during the war, But we must fathom the silence of the heavens provoked a stroke that led to his death Which never fills you with a vile and foolish in Bordeaux, on August 14, 1944. This arrogance. occurred just two and a half years after Like the stars, during the day, veiled by their his appointment to Sainte-Clotilde46 modesty, and only twelve days after Joseph Bon- Darkness is most suitable to your noble 47 career. net’s own death. In the midst of the Ah! May the night fall, and all of your splen- liberation of Paris, Bonnal’s daughter dor Marylis learned about her father’s Will spangle it with enlightened notes.] death while listening to the radio! Dur- ing this difficult time, Bonnal was Conclusion buried in Bordeaux. Joseph Ermend Bonnal belonged to a In 1945, Bonnal’s wife Hélène moved generation of artists from Bordeaux who with her young children to Anglet. She possessed a high degree of moral perfec- survived, thanks to the generosity of an tion in their art and in their personal AHIGHER L EVEL of E XCELLENCE American organist, Mr. MacEvans, who lives. They all shared a common, spiritu- was an officer in the American Army. He al artistic vision, devoid of material also directed a choir at the American ambitions, only desiring to serve music Great musicians need extraordinary instruments University in Biarritz. To this day, Bon- with deep, devoted love and passion. nal’s family is still extremely grateful for Inspired by the renewal of both tradi- to deliver magnificent performances. Mr. MacEvans’ kindness. In addition, tional and early music, Bonnal formed André Marchal gave several benefit con- numerous musical societies to promote P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com certs for Bonnal’s family. On September this repertory. He left us an important 18, 1949, at Saint-André Church in Bay- heritage of deeply poetical pieces
28 THE DIAPASON inspired by the rich culture of the 1876–April 4, 1943, Gustave Samazeuilh (June 2, 22. His son François is director of the Chambéry Bonnal Association Archives. 1877–August 4, 1867), Joseph Bonnet (March 17, Conservatory. Many of his grandchildren are profes- 35. Joseph Bonnet, “Letter to E. Bonnal,” August Basque region. The intact organ at Saint- 1884–August 14, 1944) and Henri Sauguet (May 18, sional musicians. 10, 1932, in the Archives of the E. Bonnal Associa- André Church in Bayonne testifies to his 1901–June 22, 1989). 23. Bonnal’s two string quartets were recorded by tion. adherence to the French Neo-Classical 5. This piano piece was published separately in the Debussy Quartet (ARN 68504, 1999). Another 36. Published in the Gazette de Bayonne on Sep- Marseille by Georges Kaufmann in 1900. recording of his chamber music (String Trio, tember 21, 1933. Cf. Etienne Rousseau-Plotto, “Un organ. A prominent composer, music 6. Conserved in the collection of the Biblio- Légende, Sur le lac triste, Improvisation for violin Chef-d’oeuvre méconnu: les grandes orgues de educator and administrator, a first-rate thèque Nationale, this manuscript has not yet been and piano, Petit poème for violin, viola and piano, l’église Saint-André,” in Bulletin du Musée basque, improviser and performer, Bonnal was catalogued. Op. 29, and Bosphore for violoncello and piano, is by no. 151, premier semester 1998, pp. 5–32. indeed a dignified successor to his mas- 7. The author thanks Brigitte de Leersnyder for the Séraphin Trio (Pavane Records, ADW 7389, 37. To contact the organist of the Saint-André her details concerning the dates and names of the 1996). Church, who is secretary of the Amis de l’Orgue ter and friend, Charles Tournemire, as students at the Paris Conservatory. 24. His Basque Suite was recorded by the Sym- Impérial of Saint-André in Bayonne, write to Mon- titular organist at the Sainte-Clotilde 8. His father, Pierre-Georges Bonnet phonic Orchestra of the Annecy-Chambéry Conser- sieur Etienne Rousseau-Plotto:
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MAY, 2007 29 Cover feature
A. E. Schlueter Pipe Organ Company, Lithonia, Georgia GREAT 16′ Gedeckt (Sw) Episcopal Church of the Advent, ′ Madison, Georgia 8 Principal 8′ Harmonic Flute (Bourdon bass) Many who are familiar with our work 8′ Gemshorn (Sw) will know us as a progressive firm that is 8′ Gemshorn Celeste (Sw) building some respectably sized instru- 4′ Octave ments. Our current contract book 4′ Gedeckt (Sw) includes over 400 new ranks including a 2′ Super Octave (Gemshorn) five-manual, a four-manual, several III Cornet (Sw) 1 II–III Mixture 1 ⁄3′ (159 pipes) large three-manuals, and a couple of ′ mid-sized two-manual organs. Large 8 Trompete (Sw) 8′ Hautbois (Sw) organs have their unique challenges and Swell to Great 16′ offer the opportunity to work on a large Swell to Great 8′ tonal and visual canvas. Our firm is Swell to Great 4′ grateful for this work and the opportu- nity to contribute to organbuilding in a SWELL meaningful and quantitative manner, 16′ Gedeckt (ext) 8′ Gemshorn and I would invite visits to our website ′ to see some of these exciting projects. 8 Gemshorn Celeste 8′ Gedeckt However, I must confess that the 4′ Fugara (ext) small instrument has a great deal of 4′ Spitz Flute (37 pipes) allure in its challenge. In a large organ, 2′ Nazard the stop relationships can be more pre- 2′ Block Flute (24 pipes) 3 ′ scribed in their given roles. In a small 1 ⁄5 Tierce 1 ′ organ, stops must be dual-natured 1 ⁄3 Quint 16′ Basson-Hautbois (ext) chameleons to be truly effective. The ′ instrument designed for the Episcopal 8 Trompete 8′ Hautbois Church of the Advent in Madison, Tremulant Georgia, is such an organ. This instru- ment required much attention to the PEDAL subtleties in stop design and voicing in 16′ Subbass this intimate worship space. A. E. Schlueter organ, Episcopal Church of the Advent, Madison, Georgia 8′ Octave (Gt) For those not familiar with the his- 8′ Gemshorn Sw) 8′ Gedeckt (Sw) toric Georgian town of Madison, it is ′ located directly on the route followed by 4 Octave (Gt) 4′ Harmonic Flute (Gt) William Tecumseh Sherman on his 2′ Octave (Gt) “March to the Sea” during the Civil War. 16′ Basson-Hautbois (Sw) This campaign resulted in very little pre- 8′ Trompete (Sw) Civil War architecture being left in 4′ Trompete (Sw) Georgia along the soldiers’ route. Madi- 4′ Hautbois (Sw) son would have been burned, except 2′ Hautbois (Sw) Great to Pedal 8′ that the former U.S. Senator Joshua Hill ′ was in residence in Madison and per- Swell to Pedal 8 suaded Sherman to spare the city. Local folklore today has residents referring to the city as “the town too pretty to burn.” The Episcopal Church of the Advent in Madison also has an interesting histo- ry. The first church building on the pre- sent church grounds was built in the late 1820s for the Methodist Episcopal Church. This frame building was replaced by the present brick edifice in the early 1840s. The property changed hands to the Christian Church in 1900 and later to the Episcopal Church in 1961. At this time there were alterations to the building evocative of elements of the historic Bruton Parish Episcopal Nameplate and keyboards Church in Virginia. Later alterations to the sanctuary included the building of a larger rear gallery in the 1993. The new gallery provided the possibility for a small central location for an instrument. Amidst the amalgam of architectural changes was a need for an organ design that would be at home even with diver- gent architectural styles. This is a mod- est-size building with a seating capacity Episcopal Church of the Advent, Madison, Georgia of about 200 including the choir. Our firm was one of several called to rus, a flute chorus, a string and compan- mixed materials (wood and metal), vari- present ideas for an organ for Church of ion celeste, a primary and secondary able scales, and careful voicing allow for the Advent. The instrument would not ensemble/solo reed, and adequate pedal the full effectiveness of this tonal design. be large but would need to serve the var- with two 16′ registers. This was a tall The location of this organ would ied music needs of this parish. Our firm order for the small dimensions allowed require a freestanding case that would very strongly considered mechanical for the organ case. We conceded that have to find its place within the church action for this instrument. However, it unification and duplexing would be architecture. I have often enjoyed the was clear that the space allocation would important considerations in developing study of older American instruments allow only a relatively small mechanical- the specification desired by the church. and their builders’ choices to blend Drawknobs and side tower action instrument, and there was a However, it was important that our styles of architecture across many lines. strong desire by the church for an instru- design maintain division independence Towards this end we chose to very ment of larger size and tonal breadth. In and minimize octave parallel borrows loosely embody the work of organ the end we chose a case motif that was within a division. For example, the design elements that would have been traditional, but a key action that would Great divisional can be registered with prevalent in the late 1700s to early allow a larger stoplist and more generous principals, flutes and reeds at 16′, 8′, 8′, 1800s. In effect, we used the design of scales due to flexibility of layout. 4′, 4′, 2′, mixture II–III, reeds 8′, 8′ for the organ case as a temporal bridge The tonal concept of the organ was congregational accompaniment without between the 1700s and the 1800s. jointly drawn up by Arthur Schlueter III the presence of parallel borrows. The space allocated for the organ was and Carl Klein, consultant, to support The organ is conceived as a one-man- 10′ tall, about 12′ wide, and 7′ deep. organ literature as well as congregation- ual instrument duplexed to two manuals Because the balcony location defined al and choral accompaniment. The under one common expression, except the proportion of width to height, it organ contains 15 ranks and was con- for the unenclosed Great 8′ Principal. became important in the design to give ceived to provide the resources that are This expressive treatment allows unique a feeling of loft belied by the actual pro- normally found in a much larger instru- duplexing of organ stops. As an example, portions of the organ case. This was ment while maintaining independence the Swell 8′ Gedeckt plays as the 4′ accomplished by the careful placement of choruses that is usually not found in a Gedeckt in the Great, and the Swell 8′ of the individual façade pipe elements. smaller instrument. We challenged our- Gemshorn plays as the 2′ Octave in the The exposed façade pipes are all func- selves that the two-manual instrument Great. Our guiding intent was to allow tional and are from the 8′ Principal rank should have a complete principal cho- divisional independence. Stop design, of the organ. Some of the pipes in the Pipe shades
30 THE DIAPASON this organ installation: Loree Reed, Rector, Episcopal Church of the Advent; the organ selection committee; Carl Klein, organ consultant. —Arthur Schlueter III
A. E. Schlueter Pipe Organ Company staff: Art Schlueter Jr., president Arthur Schlueter III, vice president/ tonal and artistic direction John Tanner, vice president of produc- tion/tonal finisher Howard Weaver, senior design engineer Bob Parris, executive assistant Shan Dalton, office manager/adminis- trative assistant Katrina Thornton, financial secretary Barbara Sedlacek, office support Patty Conley, marketing, sales, relay wiring Rob Black, master cabinetmaker/organ engineering Jeffrey Chilcutt, CNC operator Keydesk Mark Montour, woodwright Rick Peterson, woodwright Drawknobs and keyboards Carlos Inestroza, assistant woodwright Marc Conley, production supervisor bass octave of the 8′ Principal were accomplished with several repeat trips to Bud Taylor, assistant production super- internally haskelled, which enabled us work with the pipes and then evaluate visor to position the pipe mouths above the the results. We find that this method of Al Schroer, voicing, tuning and service, balcony rail to avoid a “stove pipe” look tonal finishing results in a finer degree of organ assembly to the right and left of the organ case. voicing than is possible from one concen- Bob Weaver, tuning and service, assem- This allows the pipes to remain an iden- trated trip. The organ was tonally fin- bly and leathering tifiable element that contributes to the ished under the direction of Arthur Kevin Cartwright, tuning and service, design of the organ case. These pipes Schlueter III, Daniel Angerstein, and assistant voicer are finished silver with gold mouths. John Tanner with input from Carl Klein. Dallas Wood, tuning assistant, organ The carved pipe shades break up the The organ dedication service was assembly visual weight of the organ case and played by Carl Klein, with members of Sam Polk, tuning assistant, organ assem- again were designed to minimize the the Atlanta St. Mark’s United Methodist bly proportions of width to height to give Church Choir and music ministry, Joe Sedlacek, Sr., console wiring the organ case a less weighty appear- under the direction of Gary Arnold. The Joe Sedlacek, Jr., console wiring ance. The carved pipe shades are loose- major donation for this instrument was Michael DeSimone, leathering, assem- ly modeled after the work of early east- in memory of Michael A. McDowell, bly ern United States organbuilders and are who served as organist for St. Mark’s Dustin Carlisle, reservoir assembly and finished in antique gold to soften their Church for many years. Members of leathering visual impact against the case and gold- Mr. McDowell’s family were present for Kelvin Cheatham, parts assembly, wood gilded pipe mouths. The organ case is the organ dedication service. His Epis- finisher built of mahogany with a light stain. The copal family was originally from Madi- Jorge Sandoval, parts assembly, leather- woods are designed to develop a natur- son and found the gift of this organ to be ing Interior pipework al umber as it ages with the church. a fitting honor to his service in the min- Wilson Luna, parts assembly, relay and With the location of the choir on the istry of music. The members of the chest wiring side of the case, the organ was built with Schlueter family and firm would like to Norma Renteria, parts assembly, chest expression openings to the side of the express our appreciation to the all of the wiring, leathering case in addition to the front. With virtu- participants that enabled this instru- Ruth Lopez, parts assembly, leathering ally all of the resources of the organ ment to be placed in the service to God. Mike Ray, electronics technician under common expression, a rich The A. E. Schlueter Pipe Organ Com- Herb Ridgely, Jr., sales and support palette of resources is available for pany was founded in 1973 and is located staff choral accompaniment. in Lithonia, Georgia. “Soli Deo Gloria” Don Land, sales and support staff The console is modeled after early was incorporated into our corporate seal Richard Stewart, sales and support staff American design and stop layout. to remind ourselves and others of why Although older in appearance by design, we build these instruments for worship. Photo credit: Patty Conley the console incorporates numerous mod- As we have discussed in previous arti- ern features for the convenience of the cles, the building of an instrument is not The firm can be contacted at: organist. These include transposer, mul- the result of one person’s efforts but the A. E. Schlueter Pipe Organ Company tiple memory levels, and record/playback work of a team of artisans. In this regard, P.O. Box 838 capability. In the design of the console our firm is truly fortunate. Lithonia, GA 30058 we were very careful to consider the A. E. Schlueter Pipe Organ Company (800) 836-2726 issue of sight lines. The layout of the bal- wishes to acknowledge contributions to www.pipe-organ.com cony required the organ in the center and the choir to the left of the organ case. The space allocation would not On a personal note allow a separate detached console with- I first saw the Church of the Advent out displacing choir members. The only when I was 17 years old and was imme- viable choice was an attached console, diately smitten with the simple elegance but this left the question of what type of of this space. It was so unlike much of design. On a small instrument we built the regional architecture that I was Side tower for Lumpkin United Methodist (II/9) in accustomed to. I well remember talking Lumpkin, Georgia, we had a simple key- with the rector about an organ, and he desk with a vertical drawknob arrange- said that it was a consideration at some ment. In this instance, such a layout point. I have included for the amuse- would create a major sight line issue ment of the readers a simple sketch that between organist and choir. Our choice I penned when I was 17 with the idea of was a terraced drawknob design with the what I might do in the room if given the console body thrust rearward out of the opportunity. An interesting point is that case to allow a better sight line to the as an organbuilder you cannot walk into choir. This has allowed the organist to be a space without considering “where able to see the majority of the choristers. would the organ go?” I had a penchant Prior to building the console we built for putting some of my “doodles” to models of the organ console to assess the paper to convey general ideas and cred- comfort of registration and sight line and it my father for preserving some of my make necessary adjustments to maximize early notes and thoughts, which I later those features. To minimize width and found at the back of the file on this allow ease of stop registration, the church. I am certain that many of my this date. I must confess that I feel very drawknobs are limited to rows of seven esteemed colleagues would have similar humbled to look at the initial idea on the horizontal spread and four rows stories and napkin sketches to go along “sketch” from my youth and the organ on the vertical spread. The turned with them. It is amazing to me to go for- that now graces this space. It truly lets Macassar ebony drawknobs with oblique ward with the passage of time and the me know how very fortunate I am to be heads are positioned at a slight angle events that allowed the design and a builder of instruments for worship. It toward the performer. Careful attention installation of the organ. From my first is not the size of the instrument or the to these details resulted in a console that visit to the church, seven years would perfect organ case but rather the oppor- is very comfortable to register and play. pass during which the church would tunity you are given to use one’s talents The organ was scaled by Arthur build the rear gallery to allow the instal- to leave a thumbprint that will be here Schlueter III. As is the practice of our lation of the organ that ultimately would after you are gone. I am very blessed. Pipe shades firm, the tonal finishing of the organ was be completed almost 16 years beyond —Arthur Schlueter III
MAY, 2007 31 New Organs
• Respect for Tradition • Vision for the Future • Passion for Reliability
• Enabled with Innovative Technology M. L. Bigelow & Co., Inc., GREAT American Fork, Utah 16′ Bourdon (1–24 = Pedal) First Presbyterian Church, 8′ Open Diapason* (F–A in façade) 8′ Chimney Flute (wood bass) Clarksville, Tennessee ′ This firm’s first chamber installation 8 Gemshorn WE BELIEVE BACH WOULD APPROVE. 4′ Octave* stands behind the 1878 Henry Erben 4′ Conical Flute* 2 façade, original to the church. New wal- 2 ⁄3′ Twelfth nut casework incorporates several 2′ Fifteenth* How About You? pieces from the original as well. Prior to IV Mixture the present instrument, the façade 8′ Trumpet pipes stood mute, and miscellaneous Swell-to-Great pipework from various vintages (possi- Flexible Wind (both manuals) bly including some from Erben, in dras- SWELL An Unmatched Feature Set In A Compact Package That Is Easy to Operate and Install tically altered form) augmented an oth- 8′ Stopped Diapason* (wood) erwise electronic substitute dating from 8′ Salicional the 1970s. 8′ Voix céleste (t.c.) The new instrument uses 13 of the 4′ Principal Erben façade pipes, and several par- 4′ Harmonic Flute 2 ′ tial sets of pre-existing pipes, includ- 2 ⁄3 Nazard ing a 12-note Wicks 16′ Principal 2′ Flautino 3 ′ extension and Direct Electric® chest, 1 ⁄5 Tierce III Plein Jeu all of which was re-scaled to fit into 16′ Clarinet the new tonal design. 8′ Oboe Except for the bottom 22 pipes of the Tremulant (both manuals) 16′/8′ Principal rank, the bottom two octaves of the Great Bourdon, which are PEDAL borrowed from the Pedal, and the 32′ 32′ Resultant (from Bourdon) 16′ Principal* (ext) Resultant, key action is mechanical. Key ′ tension and level are maintained by 16 Bourdon (wood) 8′ Principal* (D–A in façade) Virtuoso means of weighted and heavily damped 8′ Bourdon (ext) square rails. Stop action is electric, cou- 4′ Super Octave PIPE ORGAN CONTROL SYSTEM pled with a standard combination action 16′ Trombone (1–12 wood) with 12 memory levels. 8′ Trombone (ext) The inaugural recital was played by Great-to-Pedal WWW.IOTI.COM John Brock (University of Tennessee, Swell-to-Pedal 877.GO2.IOTI & 877.462.4684 Knoxville) on September 17, 2006. Dr. Brock served as consultant on the pro- *Includes pre-existing pipes ject. 12-level memory (rotary knob)
32 THE DIAPASON Bert Adams, FAGO ATRICK LLEN Calendar Park Ridge Presbyterian Church P A Park Ridge, IL GRACE CHURCH Pickle Piano & Church Organs 22 MAY NEW YORK Heinrich Christensen, with clarinet; King’s Bloomingdale, IL This calendar runs from the 15th of the month Chapel, Boston 12:15 pm of issue through the following month. The deadline Alan Morrison, with brass; Verizon Hall, The is the first of the preceding month (Jan. 1 for Kimmel Center, Philadelphia, PA 11 am Feb. issue). All events are assumed to be organ Brad Althoff; Church of St. Louis, King of Christopher Babcock recitals unless otherwise indicated and are grouped France, St. Paul, MN 12:35 pm WILLIAM AYLESWORTH within each date north-south and east-west. •=AGO • • chapter event, =RCCO centre event, +=new 23 MAY D. M. St. Andrew’s by the Sea, organ dedication, ++= OHS event. Felix Hell; Methuen Memorial Music Hall, Hyannis Port Information cannot be accepted unless it spec- Methuen, MA 8 pm EVANSTON, ILLINOIS ifies artist name, date, location, and hour in writ- James Litton; St. Bartholomew’s, New York, ing. Multiple listings should be in chronological NY 7:30 pm order; please do not send duplicate listings. THE DIAPASON regrets that it cannot assume responsi- 25 MAY bility for the accuracy of calendar entries. Joanna Elliott; Trinity Church, Boston, MA 12:15 pm
26 MAY John Scott; St. Thomas Church Fifth UNITED STATES Avenue, New York, NY 4 pm East of the Mississippi Scott Hanoian; Franciscan Monastery, Washington, DC 12 noon
15 MAY 27 MAY Ray Cornils, youth concert; Portland City Kimberly Hess; Cathedral of St. Patrick, New Dean W. Billmeyer Hall, Portland ME 10:30 am York, NY 4:45 pm Andrew Scanlon; Trinity Episcopal, Haver- Andrew Moore; Christ Church, New hill, MA 7:30 pm Brunswick, NJ 6:30 pm University of Minnesota Thomas Murray, masterclass; Central Syna- Nichola Bideler; Washington National gogue, New York, NY 10 am; recital 12 noon Cathedral, Washington, DC 5 pm Minneapolis 55455 • [email protected] Frances Nobert; Church of St. Louis, King of Paul Skevington, with National Men’s France, St. Paul, MN 12:35 pm Chorus; St. Luke Catholic Church, McLean, VA 5 pm 16 MAY Fauré, Requiem; St. James’s Episcopal, William Trafka, with brass; St. Richmond, VA 7 pm THOMAS BROWN DAVID CHALMERS Bartholomew’s, New York, NY 7:30 pm Bach, Cantata 108; St. Luke Church, Chica- Paul Skevington; St. Luke Catholic Church, go, IL 10:30 am UNIVERSITY CONCERT ORGANIST McLean, VA 1 pm PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES Choral Evensong; Emmanuel Church, 30 MAY Chestertown, MD 6 pm Glenn Goda; Methuen Memorial Music Hall, CHAPEL HILL, NORTH CAROLINA ORLEANS, MA Choral Evensong; Church of the Holy Com- Methuen, MA 8 pm munion, Memphis, TN 5:30 pm St. Bartholomew’s Boy & Girl Choristers; St. Bartholomew’s, New York, NY 7:30 pm 17 MAY John Scott; St. Mary Episcopal, Richmond, STEVEN EGLER Singing Boys of Pennsylvania; St. Stephen VA 7:30 pm Catholic Church, Allentown, PA 7 pm DELBERT DISSELHORST Central Michigan University Bach, Cantata 128; St. Lorenz Lutheran, 1 JUNE First Presbyterian Church A. MUS. D. Frankenmuth, MI 7 pm John Ayer; Trinity Church, Boston, MA Mt. Pleasant, Michigan 48858 Paul Bisaccia, piano; St. Paul’s Episcopal, 12:15 pm UNIVERSITY OF IOWA Chattanooga, TN 7 pm SOLO Shelly-Egler Choral concert, farewell to Edith Ho; Church RECITALS Flute and Organ Duo of the Advent, Boston, MA 8 pm 18 MAY Schola Cantorum, with orchestra; St. Paul’s Patrick Hawkins; Trinity Church, Boston, MA Church, Doylestown, PA 8 pm 12:15 pm Peter Sykes; St. Bartholomew’s Episcopal, A Professional Card in •Wayne Peterson, AGO Guild service; First Atlanta, GA 7:30 pm JOHN FENSTERMAKER Presbyterian, Jeffersonville, IN 7 pm HE IAPASON A Festival of Choirs; Cathedral of St. Paul, St. T D Scott Montgomery; Westminster Presbyter- Paul, MN 8 pm TRINITY-BY-THE-COVE For rates and digital specifications, ian, Peoria, IL 7:30 pm contact Jerome Butera 2 JUNE 847/391-1045 19 MAY NAPLES, FLORIDA John Scott; St. Thomas Church Fifth Gay Gotham Chorus; St. Bartholomew’s, New [email protected] Avenue, New York, NY 4 pm York, NY 7:30 pm Three Choir Festival; Rockefeller Chapel, Nigel Potts; St. Peter’s Episcopal, Bay Shore, NY 7 pm Chicago, IL 8 pm Organist / Pianist Solemn Evensong; St. Paul’s Church, ELLEN KURTZ 20 MAY Doylestown, PA 6 pm Michael Gailit Lynnette Combs; St. Mark’s Episcopal, Marianne Webb, masterclass; St. Andrew’s Episcopal, College, Park, MD 4 pm FUNK [email protected] Springfield, VT 4 pm http://www.gailit.at Dvorák, Requiem; Kent Hall, Westerly, RI 4 North Shore Choral Society; Parish Church of M.Mus., A.A.G.O. St. Luke, Evanston, IL 3 pm St. Augustine’s Church pm, 6:30 pm Concord, California Paul Bisaccia, piano; Federated Church of Conservatory / University (Vienna) Orleans, Orleans, MA 4 pm 3 JUNE Nicholas White; St. Michael’s, Marblehead, Scott Lamlein; Wesley United Methodist, MA 5 pm Worcester, MA 12:15 pm The American Boychoir; St. John’s Episcopal, Samuel Gaskin and Brenda Portman; First CHRISTOPHER III Essex, CT 4 pm Church of Christ, Wethersfield, CT 7 pm John M. Gearhart CONCORA; Church of St. Thomas the Apos- Festival Evensong; Trinity Episcopal, Hart- B.A., M.Mus. tle, West Hartford, CT 7:30 pm ford, CT 5 pm GARVEN St. John the Divine (Episcopal) David Jackson; First Presbyterian, Ithaca, Christ Church Choir, with orchestra; Christ Organist & Music Director 2450 River Oaks Blvd. NY 4 pm Church, New Brunswick, NJ 7:30 pm Church of the Good Samaritan Houston, TX 77019 Huff, Requiem; Church of St. Joseph, Robert Grogan; Basilica of the National Paoli, Pennsylvania Bronxville, NY 3 pm Shrine of the Immaculate Conception, Washing- Jeremy Bruns; St. Thomas Church Fifth ton, DC 6 pm Avenue, New York, NY 5:15 pm Christophorus; St. Lorenz Lutheran, Franken- John Walker; Church of the Immaculate Con- muth, MI 4 pm ception, Montclair, NJ 4 pm Choral Evensong; St. James Episcopal ROBERT GLASGOW Antone Godding Cj Sambach; The Church in Brielle, Cathedral, Chicago, IL 4 pm Brielle, NJ 4 pm PROFESSOR EMERITUS Nichols Hills Patrick Hawkins; Christ Church, New 4 JUNE Brunswick, NJ 6:30 pm The University of Michigan United Methodist Church Sue Bergren, carillon; Chicago Botanic Gar- Oklahoma City Janet Tebbel, carilllon; Longwood Gardens, den, Glencoe, IL 7 pm Ann Arbor Kennett Square, PA 3 pm +Charles Huddleston Heaton; Church of the 6 JUNE Epiphany, Pittsburgh, PA 3 pm Paul Leddington Wright; Methuen Memorial Brahms, A German Requiem; Shadyside LORRAINE BRUGH, Ph.D. Music Hall, Methuen, MA 8 pm Presbyterian, Pittsburgh, PA 4 pm Naomi Rowley; Sinsinawa Mound, Sinsi- David Spicer; St. Paul’s Lutheran, Ardmore, A two-inch nawa, WI 7 pm PA 7 pm Associate Professor Mendelssohn, Elijah; Peachtree Road United Professional Card Methodist, Atlanta, GA 7 pm 8 JUNE University Organist Huw Lewis; Asbury United Methodist, Jacob Street; Trinity Church, Boston, MA in THE DIAPASON Delaware, OH 4 pm 12:15 pm Valparaiso University Duruflé, Requiem; St. Mary’s College, South Ken Cowan; Emmanuel Episcopal, Chester- Valparaiso, IN For information on rates and town, MD 8 pm Bend, IN 7:30 pm www.valpo.edu specifications, contact: The Callipygian Players; St. Chrysostom’s, Chicago IL 2:30 pm 9 JUNE Jerome Butera Alan Morrison; Macy’s Department Store, 219-464-5084 21 MAY Philadelphia, PA 10 am [email protected] David Christiansen; Elliott Chapel, The Dana La Rosa; Franciscan Monastery, [email protected] 847/391-1045 Presbyterian Homes, Evanston, IL 1:30 pm Washington, DC 12 noon
MAY, 2007 33 10 JUNE •Craig Cramer; St. Joseph Cathedral, Gordon Turk; Central Baptist, Norwich, CT 4 pm Columbus, OH 8:30 pm JAMES HAMMANN WILL HEADLEE The American Boychoir; Princeton University Douglas Cleveland; Cathedral of St. Philip, DMA-AAGO Chapel, Princeton, NJ 3 pm Atlanta, GA 7:30 pm 1650 James Street The Choir of First Presbyterian Church; First Bruce Bengston; Sinsinawa Mound, Sinsi- University of New Orleans Syracuse, NY 13203-2816 Presbyterian, Pittsburgh, PA 4 pm nawa, WI 7 pm Christopher Jacobson; Washington Nation- Chapel of the Holy Comforter (315) 471-8451 al Cathedral, Washington, DC 5 pm 28 JUNE Richard Fitzgerald; Basilica of the National •James David Christie & Jane Parker- Shrine of the Immaculate Conception, Washing- Smith, with choir and brass; First Congrega- ton, DC 6 pm tional, Columbus, OH 8 pm MICHELE JOHNS Harry H. Huber 11 JUNE A.Mus.D D. Mus. Tim Sleep, carillon; Chicago Botanic Garden, UNITED STATES Glencoe, IL 7 pm West of the Mississippi Kansas Wesleyan University, Emeritus Organ — Harpsichord University Methodist Church The University of Michigan 12 JUNE 18 MAY Ray Cornils; Portland City Hall, Portland, ME SALINA, KANSAS School of Music Bernstein, Chichester Psalms; Cathedral of 7:30 pm the Madeleine, Salt Lake City, UT 8 pm Alison Luedecke, with Peninsula Sympho- 13 JUNE ny; Fox Theater, Redwood City, CA 8 pm Brenda Lynne Leach; Methuen Memorial Cinnabar Women’s Chorus; Knox Presbyter- Brian Jones KIM R. KASLING Music Hall, Methuen, MA 8 pm ian, Santa Rosa, CA 5 pm D.M.A. Sister Mary Arnold; Sinsinawa Mound, Ty Woodward; Westminster Presbyterian, Director of Music Emeritus Sinsinawa, WI 7 pm Escondido, CA 7 pm St. John’s Univeristy Simon Preston, with Los Angeles Philhar- TRINITY CHURCH 15 JUNE monic; Walt Disney Concert Hall, Los Angeles, BOSTON Collegeville, MN 56321 Florida Singing Sons; Grace Church, Utica, CA 8 pm NY 7:30 pm 19 MAY 17 JUNE Alison Luedecke, with Peninsula Sympho- Alan Morrison; Washington National Cathe- ny; Flint Theater, Cupertino, CA 8 pm JAMES KIBBIE DAVID K. LAMB, D.MUS. dral, Washington, DC 5 pm Simon Preston, with Los Angeles Philhar- The University of Michigan Director of Music/Organist Ronald Stolk; Basilica of the National Shrine monic; Walt Disney Concert Hall, Los Angeles, of the Immaculate Conception, Washington, DC CA 8 pm Ann Arbor, MI 48109-2085 First United Methodist Church 6 pm 734-764-1591 FAX: 734-763-5097 Columbus, Indiana Ken Cowan; Church of the Nativity of Our 20 MAY 812/372-2851 Lord, St. Paul, MN 7:30 pm Choral Evening Prayer; St. Stephen’s Presby- email: [email protected] terian, Fort Worth, TX 7 pm 18 JUNE Mendelssohn, Elijah; Christ Church Cathe- David Higgs; Cathedral of St. Thomas More, dral, Houston, TX 4 pm Arlington, VA 7:30 pm Bernstein, Chichester Psalms; Cathedral of David Lowry BETTY LOUISE LUMBY The Chenaults; All Saints Episcopal, Atlanta, the Madeleine, Salt Lake City, UT 8 pm GA 8:30 pm Gerre & Judith Hancock; Grace Cathedral, THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO Jim Brown, carillon; Chicago Botanic Gar- San Francisco, CA 4 pm 1512 BLANDING STREET, COLUMBIA, SC 29201 den, Glencoe, IL 7 pm Simon Preston, with Los Angeles Philhar- DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO monic; Walt Disney Concert Hall, Los Angeles, ROCK HILL, SC 29733 19 JUNE CA 2 pm MONTEVALLO, AL 35115 Cameron Carpenter; Portland City Hall, Port- Erik Suter; First Congregational, Los Ange- land, ME 7:30 pm les, CA 4 pm Scott Montgomery; First Presbyterian, Simon Preston; Walt Disney Concert Hall, Glens Falls, NY 7:30 pm Los Angeles, CA 7:30 pm Joan Lippincott; Spivey Hall, Morrow, GA 2 pm Joan Lippincott; Peachtree Road United 22 MAY JAMES R. METZLER Methodist, Atlanta, GA 8 pm Simon Preston, choral masterclass; Memor- Jim Brown, carillon; Millennium Carillon, ial Church, Stanford, CA 7 pm PARK CONGREGATIONAL CHURCH Naperville, IL 7 pm GRAND RAPIDS, MICHIGAN 23 MAY 20 JUNE Simon Preston; Memorial Church, Stanford, Ingrid Gutberg; Methuen Memorial Music CA 8 pm Hall, Methuen, MA 8 pm Joan Lippincott, workshop; First Presbyter- 27 MAY ian, Atlanta, GA 9 am Gail Archer; Christ Church Cathedral, Hous- William H. Murray Mary Preston; Peachtree Road United ton TX 4:15 pm A.S.C.A.P. Methodist, Atlanta, GA 8 pm Choral Evensong, Christ Church Cathedral, FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. Ruth Tweeten; Sinsinawa Mound, Sinsi- Houston TX 5 pm nawa, WI 7 pm Christoph Tietze; Cathedral of St. Mary 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas of the Assumption, San Francisco, CA 3:30 (770) 594-0949 21 JUNE pm Vivaldi, The Four Seasons; St. Gary Desmond; Grace Cathedral, San Fran- Bartholomew’s, New York, NY 8 pm cisco, CA 4 pm MARILYN MASON Marijim Thoene; Community of Christ Church, Ann Arbor, MI 7 pm 1 JUNE CHAIRMAN, DEPARTMENT OF ORGAN James Taulbee; Trinity Lutheran, Manhattan UNIVERSITY OF MICHIGAN 23 JUNE Beach, CA 12:15 pm ANN ARBOR Victoria Shields Harding; Franciscan “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played Monastery, Washington, DC 12 noon 3 JUNE it with awesome technique and a thrilling command of its daring writing.” Choral Evensong; The Cathedral Church of The American Organist, 1980 24 JUNE St. John, Albuquerque, NM 4 pm S. Wayne Foster; Washington National Christoph Tietze; Cathedral of St. Mary of Cathedral, Washington, DC 5 pm the Assumption, San Francisco, CA 3:30 pm Peter Latona; Basilica of the National Shrine Daniel Sullivan; Grace Cathedral, San Fran- of the Immaculate Conception, Washington, DC cisco, CA 4 pm Mary Mozelle 6 pm David Goode, with the Los Angeles Master LARRY PALMER Chorale; Walt Disney Concert Hall, Los Ange- Associate Organist 25 JUNE les, CA 7 pm Professor of Paul Jacobs; First Baptist, Providence, RI 8 Carol Williams; Balboa Park, San Diego, CA The National pm, masterclass 10:45 am 2 pm Presbyterian Church Harpsichord and Organ Lee Cobb, carillon; Chicago Botanic Garden, Washington, DC Glencoe, IL 7 pm 7 JUNE Meadows School of the Arts James Russell Brown; Elliott Chapel, The John Weaver; Bates Recital Hall, University 703.898.9609 Presbyterian Homes, Evanston, IL 1:30 pm of Texas, Austin, TX 8 pm SOUTHERN METHODIST UNIVERSITY David Goode, with Los Angeles Master www.PipeOrganPro.com 26 JUNE Chorale; Walt Disney Concert Hall, Los Ange- Dallas, Texas 75275 John Scott; Portland City Hall, Portland, ME les, CA 8 pm “The Sights and Sounds 7:30 pm of the Pipe Organ” Gillian Weir, masterclass; Cathedral of St. 10 JUNE Musical Heritage Society recordings Peter and Paul, Providence, RI 4:45 pm David Hatt; Cathedral of St. Mary of the Huw Lewis; Ohio Wesleyan University, Assumption, San Francisco, CA 3:30 pm Delaware, OH 9 am Carol Williams; Balboa Park, San Diego, CA Marilyn Keiser, workshop; Trinity Episcopal, 2 pm Columbus, OH 2:30 pm Mary Preston; Broad Street Presbyterian, 11 JUNE A four-inch Columbus, OH 8 pm Olivier Latry; Christopher Cohan Center, Lee Cobb, carillon; Millennium Carillon, San Luis Obispo, CA 7 pm Professional Card Naperville, IL 7 pm 14 JUNE in THE DIAPASON 27 JUNE David Higgs; Westminster Presbyterian, Gillian Weir; Cathedral of St. Peter and Paul, Oklahoma City, OK 7 pm Providence, RI 8 pm No additional charge for photos Paul Bisaccia, piano; Unitarian Church, 16 JUNE Provincetown, MA 5 pm Olivier Latry, Poulenc Organ Concerto; For information on rates and specifications, contact Eileen Hunt; Methuen Memorial Music Hall, Christopher Cohan Center, San Luis Obispo, Methuen, MA 8 pm CA 8 pm Jerome Butera, 847/391-1045 •James David Christie, masterclass; First Congregational, Columbus, OH 10:30 am 17 JUNE [email protected] •Carole Terry; St. Agatha Church, Columbus, Mary Preston; Church of the Transfiguration, OH 2 pm Dallas, TX 6 pm
34 THE DIAPASON Christoph Tietze; Cathedral of St. Mary of Mario Duella; Chiesa Parrocchiale SS. the Assumption, San Francisco, CA 3:30 pm Ambrogio e Theodulo, Stresa, Italy 9:15 pm Colin Walsh; Grace Cathedral, San Francis- Paul Hale; High Wycombe Parish Church, LEON NELSON DOUGLAS REED co, CA 4 pm High Wycombe, UK 3 pm FIRST PRESBYTERIAN CHURCH Angelus Consort; All Saints Episcopal, Bever- David Gammie; St. John the Evangelist RC ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE ly Hills, CA 5 pm Church, Islington, UK 7:30 pm Carol Williams; Balboa Park, San Diego, CA Simon Johnson; St. Albans Cathedral, St. NORTH PARK UNIVERSITY EVANSVILLE, INDIANA 2 pm Albans, UK 5:30 pm CHICAGO, IL 60625 Letizia Romiti; Bridlington Priory, Bridlington, 18 JUNE UK 6 pm S. Wayne Foster; Myerson Symphony Cen- ter, Dallas, TX 8:30 pm 27 MAY STEPHEN G. SCHAEFFER Jean-Christophe Geiser, with alto; Cathé- ROBERT L. 19 JUNE drale de Lausanne, Lausanne, Switzerland 5 pm D.M.A. James David Christie; Cornerstone Chapel, Simon Jacobs; Westminster Abbey, London, Lincoln, NE 8:30 am The Cathedral Church SIMPSON UK 5:45 pm Christ Church Cathedral of the Advent 1117 Texas Avenue 21 JUNE 28 MAY Birmingham, Alabama 35203 Houston, Texas 77002 Paul Jacobs; First-Plymouth Congregational, Craig Cramer & Christoph Keggenhoff; Lincoln, NE 7:30 pm Evangelische Kirche, Neckarhausen, Germany 8 pm 24 JUNE Paul Hale; Southwell Cathedral, Southwell, DMA Joan DeVee Dixon; Union Sunday School, UK 3:30 pm David Wagner Clermont, IA 2:30 pm Stephen Cleobury; Lincoln Cathedral, Lin- Joe Utterback Madonna University John Obetz; First United Methodist, Joplin, coln, UK 7 pm COMMISSIONS & CONCERTS Livonia, Michigan MO 2 pm KMZT-FM Archdiocesan Choir of St. Louis; Cathedral 1 JUNE 732 . 747 . 5227 Basilica of St. Louis, St. Louis, MO 2:30 pm Naji Hakim; Cathédrale de Lausanne, Lau- Los Angeles, California Stephen Lind; Cathedral of St. Mary of the sanne, Switzerland 8 pm [email protected] Assumption, San Francisco, CA 3:30 pm Norbert Itrich; Cattedrale di S. Stefano, Biel- Carol Williams; Balboa Park, San Diego, CA la, Italy 9 pm 2 pm SALLY SLADE WARNER, AAGO, ChM 2 JUNE Craig Cramer; Hervormde Kerk, Midwolda, Carillonneur KARL WATSON INTERNATIONAL The Netherlands 8 pm Norbert Itrich; Chiesa Parrocchiale SS. St. Stephen’s Church, Cohasset, MA ST. RAYMOND’S CHURCH 17 MAY Ambrogio e Theodulo, Stresa, Italy 9:15 pm Phillips Academy, Andover, MA Kevin Bowyer; University Memorial Chapel, Ian Tracey; Victoria Hall, Hanley, Stoke-on- Recitals PARKCHESTER Glasgow, UK 7:30 pm Trent, UK 12 noon
18 MAY 3 JUNE Sophie-Veronique Cauchefer-Choplin; St. Robert Quinney; Westminster Abbey, Lon- A Professional Card in John’s Cathedral, Brisbane, Australia 7:30 pm don, UK 5:45 pm Craig Cramer; Tangermünde, Germany 8 pm Cherie Wescott THE DIAPASON Rob Waltmans; Cattedrale di S. Stefano, 5 JUNE Concerts • Masterclasses • Coaching For rates and digital specifications, Biella, Italy 9 pm Sylvie Poirier & Philip Crozier; St. James contact Jerome Butera Greg Walshaw; St. Jude’s Brantford, Toron- United Church, Montreal, QC, Canada 12:30 pm 405/942-3958 847/391-1045 to, ON, Canada 12 noon e-mail: [email protected] [email protected] 8 JUNE 19 MAY Leonardo Ciampa, with soprano; Cattedrale Rob Waltmans; Chiesa Parrocchiale SS. di S. Stefano, Biella, Italy 9 pm Ambrogio e Theodulo, Stresa, Italy 9:15 pm Michael Haynes; Beverley Minster, Beverley, Stephen Disley; Victoria Hall, Hanley, Stoke- UK 6 pm on-Trent, UK 12 noon Davis Wortman RONALD WYATT 10 JUNE 20 MAY Nigel Allcoat; Church of Saessolsheim, ST. JAMES’ CHURCH Trinity Church Craig Cramer; Dom, Magdeburg, Germany 4 pm Saessolsheim, France 4:30 pm Galveston Ashley Grote; Westminster Abbey, London, Leonardo Ciampa, with soprano; Chiesa NEW YORK UK 5:45 pm Parrocchiale SS. Ambrogio e Theodulo, Stresa, Italy 9:15 pm 22 MAY Barry Smith; Westminster Abbey, London, Kevin Bowyer; University Memorial Chapel, UK 5:45 pm Glasgow, UK 5:15 pm Stephanie Burgoyne, with friends; St. Jude’s Brantford, Toronto, ON, Canada 12 noon Marcia van Oyen mvanoyen.com 24 MAY Paul Hale; Chester Cathedral, Chester, UK 1 pm 11 JUNE Catherine Ennis; All Souls, Lanham Place, 25 MAY London, UK 7:30 pm Plymouth First United Methodist Church, Plymouth, Michigan Mario Duella; Cattedrale di S. Stefano, Biel- la, Italy 9 pm 12 JUNE Joseph Calverley; St. Jude’s Brantford, Marie-Claire Alain; St. Etienne du Mont, Toronto, ON, Canada 12 noon Paris, France 8:30 pm Verouschka Nikitine; St. Eustache, Paris, CHARLES DODSLEY WALKER, FAGO 26 MAY France 8:30 pm Craig Cramer & Christoph Keggenhoff; Suzanne Ozorak, with French horn; St. James TRINITY EPISCOPAL CHURCH Evangelische Kirche, Mahlberg, Germany 8 pm United Church, Montreal, QC, Canada 12:30 pm BOX 400 SOUTHPORT, CT 06890
Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico www.stjohnsabq.org PHILIP CROZIER 505-247-1581 ORGAN DUO 3355 Queen Mary Road, Apt 424 M #0718 - Passacaglia…trace the evolution of this powerful A compositional format from its beginnings as a suggestive street ‘dance’. Montreal, H3V 1A5, P. Quebec Canada Y #0719 - The Road to Buxtehude…a tribute to the foremost organ (514) 739-8696 composer before Bach, Dieterich Buxtehude (1637-1707). Fax: (514) 739-4752 Iain Quinn Maxine Thevenot Director of Associate Organist- #0720 - The Joke’s On Us…share in humoresques, scherzos, fantasies [email protected] Cathedral Music Choir Director and other compositions done up with a sense of fun and surprise. 2 #0721 – Organ Plus…an exploration of the remarkable repertoire for DAVID SPICER 0 pipe organ in consort with other instruments and voices. 0 First Church of Christ #0722 - From the Big Apple…performances of American music Wethersfield, Connecticut Carol Williams 7 recorded in New York City during a national convention of the American Guild of Organists. San Diego Civic Organist
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MAY, 2007 35 14 JUNE Thomas Heywood; St. John’s Smith Square, London, UK 1 pm Organ Recitals
15 JUNE Przemyslaw Kapitula; Cattedrale di S. Ste- GAIL ARCHER, St. Thomas Church BuxWV 203; Wie schön leuchtet der fano, Biella, Italy 9 pm Fifth Avenue, New York, NY, January Morgenstern, BuxWV 223; Praeludium 21: Sonata in e-flat, Parker; Praeludium in C, BuxWV 137, Buxtehude. 17 JUNE super Pange Lingua, Noon; Ascent, Przemyslaw Kapitula; Chiesa Parrocchiale Tower; Sonata for Organ, Persichetti. ANDREW DEWAR, Peachtree SS. Ambrogio e Theodulo, Stresa, Italy 9:15 pm Road United Methodist Church, Jean-Pierre Lecaudey; St. Sulpice, Paris, ROBERT BATES, Arizona State Atlanta, GA, October 12: Choral Fanta- France 4 pm University, Tempe, AZ, February 4: sia on O God our help in ages past, Marie-Agnès Grall-Menet; St. Jean-Baptist, Parry; Sonata for Organ in E-flat, Contz Les Bains, France 5 pm Fantasie (“To show what can be done at Christopher Cook; St. John’s Cathedral, the organ”), Racquet; Quinto tiento de Bairstow; Kaleidoscope, op. 144, Karg- Brisbane, Australia 3 pm medio registro de tiple de septimo tono Elert; Variations and Fugue on a theme (Facultad orgánica), Correa de Arauxo; by Mozart, op. 132, Reger, arr. Abbing. 18 JUNE Renaissance Dances, Anon. French; Per Ahlman; Lincoln Cathedral, Lincoln, UK Segundo tiento de quarto tono a modo DAVID A. GELL, with Elizabeth 7 pm de canción, Sexto tiento de medio reg- Rutherford, soprano, and Samuel de istro de baxón de primero tono, Tiento Palma, bass, Trinity Episcopal Church, 19 JUNE de medio registro de tiple de segundo Nun Jean Guillou, Winfried Bönig, Martin Santa Barbara, CA, December 10: Baker, Roberto Bonetto, Bernhard tono, Correa de Arauxo; Arizona komm der Heiden Heiland, Sweelinck; In NATIONAL ASSOCIATION of Buttmann, Slivio Celeghin, Jürgen Geiger, Visions, Bates; Fugue in E-flat, BWV dulci jubilo, Buxtehude; Nun komm der Giampaolo di Rosa, Jürgen Wolf, Hélène 552/II, Bach. Heiden Heiland, In dulci jubilo, Bach; PASTORAL MUSICIANS Colombotti, Johannes Skudlik; St. Eustache, Pifa, Thus saith the Lord, But who may Paris, France 8:30 pm GARY BEARD, with Ryan Anthony, abide the Day of His coming, For 2007 NATIONAL trumpet, St. John United Church of behold, darkness shall cover the earth, 20 JUNE Christ, St. Charles, MO, January 21: The people that walked in darkness Gillian Weir; Knox United Church, Owen Messiah A la venue de Noël CONVENTION Sound, ON, Canada 7:30 pm The Opening Fanfare and March; Con- ( ), Handel; , certo Saint-Marc, Albinoni; Après un Balbastre; In the bleak midwinter, Indianapolis, Indiana 23 JUNE rêve, Fauré; Grand Russian Fantasy, Williams, Gibbs; Song of Mary, Wagner; Nigel Allcoat; St. John the Evangelist RC Levy; Great Is Thy Faithfulness, arr. The Virgin’s slumber song, op. 76, no. 52, July 9–13 Church, Islington, UK 7:30 pm Miller; Amazing Grace, arr. Anthony/ Reger; Variations on a Medieval Carol, Beard; Concerto in A-flat, Vivaldi; Hebble; Gesu Bambino, Yon; Cantique 24 JUNE Nearly 200 Workshops Dreams of Karen, Milligan; Der Hölle de Noël, Adam, The Birthday of a King, Jörg-Hannes Hahn; Kirche “Zur frohen Rache kocht in meinen Herzen (Die Neidlinger; Fantasia on old Christmas 5 Major Addresses Botschaft”, Berlin Karlshorst, Germany 5 pm Zauberflöte), Mozart, transcr. Antho- Carols, op. 121, no. 2, Faulkes. 2 Special Lecture Series 27 JUNE ny/Beard; Someone to Watch Over Me, Master Classes and Clinics Paul Hale; Crediton Parish Church, Crediton, Gershwin, arr. Turrin; Carnival of JUDITH & GERRE HANCOCK, Organ Crawl UK 7:30 pm Venice, Clarke. The University of the South, Sewanee, Performances Camerata of St. John’s; St. John’s Cathedral, TN, February 9: Duett for Organ, Wes- Brisbane, Australia 7 pm Noontime Organ Recitals CRAIG CRAMER, University of ley; A Fancy for Two to Play, Tomkins; Notre Dame, South Bend, IN, January Praeludium A-Moll, BuxWV 153, Buxte- Prayer and Eucharist 29 JUNE 17: Praeludium in C, BuxWV 136; Pas- hude; Brandenburg Concerto No. 4 in Choir and Handbell Festivals Paul Hale; St. Mary Redcliffe, Redcliffe, UK 1 pm sacaglia in d, BuxWV 161; Praeludium G, BWV 1049, Bach, transcr. Reger; in g, BuxWV 162; Christ unser Herr zum Prelude and Fugue in E-flat, op. 99, no. Phone: (240) 247-3000 30 JUNE Jordan kam, BuxWV 180; Canzona in d, 3, Saint-Saëns; Sonata No. 3 in c, op. 80, Roy Massey; Bridlington Priory, Bridlington, BuxWV 168; Es ist das Heil uns kommen Merkel; an improvised suite based on Web: www.npm.org UK 6 pm her, BuxWV 186; Magnificat primi toni, select verses from the Psalms.
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36 THE DIAPASON Organ Recitals
DAVID HATT, St. Mary’s Cathedral, NANCY LANCASTER, The House (Concerto in b for cello), Dvorák; Pre- Dupré; Les Eaux, Lumière (Sept Médi- San Francisco, CA, January 7: Two of Hope Presbyterian Church, St. Paul, lude and Fugue on Adoro te, Farrell; tations sur le Saint-Esprit, op. 6), improvised chorale versets on Veni Cre- MN, December 24: Pastorale, Monza; Andante con moto (Piano Trio in C), Demessieux; Funérailles (Harmonies ator Spiritus, Communion I, Recitatif, Puer nobis nascitur, Sweelinck; Mit Brahms; Introduction and Passacaglia, poétiques, op. 7), Liszt, transcr. Communion II, Final, Eleven impro- süssem Jubelschall (In dulci jubilo), Rheinberger; Allegro appassionato, Demessieux; Variations-Etudes sur vised versets, Dupré, transcr. Stech. Fridolin Sichers Orgeltabulatur; Nun Saint-Saëns; Andante (Violin Concerto), une berceuse, op. 48, Falcinelli; Evoca- komm, der Heiden Heiland, BWV 659, Barber; Finale (Suite for Organ, Violin tion (Homage à Rameau), Ave Maria, DAVID HURD, Christ Church 661, Bach; Où s’en vont ces gais bergers, and Cello), Rheinberger. Ave Maris Stella (Trois Paraphrases Cathedral, Nashville, TN, January 21: Balbastre; Noël de Saintonge, Dandrieu; Grégoriennes, op. 5), Langlais; Toccata Toccata in d, BuxWV 155, Buxtehude; Noël Suisse, Daquin; Silent Night, Fan- BRETT PATTERSON, Trinity Labyrinth, Briggs. Jesus Christus, unser Heiland, Tun- tasy on Antioch, Diemer; Fantasy on Parish Episcopal Church, Salt Lake der; Wie schön leuchtet der Morgen- Veni Emmanuel, Leighton; Prelude on City, UT, November 29: Alleluyas, KENT TRITLE, with Joseph Alessi, stern, BuxWV 223, Buxtehude; Tocca- Greensleeves, Purvis; God Rest Ye Preston; First movement (Concerto in trombone, Church of St. Ignatius Loy- ta in E, BWV 566, Bach; Nun komm Merry, Gentlemen, Martin. a), BWV 593, Bach; Corrente Italiana, ola, New York, NY, January 21: Duet for der Heiden Heiland, Distler; Toccata Cabanilles; Pièce Héroïque, Franck. Trombone and Organ, Holst; Sonata in Fugue: Hommage à Dietrich Buxte- CHRISTOPHER MARKS, St. Paul D, Pepusch; Prelude and Fugue in D, hude, Eben; improvisation on submit- United Methodist Church, Lincoln, WILLIAM PETERSON, Pomona BWV 542, Bach; De Profundis (Sonata ted themes. NE, January 5: Variations on Beach College, Claremont, CA, February 4: for Trombone and Organ), Filas; Inter- Spring, Fedak; Veni Creator Spiritus, Praeludium in G, Bruhns; Wenn wir in mezzo, op. 53, Schiffmann; Sonatina, PAUL JACOBS, Our Lady of Hope Ahrens; Variations on a Scotch Air, op. höchsten Nöten sein, BWV 641, Contra- Turrin; Domine, Dona Nobis Pacem, Church, Port Orange, FL, January 21: 51, Buck; Variation Studies, op. 54, punctus I, Contrapunctus IV, Canon Hidas; Morceau Symphonique, op. 88, Fantasia for Organ, Weaver; Prelude, Bingham. alla Ottava, Contrapunctus XI (The Art Guilmant. Fugue, et Variation, op. 18, Franck; of Fugue, BWV 1080), Wenn wir in Sonata No. 1 in f, op. 65, Mendelssohn; C. RALPH MILLS, Holy Comforter höchsten Nöten sein, BWV 668a, Bach; CAROL WILLIAMS, Covenant Sinfonia from Cantata No. 29, Trio Catholic Church, Charlottesville, VA, Souvenir, Cage; Neofantasy, Kohn. Presbyterian Church, Fort Myers, FL, Sonata in G, BWV 530, Ich ruf zu dir, January 20: Theme, Larghetto, Canon à January 28: Songs of Praise, Chappell; Herr Jesu Christ, BWV 639, Prelude l’octave, Vivace, Canon à la quarte et à MARK SUDEITH, St. Mary of the Morceau de Flutes, Lasceux; Va, pen- and Fugue in a, BWV 543, Bach. quinte (Variations Sur un Noël, op. 20), Lake Catholic Church, Gary, IN, Janu- siero, sull’ali dorate (Nabucco), Verdi, Dupré; O Morning Star, How Fair and ary 28: Fantasia on Io son ferito, arr. Williams; Amazing Grace! How MARTIN JEAN, Hyde Park Com- Bright, Pachelbel; Noël with Variations, Scheidt; Fantasy and Fugue in c, BWV Sweet the Sound, arr. Shearing; Hun- munity United Methodist Church, Balbastre; O Morning Star, How Fair 537, Bach; Fantasy in f, K. 608, Mozart; garian Dance No. 5, Brahms, arr. Cincinnati, OH, January 28: Choral No. and Bright, op. 7, no. 9, Manz. Two Pieces for Organ, Lenel; Prelude Lemare; Toccata (Suite Gothique, op. 3 in a, Franck; Psalm-Prelude No. 1, op. and Fugue in B, op. 7, no. 1, Dupré. 25) Boëllmann; Mozart Changes, Gar- 32, no. 1, Howells; Variations sur un NANCIANNE PARRELLA, with donyi; The Entertainer, Joplin, arr. Noël, op. 20, Dupré; Passacaglia, BWV Jorge Avila, violin, and Arthur Fiacco, STEPHEN THARP, Church of St. Williams; Adiemus: Songs of Sanctu- 582, Bach; Phantasie über den choral cello, Church of St. Ignatius Loyola, Ignatius Loyola, New York, NY, Janu- ary, Trumpeting Organ Morgan, Jenk- Wachet auf, ruft uns die Stimme, op. New York, NY, January 18: Violin Con- ary 10: Toccata, op. 3, Liddle; Prélude ins; Toccata Store Gud, vi lover deg, 52/2, Reger. certo in E, Bach; Adagio ma non troppo et Fugue in fa mineur, op. 7, no. 2, Kleive.
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POSITIONS PUBLICATIONS/ PUBLICATIONS/ HARPSICHORDS/ AVAILABLE RECORDINGS RECORDINGS CLAVICHORDS
Curator of Organs. Oberlin College July 4th is approaching soon. Treat your con- Clavichord, built by Edward Kottick (2002), Conservatory of Music (www.oberlin.edu/con) gregation to a patriotic postlude: A fun fugue on Harpsichord Technique: A Guide to double strung unfretted, beautiful cherry case seeks full-time Curator of Organs America or variations on The Star Spangled Expressivity, 2nd edition with CDs, by and stand with Louis XVI turned legs, ebony (www.oberlin.edu/HR/mainpages/adminjobs. Banner. Order Eugene Thayer’s 1860s Nancy Metzger. Still available and still naturals and bone sharps, range of FF to f3, html). Incumbent will work collaboratively with Sonata II. www.michaelsmusicservice.com; brass strung throughout. Excellent the practical hands-on choice! ″ ″ the Organ Department in all phases of tuning, 704/567-1066. www.rcip.com/musicadulce. condition. 65 long, 19 deep, on the stand voicing, regulation, repairing, and rebuilding 31-1/2″ tall. Asking $10,000. For further of conservatory organs; be responsible for information and pictures please see inventory, record-keeping, training and super- The OHS Catalog is online at www.davidschrader.com/Clavichord- vision of student employees who assist with www.ohscatalog.org. More than 4,000 organ Aging of Organ Leather by Harley Piltingsrud Kottick.htm. David Schrader, 773/262-3202 or tells how to test and select organ leathers for routine tuning and maintenance; effectively and theatre organ CDs, books, sheet music, [email protected]. DVDs and VHS videos are listed for browsing longevity of 60 years or more. Treats other communicate with faculty about organ condi- aspects of leather production and the history tion and maintenance; and work irregular and easy ordering. Use a link for adding your Harpsichords from the workshop of Knight address to the OHS Catalog mailing list. Organ of testing for longevity. New 48-page edition in Vernon. Authentic replicas of historic instru- hours to ensure organs are ready for concert 1994, $9.95 + $4 shipping for entire use. Desired qualifications: At least 6 years Historical Society, Box 26811, Richmond, VA ments carefully made and elegantly decorated. 23261 E-mail: [email protected]. order (within USA). Order online at 8201 Keystone, Skokie, IL 60076. Telephone experience working in all phases of organ www.ohscatalog.org. building, in a shop specializing in mechanical 847/679-2809. Web site: www.vernonharpsichords.mykeyboard.com. action organs. Within the salary range estab- Reflections: 1947-1997, The Organ Depart- lished by the College, this position will be Historic Organ Surveys on CD: recorded dur- filled at a salary commensurate with experi- ment, School of Music, The University of ing national conventions of the Organ Histori- PIANOFORTE FOR SALE ence. The benefits package includes health Michigan, edited by Marilyn Mason & Mar- cal Society. Each set includes photographs, garete Thomsen; dedicated to the memory of stop-lists, and histories. As many organists as and life insurance, tuition remission for eligi- Brown and Allen/Boston square grand ble children, a generous retirement plan, etc. Albert Stanley, Earl V. Moore, and Palmer organs and repertoire from the usual to the Christian. Includes an informal history-memoir unknown, Arne to Zundel, often in exceptional pianoforte. 73 keys. Very good condition. Best Submit letter of application, résumé, and offer. Nelson, 847/367-5102 or 312/304-5287. three references with telephone numbers to: of the organ department with papers by 12 performances on beautiful organs. Each set current and former faculty and students; 11 Michael Lynn, Associate Dean, Oberlin Col- includes many hymns sung by 200-400 musi- scholarly articles; reminiscences and testimo- lege Conservatory of Music, Oberlin, OH cians. Historic Organs of Louisville (western nials by graduates of the department; 12 THEATRE ORGANS 44074. Review of applications began on Kentucky/eastern Indiana) 32 organs on 4 appendices, and a CD recording, “Marilyn 4/15/07 and will continue until position is CDs, $29.95. Historic Organs of Maine 39 FOR SALE Mason in Recital,” recorded at the National organs on 4 CDs, $29.95. Historic Organs of filled. AA/EOE. Shrine of the Immaculate Conception in Baltimore 30 organs on 4 CDs, $29.95. Historic Washington, DC. $50 from The University of Organs of Milwaukee 25 organs in Wisconsin Wurlitzer Style E, 2/7, Opus 779, Michigan, Prof. Marilyn Mason, School of on 2 CDs, $19.98. Historic Organs of New no toy counter, no rectifier. In storage. Buyer to QLF Custom Pipe Organ Components has move. $8,000. 715/386-9538. openings for qualified fine woodworkers to join Music, Ann Arbor, MI 48109-2085. Orleans 17 organs in the Bayous to Natchez on 2 CDs, $19.98. Historic Organs of San our staff in Rocky Mount, VA. Wages com- Francisco 20 organs on 2 CDs, $19.98. Add mensurate with experience. 540/484-1133, or $2.50 shipping in U S. per entire order from PIPE ORGANS e-mail [email protected]. CD Recording, “In memoriam Mark Buxton (1961-1996).” Recorded at Église Notre-Dame OHS, Box 26811, Richmond, VA 23261, by FOR SALE de France in Leicester Square, London, telephone with Visa or MasterCard 804/353- Foley-Baker Inc. of Tolland, CT has openings between 1987 and 1996. Works of Callahan, 9226; FAX 804/353-9266. Two manual and pedal 8-rank Wangerin pipe for two pipe organ technicians: general shop Widor, Grunewald, Salome, Ropartz, and Boëll- organ for sale. In good condition in the Detroit and field and also a voicer’s assistant. Travel. mann, along with Buxton’s improvisations. $15 Request a free sample issue of The Diapason metro area. Currently located in a private resi- All benefits including excellent matching postpaid: Sandy Buxton, 10 Beachview for a student, friend, or colleague. Write to the dence but originally from a small rural church. 401K. Please send résumé to: Crescent, Toronto ON M4E 2L3 Canada. Editor, The Diapason, 3030 Salt Creek Lane, Asking $5,000. Buyer to remove. Please [email protected] or 42 N. River 416/699-5387, FAX 416/964-2492; e-mail Suite 201, Arlington Heights, IL 60005; or call before 10 pm Eastern Standard Time. Rd., Tolland, CT 06084. 800/621-2624. [email protected]. e-mail: [email protected]. 248/356-0896; [email protected].
glück newyork orgaNbuilders
170 Park Row, Suite 20A New York, NY 10038
212.608.5651 www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
For Pipe Organ Parts: Advertise in arndtorgansupply.com THE DIAPASON Muller Or send for our CD-ROM catalog For rates and digital specifications, Pipe Organ Company Arndt Organ Supply Company contact Jerome Butera P.O. Box 353 • Croton, Ohio 43013 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 847/391-1045 800-543-0167 Phone (515) 964-1274 Fax (515) 963-1215 [email protected] www.MullerPipeOrgan.com
A.E. Schlueter Pipe Organ Co. Visit THE DIAPASON New Organs Rebuilding and Additions website at Organ Maintenance Zimbelsterns Bells, Chimes and Control Systems TheDiapason.com 770-482-4845 800-836-2726 www.pipe-organ.com
3030 W. Salt Creek Lane ph 847/391-1045 Suite 201 fax 847/390-0408 THE DIAPASON e-mail [email protected] Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Three-rank Reuter unit organ. Arizona. Wood pipes. Missing pipes made to match. Austin actions: Come to the source. Fast Top Quality Releathering. Pouch rails, pri- $1000 or best offer. [email protected]. Damaged pipes in any condition repaired. delivery. Guaranteed. 860/522-8293; maries, reservoirs and any other pneumatic 651/894-4823. Over 25 years experience. Filip Cerny, www.austinorgans.com. action. Removal and installation service avail- 814/342-0975. able. Full warranty. Skinner, Casavant and Estey pipe organ, twelve ranks, golden oak The Whistle Shop repairs and rebuilds pipe Kimball specialty. Spencer Organ Company, Inc. Call, Fax or visit our website for quotation case, all original, complete, and in excellent Organ blower—Laukhuff Ventola for small organs. Southwestern U.S. Also, maintenance condition; set up. $6500/best offer. Two-manual and tonal work. Finest materials, expert work- and information. 781/893-7624 Voice/Fax, organ with one or two stops; .10 hp, 36cfm at www.spencerorgan.com. and pedal. C. W. Jenkins, 103 Grove Street, 2″ pressure, standard 120 volts. $645. Call manship. K.E.M. Pipe Organ Builders, Austin, Hanover, MA 02339. 781/826-2170. Don, 830/606-1838. TX. 800/792-8180. RELEATHERING: also Pipe Organ Rebuild- Home organ for hobby builder—console ing, Repair and Maintenance Service in New 3-manual/Pedal; 12 ranks; Bourdon 16/8′; Consoles, pipes, relays, magnets and Highest quality organ control systems since England area. Years of experience, fine Gemshorn 8′; Rohrflute 4′; Voix Celeste 4′; Pic- numerous miscellaneous parts. Let us know 1989. Whether just a pipe relay, combination workmanship. Reading Organ Works, colo 2′; Tierce; Nazard; Larigot; Vox 8′; Oboe 8′; what you are looking for. E-mail action or complete control system, all parts are A. Richard Hunter, 29 Baker Road, Cor Anglais 8′; 75% complete, 9′ ceiling. Also [email protected] (not comcast), phone compatible. Intelligent design, competitive pric- Springfield, VT 05156. 802/886-2304. E-mail blowers, reservoirs, relay board, power supply, 215/353-0286 or 215/788-3423. ing, custom software to meet all of your require- [email protected]. pine frame; many other parts—pipes, chests, ments. For more information call Westacott Organ Systems, 215/353-0286, or e-mail valves, etc. Location: SW Quebec, Canada. Atlantic City Pipe Organ Co.—72-rank, Buyer to remove and transport. Must sell due to [email protected] (not comcast). Austin actions recovered. Over 30 years illness. Terms: cash $2000CAN, OBE. E-mail 4-manual and 3-manual drawknob consoles experience. Units thoroughly tested and fully [email protected] or telephone 450/829-3153. organ for sale. Encompasses a 1973 and guaranteed. Please call or e-mail for quotes. Welcome to visit. 1940s Moller with many upgrades and Columbia Organ Leathers sells the finest Technical assistance available. Foley-Baker, additions by OSI. Trivo reeds installed in mid leathers available for organ use. We sell pre- Inc., 42 N. River Road, Tolland, CT 06084. 1980s with Peterson combination Phone 1-800/621-2624. FAX 860/870-7571. Schlicker organ, 6 ranks, 22 stops, semi- punched pouches and pre-assembled pouches, action. In playable condition—can be split and we specialize in custom releathering ser- [email protected]. portable, 7′ 8″ high. Ample volume and tonal into two organs. Visit flexibility for medium size church. A wonderful vices. Call today for a catalogue. 800/423-7003 http://mywebpages.comcast.net/acorgan. or e-mail: [email protected]. organ in fine playing condition—all as originally E-mail: [email protected]. Phone built. Easy to transport and install quickly. 609/641-9422. Flue pipes in metal and wood–Mixtures $27,000. Call for details: 863/427-2865. Need help with your re-leathering and upperwork are available from stock or project? All pneumatics including specify custom orders to meet your exact Wilhelm studio organ. New six-stop two- Laptops and Tuning Software for program- Austin. Over 45 years experience requirements. Tuning Sleeves with manual instrument, with Bourdon 16′ in the mable temperaments—tune harpsichords, (on the job assistance available). flare–Order complete sets ready to install pedal. For additional information, send e-mail clavichords, fortepianos and pianos—from 615/274-6400. or bulk quantities in each diameter. These to: [email protected]. Herb Huestis, 1502 – 1574 Gulf Road, Point sleeves are guaranteed to fit and will not Roberts, WA 98281. Phone 604/946-3952. E- tarnish or corrode. For excellent quality, mail: [email protected]. Laptop screen-based great pricing and timely delivery contact: ELECTRONIC ORGANS tuning program by TuneLab that is sensitive to ALL REPLIES International Organ Supply, P.O. Box 401, Riverside, IL 60546. 800/660-6360. FAX FOR SALE 1/10 cent, much greater than dial tuners. Over TO BOX NUMBERS 100 programmable temperaments for harpsi- 708/447-0702. chord, clavichord, fortepiano, and piano. that appear Ahlborn-Galanti organ, SL 250 Praeludium II. Check it out on www.tunelab-world.com. without an address Excellent condition in professional home. Excel- Postal regulations require that mail 8x10x2 small Toshiba laptop used for shop should be sent to: lent sampling of pipes; wonderful instrument for tuning: $200 including shipping. Requires to THE DIAPASON include a suite num- a church or school. $11,000. Steve, external microphone, which is included. ber to assure delivery. Please send 989/652-8026. TuneLab is shareware. Register TuneLab97 THE DIAPASON all correspondence to: THE DIAPA- for an additional $35. Spreadsheets of histori- 3030 W. Salt Creek Lane, Suite 201 Classified Ads must be prepaid and may be cal tunings showing both aural and lectronic SON, 3030 W. Salt Creek Lane, Suite ordered for 1, 2, 3, 4, 5, or 6 months. tuning data, $18 including shipping. Improve Arlington Heights, IL 60005 201, Arlington Heights, IL 60005. your tuning skills!
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
J. H. & C. S. Odell Find the products H.W. DEMARSE East Hampton, Connecticut • web: www.odellorgans.com and services you’re TRACKER ORGANS voice: 860-365-0552 email: [email protected] looking for at 518-761-0239 PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 TheDiapason.com 2 Zenus Dr., Queensbury, NY 12804-1930 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
GUZOWSKI & STEPPE Norman A. Greenwood ORGANBUILDERS INC CHARLES W. M CMANIS NEW INSTRUMENTS “Three Generations at Organ Building” REBUILDS - ADDITIONS In Memoriam TUNING & SERVICE CHARLOTTE, NORTH CAROLINA 28218 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 March 17, 1913–December 3, 2004 P.O. Box 18254 • 704/334-3819 • fax 704/544-0856 (954) 491-6852
PATRICK J. MURPHY & ASSOCIATES, INC. THE DIAPASON ORGANBUILDERS 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 610-970-9817 • 610-970-9297 fax Name ______NEW SUBSCRIBER [email protected] • www.pjmorgans.com RENEWAL Street ______ENCLOSED IS $70.00—3 YEARS Jacques Stinkens City ______ $55.00—2 YEARS W. Zimmer & Sons $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS Flues - Reeds P.O. Box 520 $85.00—3 YEARS Please allow four weeks for delivery of first issue $65.00—2 YEARS Bedrijvenpark "Seyst" Pineville, NC 28134 Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl (803) 547-2073
MAY, 2007 39 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee ArAArArrtisttistiisststtstss 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of Saint Thomas Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Church, NYC John Scott, Director Available 2008
The Choir of St. John’s College Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2007-2008 Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland
WEBWEB SITE:SITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com
Thomas Trotter* John Weaver Gillian Weir* Todd Wilson Christopher Young