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Home , Claudio Monteverdi, Heinrich Scheidemann, Hilborne Roosevelt, Michael Praetorius, Samuel Scheidt

THE DIAPASON OCTOBER 2017

St. John’s United Church of Christ Lansdale, Pennsylvania Cover feature on pages 26–28 www.concertartists.com 860-560-7800 [email protected] PO Box 6507, Detroit, MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ

ANTHONY & BEARD ADAM BRAKEL THE CHENAULTS JAMES DAVID CHRISTIE PETER RICHARD CONTE LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY CHRISTOPHER HOULIHAN

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

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

CAROLE TERRY JOHANN VEXO BRADLEY WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER ™ 50th Anniversary Season ™ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eighth Year: No. 10, In this issue Whole No. 1295 This month, we are very pleased to present truly a plethora of OCTOBER 2017 recital series in our Here & There and Calendar sections. We are Established in 1909 grateful to the many institutions that have sent us their offerings for Stephen Schnurr ISSN 0012-2378 the 2017–2018 year, and it is a testament to the continuing strength 847/954-7989; [email protected] and vitality of the music of the organ, , and the church. www.TheDiapason.com An International Monthly Devoted to the Organ, Please familiarize yourself with the events in your region; take time the Harpsichord, Carillon, and to introduce a friend to the availability of some of these events, I mentioned last month, if your business is not listed in our whether this friend lives nearby or far afi eld. Remember, the directory and should be listed, please send us an email with CONTENTS survival and life of these programs depends on our participation, your contact information! If your business has been listed for FEATURES support, and attendance. Invite someone to join you! some time now, please review your entry in our 2017 directory, A History of Skinner Organ Company Opus In this issue, we present Paul Monachino’s article on the fas- noting for us any updates that are needed. It’s free, and it can 820 at the Cathedral of Our Lady, Queen of cinating history of Skinner Organ Company Opus 820 at the only help your business! If you would like to advertise in our the Most Holy Rosary, Toledo, Ohio by Paul Monachino 20 Cathedral of Our Lady, Queen of the Most Holy Rosary in Toledo, Resource Directory, please contact Jerome Butera (jbutera@ Ohio. Also, Christina Harmon reports on the French Organ Music sgcmail.com). Our deadline for listing updates and advertising The French Organ Music Seminar: Switzer- land, , and France Seminar, which traveled through Switzerland, Italy, and France in is November 1. by Christina Harmon 24 July. In our regular departments, Larry Palmer, in “Harpsichord News,” discusses recently published harpsichord scores, a journal 20 Under 30 NEWS & DEPARTMENTS article, and a book. In “In the wind . . . ,” John Bishop expounds on We have been very pleased with the success of our 20 Editor’s Notebook 3 issues of performance. Gavin Black, in “On Teaching,” continues Under 30 program, which recognizes our promising young Letters to the Editor 3 Here & There 3 his topic of helping students choose fi ngering. people in the fi elds of the organ, harpsichord, carillon, and Appointments 6 This month’s cover feature is the Reuter Organ Company of church music. Our 20 Under 30 Classes of 2015, 2016, and Nunc Dimittis 10 Lawrence, Kansas, which celebrates its centennial in 2017. Their 2017 continue their hard work—work that continues the Harpsichord News by Larry Palmer 13 essay introduces us to three recent installations: Trinity Lutheran progress of the music we all love and cherish. For a list of our In the wind . . . by John Bishop 16 Church, Houston, Texas; Central United Methodist Church, 20 Under 30 recipients, be sure to visit our website and click On Teaching by Gavin Black 18 Traverse City, Michigan; and St. John’s United Church of Christ, on the 20 Under 30 tab. Lansdale, Pennsylvania. We remind you that we have decided that, in order to keep REVIEWS Choral Music 14 the 20 Under 30 program a meaningful example of recog- New Recordings 14 2018 Resource Directory nition, this will now be a biennial program. Our next set of New Handbell Music 14 We are already at work on our 2018 Resource Directory, nominations will be accepted in December 2018 and January which is published and mailed with our January issue. As 2019, for announcement in March 2019. Q CALENDAR 29 ORGAN RECITALS 33 Letters to the Editor CLASSIFIED ADVERTISING 34 It was with great sadness that I read consultant. He worked with me and him due to both his high intellect as The Diapason’s entry regarding the members of our organ selection com- well as his exceptional communication THE passing of Michael Friesen. While I mittee, and the happy result was the skills. He introduced me to the Organ DIAPASON OCTOBER 2017 don’t remember my fi rst meeting with installation of a modest-sized Zim- Historical Society and its Chicago- Michael, I do know we were both in mer that was more than Midwest Chapter. Obviously, Michael our mid to late 20s and living in the adequate for service music and lead- went on to signifi cantly contribute Chicagoland area. As a new organ- ing congregational singing. From that to our understanding of the legacy ist at St. John Lutheran Church in encounter, there were many meetings, of organ builders in our country and Northbrook, Illinois, the fi rst order of documents, and other key information beyond. Michael is deeply missed by business was to assist the congrega- that allowed the church to have great many, and I will never forget his early tion and staff in the purchase of a new confi dence in the purchase of their infl uence on my career.

St. John’s United Church of Christ Lansdale, Pennsylvania organ. As an advocate for pipe organs, new pipe organ. Michael gained the Jeffrey Schleff Cover feature on pages 26–28 I found Michael as a most impressive respect and admiration of all who met Grand Prairie, Texas

COVER The Reuter Organ Company, Lawrence, Here & There Kansas; St. John’s United Church of Christ, Lansdale, Pennsylvania 26 Correction and clarifi cation Procession with Advent Lessons & Car- The advertisement on page 15 of the ols; 12/20, Christmas Lessons & Carols; Editorial Director STEPHEN SCHNURR September 2017 issue incorrectly listed January 7, 2018, Epiphany Evensong; and Publisher [email protected] David Briggs as an organ recitalist in the February 4, Candlemas Evensong; 847/954-7989 Sacred Music in a Sacred Space 2017– March 4, Evensong; 3/25, Evensong; President RICK SCHWER 2018 season at the Church of St. Ignatius May 6, Evensong featuring music of Leo [email protected] Loyola, , New York. Sowerby, who served as organist and 847/391-1048 David Higgs will present a recital on choirmaster of St. James, 1927–1962; April 15, 2018, as part of this series. June 3, Evensong. For information: Consulting Editor JOYCE ROBINSON [email protected] www.saintjamescathedral.org. 847/391-1000 Events First Baptist Church, Ann Arbor, Sales Director JEROME BUTERA [email protected] Michigan, announces its 2017–2018 608/634-6253 Coffee Break Concert Series, its seventh Circulation/ season, Thursdays at 12:15 p.m.: October Subscriptions DONNA HEUBERGER [email protected] 5, Edward Parmentier, harpsichord; 847/954-7986 November 2, Shin-Ae Chun, organ; December 7, Rita Wang, , and Shin- Designer KIMBERLY PELLIKAN Ae Chun, organ; January 18, 2018, Ceci- [email protected] 847/391-1024 lia Kang, clarinet, and Shin-Ae Chun, St. James Episcopal Cathedral, organ; February 15, Andrew Jennings, Contributing Editors LARRY PALMER Chicago, Illinois violin, and Gail Jennings, piano; March events, featuring 1998 Quimby Pipe Harpsichord 15, HyoJin Moon and Dean Robinson, Organs, Inc., Opus 50 of four manuals, BRIAN SWAGER St. James Episcopal Cathedral, organ; May 10, Shin-Ae Chun, harpsi- 71 ranks: October 3, Thomas Heywood; Carillon Chicago, Illinois, announces special chord. For information: www.fbca2.org. December 10, Lessons & Carols; 12/16, choral services for 2017–2018: October of Clare College, Cambridge, UK; JOHN BISHOP In the wind . . . 1, Evensong and blessing of animals; St. Margaret’s Episcopal Church, January 23, 2018, David Baskeyfi eld; November 2, Fauré, ; 11/5, Palm Desert, California, announces its February 16, John Wright; 2/23, Los GAVIN BLACK All Saints’ Evensong; December 3, 2017–2018 Desert Friends of Music ³ page 4 On Teaching

Reviewers Leon Nelson THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. John Collins Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2017. Printed in the U.S.A. 5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 ( and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. at the rate of one copy for every fi fteen students. Such copies may be reused for other POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite courses or for the same course offered subsequently. 201, Arlington Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 3 Here & There

³ page 3 Aeolian pipe organ of four manuals, Angeles Harptette; March 2, Philip 146 ranks, in the ballroom: October Hoch; 3/9, Amy Rooney, piano; 3/16, 7, autumn open console day; 10/14, John Bayless, piano; 3/23, Fred Swann. Jean-Baptiste Robin; November 5, Eric For information: www.stmargarets.org. Plutz; 11/12, Sándor Kádár; January 28, 2018, Edward Landin; February 23, Peter Richard Conte and Andrew Ennis, fl ugelhorn; March 4, Bryan Holten; 3/18, Neil Harmon; April 7, spring open console day; 4/21, Alan Morrison. For information: www.longwoodgardens.org.

Fisk Opus 98, First Presbyterian Church, Open house for Opus 64 in the shop of Patrick J. Murphy & Associates, Stowe, Evansville, Indiana Pennsylvania

First Presbyterian Church, Evans- Patrick J. Murphy & Associates Organbuilders, Stowe, Pennsylvania, hosted ville, Indiana, announces its 2017–2018 an open house July 9 for its Opus 64, a two-manual, 14-rank instrument built for season of musical events. The First Grace Lutheran Church, Astoria, New York. Patrons, friends, and family of the fi rm Friday Recital Series, featuring C. B. gathered to inspect the instrument, view two other organs for sale (Skinner Organ Fisk, Inc., Opus 98, begins at 7:00 p.m.: Co. Opus 738 and a rebuilt Moller instrument), and share food and fellowship. Voicer October 6, Benjamin Stone; November Megan Farrell offered demonstrations of the voicing of fl ue pipes and the detailed 3, Jamie Carini; December 1, Jinhee care and cleaning of reed pipes. The Murphy fi rm has started work on its Opus 65 for Kim; February 2, 2018, Stephen Smith; St. John’s Lutheran Church, Carnegie, Pennsylvania. March 2, Brendan Conner; April 6, Leah Martin; May 4, Collin Miller; June 1, Katie Burk; July 6, Yumiko Tatsuda. Congregational, Cambridge, Massachu- Pittsburgh Girls Choir; March 11, pianist Silent movies with improvised organ setts: October 14, Ma maistresse–, Abigail Eagleson, fl utist Anna Cooper, accompaniment by Robert Nicholls will Masses, and a for My Lady; and oboist Natalie Beckenbaugh; April be presented at 7:00 p.m.: October 13, December 22–23, Christmas in Medi- 15, Katelyn Emerson, organist. Metropolis (1926), and 10/14, Dr. Jekyll eval England; February 3, 2018, Music Additional music events at the church and Mr. Hyde (1920). from the Peterhouse Partbooks; March include: November 5, Fauré, Requiem, Choral events include: November 12, Walt Disney Concert Hall, Los Angeles, 3, Missa Fors seulement & other music with the Shadyside Chancel Choir and Harvest Festival (co-sponsored by California based on songs; April 14, The Iberian orchestra; and December 3, Poulenc, the Evansville Chapter of the American Songbook: Spanish songs and dances, Gloria. Candlelight featur- Guild of ), led by Reverend Walt Disney Concert Hall, Los 1450–1600. For information: ing the Shadyside Strings, Chatham Kevin Fleming and Robert Nicholls; Angeles, California, announces its solo www.blueheron.org. , and Pittsburgh Girls Choir are December 10, Handel, Messiah, Part organ recitals for the 2017–2018 season, offered on Wednesdays at 7:00 p.m. in One, with the Choir School of First on Sundays at 7:30 p.m.: October 8, CONCORA (Connecticut Choral Advent (December 6, 12/13, 12/20) and Presbyterian Church; April 29, Messiah, Jean-Baptiste Robin; January 21, 2018, Artists), Chris Shepard, artistic direc- Lent (February 14, 2/21, 2/28, 3/7, 3/14, Parts Two and Three, with the Choir Katelyn Emerson; February 18, Peter tor, announces its 2017–2018 season, its and 3/21). School. For information: Richard Conte; May 20, Hector Olivera. 44th year: October 15, Brahms, Requiem Music for Midsummer Nights takes http://fi rstpresevansville.com. For information: www.laphil.com. and Nänie, South Church, New Britain, place Wednesdays at 7:00 p.m.: June 6, and November 4, St. John’s Episcopal How Can I Keep from Singing?: An Eve- The Cathedral Church of the Church, Stamford; 11/18, Extraordinary ning of American Music, with Pittsburgh Advent, Birmingham, Alabama, Masterworks, CONCORA presents mas- Camerata; 6/13, Happy Birthday, Irving announces its music series events for terworks of Bach, Mozart, and Brahms, Berlin, with mezzo-soprano Suzanne 2017–2018: October 13, David Higgs; joined by area high school ; DuPlantis, baritone Randall Scarlatta, and 10/26, ; February 2, 2018, February 11, 2018, Masses Ancient pianist Harold Evans; 6/20, pianist James With the Sound of , Ambassa- and Modern, Trinity College, Hartford; W. Iman; 6/27, organist Justin Wallace. dor Brass Quintet and Frederick Teardo, March 25, Bach, St. Matthew Passion, For information: www.shadysidepres.org. organ; April 13, Joel Bacon; 4/19, High- Immanuel Congregational Church, land Consort. Hartford; April 29, Mozart, Requiem, St. The Cathedral’s Mid-Day Music John’s Episcopal Church, West Hartford. Series, Fridays at 12:30 p.m.: October For information: www.concora.org. 20, Scott , guitar; November 17, Anthony Pattin, piano; December 15, Cathedral Ringers Handbell Ensemble; January 26, 2018, Charles Kennedy; April Third Baptist Church, St. Louis, Missouri 27, Samford University Choir. The Cathedral’s Choral Evensongs Third Baptist Church, St. Louis, are presented on Sundays at 3:00 p.m.: Missouri, announces organ recitals, Fri- October 15, November 19, December days at 12:30 p.m., except where noted: 10 (Christmas Lessons & Carols); Janu- October 6, Matt Palisch; 10/13, Ann ary 28, 2018, April 29. For information: Marie Rigler; 10/20, Rose Whitmore; www.adventbirmingham.org. 10/27, Timothy Jansen; November 3, Chelsea Vaught; 11/10, Jackson Borges; Vancouver, Vancouver, 11/15, 6:00 p.m., Carson Cooman. For British Columbia, Canada, announces its information: www.fridaypipes.com. 2017–2018 Cathedral Series, with events taking place in Christ Church Cathedral: October 13, Diabolica Musica Cantores, 14th-century music from the Pope’s cha- Shadyside Presbyterian Church pel in Avignon; January 12, 2018: Bach to the Future —The Legacy of The Art of the Shadyside Presbyterian Church, Duke Chapel, Duke University, Durham, , with the Diderot Quartet; 1/13, Pittsburgh, Pennsylvania, announces North Carolina, Flentrop organ Private to Public—the Journey of the its 2017–2018 Music in a Great Space String Quartet, with the Eybler Quartet; Concert Series, Sundays at 3:00 p.m.: Duke University Chapel, Durham, February 23, Metamorfosi, Ensemble October 15, The United States Air Force North Carolina, announces special Constantinople with Suzie LeBlanc, Heritage of America Band presents musical events for 2017–2018. Organ soprano; March 23, A Telemann Celebra- Heritage Brass; November 19, Voyage recitals: October 15, Kola Owolabi; tion, Ensemble Le Rêveuse; April 28, of Life, featuring tenor Eric Rieger December 17, Christopher Jacobson; Ovid: Myth and Music, Pacifi c Baroque and pianist J. J. Penna; December 10, January 21, 2018, Joseph Fala and Jacob Longwood Gardens Aeolian organ con- Orchestra and , tenor. Bach, Magnifi cat, with Pittsburgh Cam- Montgomery; February 11, Dongho Lee sole (photo credit: Duane Erdmann) For information: http://earlymusic.bc.ca. erata and Chatham Baroque; January 21, and Andrew Pester; March 25, Robert 2018, Simply Strings, with the Pittsburgh Parkins; April 22, David Briggs. Longwood Gardens, Kennett Blue Herron, Scott Metcalf, artis- Symphony Youth Orchestra Strings; Choral and instrumental programs: Square, Pennsylvania, announces its tic director, announces its 2017–2018 February 11, Heaven to Earth: Earth to October 20, Vespers Ensemble Fall 2017–2018 events featuring its 1930 season, with concerts at First Church, Heaven, with Pittsburgh Camerata and ³ page 6

4 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Conductor/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Montevideo, Uruguay Charlotte, North Carolina Ann Arbor, Michigan Birmingham, Alabama Hutchinson, MN

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

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

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

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

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

³ page 4 Concert; Bach Series: October Appointments 29, November 26, January 28, February Aaron Humble is appointed artistic director and principal conductor of the 25; November 5, All Saints’ Eucharist Apollo Club, a 123-year-old male chorus based in Minneapolis, Minnesota. He with Durufl é, Requiem; November 13, has been resident conductor of Cantus of Minneapolis for ten years. A graduate Jazz Vespers; November 19, Messiah of Milliken University, Decatur, Illinois, he earned the Doctor of Music degree Sing-along; December 1–3, Handel, in vocal performance and literature from the Jacobs School of Music, Indiana Messiah; December 7, Advent Lessons University, Bloomington. He teaches voice and diction at Minnesota State & Carols; December 24, Christmas Eve University–Mankato and conducts the University . He has performed Lessons & Carols; January 7, Epiphany in , recital, concert, and chamber music venues with organizations such Lessons & Carols; February 4, Evensong as the St. Paul Chamber Orchestra, the Boston Pops, the Kennedy Center for Singers Winter Concert; March 4, Men- the Performing Arts, the Lincoln Center of , the Library of Con- delssohn, Elijah; March 30, Tenebrae; gress, and the Chautauqua Institute. For information: www.theapolloclub.org. April 8, J. Samuel Hammond, carillon; 4/8, John Ferguson, hymn festival; May Mary Pan is appointed the 6, Ascension Evensong with Messiaen, 2017–2018 organ scholar at St. L’Ascension. For information: James Episcopal Cathedral, https://chapel.duke.edu. Chicago, Illinois. She is a recent graduate of the Yale Institute Peachtree Road United Methodist St. Paul Cathedral, Pittsburgh, Becker- of Sacred Music, New Haven, Church, Atlanta, Georgia, announces ath organ Connecticut, where she studied its 2017–2018 season of events: Octo- organ with Thomas Murray. She ber 15, Coro Vocati; 10/22, Seraphic St. Paul Catholic Cathedral, Pitts- began her organ studies in 2010 Fire; 10/28, Celebration; burgh, Pennsylvania, continues its series under the tutelage of Patricia November 5, Stacy Yang in an organ of organ recitals: October 20, Matthew Mary Pan Snyder and is a graduate of the recital, followed by Feast of All Saints Dirst; 10/24, Giancarlo Parodi; Novem- Hartt School, University of Hart- Evensong; December 10, The Many ber 17, Margaret Harper. For informa- ford, Connecticut, where she was a student of Renée Anne Louprette. Pan Moods of Christmas, with choirs, solo- tion: http://stpaulpgh.org. is a prizewinner in several competitions, including the Albert Schweitzer ists, and orchestra; 12/15–16, Georgia Organ Competition, Hartford, and the American Guild of Organists regional Boy Choir; 12/17, Carols by Candle- competition for young organists, as well as a recipient of scholarships and light; January 30, 2018, Jack Mitchener awards, including the M. Louise Miller Scholarship, the Yankee-Pogorzelski in an organ recital; February 22, Nicole Memorial Scholarship, and the Peter B. Knock Memorial Music Fund. She Marane, with John Lemley, narrator, has served as organist at First Baptist Church, West Hartford, Connecticut, and John Lawless, percussion, Proko- and as organ scholar at Trinity Episcopal Church, Hartford, and at Grace fi ev, Peter & the Wolf; 2/17, Georgia Church, New York, New York. Boy Choir Festival; 2/27, Ivan Bosnar The organ scholar at St. James Cathedral is a one-year appointment, and Jacob Taylor; March 18, Passion of intended as learning position for a recent graduate from a program in organ the Christ: The Musical Stations of the or church music. The post offers the scholar a chance to learn the ins-and- Cross, Scott Atchison, Zachary Fritsch- outs of running a multi-faceted music program while polishing his or her Hemenway, and Schola; April 5, Three accompanying, service-playing, and conducting skills under the guidance of Choirs Festival; 4/22, Coro Vocati; director of music Stephen Buzard. Q June 3, Pilgrimage to England Preview Concert, with the Chancel Choir. For information: www.prumc.org. with soloists and orchestra conducted by Andrew Peters. For information: TENET announces its 2017–2018 www.secondchurch.net. series at locations in New York, New York, except where noted: October 19, Uno + One, solos and duets honor- St. Ignatius Loyola Catholic Church, ing the 450th anniversary of the birth New York, New York, Mander organ of at St. Peter’s Church, Savannah, Georgia, 10/20 at Sacred Music in a Sacred Space the House of the Redeemer, New York announces its 2017–2018 season of City, and November 10 at Pine Street concerts at St. Ignatius Loyola Catholic Presbyterian Church, Harrisburg, Church, New York, New York, which Pennsylvania; 11/12, St. Philip’s in the celebrates the 25th anniversary of the Hills Episcopal Church, Tucson, Ari- church’s N. P. Mander organ of four zona; December 15, Candlelight Carols manuals, 68 stops. Three organ recitals at All Souls Unitarian Church; Decem- include performances by: October 22, ber 30, Monteverdi’s Selva morale e Kent Tritle; February 18, 2018, Renée spirituale at St. Joseph’s Church; Janu- Anne Louprette; April 15, David Higgs. Presbyterian Homes, Evanston, Illinois, ary 3, 2018, ’s Ves- Additional programs with organ Dobson organ pers at Holy Trinity Lutheran Church; include: November 2, Durufl é, Requiem, March 2, Johann Heinrich Schmelzer’s with David Enlow; March 21, , Klais organ, Hall, Madison, Dobson Pipe Organ Builders, Ltd., Opus Le Memorie Dolorose at St. Luke in the , and of Johann Sebastian Wisconsin 64 of two manuals, 25 ranks, mechani- Fields Church; March 24, TENEbrae: Bach, with Andrew Henderson; May 23, cal action: October 23, Dale Rogers; Pathway to Light with the Sebastians Poulenc, for Organ, Strings, and Madison Symphony Orchestra, November 27, Christine Kraemer; at St. Vincent Ferrer Church; April 21, Timpani, with Renée Anne Louprette. Madison, Wisconsin, announces its January 22, 2018, Timothy Spelbring; Charpentier’s Les plaisirs de Versailles Guest choral groups perform: October 2017–2018 season of solo organ recit- February 26, Andrea Handley; March with Metropolis Ensemble at the Met- 6, Philippine Singers; Decem- als in Overture Hall: October 23, Ken 19, David Schrader; April 23, Jackson ropolitan Museum of Art; May 11–12, ber 1 and 3, ; December Cowan with Lisa Shihoten, violin; Feb- Borges; May 21, Paul Vander Weele; The Sounds of Time: Songs of the Trou- 10 and 17, Love’s Pure Light, with St. ruary 20, 2018, David Briggs; April 17, June 25, Brian Schoettler. For informa- veres at Flushing Town Hall Gallery in Ignatius Choir; January 21, The King’s Isabelle Demers; May 11, Greg Zelek. tion: www.presbyterianhomes.org. Queens. For information: Singers; April 26, Chanticleer. A pro- For information: www..nyc. gram of music for piano four hands will www.madisonsymphony.org. The Church of St. Luke’s in be presented November 13 with Pascal the Fields, New York, New York, Holy Trinity Lutheran Church, and Ami Rogé. For information: www. Musica Sacra of New York City announces its 2017–2018 concert sea- Lynchburg, Virginia, announces its smssconcerts.org. announces its 2017–2018 season: Octo- son, Thursdays at 8:00 p.m.: October 2017–2018 series of concerts, Sundays ber 25, works of Schütz, Bach, Brahms, 26, of Songs: Palestrina, Gombert, at 4:00 p.m. (except where noted): Second Presbyterian Church, St. and Bruckner, Cathedral of St. John the Lassus, and Victoria; December 7, A October 20, 7:00 p.m., Reformation Louis, Missouri, announces its 2017– Divine; December 21, Handel, Messiah, Bach Christmas; January 25, 2018, The concert by the Roanoke College Choir; 2018 concert season: October 22, Todd Carnegie Hall; March 6, 2018, Light of Keys to Heaven: Music of Palestrina; 10/22, Frederick Hohman; Novem- Wilson in recital; November 5, All Saints Light: Music of Lassus, Lauridsen, and March 8, The Birth of the ; ber 5, Judy Bevans, Bach, Goldberg concert with the Second Church Cho- Leonin, with , Cathe- May 3, The Glorious Mysteries: Music Variations; January 7, 2018, J. William rale and Orchestra; December 3, Advent dral of St. John the Divine. For informa- of Biber and Lassus. For information: Greene, Christmas Ayres & Dances; Vespers with Second Church Choir, tion: www.musicasacrany.com. www.stlukeinthefi elds.org. February 11, Rafael Scarfullery, classi- Handbells, and organist Andrew Peters; cal guitar; April 15, Ahreum Han; May January 7, silent fi lm with organist Presbyterian Homes, Evanston, Opus 327 NFP, a not-for-profi t 13, Concerted: Baroque Strings and Andrew Peters; February 11, Courtney Illinois, announces its monthly organ organization founded by St. Luke’s Organ. For information: Loveless jazz concert; March 4, W. Mark recitals for 2017–2018, Mondays at 1:30 Episcopal Church, Evanston, Illinois, www.holytrinitylynchburg.org. Akin, guitar; April 22, Earth Day concert p.m. in Elliott Chapel, featuring its 1994 ³ page 8

6 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM

Here & There

³ page 6

Spivey Hall, Clayton State University, Morrow, Georgia, Ruffatti organ

program with Alan Morrison; January 20, 2018, Nathan Laube; February 24, Alan Morrison; April 14, Alcee Chriss. For information: www.spiveyhall.org.

Competitions St. Luke’s Episcopal Church, Evanston, The inaugural Asia International Illinois, Skinner organ Organ Competition, sponsored by the Taiwan Chapter of the American Guild for the preservation of the church’s of Organists, was held July 19 in Taiwan. 1922 Skinner Organ Company pipe Yunjung Lee was awarded the Rieger organ, announces its 2017–18 concert Orgelbau GmbH First Prize of $3,000 series: October 28, 7:00 p.m., Bach and a Shanghai Pi Organ Industrial organ works and Reformation ; Corporation Limited winner’s recital at December 6, 12/13, and 12/20, 11:30 Jiangsu Center for the Performing Arts a.m., Advent organ recitals with Chris- in China. Lee is a Performer’s Diploma tine Kraemer; January 19, 2018, 7:30 student at Southern Methodist Univer- p.m., Stephen Buzard; February 2, 7:30 sity, Dallas, Texas. Sunkyung Noh was Skinner Organ Company replica of Roosevelt organ at Henry Ford Museum, Green- p.m., Alexander Frey; 2/24, 7:00 p.m., awarded the Schantz Organ Company fi eld Village, Dearborn, Michigan (photo credit: Brian Kutscher) Bach organ works and cantatas; March Second Prize of $2,000. Noh studies 14, 7:00 p.m., Stephen Tharp; February organ performance at Yonsei University, Organist David Wagner was featured throughout the day on August 21 at the 21, 2/28, March 7, and 3/21, 11:30 a.m., Seoul, South Korea. Nara Lee won the pipe organ at Thomas Edison’s Menlo Park Laboratory, now fully reconstructed at Lenten organ recitals with Christine Zingmore Music Instrument Prize of the Henry Ford Museum, Greenfi eld Village, Dearborn, Michigan. The organ was Kraemer; April 22, 3:30 p.m., Messiaen $1,000. He is a master’s degree student a one-manual, mechanical-action organ of four stops built by Hilborne Roosevelt in Diptyque and Quartet for the End of in organ and church music at Indiana 1875 as Opus 16. It occupied a prominent place in the laboratory and was played daily Time. For information: University, Bloomington. The Audience by one of the members of Edison’s team at lunchtime and also for after work enter- www.opus327.org. Prize of $500, sponsored by Taipei Rosy- tainment. The Roosevelt organ was destroyed by a fi re in the laboratory in 1914. The clouds Foundation for Education, was Skinner Organ Company, working from the plans and photographs from Roosevelt, Trinity Lutheran Church, Worces- presented to Yu-Hsiang Chen of Tai- built a copy in 1929, the only tracker organ ever built by Skinner, Opus 765. ter, Massachusetts, announces its wan. Chen is currently a lecturer at Tai- The instrument was silent for a number of years until it was completely restored by 2017–2018 season, Reformation: Past, wan Theological College and Seminary. Jerroll Adams of Milan, Michigan, this year. Wagner played it for the fi rst time August Present, Future: October 29, Hymn Fes- Judges were Tong Soon Kwak (Korea), 14 for a video presentation made by the museum that will be made into an exhibit. tival commemorating the 500th anniver- Olivier Latry (France), and John Walker For the “Bring the World to Light” celebration on August 21, Wagner played popular sary of the Reformation; November 4, (United States). For information: songs of the late 1870s that would have been played on the organ. The instrument Vivaldi, Magnifi cat, with the Worcester www.agotaiwan.org. remains hand pumped, either by two foot pedals or by an optional hand lever on the Youth Orchestras and Diamonds from right side of the instrument. the Dust Chamber Choir; December 3, Advent Lessons & Carols; February 25, People 2018, Clara Gerdes in recital; March 24, Bach, St. Mark Passion; April 29, Bay State Winds. For information: http://trinityworc.org.

Participants in the POETech at Cumming First United Methodist Church, Cumming, Hyde Park Community United Methodist J. William Greene Georgia Church, Cincinnati, Ohio (photo credit: Neal Hamlin and William T. Van Pelt) J. William Greene’s eighth and ninth The Associated Pipe Organ Builders of America, with the American Insti- collections of organ music were pub- tute of Organbuilders and the American Guild of Organists, sponsor a techni- Hyde Park Community United lished in the spring of 2017. Christmas cal workshop every other year as part of AGO’s Pipe Organ Encounter (POETech) Methodist Church, Cincinnati, Ohio, Ayres & Dances, Volume 2, for organ, program. The purpose is to acquaint young people interested in learning about organ announces organ recitals for 2017–2018, harpsichord, chamber organ, or piano, building with the trade. Sundays at 4:00 p.m.: October 29, was published by Concordia Publishing This year’s event was held at the shop of Parkey Organ Builders, Berkeley Jean-Baptiste Robin with Romain House. A Mighty Fortress, Seven Cre- Springs, Georgia, July 9–14, and under the aegis of the Atlanta Chapter of the AGO. Leleu, trumpet; January 28, 2018: Kola ative Hymn Settings of Familiar Fourteen students, ranging in age from 13 to 22, including a participant from Gua- Owolabi; March 4, Brenda Portman; plus a Jaunty , was published by temala, attended. During the week there was extensive study of windchest construc- April 15, Renée Anne Louprette. For Paraclete Press. Other works are listed tion, organ wiring, and pipe voicing, along with lectures on shop safety and how to information: http://hydeparkchurch.org. on Greene’s website: run a business. In-shop assistance was provided by various members of the Parkey www.jwilliamgreene.com. team, and there were several off-site visits to hear and inspect various types of organ Spivey Hall, Clayton State University, installations in the area. Bradley Jones, of Randall Dyer and Associates, and Chris Morrow, Georgia, announces events for Katherine Meloan, chapel organist Bowman, of Parkey Organ Builders, assisted the students in preparing and voicing its 2017–2018 series featuring the Albert and director of music at United States fl ue and reed pipes, donated by Oyster Pipe Works, of Louisville, Ohio. Schweitzer Memorial Organ, built by Merchant Marine Academy on Long The group is pictured following an organ crawl and concert at Cumming First Fratelli Ruffatti: November 4, Alan Mor- Island and organ faculty member at United Methodist Church, Cumming, Georgia. On the organ bench are concert art- rison and Friends; December 8, 9, and Manhattan School of Music, will present ists James Mellichamp, Faythe Freese, and Mark Pacoe. Randall Dyer and Phillip 10, Spivey Hall Children’s Choir holiday ³ page 10 Parkey, instructors, are at left.

8 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM Inspiring Innovation

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

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³ page 8 Saints, and the Cherry Capital Chapter Nunc Dimittis of the American Guild of Organists. The Robert Cameron Clark, 85, died organ at St. Mary Cathedral was built in August 23 in Houston, Texas. Born Sep- 1976 by Gabriel Kney. Welch’s program tember 13, 1931, in Fairbury, Nebraska, included works by Bach, Balbastre, Bal- he began piano lessons in the fourth grade dassare Galuppi, Mendelssohn, Chris- with Margaret Dietrich and attended topher Pardini, Reger, Vierne, James Kansas City public schools whose music Spencer, Ramón Noble, Dale Wood, department was led by noted music educa- and Widor. The event was hosted by tor, Maybell Glenn. At age 14, he held his Wayne Wyrembelski, director of music fi rst church job where he played an Estey at St. Mary Cathedral, and Elder Joseph reed organ. Wilson of The Church of Jesus Christ of In 1952, he graduated from Central Katherine Meloan Latter-day Saints. Methodist College (Fayette, Missouri), where he studied organ with Orpha Ochse recitals and masterclasses: October 29, and Luther Spade and piano with Opal the Cadet Chapel at the United States Choir schools Hayes and Nannie Lou Wright. In 1954, Military Academy, West Point, New The board of trustees of the Ameri- Robert Clark he completed his graduate studies in New York; December 15, Trinity Episcopal can Boychoir School, Hopewell, New York City at Union Theological Seminary’s Church, Reno, Nevada; 12/17, Cathe- Jersey, decided August 14 that the school School of Sacred Music, where in addition to organ study with Clarence Dickin- dral of St. Mary of the Assumption, San would not open for the 2017–2018 son (1952) and Ernest White (1953), he studied Baroque performance practice Francisco, California; April 27–28, mas- school year. An announcement by Rob and harpsichord with . His dissertation on terclass and recital for the Chattanooga, D’Avanzo, chair of the board of trustees, included a translation of the composer’s Technique de mon langage musical. Tennessee, chapter of the American was released the following day. The After holding positions at Baker University (Baldwin City, Kansas), Christ Guild of Organists; May 6, Church of St. school “will proceed to wind down oper- United Presbyterian Church (Canton, Ohio), and Cornell College (Mount Ver- Patrick, Huntington, New York. Kather- ations as soon as practicable, return all non, Iowa), he taught at the University of Michigan (Ann Arbor) for 17 years ine Meloan is represented by Concert tuition deposits, notify Rambling Pines (1964–1981). A Rackham School of Graduate Studies research grant (1976) Artist Cooperative. For information: that ABS will not renew its lease, address enabled him to study organs in , Switzerland, and France. Focusing katherinemeloan.com. the impact on our staff and students, and on organs in Saxony and , Clark played nearly all the organs built cancel all concert commitments.” by Gottfried Silbermann, research that contributed to the initial impetus for The enrollment at the school had building a Silbermann-inspired C. B. Fisk organ (Op. 87) at the University of declined such that between 19 to 21 Michigan. During his research in then East Germany, his study of manuscripts boys were expected for the 2017–2018 in the East Berlin Stadtsbibliothek led to his co-authorship of a new edition of academic year. This, along with ongo- ’s Orgelbüchlein (1984). ing fi nancial diffi culties in recent years, Beginning in 1981, Clark taught at Arizona State University where he played forced the decision to close. a decisive role in the design of ASU’s organ hall and the construction of the Paul The American Boychoir and its school Fritts organ. Both were focal points for a symposium, The Historical Organ in were founded as the Columbus Boychoir America (1992), attended by musicians and organ builders from around the in Columbus, Ohio, in 1937. In 1950, the world. Clark retired from ASU in 1998 as professor emeritus of music. organization moved to Princeton, New Jer- Throughout his career, Clark served as adjudicator for regional, national, and Donald Sutherland and Phyllis sey, and in 1980, took its present name. It international competitions including those of St. Albans and Grand Prix de Char- Bryn-Julson was one of only two boarding choir schools tres. His several CDs include Bach at Naumburg, the notable fi rst recording of for boys in the United States, the other the fully restored Hildebrandt organ in the Wenzelskirche, Naumburg, Germany. Retiring Peabody Conservatory being St. Thomas Church, Fifth Avenue, Robert Clark is survived by his children Susan Clark Joul, Barbara Clark, (, Maryland) faculty mem- New York, New York. For information: Robert Clark, and Jill Meiburg; grandchildren, Ivy Joul, Henry Meiburg, bers organist Donald Sutherland and www.americanboychoir.org. Sebastian Meiburg, and Maxwell Meiburg; and a sister, Carol Chamberlin. soprano Phyllis Bryn-Julson received the Johns Hopkins Heritage Award on Edna I. VanDuzee-Walter, 96, died April 27. The Heritage Award is pre- Publishers peacefully at home in Round Lake, New sented by the Johns Hopkins Alumni Michael’s Music Service announces York, August 8. She was born May 27, 1921, Association for exceptional service to the new sheet music restorations: Fancies, in Bradford, Pennsylvania, the daughter University. Sutherland and Bryn-Julson by Gatty Sellars (composed in 1916, of Lorenzo and Oral C. Lawton. Early in were honored for their collectively an easy selection for summertime); life she played the piano and showed an devoted 75 years of teaching at Peabody. Pièces pour Orgue, op. 23, by Joseph unusual affi nity for music. She graduated Though it is unusual for faculty mem- Callaerts (a collection including a toc- from Turin High School in Turin, New bers to be nominated or chosen for this cata, of which a recording is available York, and later received two degrees in award, these two are extraordinary: they at the website); Andantes and Adagios, music education from the Crane School of have each received the JHU Excellence by Ludwig van Beethoven, arranged Music in Potsdam, New York. in Teaching Award, demonstrating their by Julius André (a collection including Edna married Robert F. VanDuzee in dedication to current students, and their the andante from the Fifth Symphony); 1945, who predeceased her in 1988. She is continued dedication to alumni is evi- Prelude to ‘The Blessed Damozel,’ by survived by her second husband, Norman dent by the support for their nomination , transcribed by Palmer Walter, a daughter, Barbara Jean (Allan) for this award. For information: Christian (one of only two transcriptions Edna I. VanDuzee-Walter Michelin of Wappinger’s Falls, New York, www.peabody.jhu.edu. of Christian to be published). and a son, Robert F. (Stephanie) VanDu- Two Sets of Variations for Pedal Study, zee, Jr., of Brigantine, New Jersey, as well as several nieces and nephews. by Eugene Thayer, are useful for pedal In 1947, Edna moved to Round Lake where she became a member of the technique improvement; Two Canons local Methodist church, and served the congregation as choir director for over on a Choral Theme, by August Haupt, is two decades. She taught music in several public schools, gave private lessons, the work of this early American educa- and ran a musical nursery school in Round Lake between 1969 and 1986. She tor; Marche Offi ciale des Parachutistes was a member of the Round Lake Woman’s Improvement Society, serving sev- Belges, by Pierre Leemans, arranged eral terms as president, and was also active in civic affairs. by Allan Ontko, is a tongue-in-cheek Beginning in 1968 and for some forty years, she was curator of the Round arrangement of this well-known march; Lake Auditorium and its famous Davis & Ferris organ. She organized concerts, and Old Folks at Home (Stephen Fos- did fund-raising, and raised awareness of the organ’s historical signifi cance on ter), by Wenham Smith, published in a broad scale. She was also an enthusiastic member of the Organ Historical 1888, during his fi rst year at Plymouth Society and the local chapter of the American Guild of Organists. She was the Church, Brooklyn. For information: recipient of several honors, including the Distinguished Service Award of the www.michaelsmusicservice.com. Organ Historical Society. Her funeral was held on August 16 at the Round Lake United Methodist Paraclete Press announces new Church, and she was buried in Memory Gardens Cemetery, Colonie, New releases of anthems: That Night, by York. Memorial contributions may be made in her memory to the Round Lake Bob Burroughs, for Advent/Christmas Auditorium, Post Offi ce Box 85, Round Lake, New York 12151. Q (unison/two-part treble voices with keyboard); Come, O Thou Traveler Unknown, by Robert J. Powell (SATB James Welch with organ and optional C instrument); Duchon’s Organ Pipes Lord of the Morning, by Raymond Weid- New Reeds & New Flues James Welch presented a recital ner, for Christmas (SATB with soprano Additions & Repairs August 11 at St. Mary Catholic Cathe- solo, fl ute, keyboard/strings); The Lord dral, Gaylord, Michigan. The program at First Did Adam Make, by June Nixon, 330/257-0491 was co-sponsored by St. Mary Cathedral, for Advent (SATB with organ); Rejoice [email protected] The Church of Jesus Christ of Latter-day ³ page 12

10 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM ROOTED INNOVATION TRADITION AND TECHNOLOGY ELEGANTLY PAIRED

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³ page 10 (OAR-999), featuring Damin Spritzer and Be Merry, by Martin Leadbetter, for at the 1938 W. W. Kimball organ at the Christmas (SATB a cappella); and Pata- Cathedral of St. John in the Wilder- pan, by Alan Smith, for Christmas (SA ness, Denver, Colorado. This is the with piano). For information: fi rst recording to feature the restored www.paracletesheetmusic.com. organ along with its recently completed Antiphonal division, which was built using mostly vintage Kimball pipework. Recordings The Antiphonal division was originally planned by Kimball, but not realized until 2016. The organ now comprises 113 ranks. Becker (1882–1956) was a prolifi c Alsatian-American composer, teacher, and organist who worked more than half a century in Missouri, Illinois, Summer Academy for High School Organists tour of the Canandaigua region and Michigan. The ten works included on the disc are fi rst recordings. They Parsons Pipe Organ Builders, Canandaigua, New York, hosted a shop tour and include lyrical and colorful works as pizza party for the students attending the Summer Academy for High School Organists well as three processional marches, a at the Eastman School of Music in Rochester, New York, on July 27. The academy was toccata, and a hymn-based work. For a fi ve-day intensive workshop, July 24–28. Following the shop tour and dinner, the further information: 804/355-6386, students traveled to the United Church in Canandaigua to view and play Parsons’ Opus www.ravencd.com. 41 and ended the day with an ice cream social on the shores of Canandaigua Lake.

New Fugue State Films CD Organbuilders Fugue State Films announces Bunn-Minnick Pipe Organs, release of a new CD, Wayne Marshall Columbus, Ohio, announces it will cease plays the Hugo Mayer organ of the operations at the end of 2017, after 48 Basilica of St. Kastor, Koblenz. The years of building, rebuilding, restoring, recording features fi ve improvisations repairing, and maintaining pipe organs (including well-known themes such as in the eastern United States. The staff Lasst Uns Erfreuen, Wachet Auf, of the fi rm thanks all their friends, cli- Twinkle, Twinkle, and Ode to Joy), as ents, and colleagues gained through the well as Norman Cocker’s Tuba Tune and years. For information: Roger-Ducasse’s Pastorale. For informa- www.bunnminnick.com. tion: www.fuguestatefi lms.co.uk. W. Catanesye & Co. of Randolph, Massachusetts, has been selected to rebuild and enlarge the 1983/2005 Casa- vant organ (Opus 3523) at St. Anne in- the-Fields Episcopal Church in Lincoln, Massachusetts. Due for completion for Grandchildren of company founder Felix F. Schoenstein: Sister Mary Mark, Norman, 2018, the project includes the Vincent, and Edward Schoenstein, with company president Jack Bethards (photo revision of existing stops and four added credit: Louis Patterson) ranks, including a 16′ Principal, of which 19 pipes will be in a newly constructed Schoenstein & Co., Benicia, California, celebrated its 140th anniversary with an façade. For information: open house demonstrating the fi rm’s new organs for Holy Cross Catholic Church, www.williamcatanesye.com. San Jose, California, and Mikell Chapel of the Cathedral of St. Philip, Atlanta, Georgia. The 150 guests were fascinated with the extremely complex arrangement of pipes, windchests, bellows, and wind conductors necessary to fi t in the chapel’s Pageantry & Poetry small, irregular shaped chamber. “One of our most challenging installation sites!” said company president Jack Bethards. Pro Organo announces release of a Twenty-four members of the founding Schoenstein family representing the fourth, new CD, Pageantry & Poetry (CD 7280, fi fth, and sixth generations joined the celebration and presented a commemorative glass $17.98), featuring Frederick Hohman sculpture for the fi rm’s archive, which includes Schoenstein records and artifacts dating playing the four-manual Reuter Organ from the mid-nineteenth century in Germany. For information: www.schoenstein.com. Company instrument recently com- pleted in the Cathedral of the Immacu- late Conception, Springfi eld, Illinois. The disc features works of Bach, Gigout, Langlais, Franck, Mulet, and Durufl é. For information: www.proorgano.com.

Emmanuel Lutheran Church, Fort Wayne, Indiana (photo credit: Jesse Braswell)

Muller Pipe Organ Company, Croton, Ohio, has fi nished a project relocating, refurbishing, and enlarging a pipe organ for Emmanuel Lutheran Church, Fort Wayne, Indiana. Emman- uel Church had an 1880s William King & Son organ installed, which consisted of two manuals, 25 stops. Over the generations, the organ was altered and Organists of the Keweenaw, Michigan rebuilt, at one point introducing digital voices. The church decided to replace Members of the Organists of Keweenaw, Michigan, continue their dedication to the organ, retaining its extensive façade, keeping their 14 historic organs in the public eye (see The Diapason, February 2007). Organ Music of René Louis Becker, Vol- which was re-stenciled by Russell Design On August 27, they commemorated the 500th year of the Reformation with a hymn fes- ume 3 of Kokomo, Indiana. tival featuring the 1899 Barckhoff organ at the Keweenaw Heritage Center in Calumet, Muller obtained Austin Organs, Inc., Michigan. Organists playing included Kathleen Alatalo-Arten, Janet Dalquist, Jan List, Raven announces a new CD, Organ Opus 2436, built in 1965 for the former Tom Kraska (summer resident), and Carol Waisanen. The program, “The Hymns of Music of René Louis Becker, Volume 3 First Church of Christ, Scientist, Colum- ,” included organ arrangements of hymns, singing of hymns by the audi- bus, Ohio, when that congregation sold ence led by a volunteer choir, and comments about Luther and each hymn by local Pas- its downtown edifi ce in 2014. Thirty- tor Aaron Gehrke. About 100 people attended, and, although some of the hymns were BACH AT NOON eight ranks of pipes were retained along unfamiliar, the singing was fi rmly in the Lutheran tradition. Donations were designated with the console, which was refurbished for both the organ and building maintenance. Also this summer, the organists played Grace Church in New York for Emmanuel Church. New electro- weekly recitals on the Barckhoff organ. Furthermore, series of biweekly recitals were pneumatic windchests and mechanisms performed on the 1873 Garrett House organ in Lake Linden, Michigan. The House www.gracechurchnyc.org were provided. For information: organ is found in the historic Victorian Stick-style former Congregational Church built www.mullerpipeorgan.com. in 1887, part of the Houghton County Historical Society complex.

12 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM Harpsichord News By Larry Palmer

From the Harpsichord Alan Rawsthorne (1905–1971). The Editor’s mailbox composer’s manuscript was destroyed together with many other pieces Four recent harpsichord scores and musical instruments during the Carson Cooman (born 1982) is a November 1940 Luftwaffe bombing of prolifi c composer who writes accessible his lodgings in Bristol. Unexpectedly, a music. He serves currently as Research copy of Rawsthorne’s Chamber Cantata Associate in Music and Composer- for Voice, Strings, and Harpsichord in-Residence at Harvard University’s (1937) was found among the papers of Memorial Church. A surprise packet Southern California composer Halsey containing four elegantly printed Stevens (1908–1989), whose legacy is scores by Cooman arrived in my mail- now archived at the Library of Congress box recently. All are “for keyboard” in Washington, D.C. (in the composer’s notes, appropriate The link between the UK and the instruments are listed as pipe organ, United States must have been the - harpsichord, , lautenwerk, sichordist Alice Ehlers (1887–1981) harmonium, reed organ, piano, or elec- who played the keyboard part at the tronic keyboard). All are published by premiere of the Chamber Cantata Zimbel Press (www.zimbel.com) and in 1937. Ehlers, an early student of distributed exclusively by Subito Music Wanda Landowska, immigrated to the Corporation (www.subitomusic.com). United States in 1938, where she was, Carson Cooman (photo credit: Colby All four are well-suited to the harp- for many years, a fellow faculty member Cooman) sichord: textures are consistently spare together with Stevens at the University (ranging from two to four voices), and of Southern California, Los Angeles. mystery, The Wore Tweed. It was, I The Lyric Wore Lycra Cooman indicates that long-held notes Turner surmises that it must have been suppose, not surprising since I had writ- should be restruck ad libitum on instru- she who brought her copy of the can- ten several columns concerning “Murder of us, it has added a little extra heft ments that have a faster sound decay. tata score to the United States, where, at the Harpsichord” (citing mystery around its middle), still maintains the Of the four pieces my personal favor- somehow, it became part of the Stevens novels with a harpsichord connection, Raymond Chandler sub-story set in dis- ites are Three Dances, op. Collection. (My quick look at Frances not referring to recitals by students or tinctive typewriter script, is still replete 1079, and Prelude, Fughetta, and Alle- Bedford’s Harpsichord and Clavichord colleagues). My Schweizer review was with welcome musical references, and gro, op. 1064, both composed in 2014. Music of the 20th Century provided the published in the July 2003 issue of our still displays the author’s ability to poke The Dances— (Adagio), Tordion information that Stevens composed a favorite magazine (on pages 8 and 10), gentle barbs at liturgical matters, the (Vivace), and Allemande (Andante two-minute solo harpsichord work for from which I quote: current ones involving Fat Tuesday and espressivo) —are faithful to the rhythms Ehlers—La quarte-vingtaine—in 1967, Lent, all side by side with several dead and chords expected in the 17th and the year of her 80th birthday!) Here is the answer to all your gift needs: bodies and, thus, enough crimes to be 18th centuries, and the order of the There is much more concerning this buy a copy of this slim paperback for ev- solved by sleuth Hayden Konig, police movements guarantees both variety and exciting rediscovery of a “lost” Raws- ery person on your Christmas list. Any chief of St. Germaine, North Carolina, interest. Comprising only fi ve pages of thorne composition as well as a reference 144-page book that manages to include and part-time organist-choirmaster of references to Charles Wood, Charpentier, music, these dances will not be boring to Walter Leigh’s delightful Concertino Mendelssohn, Hugo Distler, , an St. Barnabas Episcopal Church in that to an audience. for Harpsichord and Strings, which anthem text in which “Holy Jesus” rhymes small village. Cooman’s Prelude, Fughetta, and Turner posits may well have been famil- with “moldy Cheeses” and “Martin Lu- And yes, it is gift-worthy in the Allegro is “loosely inspired by Johann iar to the cantata’s composer. The con- ther’s Diet of Wurms (the only Diet of extreme, available directly from St. Sebastian Bach’s Prelude, Fugue and nection to American composer Norman Wurms with the International Congress of James Music Press (www.sjmpbooks. Allegro, BWV 998—a late composition Dello Joio is also explained in his article, Church Musicians Seal of Approval)” gets com). (Request an autographed copy seemingly intended for harpsichord, together with a reference to this Ameri- my vote for book of the year. if you wish.) My package of two copies , or most especially, the lautenwerk can composer’s 1980 solo harpsichord arrived within three days, so the book [a ‘lute harpsichord’]—apparently a work Salute to Scarlatti and the welcome Well, here we are, 14 years later, at accompanied me to Santa Fe, where I personal favorite instrument of Bach,” to news that “the fi rst modern performance liturgical mystery number 14, and I shared news of its July publication with quote the composer’s introductory notes. of the rediscovered Rawsthorne work have read every one of the intervening my hosts, also devoted Schweizer fans. Dedicated to the instrument maker took place on October 29, 2016, at the volumes, each of which has produced They rushed away from our dinner table Steven Sørli, these three movements in Royal Northern College of Music, with a similar (or greater) sense of eupho- to place their order immediately, and E-fl at major, C minor, and E-fl at major Harvey Davis at the harpsichord.” ria, merriment, and admiration for they, too, had their books in hand, ready are beautifully crafted and could make the author’s continued droll sense of to be read while on their vacation. Q an interesting pairing with Bach’s work. Mark Schweizer’s 14th humor, ability to create madcap plots, Use of the harpsichord’s buff stop would liturgical mystery and sheer ability both to instruct and Comments and questions are welcome. suggest the sound of the gut-strung It was The Diapason’s editor Jerome to entertain. Address them to Larry Palmer: lpalmer@ “lute-harpsichord.” Cooman also men- Butera who sent me a review copy The newest, The Lyric Wore Lycra, smu.edu or 10125 Cromwell Drive, Dal- tions that “equal temperament is neither of Mark Schweizer’s fi rst liturgical which clocks in at 192 pages (like most las, Texas 75229. expected nor required” for this music. The two additional scores in the packet are Ricercari, op. 1014 (2013), “inspired by the keyboard music of the early and mid-.” The work consists of faculty one page (3-voice texture) dedicated to graduate study in Thomas Murray Kimberly Marshall, two pages (2 voices) for James Woodman, and a fi nal two organ performance Professor of Organ pages (4 voices) for Peter Sykes. at Yale Institute of Sacred Music and Yale School of Music Martin Jean Number four, Toccata sequenziale sopra “ut re mi fa,” op. 1063, dedicated Professor of Organ to the New England instrument maker Jeffrey Brillhart Allan Winkler, is a contemporary work inspired by the early Italian keyboard Organ Improvisation of Frescobaldi and his follow- Walden Moore ers. In the style of the 17th century, this Liturgical Keyboard Skills six-page piece is meant to be played freely, and it comprises both the longest and most harmonically adventurous of these Cooman compositions. degrees offered A musicological detective story Master of Music Knowing my deep appreciation for Master of Musical Arts well-plotted mystery stories, dear col- Doctor of Musical Arts league and longtime friend harpsichord- ist Jane Clark sent me the journal of The British Music Society (aptly named Brit- ish Music, Volume 38, 2016, #2) in which John Turner’s article “Thank you, Nor- Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511 Institute students receive full man Dello Joio! A Voyage of Discovery” tel 203.432.9753 fax 203.432.9680 · ism.yale.edu/musicprograms tuition scholarships. Generous appeared in print (pages 24–32). Turner [email protected] awards available to qualified traces the twists and turns that led to applicants. his fi nding of a major musical score by

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 13 Reviews

Choral Music A new setting of William Cowper’s pieces), Germany (three pieces), Eng- The CD concludes with four pieces beloved text begins with a gentle, fl owing land (three pieces), and France (four from France. Three of them—Pavenne, Anthems based on texts from old accompaniment and unadorned simplic- pieces) being represented. The genres Gaillarde, and Branle—were included in hymns ity. It gradually unfolds with sensitive text included cover primarily the secular a collection of dances, which was one of This collection of choral anthems painting and lush with vocal repertoire of dances and variations, the several sets of keyboard pieces issued is based on texts from old hymns we lines highlighting SA and TB combina- with three settings and one in Paris in the early 1530s by Pierre know and love. The have tions. Especially appropriate for Lent. “learned” contrapuntal piece, a Ricer- Attaignant. The Pavenne and the much given these words new melodies and car by Frescobaldi, as well. The pieces faster Gaillarde mix chordal writing with harmonies that bring new life to each I Sing the Mighty Power of God, are taken from a mixture of printed solo fl ourishes, and the left hand is also of these titles. A couple of the hymns text by Isaac Watts, music by Steven and manuscript sources, covering some varied; the Branle has more chordal are no longer included in the newer Strite. SATB with optional brass and 150 years. elements than applied divisional writing hymnals. I have used all of these percussion, Hope Publishing Com- The CD opens with the earliest for the right hand. The fi nal piece is an anthems with my 16-voice choir, and pany, C 6081, $2.25. piece, a gentle and relatively simply Allemande Grave from a collection of they loved learning and singing them This familiar text is set to a new tune ornamented setting of Gentil Donna, pieces by Henri du Mont published in in our traditional service. When we in this high-energy arrangement. The taken from Andrea Antico’s book of 26 the 1650s, an elegiac and refi ned piece combine with our contemporary musi- moderately syncopated vocal lines soar Frottole settings, which, published in with which to conclude. cians these hymns work perfectly in above a rhythmic accompaniment bring- 1517, is the fi rst known printed music Most of the tracks, particularly the that setting as well. Our hymnody, with ing life and renewed awareness to God’s for keyboard instruments only. This is dances, are on the short side, with the the old and the new, is a vital part of power and might. The vocal parts are followed by three dances taken from Alamanda by being by our heritage and worship experience. I well crafted and stay within reasonable the 25 contained in the Intabolatura far the longest, weighing in at almost nine hope you will fi nd these old chestnuts range. The optional brass and percussion di Balli, published in in 1551, minutes. Other longer tracks of around useful and refreshing. parts will only add to this already festive the fi rst collection specifying stringed four to fi ve minutes include the Canzon piece. Brass parts consist of conductor’s keyboard instruments. Here Cera Francese detta Qui la dira by Andrea Then Sings My Soul (How Great Thou score, two B-fl at trumpets, two trom- makes a convincing argument for their Gabrieli, the Ricercare Quarto sopra mi Art), text and music by Stuart K. Hine, bones, suspended cymbal, and timpani, being played successfully on a cham- re fa mi by Frescobaldi, the Partite di choral setting by Mary McDonald. C 6081B, $29.95. ber organ—Gagliarda comadrina, Bergamasca by Bernardo Pasquini, the Hope Publishing Company, C 5701, Gagliarda lodesana, and Gagliarda Galliarda in D Minor by Scheidemann, SATB with piano, $2.25. Lead Me On, O Great Jehovah, text by Chataccio, with their lively right-hand and Hugh Aston’s Hornepype. Mary McDonald has crafted an excep- William Williams and Jay Althouse, line over insistent rhythms and chords The booklet contains an informative tional new anthem based on one of the setting by Jay Althouse. SATB, Hope either of close triads or 1-5-8. These are background on the small organs to be greatest hymn texts of the 20th century, Publishing House, C 5956, $2.10. followed by two Canzon francese by the found in noble mansions and private with altered original melody and luscious Jay Althouse updated a text by the noted Venetian master , Detta chapels, many being based on stops of harmonies. This fresh treatment brings a Welsh composer William Williams and set Je n’en dirai mot and Qui la dira, which 4′ pitch. Also included is an overview of new breadth and splendor to this timeless it to original music. The haunting new mel- were published posthumously by his the secular repertoire of the sixteenth hymn. The arrangement will change how ody is folk-like in nature, much in the style nephew Giovanni. Bristling with rapid and seventeenth centuries, and a brief you think of this old chestnut. Highly rec- of an Appalachian folk hymn and incor- sixteenth-note runs and written out note on some, but unfortunately not all, ommended. An by Michael porates, both in the accompaniment and ornaments, the fi rst piece contains more of the pieces performed. There is a full Lawrence is also available, C 5701O, the voices, the early American tune “Poor imitative writing; in both, the texture description of the organ with two photos. $69.95. Just recently in print are arrange- Wayfaring Stranger.” There are options for varies considerably. Next up are two As we have come to expect from ments for SSA, C 6102; SAB, C 5720; vocal solos, and the piano accompaniment pieces by the Roman Girolamo Fresco- Francesco Cera, the playing is clearly TTBB, C 5724; 2-part mixed, C5993. is transparent and accessible. baldi, his multi-sectional Canzone ottava articulated, with creatively applied —Leon Nelson detta la Vincenti from a collection of 11 ornamentation, especially in the repeats. Prayer to Jehovah, Molly Ijames. Southminster Presbyterian Church published in 1645, after his death, and The variety of compositional styles from SATB, Beckenhorst Press, Inc., Arlington Heights, Illinois his Ricercare Quarto sopra mi re fa mi across Europe, ranging from exuberant BP2115, $2.10. from his collection of 10 pub- to refl ective, allied to the imaginative This setting of Guide Me, O Thou lished in 1615. The selection of pieces use of what on paper appears a limited Great Jehovah is scored for SATB choir, New Recordings from Italy concludes with the set of 24 tonal palette, makes this CD a vital lis- piano, and optional string quartet. Molly The Organ at European Courts, Fran- Partite di Bergamasca, another popular tening experience that demonstrates the Ijames has given this favorite text her cesco Cera. Brilliant Classics 95240. tune of four bars, the latest piece on unexpected versatility of the instrument, own expressive music. The heart of this Available from www.amazon.com. the CD and taken from an autograph especially under the hands of such an hymn is captured beautifully. For this recording Francesco Cera manuscript source of the late seven- experienced player. It is an extremely has chosen a most intriguing instru- teenth century by Bernardo Pasquini. valuable recording of this type of instru- Coming Home, text by William J. ment, a dated 1772, The variations follow one another with ment; if it encourages players to explore Kirkpatrick, music by Mary McDon- which is almost certainly of Neapolitan only a brief pause to allow for changes of the potential of playing the many sets of ald. SATB, Hope Publishing Com- provenance and was restored in 2012. registration, which enhances the variety pieces that are still sometimes regarded pany, C 5930, $2.20. It is based on 4′ pitch and unusually has in texture and meter. as being exclusively for performance on This original prayerful ballad by Mary both a Principale and a Flauto at this Spain is represented by three sets of stringed keyboard instruments on the McDonald is paired with the beloved pitch, with the latter borrowing from the Diferencias by António de Cabezón, the organ using appropriate colors, which gospel hymn text expressing the return Principale for its bottom two octaves. It blind organist to the Emperor Charles can bring alive pieces ranging from to the Father like the story of the prodi- has only two other stops, a Duodecima V. Taken from Cabezón’s posthumously the simple relatively unsophisticated 1 gal son. The music is set in a minor key, at 1 ⁄3′ and a Decimaquinta at 1′. Pitch is pubished Obras de Música, these are the dances to the far more complex and at which, near the end of the anthem, A=412 and the temperament is a modi- more restrained and elegant canto llano times demandingly virtuosic contrapun- moves to major mode with the original fi ed ¼ comma meantone. del Caballero (four variations after the tal pieces and variations, it will have tune. Beautifully written. Recorded in the refectory of the theme), the jaunty la Galliarda Milanesa achieved much. Franciscan Convent, Lustra Cilento, (two variations followed by the theme —John Collins There Is a Fountain, Brian L. Han- the CD contains 22 tracks by 13 com- being repeated), and the second of three Sussex, England son. SATB, Concordia Publishing posers (two of whom are “anonymous”), sets on las Vacas (six variations). House, 98-4269, $1.90. with Italy (nine pieces), Spain (three Three pieces from Germany open with Paul Hofhaimer’s Tandernack fol- New Handbell Music for Advent lowed by the exciting Galliarda with and Christmas a Variatio by the Hamburg composer In a Manger, arranged for 3–5 MANDER ORGANS and the set octaves of handbells and piano with of ten variations on an Alamanda by optional 3–5 octaves of handchimes, Samuel Scheidt, organist in , by Joel Raney. Agape (a division of New Mechanical Action Organs who, like Scheidemann, studied in Hope Publishing Company), Code with Sweelinck. This piece, No. 2818, $4.95, level 2+ (M+). based on the popular pattern known as Combining James R. Murray’s “Away the Bassa Fiamenga or Brunsmedlijn, in a Manger” with William J. Kirkpat- contains a wide range of styles in the rick’s “Cradle Song,” Joel Raney brings writing, which frequently attains highly together this Christmas medley combin- virtuosic peaks. ing piano and bells in a very effective Three English pieces from the early back-and-forth dialogue between the sixteenth century open with the enigmatic two instruments. The piece begins sim- and quite hypnotic Uppon la mi re fol- ply with bell-like chords bringing in the ³ St. Peter’s Square - London E 2 7AF - England lowed by My Lady Careys dompe with its manger themes and adding more tex- Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 broken chord left hand beneath a fl owing ture with full melodic patterns weaving Continuo Organs [e] [email protected] right hand. The fi nal piece from England these themes throughout. It ends like it www.mander-organs.com is Hugh Aston’s Hornepype, a triple-time began—simply and gently. dance in two sections, the second being full of lively writing mainly for the right Four Advent Hymns for Twelve Imaginative Reconstructions hand over a long-short rhythmic . Bells, by Sandra Eithun. Concordia

14 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM Reviews

Publishing House, #97-7769, $4.50, Here is delightful presentation of this section. Here is a dynamic and winsome weaves between the treble and bass and level 2–3 (E+ – M-). well-loved Christmas song in a dynamic, jewel for the holiday season. Percussion employs various special effects includ- These four titles include “Come, fully developed setting that will be part, tenor drum, and wind chimes, ing LV (let vibrate) patterns, plucking, Thou Long-Expected Jesus,” “Comfort, perfect for concerts, communities, and Code No. 2803P; $5.00. malleting, and thumb dampening. An Comfort Ye My People,” “Let All Mortal churches. The optional instrumental edition for 3, 4, or 5 octaves is also avail- Flesh Keep Silence,” and “O Come, O parts will add more charm. The arrange- A Holly Jolly Christmas, by Johnny able, CGB 1031. Both are compatible for Come, Emmanuel.” Arranged for hand- ment is full of special effects that lend a Marks, arranged for 3–5 octaves of massed ringing. bells or handchimes, the arrangements great deal to the “drummer” effect. This handbells with optional 3–5 octaves are creatively written and provide an will be a challenge for the ringers, but of handchimes with synthesizer and Advent , arranged for opportunity for a small group of ringers. well worth it in the end. percussion, by Joel Raney. Agape (a 3–5 octaves of handbells, optional 3 division of Hope Publishing Com- octaves of handchimes, by Linda R. Coventry Carol, arranged for 3, 4, 5, Strike the Harp and Join the Chorus, pany), $5.50, level 4- (D). Lamb. Concordia Publishing House, or 6 octaves of handbells by Brenda for 3, 4, or 5 (6) octaves of handbells Here is a notable holiday chestnut #97-7763, $3.95, level 2 (E+). Austin. Choristers Guild, CGB 1009, by composers Cathy Moklebust, made famous by Burl Ives in 1965. Going The Advent tune, “Savior of the $4.95, level 3 (M-). Valerie W. Stephenson, Sondra K. from the regular 4/4 time signature to a Nations, Come,” is the hymn used in this This refl ective seasonal carol begins Tucker, Sharon Elery Rogers, and playful 3/4 rhythm adds a spritely middle arrangement. Beginning with the typical with a fl owing, slightly syncopated Jason W. Krug. Choristers Guild, section, enriching the charm of this passacaglia bass pattern with variations accompaniment to the carol melody. CGB 1021, $54.95, reproducible, delightful setting. The addition of hand- added, the tune, when introduced, con- This feeling is interrupted in the middle levels 2+ – 3+ (M – D). chimes, synth strings, and percussion tinues in both clefs until the canon-like section with a bold, agitated interlude, This entertaining reproducible col- only enhances this holiday favorite. ending. The arranger has created an which returns back to the opening con- lection is a great resource for Christmas unusually exquisite Advent jewel. templative mood. concerts—church or community. There Christmas Joy, arranged for 3–5 is a wealth of wonderful seasonal music octaves of handbells, by Chris Peck. Impressions on Veni, Emmanuel, Once in Royal David’s City, arranged all under one cover. The titles are Concordia Publishing House, #97- arranged for 3, 4, 5, or 6 octaves of for 2–3 octaves of handbells or hand- expertly arranged by major handbell 7764, $4.25, level 2 (M+). handbells with fi nger cymbals (or tri- chimes by Dan R. Edwards. Con- music composers. There are six titles A ragtime infl uence gives this Isaac angle), chime tree, wood block, and cordia Publishing House, #97-7771, including “Carol of the Bells,” “Deck Watts classic, “Joy to the World,” a fresh, optional 3 octaves of handchimes, by $3.95, level 2 (E+). the Halls,” “Fum, Fum, Fum,” “Jingle new feeling. Bass ringers will especially Cathy Moklebust. Choristers Guild, The familiar carol is arranged for two Calypso,” “Up on the Housetop,” and enjoy ringing a very rhythmic, jazzy beat, CGB1001, $5.50, level 4 (D). verses in the key of B-fl at. There are some “We Wish You a Merry Christmas.” which takes up a good part of the arrange- This arrangement of the 15th-century lovely harmonies given to this short gem. ment. It is important to keep the melody French carol opens by using randomly Short and sweet, and quickly learned. Wexford Carol, arranged for 3–6 line predominant as it moves throughout malleted handbells, handchimes, fi n- octaves of handbells with optional the various voices. This piece would work ger cymbals (or triangle), and chime The Little Drummer Boy, by Kath- 3–6 octaves of handchimes, tenor well in church or concert settings. tree, creating a sort of spiritual aura erine Davis, Henry Onorati, and drum, and wind chimes, by Jason as an introduction. A quietly fl owing Harry Simeone, arranged for 3–5 W. Krug. Agape (a division of Hope The Holly and the Ivy, arranged for 2 statement of the tune is followed by a octaves of handbells, with optional Publishing Company), Code No. or 3 octaves of handbells with optional more rhythmic, driving section in 7/8 3–5 octaves of handchimes, synthe- 2803, $5.25, level 3 (M). 2 or 3 octaves of handchimes, by meter, with the use of fi nger cymbals sizer, and percussion, by Joel Raney. The traditional Irish tune begins with Cathy Moklebust. Choristers Guild, and wood block. The text “Rejoice! Agape (a division of Hope Publish- a syncopated festive fl air that moves into CGB 1030, $4.95, level 2 (E+). Rejoice! Emmanuel is come to you, O ing Company), Code No. 2802, a more subdued middle verse, which This traditional English carol is Israel!” comes alive in this masterful set $5.50, conductor’s score, synth, includes handchime accompaniment, if arranged in a gently fl owing manner with of impressions. and percussion parts, Code 2802P, available. The arrangement then returns easy rhythms, no bell changes, and the —Leon Nelson $15.00, level 3+ (D-). to the rollicking feel of the beginning optional use of handchimes. The melody Vernon Hills, Illinois

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 15 In the wind...

Performance stark contrast to the sloppy, uncoordi- Rockport, Maine, is a quiet, pictur- nated garb heaped on the four chairs. esque village nestled between the bus- The fi rst piece they offered together was tling towns of Rockland and Camden. by Respighi, an erudite work with elusive It’s on the west shore of Penobscot Bay, structure, and none of them managed which forms the east end of the region to pull out any sense of form. Finally, known as mid-coast Maine, and like the in Samuel Barber’s shimmering Dover surrounding towns, Rockport is a com- Beach, the soprano got some traction and bination of a working fi shing harbor and pulled the quartet toward meaningful home to many private pleasure boats. playing. Inexplicably, the gullible audi- There are a couple of active boatbuild- ence gave them a standing ovation. Must ing workshops there, and dozens, if have been the singer’s family. At least we not hundreds, of moorings bedeck the had a wonderful dinner. enclosed harbor. The area is home to Rockport is 45 minutes from our place many high-end vacation residences, so in Newcastle, and we had them in shreds there’s a strong market for good musical by the time we got home. The quartet performances, and Rockport, with two has been resident in the area for over Walt Disney Concert Hall, Los Angeles, California, Glatter-Götz/Rosales organ (photo excellent restaurants and a vintage opera 20 years, and they’re supported by a credit: Manuel Rosales) house within a few doors of each other, is not-for-profi t board that raises funds and known for the many outstanding concerts organizes their concerts. Maybe things Just what is performance? Of course, One concept of performance, often presented each summer. are a little too easy for them. Their per- performance is an artist presenting before repeated, is that the performer is a ves- But not last Tuesday. After a terrifi c formance lacked any sense of passion or an audience. Performers are actors, musi- sel through which the music passes. An dinner, Wendy and I took our seats in commitment to the music. cians, dancers, comedians, and various iconic painting hangs on a wall, open to the opera house for a concert presented The Salt Bay Chamberfest is an annual combinations of all those elements. But the enjoyment and interpretation of the by a string quartet that’s resident in the event in Damariscotta, Maine, which there’s more to it than sitting at an instru- viewer. There is no need for a middleman area, and we were immediately stricken adjoins our town of Newcastle. The ment, playing pieces of music. And, for between the artist and the consumer. The by the backstage sounds of the cellist, concerts are held in a barn owned by the audience, the performance is more greatness of a composer is nothing but feverishly practicing a narky passage the Damariscotta River Association. It’s than simply sitting in a chair and listening. squiggles on a page until an artist brings that started with a very high note, fol- not a converted barn, it’s just a barn with There’s some kind of deal, some kind them to life. And in my experience, the lowed by a dramatic downward fl ourish. wood walls and roof, cement fl oor, fold- of relationship set up between performer best performers and the most exciting He played it over and over, right through ing chairs, and a concession stand selling and audience. Perhaps it’s tension—the performances happen when the artist- the concert’s starting time, never getting wine and cheese. Last summer, we heard audience is expectant and the performer as-vessel is a conveyor of energy. Not the high note quite right, and sounding a program that included three pieces by intends to sate them. Perhaps it’s trust— only do the squiggles become organized more frantic with each repetition. It was Kaija Saariaho: Nocturne, Cloud Trio, the audience relies on the performer to sound, but they become energized, danc- a dreadful display. and Je sens un deuxième coeur. (Later in present the music freely and accurately. ing, fl itting, or tearing across the room. Finally, the quartet took the stage. the year, her opera, L’amour de Loin, was Perhaps it’s risk—the performer inter- The artist transforms the squiggles into Their concert attire was sloppy, and their premiered by the Metropolitan Opera, prets familiar passages in new ways, force, and topknots are uprooted. progress from stage door to their chairs the fi rst opera written by a woman to be causing the audience to sit on the edge That’s the sign of a great actress, who was haphazard. They opened the pro- presented there in more than a century.) of their seats. And perhaps it’s the baring seems to be a completely different per- gram with a few lofty remarks about the That concert ended with Arnold of soul—the performer exposes his inner son in every role she plays. Think of the piece they were about to play, and offered Schoenberg’s mystical Verklärte Nacht person to the audience, willing to share great Maggie Smith as the imperious, a lackluster reading. Though the printed for string sextet, with Alan Gilbert, his private thoughts from the stage. scathing Dowager Countess in Downton program indicated that they would play then music director of the New York Some years ago, Wendy and I saw Abbey, and compare that to the homeless two pieces before intermission, they left Philharmonic, playing viola. Those Tony Kushner’s play Homebody/Kabul at Mary Shepherd in The Lady in the Van. the stage after the fi rst piece, and the musicians were used to performing in the Trinity Repertory Theater. One scene You Downton Abbey fans, if you haven’t cellist went right back to his nervous and central formal venues, but they gave the involved a male character, a diplomat in a met Mary Shepherd, you must. ineffectual practicing, still never quite same level of energy and commitment position of power, who offered to provide reaching that high note. The audience to their performance in the barn. It was the woman the visa she sought in return Bigger than yourself was left to wonder if this was the inter- rich and rewarding. for sex. There was a struggle of wills Sometimes, the artist-as-vessel gets mission. There were no cues offered by § until the actress tore off her blouse and, carried away and grows bigger than the house lights and no announcement about naked from the waist up, consented to music. Physical histrionics are purpose- alteration of the program. The quartet I’ve long admired The Bobs, an a cap- the humiliation. That act took my breath fully created, supposedly adding to the would be joined by a singer for the fi nal pella vocal quartet formed in 1981 and away as an expression of a performer, bar- artistic experience. The unvarying result two pieces, so I suppose it made sense to now preparing their farewell tour. They ing herself both literally and fi guratively. is the opposite. The music takes a back present them together without break, but write their own material in a rapid-fi re Her nakedness was metaphorical, a shout seat to the performer, and the audience the sequence was strange and unsettling, hipster style, and they sing brilliantly in of anger at the ugly behavior of the dip- is the poorer. It’s as if you’re watching a especially as it was accompanied by doz- close . I heard them live in a con- lomat. Her ability and willingness to do gymnastics meet rather than an artistic ens more missed chances at that pesky cert at Harvard University’s Sanders The- that in anger, apparently spontaneously, performance. I don’t mind an occasional high note. Dozens. ater, a thousand-seat venue in Memorial was one of the most eloquent instants in fl ourish, or a toss of the head at the Once again, it was a relief when the Hall, just up the street from the museum any performance I have witnessed. end of an exciting passage, but I dislike anguish stopped and they took the stage. formerly known as the Busch-Reisinger, Oh yes, I hear you sniggering out unnecessary movement that seems the- The singer was a young woman who grew home of E. Power Biggs’s iconic Flentrop there. Of course he would never forget atrically planned. up in the area and made good. She has organ. As we left the room after the that. But how many of us have had Le Poisson Rouge is a trendy per- performed in several major opera houses concert, I was exhausted and assumed performance anxiety dreams in which formance venue on Bleecker Street in including the Metropolitan Opera in that most people present felt the same we are sitting at the organ in front of a Greenwich Village. It’s downstairs (one New York, and she knew how to dress way. I refl ected that those four perform- room full of people and realize in horror can only imagine what would happen appropriately. Her beautifully chosen ers spent enough energy to wear out the that we are naked? Given the number of if there was a fi re), and you sit at tables dress and carefully coiffed hair was in entire audience. times I’ve heard friends and colleagues where you can order (pretty good) relate similar dreams, I’ll answer my own food and (very good) drinks. It’s within question. Lots of us. It doesn’t take a walking distance of our apartment, rocket scientist or a psychiatrist to real- and we’ve heard quite a few wonder- ize that those images are related to the ful performances there. But there was The Diapason requirement and expectation that when this duo-piano concert, two sisters who we perform, we are baring our souls were personifi cations of the too-fl ashy, 2018 Resource Directory and our artistic psyches before our audi- too-theatrical musician. The fi rst chord ences. Are we ready for that? made me cringe: the pianos were not • The only comprehensive directory for the organ and church music fi elds • Includes listings of associations, suppliers, and the products and services they provide

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16 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM By John Bishop in tune with each other. Wendy put her company had replaced his Blackberry pianist Maria João Pires’s experience hand on my elbow, and hissed, “Behave.” with an iPhone that day. He thought he with the Amsterdam Concertgebouw She was right. I consoled myself by had silenced it at the start of the concert, Orchestra in 1999. She was engaged to scrawling commentary on the program but didn’t realize that the alarm was set. play a Mozart concerto, checked which throughout their performance. The two one by referring to the orchestra’s pianists spent the evening tossing their The consummate performer published schedule, and prepared the hair, throwing their hands in the air, and We all have memories of spectacular piece. Not a good source, apparently. making what their coaches must have live performances. Organist Stephen Amazingly, the fi rst reading with the thought were alluring facial expressions. Tharp played the closing concert of the orchestra was during an open rehearsal We often talk about that performance 2014 convention of the American Guild in front of an audience. Conductor Ric- in social settings, and we invariably call of Organists. Boston’s 3,000-seat First cardo Chailly began Mozart’s Concerto them “The Kissy Sisters.” Church of Christ, Scientist (The Mother No. 20 in D Minor. Pires gave a shocked In professional football, a team is Church) was fi lled to capacity with what look, buried her face in her palm, then penalized when a player displays his- must be the most critical audience an told Chailly that there was a problem. As trionics. It’s offi cially called “excessive organist can face, and Tharp let loose with the orchestra played, he turned to her celebration.” What if you had a button a performance that was dazzling both and said something like, “You played it on the armrest of your concert hall seat technically and artistically. His reading of last year. You’ll be fi ne.” And she was. can an actress toss aside all modesty to that allowed you to vote? Artists whose his own transcription of Stravinsky’s Rite By the time the orchestra’s introduc- be someone else in front of an audience? fi rst and last names are the same would of Spring took the audience places they’d tion was over, she had pulled herself How can a musician maintain control of be banned from the fi eld. never been. In the three years since, I’ve together, dredged her memory for the her body to perform such intricate motions discussed that concert with dozens of correct piece, and played it fl awlessly. in front of thousands? What drives people Distraction others who were there, most recently last You can see a video of that incredible to do that? What expansiveness of spirit Did I mention that the pianos were night. And while you’d think that the wide moment at https://www.youtube.com/ is necessary? What generosity? What not in tune with each other? Those who world could dredge up one fussbudget watch?v=fS64pb0XnbI. intense concentration? present concerts must accept the respon- who would criticize, I’ve never heard it. I doubt that I fully understand the I may not understand it, but I sure am sibility to create a suitable setting for per- The concept of organ concerts changed physiology that makes some people able to grateful for every opportunity I’ve had to formers and listeners. There were several that night, and everyone present knew it. perform. How can a major league pitcher hear someone play beautifully. All of us hundred of us in that room, in fi fty-dollar Another instance displaying the con- throw a strike in a tense situation when who perform at any level need to witness seats with twenty-dollar drinks. Don’t summate performer was the Portuguese millions of people are watching? How others doing it as often as possible. Q tell me that there wasn’t money to hire a piano tuner. There were two lovely Steinway “B’s” on the stage—at least they brought in good instruments. But had the pianos been in good tune, it might have taken me two or even three measures to dislike the performance. During performances at Carnegie Hall in New York, there are huge glass W HY CHOOSE snifters full of Ricola™ lozenges placed throughout the lobbies and corridors, a nice touch of consideration for all con- cert-goers. I remember hearing a radio AN APOBA FIRM? story years ago about the London Sym- phony introducing “Silent Sweets,” little hard candies wrapped in paper specially designed to be quiet when opening. Coughing and rustling candy wrap- W E PROMISE: pers are small fry when compared to cell phones. We’re all used to the public ◆ KNOWLEDGE ROOTED IN EXPERIENCE announcements before performances, reminding audiences to silence their ◆ TRADITION BLENDED WITH INNOVATION cell phones. Look across the audience of a big formal concert and guess how many cell phones are in the room. 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Peterson Electro-Musical Products Coughing, crying babies, cell phones, Garland Pipe Organs, Inc. and late arrivals are all intrusions into the relationship between performer and audience. Some are unavoidable. There are times when you just can’t help cough- ing. But thoughtful audience members must do their best to preserve the full Call today for Please watch and share experience for those around them. APOBA’s free 66+ our short video at: There’s a lot to be said for bringing chil- page color prospectus www.apoba.com/video dren to concerts, but there’s a continuum between the child’s gain and the collec- tive loss of hundreds of listeners whose experience was marred. Cell phones? No excuse. But the poor guy whose phone spoiled the New York Philharmonic’s Apoba.com 1-800-473-5270 concert had a plausible explanation. The New York Times reported that his

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 17 On Teaching

Helping Students 1832, that he “was against the use of the Choose Fingerings V thumb on a black key. I wondered why, I ended last month’s column with a and thought it over until I discovered couple of short digressions. I open this col- that Clementi’s reason was that there umn in the same way. Then I will return to was an undue strain on the wrist, with the train of thought from last month. consequent fatigue.” So, as with a lot To help myself muse about teaching about music and life, this was perhaps an the art of making purposeful fi ngering instance of “what’s old is new again.” choices, I have done a certain amount of Example 1 reading: not what I would call “research,” Fingering principles to not looking for concrete information, but offer to your students for hand position in particular, and there- hand, if a student is more or less observ- just part of the process of thinking, gath- I resume my list of suggestions of fore, sometimes, for fi ngering. ing all of the precepts above, is trying out ering, and examining ideas. I happened principles or ideas that we might offer The two examples above show situa- a possible fi ngering, and that fi ngering to come across some extremely interest- students in advance of their working out tions in which the relationship between simply cannot get comfortable, then it ing comments by the eminent Ukrainian their own fi ngerings for pieces. musical patterning and fi ngering come is probably one that should be changed. pianist Vladimir de Pachmann, who lived 6) Don’t fi nger for something that out different. In the fi rst case (Example And that leads to another principle: from 1848 to 1933. you don’t want or need to do. That 1), there is probably something to be 9) If you can’t come up with a De Pachmann became convinced dur- is, don’t make a fi ngering unnecessarily gained and little or nothing to be lost by fi ngering that you are reasonably ing the course of his career that there was complicated by asking it to create a dif- playing each four-note grouping in the happy with, don’t accept an unhappy something blocking him technically. He fi cult result when that result is not what same way. For any number of reasons, fi ngering or try to get used to one eventually decided or fi gured out that he you really want. This usually manifests such as relative fi nger length, some play- that is really awkward. It is better to was allowing his hands to turn out too far, itself as something very specifi c: con- ers might prefer 4-2-1-2, some 5-3-2-3. leave the passage un-fi ngered and un- both out and in, from a position that was structing an unnecessarily diffi cult fi nger- (Those are not the only possibilities, but practiced until you have had a chance to more or less straight with the forearm. ing in order to achieve legato, when that they probably cover what would feel best bring it back to the teacher or, perhaps, His own discussion of this in an interview legato is not actually wanted. If you do for almost everyone.) just to go on thinking, analyzing, and is fascinating. (“Should Piano Playing want legato, and the fi ngering necessary However, in Example 2, with three fi nally fi nding something better. Undergo a Radical Reform?”, Vladimir to achieve that is complex or tricky, then sharps, the consistent application of a Are these last two principles in actual de Pachmann, Etude, December 1923.) this gets turned around the other way: pattern of this sort would confl ict with confl ict with each other? Not quite. This is a short excerpt: you have to accept the diffi cult fi ngering good hand position and create problems Taken together they point to the need and practice it enough to make it work. with the use of the thumb. I have put in a for a student to develop the ability to tell I discovered that the whole trouble lay But that is usually not the problem. It is fi ngering that fi ts the native shape of the when a fi ngering seems wrong because in the wrist. The wrists were not free. Eas- ily said—but WHY? defi nitely a problem for many students passage very well for me, and there are it is wrong, and when it seems wrong Perhaps a simple experiment will serve that they think that it is lazy or unconsci- other possibilities. A student could make because it is unfamiliar or conforms to to illustrate. Put your elbow upon the table entious ever to use a disjunct fi ngering. the choice that the pluses of repeated a new idea, or just hasn’t been practiced and let your forearm fall with your hand in (Often this feeling is entirely subcon- patterning outweigh the negatives of enough yet. This is one of the senses that comfortable playing condition. Now, with the hand and forearm in this scious or refl exive.) But that is only true if thumbs on black notes or other turnings will be strengthened by independent position, move the hand (without moving you honestly don’t like the musical results of the hand. However, that should be work on fi ngering. It is fi ne if it takes a the forearm) as far as possible to the left of that fi ngering. The most conscientious thought about as a conscious and careful while to develop, and it will kick in ear- and hold it in that position for a few mo- and effi cient thing that you can do in choice. (For me, the 4-2-1-2 fi ngering as lier and earlier in the process with each ments. You will notice at once that there is a strain at the joint of the wrist. Now sketching out a fi ngering for a passage is a thorough-going pattern would be disas- piece that the student works on. move the hand in the opposite direction to give yourself the freedom to use any trously bad; the 5-3-2-3 would be rather A list can seem so cut-and-dried. Do and there is likewise a strain. It is this strain fi ngers whatsoever for any two successive bad, mainly a problem in the second these nine headings outline all of what I that, to my mind, distorts the muscular and notes or chords that are not meant to be group of four eighth notes.) want to tell a student before that student the nervous condition of the hand and the forearm and results in much horrible play- legato, and take it from there. Another thought about patterns is goes off to create fi ngerings for a piece? ing. The tone cannot be musical and beau- 7) Concerning patterns: on the one that some students have learned default Do I always outline all of these things in tiful if the wrist is stiff or strained in this hand, it can be very useful to fi nger some- fi ngering patterns for certain note pat- this exact way? No, of course not. This out- manner. Therefore I never move the hand thing that is reiterated as a pattern in the terns prior to working on any given piece. line is in part an exercise in thinking about from side to side. Having discovered this, I began to fi nd same way each time it comes along. This These are usually scales and arpeggios, the sorts of things that I think that we can that, whereas I had been unable to practice is true fi rst of all because perhaps that and the fi ngering patterns have been offer to students as pre-established guide- for long periods in later years without fa- fi ngering is the best fi ngering, considering learned because the note patterns have lines in lieu of specifi c “use this fi ngering tigue, I was now able to play for hours and everything. But also, the patterned fi nger- served as exercises. This can be very use- here” input. Someone else might have hours and ‘never feel it.’ What was the result? I resolved to re- ing is itself easier to remember because it ful and quite a time-saver if the learned a different specifi c set of ideas, or ones work, re-arrange my entire repertoire upon stays the same, and this has the nice ben- fi ngerings actually work well, given all of similar to these but put rather differently. this new basis. This meant refi ngering hun- efi t that when you practice one instance of the circumstances of the piece. They often Someone might decide that a few of these dreds and hundreds of pages of music. it, you are also practicing the others. This is will, but also often will not. It is important are worth outlining and discussing quite effi cient and enhances security. However, to use them only when they are right, and specifi cally in advance and that others of This interests me because it ratifi es it is even more important to recognize that not to let them interfere otherwise. them can be left to be added along the what I have long observed about the sometimes a musical pattern is not a physi- It is worth remembering that even way, in response to particular situations. I problems with turning the wrist, though cal pattern. This happens most of the time though it can seem like a shame not to have never yet written an outline like this I feel sure that turning out is worse than and most strikingly because of the pres- take advantage of the comfort of pat- to hand to students. I do it all verbally. But turning in, whereas Pachmann does ence of sharps and fl ats. If the keyboard terned fi ngering for patterned notes, the act of writing it out for the column not distinguish between those. It is also were all white keys, then this concern abandoning that patterning only brings suggests to me that I might like to try that. interesting to me that he presented this would largely go away. The other cause, those passages to the level of fi ngering- The danger in writing something and pre- as a new discovery. It seems to have been more subtle, is that the feeling and thus complexity of the rest of the music. senting it as a sort of document, especially new in relation to his own work and to the fi ngering needs of a repeated pattern It is never a particular problem, just as from teacher (or any supposed author- whatever he had learned from his teach- can also change because of position on the sometimes an opportunity that we would ity or “expert”) to student, is that it will be ers. Elsewhere, however, he says about keyboard. The same note-shapes a couple rather not pass up. interpreted too hard and fast. Muzio Clementi, who lived from 1752 to of octaves apart have different implications 8) Don’t confuse unfamiliarity with I think that it is necessary, whether diffi culty. That is, don’t judge the easiness this is all done in discussion or partly Confident pedal work or diffi culty of a fi ngering before having in written outline, to be very careful to gotten somewhat used to it. In choosing remind students about fl exibility and bal- comes with practice and between two or more fi ngerings, the one ance. This is refl ected in my brief com- that seems the least comfortable right off ments about “no thumbs on black notes” the right shoes the bat might just seem the best once you last month. I am still very aware that I on the have explored them all a bit. On the other have sometimes seemed too adamant pedals

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18 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM By Gavin Black

patience, as much during the fi ngering phase as during the practicing phase. In fact, an extremely challenging piece can be used as an interesting laboratory for thinking about fi ngering, whether or not the student goes on to practice it and learn it for performance. Using a piece this way can be a challenge to the yearn- ing for completeness and closure that most of us have, but as a learning tool it Example 2 is perfectly valid. The most compelling reasons to do it are, fi rst, that a student about that, right and important though it have long stretches in which one hand might actually fi nd it intellectually inter- usually is, and that a student has wasted is playing a single line while the other esting to think about fi ngering a piece time or even risked tendon injuries by is playing chords or some other multi- that would be a stretch to play, and that using awkward stretches to keep thumbs note texture. the student might simply like that piece off black notes that they should indeed It is possible that at fi rst (when a stu- and want to engage with it. If a beginner statement, one that we should all always have been playing. (I would love to know dent is relatively non-advanced overall or intermediate student works carefully bear in mind: “If . . . a diffi culty . . . exactly how Clementi framed that.) or is not yet too comfortable choosing on the fi ngering of a piece, or part of a does not disappear after one hundred fi ngerings), pieces that have one sort of piece, that is a real (or unrealistic) stretch repetitions . . . play it a thousand times!” Students working texture in each hand for long stretches now, that student will be well positioned (Exclamation point mine!) Q autonomously might be the most comfortable. That to go ahead and really learn that piece I have alluded a lot to a student’s going situation allows a student to focus on later. That is in contrast with the situation To be continued. off to fi nger a piece, any piece, autono- one sort of analysis of what the texture that can be set up by more or less just mously. There’s an interesting question as requires of the hand. Within reason— stumbling through a signifi cantly diffi cult Gavin Black is director of the Prince- to whether is it ever useful to choose pieces that is, avoiding real blockbusters—I piece without dealing with its challenges ton Early Keyboard Center in Princeton, in the fi rst place not to (just) teach some- don’t think that overall easiness or dif- seriously and systematically enough. New Jersey. His website is gavinblack- thing about execution or rhetoric or even fi culty is that much of a concern. A more A brief closing return to de Pach- baroque.com, and he can be reached by fi ngering as such, but as exercises specifi - diffi cult piece just takes more time and mann. In my reading I encountered this email at [email protected]. cally in thinking independently about fi n- gering. I think that this can be a good idea, as long as it doesn’t shade over into asking a student to work on pieces that lack musical interest. What constitutes a good piece for working on fi ngering choice depends on the student. However, there are things to analyze about how a piece relates to the process of working out fi ngerings. How much will it be necessary to think about choices of hand as they differ from what the distribution on the staves seems to sug- gest? (As I have written before, I feel very strongly that staff distribution shouldn’t infl uence hand distribution in mapping out and playing organ music. But it doesn’t hurt to clear the decks, so to speak, for this kind of work by choosing pieces where that isn’t an issue.) The next step is to see what sort of work each hand has to do. A student can and should learn to think about fi ngering with any sort of texture. But it is important to be clear about the fact that different textures require a some- what different approach, or at least feel like they lead to somewhat different processes. For example, if either hand has only one note at a time, as is true of both hands in something like a Bach two-part Invention, then the hand is free of a whole host of constraints. It’s just a question of mapping fi ve fi ngers onto a succession of notes. If a hand has actual chords, that is one thing. If it has a more-than-one-note texture that arises out of , that is something else. (Maybe the principal practical fi ngering difference there is that chords often change over all notes at once, whereas counterpoint, almost by defi nition, does not.) Many or most pieces out there have a variety of these sorts of textures. To choose an example out of thousands, many of the pieces in the Vierne 24 Pièces en style libre

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 19 Pipe organ history

A History of Skinner Organ Company Opus 820 at the Cathedral of Our Lady, Queen of the Most Holy Rosary, Toledo, Ohio

By Paul Monachino

n January 24, 1931, the fi rst boxcar in America.”3 History has confi rmed his Ocontaining Skinner Organ Company belief as Opus 820, located in an outstand- Opus 820 left Boston en route to the new ing acoustical environment, has come to cathedral in Toledo, Ohio—Our Lady, be regarded as one of his fi nest efforts. Queen of the Most Holy Rosary. After Three days of musical events marked many months of planning and develop- completion of the organ’s installation. ing the stoplist, the dream of installing an The fi rst of these was a solo organ recital organ from the fi nest American builder on June 2, 1931, by Palmer Christian of The Cathedral of Our Lady, Queen of the Most Holy Rosary, Toledo, Ohio (photo credit: of the early 20th century was soon to the University of Michigan, Ann Arbor. William T. Van Pelt) be a reality. Norbert Fox, the cathedral The following day witnessed a choral and organist, kept a copy of the stoplist on organ program presented by the Cathe- a side table in his home and perused it dral Chapel Choir, Reverend Ignatius daily, anticipating with great delight the Kelly, choirmaster, accompanied at the beautiful and majestic sounds that would organ by Norbert Fox and John Gor- soon fi ll the cathedral. don Seely of Toledo’s Trinity Episcopal Ground was broken for the unique Church. The events concluded on June Spanish Plateresque-style cathedral in 4 with a performance of Edward Elgar’s 1924. In early 1929, with construction The Dream of Gerontius. The organ had nearing completion, fi nal negotiations been in the cathedral for nine years when with Ernest Skinner were in the works. the edifi ce was fi nally dedicated in 1940. The contract was prepared on June The Muller Pipe Organ Company of 13, 1929. An interesting change to the Toledo cared for the organ after it was Great division reed boots (photo credit: Inscription on a Choir division Concert contract was requested by Skinner. He installed. Family patriarch Joseph Muller Paul Monachino) Flute pipe (photo credit: Paul Monachino) wished to move the English Horn from and his son Henry previously worked for the Choir to the Solo division. It was to Skinner in Boston. After rising to the be replaced in the Choir by an Orchestral position of principal installation foreman (changed to a Flügel Horn in 1933 in the Skinner company, in 1919 Henry at the request of Norbert Fox). In a letter established his own organ maintenance dated January 30, 1930, Skinner writes, shop in Toledo, Ohio. The Skinner organ “The English Horn was commonly placed in Rosary Cathedral was integral to a lively on the Choir organ until a short time ago liturgical music program: ordinations, where I greatly improved its quality by a weddings, funerals, and other festive cel- modifi cation of design, and the new form ebrations. It regularly accompanied the works better on the Solo (wind) pressure 80-voice men and boys choir for Sunday than on the Choir. . . .”1 In concluding the Mass. It was also heard daily at Mass by letter Skinner writes, “I look your scheme the students of the Cathedral School. over every day with renewed satisfaction. The Gregorian Institute of America, It gives me every opportunity to fulfi ll the established in Toledo (now GIA Publica- confi dence you have given me in accord- tions, Chicago), held weeklong summer ing the Skinner organization a perfect workshops at neighboring Mary Manse The Skinner Organ Company nameplate (photo credit: William T. Van Pelt) opportunity to build a great work of art.”2 College, and participants attended daily And in a letter of September 27, 1930, Mass at the cathedral. Private recordings from 1954 until 1961) and Valerian Fox, Dorothy Holden) of Ferndale (Detroit), Mr. Skinner states, “I honestly believe this of the organ were made in the 1950s by son of Norbert Fox. In 1966, Maurice Michigan. The concept of the restora- organ is going to be one of the greatest Claude Legacé (organist-choirmaster Durufl é and his wife Marie-Madeleine tion was conservative, with no proposal performed on the organ; the concert’s to alter the tonal or mechanical systems fi rst half featured selected movements of the organ. In 1980 the console was of the Requiem conducted by the com- moved to the chancel fl oor from the poser. The Muller family was always on former choir gallery in keeping with the hand for major occasions to ensure that renovated liturgical space that called the organ was functioning at its best. But for the choir to be in a more accessible after over 40 years of daily use, the organ position. The console was thoroughly was beginning to show its age through restored during the move. Following various mechanical failures. this project, a phased restoration began In September 1979, following the with the removal of the Choir division renovation of the cathedral to conform to the K & D shop. to liturgical directives of the Second The Holdens ran a modest shop, per- Vatican Council, organist-choirmaster forming much of the restoration work Dr. Hugh Murray requested that atten- themselves. Work progressed slowly tion now be given to restoring the organ. and at times came to a standstill due to The Standing Committee on Sacred unforeseen personal circumstances. The Music was charged with preparing a cathedral authorities became impatient recommendation for the restoration with the slow progress, and in 1983 a of the Skinner organ. After study, con- mutual release agreement was issued, sultation, and consideration of several bringing the restoration project to a halt. proposals submitted to the committee, This led to years of debate about how to the diocese awarded a contract to K & proceed that nearly imperiled the exis- D Pipe Organ Service Co. (Ken and tence of this important pipe organ.

20 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM The Skinner console in its present location in the sanctuary of the cathedral (photo The cathedral interior (photo credit: William T. Van Pelt) credit: William T. Van Pelt) From the archival notes of these meet- never was.”4 The Organ Historical Soci- In the spring of 1983 all the compo- as organ consultant and arranged for him ings it becomes clear that the commit- ety thought differently in awarding Opus nents of the Choir division that had been to visit Toledo in January 1984. tee was now wrestling with the decision 820 a Historic Organ Citation in 2006! A in the K & D shop were returned, but During this visit, Noehren met with of whether to restore the Skinner or great deal of credit for the fame of this not reinstalled. The pipework of this divi- the committee, surveyed the Skinner replace it. One of the recorded com- organ must go to Joseph Vitacco and his sion was stored throughout the triforium organ, and visited several other pipe ments (all anonymous) from the meeting project to record landmark Skinner and walkway of the cathedral. Overall, a num- organs in the Toledo area. A commit- is quite startling: “The Cathedral Skin- Aeolian-Skinner organs throughout the ber of critical stops, such as the Great 4′ tee meeting including Noehren was ner organ is not a great instrument and United States. Four recordings of the Octave, were completely unplayable, arranged with Bishop James Hoffman. it never was one. It is not famous, and it Rosary Cathedral organ were produced and numerous dead notes riddled almost every stop of the organ. The organ was in a nearly useless condition. In a desire to preserve momentum for Penny Lorenz Artist Management the restoration project, Hugh Murray presents and the cathedral authorities engaged local organ builder Daniel Pilzecker as a consultant. He recommended a rather conservative scope of work that included a new console and some minor tonal alterations and additions, some of which had been already considered in the 1979 proposals. Among the many recommendations in those years, there was considerable agreement that a new console should be provided and that the chorus reeds should be brightened. A request for proposal based on Pilzecker’s Craig Cramer Kathrine Handford Balint Karosi Christophe Mantoux observations was sent to fi ve organ companies. Two responded with a bid: the Muller company and the Williams- For Organ Recitals & Workshops, Stevens Organ Company of Cincinnati, Please Contact: Ohio (Mark Lively). In August 1983, Fr. Robert Donnelly, diocesan chancellor (and soon to be aux- Penny Lorenz iliary bishop of Toledo), requested that the Diocesan Liturgical Commission 425.745.1316 form an ad hoc “Cathedral Committee” [email protected] to recommend action to the bishop con- www.organists.net cerning the restoration of the organ and a new sound system. The fi rst meeting was Aaron David Miller Jack Mitchener held in August 1983. Soon afterward the committee retained Dr. Robert Noehren

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 21 Pipe organ history

The left stop jamb of the Skinner con- The manual keyboards and coupler rail of the Skinner console (photo credit: Stephen The right stop jamb of the Skinner con- sole (photo credit: Stephen Schnurr) Schnurr) sole (photo credit: Stephen Schnurr) by JAV Recordings, disseminating its the organ. He concludes, “I would love issues that plagued the Holdens at to retain all of the original mechanisms artistic merit throughout the world. to hear and play again the fully restored that time. Concerning the “large parts with little intervention. Signifi cant Three proposals were recommended by Skinner Organ with all of its voices of the organ that are disconnected” mechanicals—swell engines, , Robert Noehren in a letter dated January resounding throughout our magnifi cent, he mentions that the restoration work combination action—were not restored 16, 1984. The fi rst, and preferred, was acoustically alive Toledo Cathedral.” on the Choir division was complete at all since they were functioning well to provide two new organs: a small choir In March, the cathedral committee and only in need of reassembly. The at the time. Many of these unrestored organ in the sanctuary and a large “Great drafted a proposal for the bishop to “moth- console restoration that was labeled items are now beginning to show signs Organ” in the gallery. The Skinner organ ball” the Skinner organ and construct “botched” was far from it and required of wear. The pipework is still in excellent would be sold, as a whole or parted out. If a new, freestanding organ in the apse. fi nal adjustments that were not carried shape, but many of the reed stops are in the cathedral were sentimentally attached One must appreciate the perspective of out due to the termination agreement. need of restoration of tuning scrolls and to the Skinner organ a restoration could be the committee concerning Opus 820. He also questions the committee’s brass tongues. accomplished but conversion to a direct- Restored components and pipes lay scat- choice of Noehren as a consultant for a In 2009–2010 a survey of the organ electric action was encouraged along with tered about the triforium, and most of the restoration of the Skinner organ, which was carried out by Jeff Weiler confi rming a new or rebuilt console and some tonal organ did not play. By some it was viewed was the original intent of the cathedral that a thorough restoration of the organ alterations. Noehren did note that the as beyond revival. But for those who were committee. It was well known that was in order. Skinner would be worthy of preservation able to see beyond its current condition, Noehren’s ideals of organbuilding were To the casual listener, the Cathedral as was the Hill Auditorium Skinner at the the vision of a completely restored instru- very far from those of Ernest Skin- Skinner retains its general majesty and University of Michigan where he taught for ment remained strong. As consultant, ner. Koontz also debunks the fears of suave elegance. Upon closer inspection— many years. A third proposal for one free- Noehren continued to be updated on the continued maintenance of the leather certainly to organists and other musi- standing organ in the apse was included discussions and had undertaken more actions and a number of other issues. cians—the organ will sound tired. Beauti- ful tone is still unquestionably present, but although considered less than ideal. The research on the various options. In light Relative to a new organ, he writes, “The not a single stop is even in tone or volume committee had much to consider. of the committee’s proposal to locate Skinner organ possesses a quantity and throughout its compass. On January 30, 1984, a message was one new organ in the apse, rather than a quality of material which would not Fully restored, the organ would handily received from Sam Koontz of the Tellers new organ at either end of the cathedral, be possible to reproduce today, at any address any task that might be put before it. It has the potential to lead an assem- Organ Company, stating that he would be Noehren writes, “Since you have decided cost. No more refi ned reed tones have bly with great delicacy and sophistication. passing through Toledo and would like to to have the organ in the sanctuary, I ever been produced, than those of the Still, it will be a revelation to even its most assess the cathedral organ. At a commit- suggest you re-consider the possibility Skinner Organ Company.”9 Koontz pro- dedicated admirers just how much more tee meeting the next day, Hugh Murray of restoring your present organ.”5 He posed that he would complete the res- polished, alive, and beautiful the sound will be once the pipes are fully cleaned and re- reported concerning Koontz that, “this mentions that he has identifi ed several toration of the organ for a price not to conditioned.11 item . . . is of no validity and need concern fi rms that could carry out this work, and exceed $90,000.00 within three years. us no longer.” But time would bear out that that “for now it seems that the costs for Koontz concludes by urging the resto- Requests for proposals were sent out to this initial contact from Sam Koontz might doing so may be far below our earlier ration of the organ: “If restoration of the a select number of organ companies. In very well be what preserved Opus 820. estimates.”6 And further, “The present Skinner organ does indeed prove to be 2012 the proposal of the J. W. Muller Co. Koontz would follow up with a proposal organ is indeed a very good instrument.”7 prophetic, this is the greatest legacy the of Croton, Ohio, was accepted. Now the to complete all unfi nished releathering in Despite this suggestion, by a vote of six to Committee could hope to leave to future challenging work of funding the project the currently dismantled Choir division one, the committee’s proposal to mothball generations in the Diocese of Toledo.”10 begins. While there has been interest from and reinstallation, address some console the Skinner and construct a new organ in On October 25, 1984, after reviewing several charitable foundations, neither the issues, repair dead stops in the Great and the apse was sent to the bishop on June 4, the letter, the committee invited Sam Diocese of Toledo nor the cathedral par- Solo divisions, and tune the organ. 1984. The bishop approved the proposal Koontz to attend a meeting and speak in ish can fi nancially contribute a signifi cant On February 11, 1984, Hugh Murray as a working document to be shared with more detail about his proposal. amount to the project at this time. If the wrote a letter of memorandum to the various leadership groups in the diocese. Convinced of his abilities to revive reader is interested in showing support cathedral committee concerning his reac- In September 1984, Sam Koontz the Skinner organ, the diocese initially for this project through a donation of any tion to Noehren’s recommendations that wrote a four-page letter to the cathe- awarded a contract to Koontz to re- amount, visit the parish website at: http:// would become his guiding vision for the dral committee responding to the install the Choir division and carry out rosarycathedral.org/donate/. project. Murray refl ected on the many proposal sent to the bishop. While he some other work to complete the work The goal is to provide a thorough res- years of study and discussion concerning feared the die had been cast to abandon the Holdens had begun. Subsequently, toration of the organ. This would include the Skinner organ, he felt compelled to an additional contract was signed that preservation of the original console while rectify what he felt was “gross inaccu- culminated in thorough repairs and providing a new console with the latest A. E. Schlueter Pipe Organ Co. racy in factual information presented to releathering of the organ by 1992. A technological controls for the organist. the Committee by the consultant”8 and celebratory rededication recital was As originally envisioned for the cathedral, contained in the proposal. He deemed presented by Todd Wilson on March 31, a small antiphonal division created from the work done by K & D to be of the 1993. In the recital program Hugh Mur- vintage pipework will be installed to sup- highest quality and regretted the health ray wrote, “(The late Sam Koontz) was port congregational singing at the back of a talented craftsman with strong convic- the nave. The successful completion of tions about restoring versus rebuilding/ this project will allow the organ to func- enlarging old organs. The Cathedral tion reliably for many years and preserve The Sound of Pipe Skinner is a monument to his principles this pristine example of early twentieth and dedication to his art as a restorer.” century American organ building. Q Organs Opus 820 was now completely functional M. McNeil, 191 pages after over a decade of virtual silence. Paul Monachino serves as director of  New Instruments  Tonal Additions A new technical study of the The work of Sam Koontz was admira- music and organist at Our Lady, Queen ble in preserving this magnifi cent instru- of the Most Holy Rosary Cathedral in  Rebuilding  Maintenance relationships between scaling,  New Consoles  Tuning ment. Since the work authorized by the Toledo, Ohio, and also director of liturgi- voicing, the wind system, and diocese did not constitute a thorough cal music for the Diocese of Toledo. He How can we help you? tuning. Search on the title at restoration, in the years immediately completed a Bachelor of Music degree the Organ Historical Society following, numerous dead notes and at Heidelberg University in Tiffi n, Ohio, 800-836-2726 and Amazon websites. other malfunctions continued to plague and a Master of Music at Indiana Uni- www.pipe-organ.com the organ. At the time it was decided versity, Bloomington. He is a member

22 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM The console with the nave in the back- The façade of the cathedral (photo credit: Stephen Schnurr) Valerian Fox at the Skinner organ con- ground (photo credit: William T. Van Pelt) sole (from the cathedral archives) CHOIR (Manual I, enclosed, Accessories 6″ wind pressure) 6 General pistons (thumb and toe) of the American Guild of Organists, the ′ 16 Gamba 73 10 Great pistons and Cancel (thumb) Palmer Christian Organ Historical Society, the National 8′ Diapason 73 10 Swell pistons and Cancel (thumb) ′ Dedicatory recital Association of Musicians, and 8 Concert Flute 73 10 Choir pistons and Cancel (thumb) 8′ Gamba 73 June 2, 1931 the Conference of Roman Catholic 5 Solo pistons and Cancel (thumb) 8′ Kleine Erzähler 73 8 Pedal pistons and Cancel (toe) ′ Cathedral Musicians. 8 Kleine Celeste (TC) 61 General Cancel (thumb) Concert Prelude and Fugue 4′ Gemshorn 73 —William Faulkes ′ Set (thumb) 4 Flute 73 Great to Pedal reversible (thumb and toe) Andante expressivo (Sonata in G) Notes 2 ′ 2⁄3 Nazard 61 Swell to Pedal reversible (thumb and toe) —Edward Elgar 1. Letter from Ernest Skinner to Msgr. An- 2′ Piccolo 61 thony J. Dean, cathedral rector, January 30, Choir to Pedal reversible (thumb) Finale (cum jubilo) —Norbert E. Fox III Carillon (12-17-22) 183 Solo to Pedal reversible (thumb) 1930. 16′ Fagotto 73 Prelude — Corelli 2. Ibid. ′ Choir to Great reversible (thumb) 8 Flügel Horn 73 Prelude —Louis-Nicolas Clérambault 3. Letter from Skinner to Msgr. Dean, 8′ Clarinet 73 Solo to Great reversible (thumb) September 27, 1930. Swell to Choir reversible (thumb) Prelude and Fugue in D Major 4. Minutes of the cathedral committee Harp (TC, from Celesta) Solo to Choir reversible (thumb) —Johann Sebastian Bach meeting, January 10, 1984, page 5, item 20. Celesta 61 bars Manual Stops 16 on/off (thumb) Aftonfrid (Evening Calm) 5. Letter from Robert Noehren to Rev. Choir 16 Pedal Stops 32 on/off (thumb) —Gustav Hagg Robert Doppler, chairman/director of the To- Choir 4 All Couplers on Cresc. on/off (thumb) ledo Diocesan Liturgical Committee, March All Swells to Swell on/off (thumb) Choral —Henrik Andriessen 13, 1984. SOLO (Manual IV, enclosed, Balanced Swell expression shoe Sketch in D-fl at —Robert Schumann 6. Ibid. 10″ wind pressure) Balanced Choir expression shoe Ave Maria —Franz Schubert 7. Ibid. 8′ Flauto Mirabilis 73 Balanced Solo expression shoe Finale (Symphony VI) 8. Letter from Samuel Koontz to the cathe- 8′ Gamba 73 Balanced Crescendo shoe (with indicators) —Charles-Marie Widor dral committee, September 17, 1984, page 1. 8′ Gamba Celeste 73 Sforz. reversible (thumb and toe, with indicator) 9. Ibid, page 3. 4′ Orchestral Flute 73 10. Ibid, page 4. 16′ Corno di Bassetto 85 11. Survey of Skinner Opus 820, Jeff Weiler 8′ Corno di Bassetto (ext) & Associates, LLC, March 24, 2011, page 25. 8′ English Horn 73 Tremolo 8′ French Horn*** 73 Skinner Organ Company 8′ Tuba Mirabilis*** 73 THE AEOLIAN PIPE ORGAN Opus 820 Solo 16 Solo 4 ″ GREAT (Manual II, 6 wind ″ pressure) *** 20 wind pressure AND ITS MUSIC ′ 16 Double Diapason 61 ″ 8′ First Diapason 61 PEDAL (6 wind pressure) ′ 32′ Major Bass 56 8 Second Diapason 61 ′ 8′ Third Diapason* 61 16 Diapason 44 ROLLIN SMITH ′ 16′ Contra Bass 56 8 Viola* 61 ′ 8′ Harmonic Flute 61 16 Metal Diapason (Great) ′ 16′ Bourdon (ext, 32′ Major Bass) 8 Gedeckt* 61 ′ IT WILL SOON BE 20 YEARS since THE AEOLIAN PIPE 8′ Erzähler 61 16 Melodia (Swell) ′ 16′ Gamba (Choir) ORGAN AND ITS MUSIC was published by the Organ 4 Octave 61 ′ 4′ Flute* 61 16 Dulciana 32 Historical Society. This landmark volume has been 2 8′ Octave (ext, 16′ Diapason) 2⁄3′ Twelfth 61 ′ 8′ ‘ (ext., 16′ Contra Bass) out of print for so long that copies now sell for more 2 Fifteenth** 61 ′ ′ IV′ Chorus Mixture (15-19-22-26)** 244 8 Gedeckt (ext, 32 Major Bass) than $500. A second edition, revised and greatly ′ 8′ Still Gedeckt (Swell, 16′ Melodia) IV Harmonics (17-19-fl at 21-22)** 244 ′ ′ expanded, is now in publication and, in addition to 16′ Trumpet** 61 4 Super Octave (ext, 16 Contra Bass) 8′ Tromba** 61 IV Mixture 128 emendations and many new photographs, the an- ′ 32′ Fagotto (ext Ch, 16′ Fagotto)**** 12 4 Clarion** 61 ′ notated opus list of over 900 organs (with contract Solo Reeds to Great 16 **** 44 16′ Waldhorn (Swell) dates, prices, additions, and alterations) has been 16′ Fagotto (Choir) * Enclosed ′ ′ updated to refl ect subsequent activity. ** 10″ wind pressure 8 Tromba (ext, 16 Trombone)**** THE AEOLIAN PIPE ORGAN AND ITS MUSIC is **** 15″ wind pressure SWELL (Manual III, enclosed, the story of America’s oldest, largest, and longest- 6″ wind pressure) 16′ Melodia (open to low G) 73 Couplers lived residence organ company, whose instruments 8′ Diapason** 73 Great to Pedal provided music in the home in the era before the 8′ Rohrfl öte 73 Swell to Pedal 8′ Flute Celeste II 134 Swell to Pedal 4 wide-spread use of the phonograph and radio. A 8′ Salicional 73 Choir to Pedal list of Aeolian patrons is a veritable Who’s Who in American business, industry, and fi nance. 8′ Voix Celeste 73 Choir to Pedal 4 8′ Echo Gamba 73 Solo to Pedal This book not only documents the organs, but also the music they were programmed 4′ Octave** 73 Solo to Pedal 4 to reproduce, Aeolian’s commissions from Saint-Saëns, Stravinsky, Stokowski, and Hump- 4′ Flute Triangulaire 73 Swell to Great 2′ Flautino** 61 Choir to Great erdinck, and their reproduction of performances of renowned artists. A special section fea- V Mixture (15-19-22-26-29)** 305 Solo to Great tures a wealth of unpublished photographs of Aeolian installations. In addition to a study 16′ Waldhorn** 73 Swell to Choir 8′ Trumpet** 73 Solo to Choir of the 48 recording organists, dozens of stoplists are included and complete catalogues of 8′ Oboe d’Amore 73 Solo to Swell Aeolian organ rolls. 8′ Vox Humana 73 Great to Solo 4′ Clarion** 73 Swell to Great 16 As a companion volume to Rollin Smith’s PIPE ORGANS OF THE RICH AND FAMOUS, this Tremolo Swell to Great 4 notable publication makes for reading as fascinating as it is entertaining. Swell 16 Swell to Choir 16 Swell 4 Swell to Choir 4 Harp (Choir) Choir to Great 16 RESERVE YOUR COPY ON-LINE TODAY! Celeste (Choir) Choir to Great 4 Solo to Great 16 www.organsociety.org **10″ wind pressure Solo to Great 4

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 23 Organ seminar report

The French Organ Music Seminar: Switzerland, Italy, and France July 9–26, 2017

By Christina Harmon

he 20th French Organ Music Semi- at St. Urban and Bellelay. The organ in Tnar (FOMS) took place in Switzer- St. Urban was built by the Swiss organ land, Italy, and Paris this past July. Tobias builders Joseph and Viktor Ferdinand Willi (organist at the Johanneskirche in Bossard between 1716 and 1721. The Zurich, professor of organ and impro- Bellelay organ is a reconstruction of visation at the Zurich University of the the organ that Joseph Bossard built for Arts, and co-director of the Romainmô- this church; the organ had disappeared tier Summer Organ Academy), Gabriel by 1797. Both represent typical “Swiss Marghieri (titular organist of Sacré styles,” with similarities to southern Coeur Basilica in Paris and professor of German Baroque organs. The keyboards organ improvisation and music analysis of both organs have a short fi rst octave at the Conservatoire National Supérieur with only C-D-E-F-G-A-A#-B (without in Lyon), and Yannick Merlin (titular C#, D#, F#, and G#). For the remaining organist of Notre Dame des Champs octaves, the keyboards have two differ- and director of collections for Delatour ent keys for D# and E-fl at. The music of Music Publishing) served as hosts. Muffat and Kerll is particularly adapted Thirty organists began the seminar to these organs. on July 9 at the Fraumünster Church in On July 12 in Bern the group was Zurich, where organist Jörg-Ulrich Busch fortunate to have a masterclass led by played an inspiring service and afterwards Tobias Willi at the organ (Goll, 1991) Seminar participants at St. Peter’s Basilica, Vatican City stayed with us for a playing session. Built of the Eglise Française. We were also in 1953 by Orgelbau Genf, this organ was treated to many beautiful improvisations still functions admirably today in the (1743), and the Nacchini organ at San partially designed by Marcel Dupré, and by Willi, whose teaching and playing was capable hands of Tobias Willi. Cassiano (restored by Callido). The he came here often to play the organ and a true inspiration to all. Further travel was to Bergamo, Italy, church has three beautiful paintings by give concerts. Later the same day, with On Thursday, July 13, we traveled to where we were joined by seven more Tintoretto, who was a former parishioner Tobias Willi, we spent time at the Neu- the small village of Romainmôtier, home organists and our hosts, Gabriel and of the church. Traveling on to , münster Church, which houses the organ of the academy founded in the 1960s by Elisabeth Marghieri, for the next nine Gabriel Marghieri arranged for us to formerly in the Zurich Tonhalle. Guy Bovet. Here we played the Alain days. Marghieri is particularly noted for see and hear the oldest Italian organ in July 10 was spent in Zurich at the residence organ. Built by Albert Alain, his research in early Italian music and as operation, the Lorenzo da Prato organ, organs of St. Anton (Kuhn, 1914) and the father of Jehan and Marie-Claire, the such is uniquely qualifi ed as a teacher and completed in 1471. Grossmünster Church (Metzler, 1960). organ was brought several years ago to performer. In Bergamo we visited two A welcome treat awaited us on our On July 11 we drove into the Swiss this place from France by Bovet, Marie- organs: the Bossi organ at San Leonardo way to at the Casa Sola Winery, countryside to visit the abbey organs Claire Alain, and others. The academy and the Serassi organ of 1781 at the Basil- where we wined and dined and were able ica Alessandro, then travelled to Padua, to relax and wander around the winery where we toured the Ruffatti organ fac- during a beautiful, sunny afternoon, free tory with our gracious hosts, Michela and from the rigors of travel. Afterwards, it Piero Ruffatti. Founded in 1940 by Anto- was on to Florence for sightseeing, play- A Precious Gift nio Ruffatti and his brothers, the fi rm ing, and instruction on Italian music by of Famiglia Artigiana Fratelli Ruffatti Gabriel Marghieri at the 1864 Serassi from the Past (Ruffatti Brothers, Family of Artisans) organ of the Basilica di San Lorenzo. has produced more than 500 organs of Upon arriving in , participants all sizes in Europe, America, Africa, Asia, were especially fortunate to be able to for the Present and Australia. The second generation of spend a considerable amount of time Ruffatti brothers, Francesco and Piero, studying both early Italian and French and the Future sons of Antonio, have continued their Romantic music because of Gabriel father’s tradition of excellence since his Marghieri’s arrangements at Rome’s most Supremely beautiful and blendable retirement in 1992. prominent organs. First was a lengthy tonal color – a Gift from the Venetian Less well known in the United States playing session at the Mascioni organ of School of organbuilding, a monumental part of our is Ruffatti’s careful restoration of Italian the Basilica of Santa Maria Maggiore. The organs. We were fortunate to visit two organ is a modern electro-pneumatic- JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH of these restorations: the Venetian-style action organ from 1955, featuring three SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN Ruffatti mechanical-action organ at the manuals and two façades. Church of San Felice and Fortunato in The highlight of the Italy trip was the Intriguing? Let us build your dream. Noale (demonstrated by the brilliant opportunity on July 20 for all the organists young Italian organist, Silvio Celeghin), to play at St. Peter’s Basilica in the Vatican and the restoration of one of the most on the grand organ, built by Tamburini important organs in Venice, the organ between 1954 and 1962. Juan Paradell- of Santa Maria della Salute. This organ Solé, one of fi ve Vatican organists, gra- was built by Dacci, a Venetian builder at ciously assisted us as we performed for a the end of the 18th century, beautifully large crowd of listeners. (See “The Litur- played for us by Paola Talamini. We were gical Organist: A Conversation with Juan able to play both organs and were ably Paradell-Solé,” October 2015.) Charles Builders of Fine Pipe Organs to the World aided by both organists. Ore started the occasion by performing On Sunday, July 16, we visited and his piece, “Kyrie,” which was commis- www.ruffatti.com played the Venetian organs of the sioned by the FOMS. (See “A Conversa- churches of San Trovaso (Gaetano Cal- tion with Charles Ore,” November 2016.) Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 lido 1775), San Nicolò dei Mendicoli It expressed the prayerful thankfulness of

24 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM Tobias Willi at the Alain organ in Romainmôtier

Seminar participants visit St. Urban Abbey, Switzerland

Piero Ruffatti with student organists Mallory Haney, Mahela Reichstatt, and Phillip Staggs the entire group for being able to perform in such a special place. Our last day in Rome was a full play- ing day on two beautiful instruments, the Johannes Conradus Werle organ of 1736 (which took 50 years to complete) at Santa Maria Maddalena and the Joseph Merklin organ of 1881 at San Luigi dei Francesi (the national church in Rome of France). Instruction by organists Marghieri and At the Ruffatti factory, Padua, Italy. Left to right: Christina Harmon, Elisabeth Marghieri, Gabriel Marghieri, Piero Ruffatti, Martha the organist of the French Church, Freitag, Jordan De Rouen, Andrew Segrest, Mallory Haney, Mahela Reichstatt Daniel Matrone, enhanced by a stunning improvisation by Matrone, made the day The FOMS looks forward to more an unforgettable experience. That night collaborations with the organists who the group split, with some headed back to were so generous with instruments and the United States, while others stayed on instruction time. Since 1986 these semi- to board an evening fl ight for the rest of nars have enabled organists to study with ii — 19 ranks ii — 19 the FOMS experience in Paris. famous organists at equally well-known From July 21 to 26 the FOMS took organs. Attendees at the 2017 FOMS place in Paris where a group of 33 pro- were professional organists and organ fessional organists and students played, students from four countries: the United winchester, virginia listened, and studied at the city’s many States, Singapore, Hong Kong, and Ger- opus 130 famous organs including those of Saint- many. Directors of FOMS are Christina Sulpice, Notre Dame Cathedral, Sacré- Harmon, Masako Gaskin, and Cliff Var- Coeur, La Trinité, Saint-Louis-en-l’Île, non. Special recognition is due to group Saint-Gervais, La Madeleine, Saint- leaders Doug Fossek and Jill Hunt, who Eustache, Notre Dame des Champs, worked to help ensure that everyone had

Saint-Etienne-du-Mont, Saint-Louis de playing time. Many attendees deserve The Village at Orchard Ridge Vincennes, and the Durufl é apartment. further recognition, but we are grateful Excursions were made to Versailles, especially for Don Auberger and Camilla Royaumont, and Rouen. The group also Pugh who assisted with translations as rneauor presented a recital at Saint-Séverin. needed. More information is available at ou ga et n .l s .c Highlights included classes and organ www.bfoms.com. Q w follow o presentations by Daniel Roth, Vincent w us on m w facebook! Dubois, Thierry Escaich, Louis Robil- Christina Harmon is assistant organist liard, Gabriel Marghieri, Thomas La Côte, at Christ Episcopal Church, Tyler, Texas, Frédéric Blanc, Thomas Ospital, François and instructor of organ at Stephen F. Aus- Espinasse, Benjamin Alard, Elise Friot, tin State University. She is the founder of and Béatrice Piertot. Directed by Yannick the French Organ Music Seminar and Merlin, musicologist and brilliant titular the producer of six DVDs that feature of Notre Dame des Champs, this portion Parisian organs and organists (available 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA of the FOMS offered many opportunities through the Organ Historical Society). t 450 774-2698 [email protected] for masterclasses, private instruction, and She is active in the organ world as a per- playing time. former and composer.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 25 Cover feature

The Reuter Organ Company the choir, greater power throughout the Lawrence, Kansas length of the nave, and reliability that would serve the congregation well for A profi le of three recent another 50 years or more. projects honoring the After discarding various partial company’s centennial approaches that the congregation had In April 1917, a short article appeared been considering, three organbuilders in The Diapason announcing the of national reputation were asked to founding of the Reuter Organ Company. provide creative proposals. Following Adolph Reuter, with years of experience a thorough examination of the propos- gained from his employment at several als, the Reuter Organ Company was North American organ builders, had entrusted with the work. assembled a team of workers to start his As enthusiasm and support for the proj- own company in Trenton, Illinois, and to ect grew within the congregation, Trinity’s begin building organs “second to none.” leadership ultimately decided on a renova- By November, the fi rst organ had been tion plan that would signifi cantly enhance installed at Trinity Episcopal Church, in the original instrument. The plans for the Mattoon, Illinois, where it continues to new instrument envisioned the organ as be in regular use and to enhance the life primarily an inspiring leader of congre- of the parish and community. gational singing and a useful accompani- We are pleased to mark our centennial ment for all periods of choral repertoire. year with this Diapason cover feature, The new organ would be expected to have which illustrates three of our recent proj- an expanded dynamic range with effective ects as described in detail by our clients. expression, fundamental tone that would Although each story is unique, each also energize the room, and suffi cient color has a recurring theme—the challenge of to capture the interest of every listener. taking an existing instrument in need of It would need to render literature with renewal and with a complex history of integrity, but more importantly, this would previous work and additions, carefully be an organ for worship! evaluating its existing resources in con- Trinity signed the contract with Reuter junction with the needs of the church, in June 2015. Four weeks later, the organ and then renovating its best elements was completely removed with the goal of and incorporating them with custom- having it returned and ready for Christ- designed pipework and components to mas. This was an aggressive undertaking, create a new . as the work would include the instal- After one hundred years, our fi les lation of an antiphonal division in the are full of similar stories about both chancel area that had not been part of new and renovated organs at churches, the original organ. The Reuter Company universities, concert halls, and resi- delivered. The organ was dedicated on dences throughout the United States December 24, 2015. The congregation and beyond. We are so grateful for our celebrated this special gift to herald the clients and their support over the years. birth of Jesus Christ with a commanding Trinity Lutheran Church, Houston, Texas, chancel and Antiphonal façade We believe that there will always be a new Trompette en Chamade. place for the King of Instruments, and The refurbished and enhanced Trin- we renew our commitment to continue ity Downtown organ is now a 50-rank, to build pipe organs that are “second to three-manual and pedal organ. The none” for another century! striking fl amed copper façade pipes of —Ronald Krebs the new instrument add to the beauty Vice President of the sanctuary that is graced by huge Reuter Organ Company stained-glass windows and wood accents. Today, the organ continues to bless the Trinity Lutheran Church congregation with wonderful music. The Houston, Texas creativity, artistry, and craftsmanship By the summer of 2014, it had become of J. R. Neutel and the fi ne team from evident that the Holtkamp organ at Trin- Reuter have exceeded our expectations. ity Lutheran Church in Houston, Texas, —Michael Dorn was in desperate need of refurbishment. Senior Pastor The organ was installed with the building of a new sanctuary in 1954 and had been Trinity Lutheran Church Houston, Texas a continual part of the music program of 3 manuals, 50 ranks (2015) the downtown congregation. The three-manual, 40-stop organ was GREAT 16′ Prestant** (1–12 existing, 13–61 Sw) typical of the period, as well as the tonal ′ 8 Diapason* 61 pipes Gallery façade Gallery façade in the assembly room philosophy of the people responsible for its 8′ Harmonic Flute* 49 pipes design. Mostly unenclosed, and with many (1–12 Pos Spitzfl ute) ′ ′ POSITIV 16 Double Trumpet (ext Gt)* 12 pipes independent principal and fl ue voices on 8 Singend Gedeckt 61 pipes 16′ Lieblich Flute (Sw) 8′ Trumpet 32 pipes 4′ Octave* 61 pipes ′ ′ low pressure, it was best at playing contra- ′ 8 Prestant (Sw) 8 Oboe (Sw) 4 Spillfl ute* 61 pipes 8′ Copula 61 pipes ′ puntal organ literature with clarity. 2′ Super Octave* 61 pipes 4 Schalmey 32 pipes In 1978, extensive altering of mixture 8′ Spitzfl ute** 61 pipes 8′ Trompette en Chamade (Gt) IV Mixture* 244 pipes ′ stops and preparations for additions were 8′ Trumpet* 61 pipes 4 Principal** 61 pipes MIDI ′ 4′ Harmonic Flute* 61 pipes made by a local Houston fi rm, which also 8 Oboe (Sw) ′ 8′ Trompette en Chamade* 61 pipes 2 Doublette 61 pipes KRAKOSKY ANTIPHONAL provided the church with a new console. 1 ′ Tremolo 1⁄3 Quinte** 61 pipes (enclosed) However, many of the altered stops Chimes (console prep) II Sesquialtera** 122 pipes 8′ Principal* 61 pipes proved unusable in the ensemble, the Mohnke Carillon (25 bells in tower) 8′ Cromorne* 61 pipes 8′ Gedeckt* 61 pipes ′ ′ console was unreliable, and the wind sys- Mohnke Cymbelstern (6 bells) 8 Oboe (Sw) 8 Gemshorn* 61 pipes MIDI 16′ Trompette en Chamade (TC, Gt) 8′ Gemshorn Celeste (TC)* 49 pipes tem was drawing in unconditioned outside 8′ Trompette en Chamade (Gt) 4′ Spitz Principal* 61 pipes air, which took its toll on the instrument. SWELL (enclosed) Tremolo 4′ Gedeckt (ext 8′)* 12 pipes 2 A team of people including Mary Voigt 16′ Lieblich Flute 61 pipes MIDI 2⁄3′ Quinte* 61 pipes (director of music and worship), Carla 8′ Prestant** 61 pipes 2′ Spitz Principal (ext 4′) 12 pipes 8′ Rohrfl ute 61 pipes 1 ′ 2 ′, Barrows (principal organist), Vince Parks PEDAL 1⁄3 Quinte (ext 2 ⁄3 top repeats) 8′ Gambe 61 pipes 32′ Resultant 8′ Fagotto* 61 pipes (consultant), and myself, along with a 8′ Gambe Celeste (low F) 56 pipes 16′ Principal* 32 pipes ′ Tremolo committee of lay people from the congre- 4 Principal** 61 pipes 16′ Prestant (Gt) 4′ Nachthorn 61 pipes ′ gation, solicited proposals for work on the ′ ′) 16 Subbass 32 pipes ANTIPHONAL PEDAL 4 Lieblich Flute** (ext 16 24 pipes ′ 16′ Gedeckt (ext Ant 8′)* 12 pipes organ. While a number of proposals were 2 ′ 16 Lieblich Flute (Sw) 2⁄3 Nazard** 61 pipes 8′ Octave** 32 pipes 8′ Principal (Ant) received for the project, none approached 2′ Blockfl ute** 61 pipes ′ ′ 3 ′ 8 Prestant (Sw) 8 Gedeckt (Ant) the project with an eye toward a compre- 1⁄5 Tierce** 61 pipes ′ ′ ′ III Plein Jeu* 183 pipes 8 Bourdon 32 pipes 4 Octave (Ant 8 ) hensive musical enhancement. Our team ′ ′ 8′ Spitzfl ute (Pos) 16′ Fagotto (ext Ant 8′)* 12 pipes 16 Oboe (TC, from 8 ) ′ at Trinity Downtown was focused on a 8′ Trompette* 61 pipes 8 Lieblich Flute (Sw) vision of a superior musical instrument ′ 4′ Choral Bass 32 pipes *New pipework 8 Oboe* 61 pipes ′ that could offer a wider color palette, Tremolo 4 Rohrfl ute** 32 pipes **Repurposed pipework ′ more possibilities for accompanying MIDI 4 Spitzfl ute (Pos)

26 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM Central United Methodist Church Traverse City, Michigan 4 manuals, 42 ranks (2017)

GREAT 16′ Geigen (Sw) (1–12 Sw Rohrfl ute) 16′ Rohrfl ute (Sw) 8′ Diapason* 61 pipes 8′ Harmonic Flute* 61 pipes 8′ Bourdon** 61 pipes 4′ Octave* 61 pipes 4′ Spillfl ute* 61 pipes 2′ Fifteenth* 61 pipes IV Fourniture* 244 pipes 8′ Tromba (Ch) Chimes (21 tubes) Tremolo

SWELL 16′ Rohrfl ute* (1–24 wood) 61 pipes 8′ Geigen* 61 pipes 8′ Rohrfl ute (ext 16′)* 12 pipes 8′ Viole 61 pipes 8′ Viole Celeste (TC) 49 pipes 8′ Salicional 61 pipes 8′ Voix Celeste (TC) 49 pipes 4′ Geigen Octave (ext 8′) 12 pipes 4′ Waldfl ute* 61 pipes 2 2⁄3′ Nazard* 61 pipes 2′ Piccolo 61 pipes 3 1⁄5′ Tierce* (TC) 49 pipes III Plein Jeu* 183 pipes 16′ Bombarde 61 pipes 8′ Trompette (ext 16′) 12 pipes 8′ Oboe 61 pipes 4′ Clarion (ext 16′) 12 pipes Tremolo

CHOIR 8′ Principal** 61 pipes 8′ Gedeckt 61 pipes 8′ Gemshorn Celeste II 110 pipes Central United Methodist Church, Traverse City, Michigan, chancel with console in recital position 4′ Octave* 61 pipes 4′ Koppel Flute (ext Gedeckt) 12 pipes 2′ Super Octave 61 pipes 1 1⁄3′ Larigot 61 pipes II Sesquialtera** 122 pipes 16′ English Horn 73 pipes 8′ Corno di Bassetto 61 pipes 8′ Tromba* 61 pipes 16′ Trumpet en Chamade (Solo) 8′ Trumpet en Chamade (Solo) Tremolo (fl ues)

SOLO 16′ Rohrfl ute (Sw) Trompette en Chamade 8′ Geigen (Sw) 8′ Harmonic Flute (Gt) ′ our funds were limited and we wanted 8 Rohrfl ute (Sw) 16′ Trombone (Ch) to honor as much of the previous stew- 8′ Tromba (Ch) ardship as possible, we kept the console, 8′ Corno di Bassetto (Ch) control system, chests, and much of the 8′ English Horn (Ch) existing engineering. Swem Organ Com- 16′ Trumpet en Chamade (TC) pany of Grand Rapids releathered all of 8′ Trumpet en Chamade 61 pipes the reservoirs, swell motors, and octave Tremolo (Choir reeds) shifters locally. CELESTIAL Initial voicing of Traverse City pipework We selected Reuter to fashion a new Swell stops designated “Celestial” include: tonal scheme for the organ. This is my 8′ Salicional Central United Methodist Church over three manuals and pedal. Very second project with Reuter. Interlo- 8′ Voix Celeste ′ Traverse City, Michigan much a product of its time, the organ chen Center for the Arts, where I am 8 Viole 8′ Viole Celeste Organ music and robust congre- was small scaled by today’s standards, the organ instructor and assistant direc- 2 2⁄3′ Nazard 3 gational singing has been a defi ning with an abundance of upperwork. (The tor of music, chose Reuter to build its 1⁄5′ Tierce characteristic of worship at Central only 8′ Principal, located on the Great, concert instrument, Opus 2227, using Zimbelstern (5 bells) United Methodist Church (CUMC) was particularly thin, with 2/9 mouth as much of the existing Aeolian-Skinner Swell Celestial Off for generations, largely due to the tal- widths.) The organ underwent many organ as possible. This project was Celestial on Choir ent, charisma, and dedication of Robert alterations over its life, presumably to remarkably successful and gave me Celestial on Great Murphy, organist and music director make it more fl exible for worship. Two confi dence to go to the well a second PEDAL from 1963 until his death in 2001. He sets of celestes were added, along with time for the CUMC project. I like 32′ Bourdon (ext Sw 16′ Rohrfl ute, left a sizable part of his estate to CUMC three color reeds. The Great was re- Reuter because they are willing to take 1–12 electronic) for the continued improvement of the scaled, which ultimately gave the cho- risks in reusing and reworking existing 16′ Contrabass 32 pipes ′ ′ organ. Mr. Murphy’s gift had been left rus a fl utey character. The most recent components, and they stand behind 16 Subbass* (ext 8 Subbass, 1–12 electronic) largely untouched for 15 years during a modifi cation was the replacement of their promises. For example, the 16′ Rohrfl ute (Sw) time marked by transition, most nota- the three-manual console with a refur- Trompette en Chamade, completely 8′ Principal (ext Contrabass) 12 pipes bly the establishment of a praise band bished four-manual console and solid- renovated with new tongues and shal- 8′ Subbass** 32 pipes service as a primary part of the church’s state control system. Though taken lots, playing on new chest action with 8′ Rohrfl ute (Sw) identity. During this time, the congre- individually, these alterations were increased wind pressure, is just one 8′ Open Flute (Gt) ′ gation was aware that organ repairs arguably successful and well received of the stops totally transformed at the 4 Choral Bass (ext Contrabass) 12 pipes 4′ Subbass (ext 8′) 12 pipes were needed—there was damage from by the congregation; yet I found the Reuter shop. It is now a stately, herald- II Mixture 64 pipes water leaks and falling plaster, failing overall sound of the organ to be hollow ing voice that truly crowns the whole 16′ Trombone (ext Ch Tromba) 12 pipes leather, and collapsed bass pipes—but and anemic, lacking vibrant, eight-foot ensemble. I was also eager to work with 16′ Bombarde (Sw) waited for direction from me. I wanted tone. There were parts of the organ I Bill Klimas again. I trust his ears and 16′ English Horn (Ch) 8′ Tromba (Gt) to improve the sound of the organ, not did like, however—the Swell reeds and like his taste in voicing. ′ just fi x broken items, so I advised that the effective swell boxes, in particular. The results are absolutely stunning. I 8 Trompette (Sw) 4′ Clarion (Sw) we hold tight while we fi gured out the In 2016, we were fi nally ready to act! am thrilled, as is our congregation. 4′ English Horn (Ch) best course of action. We put together a collaboration to repair —Thomas Bara 8′ Trumpet en Chamade (So) As background, in 1969 the church the pipe chambers, design and imple- Organist remodeled its chancel area to its cur- ment an HVAC system to maintain a *New pipework rent confi guration and purchased a constant temperature in the chambers, **Repurposed pipework new Möller organ, Opus 10419. This replace aging leather, and expand and organ had 26 ranks of pipes distributed improve the sound of the organ. Because ³ page 28

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 27 Cover feature

Console

St. John’s United Church of Christ, Lansdale, Pennsylvania Rescaling the Subbass 4′ Principal** 61 pipes St. John’s United Church of Christ with four organ companies. Bill Klimas, will enjoy the music provided by this 4′ Mystical Flute** 61 pipes Lansdale, Pennsylvania artistic director of the Reuter Organ very successful organ installation. 4′ Open Flute (ext 8′) 12 pipes St. John’s United Church of Christ was Company, dialogued with us in detail —David L. Furniss 2′ Doublette** 61 pipes 1 ′ founded in 1876, and the church’s cur- about his clear vision for the organ’s Minister of Music 1⁄3 Quinte** 61 pipes 8′ Fagotto* 61 pipes rent spacious Norman Gothic sanctuary future, agreeing to incorporate the vast 8′ Krummhorn 61 pipes was built in 1952. The sanctuary’s fi rst majority of existing pipes, revoiced, St. John’s United Church of Christ Tremolo Lansdale, Pennsylvania pipe organ was installed in 1977 by the along with several new ranks of pipes 3 manuals, 40 ranks (2017) Fritzsche Organ Company. Because the in a totally redesigned pipe chamber. PEDAL 32′ Resultant congregation desired an economical ini- Reuter proposed a tonal concept that GREAT ′ ′ 16 Open Wood 32 pipes tial purchase price, they obtained a used would appropriately fi ll the room and 16 Geigen (Sw) (1–12 Sw Rohrfl ute) 16′ Subbass 32 pipes 8′ Principal* 61 pipes ′ Aeolian-Skinner console from Holy Trin- complement its beautiful architecture ′ 16 Geigen (Gt) 8 Harmonic Flute* 49 pipes 16′ Rohrfl ute (Sw) ity Lutheran Church on Central Park and acoustics. The design included a (1–12 Choir Open Flute) ′ ′ 8 Octave* 32 pipes West in New York City. Thirty-three new tone opening for the pipe chamber 8 Bourdon 61 pipes 8′ Subbass (ext 16′) 12 pipes 4′ Octave* 61 pipes ′ ranks of Skinner, Aeolian-Skinner, and with grillework custom made to match ′ 8 Geigen (Sw) new Stinkens pipes were assembled with the existing tone openings. 4 Koppelfl ute** 61 pipes 8′ Rohrfl ute (Sw) 2′ Super Octave* 61 pipes ′ used chests in the existing pipe chamber Once the contract with Reuter was 8 Open Flute (Ch) IV Fourniture* 244 pipes 4′ Super Octave (ext 8′) 12 pipes to create an organ that was functional signed, things happened very quickly. 16′ Oboe (Sw) ′ ′) ′ 4 Subbass (ext 16 12 pipes for worship. The warm acoustic of the Within two months the entire organ was 8 Tromba*** 61 pipes 4′ Open Flute (Ch) (1–32 existing, 33–61 new) 16′ Trombone 32 pipes 500-seat worship space gave the organ a removed and on its way to the Reuter Chimes (21 tubes) satisfyingly sweet and mellow sound. shop in Lawrence, Kansas. One of (1–12 existing, 13–32 Gt Tromba) Tower Chimes (amplifi ed in tower) 16′ Oboe (Sw) When I began my tenure as St. John’s Reuter’s design engineers, John Deahl, Tremolo 8′ Tromba (Gt) United Church of Christ’s minister of carefully worked out a detailed plan 8′ Oboe (Sw) SWELL ′ music in 1987, it was clear that music for the arrangement of the pipes in the ′ 4 Oboe (Sw) 16 Rohrfl ute*** 61 pipes 4′ Krummhorn (Ch) had long been a vital part of the worship chamber, maximizing egress of sound (1–24 existing, 25–73 new) ′ life of the congregation. Since that time, from the new tone opening along with 8 Geigen* 61 pipes *New pipework 8′ Viole 61 pipes the music ministry has expanded in its the existing openings. Three and a half ′ **Repurposed pipework 8 Viole Celeste 61 pipes ***Combination of both diversity, with the organ always at the months after its removal, the newly reno- 8′ Rohrfl ute (ext 16′) 12 pipes core of its leadership. St. John’s Artist vated organ arrived at St. John’s Church. 4′ Geigen Octave* 61 pipes Series included numerous performances Several weeks later, the organ was voiced 4′ Hohlfl ute*** 61 pipes Reuter Organ Company website: by guest organists until 2010 when the and tuned, ready for its debut! (1–20 existing, 21–61 new) www.reuterorgan.com 2 ′ console’s gradual deterioration limited Musicians and non-musicians alike 2⁄3 Nazard** 61 pipes Trinity Lutheran Church, Houston, 2′ Blockfl ute** 61 pipes Texas, website: www.trinitydt.org the fl exibility of the organ for performing have been excited about the new sounds 3 ′ 1⁄5 Tierce** 61 pipes Central United Methodist Church, Tra- organ repertoire. of the organ. Most noticeable is the fuller III–IV Plein Jeu** 231 pipes verse City, Michigan, website: The limitations of the console were base of support for congregational sing- 16′ Oboe (ext 8′)*** 12 pipes 8′ Trumpet 61 pipes www.tccentralumc.org the initial reasons for considering a reno- ing. The new tone opening greatly ben- 8′ Oboe 61 pipes St. John’s United Church of Christ, vation project. While a new state-of-the- efi ts the choir’s ability to hear the organ Tremolo Lansdale, Pennsylvania, website: art console would solve many issues, the for accompaniment of anthems. The http://st-johns-ucc.org need to address tonal and design issues new state-of-the-art moveable console CHOIR 8′ Prestant** 61 pipes became an equally important aspect provides the opportunity to host organ 8′ Open Flute** 61 pipes Houston and Reuter shop photos by of the project. In 2011, the church’s concerts once again, beginning with the 8′ Gedeckt** 61 pipes Ronald Krebs. Lansdale photos by Joseph organ committee, chaired by Steven dedication concert in November played 8′ Erzahler 61 pipes Routon. Traverse City photos by Thomas Hendricks, began serious conversations by Nathan Laube. Generations to come 8′ Erzahler Celeste (TC) 49 pipes Atkinson.

28 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Dale Rogers; Presbyterian Homes, Park Ridge Presbyterian Church This calendar runs from the 15th of the month Evanston, IL 1:30 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Craig Cramer; Grace Lutheran, River Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Forest, IL 8 pm Feb. issue). All events are assumed to be organ Bloomingdale, IL recitals unless otherwise indicated and are grouped 24 OCTOBER within each date north-south and east-west. •=AGO Tom Trenney, silent fi lm, Phantom of the chapter event, • •=RCCO centre event, +=new organ Opera; Merrill Auditorium, Portland, ME dedication, ++= OHS event. Christopher Babcock Michael J. Batcho Information cannot be accepted unless it 7:30 pm David Higgs; Holy Trinity Lutheran, Buf- specifi es artist name, date, location, and hour in Director of Music writing. Multiple listings should be in chronological falo, NY 8 pm St. Andrew’s by the Sea, order; please do not send duplicate listings. Giancarlo Parodi; St. Paul Cathedral, CATHEDRAL OF ST. JOHN Pittsburgh, PA 7:30 pm Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. Michel Bouvard; Trinity Episcopal Ca- thedral, Cleveland, OH 7:30 pm Organized Rhythm (Clive Driskill- UNITED STATES Smith, organ, & Joseph Gramley, percus- East of the Mississippi sion); Second Presbyterian, Louisville, KY Dean W. Billmeyer 7:30 pm 15 OCTOBER University of Minnesota Karen Beaumont; King’s Chapel, Bos- 25 OCTOBER ton, MA 12:15 pm David Baskeyfi eld; St. Agnes Cathedral, Minneapolis 55455 • [email protected] CONCORA, Brahms, Requiem; South Rockville Centre, NY 7:30 pm Church, New Britain, CT 4 pm Musica Sacra; Cathedral of St. John the Thomas Ospital; West Side Presbyte- Divine, New York, NY 7:30 pm rian, Ridgewood, NJ 3 pm Isabelle Demers; Evangelical Lutheran 26 OCTOBER GAVIN BLACK Byron L. Blackmore Church, Frederick, MD 3 pm Choral concert; St. Thomas Church Fifth Princeton Early Keyboard Center Crown of Life Lutheran Church Cathedral Choral Society; Washington Avenue, New York, NY 7:30 pm National Cathedral, Washington, DC 4 pm Choir of St. Luke in the Fields; St. Luke in 732/599-0392 Sun City West, Arizona Kola Owolabi; Duke University Chapel, the Fields Episcopal, New York, NY 8 pm www.pekc.org 623/214-4903 Durham, NC 5 pm Stile Antico; Cathedral Church of the Ad- Coro Vocati; Peachtree Road United vent, Birmingham, AL 7:30 pm Methodist, Atlanta, GA 3 pm Ken Cowan; St. Paul’s Lutheran, Savan- 27 OCTOBER THOMAS BROWN Carson Cooman nah, GA 4 pm • Halloween concert; St. John’s Episco- pal, West Hartford, CT 7:30 pm UNIVERSITY Choral Evensong; Cathedral Church of Composer and Concert Organist the Advent, Birmingham, AL 3 pm Jean-Baptiste Robin, with trumpet; First PRESBYTERIAN CHURCH Brenda Portman; St. Paul’s Episcopal, Presbyterian, Lockport, NY 7:30 pm CHAPEL HILL, NORTH CAROLINA Harvard University Flint, MI 3:30 pm Todd Wilson, silent fi lm, Dr. Jekyll & Mr. ThomasBrownMusic.com www.carsoncooman.com Jay Yau; Loyola University, Chicago, IL Hyde; Severance Hall, Cleveland, OH 8 pm 3 pm Organized Rhythm (Clive Driskill- Smith, organ, & Joseph Gramley, percus- 16 OCTOBER sion); Christ Church Cathedral, Nashville, JAMES DORROH, AAGO, PhD • Don Saliers, lecture; St. Mark’s United TN 7:30 pm ELBERT ISSELHORST Methodist, Easton, MD 6 pm Michael Costello, Richard Hoskins, D D Saint Luke’s Episcopal Church David Jonies, Brian Schoettler, & Roger Professor Emeritus Samford University 17 OCTOBER Stanley, Bach, Clavierübung III; St. Chry- Birmingham, Alabama Thomas Ospital; St. Bridget Catholic sostom’s Episcopal, Chicago, IL 7:30 pm University of Iowa–Iowa City Church, Richmond, VA 7:30 pm • Michael Bottenhorn; Our Lady of Organ Consultant Organ Recitals Mount Carmel Catholic Church, Chicago, 18 OCTOBER IL 7:30 pm Clara Gerdes; Cathedral Basilica of the STEVEN EGLER Sacred Heart, Newark, NJ 12 noon 28 OCTOBER JOHN FENSTERMAKER Todd Wilson, silent fi lm, Phantom of Central Michigan University 19 OCTOBER the Opera; Christ & Holy Trinity Episcopal, School of Music TRINITY-BY-THE-COVE TENET; St. Peter’s Episcopal, Savan- Westport, CT 5 pm Mt. Pleasant, MI 48859 nah, GA 7 pm Olivier Latry, masterclass; Cathedral of [email protected] NAPLES, FLORIDA St. John the Baptist, Savannah, GA 12 noon 20 OCTOBER Reformation concert; Peachtree Road Matthew Dirst; St. Paul Cathedral, Pitts- United Methodist, Atlanta, GA 7 pm burgh, PA 7:30 pm Norberto • Michael Bottenhorn, improvisation Roanoke College Choir; Holy Trinity Lu- workshop; Our Lady of Mount Carmel theran, Lynchburg, VA 7 pm Catholic Church, Chicago, IL 10 am Susan Goodson Guinaldo Vespers Ensemble; Duke University Bach organ works and Reformation canta- Emanuel United Church of Christ His Music Chapel, Durham, NC 8 pm tas; St. Luke’s Episcopal, Evanston, IL 7 pm Manchester, Michigan See—Listen—Buy 21 OCTOBER 29 OCTOBER www.GuinaldoPublications.com David Hurd , workshop; St. Luke’s Epis- Reformation Hymn Festival; Trinity Lu- copal, Lebanon, PA 10 am theran, Worcester, MA 4 pm A Professional Card in 22 OCTOBER Yale Camerata; Church of the Redeemer, Gavin Black, harpsichord; Church of the New Haven, CT 4 pm The Diapason STEPHEN HAMILTON Epiphany, New York, NY 2 pm Thomas Murray; Grace Episcopal, Hart- Kent Tritle; St. Ignatius Loyola Catholic ford, CT 4 pm For rates and digital specifi cations, recitalist–clinician–educator Church, New York, NY 3 pm Choral Evensong; St. John’s Episcopal, contact Jerome Butera West Hartford, CT 5 pm www.stephenjonhamilton.com TENET; House of the Redeemer, New 847/391-1045; [email protected] York, NY 6 & 8 pm Katherine Meloan; United States Mili- Organized Rhythm (Clive Driskill- tary Academy, West Point, NY 3:30 pm Smith, organ, & Joseph Gramley, percus- Martin Jean; Lutheran Theological Sem- sion); Rye Presbyterian, Rye, NY 4 pm inary, Gettysburg, PA 4 pm Robert McCormick; Wilson College, Wayne Wold, hymn festival; Trinity Lu- David Herman Chambersburg, PA 3 pm theran, Hagerstown, MD 4 pm Julian Collings, with cello; First United Michael Britt, silent fi lm, The Hunchback Trustees Distinguished Professor Emeritus of Music and University Organist Methodist, Hershey, PA 3 pm of Notre Dame; Christ Church, Easton, MD David Hurd; St. Luke’s Episcopal, Leba- 6 pm The University of Delaware Q [email protected] non, PA 6 pm Bach Cantata; Duke University Chapel, Jacob Reed; Washington National Ca- Durham, NC 5:15 pm thedral, Washington, DC 5:15 pm Peter DuBois; First Presbyterian, Hilton Frederick Hohman; Holy Trinity Luther- Head, SC 4 pm an, Lynchburg, VA 4 pm Spivey Hall Children’s Choir; Cathedral Seraphic Fire; Peachtree Road United of St. Philip, Atlanta, GA 3:15 pm concert, Methodist, Atlanta, GA 7 pm 4 pm Choral Evensong Reformation Hymn Festival; Trinity Lu- Olivier Latry; Cathedral of St. John the Lorraine Brugh, Ph.D. theran, Cleveland, OH 4 pm Baptist, Savannah, GA 5 pm Professor of Music Quire Cleveland; Holy Trinity Lutheran, Choral Evensong; Cathedral Church of University Organist St. Paul, Detroit, MI 4 pm Akron, OH 4 pm Christopher Houlihan; First United Jean-Baptiste Robin, with trumpet; Valparaiso, Ind. Methodist, La Grange, IL 3 pm Hyde Park Community United Methodist, Cincinnati, OH 4 pm valpo.edu 23 OCTOBER Mary Jo Cox, Steven Egler, Richard 219.464.5084 Ken Cowan & Lisa Shihoten, violin; Featheringham, with fl ute; First Presbyte- [email protected] Overture Hall, Madison, WI 7:30 pm rian, Mt. Pleasant, MI 4 pm

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 30 OCTOBER 12 NOVEMBER New York, NY Syracuse, NY 13203-2816 Jean-Baptiste Robin, masterclass; Uni- + Michael Hey; St. Catherine of Siena www.andrewhenderson.net versity of Michigan, Ann Arbor, MI 3:30 pm Catholic Church, Trumbull, CT 4 pm (315) 471-8451 Bálint Karosi; Grace Episcopal, Elmira, 31 OCTOBER NY 4 pm Alan Morrison, children’s program; Spiv- Monica Czausz; St. Stephen’s Church, ey Hall, Morrow, GA 11:15 am Millburn, NJ 4 pm Richard Barrick Hoskins Sándor Kádár; Longwood Gardens, Brian Jones 2 NOVEMBER Director of Music & Organist Kennett Square, PA 3 pm Director of Music Emeritus Durufl é, Requiem; St. Ignatius Loyola David Lamb; Cathedral of St. Philip, St. Chrysostom's Church Catholic Church, New York, NY 8 pm Atlanta, GA 3:15 pm recital; 4 pm Choral TRINITY CHURCH Chicago Jillian Gardner; Christ Church Frederi- Evensong [email protected] BOSTON ca, St. Simons Island, GA 7 pm Raúl Prieto Ramírez; Florida Interna- Fauré, Requiem; St. James Episcopal tional University, Miami, FL 3 pm Cathedral, Chicago, IL 6:30 pm Jeannine Jordan, with media artist; Ad- vent Lutheran, Brevard, FL 3 pm KIM R. KASLING JAMES KIBBIE 3 NOVEMBER Choral Evensong; Cathedral Church of D.M.A. The University of Michigan Todd Wilson; All Saints Episcopal, Rich- St. Paul, Detroit, MI 4 pm Adrienne Wiley; Memorial Presbyterian, Ann Arbor, MI 48109-2085 mond, VA 7:30 pm St. John’s University Stephen Hamilton; Edenton Street Unit- Midland, MI 7 pm 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 ed Methodist, Raleigh, NC 7:30 pm • Harvest Hymn Festival; First Presbyte- email: [email protected] Organized Rhythm (Clive Driskill- rian, Evansville, IN 4 pm Smith, organ, & Joseph Gramley, percus- Mark Laubach, Jonathan Oblander, sion); Cathedral Church of St. Paul, Detroit, Michael Costello, & Derek Nickels; David K. Lamb, D.Mus. MI 7:30 pm Grace Lutheran, River Forest, IL 4 pm Jamie Carini; First Presbyterian, Evans- 13 NOVEMBER Director of Music ville, IN 7 pm Trinity United Methodist Church Yale Repertory Chorus; Battell Chapel, , New Haven, CT 5 pm ORGAN CONSULTANT New Albany, Indiana 4 NOVEMBER Jazz Vespers; Duke University Chapel, www.gabrielkney.com 812/944-2229 Vivaldi, Magnifi cat; Trinity Lutheran, Durham, NC 7:30 pm Worcester, MA 7:30 pm CONCORA, Brahms, Requiem; St. 14 NOVEMBER John’s Episcopal, Stamford, CT 4 pm Manhattan School of Music choirs & or- Stephen Hamilton, workshop; White chestra; Riverside Church, New York, NY Memorial Presbyterian, Raleigh, NC 9 am A.S.C.A.P. 7:30 pm FELLOW, AMERICAN GUILD OF ORGANISTS Alan Morrison, with violin, fl ute, & so- Katelyn Emerson; Morrison United prano; Spivey Hall, Morrow, GA 3 pm Methodist, Leesburg, FL 7 pm 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 Mark DeAlba; Our Lady of Perpetual (770) 594-0949 5 NOVEMBER Help Catholic Church, Campbellsville, KY Rosalind Mohnsen; St. Anthony of 12:20 pm Padua Catholic Church, New Bedford, MA 4 pm 17 NOVEMBER Bálint Karosi; St. Barnabas Episcopal, Bruce Neswick, hymn festival; Lutheran Greenwich, CT 4:15 pm Church of the Incarnate Word, Rochester, Eric Plutz; Longwood Gardens, Kennett NY 8 pm Professor Emeritus – University of Michigan – Ann Arbor Square, PA 3 pm Margaret Harper; St. Paul Cathedral, Professor of Organ for 67 years Fauré, Requiem; Shadyside Presbyte- Pittsburgh, PA 7:30 pm MarilynThe University’s longest-serving faculty memberMason rian, Pittsburgh, PA 3 pm Nathan Laube; St. John’s United Church 18 NOVEMBER of Christ, Lansdale, PA 4 pm Yale Voxtet; Marquand Chapel, Yale Uni- A two-inch Professional Card in The Diapason Martin Jean; First Lutheran, Ellicott City, versity, New Haven, CT 7:30 pm MD 4 pm Bruce Neswick, masterclass; Third Presbyterian, Rochester, NY 10 am Jeremy Filsell; Washington National Ca- For information on rates and specifi cations, contact Jerome Butera: thedral, Washington, DC 5:15 pm 19 NOVEMBER [email protected] 608/634-6253 Judy Bevans, Bach, Goldberg Varia- Martin Baker; Woolsey Hall, Yale Univer- tions; Holy Trinity Lutheran, Lynchburg, VA sity, New Haven, CT 7:30 pm 4 pm St. Andrew Chorale & Orchestra; Madison Stephen Schaeffer; First Reformed Avenue Presbyterian, New York, NY 3 pm UCC, Lexington, NC 3 pm Ivan Bosnar, Amanda Mole, & Caro- Durufl é, Requiem; Duke University Cha- line Robinson; East Liberty Presbyterian, PHILIP CROZIER LARRY PALMER pel, Durham, NC 4 pm Pittsburgh, PA 3 pm Jack Mitchener; Vineville United Meth- Christopher Houlihan; St. Matthew Lu- CONCERT ORGANIST Harpsichord – Organ odist, Macon, GA 4 pm theran, Hanover, PA 4 pm ACCOMPANIST Stacy Yang; Peachtree Road United F. Allen Artz, III; Trinity Episcopal, Potts- Professor of Music, Emeritus Methodist, Atlanta, GA 4:30 pm recital; 5 ville, PA 4 pm 3355 Queen Mary Road, Apt 424 pm Evensong Kipp Cortez; Washington National Ca- Montreal, H3V 1A5, P. Quebec Thomas Murray; Independent Presbyte- thedral, Washington, DC 5:15 pm SMU, Dallas, Texas rian, Birmingham, AL 4 pm Handel, Messiah Sing-Along; Duke Uni- Canada Ken Cowan; Concordia Theological versity Chapel, Durham, NC 5:15 pm (514) 739-8696 Recitals — Lectures — Consultancies Seminary, Fort Wayne, IN 4:30 pm Jason Klein; Cathedral of St. Philip, All Saints’ Choral Evensong; St. James Atlanta, GA 3:15 pm recital; 4 pm Choral [email protected] Evensong [email protected] + 214.350-3628 Episcopal Cathedral, Chicago, IL 4 pm Choral Evensong; Cathedral Church of 6 NOVEMBER the Advent, Birmingham, AL 3 pm Oratorio Society of New York; Carnegie Jens Korndörfer; Independent Presby- Hall, New York, NY 8 pm terian, Birmingham, AL 4 pm Raúl Prieto Ramírez; First (Park) Con- 7 NOVEMBER gregational UCC, Grand Rapids, MI 4 pm announces... Chelsea Chen; Stetson University, De- Melody Turner; Madonna della Strada Land, FL 7:30 pm Chapel, Chicago, IL 3 pm 2020 UnderUnder 30 30 Nominations Class of 2017 20 NOVEMBER Deadline: February 1, 2016 10 NOVEMBER Yale Schola Cantorum; Christ Episcopal, Raúl Prieto Ramírez, workshop; First New Haven, CT 7:30 pm (Park) Congregational UCC, Grand Rap- We congratulate the young people ids, MI 4 pm whose career accomplishments TENET; Pine Street Presbyterian, Har- risburg, PA 7 pm Vienna Boys Choir; Cathedral of St. Jo- place them at the forefront of the • Janette Fishell; Northwestern Univer- seph the Workman, La Crosse, WI 7 pm organ, church music, harpsichord, sity, Evanston, IL 7:30 pm carillon, and organbuilding 23 NOVEMBER 11 NOVEMBER Karen Beaumont; Milwaukee Catholic fields—before their 30th birthday. Home, Milwaukee, WI 2 pm Polyhymnia; Church of St. Ignatius of An- tioch, New York, NY 8 pm Visit TheDiapason.com 26 NOVEMBER Raúl Prieto Ramírez, with orchestra; Matthew Brown; Washington National for more information and to nominate. Florida International University, Miami, FL Cathedral, Washington, DC 5:15 pm 7:30 pm Bach Cantata; Duke University Chapel, • Janette Fishell, masterclass; North- Durham, NC 5:15 pm APOBA graciously provides a subscription to The Diapason western University, Evanston, IL 10 am Clara Gerdes; Cathedral of St. Philip, to all members of our 20 Under 30 Class of 2017. Third Coast Baroque; St. Chrysostom’s Atlanta, GA 3:15 pm recital; 4 pm Choral Episcopal, Chicago, IL 7 pm Evensong

30 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Schubert, Mass in G; Christ Church, Bra- • Olivier Latry; University of Kansas, Southminster Presbyterian Church denton, FL 11 am Lawrence, KS 8 pm SHORT HILLS Arlington Heights, IL 60005 Jonathan Ryan; Independent Presbyte- Bradley Reznicek; Custer Road United rian, Birmingham, AL 4 pm Methodist, Plano, TX 7 pm Choral Evensong; Cathedral Church of St. Paul, Detroit, MI 4 pm 20 OCTOBER A one-inch Professional Card Rose Whitmore; Third Baptist, St. Louis, DEREK E. NICKELS, DMA in The Diapason 27 NOVEMBER MO 12:30 pm Church of the Holy Comforter Christine Kraemer; Presbyterian Thomas Ospital; First Presbyterian, For information on rates and specifi cations, Homes, Evanston, IL 1:30 pm Little Rock, AR 8 pm Kenilworth, IL 60043 contact Jerome Butera: • Vincent Dubois, lecture; University of (847) 251-6120 • [email protected] [email protected] 608/634-6253 29 NOVEMBER Kansas, Lawrence, KS 2 pm Karen Beaumont; Cathedral of St. John • Michel Bouvard; University of Kansas, the Evangelist, Milwaukee, WI 12:15 pm Lawrence, KS 4:30 pm Christopher Lynch; Christ Episcopal, Stephen G. Schaeffer Jeffrey Schleff, Ed.D. 30 NOVEMBER Tacoma, WA 12:10 pm Ian Tomesch; Woolsey Hall, Yale Univer- Recitals – Consultations Organist – Teacher – Consultant sity, New Haven, CT 7:30 pm 21 OCTOBER Director of Music Emeritus Sulphur Public Schools, Sulphur, OK Vincent Dubois; University of Kansas, Cathedral Church of the Advent First Presbyterian Church, Grand Prairie, Texas UNITED STATES Lawrence, KS 11 am West of the Mississippi Birmingham, Alabama [email protected] 22 OCTOBER 15 OCTOBER Todd Wilson; Second Presbyterian, St. Peter Richard Conte, with fl ugelhorn; Louis, MO 4 pm ROBERT L. Noel Memorial United Methodist, Shreve- Thomas Ospital; First United Methodist, STEPHEN SCHNURR port, LA 6 pm Shreveport, LA 3 pm SIMPSON Stefan Engels; Episcopal Church of the Saint Paul Catholic Church Michel Bouvard; Meyerson Symphony Christ Church Cathedral Center, Dallas, TX 2:30 pm Transfi guration, Dallas, TX 7 pm Valparaiso, Indiana 1117 Texas Avenue Nathan Laube; First United Methodist, Dana Robinson & Paul Tegels; Pacifi c Houston, Texas 77002 Fort Collins, CO 3 pm Lutheran University, Tacoma, WA 3 pm John Ferguson, hymn festival; St. John Reformation 500 Concert; Trinity Episco- Lutheran, Sacramento, CA 3 pm pal Cathedral, Portland, OR 4 pm ] Philip Manwell; Cathedral of St. Mary of Nathan Laube; Davies Symphony Hall, Joe Utterback the Assumption, San Francisco, CA 4 pm San Francisco, CA 3 pm Mark Steinbach ]] ] Aaron David Miller Emanuele Cardi; Cathedral of St. www.jazzmuze.com , hymn festival; Beth- Brown University any Lutheran, Long Beach, CA 4 pm Mary of the Assumption, San Francisco, CA 4 pm 203 386 9992 16 OCTOBER Monica Czausz; Cathedral of Our Lady 24 OCTOBER of the Angels, Los Angeles, CA 8 pm Jean-Baptiste Robin; Trinity University, San Antonio, TX 7:30 pm 18 OCTOBER Olivier Latry; Catalina United Methodist, Kevin Walters • Olivier Latry & Michel Bouvard, Tucson, AZ 7 pm David Wagner French Classic masterclass; University of DMA M.A., F.A.G.O. Kansas, Lawrence, KS 10:45 am 25 OCTOBER www.davidwagnerorganist.com • Olivier Latry & Vincent Dubois, Ger- Jean-Baptiste Robin, masterclass; Rye, New York man Baroque masterclass; University of Christ the King Catholic Church, Dallas, Kansas, Lawrence, KS 4:30 pm TX 1 pm • Olivier Latry, Vincent Dubois, Michel Bouvard, Shin-Young Lee, & others, im- 26 OCTOBER Alan G Woolley PhD provised Mass in alternatim; University of Olivier Latry; University of Iowa, Iowa KARL WATSON City, IA 7:30 pm Musical Instrument Research Kansas, Lawrence, KS 8:00 pm Bruce Neswick; California Lutheran Uni- SAINT LUKE’S Edinburgh

19 OCTOBER versity, Thousand Oaks, CA 7:30 pm [email protected] • Olivier Latry & Michel Bouvard, METUCHEN French Symphonic masterclass; University 27 OCTOBER of Kansas, Lawrence, KS 10:30 am Timothy Jansen; Third Baptist, St. Lou- • Vincent Dubois & Michel Bouvard, is, MO 12:30 pm French 20th-century masterclass; Univer- Bradley Welch; First United Methodist, RUDOLF ZUIDERVELD sity of Kansas, Lawrence, KS 2 pm Wichita Falls, TX 7 pm RONALD WYATT • Shin-Young Lee; University of Kansas, Bruce Neswick; California Lutheran Uni- Illinois College, Jacksonville Lawrence, KS 4 pm Trinity Church versity, Thousand Oaks, CA 7:30 pm Galveston First Presbyterian Church, Springfi eld

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 31 Calendar

28 OCTOBER 9 NOVEMBER 19 NOVEMBER Tom Bell; St. Lawrence, Upminster, UK Michel Bouvard, and others; Maison Alan Morrison; First Presbyterian, Kil- Vincent Dubois, Poulenc, Organ Con- 7:30 pm Symphonique de Montréal, Montréal, PQ, gore, TX 7:30 pm certo, Saint-Saëns, Symphonie III; Meyer- Canada 8 pm son Symphony Center, Dallas, TX 2:30 pm 5 NOVEMBER 10 NOVEMBER Katelyn Emerson; Trinity Lutheran, Lynn- Ignace Michiels, with choir; Sint-Stefa- 29 OCTOBER Jackson Borges; Third Baptist, St. Lou- wood, WA 7 pm nuskerk, Gent, Belgium 4 pm David Baskeyfi eld; Trinity Episcopal, is, MO 12:30 pm Berry van Berkum, with Het Orgel Trio; Tulsa, OK 7:30 pm Marilyn Keiser; Christ Episcopal, Little INTERNATIONAL Sint-Jan Baptist, Wortel, Belgium 4 pm Choir, organ, & orchestra concert; Village Rock, AR 8 pm Fauré, Requiem; Maria van Jessekerk, Delft, 3 pm Presbyterian, Prairie Village, KS 3 pm 12 NOVEMBER 15 OCTOBER Matteo Imbruno; Abbey Church, Berne, Jordan Smith, with brass; Christ the Douglas Cleveland; Wartburg College, Knabenchor Capella Vocalis; Kloster- Netherlands 4 pm Servant Lutheran, Allen, TX 7 pm Waverly, IA 3 pm kirche, Fürstenfeld, Germany 12:10 pm Raymond Hawkins; Cathedral of St. David Crean; Congregational Church Paul De Maeyer; Abdijkerk, Dender- 7 NOVEMBER Mary of the Assumption, San Francisco, UCC, Iowa City, IA 4 pm monde, Belgium 3 pm Stephanie Burgoyne; St. Paul’s Anglican CA 4 pm Isabelle Demers; First Presbyterian, To- Dieter Van Handenhoven, with trumpet; peka, KS 3 pm Sint-Pieterskerk, Turnhout, Belgium 4 pm Cathedral, London, ON, Canada 12:15 pm 30 OCTOBER Te Deum Chamber Choir and organ; Vil- 19 OCTOBER 10 NOVEMBER Organized Rhythm (Clive Driskill- lage Presbyterian, Prairie Village, KS 3 pm Reformation choral concert; Onze- Christian Lane, works of Bach; Christ Smith, organ, & Joseph Gramley, percus- Elisa Bickers, with wind symphony; Vil- Lieve-Vrouw-Sint-Pieterskerk, Ghent, Bel- sion); St. Andrew United Methodist, High- Church Deer Park, Toronto, ON, Canada lage Presbyterian, Prairie Village, KS 7 pm gium 8 pm lands Ranch, CO 7:30 pm Scott Dettra; Episcopal Church of the 7:30 pm Heavenly Rest, Abilene, TX 10:30 am wor- 20 OCTOBER 12 NOVEMBER 31 OCTOBER ship service; 5 pm recital Peter Van de Velde; Onze-Lieve-Vrouw- James Welch; St. Mark’s Episcopal, David Baskeyfi eld; Cathedral of the Joshua Stafford; Westminster United Hemelvaartkerk, Melsele, Belgium 8:30 pm Church, Winnipeg, Manitoba, Canada Palo Alto, CA 8 pm Madeleine, Salt Lake City, UT 8 pm Jérôme Faucheur ; Holy Rosary Cathe- 2:30 pm TENET; St. Philip’s in the Hills Episcopal dral, Vancouver, BC, Canada 8 pm 3 NOVEMBER Church, Tucson, AZ 3 pm 17 NOVEMBER Chelsea Vaught; Third Baptist, St. Louis, 21 OCTOBER Richard Brasier MO 12:30 pm 15 NOVEMBER Thomas Schmögner; St. Laurentius, Er- ; University of Edin- Carson Cooman; Third Baptist, St. Lou- witte, Germany 7:30 pm burgh, Edinburgh, UK 1:10 pm 5 NOVEMBER is, MO 6 pm Benjamin Alard; Cathédrale Saint-Jean- 18 NOVEMBER Second Church Chorale and Orchestra; Baptiste, Lyon, France 5 pm Ingrid Kasper; Stadtpfarrkirche St. Mar- Second Presbyterian, St. Louis, MO 4 pm 16 NOVEMBER Ian Tracey; Liverpool Cathedral, Liver- tin, Bamberg, Germany 5:30 pm Bruce Power; Church of the Holy Cross, Vincent Dubois, Poulenc, Organ Con- pool, UK 3 pm certo, Saint-Saëns, Symphonie III; Meyer- Shreveport, LA 2 pm 19 NOVEMBER Daryl Robinson; First Plymouth Congre- son Symphony Center, Dallas, TX 7:30 pm 22 OCTOBER Ingelore Schubert; Klosterkirche, Tobias Aehlig; St. Laurentius, Erwitte, gational, Lincoln, NE 4 pm 17 NOVEMBER Fürstenfeld, Germany 12:10 pm Germany 4:30 pm Jonathan Ryan; St. Philip Presbyterian, Vincent Dubois, Poulenc, Organ Con- Frank Heye, with fl ute; St. Macharius- Houston, TX 3 pm certo, Saint-Saëns, Symphonie III; Meyer- kerk, Laarne, Belgium 3 pm 23 NOVEMBER Raúl Prieto Ramírez; First Presbyterian, son Symphony Center, Dallas, TX 7:30 pm Jean-Baptiste Robin; St. Joseph’s Ora- Michael Utz; Abteikirche, Köln, Germany Kilgore, TX 4 pm tory, Montréal, QC, Canada 3:30 pm 8 pm 18 NOVEMBER 8 NOVEMBER Vincent Dubois, Poulenc, Organ Con- 25 OCTOBER 26 NOVEMBER David Baskeyfi eld & Thomas Gaynor; certo, Saint-Saëns, Symphonie III; Meyer- Adriano Falcioni; Westminster Cathe- Ulrich Theißen, with oboe; Stadt- First Presbyterian, Kilgore, TX 10 am son Symphony Center, Dallas, TX 7:30 pm dral, London, UK 7:30 pm pfarrkirche St. Martin, Bamberg, Germany 5:30 pm 27 OCTOBER Paul de Maeyer, Kristiaan Van Ingel- Halloween concert; St. Andrew’s Wesley gem, Kris Wittevrongel, & Bart Wuilmus; United Church, Vancouver, BC, Canada St. Stefanuskerk, Gent, Belgium 3 pm 7:30 pm Petra Veenswijk; Maria van Jessekerk, 28 OCTOBER Delft, Netherlands 3 pm Reformation choral concert; Klosterkirche, Fürstenfeld, Germany 4 pm 29 NOVEMBER Bruno Bruynincxx; Sint-Annakerk, Holger Gehring; Kreuzkirche, , Roosbeek, Belgium 1:30 pm, 6 pm Germany 8 pm Etienne Baillot; Dom, Arlesheim, Swit- Martin Baker; Westminster Cathedral, zerland 7:30 pm London, UK 7:30 pm

31 OCTOBER 30 NOVEMBER Willem Harold Boog; Oosterkerk, Zeist, Handel, Messiah; White Rock Baptist, Netherlands 8 pm Vancouver, BC, Canada 7:30 pm

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32 Q THE DIAPASON Q OCTOBER 2017 WWW.THEDIAPASON.COM Organ Recitals

BENJAMIN ALARD, harpsichord and or- 149, Buxtehude; O Mensch, bewein’ dein’ CHRISTOPHER JACOBSON, Duke Bruhns; Adagio, K. 356, Mozart; Hosanna gan, Musée de l’Amérique francophone, Qué- Sünde groß, BWV 622, Bach; Cantabile, FWV University, Durham, NC, May 7: Fantasia su- Filio David, Demessieux; Hosanna, Loud Ho- bec, QC, Canada, May 28: Suite in g, 36, Franck; Pièce d’Orgue, BWV 572, Bach. per Komm, heiliger Geist, Herre Gott, BWV sanna, O Sacred Head, Now Wounded, Burk- in G, Ground in e, Ground in c, Purcell; Morlake 651, Komm, heiliger Geist, Herre Gott, BWV hardt; Variations sur Ubi Caritas, Bédard; Ground, Blow; Prélude in a, , Les STEPHEN FARR, Merton College Cha- 652, Trio super Herr Jesu Christ, dich zu uns Mors et Resurrectio, Langlais; Fantasia, trois Mains, Fanfarinette, Rameau; Voluntary pel, Oxford, UK, May 20: Toccata II, Mon- wend’, BWV 655, Komm, Gott Schöpfer, hei- Méditation sur O Filii et Filiae, Bédard. in G, Purcell; Voluntary in C, Voluntary in a, nikendam; Vier Fugen, op. 56, Schumann; liger Geist, BWV 667, Liebster Jesu, wir sind Blow; Suite from Les Indes Galantes, Rameau. Praeludium in g, BuxWV 148, Buxtehude; Ro- hier, BWV 634, Wo soll ich fl iehen hin, BWV JOHN RICHARDSON, Cathedral of St. man Conversion, Bingham; Intermezzo, Alain; 646, Liebster Jesu, wir sind hier, BWV 633, Philip, Atlanta, GA, April 30: Chorale-impro- IVETA APKALNA, Walt Disney Concert Choral No. 3 in a, Franck. Wo soll ich fl iehen hin, BWV 694, Liebster visation sur le Victimae Paschali laudes, Tour- Hall, Los Angeles, CA, May 21: Toccata on Jesu, wir sind hier, BWV 706, Trio Sonata in nemire; Fountain Reverie, Fletcher; Tu es pe- the Chorale Allein Gott in der Höh sei Ehr, GEORGE FERGUS, Washington National G, BWV 530, Wenn wir in höchsten Nöten tra et portæ inferi non prævalebunt adversus Kalejs; Évocation I, Évocation II, Escaich; Act Cathedral, Washington, D.C., May 14: Prae- sein, BWV 641, Vor deinen Thron tret’ ich, te (Esquisses Byzantines), Mulet; Benedictus, III–Conclusion (Satyagraha), Glass; Toccata, ludium in d, Pachelbel; Prelude and Fugue BWV 668, Passacaglia in c, BWV 582, Bach. Rowley; Variations sur un Nöel, Dupré. Adagio, and Fugue in C, BWV 564, Bach; Pas- in a, BWV 543, Bach; Air, Hancock; Toccata, sacaglia (Lady Macbeth of Mtsensk), Shosta- Vierne; Sonata V in D, op. 65, no. 5, Men- SARAH JOHNSON, Old West Church, NAOMI ROWLEY, Our Savior’s Lutheran kovich; Funérailles, Liszt; Variations on a delssohn; Overture to Die Meistersinger von Boston, MA, May 3: Tango Toccata on a Church, Rockford, IL, April 23: Fantasie, Theme of Paganini, Thalben-Ball; Passacaglia Nürnberg, Wagner, transcr. Lemare. Theme by Melchior Vulpius, Decker; Ballo Zwart; Nun komm, der Heiden Heiland, BWV in c, BWV 582, Bach. del Granduca, Sweelinck; Ciaccona, Storace; 659, Bach; Sonata VI, op. 65, no. 6, Men- JEREMY FILSELL and ERIK WM. SUT- Fugue in G, BWV 577, Bach; Introduction delssohn; Aus tiefer Not schrei ich zu dir, JOHN BRANDT, Cathedral of St. Philip, ER, Spencerville Adventist Church, Silver and Passacaglia in d, Reger. Drischner; Toccata on Vom Himmel hoch da Atlanta, GA, May 7: Prelude in E-fl at, BWV Spring, MD, May 20: Prélude et Fugue in B, komm ich her, Edmundson; Epilogue on St. 552i, Bach; Sonata II in c, op. 65, no. 2, Men- op. 7, no. 1, Deux Esquisses, op. 46, Prélude DAVID JONIES, Cathedral of the Sacred Theodulph, Willan; Variations on O Haupt delssohn; Solemn Prelude on a Theme of et Fugue en f, op. 7, no. 2, Variations sur un Heart, Richmond, VA, May 3: Praeludium in voll Blut und Wunden, Bédard; Wer nur den , Near; Carillon de Westminster Noël, op. 20, Prélude et Fugue in g, op. 7, no. E, BuxWV 141, Buxtehude; Partita on Christ, lieben Gott lässt Walten, Philips; Toccata on (Pièces de Fantaisie, op. 54, no. 6), Vierne. 3, Dupré; Rhapsody on a Theme of Paganini, der du bist der helle Tag, BWV 766, Bach; Nun danket alle Gott, Hovland. op. 43, Rachmaninoff. Tiento partido de mano derecho de 10 Tono, STEPHANIE BURGOYNE, Grace An- Cabanilles; March on a Theme by Handel, JOHN SHERER, Fourth Presbyterian glican Church, Brantford, ON, Canada, May THOMAS GOUWENS, Fourth Pres- op. 15, Guilmant; Pavane–Danse liturgique, Church, Chicago, IL, April 28: Imperial 5: Praeludium (Sonata in a), Thuille; Adagio, byterian Church, Chicago, IL, May 12: Proulx; Sonate II, op. 60, Reger. March, Elgar, transcr. Martin; Elegy, Bair- Mozart; Variaties en Fuga, Mudde; Allegretto, Fanfare, Mathias; Fantasia super Komm, stow; Sarabande, Howells; Variations on O Bliss; Toccata (Sonata No. 1), Becker. Heiliger Geist, BWV 651, Bach; Allegretto, SCOTT MONTGOMERY, Presbyterian Filii et Filae, Dandrieu; Fantasy on O Waly Poco vivace (Kleine Präludien und Inter- Homes, Evanston, IL, April 24: Dialogue, Waly, Miller; Prelude, Fugue, and Chaconne DAVID CASSAN, Haifa University, Haifa, mezzi, op. 9), Schroeder; Herzliebster Jesu, Marchand; Echo Fantasy in d, Sweelinck; in C, BuxWV 137, Buxtehude; Sheep May Israel, May 19: Boléro de concert, Lefébure- O Gott, du frommer Gott, Es ist ein Ros’ Prelude and Fugue in e, BWV 548, Bach; Pas- Safely Graze, Bach, transcr. Rawsthorne; Elite Wély; Prélude, Fugue, et Variation, op. 18, entsprungen, O Welt, ich muss dich lassen torale (Sonata XII in D-fl at, op. 154), Rhein- Syncopations, Joplin, transcr. Biggs; Toccata Franck; Toccata in G, Dubois; (Sym- (Chorale Preludes, op. 122), Brahms; Sicili- berger; Andante in D, Mendelssohn; Prayer, on O Filii et Filae, Farnam. phonie II in e, op. 20), Vierne; Prayer and enne, A la Sainte Vierge (Sept Pièces), Fleu- Toccata (Sonata I in g, op. 40), Becker. Lullaby, Guilmant; Allegro (Symphonie VI in ry; Impromptu, Carillon de Westminster (24 MATT SMITH, Westminster Choir College, g, op. 42, no. 2), Widor; Improvisation: Sym- Pièces de Fantaisie, Troisième Suite, op. 54, DEREK NICKELS, Church of the Holy Princeton, NJ, April 8: Pièce Héroïque, Franck; phony, Cassan. nos. 2 & 6), Vierne. Comforter, Kenilworth, IL, April 23: Overture Rhapsody in D-fl at, op. 17, no. 1, Howells; Vi- (St. Paul), Mendelssohn, transcr. Best; Wer sion IV (Arizona Visions), Bates; Prelude in E- DENNIS CHAN, Old West Church, Bos- CHRISTOPHER HENLEY, Cathedral of nur den lieben Gott läßt walten, BWV 647, fl at, BWV 552i, Adagio (Trio Sonata in E-fl at), ton, MA, May 10: Prelude and Fugue in D, St. Philip, Atlanta, GA, May 14: Preludium Ach bleib bei uns, Herr Jesu Christ, BWV 649, BWV 525, Fugue in E-fl at, BWV 552ii, Bach; BWV 532, Bach; Introduction and Passaca- festivum (Sonata No. 1 in G), Becker; Sona- Kommst du nun, Jesu, vom Himmel herunter, , Toccata (Symphonie No. 1, op. 36), Laurin. glia in d, Reger; Soliloquy, Conte; Carillon de ta III in A, op. 65, no. 3, Mendelssohn; The BWV 650, Passacaglia and Fugue in c, BWV Westminster (24 Pièces de fantaisie, Troisième Peace May Be Exchanged (Rubrics), Locklair; 582, Bach; Psalm Prelude, op. 32, no. 1, How- CHRISTOPHER URBAN, First Presby- Suite, op. 54, no. 6), Vierne. Jesu, Dulcis Memoria, Decker. ells; Fanfare, , and Hymn: O God, terian Church, Arlington Heights, IL, April Our Help in Ages Past, Lafford; Aria, Calla- 5: Exultate Deo, Hebble; Adagio (Concerto TED DAVIS, Washington National Cathe- JENNIFER HSIAO, Old West Church, han; Variations sur un Noël, op. 20, Dupré. in d), Vivaldi, arr. Fox; Toccata on Psalm 146, dral, Washington, D.C., May 7: Esquisses Byz- Boston, MA, May 31: Praeludium in G, Zwart; Air for Organ, Hancock; Trumpet Tune antines, Mulet. Bruhns; Naïades (24 Pièces de fantaisie, MYRON PATTERSON, Holy Family in C, McCabe; Trumpet Tune, Bowden; What Quatrième Suite, op. 55, no. 4), Vierne; Trans- Catholic Church, South Ogden, UT, April 9: a Friend We Have in Jesus, Blessed Assur- BRIAN EDWARDS, Old West Church, ports de joie (L’Ascension), Messiaen; Varia- Thema met Variaties, Andriessen; Volun- ance, Hebble; Toccata on All Glory Laud and Boston, MA, May 17: Präludium in g, BuxWV tions sur un Noël, op. 20, Dupré. tary in D, Croft; Praeludium und Fuge in e, Honor, Burkhardt.

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Wanted: Organists visiting Maui. Lahaina’s Organa Europae calendars featuring famous The new Nordic Journey series of CD record- Organ Music of René Louis Becker, Vol. 3, a Holy Innocents Episcopal Church invites visit- pipe organs of Europe; years 1969 to 1977. ings reveals premiere recordings of symphonic new Raven CD. Damin Spritzer plays the 1938 ing organists to play its Beckerath Positiv organ $10.00 each. 219/662-0677, [email protected]. organ music—much of it still unpublished—from Kimball 4-manual, its original 96 ranks restored, at Sunday services. Built in 1972 by Rudolf von Nordic composers, played by American organist at St. John’s Cathedral, Denver, now with a Beckerath and then-apprentice Hans-Ulrich James Hicks on a variety of recently restored 17-rank antiphonal added. Becker (1882–1956) Largo “From the New World,” by Antonín Erbslöh for Honolulu’s Lutheran Church, the 408- Swedish organs. It’s a little bit like Widor, Reger was an Alsatian-American composer, teacher, Dvorák, is known by many as “Going Home.” pipe Shrankpositiv has a 54-note “split” manual, and Karg-Elert, but with a Nordic twist. Check it and organist who worked 52 years in St. Louis, This transcription by the great Pittsburgh organ- 30-note pedal, 11 stops, 8 ranks, and 6 registers. out at www.proorgano.com and search for the Illinois, and Michigan. Spritzer’s previous two vol- ist, Caspar Koch, is unusual because, unlike the Holy Innocents acquired the instrument in 1977 term “Nordic Journey.” umes of Becker’s works, still available on Raven, other transcriptions, it contains every measure of received stellar reviews. The new CD is the fi rst and moved it to Maui where it has been played the orchestral score. michaelsmusicservice.com by parish musicians such as Carol Monaghan to be recorded on the completed organ and 704/567-1066. Ed Nowak, Chicago-area composer, arranger, contains 10 works, all not previously recorded. and visiting artists including Angus Sinclair of and church musician, announces his new web- Raven OAR-999 $15.98 postpaid. Raven, Box Canada and Dalibor Miklavcic of Slovenia. The site, featuring Nowak’s original choral works, 25111, Richmond, VA 23261; 804/355-6386, instrument is extremely responsive and fi lls the Grant Peace, We Pray, a new choral work by hymn concertatos, chamber and orchestral RavenCD.com. worship space beautifully. The parish community David Herman, is available as a free download. works, organ hymn accompaniments, organ is “exemplary in its hospitality to all visitors,” and Luther’s text, with its 16th-century melody, is set and piano pieces, electronic music, and psalm that especially includes visiting organists. For for SAB choir and organ and was written to com- settings. The website offers scores and recorded information: 808/661-4202; holyimaui.org. memorate the 2017 Reformation anniversary. examples that are easy to sample and can be Available from the composer at herman@udel. purchased in downloaded (PDF and MP3) or Single-manual, Italian-style harpsichord edu. printed form. Visit ednowakmusic.com. PUBLICATIONS / RECORDINGS built by Paul Irvin (1983). Pine case and lid, 70″ long; cherry screw-in legs. GG–d3, transposing Consoliere Classic Series for Organ: complete Pipe Organs of the Keweenaw by Anita keyboard (440–415), two registers. Padded Certifi ed appraisals—Collections of organ set of six books. An outstanding collection com- Campbell and Jan Dalquist, contains his- cover included. Regularly maintained, recently books, recordings, and music, for divorce, piled from World Library Publication’s extensive tories, stoplists, and photos of some of rebuilt; $7,500. Chicago area; 847/858-9173; estate, gift, and tax purposes. Stephen L. Pinel, organ library. A must for any church organist. the historic organs of the Keweenaw Pen- [email protected]. Appraiser. 629 Edison Drive, East Windsor, 003067, $54.00, 800/566-6150, Wlpmusic.com. insula, the northernmost tip of Michigan’s NJ 08520-5205; phone: 609/448-8427; email: Upper Peninsula. Organs include an 1899 [email protected]. Barckhoff and an 1882 Felgemaker. The booklet PIPE ORGANS FOR SALE Organs of Oberlin chronicles the rich history of ($8.00 per copy, which includes postage) is organs at Oberlin College, the Conservatory of available from the Isle Royale and Keweenaw 1991 Wilhelm Opus 123. Three-manual, Also from Fruhauf Music Publications : music Music, and the town of Oberlin, Ohio. The hard- Parks Association, 49445 US Hwy 41, Hancock, 39-stop free-standing mechanical action organ for the carillon, a three-verse setting of Martin bound, 160-page book with many illustrations Michigan 49930. For information: 800/678-6925. in like-new condition for $350,000.US. Installa- Luther’s Ein Feste Burg, arranged for 4-octave is the most comprehensive study of traceable tion by Karl Wilhelm, on-site voicing and trans- instruments, offered in recognition of the fi ve- organs from 1854 to 2013. The book measures portation included. This instrument requires ″ ″ hundredth year anniversary of the Lutheran Ref- 8½ x 11 and features a dust jacket with color- The Organ Historical Society has released The approximately 480 sq.ft. with a minimum 24-foot ormation. Visit www.frumuspub.net to download ful illustrations not found in the book. Organs by Philadelphia Hymnbook, compiled, edited, and ceiling, installation in balcony. For more details, a complimentary PDF booklet. Skinner, Aeolian-Skinner, C. B. Fisk, Inc., Flen- annotated by Rollin Smith. This spiral-bound edi- email: [email protected]. trop, Holtkamp, Roosevelt, and many others are tion is a cross-section of sacred music from many featured. Text by Stephen Schnurr, foreword by faiths, in many styles, and as diverse as the musi- Marcel Dupré editions of organ works by James David Christie; photographs by William cal fabric of the great city of Philadelphia. More Rare Estey Grand Minuette (1930, Opus 2882): Schumann, Mendelssohn, and Bach. Six vol- T. Van Pelt, Trevor Dodd, Halbert Gober, as well than 80 selections included. Non-member price: 2-manual, 3-rank, with newer Ventus blower. umes of J. S. Bach (vol. 1, 2, 3, 4, 6, & 7). $10.00 as rare vintage examples. $50, plus $5 shipping. $24.95; member price: $19.95; www.ohscatalog. Unifi ed 16′ string, 8′ fl u t e , 4 ′ principal, $15,000. each. 219/662-0677, [email protected]. Visit www.organsofoberlin.com. org/phhy.html. [email protected], 763/229-5447.

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Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

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30-rank Casavant–Létourneau pipe organ for Circa 1860 Pfeffer eight-rank organ, available Excellent used pipes (approx. 4″ w.p.), like Complete Pipe Organ Services from the Organ sale with 10-year warranty: $550,000. Orgues rebuilt and custom fi nished. Also 1884 choir new Austin actions half price, swell shades and Clearing House: 450 vintage pipe organs avail- Létourneau is offering a 30-stop pipe organ organ by Louis Debierre. Both are pictured on the re-leathered bellows. Milnar Organ Company, able, renovation, tuning, consultation. Other rebuilt to like-new condition for US$550,000. Redman website: www.redmanpipeorgans.com. 615-274-6400, [email protected]. services include transportation, cleaning and The core will be Casavant’s Opus 1274 from renovation of carvings, reredos, liturgical furnish- 1928 with electro-pneumatic wind chests; the Historic 1859 ROBJOHN, II+Ped, 11 ranks. Drop Consoles, pipes and numerous miscellaneous ings. Call John Bishop at 617/688-9290. john@ revised specifi cation can incorporate up to fi ve dead gorgeous rosewood case, 14′-2″ tall. Lovely parts. Let us know what you are looking for. organclearinghouse.com. new stops built by Létourneau. Installation costs, for chapel, large residence, or museum. www. E-mail [email protected] (not comcast), on-site voicing, an allowance for casework bigeloworgans.com. Click on News. phone 215/353-0286 or 215/788-3423. in red oak, a rebuilt two-manual solid-state ANNOUNCEMENTS console, and a ten-year warranty are included. Transportation from Québec is not included. Aeolian-Skinner opus 1480. A superb 20-rank, Gothic White Oak Organ Case. 25′ x 25′ x 12′ THE DIAPASON E-Newsletters are e-mailed The organ requires approximately 360 sq. ft. 2-manual organ with 4 divisions. Built in 1967 for deep. Excellent condition. Spiky towers, lots of monthly to subscribers who sign up to receive with 20′ ceiling for 16′ ranks. For more details, a synagogue, the large pipe scales and romantic- fi ligree. The Organ Clearing House, 617/688- them. Don’t miss the latest news, featured artists, visit www.letourneauorgans.com, e-mail info@ style voicing are unusual for this period. The 9290, [email protected]. and classifi ed ads—all with photos—some before letourneauorgans.com or call Andrew Forrest at elegant tilt-tab console is fi tted with Peterson’s they appear in print! Visit www.TheDiapason. 450/774-2698. latest ICS-4000 system and solid-state switching. com and click on Subscribe to our newsletter. For Reservoirs and swell engines are restored and SERVICES / SUPPLIES pouch leathers are in good condition. Several assistance, contact Stephen Schnurr, 847/954- 7989, [email protected]. BIGELOW Opus 23 (1992), II/15 tracker. Big new ranks are prepared for. Reduced price: Releathering all types of pipe organ actions ′ sound, 16 Posaune. Quartered white oak case, [email protected]. and mechanisms. Highest quality materi- ′ ′ ′ 19 high x 13 wide x 5 deep. $70K. mail@big- als and workmanship. Reasonable rates. Be sure your business listing in THE DIAPA- eloworgans.com, 801/756-5777; bigeloworgans. Columbia Organ Leathers 800/423-7003. SON’S Resource Directory is complete and com, click on news. Expressive and compact—3/27 Kilgen (1940). www.columbiaorgan.com/col. Two expressive divisions. 17 manual 8-foot fl ues. accurate! The 2018 Resource Directory Reeds include Tuba, Cornopean, Oboe, Clarinet, goes to press November 1, 2017, and will Berghaus 2-manual, 11-rank, tracker action Vox Humana. Harp. 16′ Open Wood. H: 237″, W: Do you have a pipe organ that you would be mailed with the January 2018 issue. pipe organ. Currently located in Michigan in a 170″, D: 189″. Stopkey console. Original restor- like to interface with an electronic or digital Send listing corrections to sschnurr@ sgcmail.com. For advertising opportuni- private residence. Dimensions are 12′ wide x 4′ able condition. $30,000. Organ Clearing House, organ? We can interface any digital organ or ties, contact [email protected]. deep x 8′ high. Asking $15,000, no reasonable 617/688-9290, [email protected]. any organ console with any pipe organ. For more offer refused. Must sell ASAP. Jamesfriesner@ information e-mail [email protected] (not gmail.com, 231/468-9155. Comcast) or call 215/353-0286. Aeolian-Skinner Opus 968 (1937, 1939, 1955, Postal regulations require that mail to THE 1964). Rebuilt Kinzey-Angerstein (1977), rebuilt DIAPASON include a suite number to assure Casavant Freres Opus 3818, 2004. 3-manual Létourneau (1995), four manuals, 85 stops. Aeolian/Robert Morton-style maroon delivery. Please send all correspondence to: drawknob, 52 ranks, E/P action in excellent play- $40,000. Contact John Bishop, Organ Clearing leather is now available from Columbia Organ THE DIAPASON, 3030 W. Salt Creek Lane, Suite able condition. Scottsdale, AZ. Steve Beddia, House, 617/688-9290, john@organclearing- Leathers! Highest quality. 800/423-7003, 201, Arlington Heights, IL 60005. 609/432-7876, [email protected]. house.com. www.columbiaorgan.com.

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2017 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Stephen Buzard Chelsea Chen Katelyn Emerson 2016 AGO National Competition Winner Available 2016-2019

Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Stefan Engels*

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2018

Thierry Escaich* László Fassang* Janette FishellDavid Goode* Thomas Heywood* David Higgs

Choir The Choir of Saint Thomas Church New York City Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison James O’Donnell* Daniel Hyde, Director

Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth* Jonathan Ryan Tom Trenney *=Artists based outside the U.S.A.

Celebrating Our 96th Season! Thomas Trotter* Todd Wilson Christopher Young