THE DIAPASON JANUARY, 2012

Cathedral of St. John Berchmans Shreveport, Louisiana Cover feature on pages 28–30

Jan 2012 Cover A.indd 1 12/13/11 8:44:57 AM NEW YORK CITY Saturday, June 2 3:00 pm & 7:30 pm on the 75th anniversary of June 2, 1937 Church of the Ascension

DENVER Friday & Saturday June 15 & 16 at 7:30 pm St. John’s Cathedral

CHICAGO Friday & Saturday July 6 & 7 at 7:30 pm Rockefeller Chapel University of Chicago Christopher Houlihan performs the six organ symphonies LOS ANGELES of Louis Vierne in six major Thursday & Friday North American cities July 19 & 20 at 7:30 pm this summer to commemorate Cathedral of Our Lady of the Angels the composer on the 75th anniversary of his death. MONTREAL Friday & Saturday The symphonies will be August 3 & 4 at 7:30 pm presented in two sessions in cooperation with in each city, either in one day Les Amis de l’Orgue de Montréal or on two successive evenings. Church of the Gesu Part One : Symphonies I, III & V DALLAS Part Two: Symphonies II, IV & VI Saturday, August 18 Some venues may charge admission. at 3:00 pm & 7:30 pm Church of the Incarnation WWW.VIERNE2012.COM FOR MORE INFORMATION

Jan 2012 pp. 2-19.indd 2 12/13/11 8:46:28 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Third Year: No. 1, Whole No. 1226 JANUARY, 2012 Franjo Dugan, Croatian composer country folk to accept fl orid, unrecogniz- Established in 1909 ISSN 0012-2378 The very interesting article in the Oc- able music? Yet we ask modern audienc- An International Monthly Devoted to the Organ, tober 2011 issue by Chris Krampe about es to accept that very thing. the Harpsichord, Carillon, and Church Music the “forgotten composer” Franjo Dugan The Baroque organists’ ability to im- reminded me of another unjustly forgot- provise kept their art vital. In my opin- ten Croatian composer: Josip Slaven- ion, today more than ever before, impro- ski (1896–1955). The original name was visation is key to our continued survival. CONTENTS Editor & Publisher JEROME BUTERA [email protected] Stolcer-Slavenski. He was born in what But the question is: what kind of impro- 847/391-1045 was then Austria-Hungary, May 11, visation? I don’t feel it was a coincidence FEATURES 1896; he died November 30, 1955. In that Chaplain Randolph’s idea came Fourteenth Annual Associate Editor JOYCE ROBINSON what was then a united Yugoslavia, he while I was improvising on a well-known Albert Schweitzer Organ Festival [email protected] by David Spicer 20 spent much of his career in Belgrade, church hymn—and he could pick out the 847/391-1044 Serbia. Although listed in the 1955 edi- melody, even though it was not printed Ascension Organ Academy tion of Grove’s Dictionary of Music and in the program. The problem, and this June 20–25, 2011 Contributing Editors LARRY PALMER by Will Thomas 21 Harpsichord Musicians, he was (incredibly) omitted is related to the tracker-electropneu- from the 1982 edition. matic polemic, is that Student A studies Jehan Alain—The American Festival JAMES MCCRAY Perhaps his most notable work was the Baroque-style improvisation on a neo- Wichita State University Choral Music by Thomas F. Froehlich 22 Sinfonia Orienta, composed 1933–1934. Baroque tracker, and Student B studies One of my most prized possessions is an 20th-century French-style improvisation The Last Vestiges of M. P. Möller? BRIAN SWAGER Carillon LP recording of this work, dating from on a Romantic organ somewhere, and Recent visits to Hagerstown spur the early 1950s and performed by the Student C, if he or she is lucky, stud- 20-year-old recollections by Randall S. Dyer 24 JOHN BISHOP Belgrade Philharmonic Orchestra and ies with an all-around good teacher on In the wind . . . Chorus (London LL1216). To quote several good organs and learns all the NEWS & DEPARTMENTS from the program notes of David Drew: styles—except that even Student C has GAVIN BLACK “The work is a setting of ancient texts in missed the point, because he or she is Editor’s Notebook 3 On Teaching Letters to the Editor 3 their original language, and it attempts such a highly skilled improviser that the to survey the history of Man’s efforts to person in the pew has not the slightest Here & There 4, 6, 8, 10, 12, 13, 14 Reviewers James Reed Robert August express religious beliefs through music. idea what’s going on. Sleeves rolled up, Nunc Dimittis 12 Jay Zoller The work has the subtitle ‘Symphonic muscles fl exed, the organist conjures ret- Carillon News by Brian Swager 14 Charlie Steele Cantata in seven parts for soloists, cho- rograde inversions, superfl uous passage- In the wind . . . by John Bishop 14 John L. Speller rus, and orchestra’ and is dedicated to work, and other dog-and-pony tricks that On Teaching by Gavin Black 16 the Missa Solemnis of Beethoven.’’ virtually no one in the pew could possi- Briefl y: the seven movements de- bly understand. REVIEWS pict, in order, Pagans, the Hebrews, I spent my fortieth birthday (January THE DIAPASON (ISSN 0012-2378) is published monthly Music for Voices and Organ 17 by Scranton Gillette Communications, Inc., 3030 W. Salt Buddhism, Christianity, Islam, Free 17, 2011) at a fascinating class by Da- New Recordings 18 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Thought, and a “Hymn of Toil”—with vid Briggs at Church of the Advent on Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 a text in Serbo-Croatian written by the the improvisations of Cochereau. As we New Organ Music 18 MSG RLY. E-mail: . Book Reviews 19 Subscriptions: 1 yr. $35; 2 yr. $55; 3 yr. $70 (Unit- composer, which (presumably) repre- looked at the score and he pointed out ed States and U.S. Possessions). Foreign subscrip- sents Marxism, at that time the newest the themes here and there, I was able to NEW ORGANS 30 tions: 1 yr. $45; 2 yr. $65; 3 yr. $85. Single copies $6 “religion”! In each movement, the com- hear them (almost). But I sat there won- (U.S.A.); $8 (foreign). CALENDAR 31 Back issues over one year old are available only from poser masterfully conveys the spirit of dering, “Of the two or three thousand ORGAN RECITALS 34 The Organ Historical Society, Inc., P.O. Box 26811, Rich- each religion. In my opinion, the high people who used to attend Cochereau’s mond, VA 23261, which can supply information on avail- point of the score is the Buddhist move- Notre-Dame concerts, how many of CLASSIFIED ADVERTISING 36 abilities and prices. ment. Truly extraordinary. To the best of them could detect a melody if even I, Periodical postage paid at Rochelle, IL and additional 2011 In Review—An Index 38 mailing offices. POSTMASTER: Send address changes my knowledge, this work has never been without David Briggs standing in front to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Ar- performed in North America. of me, could not?” Cover: Parkey OrganBuilders, Duluth, lington Heights, IL 60005-5025. Slavenski will probably be of scant in- John Bishop accurately recounted the Georgia; Cathedral of St. John Berchmans, Routine items for publication must be received six weeks in advance of the month of issue. For advertising terest to organists, inasmuch as he was tracker-versus-electropneumatic wars, Shreveport, Louisiana 28 copy, the closing date is the 1st. Prospective contributors not an organist and wrote little for that which were still in full swing when I was of articles should request a style sheet. Unsolicited re- instrument. He did write one sonata for a student in the 1980s. Though I stud- www.TheDiapason.com views cannot be accepted. violin and organ—an early work (1919– ied on trackers, my “other education” This journal is indexed in the The Music Index, an- notated in Music Article Guide, and abstracted in RILM 1925). I am fortunate to have a copy of was the concerts that I attended in or Send subscriptions, inquiries, and ad- Abstracts. the (unpublished?) score in my posses- near Copley Square—large electropneu- dress changes to THE DIAPASON, Copyright © 2012. Printed in the U.S.A. sion, kindly supplied to me some years matic instruments at Trinity, Old South, ago by a faculty member of Virginia and the Mother Church. In particular, 3030 W. Salt Creek Lane, Suite 201, THE DIAPASON accepts no responsibility or liability Arlington Heights, IL 60005. for the validity of information supplied by contributors, Commonwealth University. Any violin- I can never forget how Fred MacAr- vendors, advertisers or advertising agencies. ists out there? thur perfumed the air with the ranks of Arthur LaMirande that Whitman’s Sampler of an organ at No portion of the contents of this issue may be reproduced in any form without the specifi c written permission New York, New York Old South. It wasn’t so much principals, of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for fl utes, strings, and reeds as it was white other courses or for the same course offered subsequently. John Bishop: In the wind . . . chocolate, dark chocolate, milk choco- Thank you for John Bishop’s honest late, and fi lled chocolate. Fred’s playing and thought-provoking “In the wind” col- of that sumptuous 1920 E. M. Skinner umn in the November issue of The Dia- was the other half of my musical educa- pason. John made the diffi cult-to-hear, tion. It was where Eusebius was nour- Editor’s Notebook but diffi cult-to-refute, statement: “You ished; Florestan was already being fed at don’t attract Joe Public into a church to the conservatory. hear an all-Buxtehude recital.” I still remember a life-changing mo- In this issue Historic Italian Organs,” by Christina How, then, do we attract Joe Public ment at an Old South hymn sing in In this issue of The Diapason, Da- Hutten; and much more. without “dumbing down”? It’s the most the late 80s. The hymn was “Were you vid Spicer reports on the 14th annual important question that currently faces there?” and at the word “tremble” Fred Albert Schweitzer Organ Festival; Will 2012 Resource Directory us. I admit, and we all should, that we put on the 32′ Open Wood, which did in Thomas reports on the Organ Academy The 2012 Resource Directory was organists are bad at answering it. fact make the fl oor tremble just a bit. I at the Church of the Ascension in New mailed with this issue of The Diapason. I don’t claim that the upcoming “MIT was converted. THAT’s something to York City; Thomas Froehlich reports The directory includes complete informa- Organ Book” is going to solve the prob- which I would invite Joe Public. I cannot on the Jehan Alain Festival at Wichita tion on providers of products and services lem. But I think that Chaplain Robert say that I would invite Joe Public to an State University; and Randall Dyer re- related to the organ and church music, Randolph’s idea behind it just might. all-Buxtehude concert. The whole point fl ects on the history of the Möller Or- with complete contact information for In commissioning me, he gave me very is to disprove to Joe that classical music is gan Company following recent visits to organ-related businesses and associations. little instruction. I knew I had to vary the diffi cult to grasp, not prove it to him. Hagerstown, Maryland. I welcome comments and suggestions on pieces; religious life at MIT comprises John quoted Ted Alan Worth as saying, In his column, John Bishop muses how we might improve it. Catholics, Protestants, Jews, Muslims, “The organ world is the worst world in about some of the various Apps avail- Suppliers: please check your listings Bahá’ís, and so forth. But what Chaplain the world.” I don’t think that’s true, but able today, including some related to and report any corrections or updates in Randolph did say was this: “Make the I think it is one of the most introverted the pipe organ. Gavin Black describes your information. Thanks to all the com- tunes recognizable.” worlds in the world. An organist is happy his approach for drilling and learning panies that advertised in the directory. In that moment, I realized just how to have his neo-Baroque tracker with the creation of continuo parts at the Your support is crucial to the success of myopic we organists are. That is precise- 15 ranks of mixtures over one 8′ rank (a keyboard. And, of course, our regular the publication. ly what we overlooked! That’s the secret stopped fl ute, of course), or his four-man- columns of news, reviews, international to relevancy: playing tunes people recog- ual digital instrument with fi ve 32′ ranks calendar, organ recital programs, and Our 103rd year nize. Think, for a moment, of Sweelinck’s (even though the church seats only 125 classifi ed advertising. With this issue, The Diapason be- sets of variations, or D’Aquin’s Noëls, or people). But how does either instrument gins its 103rd year. We continue the the chorale partitas of all the German Ba- serve the folks in the pews? Joe Public Looking ahead mission, as stated in December 1909: roque composers. The audiences knew is confused by our organs and the music Articles in preparation include a dis- “ . . . devoting its pages to the construc- the tunes. And let’s be candid: those cho- we play on them. Because even though cussion of organs in Lviv, Ukraine, by tion of the organ and to those whose life rale preludes of Bach that embellish the Joe Public doesn’t have the vocabulary Bill Halsey; Dudley Buck’s Grand So- work is the creation of the grandest of melody beyond recognition might have to explain it, he senses something wrong nata in E-fl at, by Jonathan Hall; appren- musical instruments.” gone over in Leipzig, a “university town” when he tries to sing a hymn to mixtures ticing with Herman Schlicker, by Joseph Jerome Butera not unlike Cambridge, Massachusetts, that overpower the foundations, or when Robinson; a report on the Jehan Alain 847/391-1045 but they would not have gone over near- the organist is preluding and postluding masterclass given by Helga Schauerte at [email protected] ly so well in the small parish churches of without any apparent connection to the Duquesne University; “Encounters with www.TheDiapason.com smaller German towns. How can you ask audience. My impression? Joe Public

JANUARY, 2012 3

Jan 2012 pp. 2-19.indd 3 12/13/11 8:47:07 AM senses a lot more than we give him credit Church of John Jones just down the Christ Church, Grosse Pointe for. And his desire to recognize a famil- street got a brand new instrument, and Farms, Michigan, continues its music se- iar, contemporary melody is one that we our organist will simply die of envy if he ries: January 15, Evensong; 1/22, opera would do well to satisfy. Our Baroque an- can’t have one, too. arias and scenes; February 5, Evensong; cestors did no differently. This isn’t to say that the new should 2/19, Evensong; 2/26, choral concert of Leonardo Ciampa never be sought. It can be wonderful. French music; March 4, Evensong; 3/18, Natick, Massachusetts But so can the old. And I suspect too Evensong; April 1, Evensong; 4/6, Bach, many musicians and committees get St. Matthew Passion; May 20, Gryphon John Bishop replies confused by the two primary defi nitions Trio; June 2, Evensong; 6/10, Evensong; I’m delighted to read Leonardo of adequate: Suffi cient for a specifi c re- 6/24, Langsford Men’s Chorus. For in- Ciampa’s insightful response to my col- quirement, and barely suffi cient or sat- formation: . umn of November 2011. My statement, isfactory. In other words, when you’re “You don’t attract Joe Public into a church talking about defi nition one, sometimes The Cathedral Church of the Ad- to hear an all-Buxtehude organ recital” is enough really is enough. vent, Birmingham, Alabama, continues at least as diffi cult to say as it is to hear. Craig A. Smith its music series: January 20, Charles M. And at the moment, I have Stephen Santa Fe, New Mexico Kennedy; February 17, soprano, violin/ Tharp’s performance of Buxtehude’s Pre- viola, and piano; March 4, Choral Even- lude and Fugue in E Minor recorded at Kennedy Center new organ song; 3/25, Stephen G. Schaeffer; April St. Bavo in Haarlem in my ears, one of the In today’s times, most Americans are 27, Broadway cabaret; May 6, choral most stylish and exciting performances getting tired of losing all of our jobs to concert. For information: 205/226-3505; I’ve heard. I agree with all Leonardo adds, other countries. After reading that the . and especially appreciate his comments Kennedy Center has purchased an in- about the relevancy of organ music based strument from another country (The Christ Church, Bradenton, Florida, on chorale tunes to the audiences of the Diapason, November 2011, page 6), I continues its music series: January 22, day. A lot of modern congregations would became rather bothered. We have excel- Chroma Quartet; February 11, Coun- likely enjoy a partita on “Onward Chris- lent pipe organ builders in America such tertop Ensemble; 2/19, Mozart, Missa tian Soldiers” more than “Wir glauben all as Schoenstein, Schantz, and the many brevis in C Major, K. 258; 2/25, Saraso- Madison Avenue Presbyterian Church in einem Gott.” (I’ve put German titles builders belonging to the Associated ta-Manatee Bach Festival II; 2/23, Wil- in Sunday bulletins hundreds of times, I Pipe Organ Builders of America. liam Holt; March 1, Gregory Chestnut; In February, Madison Avenue Pres- suppose imagining that my congregation I mean no disrespect for Casavant 3/4, Richard Benedum (Bach, Art of byterian Church, New York City, will speaks German, or is familiar with the Frères, who are excellent organ builders Fugue); 3/8, Cynthia Roberts-Greene; celebrate the 50th anniversary of the catalogue of Lutheran chorales!) and are members of APOBA, but I per- 3/11, The Florida Voices; 3/15, Nancy dedication of its Casavant organ (Opus This conversation reminds me of the sonally think it is a disgrace that the John Siebecker; 3/22, R. Alan Kimbrough; 2660, 1961), and a rededication of the days when the Boston Pops Orches- F. Kennedy Center located in Washing- 3/23, Istvan Ruppert; 3/29, Michael organ following a restoration by Casa- tra was a real orchestra—when Arthur ton, D.C., where all of our country’s lead- Wittenburg. For information: vant Frères. The recent restoration in- Fiedler would offer a popular operetta ers are located, has decided to purchase . cluded releathering, revoicing, repair of overture, The Merry Widow, for ex- an instrument from outside our borders. some pipework and mechanisms, and the ample, a medley of Beatles tunes, and What kind of disrespect does this show Presbyterian Homes, Evanston, Illi- addition of a Clarinette stop and a Cym- something by Leroy Anderson, fl anking our American pipe organ builders? Buy nois, continues its recital series, Mondays belstern, as well as a thorough cleaning. a serious performance of a Mozart piano American and support our country! at 1:30 pm: January 23, Derek Nickels; On Sunday, February 5 at 3 pm, direc- concerto with a signifi cant artist as solo- David J. Fabry February 27, David C. Jonies; March 26, tor of music and organist Andrew Hen- ist. I’m not necessarily suggesting that Antioch, Illinois Jill Hunt; April 23, Mario Duella; May derson will present the opening recital as an ideal format for an organ recital, 21, Wolfgang Rübsam; June 25, Marsha on the restored organ, featuring works but it was a format that brought a huge Foxgrover. For information: by Bach and Durufl é. On February 26 number of people in contact with serious Here & There . at 3 pm, the church’s choral society, the music played well. Saint Andrew Chorale & Orchestra, will For the layperson, recognizable tunes Reading Town Hall (UK) continues perform works featured on the original are “value added.” And I like to remem- Camp Hill Presbyterian Church, its series of lunchtime concerts: Janu- dedication program of March 4, 1962, ber why I got interested in the organ Camp Hill, Pennsylvania, continues its ary 25, Douglas Tang; March 14, Daniel including Poulenc’s Concerto for Organ, as a young teenager—I thought it was music series: January 4, Chelsea Barton; Cook; May 16, Jill York. The celebrity Strings and Timpani, Respighi’s Suite fun. What’s wrong with having some fun February 1, Brian Rotz: March 7, Beth series: April 26, Jane Parker-Smith. For in G for Organ and Strings, and choral when we play for people? Palmer; April 4, Donald Golden. For information: . works by Seth Bingham and Johannes John Bishop further information: 717/737-0488; Brahms. The concert will also feature the . Duke University Chapel, Durham, world premiere of Three Songs of Isaiah John Bishop has made some recent in- North Carolina, continues its 2011–12 by John Weaver, director of music and sightful comments on the tragedy of use- The Cathedral of the Incarnation, organ recital series on Sundays at 5 pm: organist emeritus, scored for chorus, or- ful organs, and sometimes very fi ne ones, Garden City, New York, continues its January 29, David Arcus; February 26, gan, strings, and timpani, commissioned being replaced—not because they’re in music events: January 8, Choral Even- Dongho Lee; March 18, Robert Par- by the Saint Andrew Music Society in impossible shape, but because of dissat- song for Epiphany; 1/22, Treble Accord kins. For information: Choir; February 5, Choral Evensong duke.edu/organs/organseries.html>. and organists will be Andrew Henderson, ing or “school,” or even their look. for Candlemas; 2/26, Brandon Dumas; Mary Huff (associate director of music), It’s often not a global market col- March 4, Choral Evensong for Lent; The Cathedral of the Holy Angels, and John Weaver. For information: visit lapse either, if you will. The staining 3/25, Kathy Meloan; April 29, Ryan Jack- Gary, Indiana, continues its nineteenth or call 212/288-8920. on the case doesn’t match the new pew son; May 6, Choral Evensong for Easter; season of the Cathedral Arts concerts: cushions, or “the façade just looks tired, June 15, Choir of St. John’s Cathedral, January 29, Gail Archer at St. Mary of my dear,” or the organist has decided Albuquerque; July 17, Choir of Selwyn the Lake Catholic Church; April 15, Da- that he simply must have a new 32-foot College, Cambridge, UK. For informa- vid Troiano at the cathedral. For infor- Godzilla stop. Or most pointless, First tion: . mation: 219/882-6079.

Felix Hell, Faculty

Bachelor of Music in Performance Bachelor of Science in Music Education Bachelor of Arts in Music Steiner-Reck organ, California Lutheran University Instruments available: Austin III/52 (E.P.) California Lutheran University, Andover III/37 (Tracker) Thousand Oaks, California, continues the Orville and Gloria Franzen 2011– 2012 Organ Program Series, celebrating For Open House and Audition dates, go to the 20th anniversary of the installation www.gettysburg.edu/sunderman_conservatory of the Borg Petersen Memorial Organ (Steiner-Reck II/39) in Samuelson Cha- pel: February 11 (11 am), masterclass with John Ditto; February 12 (2 pm), John Ditto recital. For information, con- tact CLU’s Offi ce of Campus Ministry at 805/493-3228; . St. Mary’s Church, Burlington, New Jersey, continues its music events: Feb- ruary 12, Solemn Evensong and Bene-

4 THE DIAPASON

Jan 2012 pp. 2-19.indd 4 12/13/11 8:47:27 AM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Petersburg, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan

Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Ithaca, New York Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama

Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak David K. Lamb Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Organist/Choral Conductor Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea Columbus, Indiana

Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Anna Myeong Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Organist/Lecturer Baltimore, Maryland SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois University of Kansas

S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Stephen Roberts Organist Organist/Lecturer Harpsichord & Organ Luther College Organist/Lecturer Western CT State University Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Danbury, Connecticut

Brennan Szafron Marina Tchebourkina Michael Unger Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Organist/Harpsichordist Organist/Musicologist Organist/Harpsichordist Organist/Musicologist Organist Organ/Piano/Harpsichord Spartanburg, South Carolina Paris, France Rochester, New York Speyer, Germany Charleroi, Belgium U of Alberta, King's UC www.ConcertArtist Cooperative.com Founder and Director, Beth Zucchino, Organist/Harpsichordist/Pianist 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988

Jan 2012 pp. 2-19.indd 5 12/13/11 8:47:45 AM diction for Epiphanytide, the Gentle- Farrand & Votey pipe organ in Rans- and produced in collaboration with the celebrating his twenty years as director men of the Choir of Saint Mary’s Church dell Chapel [See the article, “Farrand University of Houston, will take place on of music at the church. The scholarship (music by Wood, Bridge, Wesley, Purcell, & Votey Organ Installed in Ransdell April 12–14 in Houston, Texas. The con- announcement was made during Sunday Attwood, and others); April 22, the Prac- Chapel,” by Wesley Roberts, The Dia- ference will feature performers, organ- worship services in which Cochran di- titioners of Musick present Mr. Hopkin- pason, September 2009]: February 21, builders, and scholars and will showcase rected the Chancel Choir in Schubert’s son’s Musick; May 20, Cordus Mundi Shiloh Roby; March 13, Maria LeRose; three of Houston’s historically inspired Mass in G. Cochran is also resident or- male a cappella ensemble, from Brahms April 17, Wesley Roberts. For informa- organs: Paul Fritts Op. 29 at St. Philip ganist at the Philharmonic Center for the to the Beatles and beyond; June 10, the tion: Dr. Wesley Roberts, 270/789-5287; Presbyterian Church (2010, III/Ped, 48 Arts (Naples), and is the founder and di- Court Street Brass, salute to George M. ; stops); Martin Pasi Op. 19 at the Co- rector of the Philharmonic Chorale and Cohan. For information: 609/386-0902; . Cathedral of the Sacred Heart (2010, the Philharmonic Youth Chorale. . IV/Ped, 75 stops); and Fritz Noack Op. The Cochran Organ Scholarship will The University of Kansas will spon- 128 at Christ the King Lutheran Church provide opportunities for organ students Our Lady, Queen of the Most sor an organ study tour of Italy May 16– (1995, II/Ped, 30 stops). who will attend Eastman. Additional gifts Holy Rosary Cathedral, Toledo, Ohio, 28. This tour is open to anyone, and will Recitalists include Gustavo Delgado, may be sent to Eric G. Reuscher, assis- continues its music series: February 12, be directed by Michael Bauer working in Peter Sykes, Stephen Tharp, Kimberly tant director of development, Eastman Paul Monachino; March 25, Mozart, conjunction with Francesco Cera. The Marshall, Robert Bates, Mel Butler, School of Music, 26 Gibbs St., Roches- Requiem; April 15, Toledo Symphony tour will focus on restored Renaissance and three outstanding young organists: ter, NY 14604. Orchestra. For information: and Baroque instruments. There will be Naomi Shiga, Damin Spritzer, and Tom . ample time available to take in the art Schuster. Speakers include Paul Fritts, “Time–Space–Music” was the theme and architecture of the various cities. Martin Pasi, Fritz Noack, Gustavo Del- of a three-day Albert Schweitzer St. Chrysostom’s Church, Chicago, Sites include Rome, Rieti, Assisi, Siena, gado, Christopher Anderson, Matthew Symposium October 1–3 in Strasbourg continues its music series: February 12, Florence, Bologna, Mantova, and Ven- Dirst, Robert Bates, Kimberly Marshall, and in Königsfeld (Black Forest). The treble voices, strings, and organ, music ice. For further information, see or write dent paper competition winners. For in- certs, in addition to two day-trips “In tier; March 11, viols and verse anthems, . formation and to register for the confer- the Footsteps of Albert Schweitzer” Tudor and Restoration music. For infor- ence: 607/255-3065; into Alsace. Presenters included Man- mation: 312/944-1083. The Twin Cities (Minnesota) AGO . fred Molicki, Uwe Kliemt, Jean-Paul chapter announces a competition for an Sorg, Bernhard Haas, Daniel Maurer, St. Peter in Chains Cathedral, Cin- unpublished, newly composed anthem/ Members of Vanderbilt Presbyterian and Wolfgang Baumgratz. cinnati, Ohio, continues its Great Music service music piece in which the pipe Church, Naples, Florida, and friends of In addition to an opening church ser- in a Great Space Concerts: February organ plays a prominent role. A single James Cochran recently established the vice, recitals took place at St. Thomas’s, 19 (3 pm), Choir of St. Peter in Chains prize of $1,000 will be awarded to a com- James B. Cochran Organ Scholar- St. Guillaume’s, and St. Paul’s. After the Cathedral; March 28 (7:30 pm), Tal- poser of any age residing or studying in ship at the Eastman School of Music. conference, a tour went from Strasbourg- lis Scholars; April 4 (7:30 pm), Ancient the United States, for a work utilizing The scholarship honored Dr. Cochran in ³ page 8 Offi ce of Tenebrae. For information: any combination of voices setting a text Anthony J. DiCello, Cathedral Music of the composer’s choosing. Existing texts Director, 513/421-2222; under copyright must have documented . permission to use, and should be clearly submitted. The name of the composer VocalEssence continues its 43rd must not appear on the score, but a cover season: February 19, Witness; March 9, letter is to be sent identifying the com- 10, Música de México; April 13, Brits & poser and the title of the composition. Brass; June 13, Chorus America opening The submission may have been pre- gala concert. For information: viously performed, but must be unpub- . lished and cannot have won a prize in any other composition. No member of Trinity Episcopal Church, Santa the TCAGO Board or its offi cers may Barbara, California, presents its music submit an entry. If, in the opinion of the series: February 19, music of Handel; judges, no entry is worthy of the prize, it March 11, Bach birthday bash; April 29, will not be awarded. The offi cial registra- Kirkin’ o’ tartans; May 20, young artists; tion form at must be June 17, musical fi reworks. For informa- submitted with composition. Deadline tion: . for submission is April 1, 2012; winner will be announced May 1, 2012. Submit to: AGO Composition Contest, 239 Sel- by Ave., St. Paul, MN 55102. The 23rd International Organ Competition Chartres 2012 will take Noël Hazebroucq, David Maw, Virgile Monin, Jacob Lekkerkerker, Patryck Lipa, Ken- place from August 30 to September neth Miller, Saori Yamaguchi, and Matthias Kjellgren 10, 2012. The competition is open to organists of any nationality, born after The tenth Prix André Marchal January 1, 1977. There will be rounds in international organ competition of Bi- both interpretation and improvisation. arritz, France, sponsored jointly by the Deadline for sending the complete reg- town of Birarritz and the Acadèmie An- istration with all required documents is dré Marchal, with Jacqueline Englert- February 15. The 2012 jury comprises Marchal as honorary president and Michel Bouvard, Thierry Escaich, and Susan Landale as president, was held Erwan Le Prado of France, along with October 25–29, 2011. Eleven candi- Jeffrey Brillhart (U.S.A.), László Fassang dates of six nationalities competed in (Hungary), Monica Melcova (Slovakia), the interpretation category, and six can- and Tomasz Adam Nowak (Germany). didates of fi ve nationalities competed For information: . consisting of François Sabatier (chair), Virgile Monin and Noël Hazebroucq University Philippe Brandeis, Pascale Rouet (all “Historical Eclecticism: Organ Build- from France), Martin Sander (Ger- mention to Saori Yamaguchi (Japan); Campbellsville University, Camp- ing and Playing in the 21st Century,” a many), and Ralph Tilden (USA), deter- and audience prize, Virgile Monin. bellsville, Kentucky, continues its fourth conference sponsored by the Westfi eld mined the following prizes. Improvisation: Prix André Marchal, annual organ recital series, featuring the Center for Early Keyboard Studies Interpretation: Prix André Marchal, Noël Hazebroucq (France); second Virgile Monin (France); second prize, prize, David Maw (England); Jacque- Patryck Lipa (Poland); prize for the best line Englert-Marchal Prize for the best interpretation of a piece by Jehan Alain improvisation on a theme given to André (on the occasion of the 100th anniversary Marchal for improvisation, Jacob Lek- of his birth), Matthias Kjellgren (Swe- kerkerker (Holland); audience prize, den); Jacqueline Englert-Marchal Prize Noël Hazebroucq. Awards were pre- for the best interpretation of a French sented at the Town Hall of Biarritz at a piece, Kenneth Miller (USA); special gala champagne reception.

RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595

6 THE DIAPASON

Jan 2012 pp. 2-19.indd 6 12/13/11 8:48:04 AM ALLEN ORGANS: MADE IN AMERICA

This two-tone walnut and oak finish Heritage™ four-manual instrument features a specially configured custom audio system. The console features: t
8BMOVUĕOJTI
FYUFSJPS
PBLĕOJTI
JOUFSJPS t
0WFSTJ[F
BDSZMJD
MJHIUFE
GPMEJOH
NVTJD
SBDL t
8BMOVU
PWFSMBZ
TUPQ
UBCT
XJUI
XIJUF
FOHSBWJOH t
8BMOVUTUBJOFE
%JWJTJPO
EJWJEFS
TUSJQT
t
8BMOVUTUBJOFE
SPDLFS
UBC
NPVMEJOH t
8BMOVU
ESBXLOPC
TUFNT
XJUI
XIJUF
GBDFT t
4LJOOFSTUZMF
LFZDIFFLT t
,FZCPBSET
XBMOVU
TIBSQT
*WPSB
OBUVSBMT t
3FE
GFMU
BCPWF
NBOVBMT t
8IJUF
QJTUPOT
XJUI
CMBDL
FOHSBWJOH t
#MBDL
QJTUPOT
XJUI
XIJUF
BOE
SFE
FOHSBWJOH t
$ISPNF
UPF
TUVET t
1FEBMCPBSE
XBMOVUTUBJOFE
TIBSQT
XJUI


maple naturals t
"MMFO
7JTUB
/BWJHBUPS™ PREFERRED THROUGHOUT THE WORLD

For details on this organ and more examples of the numerous Allen organs exported this year visit: allenorgan.com/sandhurst

Allen Organ Company, LLC, 150 Locust Street, Macungie, PA 18062 (610) 966-2202 t [email protected] Cronenbourg, via Hagenau (visit to or- were selected from a total of 50 scores ganbuilders Quentin Blumenröder) and received from 22 states. In addition Pfaffenhofen, to Marmoutier under the to having their works premiered by guidance of Christian Lutz. VocalEssence at the 2011 Welcome Christmas concerts, each composer re- A bankruptcy judge chose the Ro- ceives a $1,000 prize. man Catholic Diocese of Orange as the Robert Sieving set the text O Stella de buyer of the Crystal Cathedral for Bethlehem, which is a Latin translation $57.5 million after a hearing in Santa by the Polish classicist Ryszard Gan- Ana in November, despite pleas by con- szyniec of the carol O gwiazdo Betle- gregants and others that the 56-year-old jemska. Sieving is a past president of the ministry stay where it is. According to American Choral Directors Association the offer by the diocese, the Crystal (ACDA) of Minnesota, a recipient of Cathedral Ministry will have to relocate the ACDA of Minnesota Conductor of within three years. the Year Award and the Plymouth Mu- The church founded by the Rev. sic Series (now VocalEssence) Award for Robert H. Schuller and made famous Creative Programming. He is the fi rst by the “Hour of Power” television min- composer to enter and win the Welcome istry, fi led for bankruptcy October 18, Christmas Carol Contest twice—in 2009 citing more than $50 million in debt. his composition “See Amid the Winter’s David Baskeyfi eld Bruce P. Bengtson Many congregants championed an of- Snow” was selected. fer by Chapman University, pleading James Kallembach chose the text That David Baskeyfi eld has been added soloist of the choir, the assistant bishop of that the judge choose the school over Yönge Child. He is director of choral to the roster of Phillip Truckenbrod the Diocese of Bethlehem, Pennsylvania, the diocese. activities and senior lecturer at the Uni- Concert Artists by virtue of his having and a local colleague who was a classmate versity of Chicago, where he conducts won the most recent St. Albans Inter- at Union Theological Seminary. A slide VocalEssence and the American the University Chorus, Motet Choir, and national Organ Competition, both the show of Bengtson’s life was assembled Composers Forum announce the two Rockefeller Chapel Choir. He is cur- top interpretation prize and the prize of and narrated by his wife, Ruth Anne, and winning composers of their 14th an- rently working with Swedish composer the audience. He is also a prize winner a tribute from the couple’s daughter and nual Welcome Christmas Carol Con- Sven-David Sandström to form the Cho- in competitions in Ireland, New Jersey, son concluded the program. test. This year, the contest sought new ral Institute of Chicago, an organization and California, and won both the fi rst A piano student from the age of eight, carols for men’s chorus and English dedicated to promoting vocal music, es- and audience prizes at the Miami In- Bruce Bengtson began organ studies in horn. Carols composed by James Kal- pecially choral music, of young and es- ternational Organ Competition and the early 1955 and played for his fi rst service lembach (Chicago, Illinois) and Rob- tablished composers. For information: most recent AGO national competition at the First Congregational Church, Wa- ert Sieving (Minnetonka, Minnesota) . in organ improvisation. terloo, Iowa, in November of that year at A doctoral student at the Eastman the age of 14. His undergraduate degree School of Music, Baskeyfi eld read law at is from the University of Northern Iowa, Oxford, where he was organ scholar at where he was an organ student of Philip St John’s College and studied with John Hahn. His master’s degree is from Union Wellingham and David Sanger. Follow- Theological Seminary, where he studied ing a year as organ scholar at both of the organ, composition, and improvisation Anglican cathedrals in Dublin, he began with Searle Wright. He studied con- a master’s degree at Eastman, where he sole conducting with Robert Baker and now continues in the studio of David earned the Associate certifi cate from the Higgs and studies improvisation with AGO in 1968. William Porter. Prior to his service at Christ Church, In Rochester he continues to be ac- Bruce Bengtson served churches in tive as an accompanist, continuo player, Waterloo, Iowa; Elizabeth, New Jer- occasional cocktail pianist, and some- sey; Pittsburgh, Pennsylvania; and Lin- time keyboardist in a 60s rock tribute coln, Nebraska. He and his wife plan band. He also enjoys frequent access to travel in their retirement and enjoy to the large Wurlitzer organ in the Au- their two grandchildren. ditorium Theatre downtown, and has recently been elected as a director on November 18, Brink Bush played the board of the Rochester Theatre a recital at the Cathedral of St. John, Organ Society. He has been broadcast Providence, Rhode Island. The program a number of times on American Public included the premiere of a newly discov- Media’s Pipedreams. ered organ work by Wilhelm Middel- Baskeyfi eld has participated in mas- schulte, Chaconne on the Name of Erich terclasses given by Marie-Claire Alain, Rath, written in 1916. Other organ works Edoardo Bellotti, Stephen Bicknell, on the program were by Buxtehude, Michel Bouvard, Kevin Bowyer, David Bach, Muffat, Dubois, and Saint-Saëns. Briggs, Mel Butler, Bine Katrine Bryn- The church houses a 48-rank organ by dorff, Hans Davidsson, Marie-Berna- E. & G. G. Hook/Hutchings/Andover. dette Dufourcet-Hakim, David Goode, Brink Bush is organist and director of Naji Hakim, David Higgs, Matthew music at the cathedral. Halls, Nicolas Kynaston, Jon Laukvik, Ludger Lohmann, Jacques van Oort- merssen, Anne Page, James Parsons, William Porter, Joel Speerstra, Thomas Skinner Organ Company layout drawings Trotter, and Harald Vogel. He cooks, brews, and keeps Malawi cichlids. For Digital images of the Skinner Or- Company are also available. Because information: . gan Company layout drawings from of continuing fi nancial gifts to the ar- the collection of the American Or- chives, digital drawings of the Aeolian Bruce P. Bengtson, SMM, AAGO, gan Archives of the Organ Historical Organ Company will be available in the retired July 31 as organist of Christ Society are available to organ scholars near future. Institutions or individuals Episcopal Church, Reading, Penn- worldwide through a generous grant interested in obtaining drawings from sylvania, after forty years’ service to from the Bradley Foundation. Layout the archives may contact the archivist the church, and over fi fty-fi ve years as drawings of the Aeolian-Skinner Organ at . a church organist. He served Christ Church longer than any of his prede- cessors in the history of the parish, Eun Sung Kim, Douglas Cleveland, which dates back to 1764. Tong-Soon Kwak, Sion Park, and Dong- Following the festival choral Eucha- Ill Shin rist, a reception and luncheon in Bengt- son’s honor was held. Tributes were de- On September 16 and 17, 2011, the livered by current and former rectors, his Korean Association of Organists pre- assistant for the last 12 years, the soprano sented Douglas Cleveland in a recital

CLAYTON ACOUSTICS GROUP 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP

AUSTINORGANS.COM 
t

8PPEMBOE
4U
)BSUGPSE
$5


8 THE DIAPASON

Jan 2012 pp. 2-19.indd 8 12/13/11 8:49:15 AM

and masterclass on the 2007 Kuhn organ at Drake University, where he was also at the Presbyterian College and Semi- associate dean of the College of Arts nary in Seoul, Korea. The following day and Sciences. David and Lauri will con- he presented a lecture on the life and tinue to reside in Newark, Delaware works of Alexandre Guilmant at Yonsei ([email protected]) where he will de- University. Pictured from left to right are vote his time to music composition and Eun Sung Kim (Presbyterian College and writing. His newest CD, A New Song: Seminary), Douglas Cleveland, Tong- Music of Hugo Distler and Jan Bender, is Soon Kwak (Yonsei University), Sion Park ready for release. (Presbyterian College and Seminary), and Dong-Ill Shin (Yonsei University). Ronald Ebrecht announces the pub- lication of his new book, Cavaillé-Coll’s Antone Godding and Dorothy Young Monumental Organ Project for Saint Pe- Riess, M.D. (photo by Sandra Lynn Pulley) ter’s, Rome: Bigger Than Them All. The book represents the fi rst exhaustively ganist. Dr. Riess (Dorothy West Young) researched and documented account of performed the original dedication con- the plan to build the world’s largest or- cert in 1963 and repeated the exact same Calvert Johnson in recital at the Casa- gan in the world’s most famous church. program for this event, which included vant organ, Kinjo Gakuin University, Na- Cavaillé-Coll’s efforts were complicated works by Clarke, Daquin, Bach, Haydn, goya, Japan by intricate problems. St. Peter’s Square, Franck, and Messiaen. now a part of Vatican City, was then part After serving for 25 years at Agnes of a newly united Italy, which had just Scott College, Decatur, Georgia, Calvert deposed the pope as the ruler of the cen- Johnson has retired as the Charles A. ter of Italy and taken over papal lands. Dana Professor Emeritus of Music and It was part of the Italian state so hotly College Organist Emeritus. At Agnes contested that the Italian Republicans Scott, a liberal arts college for women in would not accept an organ placed on the metro Atlanta, Johnson taught courses basilica wall, lest the nearby, oft-disput- Christopher Houlihan (photo credit: Robert on the history of sacred music, in addi- ed boundary shift. Hardcover, 238 pp., Lang, Spreckels Organ Society) tion to applied music lessons in organ, $70, Lexington Books; for information: harpsichord, and piano. His retirement 800/462-6420; Louis Vierne’s six organ symphonies began with a recital tour in Japan in May . will be played in marathon performances 2011 and leading his church choir on a in six North American cities this summer singing tour of Israel, Jordan, Palestine, by the young American organist Chris- and Jerusalem in June 2011 (see The topher Houlihan. The fi rst and last of Diapason, December 2011, p. 19). Daniel Roth and Stephen Hamilton these will offer all six symphonies on the Johnson continues to serve as organist same day, while the other four will offer at First Presbyterian Church, Marietta, At the invitation of Daniel Roth, two successive evenings of three sym- Georgia. In retirement he continues to titular organist of St. Sulpice in Paris, phonies each. prepare volumes in the series Historical Stephen Hamilton, Minister of Music The series begins in New York City on Organ Techniques and Repertoire: An Emeritus at the Church of the Holy Trin- the date of Vierne’s death 75 years ago, Historical Survey of Organ Performance ity (Episcopal) in New York City, per- June 2, 2012. It will be part of the Voices Practices and Repertoire for Wayne Le- formed a recital on Sunday, November of Ascension series at the Church of the upold Editions, and modern editions of 20, of music of Alain, Franck, and Dupré Ascension, with three symphonies begin- keyboard music by women composers on the recently restored and historic fi ve- ning at 3:00 pm and another three after a from the late 18th and early 19th centu- manual Cavaillé-Coll instrument. Shown dinner break beginning at 7:30 pm. ries, primarily from France and England. in the photograph are Daniel Roth, left, St. John’s Cathedral in Denver will To be released in 2012 are The Nether- and Stephen Hamilton. host the second performances on June 15 lands: 1575–1700 and a new edition of and 16 beginning at 7:30 pm. Other per- the Susanne Van Soldt Klavierboek. formances are in Chicago at Rockefeller Chapel on July 6 and 7 at 7:30 pm, Los Gail White, Rita Cheng, Lynn Trapp, Angeles at the Cathedral of Our Lady of Marianne Webb, Janette Fishell Angels on July 19 and 20 at 7:30 pm, and in Montreal at the Church of the Gesu Janette Fishell performed the an- on August 3 and 4 at 7:30 pm. The fi nal nual recital of the Marianne Webb and event will be hosted by the Church of David N. Bateman Distinguished Organ the Incarnation in Dallas on August 18, Recital Series in Shryock Auditorium with two sessions beginning at 3:00 pm at Southern Illinois University at Car- and 7:30 pm. bondale, September 16. A pre-concert Houlihan featured the Vierne sec- dinner included a presentation by Lynn ond organ symphony on his debut CD Trapp, principal artistic director of the released at age 19 while still a college series, and Dr. Fishell. Pictured left to student. He is a recent master’s degree right are Gail White (artistic director), recipient from the Juilliard School, and Chancellor Rita Cheng, Lynn Trapp, holds the Prix de Perfectionnement from Marianne Webb, and Janette Fishell. the French National Regional Conserva- tory in Versailles. He spent a year as as- Antone Godding and Dorothy sistant musician at the American Cathe- Young Riess, M.D. are shown in the David Herman dral in Paris while studying there. James R. Metzler photo at the Reuter organ at Nichols Hills All three of Houlihan’s organ teachers United Methodist Church, Oklahoma David Herman recently retired as happen to be pedagogical descendants James R. Metzler performed organ City, Oklahoma, following re-dedication Trustees Distinguished Professor of of Vierne; John Rose at Trinity College, recitals at Worcester Cathedral (July 9) of the refurbished instrument on Octo- Music and University Organist at the Connecticut, Paul Jacobs at the Juilliard and Ely Cathedral (July 17) in England ber 23, 2011. The dedication ceremony University of Delaware. He went to UD School, and Jean-Baptiste Robin at the last summer. While in the country, he included naming the organ, “The Antone in 1987, serving the fi rst fourteen years Versailles Conservatory. Information and also directed the Canterbury Singers Godding Organ,” in honor of Dr. God- as chair of the Department of Music. details are available at USA for a weeklong choral residency of ding’s 36 years of service as church or- Prior to this he taught for fi fteen years . seven services at Ely Cathedral. In Au- gust 2011, he joined the music faculty at Grand Valley State University (Allen- dale, Michigan) as an adjunct professor and teaches three courses, which have him on campus fi ve days a week. Sven-Ingvart Mikkelsen is featured on a new recording of the complete or- gan works of Nicolas de Grigny on the

THE WANAMAKER ORGAN Listen to it worldwide over the Internet! AHIGHER L EVEL of E XCELLENCE Hourlong streamcasts are featured at 5pm ET Great musicians need extraordinary instruments to deliver magnificent performances. the first Sunday of each month at wrti.org

P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com

10 THE DIAPASON

Jan 2012 pp. 2-19.indd 10 12/13/11 8:50:09 AM 7KHVRXQGRI(XURSHDQKLVWRU\PHHWLQJWRGD\·V$PHULFDQVWDQGDUGV

The church organ without compromise

$OOWRRRIWHQDFKXUFKLVIRUFHGWRSXUFKDVHDQRUJDQGHVLJQHGIRUKRPHXVH DQGXVXDOO\IRUEXGJHWDU\UHDVRQV8QIRUWXQDWHO\WKHVHRUJDQVDUHGHVLJQHG IRULQWLPDWHHQYLURQPHQWVDQGGRQ·WKDYHWKHSRZHUWRDGHTXDWHO\VXSSRUW FRQJUHJDWLRQDOVLQJLQJ-RKDQQXVGHVLJQHUVDQGHQJLQHHUVKDYHIRXQGDVROXWLRQ IRUWKLVVLWXDWLRQ7KH(FFOHVLDEHJLQVLWVOLIHDVDEDVLFSDFNDJHDWDYHU\ DFFHVVLEOHSULFHDQDIIRUGDEOHVWDWHRIWKHDUWLQVWUXPHQWZLWKHQRXJKSRZHUWR ÀOOYLUWXDOO\DQ\URRP)RUPRUHLQIRUPDWLRQDQGSULFHVSOHDVHYLVLWRXUZHEVLWH STARTING AT $26,995

6DQWD%DUEDUD&$86$ www.johannus.com of Germany’s most notable venues, in- teacher in the New York City schools and cluding the Nikolaikirche in Leipzig, the Nunc Dimittis director of the Marsh Singers, a corpo- Hauptkirche St. Petri in Hamburg, the rate choir. A member of the New York Marienkirche in Lübeck, the Basilica St. City AGO chapter executive board, he Marien in Kevelaer, and the Münster in Burns Smith Davis, 63, died Sep- was a member of the St. Wilfrid Club. Konstanz. Winner of the fi rst prize in tember 8 in Lincoln, Nebraska. Born Robert P. McDermitt is survived by a the 2009 Jordan II International Organ Bonnie Jill Reimer, she later changed brother, John. Competition, Ryan is visiting artist at St. her fi rst and last names to those of be- James Cathedral (Episcopal) Concerts in loved piano teachers. Davis received Robert W. Parris died September Chicago, Illinois, and additionally serves BMus and master of library science de- 22 at age 59. A native of Virginia, Parris on the music staff of the Episcopal grees from the University of Oklahoma, received a BMus degree from the Uni- Church of the Holy Spirit in Lake For- Norman, and a master’s degree in botany versity of North Carolina at Chapel Hill, est, Illinois. He is represented by Karen in Yakima, Washington. She worked for and a Performer’s Certifi cate, MMus, McFarlane Artists. For more informa- the library systems of the University of and DMA degrees from the Eastman tion, visit . Arkansas, Yakima, Washington, and Red School of Music; he did postdoctoral Bluff, California, joined the state library study in Boston and northern Germany. Wolfgang Rübsam and Delbert commission in Lincoln, and developed An international concert artist, he was Disselhorst are recording all the pub- Davis Business Systems; she also worked a featured performer at the 2004 AGO Sven-Ingvart Mikkelsen lished music by the famed blind Ger- as a nursing-home administrator and national convention in Los Angeles, ap- man organist Helmut Walcha on four massage therapist. Davis had studied pearing in Walt Disney Hall with the Los CDKlassic label. Recorded on the his- CDs for Naxos Records. This comprises organ with Mary Murrell Faulkner and Angeles Philharmonic Orchestra. His toric 1772 Isnard organ of St. Maximin- close to 100 chorale preludes published with Marie Rubis Bauer; she served as recordings include works of Mozart and la-Sainte-Baume, Mikkelsen is joined by by Peters, as well as the completion a substitute organist at churches in Lin- Reger on the Spectrum label, music of the ensemble Vox Gregoriana, singing of the last Fugue from The Art of the coln, and was organist for a time at Trin- Sowerby for Premier, and works of Bux- plainsong in alternatim. For informa- Fugue by J. S. Bach. All four CDs will ity United Methodist. The current dean tehude, Bach, Franck, Sowerby, and, in tion: . be recorded on the Brombaugh organ of the Lincoln AGO chapter, Davis was 2006, Dupré on Land of Rest for Loft Op. 35 at First Presbyterian Church, preparing an October concert on the Recordings. Robert W. Parris is survived Springfi eld, Illinois. pump organ at St. Paul’s United Meth- by his wife of 31 years, Ellen Gifford Par- Helmut Walcha, Professor of Organ odist in Lincoln. Burns Smith Davis is ris, four children, his parents, and sister. at the Hochschule in Frankfurt, Germa- survived by a sister and a nephew. ny, taught over 80 American Fulbright students, who subsequently taught in Bene Wesley Hammel died July 21 at Here & There many universities of the United States, age 69 in University Place, Washington. including Robert Anderson, David He studied organ with Carl Scheibe in Bowman, Ed Brewer, Larry Cook, Mel- Chattanooga and at age 18 was the fi rst- CanticaNOVA Publications an- vin and Margaret Dickinson, Delbert prize winner in the AGO national com- nounces two new publications to help Disselhorst, Grigg Fountain, Antone petition. He studied theory and compo- Roman Catholic parishes improve chant- Godding, Gene Janssen, Paul Jordan, sition at the University of Tennessee, and ed liturgy, a goal of the national bishops’ Florence Mustric Charles Krigbaum, David Mulbury, served on the faculty of William Jennings conference in conjunction with the John and Margaret Mueller, George Bryan College, which awarded him an implementation of the new translation Florence Mustric is featured on a Ritchie, Wolfgang Rübsam, Russell honorary doctorate. He did further study of the Roman Missal: 1. And With Your new recording, Volume 3 in the series Saunders, Edmund Shay, and Robert with Marilyn Mason, Sam Batt Owens, Spirit (http://www.canticanova.com/cat- Florence Mustric Plays, on the MSR Thompson, among many others. Inter- and Claire Coci. Hammel married his alog/products/cnp9031.htm), a CD tuto- Classics label (MS 1272). Recorded on national marketing release of the CDs wife, Marti, in 1985 and performed duo rial on singing the new English transla- the Beckerath organ at Trinity Evangeli- is expected for 2013. recitals with her for 15 years, later assist- tion of the Mass (including the Exsultet); cal Lutheran Church, Cleveland, Ohio, ing her in her position as organist-choir- and 2. Book of Sung Gospels—Fourth the program includes works by Elmore, master at Holy Cross Lutheran Church, Edition (http://www.canticanova.com/ Bovet, Swayne, Durufl é, Schumann, and Bellevue, Washington. catalog/ products/g_bsg.htm), 42 Gospels Bach. The 1956 Beckerath organ is cur- for major solemnities and feasts, set to the rently under restoration. For informa- Elizabeth “Betty” Grace Lehoc- ancient Gospel tone recommended in the tion: . zky died June 20 in Allentown, Penn- Roman Missal. For information: sylvania. She was 81. As a girl she began . playing the organ in her father’s Hun- garian Baptist churches, and met her Canticle Distributing, Inc. will future husband while serving as a visit- serve as the exclusive North American ing musician. A graduate of the Univer- distributor for ECS Publications and sity of Akron (Ohio), Lehoczky served Randol Bass Music. Canticle Distrib- as a public school music teacher in Al- uting currently serves as a distributor lentown, and also as organist, choir di- for MorningStar Music Publishers, Au- rector, and minister of music at several reole Editions, Prime Music, and Lau- Protestant churches for more than 40 rendale Associates. years. Elizabeth Grace Lehoczky is sur- ECS features the works of such com- vived by her son, two daughters, a sister, posers as Randall Thompson, Daniel a brother, eight grandchildren, and nine Pinkham, Libby Larsen, Gwyneth Walk- nieces and nephews. er, and many others. ECS will maintain a corporate offi ce in Framingham, Mas- Robert P. McDermitt, 41, died Sep- sachusetts, which will handle licensing, Michele Johns and Timothy Tikker tember 23 in New York City. He earned editorial, and rental departments. BM and MM degrees from Westminster Randol Bass Music features holiday The University of Michigan has Choir College, and served churches in and pops selections as well as general- awarded the fi rst Michele Johns Schol- New Jersey while a student, later becom- purpose compositions and arrangements arship to Timothy Tikker, a doctoral ing assistant organist at Princeton Uni- for chorus, band, and orchestra. Randol student in organ performance. The versity Chapel. In New York City, he be- Bass has achieved many performances Jonathan Ryan award, to be given annually to a student came a fellow in church music at Christ and commissions by orchestras and cho- in organ or church music, has been en- and St. Stephen’s Church, and later assis- ruses throughout the U.S. and Europe. This past summer marked Jonathan dowed by gifts from Dr. Johns’s friends, tant at the Church of St. Ignatius Loyola. Complete catalog listings for ECS Ryan’s début concert tour of Germany. colleagues, and former students. Dr. He also served as the assistant/associate Publishing and Randol Bass music are Managed by OrganPromotion, he per- Wm. Jean Randall served as chair of the organist at the Church of St. Mary the available at . For information: 800/647-2117. The right organ at the right price We’ll help you chose from the hundreds of vintage organs available through our website. We can deliver it to the organ builder of your choice or refurbish, revoice, and install it ourselves.

“In choosing OCH, I know that the work has been done with the utmost knowledge, enthusiasm, care and integrity.” David Enlow, Sub-Dean, NYCAGO Organ Clearing House www.organclearinghouse.com or call John Bishop at 617-688-9290

12 THE DIAPASON

Jan 2012 pp. 2-19.indd 12 12/13/11 8:50:52 AM The International Festival of ity of the recordings concerned. Priory Spanish Keyboard Music (FIMTE) Radio is at . Based in Leighton Buz- Music in the Female Monasteries and zard, UK, Priory has been recording and Convents of Spain, Portugal and the distributing choral and organ music of Americas (FIMTE Series nº 4), edited the Anglican tradition for over 31 years. by Luisa Morales, includes articles by For information contact Ben Collier, at Colleen Baade, Cristina Bordas, Marta , or Fernández Pan, Gregorio García, Louis call (01525) 377566. Jambou, John Koster, Elisa Lessa, Luisa Morales, Nuria Salazar, Susanne Skyrm, Regent Records announces new re- Alfonso de Vicente, and Cicely Winter- leases. A Year at York features the Choir Ryszard Rodys. In English and Spanish; of York Minster, England, directed by 312 pp.; 16 color plates; ISBN:978-84- Robert Sharpe, with organist David 615-1517-2, 85€. The catalogue of the Pipe, in works covering the church year Women In Music exhibition (Mujeres (REGCD368). Christmas from Saint en la Música: Catalogo de la exposición Louis features the Saint Louis Cham- fotográfi ca) includes 37 selected origi- ber Choir, directed by Philip Barnes, in nal pictures out of 400 works presented 18 selections by Thomson, Willis, Zuk, at the fi rst FIMTE photographic con- Shaffer, Redner, Murray, Hopkins, and test, from Peru, Venezuela, Argentina, others (REGCD373). For information: Spain, Portugal, Canada, and elsewhere. . In English and Spanish; 57 pp; 25 color Fabry “Phantom of the Lakes” bear plates; ISBN: 978-84-615-4453-0, 25€. Bunn=Minnick Pipe Organs re- For information: . cently completed the rebuilding and en- When the village of Antioch, Illinois, largement of the pipe organ at Riverside decided to raise money for the Open United Methodist Church, Upper Ar- Arms Food Pantry, Save-A-Pet, and the lington, Ohio. In 1986, Bunn=Minnick Bunn=Minnick, Riverside United Meth- Antioch Community High School Schol- secured and installed an available two- odist Church, Upper Arlington, Ohio arship Fund, the village businesses came manual, nine-rank, 1954 Wicks organ for through. Each business participant pur- the church. At the time, it was the dream Great division and casework, Chimes, chased a plain white bear and decorated of the church to someday enlarge the or- and Zimbelstern. Bunn=Minnick pro- it with the overall theme being “Bears gan to three manuals. Pipes and chests vided a three-manual console, fi tted with on the Chain (of Lakes)”. Fabry, Inc. from that organ were retained and re- a multi-level combination action, and a participated in this charitable cause and voiced as part of the new 22-rank design, MIDI system with playback. For infor- produced the “Phantom of the Lakes” which includes a new visually exposed mation: . bear in the opera house with a pipe or-

Joe Vitacco, Frederick Teardo, Christoph Frommen, Ann Elise Smoot

JAV Recordings announces the re- lease of two new CDs on Silbermann organs. JAV 191 features Frederick Teardo playing Bach, de Grigny, and Boyvin on the 1741 Andreas Silbermann organ at St. Thomas Church, Stras- bourg, France. JAV 192 features Ann Elise Smoot playing Clérambault, Muf- fat, Böhm, Couperin, Raison, and Bach on the 1732 Silbermann at the Abbey Church of Ebersmunster, France, and on the 1741 Silbermann at Strasbourg. For information: . Northwestern Publishing House announces new releases: 14 Hymn Pre- ludes for Organ, by Matthew Haakenson, Matthew Manthe, Karen Phipps, Kathy Smith, Tim Tollefson, and Jim Vyhanek (OL-270051, $20.00); Lent and Easter Hymn Preludes for Organ, Matthew Haakenson, Rebecca Kramer, Matthew Manthe, Tim Tollefson, Jim Vyhanek, and Carl Ziebell (OL-270052, $20.00); and 11 Piano Arrangements for Advent and Christmas, by Rebecca Kramer (OL-270053, $20.00). For information: . Priory Records has launched its new Internet radio service, eponymously ti- tled “Priory Radio.” The station aims to provide a service to admirers of choral and organ music, the demand for which is no longer served by major classical sta- tions in the U.K. Neil Collier, managing director, said “We felt that the amount of airtime given over to organ and niche choral music—particularly organ mu- sic—on U.K. radio, had dwindled to the point where the community could really benefi t from a ‘Priory Radio’ station.” The station will transmit a selection of Priory tracks 24/7, at a bit-rate high enough to do proper justice to the qual-

JANUARY, 2012 13

Jan 2012 pp. 2-19.indd 13 12/13/11 8:51:13 AM gan in the background. There were over tion and church photos: . In the wind . . . card, tap a button and the screen shows raised for charity at a dinner auction. by John Bishop a barcode. The cashier fl ashes the little barcode gun at your phone, and you’re J.H. & C.S. Odell Opus 649 (2011), in Joe. I know perfectly well that if Star- located at the First Congregational bucks is holding twenty-fi ve of my dol- Church (United Church of Christ) in Carillon News lars, they’re holding twenty-fi ve dollars Orange, Connecticut, was dedicated and by Brian Swager from a couple million other people, so featured in recital on October 2, played on the short term they have the use of by church organist Bryan T. Campbell. fi fty million dollars, but I still like hav- The two-manual, 21-rank organ is nota- Chime Master Systems of Lancast- ing the App. It makes me feel as though ble as it is the fi rst new Odell instrument er, Ohio, is offering a new carillon prac- I belong, just like the turnpike EZ-pass with modern slider chests. The new slid- tice console. The kits for a four-octave, that allows me to drive around a line of er chest design, which features a major- 20-pedal practice instrument will be traffi c—it’s better (and probably safer) third layout, was developed by Edward available for shipping in early 2012. The than a backstage pass for a Rolling Stones Odell and built entirely at the Odell facil- console conforms to the World Caril- concert. The dirty little secret is that ity. The organ will be featured in recital lon Federation’s 2006 specifi cations for when I was setting up the Starbucks App in the coming months, including a special the manual baton key geometry and the it didn’t want to accept my credit card, so joint event in April 2012 sponsored by pedal radiation and concavity. There is a I tried again, and again, and again. The the Greater Bridgeport and New Haven MIDI output, and velocity data is trans- next morning there were seven twenty- chapters of the AGO with German or- mitted for dynamics. For information: fi ve-dollar charges on my bank account, ganist and conductor Henk Galenkamp. . but only one registered on my phone— (See “New Organs,” p. 30.) I’m going back to basics by relying on Currently underway is the restoration Five candidates passed their examina- the cheerful tellers in the bank branch to of Möller Opus 8710 (1954) and Austin tion recitals at the 2011 congress of the help sort that out for me. Opus 2552 (1972) for the Community Guild of Carillonneurs in North Amer- App-titude There’s a magnifi cent and innovative Church of New York on East 35th Street ica, which was held in Bloomfi eld Hills, I admit it. I’m a Mac-junkie. After my App on T. S. Eliot’s poetic masterpiece, in New York City. While the Möller or- Michigan: Chelsea Vaught, Joseph Blackberry fell out of my shirt pocket The Wasteland ($13.99), which includes gan has been long due for restoration, Brink, Joseph Peeples, Nick Huang, into a hotel ice bucket, I tried an iPhone a fi lmed dramatic (memorized) reading the restoration of the newer Austin (a and Stephen Burton. Seventy-fi ve (everyone’s doing it) and found it easy by actress Fiona Shaw, complete audio II/8 unit organ) was necessitated by re- carillonneurs performed on the Friday to use. I used PC’s since they were fi rst recordings by Ted Hughes, Alec Guin- cent damage from a burst steam pipe. following the congress to celebrate the widely available until last winter, when ness (among others), and by T. S. Eliot Both projects are scheduled for comple- 75th anniversary of the GCNA. The for the third time in not enough years himself, all synchronized to the published tion by the middle of 2012. For informa- 2012 congress will be held at Clemson I had to replace a recalcitrant laptop. text. Most interesting are original manu- tion: . University, Clemson, Georgia, June Because I liked the iPhone so much, I script pages with editing marks by Ezra 19–22. The 2013 congress will be held bought a MacBook and was immediately Pound. Now that’s educational. Think of Allen Organ Company has installed at House of Hope Presbyterian Church, delighted by the clarity of the screen, the all the great works of art and literature a new organ at Holy Cross Parish Church, St. Paul, Minnesota. fast response, and the ease of navigation. that could be analyzed and presented in Kemptville, Ontario, Canada. The church Now I’ve added an iPad to my arsenal this format. recently completed an artistic and struc- The Ronald Barnes Memorial and I’ve become hooked on the new and tural renovation, which included the Scholarship Fund was established exploding world of Apps. App-arition installing an Allen QuantumTM Q300 or- by the GCNA in 1998 to provide the I have Apps that convert measure- The Roman Catholic Church has ap- gan, a 38-stop, three-manual, mechanical opportunity for North Americans to ments between English and metric, proved an App called Confession ($1.99), drawknob instrument. The instrument pursue studies within North America manage to-do lists, give weather fore- which claims to be “the perfect aid for provides a tonal palette of six histori- of carillon performance, composition, casts, fi nd restaurants and local tides, every penitent,” and especially useful cal styles of organs: American Classic, music history, or instrument design. All warn of heavy traffi c, measure decibels, for those who have been away from the Cavaillé-Coll (French symphonic), Arp North American residents are eligible and even provide a carpenter’s level and confessional for a long time. Like any Schnitger (18th-century North German), to apply. The next application deadline plumb-bob—all useful and relevant to other App, there’s a process you follow Schlicker (20th-century neo-Baroque), is March 1, 2012. For further informa- my work and lifestyle. I have New York to open a “User Account” with password. English cathedral, and orchestral. There tion, contact Andrea McCrady (andrea. Times crossword puzzles, I love playing Once you’re in, you open an “Examina- have been over 500 installations of Allen [email protected]) or Robin Austin Words with Friends, and I even have tion” page to get a list of the Ten Com- organs throughout Ontario. For informa- ([email protected]). Peterson’s Birds of North America, com- mandments. Click on a commandment plete with audible calls. and you get a checklist of questions, New York’s Metropolitan Transit Au- a catalogue of sins, if you will. When thority has a great App called iTrans you’ve been through all the command- INCE 1979, we have NYC (free). Stand on a street corner in ments and clicked all the sins that apply Manhattan, touch the app’s location but- to you, you have the option to create a designed and built over ton, type in your destination, and you get custom list, typing in your own free-style 120 new pipe organs for a subway route complete with (amazing- personal failings. You are then instructed S ly accurate) schedules and related street to take your phone with you to the con- clients in Australia, Austria, maps. Want a quick lunch? Open your fession booth and told how to address New Zealand, England, maps App and type in “diner.” Thirty the priest. For reference when you’re little red pins fall out of the sky onto your fi nished, there’s a handy page with vari- Canada and the United States. screen. If you’re in Manhattan, you’re ous Acts of Contrition. You are required Our instruments, whether never more than two blocks from a diner. to enter your password frequently, pro- Does that whet your App-etite? tection no doubt against allowing your tracker or electric action, have The other day my colleague Joshua private thoughts to fall into the wrong been praised for their rugged Wood showed me the Starbucks App. hands. A warning window clearly states, It has a locating feature—touch a but- “This App is intended to be used during construction, comfortable ton and you get a map with pins showing the Sacrament of Penance with a Catho- consoles, responsive key Opus 116 actions and tonal integrity. New cases, keyboards, A gift subscription to windchests, reservoirs and pipes are all built from raw THE DIAPASON materials within our two The perfect gift for organist colleagues, students, teachers, choir workshops located in Saint- directors, and clergy. Hyacinthe, Québec. Our team Each month your gift will keep on giving by providing the important news of experienced builders also of the organ and church music fi eld. Send in the form below with your restores and rebuilds older check and know that your gift will be just right. For information, contact instruments to make them editor Jerome Butera, 847/391-1045; . sound and play better than ever. Opus 118 $35 one year USA ($45 foreign)

THE DIAPASON 3030 W. Salt Creek Lane, Ste. 201, Arlington Heights, IL 60005-5025 LÉTOURNEAU PIPE ORGANS For (Name) ______USA Canada Street ______1220 L Street NW 16 355, avenue Savoie Suite 100 – Box 200 St-Hyacinthe, Québec City ______Washington, DC J2T 3N1 20005-4018 Tel: 450-774-2698 State ______Zip ______Tel: 800-625-PIPE Fax: 450-774-3008 Fax: 202-737-1818 [email protected] [email protected] www.letourneauorgans.com From: ______

14 THE DIAPASON

Jan 2012 pp. 2-19.indd 14 12/13/11 8:51:50 AM lic priest only. This is not a substitute for a service call I experimented using the eight years of recordings would take comes up at dinner with friends? Our a valid confession.” I suppose marriage App to set a temperament, then checked eight years to listen to. There is such daughter Meg hates that. She says that counseling is next. it carefully using my system. I made little a thing as too much information. The in conversation we should rely on what Reminds me of the gospel song made corrections to a couple intervals, but was world of information, helpful tools, and we know. Maybe she’s right. Maybe if popular by Manhattan Transfer: surprised at how quickly and accurately I amusements available to us as Apps has we rely too heavily on our phones for was able to get the tuning started. I con- no practical limit. I googled the question every thing we do we’ll lose the infor- Operator, give me information. tinued as usual, tuning other ranks to the to learn that there are more than 300,000 mation we’ve worked so hard to cram Information, give me long distance. original pitch stop, but I know this new iPhone Apps and 60,000 for iPad. into our brains. Long distance, give me Heaven. tool saved me some time. As I write today, googling my way But I love having all this information Operator, give me Heaven, Now I see an App called Organ Tuner through my questions, I’ve bought and and entertainment so easily available. It’s Give me Jesus on the line . . . ($169.99). It has a large variety of his- downloaded fi ve new Apps. The Episco- especially helpful to me because I travel toric temperaments, strobe displays and pal Hymnal (1982) is downloading at the frequently and by carrying a couple slim (Find the complete lyrics at .) Great song. adjusts itself when the temperature iCloud?) That means I’ve added an hour lessly in foreign cities. I can communi- The Women of the ELCA (Evangeli- changes, and sets itself to allow you to or so to the amount of time it takes to cate instantly with people around the cal Lutheran Church of America) have tune mutations at your given pitch level. write this column. Does this represent a world. And I have plenty to do while sit- published an App called Daily Grace. I downloaded and printed the instruc- net-gain in my productivity? Will I gain ting on a plane. The website says: tion manual—I think I’ll read it before that hour back later in the week because But I’m in danger of separating my- I make the plunge. I’ve never paid more an App saves me time? self from my art. There are Apps that Daily Grace is an on-the-go companion than fi fty dollars for an App—that was This morning I read last week’s New play music, and Apps that allow you to for your journey, offering a faith refl ection for The Professional Chef, published by Yorker magazine on my iPad where the record music, but there’s no App that every day. In these brief writings you’ll en- counter God’s extravagant, boundless and the Culinary Institute of America. (Last App nestles in Newsstand. A cartoon performs music. There are Apps that often surprising grace. You will be comfort- night I learned from my iPad how to cut shows a group of people sitting around a register decibels and pitches, but there’s ed, challenged, inspired, consoled and con- Grapefruit Suprêmes to make a wonder- restaurant table. The plates were empty no App that can voice or tune an organ fronted. The daily refl ection will stir you to ful salad with spinach, avocado, and bal- (so the food must have been good), there pipe. There are Apps that crunch num- live out your baptismal calling. Take time samic vinaigrette.) were lots of empty wineglasses, and ev- bers and measurements, and Apps that to refl ect, offer a prayer and prepare for § eryone seemed to be having a good time show level and plumb, but no App that the day. Read the daily message or choose except the couple in the foreground. He can read the grain in a piece of wood be- Random Grace. When President Nixon’s White House was buried in his iPhone. With a cross fore it goes through a planer or a table tape-recording system was revealed by look on her face she was saying, “Fine. saw. The organbuilder still has to know Random Grace. Does that pair with Cus- Alexander Butterfi eld during question- Sit there and check your messages. Per- that wood warps “across” the grain—that tom Confession? What’s going on here? ing by the Senate Watergate Commit- haps it will give you something to con- the grain in a pallet has to be vertical or There are lots of Apps out there use- tee in July of 1973, a political fi restorm tribute to the conversation.” Oof. How warping will cause ciphers, and the grain ful to church musicians. Google “lection- ensued during which one disbelieving often have you dived into your phone in a keyboard has to be horizontal or the ary app” and you’ll get an assortment of White House operative commented that to google the answer to a question that keys will warp into each other. When choices—one is free this weekend. The hymnals of the Evangelical Lutheran Church, Episcopal Church, Methodist Church, Church of Latter Day Saints, Adventist, and Presbyterian Church are available as Apps, as is the Book of Com- mon Prayer, the Bible, the Quran, and Buying an Organ?

the Talmud. Think how much work you

can get done on the train. But there’s also the silly. Google “pipe • organ app” and you’ll fi nd a thing from MooCowMusic that puts a two-manual organ with stop knobs on your iPhone. The website says you can “add gravitas to any situation.” I bought the Confession Invest in Pipes! App out of curiosity, but I’m not curious enough to bother with the MooCow or- gan. If any of you out there get it, let me know how it works. I have better uses for my ninety-nine cents. The First Church in Boston’s Back Bay is a large and central Unitarian Universalist congregation. The original stone gothic building was destroyed by NORTH AMERICA’S PREMIER fi re in 1968; all that remains is the east- PIPE ORGAN BUILDING AND SERVICE FIRMS facing “West End,” replete with rose window and a stately stone spire. These relics embrace the striking replacement BUILDER MEMBERS designed by Paul Rudolph, which houses ANDOVER ORGAN COMPANY PARSONS PIPE ORGAN BUILDERS a neo-classical Werkprinzip organ by BEDIENT PIPE ORGAN COMPANY PASI ORGANBUILDERS, INC. Casavant. The quirky interior space of BERGHAUS PIPE ORGAN BUILDERS, INC. PATRICK J. MURPHY & ASSOCIATES INC. the sanctuary includes several unusual BIGELOW & CO. ORGAN BUILDERS PAUL FRITTS & CO. ORGAN BUILDERS windows that splash sunlight across the façade of the organ at astronomically BOND ORGAN BUILDERS, INC. QUIMBY PIPE ORGANS, INC. predictable intervals each day. The fi rst BUZARD PIPE ORGAN BUILDERS, LLC RANDALL DYER & ASSOCIATES, INC. time I tuned that instrument I was aware C.B. FISK, INC. SCHANTZ ORGAN COMPANY late in the morning of a dramatic stretch CASAVANT FRÈRES SCHOENSTEIN & CO. of the pitch—all the pipes were tuning OBSON IPE RGAN UILDERS TAYLOR & BOODY ORGANBUILDERS with the slide-tuners in just the same D P O B spot on each pipe, but suddenly a couple GARLAND PIPE ORGANS, INC. octaves of pipes were too short to reach GOULDING & WOOD, INC. SUPPLIER MEMBERS pitch, and I realized that the façade pipes HENDRICKSON ORGAN COMPANY A.R. Schopp’s Sons, Inc. (Rückpositiv 4′ Principal, which I was us- HOLTKAMP ORGAN COMPANY Harris Precision Products ing as the tuning stop) were heating up in the brilliant sunlight. Wait an hour for KEGG PIPE ORGAN BUILDERS Solid State Organ Systems the sun to pass across the window and LÉTOURNEAU PIPE ORGANS OSI - Total Pipe Organ Resources you can start up again. NOACK ORGAN COMPANY, INC. Peterson Electro-Musical Products, Inc. I was discussing the strategy of tuning the organ with Paul Cienniwa (organist at First Church, and author of an excel- lent recent article in The Diapason on the memorization of harpsichord music, September, pp. 24–25) and we agreed that during the upcoming tuning session we would install thermometers in each division of the organ so we could develop a record of the temperature and pitch. Paul whipped out his iPhone and opened the App called ClearTune ($9.99), en- tered the “calibrate” mode, and we re- corded the pitch of the organ. I was trained to tune “by ear,” setting my own temperaments with a neat sys- tem of double-checking, eschewing elec- the highest standards of integrity, quality and craftsmanship in pipe organ building tronic “crutches,” but I was intrigued by the convenience and simplicity of using 1-800-473-5270 call for our free 64 page prospectus www.apoba.com my phone this way. I downloaded the App that evening and quickly learned its capabilities, and the next time I made

JANUARY, 2012 15

Jan 2012 pp. 2-19.indd 15 12/13/11 8:52:17 AM you’re standing at your saw working fully; and—most happily!—the fact that rectly opposed to it. The last thing that through a pile of wood, you pick up each a new and better idea occurs to you.) is desirable in a “real” continuo part is, piece, glance at it with your trained eye, It also turns out to be easier in the of course, that the number of voices re- and fl ip it around in the right direction end to learn how to realize continuo main always the same. That immediate- before you push it to the blade. parts at sight than either to write them ly and utterly prevents us from using the No matter how many Apps we carry, out in advance or to edit existing, pub- realization process to infl uence rhythm, when we’re involved in the arts we must lished realizations to make them suitable dynamics, texture, and so on. That is, it leave open the possibility of Operator for a given occasion. (And “suitable” still takes away the very reason for the exis- Error. No risk, no gain. doesn’t take the idea of fl exibility into ac- tence of continuo accompaniment. I’ve carried on about the convenience count.) My own reason for plunging into The process of actually learning to and accuracy of tuning Apps, but when studying continuo realization in the fi rst play continuo, therefore, does not go I check a temperament by ear that I’ve place—about twenty-fi ve years ago—was through the kind of theory-oriented set using an App I almost always adjust not anything artistically signifi cant, but fi gured-bass study that I describe above. a few notes to make it sound better. The rather extreme annoyance with the me- That kind of study can serve a purpose App has saved me some time, but if the chanics of writing out parts for myself: it similar to the reading exercise that I in- proof is in the pudding, my fi fty-some- was boring, and it took too long. cluded in last month’s column, that is, to thing-year-old ears are still the best tools In the decades following the disappear- bring a student to the point of knowing I have. I hope I don’t get lulled into los- ance of continuo playing as a living art, the meaning of the fi gures with real im- ing my ear by tuning to a graph. the notation and technique of continuo mediacy and ease. (It is overkill for that There’s no App to work out the fi n- realization—fi gured-bass realization— purpose, in the amount of time and ef- gerings of a diffi cult passage. The idea was borrowed to fi ll various roles in the fort that it takes, but it does accomplish that every organist would use the same son that it is better to improvise continuo teaching of theory, harmony, and counter- it.) For every aspect of learning continuo fi ngerings is as ridiculous as claiming parts than to play from a part—a realiza- point. It is routine, almost universal, now- playing after the meaning of the fi gures that every organist has identical hands. tion—written out in advance is that the adays that anyone who has studied music is well established, work on “continuo as There’s no App to choose registrations— most effective continuo accompaniment theory at the college level has spent time theory/harmony/counterpoint” is actu- you try different combinations, listening is one that is fl exible. Even at the last learning how to concoct and write out re- ally taking us in the wrong direction. creatively and critically until you fi nd the minute, but certainly during any process alizations of fi gured bass lines. Because If a student develops a strong sense— right sound for the moment. The idea of rehearsal and preparation, it is impor- this activity is done in order to further the simultaneously conscious and instinc- that you would use the same stops on a tant to be able to make basic decisions learning of something other than actual tive—of what constellation of keys on the given piece at every organ you play is as about what notes to play in response to continuo playing, the kind of realization keyboard any given note/fi gure combina- ridiculous as claiming that every organ things that we hear from the other play- that is being sought is very different from tion is pointing towards, and this sense sounds alike. ers: dynamics, accentuation, intonation, what is best in performance. Specifi cally, directs the fi ngers towards those notes There’s no App to help you balance and so on. The earlier in the process the in theory class, or a similar setting, it is without the need to think much about the voices in a choir. As director, you lis- notes are fi xed once and for all, the less almost always considered necessary to re- it, then that student can play continuo ten creatively and critically, coaxing each fl exible it is possible to be. So, in playing, alize in a certain number of contrapuntal at sight. That is, when the student who member of each section to the right slot. unaltered, a continuo realization written voices—probably ideally four, or three to can already pick up the exercise from the The idea that some machine could take by the editor of a published version of a make it easier. The rules of voice leading last month’s column and “look at the fi rst the place of all that human artistic in- piece, we are committing ourselves to of course must be followed, and perhaps note and say ‘F’, the second note and say teraction is as ridiculous as thinking that having no fl exibility whatsoever during it is expected that each voice will be kept ‘A, C, and E’, the third note and say ‘F every choir has the same issues. the rehearsal and performance process. mostly within a certain range. Often this and C’” can play those notes rather than And there’s no App that diagnoses a Most published realizations are very kind of exercise is presented in two alter- say them, he or she can take on continuo mechanical glitch. The organ technician thick—four voices most of the time— nate versions: one with all of the added parts from real pieces with other players senses the problem and verifi es it with and, in the judgment of many players notes in what amounts to the right hand— also playing. his eyes or by the touch of his fi nger on and listeners, too busy, too noisy. (This is say, middle C and above—and the other The most effective way to develop that the key. especially true when they are played on with the four voices more or less evenly sense goes like this: I have a great idea for an App, and I organ or harpsichord. At the piano the distributed, creating a hymn-like texture. 1) Find a bass line with some fi g- know I’ll never act on it so anyone quali- busy-ness can be made less of a problem In any case, again, all of the rules must be ures. It doesn’t matter very much what fi ed is free to develop the idea. There by simply playing the part more quietly.) followed. It is (mostly) the need to avoid the bass line is, although lines from har- should be an App with a twelve-step But any realization that is created be- parallel fi fths and octaves that can make monically dense choral or orchestral program for people addicted to Apps. forehand, even a wonderfully musical practitioners of this sort of exercise tear music can be harder to deal with than is It would be called App-endectomy. Go and sensitive one, lacks this fl exibility. A their hair out. ideal at this stage. Handel chamber mu- for it. I’m exhausted by all this deep player who works out a continuo realiza- It is often their experiences with fi g- sic is one excellent source, among many. research. I think I’ll take an-App. (No tion during preparation and rehearsal, ured-bass realization in such a context (A public domain edition can be found App-nea.) Q and writes it down planning to play it as that leads students to believe that it is at this address: . There are appropriate (Actual last-minute fl exibility—the have all day to puzzle over it, to try dif- bass lines on more or less every page.) On Teaching ability to change the notes of a contin- ferent things, and to write it out, study The bass line can come from a slow or by Gavin Black uo part in performance from what they it, and think about it, then it must be a fast movement. For reasons explained were even a short time before in rehears- effectively impossible to do it off the below, this doesn’t matter at all. It need al—can be desirable for several reasons. cuff while other musicians are actu- not be a complete movement of a piece Continuo, Part 3 Some of these are: a change in the room ally playing and expecting you to keep or any coherent section, just some notes The core of this month’s column is a acoustics with the arrival of an audience; up. This logic is good, but the facts are and fi gures. description of the approach that I sug- an unanticipated change in the way a col- wrong. What you do when actually play- 2) Put this bass line up on the mu- gest for drilling and learning the actual— league is playing his or her part; prob- ing continuo bears very little relation sic desk of a keyboard instrument. improvised—creation of continuo parts lems in performance that suggest that to the “fi gured-bass as theory-learning For this purpose it doesn’t matter what at the keyboard. The fundamental rea- you must project the beat more force- tool” activity, and is in some ways di- instrument: harpsichord, organ, piano, electronic keyboard—anything with at least about four octaves of normal keys. 3) Prepare to play the line very 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ slowly. Because the tempo at which you play this bass line and do this exercise DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX bears no relation to anything about per- 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV forming the piece from which you have extracted the line, it doesn’t matter what ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG the tempo of that piece might normally OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV be. Each note of the bass line must come along very slowly, regardless of whether &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK it is printed as a whole note or a thirty- second note or anything else. For some- 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ one beginning this process, the notes of WKHLQVWDOODWLRQ the bass line should come at a rate of no more than ten or twelve per minute. But that is just a guideline: slower is always 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX fi ne; faster is also fi ne if it works. 4) As you play the bass line very PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW slowly, try, for each note of the line, 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations to play (in the right hand) some version—any version—of the notes FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions suggested by the bass note and its  fi guring. Do not think about anything Solutions for Old Pipe Organs other than playing something that counts as the right notes: the playing equivalent of what you thought or said in doing the exercise from last month. Specifi cally, do not worry about the spacing of chords, the part of the compass of the instrument, or the nature of the transition from what you play with one bass note to what you play with the next. Do not worry in the least about parallel fi fths or octaves or whether www.rodgersinstruments.com notes resolve correctly. 5) If you cannot—more or less in tempo—think of any notes to add

16 THE DIAPASON

Jan 2012 pp. 2-19.indd 16 12/13/11 8:52:44 AM above a given bass note, simply move not a problem. You have simply utilized weekly anthem. Starting with the fi rst on. Do not worry about this. If, the fi rst one less practice note: no harm done. Music for voices Sunday in Lent, the Psalms assigned this time through, you only add ordinary Reading really elaborate, complicated, year are as follows: February 26, Psalm 25; triads above the “8,5,3” notes—or even counterintuitive fi gures can come later. and organ March 4, Psalm 22; March 11, Psalm 19; only above some of them—and nothing In any case they are extremely rare. It is by James McCray March 18, Psalm 107; March 25, Psalm “fancier”, do not worry about this. of course OK not to leave them out, but 52; April 1, Psalm 118. A simple check of 6) After you have played the bass only if they are accurate and don’t slow the church’s choral library should reveal line and whatever notes you have the process up very much. Choral music during Lent settings of many of those Psalms. added in this way once, do it again. e) Of course, really fundamental mis- Another often-overlooked idea is for Don’t increase the tempo. Try to add takes—taking “6,3” to mean the notes Human felicity is produced not so much directors to review the titles of the mu- some notes where you didn’t the fi rst one and four steps above the bass, for ex- by great pieces of good fortune that seldom sic in hymnals under the section labeled happen as by little advantages that occur time. Then, of course, do it a few more ample, or anything else really egregious— every day. LENT. By cross-referencing those hymn times. If it feels natural to let the tempo will lead to trouble. Real misunderstand- —Benjamin Franklin (1706–1790) titles with settings already in the church increase a little bit that is all right, but by ing at a fundamental level will be hard to choral library, even novice choir direc- no means necessary. However: eradicate later on. Therefore this exercise In 2012 the season of Lent begins on tors can identify appropriate music for 7) Do not play the same line more should come, as I said above, only after Ash Wednesday, February 22, and reach- the season and easily organize their mu- than several times. If after a while (four the student has comfortably learned the es its conclusion on the Saturday before sical calendar. or fi ve times through) you have not suc- basic meaning of the fi gures. Easter Sunday, April 8. It is a period of The season of Lent generally is not a ceeded in providing right hand notes for f) It is extremely important to resist serious contemplation but results in un- happy time, but rather a passage toward all of the bass line, don’t worry about this the temptation to write anything down bounded joy. Is this the ultimate example happiness that for Christians is found on either. The effectiveness of this drill does about a realization. The sole purpose of of cause and effect? Scripture for Ash Easter morning. So, let us think about not depend on “solving” the entire bass this drill is to develop the reading facul- Wednesday is Joel 2:1–2, which reminds Benjamin Franklin’s words mentioned line, but rather on developing a sense of ties as they apply to fi gured bass lines. Christians to “Blow the trumpet in Zion, above and add to them the words of Rob- spontaneity with those spots that you do Any time you write anything—a note or sound the alarm . . . for the day of the ert Frost: Happiness makes up in height solve. If you play over it too many times chord or a reminder perhaps expressed Lord is coming.” For a change of pace for what it lacks in length. in a row, that sense of spontaneity will be as a letter-name for a pitch—you have this year, consider using Kirke Mechem’s lost and replaced by excessive concern lost the opportunity to develop that read- wonderful setting Blow Ye the Trumpet Hope of the World, Taylor Davis. for getting it all right. ing, and in fact you are training yourself (G. Schirmer: HL 50481534) for your SAB and piano, Augsburg Fortress, 8) Choose another bass line, and to be unable to do it. Ash Wednesday service. Even though 978-1-4514-0100-4, $1.75 (M). do all of the above again. This can be g) It is perfectly OK, though, to fl esh it is set to a poem from his opera John Using a Georgia Harkness (1891–1974) another section from the same move- out the fi guring itself. The relative com- Brown and is not scripture, its message text, women in unison state the opening ment or piece, or something completely pleteness of the fi guring of the line that and mood will be most effective. phrases, “Hope of the world, thou Christ different. Practice this way with as many you happen to be using for practice is ar- Traditionally Lent comprises forty fast- of great compassion.” There are passages bass line passages as possible. Never stay bitrary. If you make it more complete be- ing days (excluding Sundays) of penance of imitative counterpoint, but in general with one of them so long that you feel fore playing from it that is fi ne. (See, for and abstinence, recalling the forty days the syllabic choral music is chordal. The like you know it and are simply repeating example, the two versions of the Handel that Jesus spent in the desert. In today’s keyboard part, on two staves, is simple something that you have already learned: bass line that I included in last month’s world, the custom of giving up something and not soloistic. The tempo is to be move on to another one. Try to use lines column. Either of them is good material for Lent is a mitigation of the more rigid used with great rubato. in different keys, but you need not seek for this sort of practice.) observance of the fast in earlier centuries out anything too unusual: two sharps After doing a certain amount of this where only one meal a day (fi sh and meat All Will Be Well, Penny Rodriguez. or fl ats is far enough along the circle of work, the student will be ready to be- were excluded) was permitted. SATB and keyboard, Beckenhorst fi fths for now. If most of what you use is gin thinking about how to shape an ac- Choosing the choir’s music for these Press, BP 1797, $1.60 (M-). in keys with one or no sharps or fl ats that companiment for “real life” use, and to six Lenten Sundays may be approached The keyboard part often has sixteenth- is OK. Just don’t stick to only one key. begin playing pieces with other musi- in various ways. It is suggested that di- note fl ourishes and is busy throughout. That can become a rut. cians. This “certain amount” is often rectors focus their attention on orga- The choral parts are on two staves with All of the details above are important, something like 25 or 30 bass lines, each nizing the entire season rather than a the opening section in unison. The text but clearly step 4 is the essence of this eight to sixteen measures, each played monthly schedule. Using a formal pub- reminds us that “Through the love of exercise. Here are a few more specifi c fi ve or six times. That is not a lot, but lication such as Prepare!: A Weekly Wor- God our Savior all will be well”; this is thoughts about how to carry out that step. this method is extremely effi cient. Some ship Planbook for Pastors and Musicians a strong message for Lent. There is an a) It is perfectly all right for the students will need or want to do more is highly recommended. It is just one of extended unaccompanied section; the tempo of the bass line not to be entirely than that; some will be ready to move on numerous publications available to assist music is soft throughout. steady. (This is certainly different from to the next stage sooner. choir directors in their planning of reper- most types of practicing.) It doesn’t ex- I will return to the subject of continuo toire for the choir and/or congregation. My Shepherd Will Supply My Need, actly need a tempo, but only be not too playing and deal with approaches to en- One approach to planning choral music Matthew Culloton. SATB, fl ute, and fast. If you need to draw one note out a tering that next stage in a future column. for Lent is to use a topic for those seven harp or piano, MorningStar Music little bit longer to think about what to Not next month, however; I want to give weeks. For example, directors could iden- Publishers, MSM-50-3072, $1.85 (M). play over that note, that is OK, as long readers a chance to digest what I have tify a theme to be explored during the Based on Psalm 23, this work begins as it is only a little bit. If you are really, written about it so far and, if so inclined, season; this could be a broad topic such with the choir humming as an opening in effect, stopping to fi gure something to try out the drill suggested here or to as hope, assurance, trust, commitment, for the familiar hymn melody. That mel- out, then that defeats the purpose. have their students do so. I welcome compassion, etc. Having a suggested topic ody recurs throughout the setting with b) You need not play all the notes that both questions about that process as it to focus on during Lent will be a helpful various parts of the Psalm text. The key- you add at the same time as the bass note unfolds, from anyone who is trying it, guide for the congregation in their jour- board part is simple; the fl ute is treated or together with one another, though as and any other feedback. Q ney from Ash Wednesday to Easter. as an obbligato line above the choir. The you do more of this exercise you should Another suggestion is to focus on the music for the harp and fl ute is published discover that you can add the relevant Gavin Black is Director of the Prince- Psalms during those Sundays. The lec- separately (MSM-50-3072A). One sec- notes with or close to the bass note more ton Early Keyboard Center in Princeton, tionary identifi es Psalms for each service, tion is for unaccompanied men. Quietly of the time. Initially it is perfectly ac- New Jersey. He can be reached by e-mail and those are often recited, but this year sensitive music that will have immedi- ceptable to do something like this: set a at . consider singing those Psalms as your ate appeal. metronome to 60; allow each bass note to last for eight metronome beats; expect to play the added notes on or near the fi fth metronome beat; use the last beat or two to begin to look ahead at the next note. The numbers are arbitrary; the principle of keeping it slow and careful is crucial. c) If you make certain kinds of mis- takes about what the fi guring means or what notes would be appropriate to add over a particular bass note, this doesn’t matter! One extraordinary thing about this exercise is that it usually leads a stu- dent to the right place even if it is done wrong. The most common way that this comes up has to do with un-fi gured notes. If you mistakenly assume that a passing tone is not a passing tone, and therefore add chords to bass notes that are not sup- posed to have anything added, this just constitutes more (fully useful) practice. If you interpret as a passing tone a note that really should have something added, and don’t add anything, that is a very mi- nor wasted opportunity. It doesn’t mis- lead or do any harm. If you forget, for example, that “7” usually implies “7,5,3” and just play the pitch seven degrees above the bass note, that is still useful practice in developing the spontaneity that we are looking for. There is time to refi ne and fi ll in gaps in your awareness of what the fi guring means and what the abbreviation conventions were later on. d) Likewise, leaving out things that are too complicated or unexpected—for example a fi guring like “9, 7#, 4, 3b”—is

JANUARY, 2012 17

Jan 2012 pp. 2-19.indd 17 12/13/11 8:53:18 AM Let Us Light a Candle, Richard Shep- This One Thing I Ask of the Lord, thedral’s choir). Orlando Gibbons’ Ho- hard. SATB and piano, RSCM of GIA Charles McCartha. SATB and piano, sanna! to the Son of David is a delightful New Organ Music Publications, G-7415, $1.90 (M). Hope Publishing Co., C 5697, $1.95 motet, and given a solid performance This is a comfortable, straightforward (M-). here, as is Henry Purcell’s Let mine eyes anthem built on the text, “In a world The text, based on Psalm 27, is set to run down with tears—a wonderful, sad Rejoice, Give Thanks and Sing: where people walk in darkness, let us the English folk song Scarborough Fair. setting of Jeremiah’s lament, sensitively Hymn Preludes for Organ, by Rob- light a candle.” There are passages where Opening with static rolled chords in realized here by the choir and soloists ert J. Powell. Augsburg Fortress, sections sing alone, but in general the the piano, the tune is gently presented and, again, with fi ne continuo accompa- ED014616, $17.50; choral music is in a block-chord format, by the women in a free style. Most of niment by Flood. . with similar rhythms for all parts. The the choral music is simple, syllabic, and However, this disc is not limited to Behold the Host Arrayed in White; keyboard part is supportive and rela- somewhat wistful. Chord symbols are Renaissance and Baroque music, and By All Your Saints; Come, You Faithful, tively easy. provided for an optional acoustic gui- includes two 19th-century works: C. V. Raise the Strain/Cradling Children in tar. The quiet ending returns the rolled Stanford’s setting of Psalm 23 will need His Arm; Come, Gracious Spirit, Heav- The Lord Is My Shepherd, Michael chords. Lovely arrangement. no introduction to most church musicians enly Dove; Glorious Things of You Are Sitton. Two-part treble and organ, and, although a little drawn out, is a staple Spoken; I Come with Joy; Let All To- Paraclete Press, PPMO 1148, $2.50 Jesus, I Adore Thee (Adoro Te De- of the English Cathedral repertoire, and is gether Praise Our God; Jesus, Keep Me (E). vote), Stephen Caracciolo. SATB un- well performed on this recording. H. Wal- Near the Cross; Light One Candle to Psalm 23 is set with the treble voices accompanied, Roger Dean Publish- ford Davies’ Magdalen at Michael’s Gate Watch for Messiah; Oh, Sing to the Lord; in imitative counterpoint; the lines gen- ing Co., HRD 326, $1.50 (M). is less well-known, but deserves a higher Once We Sang and Danced; O Splendor tly fl ow above the organ music that is on The Benedictine plainsong has a free profi le; it is a beautifully melancholic set- of God’s Glory Bright; Rejoice, for Christ three staves. The harmony is sweet. Al- rhythmic style. The choral parts are on ting of Henry Kingsley’s text and is sung Is King!; Take My Life, That I May Be; though the basic tempo moves somewhat two staves, with English and Latin texts with great expression and feeling by the This Is My Song/When Memory Fades. quickly, the mood of the music is gentle provided for performance. There are choir, and is superbly accompanied (on Hymn tunes: Blaenwern; Cantad al and calm. This attractive setting has lim- large sections where part of the choir is what can only be described as a second- Señor; Den store hvide flok; Dove ited vocal ranges and a soothing quality. singing on a neutral syllable, and brief rate cathedral organ). of Peace; Finlandia; Gaudeamus divisi in the alto and bass sections. Very The four contemporary anthems are pariter; Herr Jesu Christ, meins What Wondrous Love Is This, arr. sensitive setting. a slightly mixed bag. Malcolm William- Lebens Licht; Kas dziedaja; King’s Lloyd Larson. SATB and keyboard, son’s Wrestling Jacob is an interesting Lynn; Laus Regis; Lobt Gott, ihr Beckenhorst Press, BP 1706, $1.50 work, rarely performed, with a haunt- Christen alle gleich; Near the (M-). ing treble solo and a rather unattractive Cross; Patmos; Splendor Paternae; Larson’s arrangement slightly modifi es New Recordings organ cluster accompaniment. Chris- Tif in veldele. the popular tune so that it has a fresh- topher Brown’s Laudate Dominum is This collection holds no surprises to ness while retaining most of the melody. typically chromatic, not dissimilar to those familiar with Robert Powell’s previ- The easy keyboard music is a mixture Choral Music from Canterbury Ca- the music of Kenneth Leighton; force- ous publications. The fi fteen moderate– of right-hand chords and passages with thedral. Priory Records (PRAB111), ful, dissonant, and powerful, it has oc- easy pieces in this set provide organists busy sixteenth-note right-hand runs. £4; 3 Eden Court, Leighton Buz- casional Victorian throwbacks and a with settings of well-known as well as less The pensive opening continues to grow zard, Bedfordshire, LU7 4FY, Eng- virtuosic, slightly demonic organ ac- often-heard hymns. Most arrangements and the setting ends with loud, dramatic land, . companiment! The two anthems of Alan are two to three pages long and require chords. Expressive music. It is a real treat to see the digitally Ridout are a real joy—his setting of Dy- little preparation time—a plus for part- remastered Harry Mudd/Abbey Re- lan Thomas’s text I turn the corner of time organists. Though most pieces are Comfort Ye My People, Taylor Davis. cords catalogue available from Priory prayer is a mysterious but lovely work rather simple, Powell carefully chooses a SATB, soprano solo, and piano, Cho- Records in England—a label synony- making use of unison choir, descend- variety of moods in this set; By All Your risters Guild, CGA 1201, $1.85 (M-). mous with the highest quality organ ing scales, and dissonance in an highly- Saints has, at times, a modal feel, while Using a text by Johannes Clearius and sacred choral music. Number effective way; his arrangement of the the straightforward setting of Come, You (1611–1664), this work might seem a twelve in the Abbey Collection series classic melody that closes the recording Faithful, Raise the Strain could almost stretch for Lent because of its very jazzy is this recording by the choir of men (Doxology) gives a lovely, serene ending serve as a hymn introduction. Once We style. The music moves in 12/8 with a and boys at Canterbury Cathedral, un- to the recording. Sang and Danced is a fun, dancelike ar- walking tempo and chords fi lled with der the direction of long-time Master This is a really nice CD—although rangement in which the composer makes bluesy notes/chords. The soprano solo of the Choristers Allan Wicks, and the the sound quality is not always entirely clever use of hymn motifs. This set will sings alone and above the choir. The then-assistant organist David Flood clear—and combines classics from the be useful to organists who prefer the choral parts are on two staves and usually (currently Master of the Choristers at English choral tradition with less-known lighter repertoire. Furthermore, $17.50 serve as a background for the soloist. Canterbury himself.) but, on the whole, worthwhile pieces for fi fteen pieces is a great bargain! Wicks (like his counterpart at Peter- (which would benefi t any choir with the Precious Lord, arr. Nathan Carter. borough Cathedral, Stanley Vann) was resources to perform them). Although David Cherwien, We Sing of God— SATB unaccompanied with sopra- interested in early music at a time when the total playing time of fi fty minutes Hymn Settings for Organ. Augsburg no or tenor solo, African American Stainer and Stanford were more fre- is slightly disappointing, but not unex- Fortress, ED014545, $16.00; Church Music Series of GIA Publica- quently found on English Cathedral mu- pected given the limitations of the origi- . tions, G-7155, $1.90 (M+). sic lists, and so it is appropriate that this nal recording medium (LP), it is still a Tunes include Bred dina vida This gospel favorite has three verses, recording begins with a clear, accurate worthwhile purchase, and would be of vingar; Jenkins; Komt nu met with the soloist singing on only the third performance of William Byrd’s Laudibus interest to anyone who enjoys the glo- zang; Marion; Temple of Peace; verse. The solo music uses a full vocal in Sanctis. Thomas Weelkes’s delightful ries of the English Cathedral choral tra- Vruechten; Yigdal. Level of diffi - range and sings above the choir. There verse anthem Give ear, O Lord is nicely dition, captured here during its heyday culty is medium. are divisi parts, choral background hum- sung and is given sensitive and tasteful and at a time when Xbox and sporting The key word to this collection is ming, and mild dissonance in this emo- continuo accompaniment (with Anthony activities did not threaten to undermine variety. From the rhythmic, dance-like tional and very effective arrangement. Piccolo as the solo tenor, himself the the ability of choral foundations to re- Yigdal to the Renaissance Komt nu Clearly, this Thomas A. Dorsey composi- composer of one of the best settings of cruit boy choristers. met zang, from the sweet Bred dina tion is quite popular, and choirs will ask Jesus Christ the Apple Tree, also record- — James Reed vida vingar to the modern cluster- to perform it each year. ed by Abbey Records with Dundee Ca- Bergen, Norway fi lled and extended setting of Jenkins, this compilation showcases Cherwien at his best. The beginning of Temple of Peace is reminiscent of Bach’s Air on the G String, but Cherwien’s use of mo- Log On and take the tour! tifs and harmonies is refreshing enough to make it his own. These hymn pre- ludes are practical and accessible pieces that will be enjoyed by performers as ANNUAL AND ONE-TIME COPYRIGHT well as congregations. —Robert August PERMISSIONS WITH THE Fort Worth, Texas CLICK OF A MOUSE Three Gospel Preludes for Organ, by Gerald Near. MorningStar Music Publishers MSM-10-632, $8.00. From the pen of one of our best- known composers of church music, Ger- ald Near, come three short settings of popular gospel tunes: Amazing Grace, Blessed Assurance, and In the Garden. Each setting is relatively easy and pres- ents the tune once with occasional in- terludes. The harmonies are gentle and refreshing. I have found these to be a perfect length for offertories. It has also occurred to me that for a memorial ser- • EASY—online permission and reporting • ECONOMICAL—based on average weekend attendance • THOROUGH—your favorite songs Send a free sample copy of THE DIAPASON to a student, friend, • CONVENIENT—includes a growing list of publishers or colleague. Contact Jerome Butera 847/391-1045 LOG ON TODAY! WWW.ONELICENSE.NET [email protected]

18 THE DIAPASON

Jan 2012 pp. 2-19.indd 18 12/13/11 8:53:56 AM vice when someone says “Mom really out to the Johnston Organ Company in Organbuilding activity in Los An- loved In the Garden, could you play it?” Book Reviews 1913. This in turn became part of the geles reached a peak in the years run- that here is a perfect setting that fi lls the Robert Morton Organ Company, which ning up to the Great Depression. In bill and offers more than just playing the came to specialize in theatre organs and 1927 Kimball came on the scene with a tune through. In fact, every piece here James Lewis, Organs in the Land closed its doors in 1929, when the stock fi ne 4-manual at First Baptist Church, would also be appropriate, and together of Sunshine: Fifty-Two Years of Or- market crash unfortunately coincided which unusually included a separate they would make a great prelude. gans in Los Angeles, 1880–1932. with the invention of “talkies.” Tierce stop on the Great. Casavant —Jay Zoller OHS Monographs in American His- Another landmark in Los Angeles or- built an excellent 4-manual organ, Op. Newcastle, Maine tory No. 4. Richmond, Virginia: OHS ganbuilding came in the year 1906 when 1209, at First Unitarian Church in the Press, 2010; xi + 124 pp., paperback, Austin built the city’s fi rst 4-manual in- same year. They followed up with an- ISBN 0-913499-32-0, $29.95; strument at Temple Baptist Auditorium. other large instrument, Op. 1275 of O Love That Wilt Not Let Me Go, ar- This building was interesting in being a 1928, at the Roman Catholic Church ranged for viola and piano by Hal H. James Lewis’s attractive monograph multi-use auditorium that was a concert of the Blessed Sacrament, the gift of Hopson. MorningStar Music Pub- traces the organ history of Los Angeles venue and home to the Los Angeles Phil- some of Hollywood’s leading fi lm stars lishers MSM-20-917, $10.00, . the city at St. Vibiana’s Roman Catholic Baptist Church. The success of this ar- organist there. Immanuel Presbyterian When I Survey the Wondrous Cross, Cathedral in 1880 until the culmination rangement led to a similar multi-purpose Church, with 3,600 members, was the arranged for viola or cello and piano of the English Ensemble Style with the building, Trinity Auditorium, a concert second largest Presbyterian Church in by Hal H. Hopson. MorningStar Mu- building of the magnifi cent Skinner Op. venue and movie theater as well as the the country when Skinner installed his sic Publishers MSM-20-916, $11.00, 856 at First Congregational Church in home of Trinity Southern Methodist Op. 676 of 1929 there. The organ was a . 1932. An earlier version of the material Church, and with a hotel and ballroom large 4-manual refl ecting the “English Well-known to many church musi- appeared as the article “Organs in the attached. The Johnston Organ Company Ensemble” style of the period follow- cians, Hal Hopson has published a large Land of Sunshine: A look at secular or- of Los Angeles built the large 4-manual ing G. Donald Harrison’s arrival at the number of works, including arrange- gans in Los Angeles, 1906–1930,” pub- organ. The description on page 48 states fi rm. Rather curiously, the Echo Divi- ments and original music for choirs of lished in the November 2009 issue of that the lowest pipe of the 32-foot Open sion consisted of a solitary 8-foot Cor all ages, compositions for handbells, and The Diapason. Wood was 32′ long, 22′ wide and 24′ high, de Nuit. signifi cant contributions in the area of Little is known of the fi rst organ of though I think 32′ x 22′′ x 24′′ would have Jack Warner of Warner Bros. Stu- responsorial psalmody. In addition, he 1880 in St. Vibiana’s Cathedral, except been more likely dimensions. By all ac- dios donated a fi ne new synagogue, the is known and respected as a workshop that it was built by Joseph Mayer of San counts this was a remarkable instrument, Wilshire Temple, to the B’nai B’rith leader and clinician. Francisco. Other instruments soon fol- and it is a pity that fi rms like Murray Reform Congregation. Kimball sup- Two recent publications by Hopson lowed from San Francisco organbuild- Harris and Johnston—who were prob- plied the organ, a 4-manual, 61-rank are hymn-tune arrangements for string ers like Bergstrom, Boston builders like ably the equals of Skinner—have until instrument that is still happily intact instruments and piano. Well-crafted ar- Hook, and several instruments built by recently been so little known outside of and regularly used. Alexander Schrein- rangements of hymn tunes are all always Kilgen in St. Louis. Kilgen was respon- California. Arthur Blakeley was brought er was the organist before he moved to benefi cial in one’s library of music for sible for the fi rst 3-manual organ in Los in as staff organist of Trinity Auditorium, the Mormon Tabernacle in 1939. Per- instruments and keyboard, particularly if Angeles at First Baptist Church in 1887. where he accompanied silent movies as haps the zenith of Los Angeles pipe or- there are accomplished instrumentalists The stoplist on page 13 fails to include well as giving weekly recitals and playing gans was reached with the installation within the congregation. Both publica- the Great 8-foot Open Diapason. This for the church services. of two large Skinner organs, Op. 818 tions are well within the capabilities of instrument was thought suffi ciently im- Johnston’s successor, the Robert of 1930 at Royce Hall, University of a competent youth or adult string player portant to import Clarence Eddy from Morton Organ Company, built a large California, and Op. 856 of 1932 at First and offer the reward of playing some- Chicago to give the dedicatory recital. 4-manual instrument for the Bovard Au- Congregational Church. The latter, of thing beyond simply a melody line. The fi rst electric-action organ in Los An- ditorium, University of Southern Califor- course, has subsequently grown from O Love That Wilt Not Let Me Go, ar- geles arrived in 1895, a 3-manual from nia, which included such Skinneresque its original 4 manuals and 55 ranks ranged for viola and piano, utilizes the Farrand & Votey of Detroit, replacing delights as Erzähler, Flugel Horn, and into a behemoth of 5 manuals and 337 tune St. Margaret that is normally the 2-manual Bergstrom organ at First French and English Horns, as well as ranks, claimed to be the largest church associated with this text. Though this Congregational Church that had been much better-developed upperwork than organ in the world. text and tune are still found in hymnals, built a mere ten years earlier. a typical Skinner organ of the day. This A fi nal chapter of James Lewis’s book it has been the reviewer’s experience Late 1893 was a watershed moment was the Morton fi rm’s last non-theatre entitled “Around Town” deals with a that it is not as widely used today. Hop- for Los Angeles organs when Murray organ, and magnifi cent it was indeed. number of interesting residence and son’s arrangement offers the opportu- M. Harris, who had been working for Edwin H. Lemare gave the dedication theatre organs. Of particular interest is nity to highlight this beautiful tune so Hutchings in Boston, moved to Los An- recital. By contrast, the fi rst Skinner Barker Bros. department store, which that perhaps it will remain in the hymn geles to act as Hutchings’ local agent and organ in Los Angeles, Op. 446 of 1923, purchased a 4-manual Welte in 1927. repertoire. Following a short piano in- also to open his own organbuilding work- was a dull and pedestrian small 4-man- The book concludes with a useful bibli- troduction, the hymn tune is stated in shop. Harris’s fi rst substantial instrument ual instrument that did not even have ography and index. the instrumental part. After its initial was a 3-manual tubular-pneumatic or- a 2-foot stop on the Great. During the James Lewis’s book is profusely illus- statement, the tune is lengthened in the gan at First Methodist Church in 1899. same period, the 4-manual Estey at the trated with black-and-white photographs three additional settings, which utilize This was claimed to be the largest organ Poly-Technical High School, Op. 2225 of and includes many other instruments interplay between the viola and piano south of San Francisco, and again Clar- 1924, featured a number of labial reeds, beside those mentioned above, together of the melody and countermelody-type ence Eddy was brought in to dedicate including a wooden labial Tuba. with historical details and specifi cations. material. Beginning in G major, the ar- it. As the result of various fi nancial vi- An interesting outdoor installation It is altogether an extremely well-written rangement modulates to E-fl at for the cissitudes, Harris’s fi rm became the Los was the 4-manual 1925 Wurlitzer in and interesting book that is particularly third setting and returns to G for the Angeles Art Organ Company in 1904, Roosevelt Memorial Park. Although helpful in presenting the contribution fi nal statement. With the dynamic indi- then the Art Organ Company of New only 17 ranks, it was claimed to be “The of Southern Californian organbuilding cations and other markings in the score, York, and then the Electrolian Company, World’s Mightiest Pipe Organ.” In terms fi rms like Murray Harris, Johnston, and the arrangement offers both the pianist which closed its doors in 1905. of decibels it may well have been, since Robert Morton to the organ culture of and violist the opportunity for expressive After this, Murray M. Harris returned apart from the Vox Humana, on 10-inch the nation as a whole. playing. The arrangement concludes to Los Angeles and re-founded his com- wind, all the pipework was on pressures —John L. Speller with the violist performing a subdued pany under the original name. He sold of 25, 35, and 50 inches. St. Louis, Missouri cadenza above sustained piano chords. Very similar in style to O Love That Wilt Not Let Me Go is Hopson’s ar- rangement for cello or viola of When I Survey the Wondrous Cross, based on SACRED HEART WIMBLEDON, LONDON the tune Hamburg, the common tune for this text in many American hymnals. The arrangement consists of a series of The J W Walker organ of Sacred Heart Wimbledon was installed in 1912. four evolving variations, beginning with Unlike most instruments of that era, it has remained remarkably unchan- a fairly straightforward statement of the ged, retaining its tonal character and, importantly, its original pneumatic tune incorporating two-measure inter- ludes between each phrase. The work action. Very few organs with pneumatic action remain, the preference being begins in A-fl at and modulates to E-fl at to electrify what is often seen as out-dated technology, which is for the third setting. In the second and difficult to restore and adjust. Electrification was discussed, but both we as third statements of the tune, Hopson incorporates ornamentation as well as organ builders, and the clients as custodians, felt it was important that the interplay of the tune with countermelo- original pneumatic action was restored. dies between the piano and instrumental part. The fourth setting of the tune be- comes more intense, with a shift of tonal- This restoration work has now been completed. The organ was rededicated ity from E-fl at to F minor, an increase in by David Briggs, who demonstrated the versatility of the instrument to an tempo, and dramatic cadenza-like mate- enthusiastic audience. We, at Mander Organs, believe that our heritage is rial in the string part interjected between each phrase of the tune. The piece ends important and over the past 25 years we have amassed a wealth of experi- quietly, with a recall of the opening piano ence in the restoration of pneumatic action instruments. introduction. A corrected version of the cello score is available free online at the MorningStar Publishers website. The cello part originally printed with the full ³ St Peter’s Square - London E 2 7AF - England ³[t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 ³[e] [email protected] score has some incorrect clef signs. Both of the arrangements are quality contributions to hymn-based repertoire for instruments and keyboard and will MANDER ORGANS be useful for worship services and other programs as well. —Charlie Steele www.mander-organs.com Brevard, North Carolina

JANUARY, 2012 19

Jan 2012 pp. 2-19.indd 19 12/13/11 8:54:40 AM Fourteenth Annual Albert Schweitzer Organ Festival David Spicer

Back row, left to right: Senior Minister Deryk Richenburg, judge Michael Barone, Christopher Ganza, Justin Maxey, Ian Tomesch, and festival coordinator Linda Hen- Gregory D’Agostino, Michael Barone, and Frederick Hohman derson; seated, left to right: Jacob Reed, judge Gregory D’Agostino, judge Frederick Hohman, Mary Pan, and Minister of Music and co-founder of the Albert Schweitzer Michael Barone, Souvenir, John Cage, by Robert Bausmith and Jill Peters-Gee, Organ Festival David Spicer Adagio (Symphony No. 2 in D), Widor; M.D. John Gorton and Richard Pilch Gregory D’Agostino, Fantasy and Fugue provided $750 for the David Spicer he fourteenth Albert Schweitzer Andante Espressivo (Sonata in G Ma- on B-A-C-H, Liszt. Saturday morning, Hymn Playing Award, which was given T Organ Festival took place Septem- jor, op. 28), Elgar from 10 am to noon, the high school di- to young professional division fi nalist ber 9–11 at the First Church of Christ Psalm 150, Franck vision fi nalists played the required rep- Justin Maxey. Other prizes and gifts to- in Wethersfi eld, Connecticut. The Hymn: Christ Is Made the Sure Foun- ertoire. At 2 pm the young professional ward the festival—including the high schedule included a competition, con- dation (Christ Church, Dirksen) division fi nalists were heard. school division second prize of $1,000 cert, worship services, and masterclass. Kyrie (Messe Solennelle, op. 16), Vierne and the young professional division sec- Charles Callahan served as the screen- He Comes to Us (with text by Albert High school fi nalists ond prize of $1,500—came from Marilyn ing judge for a portion of the applica- Schweitzer), Jane Marshall Mary Pan: Bach, Trio Sonata No. 4 in Austin and the Austin family and several tions. Judges for the festival were Mi- Go Ye into All the World, Wetzler E Minor, BWV 528; Widor, Andante Sos- individuals in the First Church family. chael Barone, Gregory D’Agostino, and Hymn: Let Heaven Rejoice (Rock tenuto (Symphonie Gothique); Vierne, Bon Smith of Austin Organ Service Frederick Hohman. Harbor), text by Hal M. Helms, tune Toccata (Pièces de Fantaisie); hymn, St. Company of Avon, Connecticut, was on On Friday evening, September 9, the by Alan MacMillan. Thomas (Williams); hymn, Hamburg. hand throughout the Saturday competi- traditional opening concert was held. Each of the judges played selections Jacob Reed: Bach, Trio Sonata No. 1 tion to offer assistance, should the organ The service/choral portions were played at the Friday evening opening concert: in E-fl at, BWV 525; Widor, Andante Sos- need it, and provided a gracious gift of by the writer: Frederick Hohman, Finlandia, Sibelius; tenuto (Symphonie Gothique); Messiaen, tuning and maintenance for the festival. Joie et Clarté des Corps Glorieux (Les Austin Organ Service Company is the reg- The Fifthteenth Annual Corps Glorieux); hymn, St. Thomas ular curator of this instrument, serviced (Williams); hymn, Ein’ Feste Burg. by Alex Belair and Michael Tanguay. Thanks go to Linda Henderson, festi- Young professional fi nalists val coordinator and associate, for so ably Albert Schweitzer Justin Maxey: Bach, Fantasia and performing the organizational work that Fugue in G Minor, BWV 542; Franck, made the festival run smoothly and ef- Choral No. 2 in B Minor; Eben, Moto os- fi ciently. Churches that allowed their Organ Festival tinato (Sunday Music); hymn, St. Thom- instruments to be used for additional as (Williams); hymn, Diademata. practice were Trinity Episcopal Church, A Weekend in Celebration of Excellence in Organ Music: Ian Tomesch; Bach, Fantasia and Wethersfi eld, the Reverend Scott Lee, Fugue in G Minor, BWV 542; Franck, rector; and First Church of Christ, Glas- A Gala Concert, ORGAN COMPETITION, Services, and Masterclass Choral No. 1 in E Major; Karg-Elert, tonbury, Angela Salcedo, director of mu- Jesu, Meine Freude (Drei Symphonische sic ministries. High School Division First Prize: $2,000 Choräle, op 87/2, I. Inferno); hymn, St. The 2012 Albert Schweitzer Organ Other prizes also awarded Thomas (Williams); hymn, Slane. Festival will have the following judges Christopher Ganza: Bach, Prelude for the competition: Faythe Freese, and Fugue in D Major, BWV 532; Cherry Rhodes, and Gordon Turk. Plans College/Young Professional First Prize: $3,500 Franck, Choral No. 1 in E Major; Duru- are underway to feature these organ- Through age 26 Other prizes also awarded fl é, Choral Varié sur le theme du “Veni ists in the opening concert of the festi- Creator”; hymn, St. Thomas (Wil- val on Friday evening, September 7, at This includes an appearance on our 2012 - 2013 Concert Series liams); hymn, Eventide. 7:30 pm. Information about the Albert Immediately afterwards, all fi nalists Schweitzer Organ Festival and current and judges had a chance for interaction requirements for the competition are 2012 JUDGES and discussion over a delicious meal available by telephone at 860/529-1575 AUDITION CDS: provided by Dana Spicer at the Parish x209, by e-mail at , or by viewing the ASOF website Due on June 12, 2012 Cherry Wethersfi eld. On Sunday, September 11, . Rhodes all fi nalists played portions of the 8, 9:15, The 2011 fi rst-place winners, Mary THE COMPETITION: and 11 am worship services, and Freder- Pan and Christopher Ganza, will per- ick Hohman played his version of the Air form in recital on Sunday, June 10, 2012, September 7-9, 2012 Gordon Turk (from Suite No. 3) by Bach at the 8 am 7 pm, at the First Church of Christ, service. At 1:30 pm, a masterclass with Wethersfi eld, Connecticut. Q the three judges was held. For Information & David Spicer began as Minister of Music Application: The judges’ decisions and the Arts at First Church of Christ in High school division: fi rst place, Mary Wethersfi eld, Connecticut, in 1986. In 1996, he and Dr. Harold Robles founded the Albert Pan from Burlington, Connecticut, stu- Schweitzer Organ Festival. Spicer is a grad- First Church dent of Patricia Snyder; second place, Ja- uate of the Curtis Institute of Music, where cob Reed from Chapel Hill, North Caro- he studied with Dr. Alexander McCurdy, and of Christ lina, student of Wylie S. Quinn III. is a graduate of the Eastern Baptist Theologi- Young professional division: fi rst place, cal Seminary. Faythe 250 Main Street Christopher Ganza from Norman, Okla- We wish to express our deep gratitude to Freese homa, student of John Schwandt; second Frederick Hohman, who has been a judge for Wethersfield, CT 06109 place, Ian Tomesch from New Haven, these past fourteen years. Fred is resigning Connecticut, student of Thomas Murray; from this position. We owe him much for his firstchurch.org/asof great insight, guidance, and yes, humor! We third place, Justin Maxey from Rochester, shall truly miss him. It speaks volumes about 860.529.1575 New York, student of William Porter. him, and about the festival, that he was willing Ext. 209 Leigh and Betty Standish provided the to invest so much of his time, energy and talents $2,000 award for fi rst prize in the high to help encourage so many young organists. music@firstchurch.org school division. The young professional division fi rst prize of $3,500 was given Photos by David Gilbert

20 THE DIAPASON

Jan 2012 pp. 20-21.indd 20 12/13/11 8:56:44 AM Concert hall instrument: Practice instruments: Local community instruments: Ascension Organ Academy C.B. Fisk, 3 manuals, 35 stops Fisk, Holtkamp, Walker E.M. Skinner, Fisk-Schreiner, Flentrop, Tannenberg, Grooms & Payne, Austin June 20–25, 2011 Will Thomas

Timothy Olsen,RLUHUWYVMLZZVYVMVYNHU[email protected]

5,>;/0:@,(9/PNO:JOVVS6YNHU*VTWL[P[PVU – part of the UNCSA Keyboard Weekend Jan. 27–29, 2012. Prizes include cash and/or a full-tuition scholarship worth in excess of $12,000. For details contact Kenan Professor of Organ, Timothy Olsen at [email protected].

Front row: Lyudmila Sryochkina, Jon Gillock, Will Thomas; middle row: Benjamin Kolodziej, Eva Sze, Brian Glikes, Karen Schneider-Kirner, Scott Raab; back row: Peter Lynn, Dennis Keene, Arthur Lawrence

une 20–25, 2011 was a week full of break between classes, usually spent to- J high energy and excitement. Selected gether, allowed students and faculty the professional organists from around the opportunity to relax and converse. Dr. Gil- U.S. gathered for the fi rst annual Ascension lock autographed copies of his new book, Organ Academy at Manhattan’s Episcopal Performing Messiaen’s Organ Music: 66 Church of the Ascension, Fifth Avenue at Masterclasses. With the fi nal session end- Tenth Street, in the heart of Greenwich ing at 10:00 p.m. every evening, most Village. The academy was centered around participants went on very little sleep, as the church’s new Manton Memorial Or- they rose early for morning practice times. gan, built by Pascal Quoirin of St. Didier, Nonetheless, all players greeted each new France, which is the fi rst French-built day with fi re and drive, growing signifi - organ to be installed in New York City. cantly in the development of the advanced Containing approximately 6,183 pipes, 95 repertoire they performed. Ascension and stops, 111 ranks, and two consoles, the the faculty enthusiastically plan to con- instrument distinguishes itself as the larg- tinue offering this opportunity in a second est French organ built anywhere in almost organ academy in June 2012. Whatever 50 years. On this eclectic instrument with the topic, participants will undoubtedly widely contrasting color palettes, one can walk away with a fresh and inspiring mind- play a wide variety of organ works, using set that will strengthen their playing. the softest, gentlest fl utes to the strongest, Participants playing for the academy most powerful reeds. (See The Diapa- included Brian Glikes—Messiaen’s Dieu son, November 2011, cover feature.) parmi nous and Mendelssohn’s Sonata The academy’s theme was French rep- III; Benjamin Kolodziej—Franck’s Cho- ertoire, ranging from the early Baroque ral in E Major and Prelude, Fugue, and through Messiaen, although other works Variation; Arthur Lawrence—Franck’s could be requested. Led by Jon Gillock Choral in A Minor and movements from and Dennis Keene, participants in the Couperin’s Mass for the Convents; Karen academy had the opportunity to receive Schneider-Kirner playing Marchand’s outstanding coaching on two works they Grand Dialogue in C and Franck’s Final; had prepared—one for Gillock’s class, Lyudmila Sryochkina—Durufl é’s Pre- *)-PZR6W and the other for Keene’s. The Baroque lude from the Suite, op. 5, and Franck’s pieces were taught at the 3-manual Pièce Héroïque; Eva Sze—Durufl é’s Pre- tracker-action console, the Romantic and lude and Fugue on the Name of Alain, ‹4HZ[LY*SHZZLZ^P[OPU[LYUH[PVUHSS`YLUV^ULKN\LZ[HY[PZ[Z modern compositions on the 4-manual, and Messiaen’s Joie et Clarté des Corps electric-action, movable console. Glorieux and Le Mystère de la Sainte ‹7HY[ULYZOPW^P[O:HSLT*VSSLNLPUJS\KPUNYLN\SHY Each afternoon and evening was fi lled Trinité; and Will Thomas playing move- with high inspiration as Dr. Gillock led ments from Couperin’s Mass for the THZ[LYJSHZZLZ^P[O)HYIHYH3PZ[LY:PUR a class from 2:30 to 5:30 and Dr. Keene Convents and Alain’s Litanies. Q led another session from 7:00 to 10:00. ‹*V\YZLZPUZHJYLKT\ZPJPTWYV]PZH[PVU While trying to teach seven different stu- Will Thomas currently serves as the full-time VYNHUOPZ[VY`HUKSP[LYH[\YLHUKVYNHUWLKHNVN` dents playing fourteen different pieces in director of music and organist for Our Lady a daily six-hour time frame for fi ve days of Fatima Catholic Church, a 2,500-member ‹.LULYV\ZZJOVSHYZOPWZHUKNYHK\H[L[LHJOPUNHZZPZ[HU[ZOPWZ may seem like a daunting task for any in- parish in Alcoa, Tennessee, of the Knoxville structor, both Dr. Keene and Dr. Gillock Diocese. Thomas holds the Bachelor of Music degree in sacred music from Carson-Newman >HKL>LHZ[KLHU utilized every moment to the fullest, pro- College and the Master of Music degree in viding immeasurable amounts of knowl- organ performance from the University of edge and creative perspective. Tennessee Knoxville. His organ teachers have 2012 on-campus auditions: ‹7YVMLZZPVUHS(Y[PZ[*LY[PÄJH[L Though sessions at the console were included Michael Velting, Marilyn Keiser, ‹4HZ[LYVM4\ZPJ certainly down to business, the dinner J. Ryan Garber, and John Brock. 1HU -LI 4LYP[ZJOVSHYZOPW ‹)HJOLSVYVM4\ZPJ JVUZPKLYH[PVU -LI (WYPS  ‹*VSSLNL(Y[Z+PWSVTH ‹/PNO:JOVVS+PWSVTH The University of North Carolina School of the Arts is an equal opportunity campus of the UNC system.

Dance 0 Design & Production 0Drama 0 Filmmaking 0 Music

1533 S. Main Street Winston-Salem, NC 27127-2738 336-770-3290 [email protected] www.uncsa.edu

JANUARY, 2012 21

Jan 2012 pp. 20-21.indd 21 12/13/11 8:58:03 AM Jehan Alain—The American Festival Wichita State University Thomas F. Froehlich

Charles Sundquist, Wim Viljoen, Thomas Froehlich, James Higdon, Robert Bates, Ronald Wyatt, James Frazier, Jesse Eschbach

he Rie Bloomfi eld Organ Series 2011– ican Festival was born. After an hour of T2012 presented Jehan Alain, 1911– brainstorming, the entire symposium 1940: The American Festival at Wichita was planned! Charles Sundquist, Thomas Froehlich, Wim Viljoen, James Higdon, Lynne Davis, State University, September 28–30, 2011. Flash forward to 2011, and the festival Robert Bates, Aurélie Decourt, Ronald Wyatt, James Frazier, James David Christie, The following is a personal refl ection. took place nearly exactly as we had envi- Jesse Eschbach In January 2009, the church where I sioned. Our host was the Rie Bloomfi eld have been the organist for 34 years had Organ Series in its 2011–2012 season on a 20th birthday party for the organ in the campus of Wichita State University, our chapel. It was built by Dan Jaeck- home to a magnifi cent four-manual Mar- el and inspired by the choir organs of cussen organ. The room, Wiedemann Cavaillé-Coll, and we discovered quite Hall, around which the organ was built, accidentally that the stoplist is nearly was an inspiring venue for the concerts identical to that of the choir organ at the and recitals. Both were built exactly 25 Alain family church in St. Germain-en- years ago in 1986—another anniversary Laye. That being the case, we decided to celebrate. Across the street, the lec- to make the 20th-anniversary concert tures and dialogue among festival par- an “Alain Family Evening,” with mu- ticipants took place in the Grace Memo- sic composed by, and in honor of, the rial Chapel. The small room provided an Alain family. Organists participating intimate setting for these events without were Lynne Davis, George Baker, Jesse the need for any amplifi cation. Eschbach, and I, all former students of Marie-Claire Alain. Wednesday, 28 September 2011 The next morning, basking in the af- The fi rst event of the celebration was terglow of what had turned into a magi- the brilliant opening recital—and a fes- cal evening, Lynne Davis commented, tival highlight—on the 1986 Marcussen “You know, 2011 is the centennial of by Lynne Davis, Associate Professor Jehan Alain’s birth—somebody ought of Organ at WSU, who holds the Ann & to do something.” I replied, “Why don’t Dennis Ross Endowed Faculty of Dis- you?” Instantly Jehan Alain—The Amer- tinction in Organ Chair. The substantial

Lynne Davis and Aurélie Decourt

Aurélie Decourt, Lynne Davis, Norma Stevlingson, John Grew

program, entitled “Jehan Alain and the ease. It opened with the Vierne Tocca- Evolution of the French Tradition,” was ta, followed by Franck’s Pastorale. The physically and musically demanding, but fi rst half ended with Jehan Alain’s Trois one that Ms. Davis handled with great Danses. After intermission was the Alain

22 THE DIAPASON

Jan 2012 pp. 22-23.indd 22 12/13/11 9:01:07 AM Patrick Harms, Sylvia Coats, Scott Oakes

Women’s ensemble, James David Christie at the console, John Paul Johnson

Jen Wieman, Becky Keraly, James David Christie

Alain for two pianos (followed by a per- formance of the original organ version). Organists for the concert were Lynne Davis, James David Christie, Jesse Aurélie Decourt Eschbach, and Thomas Froehlich. String ensemble, Thomas Froehlich at the console, Mark Laycock Suite pour Orgue and, in closing, the Friday, 30 September 2011 Dupré Variations on a Noël. The morning began with another plenty of good food and time for social- can. He earned a master’s degree from North- western University, studying with Wolfgang lecture by Aurélie Decourt, “Jehan izing! Certainly all who were present left Rübsam. Other teachers have included Anton Thursday, 29 September 2011 Alain: His Creative Musical Inspira- having had an intimate encounter with Heiller and Jean Langlais (improvisation). Keynote speaker for the conference tion,” which expanded on the two pre- Jehan Alain, with his music, and with the During his second tenure in Paris he served as was Aurélie Decourt, niece of Jehan sentations made the previous day. Time legacy of the entire Alain family. Q organist/choirmaster at St. Michael’s Anglican Alain and daughter of Marie-Claire was spent discussing sources, looking at Church, where he oversaw the installation of Alain, and a noted musicologist in her manuscripts, etc. This led beautifully Thomas F. Froehlich graduated cum laude their Kern organ and subsequently adminis- own right. Her opening presentation, into a spirited dialogue between Nor- with a Bachelor of Music degree from Law- tered a recital series. He has served as organ- “Jehan Alain: Musician and Poet,” part ma Stevlingson and Jesse Eschbach rence University in Appleton, Wisconsin, ist at the First Presbyterian Church of Dallas 1, dealt with biographical details as well entitled “New Editions, Critical Notes, where he was a student of Miriam Clapp Dun- since 1977. as personal refl ections on the Alain and Anecdotes,” and also opened up the family and of their home life in St. Ger- fl oor to seminar participants. main-en-Laye. After a break, part two After lunch was another former-stu- of her talk centered on Jehan Alain’s dent recital, this time featuring James multi-faceted personality and how this Higdon, Robert Bates, Wim Viljoen, infl uenced his creative output in music, and Charles Sundquist. The afternoon drawings, and writings. ended with a panel discussion centered After lunch, Lynne Davis gave a pre- on understanding Jehan Alain through sentation on the Alain family’s organ, now the teaching of Marie-Claire Alain. housed in Romainmôtier, Switzerland. Panel members were several of her close She started by showing the DVD on the friends and former students. Lynne organ produced by Guy Bovet and the Davis was the moderator for the panel, Alain Association, and then opened the which included Thomas Froehlich, fl oor to a general discussion, questions James Higdon, Norma Stevlingson, and answers, and general comments. John Grew, and James David Chris- The next event was a musical one, tie. Aurélie Decourt also participated. the fi rst of two recitals featuring the The evening concert took place at complete works of Jehan Alain, played Century II, the Wichita convention cen- by former students of Marie-Claire ter, which houses the famous Wurlitzer Alain on the Marcussen organ. Organ- organ built for the Paramount Theatre ists participating were James Frazier, in New York. Resident organist James Jesse Eschbach, Ronald Wyatt, and Riggs presented a program of music Thomas Froehlich. Following the re- celebrating the 100th anniversary of cital was a gala cocktail reception at the the birth of Tin Pan Alley and the Big WSU “Ulrich Museum,” which houses Band Era. the famous mural by Joan Miró. The Sincere thanks go to James David campus of WSU is home to one of the Christie for his invaluable help and in- most important outdoor sculpture col- sight in organizing the Thursday night lections in the world. concert as well as to Rodney Miller, Dean The gala recital that evening, “Autour of the College of Fine Arts at WSU, for de Jehan Alain,” featured students and his invaluable support. Hearty congratu- faculty from the WSU School of Music, lations and thanks are due to Lynne Da- and included vocal, choral, and instru- vis, who had both the vision and stamina mental music of Jehan Alain. Of greatest to organize a symposium that was incred- interest to the organists were the origi- ible in every detail. The lectures were nal version of the Intermezzo for two both fascinating and informative, and the pianos and bassoon (followed by Jehan music was memorable, inspirational, and Alain’s own arrangement for organ) and at times even spiritual. Not only were we an arrangement of Litanies by Olivier nourished musically, but there was also

JANUARY, 2012 23

Jan 2012 pp. 22-23.indd 23 12/13/11 9:02:20 AM The Last Vestiges of M. P. Möller? Recent visits to Hagerstown spur 20-year-old recollections Randall S. Dyer

ven as Bynum Petty’s anticipated Hanson, chairman of the board, were E book on the life of Mathias Peter qualifi ed to guide Möller and set qual- Möller and the early years of the com- ity standards. pany he founded nears completion, what may have been the last chapter of or- Years of decline ganbuilding at 403 N. Prospect Street in But the union was only one of the Hagerstown, Maryland, was playing out problems at Möller. As the decade of during a cold week in March 2011. On the 1990s dawned, organ industry stat- January 5 of that year, as our crew was istician Robert Ebert would continue to working in northern Virginia, removing track a decline in overall organ industry an organ for rebuilding, I made a quick sales; there was no question that a seri- trip to Hagerstown to take pipes for re- ous recession was at hand. pair at Eastern Organ Pipes. Their busi- Internal documents would later reveal ness has always been located in a part a company frantically struggling to main- of the old Möller plant. Having visited tain the place it perceived for itself in it in bygone days, the church’s organist, the industry while trying to fi gure out a who had played Möller organs for years, way to make a profi t, something that had wanted to go along to visit what remained been elusive for a long time. In the most of the once-proud factory again. Hanging on the corner of the former office building at 403 N. Prospect, the sign for recent six-year period, losses had ranged Eastern Organ Pipes is the last reminder of organ work in the building. Just beyond from a low of $475,000 to as much as Fire the office is the Möller Company’s famous erecting room. $1.7 million. Healthcare was running Back on the job site loading our truck nearly 10% of sales. the next day, I received a late-afternoon The new owners, a consortium of busi- phone call from long-time friend Da- nessmen with backgrounds in managing vid Bottom of Lexington, Kentucky. He other companies, launched into an effort didn’t even say hello. “Are you in Hag- to bring Möller around. Meetings were erstown, watching the fi re?” His words held with mid-level management and sent cold chills down my spine because I shop foremen. As late as December 1991, knew immediately that he was referring a “Strategic Action Plan” outlined 26 to our mutual interest, the old Möller areas of potential improvement, and ex- factory, the nooks and crannies of which plored ways and timelines for dealing with we both had plied for years. Beyond the them in the new year. The vision, entitled immediate concern for the safety of our “Möller Number One,” was for Möller to friends there, my mind eventually turned be “the undisputed Number One builder to replacing the pipes I had left, which of pipe organs” in the world. must surely have been consumed; after all, the last I saw them, they were in the Obstacles to success room next to where the fi re was reported The list of obstacles to success includ- to have started. ed “trying to be all things” to a very broad During the course of the next several customer base (which included tracker days, it became apparent that the media, organs); “poor product documentation” as is typical these days, had greatly over- within the factory (resulting in rework played the seriousness of the situation. costs when details were changed after an An eventual phone call to Hagerstown organ was under construction); general revealed that my pipes were fi ne. Most “resistance to change” at all levels; and of the damage had been confi ned to the confl icts between “customization and spray booth area and the fl oor immedi- standardization” (the big organs versus ately above it, all located in a cheaply the little ones). constructed wooden addition to the back View of the burned area from the south, looking back toward the spray booth. Rick Committees were appointed to deal of the main building. Though hampered Morrison is taking notes and talking on the phone at the far end of the room. with things as mundane as open pipe by an inoperative sprinkler system, ap- seams, resulting from use of green (un- parently disabled without warning at cured) metal; diffi culty attaching reed some past date, the fi re department had barrels to blocks because of dirty sol- done a heroic job. Only smoke permeat- der; and old worn-out machinery that ed the workspace, and most of the water needed to have cutting parts adjusted damage was confi ned to a few inches of and sharpened. Apparently one very se- depth in the sub-basement casting and rious problem was inadequate fi tting in cut-out areas. the erecting room, which was resulting in diffi culties at the installation site. A Möller closing suggested solution was to appoint factory For those who may not remember, installation teams that would follow the the M. P. Möller Company abruptly organs through fi nal assembly right on ceased operation on a Wednesday in to site completion. Major remodeling to April 1992. With the business no longer the Prospect Street plant, or even a com- in family hands, the new owners had be- pletely new factory, was also suggested to come weary of the constant injections of improve manufacturing fl ow. cash required to keep it afl oat. Employ- In the sales department, new advertis- ees were called into the erecting room ing initiatives were studied. Executive at the afternoon break, and told there summaries cheered major advancements was no money in the bank to meet the in quality, but recognized the need to following day’s payroll; they were free to cover the extra cost involved while re- go home. maining competitive. At the same time, There had long been tension with the fi ascos on several high-profi le projects, union. A bitter twelve-week strike in including St. James Church in New York 1984 ended with the resignation of the City, were readily admitted to have re- president, Kevin Möller, grandson of the sulted in a loss of client base. And a two- founder. Peter Möller Daniels, another manual, 25-rank tracker organ in Texas grandson, followed in the president’s of- ran $175,000 over budget! fi ce. But sparring with the union contin- To help bring fallow territories back ued, and on 25 July 1986, Daniels asked into the fold, a strategy was detailed for them to take a 75 cent per hour pay cut, wooing a lengthy list of formerly friendly, and eliminate three paid holidays, this a well-known organists and consultants. refl ection of Möller’s 69% loss of market Proposed methods included luncheon share over the previous year. The union invitations, visits to “show organs,” and refused; the company cut the workweek trips to see the factory. Field represen- to 32.5 hours. tatives were encouraged to join as many On 13 August 1986, the board abruptly AGO chapters in their territories as pos- placed Peter Daniels on administrative sible, in order to hear of new prospects. leave, and appointed the fi rst non-fam- It didn’t help that Wicks was offering a ily member, Ronald Ellis, as president. special 10% discount on outstanding While Ellis made conciliatory offers to proposals signed before the end of 1991, the union, and was rebuffed, Daniels and Zimmer was known to be nearly 50% made his displeasure with everything View from the loading dock area facing south toward the spray booth: in the center under the Möller pricing—both fi rms known in the local newspaper, stating of the picture, the source of the January 2011 fi re. Daylight at the top of the picture were regarded as serious competition, that he didn’t believe Ellis and Henry is from an open hole burned in the ceiling of the room. particularly in the small organ market.

24 THE DIAPASON

Jan 2012 pp. 24-29.indd 24 12/13/11 9:03:58 AM Joe Frushour’s work bench in the second fl oor metal pipe area. With only a dust- ing of smoke, this space was not otherwise damaged. A picture of the same area, remarkably similar in appearance, is found in Junchen, Encyclopedia of the Theatre Organ, Vol. 1, p. 396.

Without power in the building, the elevator was unusable. By removing the railing on the second fl oor balcony, a fork truck was able to lift down heavy materials from the pipe shop area behind the camera. Brad Jones is loading a small Pexto shear. The author is operating the fork truck.

of building the parts would be farmed Eastern Organ Pipes, formed by out on a piece basis to a group of small Frederick (Rick) Morrison, Alvin (Jack) Patterns on the wall hang over the shallot-making area companies remaining in the building. Rogers, Delphin (Joe) Frushour, and These fi rms were also free to sell directly Dave Keedy, was the pipe-making arm of to the trade under their own names. the operation. All of the principals had

Fred J. Cooper Memorial Organ Series Jeremy Filsell, organ

Sat, Jan 21, 3pm An empty Möller pipe box on the fl oor of the erecting room. Church pews at the Verizon Hall back of the photo are stored by another renter. Attempts to revive the company mined that it would. Tempers fl ared. Un- RACHMANINOFF: Etude-Tableau Following the April dismissal in the der-the-breath remarks were exchanged. Op. 39, No. 9 in D major erecting room, several attempts were And in spite of the terms outlined in the DUPRÉ: Prelude & Fugue in E minor, made to revive the company. A letter sales brochure, the auction company did Op. 36, No. 1 from Paul Coughlin, chairman of the a poor job managing dispersion of sold BOSSI: Giga Op.73 board, to contracted clients dated 12 materials. Even bulky items, including DUPRÉ: Prelude & Fugue in A-flat, August 1992, thanked them for their pa- lumber and brass, disappeared before Opus 36, No. 2 tience, and talked of progress on an em- the true buyers were able to present ployee-sponsored buyout. But employ- their paid receipts and get their trucks SOWERBY: Prelude on “Were You ees were apparently not pleased with the backed up to the door. There?” idea of mortgaging their personal prop- Items we bought are still in use in DUPRÉ: Prelude & Fugue in C, erty to secure the necessary bank loans. our shop, including one of the swing- Op. 36, No. 3 Ultimately, no solutions were found; as arm drills from the chest department, RACHMANINOFF: Symphonic Bruton Parish Church threatened le- an adjustable-height table, which works Dances, Op. 45 gal action for return of a contract down well with that drill, and several four- payment, it appeared there would be no wheel factory-style carts. The 900 wood- more work at 403 N. Prospect Street. en drawknobs were all used after being “Filsell’s astonishing interpretative turned down by Jan Rowland to a style and technical skills make for Public auction that belied their ancestry. compulsive listening…few British A four-day public auction, attended by players can match his flair.” an estimated 2,100 people from around Another revival attempt —Gramophone, London the country, commenced in the world’s Much of the equipment and stock largest pipe organ erecting room at 9 am was purchased by Paul Stuck, a Chicago on Wednesday, 13 January 1993. Like the businessman with a vision of continu- documents in the offi ce suite, personal ing to build organs in Hagerstown, us- items—tools, calendars, apparel—left by ing the available pool of talent there. the employees were still in place the day Great hype was made of the fact that On Sale Now! of the sale as if to bear evidence of their he bought the Möller name, fi les and owners’ quick departure. “trade secrets,” whatever those might kimmelcenter.org 215.893.1999 The event resembled a feeding frenzy have been, for $50,000. in a shark tank. Those whose agenda was Operating under the corporate name sponsored by: to make sure organbuilding equipment King of Instruments, his umbrella com- would not be used again in a competi- pany was to handle sales, assembly, in- tive way bid against those equally deter- stallation, and service. The actual work

JANUARY, 2012 25

Jan 2012 pp. 24-29.indd 25 12/13/11 9:04:21 AM One of the ABF pup trailers is parked at the back loading dock, adjacent to the area of the January fi re. Remnants of the spray booth exhaust fan hang out of the build- ing. The back side of the original southwest building, dating from 1896, complete with Möller sign, clearly shows the extent of deterioration.

worked in the Möller factory, either as 1995, Stuck’s operation had crashed, pipemakers or as voicers, and they were and a second, though much smaller, joined by several other former Möller auction was held to liquidate his bank’s employees as helpers. The fi rm occupied holdings. This time we bought the three fl oors in the metal pipe shop area knee-panel bending jig, but once again north of the erecting room and directly churches lost down payments, and or- behind the offi ces and engineering de- gans in process were left to be fi nished partment. Casting and cut-out remained by others. in the basement of the same building. Large pipe rolling, pipe-metal planing, Post Möller and the spray booth were on the former Eastern and the chest/console group, loading dock along the Pennsylvania Hagerstown Organ Company, fl our- Railroad spur that had brought in rough ished in their own right. Former Möller Items brought down from the second fl oor pipe shop are arranged for placement on lumber and carried off completed organs representatives and service personnel one of the ABF trailers, in the world’s largest pipe organ erecting room. The large in years past. seeking “in-style” equipment to enlarge window is visible in the picture of the front of the building. Junchen, vol. 1, has Within 18 months, trouble was brew- or rebuild existing Möller organs, were several pictures of the erecting room; in the photo on page 397, the photographer of ing again. When Stuck failed to pay frequent clients of both fi rms, but a fol- this picture was standing near the balcony door in the center left of the picture. back rent totaling $20,000, building lowing of others, including ourselves, owner Vincent Groh sued. By April also developed.

The largest piece moved, a 10-foot Pexto power shear, is pulled up a ramp from the basement, chained to the fork truck. Mounted on machinery movers (visible in the photo on the far end of the machine) it was moved past the fi re area to the trailer, by shoving with the fork truck. Once staged facing into the trailer, the fork truck had to get into a narrow corner behind it, and side shift it onto the trailer in 18-inch movements.

At the time, we were looking for an al- After the fi re ternate domestic pipe supplier, and wel- In the aftermath of the following comed a new source. Beginning almost day’s fi re, however, enthusiasm began immediately, many ranks of reed and to wane, and the owners, all nearing fl ue pipes were purchased from Eastern or past retirement age, eventually de- and installed in our organs. They also did cided to accept the insurance compa- excellent repair of existing pipes. We de- ny’s buy-out offer. The equipment and veloped a close working friendship with materials of Eastern Organ Pipes were everyone there, and got quality products sold to the highest bidder by a Geor- in return. Since our vehicles make trips gia salvage broker on Friday, 18 March up and down I-81 multiple times a year, 2011, at 12 noon. stopping in Hagerstown for a pick up or The winning bid was proffered by drop off was routine. Oyster Pipe Works, of Louisville, Ohio. During our January visit, Ed had Fred Oyster, a former reed voicer at an- rounded out a couple of large pipes other fi rm, is well known in the industry, while Lana looked up something in our and in recent years has been successful fi le. We watched Gary beat Oboe reso- in establishing his own shop. A friend nators around a mandrel, and Cindy was and colleague for many years, we had en- washing a new set of beautifully made couraged his bid, and we gladly jumped Rohrfl öte pipes she had just fi nished. in to help expedite removal of the con-

26 THE DIAPASON

Jan 2012 pp. 24-29.indd 26 12/13/11 9:05:34 AM Ignominous end: Replaced by Möller in the late 1980s, stripped out parts of the 1960 Reuter console from Belmont United Methodist Church, Nashville, Tennessee, litter the fl oor in the far southeast second fl oor room of the console department. The locker contains a shirt and two jackets left over from the 1992 sale. This room is pictured in Junchen, Vol. 1, p. 400, bottom right.

tents, happy to think the tooling would book, The Encyclopedia of the Ameri- still be used to make pipes. can Theatre Organ. One is immediately Beginning at 7:30 am on Tuesday, 22 taken by the organization and fl ow of March, our crew from Tennessee swept materials through the place in its hey- the broken glass from the parking lot, day. An insurance drawing of the build- made arrangements for a portable toi- ing shows the vastness of the space, at let, and backed our truck up to the dock one time totaling more than 125,000 door to unload packing materials and square feet. The quantity of completed supplies. In the darkness of the building, work that moved through the plant, at condemned and without heat or power, one time as many as 30 organs a month, we began a clean-up of fi re damage, is almost incomprehensible. wearing dust masks and hard hats, and Before leaving Hagerstown, I took one using generator-powered string lights in last trip around a decaying old building order to see. through which I will probably never walk In a room lit with one drop light, Fred Oyster explains his theory of loading a 14-foot- By the time Fred and helpers from again. That it still stands seems a minor long slab of marble onto the four-wheel truck to its right. Fred’s son Nate stands at Ohio arrived after lunch, we had also ar- miracle, given the broken windows, roof the back with a miner’s light on his helmet. An earlier view of this room is found in ranged for a forklift truck to bring heavy leaks, sagging fl oors and crumbling brick. Junchen, Vol. 1, p. 400, bottom left. items down from the second fl oor pipe- Though technically “locked,” graffi ti in making room. What followed for the next remote areas testifi es that in fact, it is Driving away in a truck laden with tute of Organbuilders. Now in its 38th year, the Institute meets regularly in conventions three days was fast and intensive work in quite open, and one suspects that shady nearly 10,000 pounds of pipe mandrels, and seminars throughout the United States a building that was leaking rainwater and people roam it at will. I was struck by the idea that the last and Canada, during which attendees have an cold wind through multiple openings in Floor after fl oor reveals organ parts chapter of active organ building at 403 opportunity to meet and exchange ideas with walls and roof. On the third morning it of various descriptions, all old, many left N. Prospect Street had probably just colleagues and suppliers, as well as to hear was 32 degrees inside and out. from the fi rst sale in 1992. Chests, pipes, closed. But until such time as the build- technical lectures, visit organ shops and see Two pup trailers were staged by ABF and disassembled consoles are strewn ing might be completely demolished and local instruments of interest. Information is Motor Freight, one in the space of the throughout the space in a helter-skelter hauled away, vestiges of M. P. Möller will available at . former center bay on the south side of manner. In a dirt basement of the west remain. Somewhere in that vast space the erecting room. This section—the building, tucked up under the fl oor joists, there will always be some reminder that With his wife Lou Anna, Randall Dyer owns fi rst erecting room, but more recently is a long-forgotten and very strange look- organbuilding once took place within its and operates Randall Dyer & Associates, Inc., the rough wood mill and zinc pipe area— ing green Kinetic blower, actually two walls, even if only a random screw, stuck of Jefferson City, Tennessee, . The fi rm specializes in the high was torn down about two years ago be- blowers on one frame, connected in the between two planks in the fl oor. Q quality construction of electric-actioned pipe cause of serious structural problems, but middle to the motor by a belt drive. At organs, using slider-and-pallet chests, and in the concrete fl oor pad remained. Though one time it provided wind for voicing This article fi rst appeared in the Journal selective rebuilding of existing instruments of the fork truck barely fi t through the door rooms on the south side of the erecting of American Organbuilding (June 2011, Vol. good manufacture. Dyer was Convention Co- to the outside, a milling machine, sev- room. Never again. 26, No. 2), published by the American Insti- ordinator of AIO for 17 years. eral large old drill presses, a gigantic old bandsaw, three Pexto shears of varying size, and myriad patterns, sticks, tables, miscellaneous small tools, mandrels, and THECOMPLETEORGANWORKS OF voicing machines all made a quick trip down to the fi rst fl oor and eventually out to the trailer. And nothing was dropped or damaged in the process. Upon completion of work in the erect- Jean Langlais ing room, the fork truck was moved to the back of the building and brought ANN LABOUNSKY, ORGAN in through another tight-fi tting door. It spent the next two days lifting pipe- metal plane, 10-foot Pexto power shear (more than 5,000 pounds), casting table, “I have just learned that the recordings of my organ and two rolling machines onto the sec- music will happen. This is the greatest joy of my ond pup trailer, which was parked imme- life and it is to you, dear Ann that I owe this.” diately adjacent to the source of the fi re. — JEAN LANGLAIS Several of the items had to be pulled up a makeshift ramp on machinery movers OCTOBER, 1978 to get to the working fl oor level. A week after commencement of re- moval, everything was in Ohio, under- NOW AVAILABLE going setup in Fred’s building where mandrels were put to immediate use; in less than a month’s time, pipe metal was The Complete Organ Works of Jean Langlais, a collection being planed there. We lament the pass- ing of Eastern Organ Pipes, while con- of 26 CDs with accompanying book. The definitive recordings gratulating Oyster Pipe Works on their made under the direct supervision of the composer by acquisition; a greatly enhanced and more Ann Labounsky, leading American disciple and author effi cient production capability there will of his biography and DVD. be the result. Möller—then and now For more information or to purchase your collection visit: Returning home to Tennessee, I voixduventrecordings.com looked through the pictures of the Möller factory in David L. Junchen’s

JANUARY, 2012 27

Jan 2012 pp. 24-29.indd 27 12/13/11 9:06:01 AM Cover feature

Parkey OrganBuilders, Duluth, Georgia Cathedral of St. John Berchmans, Shreveport, Louisiana October 2011 marked the comple- tion of the new pipe organ by Parkey OrganBuilders for the Cathedral of St. John Berchmans, Shreveport, Louisiana. St. John Berchmans had embarked on a major building restoration in 1992, just a few years after becoming the cathedral for the newly created Diocese of Shreve- port. The 1992 restoration included plans to build a new organ for the church, but for various reasons, though the pipe or- gan was signed for and partially built, the instrument was never completed. More than 15 years later, after the renovation was completed, the cathe- dral, under the direction of the rector, Father Peter Mangum, and the newly appointed director of sacred music and organist, Justin Ward, set itself a goal of expanding the cathedral music program, to include evaluating and completing the organ project. The cathedral secured the services of James Dorroh of Birmingham, View of Great pipework Alabama, as an organ consultant to help achieve the goal of creating an organ that would visually complement the architec- ture of the building and tonally support both choral and congregational singing. The organ committee recognized the need for such an organ to provide sacred music in a way that would augment the worship experience for parishioners in addition to providing a cornerstone in- strument for the community. The organ committee quickly nar- rowed the list to three very capable fi rms, and in the summer of 2010, the committee chose our fi rm to complete the organ project. We worked directly with Mr. Ward and Dr. Dorroh to refi ne the initial specifi cation drawn up by Dr. Dorroh to create a sound that would fi t the needs of the cathedral. Because the Looking across the console to the Great/Pedal case choral program remains the center of music for the cathedral, we had to tailor our design for the most effi cient utiliza- tion of space possible in the gallery. The new organ stands in two matching cases within the same footprint allocated for the organ in 1992. Swell fl ue and reed pipework To accommodate any number of sing- ers and additional musicians, the organ was designed with a movable console, which of course dictated the need for some sort of electric action. Our fi rm is comfortable in working with both electric and mechanical actions. When tracker action is not possible, we recom- mend the use of electro-pneumatic slider chests. Our windchests and winding sys- tems are designed and built completely in-house. Using computer-aided design (CAD) software systems and computer numerically controlled (CNC) router machinery, we have developed an ef- fi cient and effective slider chest design for a clean and responsive action. The winding system is engineered based on single-rise reservoirs for a steady, fl uid wind supply but with a gentle fl ex to pro- vide life to the singing line of the organ. In addition to the mechanical design of the organ, our CAD systems have been instrumental in providing exten- sively scaled rendering work, so that the client can see and experience the visual design of an organ before anything is ever committed to materials. View of Swell Voix Humaine, Hautbois, As the organ is a musical instrument and Flute a Cheminee capable of a strong visual and aural state- ment, we work to combine the art of sight and sound together. Michael Mor- ris of our staff provided the visual design, which included retaining materials from the previous organ and expanding the case to house the new organ. In his de- sign, one notes the core of the previous case combined with the essence of visual design seen in organbuilding of the early 1900s. Case details were shifted from the contemporary look to a much more tra- ditional gothic format consistent with the architecture of the cathedral. A majority of material was retained from the previ- ous case, though some parts are easily recognizable and some vastly changed. Side view of the Swell/Choir case Console side details

28 THE DIAPASON

Jan 2012 pp. 28-30.indd 28 12/13/11 9:07:03 AM View of altar area on the south end of the nave View of Pontifi cal Trumpet looking up from the Great/Pedal service ladder an extensive renovation of the ceiling in the main portion of the nave, in order with the new tonal design of the organ. to install hard surfaces over the previ- The remaining organ is completely new, ous acoustically absorbent ceiling. The with custom scaling for the space. acoustical response in the room was In addition to the challenge of work- greatly improved. The room now readily ing with an existing organ, the cathedral supports the organ’s warmth and clarity realized the needs of working within an equally throughout the nave. existing space. Though the organ enjoys Our conversations with Justin Ward an excellent position for tonal egress in and James Dorroh focused on the need the room, the nave presented some ob- for the organ to lead choirs and congre- stacles in terms of sonic refl ections. Af- gations in music for the worship service. ter consultation with Dennis Fleisher In recent years the Catholic Church has of MuSonics, the cathedral underwent ³ page 30

Parkey OrganBuilders Opus 12 PEDAL Cathedral of St. John Berchmans 32′ Subbass (12 notes) digital Shreveport, Louisiana (ext of 16′ Subbass) 16′ Principal (1–24 in façade) 32 pipes ′ Looking across the console to the Choir/Swell case GREAT (unenclosed) 16 Subbass 32 pipes 16′ Violone (1–12 in façade) 61 pipes 16′ Violone Great 8′ Principal (1–12 in façade) 61 pipes 16′ Bourdon Swell 8′ Bourdon 61 pipes 8′ Octave 12 pipes 8′ Violone 12 pipes 8′ Flötenbass 12 pipes 4′ Octave 61 pipes 8′ Violone Great 4′ Spitzfl öte 61 pipes 8′ Flute a Cheminee Swell 2′ Super Octave 61 pipes 4′ Choral Bass 32 pipes 1 1⁄3′ Mixture IV–V 281 pipes 4′ Flute 32 pipes 2 8′ Trompete 61 pipes 2 ⁄3′ Rauschquinte IV 128 pipes 8′ Pontifi cal Trumpet 61 pipes 32′ Contra Posaune (12 notes) digital (horizontal inside Gt/Ped case) (ext of 16′ Posaune) Chimes (37 notes) digital 16′ Posaune 32 pipes Cymbelstern (existing) 16′ Basson Swell 8′ Trompete 12 pipes SWELL (enclosed) 8′ Hautbois Swell 16′ Bourdon 12 pipes 8′ Pontifi cal Trumpet Great 8′ Flute a Cheminee 61 pipes 8′ Viola Pomposa 61 pipes COUPLERS 8′ Voix Celeste GG 54 pipes Swell to Great 16 4′ Principal 61 pipes Swell to Great 8 4′ Cor de Nuit 61 pipes Swell to Great 4 2′ Octavin 61 pipes Choir to Great 16 2′ Plein Jeu IV–V 281 pipes Choir to Great 8 16′ Basson 12 pipes Choir to Great 4 8′ Trompette 61 pipes Chancel on Great 8′ Hautbois 61 pipes 4′ Clairon 61 pipes Swell to Choir 16 8′ Voix Humaine 61 pipes Swell to Choir 8 (separate wind and tremulant) Swell to Choir 4 Tremulant Voix Humaine Tremulant Great to Choir 8 Swell 16 Chancel on Choir Swell Unison Off Swell 4 Great to Pedal 8 Great to Pedal 4 CHOIR (enclosed) Swell to Pedal 8 8′ Prinzipal 61 pipes Swell to Pedal 4 8′ Holz Gedeckt 61 pipes Choir to Pedal 8 8′ Spitzfl öte 61 pipes Choir to Pedal 4 8′ Spitzfl öte Celeste 49 pipes Chancel on Pedal 4′ Octav 61 pipes 4′ Koppelfl öte 61 pipes Great/Choir Transfer (moves divisional pis- 2 2⁄3′ Nazat 61 pipes tons as well) 2′ Superoctav 61 pipes 2′ Blockfl öte 61 pipes Transposer 3 1⁄5′ Terz 61 pipes 1 1⁄3′ Quinte 61 pipes Total stops = 57 2 ⁄3′ Zymbel IV 244 pipes Total ranks = 55 8′ Cromorne 61 pipes 8′ Pontifi cal Trumpet Great COMBINATION ACTION Tremulant Solid State Organ Systems Case and console details Harp digital 100 memory levels Celesta digital 12 general pistons, thumb and toe Choir 16 8 divisional pistons, manual, thumb only The side façades provide a magnitude Since part of an earlier organ existed, Choir Unison Off 6 divisional pistons, pedal, toe only of scale for the space: where the previ- the organ committee challenged us to Choir 4 Great to Pedal reversible, thumb and toe ous organ case was based on the use of 8′ retain parts of the existing instrument. Swell to Pedal reversible, thumb and toe pipes, the new cases are based on the 16′ In reviewing the uncompleted organ, we CHANCEL (unenclosed) Choir to Pedal reversible, thumb and toe Principal and Violone. The use of poly- found that there were mechanical supply 8′ Gedeckt 61 pipes Cymbelstern reversible, thumb and toe chrome details combines with the colors parts that could be retained without sac- 4′ Rohrfl öte 61 pipes 32′ Subbass reversible, toe only of the nave for a more complete marriage rifi cing the integrity of the instrument. 32′ Contra Posaune reversible, toe only of organ case and room architecture. Unfortunately, the pipework did not of- Sforzando reversible, thumb and toe General Cancel, thumb only Careful attention to detail was provided fer such an extensive array of options. Reverse piston for sequencer, thumb and toe throughout the project. Details range While we did retain some pipework, Solid State Organ Systems “Any Piston Next” from the turned wooden drawknobs to it was limited to four ranks that were sequencer the 18k gold leaf accents in the case. rescaled and revoiced to be compatible Movable console

JANUARY, 2012 29

Jan 2012 pp. 28-30.indd 29 12/13/11 9:07:35 AM ³ page 29: Parkey cover feature New Organs

Blessing of the new organ at delivery

further recognized the contribution of the pipe organ as the main instrument for the Catholic Mass. Dr. Dorroh and I discussed the role and infl uence of the Baroque revival in America, and the infl uence of leading clarity common to the German Baroque organ. Those J.H. & C.S. Odell, East Haddam, tension of the Great Trumpet rounds out traits were combined with aspects of Connecticut the additions to the division. The Pedal is the weight and presence of the French Opus 649, Orange Congregational further fi lled out through selective bor- Grand Orgue of the late 1800s. The re- Church, United Church of Christ, rowing of manual stops. sult is an organ that can skillfully handle Orange, Connecticut We would like to thank the members the full range of organ literature, from The Woodruff Memorial Organ, our of Orange Congregational Church who soft and subtle to large and fi ery. How- Opus 649, is the fi rst Odell organ in made this project possible, including ever, the use of moderate pressures and over 100 years to return to slider wind- all the donors, the organ committee, large scales keeps a refi ned and un- chest construction. Equally important and the pastoral staff. We would like to forced sound. is that this organ expresses a new unity thank most especially the church mem- Mixtures are carefully terraced and of artistic vision. All aspects of the tonal bers who worked closely with us and balanced to defi ne the chorus with a sil- design—specifi cation, stoplist, pipe waited so patiently in order to make the very clarity without becoming abrasive. scales, and especially voicing—were project a success: Bradford Elker, Brad- Power and brilliance are also supported conceived and realized entirely by Ed- ford Gesler, Ronald Barber, minister by the use of French reeds in the Swell ward Odell. We think the result is fresh Stoddon G.N. King, and church organist division. The Cavaillé-Coll-scaled 8′ Voix and exciting. Bryan Campbell. Humaine was featured in the Franck Cho- Case details being machined on the The tonal design of the organ does —Edward Odell ral in proper context during the dedica- CNC router not easily yield to a classifi cation. For tion recital. The Pontifi cal Trumpet is of the modern church organ, our intent is J.H. & C.S. Odell ample scale to carry in the room over full staff and suppliers who have made this to look fi rst to classical design principles. Opus 649, Orange Congregational organ, yet it manages chords easily with an overwhelming success. This calls for a complete principal cho- Church, United Church of Christ a majestic elegance. The 8′ fl utes possess Please feel free to contact us at rus in the Great, scaled and voiced in individual color and personality and are , or contact correct proportion to the space and use, GREAT ′ 16′ Bourdon (ext) also enhanced with carefully balanced 4 the cathedral for further information. and whose rightful priority is the leading 8′ Open Diapason fl utes in each division. Two independent Visits can be arranged with Justin Ward of congregational song. This is comple- 8′ Bourdon manual Principal choruses are provided at the cathedral. mented by a true 8′ Gamba, which was 8′ Gamba in addition to full mutations in the Choir. —Phillip K. Parkey created from the original Möller Dul- 4′ Octave The 8′ Viola Pomposa and 8′ Flute a President and Tonal Director ciana by increasing its scale several half 4′ Flute Cheminee provide the foundation sup- Parkey OrganBuilders tones, by careful raising of the cutups, 2′ Super Octave III Mixture (draws 2′) port for the Swell division. The dynamic and by slotting. The division also in- ′ terracing allows for a smooth buildup of Staff cludes 8′ and 4′ fl utes, stopped and open 8 Trumpet ′ Chimes sound from the 8 Spitzfl öte in the Choir Phillip K. Parkey—President and ton- respectively, which complement each Zimbelstern to full organ. al director, voicing and tonal fi nishing other extremely well. The 8′ is also avail- In the end, the organ makes a strong Michael Morris—Visual and structural able at 16′, with a wooden bottom octave SWELL (Expressive) but elegant statement consistent with design and installation built and voiced in our shop. An appro- 16′ Rohr Flute (ext) the quality of worship services at the Josh Okeson—Shop foreman, cabinet priately scaled English-style Trumpet 8′ Principal (from 4′ Principal and cathedral. Justin Ward and James Dor- maker, wiring and installation completes the division. 16′ Rohr Flute) roh were a tremendous pleasure to Otilia Gamboa—Chestwork, wiring The Swell is also generously outfi tted 8′ Rohr Flute ′ 8′ Salicional work with during the project, provid- and small parts with fl utes. The metal 8 Rohr Flute is ′ ing clear and concise direction while Philip Read—CNC operator, cabinet also available at 16′, with a subordinate 8 Voix Celeste ′ 4′ Principal yet allowing us room for artful design maker and installation scale to the Great 8 Bourdon and a light- 4′ Harmonic Flute 2 and fi nishing. We appreciate the confi - Jim Allen—Cabinet maker and instal- ly arched cut-up. The Salicional and Voix 2⁄3′ Nazard dence placed in us by the parishioners, lation Celeste follow, and the compass of the 2′ Block Flute 3 clergy, and staff of the cathedral. I also Kenny Lewis—Voicing, wiring, instal- Celeste was increased, as is our custom. 1⁄5′ Tierce extend my personal thanks to our own lation and tonal fi nishing. As with the fl ute, the Swell 8′ Principal is 8′ Trompette scaled slightly subordinate to the Great 8′ Oboe and voiced with more articulation. Also Tremulant ′ The DC AGO Foundation available at 4 , it forms a lighter second- PEDAL ary chorus that allows the organist great 16′ Subbass fl exibility in choral accompaniment. 16′ Rohr Gedeckt (Sw) Our distinctively scaled Harmonic 8′ Octave Flute further enriches the division; this 8′ Bourdon (extension, 16′ Subbass) is adapted from models from our own 8′ Gedeckt (Sw) 4′ Choralbass (extension, 8′ Octave) 19th-century instruments. The fl ute cho- ′ rus is completed with a Nazard, Block 4 Flute (Sw) invites musicians and scholars to apply for a grant for the 2012 season. 16′ Trumpet (ext, Gt) Flute and Tierce, allowing for (among 8′ Trumpet (Gt) other effects) the classical Cornet decom- 4′ Clarion (Gt) The mission of the Foundation is to support the organ profession. posée. The division’s reed complement Funding support for competitions, scholarships, educational initiatives, includes the organ’s original Trompette Total: 31 stops, 21 ranks organ-related research and publication, new organ compositions, and the with French shallots, and an entirely new Oboe, which like the Great reed advancement of professional concerns will be considered. has English antecedents, as the stop has For more information about the DC AGO Foundation and grant English shallots and dual-taper resona- applications, visit www.dcagofoundation.org tors, and is half-capped. Send a free sample copy of THE The foundation of the Pedal is the DIAPASON to a student, friend, Applications are due by March 1, 2012, electronically or by mail to: original Möller Subbass, placed on new or colleague. chests to allow for better placement and Contact Jerome Butera Samuel Baker, 540 N ST SW, Suite S-804, Washington, DC 20024 adjustment of power. The 8′ Octave (the Questions or additional information: [email protected] tallest seven pipes of which are in the left 847/391-1045 façade) is entirely new, and is available [email protected] at 4′ to support cantus fi rmus. A 16′ ex-

30 THE DIAPASON

Jan 2012 pp. 28-30.indd 30 12/13/11 9:08:13 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH +Stephen Hamilton; Church of the Holy Trinity This calendar runs from the 15th of the month of Pickle Piano & Church Organs (Episcopal), New York, NY 8 pm NEW YORK issue through the following month. The deadline is Peter Richard Conte; First Baptist, Jackson, Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. MS 7:30 pm issue). All events are assumed to be organ recitals unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO chap- 28 JANUARY Christopher Babcock ter event, • •=RCCO centre event, +=new organ dedi- Paul Jacobs; East Garden Court, National cation, ++= OHS event. Gallery of Art, Washington, DC 2 pm, 4 pm Information cannot be accepted unless it speci- St. Andrew’s by the Sea, fi es artist name, date, location, and hour in writ- 29 JANUARY Hyannis Port ing. Multiple listings should be in chronological order; Super Bell XX handbell concert; First Church please do not send duplicate listings. THE DIAPA- of Christ, Wethersfi eld, CT 4 pm St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for Paul Jacobs; Reformed Church of Bronxville, the accuracy of calendar entries. Bronxville, NY 3 pm Avi Stein, harpsichord, with Rose of the Com- pass Ensemble; Chapel of St. Bartholomew’s, New York, NY 3 pm UNITED STATES •Harold Stover; St. Michael’s Church, Jersey East of the Mississippi City, NJ 4 pm Lorgus-Kinckner Duo; Longwood Gardens, Kennett Square, PA 1 pm 15 JANUARY Singing Boys/Keystone Girls Choir; Our Lady John Cannon; Washington National Cathe- of Mercy Church, Easton, PA 3 pm dral, Washington, DC 5:15 pm Peter Richard Conte; All Saints’ Church, Nigel Potts; Trinity Cathedral, Columbia, SC Wynnewood, PA 3 pm 5 pm Jeremy Filsell; Washington National Cathe- Martin Jean; St. Armands Key Lutheran dral, Washington, DC 5:15 pm Church, Sarasota, FL 4 pm AVIN LACK Ken Cowan; Church of the Redeemer, Balti- Dean W. Billmeyer G B Mary Mozelle; Christ Church, Longboat Key, more, MD 5 pm FL 4 pm Princeton Early Keyboard Center C. Ralph Mills; St. Paul’s Memorial Episcopal, University of Minnesota Jeremy David Tarrant; Cathedral of St. Philip, 732/599-0392 Atlanta, GA 3 pm Charlottesville, VA 3 pm Choral Evensong; Christ Church Grosse David Arcus; Duke University Chapel, Dur- Minneapolis 55455 • [email protected] www.pekc.org Pointe, Grosse Pointe Farms, MI 4:30 pm ham, NC 5 pm Janette Fishell; Christ Church Cathedral, In- •Richard Elliott; Episcopal Church of Bethes- dianapolis, IN 4:30 pm da-by-the-Sea, Palm Beach, FL 4 pm David Anderson; Madonna della Strada Cha- Gail Archer; St. Mary of the Lake Catholic pel, Loyola University, Chicago, IL 3 pm Church, Gary, IN 3 pm Byron L. Blackmore THOMAS BROWN Peter Planyavsky; Arnold T. Olson Chapel, UNIVERSITY 16 JANUARY Trinity International University, Deerfi eld, IL 7 pm Crown of Life Lutheran Church PRESBYTERIAN CHURCH David Enlow, masterclass; Community Church Hymn Festival; College Church, Wheaton, IL Sun City West, Arizona of Douglaston, Douglaston, NY 2 pm 3 pm CHAPEL HILL, NORTH CAROLINA 623/214-4903 ThomasBrownMusic.com 19 JANUARY 30 JANUARY David Shuler; St. Luke in the Fields, New York, U.S. Army Chorus; Capitol Hill United Method- NY 8 pm ist, Washington, DC 8 pm

20 JANUARY 1 FEBRUARY David Chalmers DELBERT DISSELHORST Marilyn Keiser, masterclass; University Me- Brian Rotz; Camp Hill Presbyterian, Camp Hill, Concert Organist morial Auditorium, University of Florida, Gaines- PA 12:15 pm ville, FL 10:30 am Jonathan Ryan; Church of the Epiphany, Mi- GLORIÆ DEI CANTORES Professor Emeritus Charles Kennedy; Cathedral Church of the ami, FL 8 pm Orleans, MA University of Iowa–Iowa City Advent, Birmingham, AL 12:30 pm Christopher Urban, with piano; First Presbyte- rian, Arlington Heights, IL 12:10 pm 21 JANUARY Jeremy Filsell; The Kimmel Center, Philadel- 2 FEBRUARY phia, PA 3 pm Paul Cienniwa, harpsichord; First Church, JAMES DORROH, AAGO, PhD STEVEN EGLER Marilyn Keiser, workshop on service play- Boston, MA 12:15 pm Central Michigan University ing and service repertoire; First Presbyterian, Michael Lodico; St. John’s Church Lafayette Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Gainesville, FL 10:30 am Square, Washington, DC 12:10 pm Samford University Artist in Residence Nicole Marane, with narrator and percussion, Schubert, Mass in G; Christ Church Grosse First Congregational Church Prokofi ev, Peter and the Wolf; Peachtree Road Birmingham, Alabama Pointe, Grosse Pointe Farms, MI 7 pm Saginaw, Michigan United Methodist, Atlanta, GA 10 am Organ Consultant Organ Recitals [email protected] Jonathan Ortloff; Phipps Center for the Arts, 3 FEBRUARY Hudson, WI 2 pm Harold Stover; Trinity Church, Boston, MA 22 JANUARY 12:15 pm Organist / Pianist Woosug Kang; Church of the Advent, Boston, JOHN FENSTERMAKER MA 4:30 pm, Evensong 5 pm 5 FEBRUARY Michael Gailit Treble Accord Choir; Cathedral of the Incarna- Gail Archer; Orchard Park Presbyterian, Or- chard Park, NY 4 pm TRINITY-BY-THE-COVE www.gailit.at tion, Garden City, NY 4 pm [email protected] David Enlow; Calvary Baptist, New York, NY +Andrew Henderson; Madison Avenue Pres- 3 pm byterian, New York, NY 3 pm NAPLES, FLORIDA Konservatorium Wien University Christopher Houlihan; Church of St. Ignatius Choral Evensong for Candlemas; Cathedral of University of Music, Vienna Loyola, New York, NY 4 pm the Incarnation, Garden City, NY 4 pm Singing Boys/Keystone Girls Choir; East John Lowe; Washington National Cathedral, Stroudsburg Methodist, East Stroudsburg, PA Washington, DC 5:15 pm 3 pm Tom Trenney; Hayes-Barton United Methodist, A Professional Card in Chelsea Vaught; Washington National Cathe- Raleigh, NC 3 pm The Diapason STEPHEN HAMILTON dral, Washington, DC 5:15 pm Christopher Houlihan; St. Andrew’s, Sanford, For rates and digital specifi cations, Marilyn Keiser; First Presbyterian, Gaines- FL 6 pm contact Jerome Butera recitalist–clinician–educator ville, FL 4 pm Craig Cramer, Buxtehude works; St. Joseph 847/391-1045 www.stephenjonhamilton.com Craig Cramer, Buxtehude works; St. Joseph Cathedral, Columbus, OH 3 pm [email protected] Cathedral, Columbus, OH 3 pm Choral Evensong; Christ Church Grosse Choral Evensong for Epiphanytide; Ca- Pointe, Grosse Pointe Farms, MI 4:30 pm thedral Church of St. Paul, Detroit, MI Alice Millar Birthday Concert; Alice Millar Cha- 4 pm pel, Northwestern University, Evanston, IL 2 pm Gail Archer; Covenant Presbyterian, Hunts- Douglas Cleveland; Rockefeller Memo- ANDREW HENDERSON, DMA ville, AL 3 pm rial Chapel, University of Chicago, Chicago, IL WILL HEADLEE 3 pm 1650 James Street Madison Avenue Presbyterian Church 23 JANUARY New York, NY Derek Nickels; Elliott Chapel, Presbyterian 6 FEBRUARY Syracuse, NY 13203-2816 Homes, Evanston, IL 1:30 pm Davies, Prayers from the Ark; St. John’s Church (315) 471-8451 www.andrewhenderson.net Lafayette Square, Washington, DC 12:10 pm 24 JANUARY David Enlow, with l’Orchestre des Portes 7 FEBRUARY Rouges; Church of the Resurrection, New York, Thomas Gouwens; Alice Millar Chapel, North- LORRAINE BRUGH, Ph.D. NY 8 pm western University, Evanston, IL 12:15 pm Doane Choir; Peachtree Road United Method- ist, Atlanta, GA 7:30 pm 10 FEBRUARY Associate Professor Yun Kyong Kim; Christ Church United Meth- Tom Trenney; Wayne Presbyterian, Wayne, PA odist, Louisville, KY 7:30 pm 8 pm University Organist Edward Zimmerman; Edman Chapel, God’s Trombones; Cathedral Church of St. Wheaton College, Wheaton, IL 7:30 pm Paul, Detroit, MI 4 pm Valparaiso University Isabelle Demers; First United Methodist, Valparaiso, IN 25 JANUARY Montgomery, AL 7 pm www.valpo.edu Gail Archer; St. Paul’s Chapel, Columbia Uni- versity, New York, NY 7:30 pm 11 FEBRUARY Gail Archer; An American Idyll: The R. C. 219-464-5084 27 JANUARY Church of St. Agnes, New York, NY 4 pm Peter Planyavsky; Kresge Auditorium, MIT, Countertop Ensemble; Christ Church, Braden- [email protected] Cambridge, MA 8 pm ton, FL 4 pm

JANUARY, 2012 31

Jan 2012 pp. 31-35.indd 31 12/13/11 9:28:27 AM CALIFORNIA LUTHERAN UNIVERSITY Gerre Hancock, choral festival; Trinity Episco- 23 FEBRUARY pal Cathedral, Cleveland, OH 9 am Musica Sacra; Weill Recital Hall, Carnegie MICHELE JOHNS Gerre Hancock, Evensong; Trinity Episcopal Hall, New York, NY 8 pm A.Mus.D Kyle Johnson, DMA Cathedral, Cleveland, OH 3 pm William Holt; Christ Church, Bradenton, FL 12:15 pm Organ — Harpsichord University Organist 12 FEBRUARY The University of Michigan 

r
LFKPIOT!DBMMVUIFSBOFEV Boyd Jones; Central Synagogue, New York, 24 FEBRUARY School of Music NY 12:30 pm Timothy Baker; First Presbyterian, Jefferson- www.callutheran.edu Magdalena Baczewska, harpsichord & piano; ville, IN 12 noon Madison Avenue Presbyterian, New York, NY 3 pm Christopher Jennings, works of New York com- 25 FEBRUARY posers; St. James’ Church, New York, NY 3 pm Kent Tritle; Manhattan School of Music, New KIM R. KASLING Evensong for Epiphanytide; St. Mary’s Church, York, NY 7:30 pm Brian Jones Burlington, NJ 4 pm D.M.A. Ken Cowan, recitals for children; Longwood Director of Music Emeritus Young artists concert; Bryn Mawr Presbyterian, Gardens, Kennett Square, PA 12 noon, 2 pm St. John’s University Bryn Mawr, PA 4 pm Gerre Hancock, masterclass; Court Street TRINITY CHURCH Mainstreet Brass Quintet; Holy Trinity Luther- United Methodist, Lynchburg, VA 10:30 am an, Lancaster, PA 4 pm BOSTON Collegeville, MN 56321 Sarasota-Manatee Bach Festival II; Christ Anthony Hammond; Washington National Church, Bradenton, FL 7:30 pm Cathedral, Washington, DC 5:15 pm Stefan Engels; John Knox Presbyterian, 26 FEBRUARY Greenville, SC 3 pm Victor Hill, harpsichord; Clark Art Institute, Wil- JAMES KIBBIE The Countertop Ensemble; Sykes Chapel, Uni- liamstown, MA 3 pm versity of Tampa, Tampa, FL 2 pm Kevin Jones; Christ Church, Westerly, RI The University of Michigan Paul Jacobs; Prince of Peace Lutheran, Lar- 4 pm Ann Arbor, MI 48109-2085 go, FL 3 pm Stephen Hamilton; St. John’s Lutheran, Stam- ORGAN CONSULTANT Clive Driskill-Smith; First Congregational, 734-764-1591 FAX: 734-763-5097 ford, CT 4 pm www.gabrielkney.com Sarasota, FL 4 pm Legacy of Spirituals Choir; First Church of email: [email protected] Christopher Houlihan; First Presbyterian, Christ, Wethersfi eld, CT 4 pm Naples, FL 4 pm Olivier Latry; St. Peter’s by-the-Sea Episco- •Anthony Williams; St. Agnes Episcopal, Mi- pal, Bay Shore, NY 4 pm ami, FL 4 pm Brandon Dumas; Cathedral of the Incarna- David K. Lamb, D.Mus. Jonathan Ryan; Cathedral of St. John Berch- tion, Garden City, NY 4 pm ARTHUR LAMIRANDE mans, Shreveport, LA 3 pm Andrew Henderson, Mary Huff & John Weav- Director of Music/Organist Gerre Hancock; St. Paul’s Episcopal, Cleve- er, with Saint Andrew Chorale & Orchestra; Madi- First United Methodist Church land Heights, OH 9 am, 11:15 am son Avenue Presbyterian, New York, NY 3 pm [email protected] Paul Monachino; Our Lady, Queen of the Gerre Hancock; Court Street United Method- Columbus, Indiana Most Holy Rosary Cathedral, Toledo, OH 3 pm www.youtube.com/watch?v=WTkDk-cX1X4 ist, Lynchburg, VA 4 pm 812/372-2851 27th annual Organ Fest; First Presbyterian, Ar- Dongho Lee; Duke University Chapel, Dur- lington Heights, IL 4 pm ham, NC 5 pm Sarasota-Manatee Bach Festival II; Church of 13 FEBRUARY the Redeemer, Bradenton, FL 7:30 pm David Goode; Cincinnati Museum Center, Lenten Choral Evensong; Cathedral Church of Cincinnati, OH 7:30 pm David Lowry St. Paul, Detroit, MI 4 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Christ Church Schola; Christ Church Grosse 14 FEBRUARY 1512 BLANDING STREET, COLUMBIA, SC 29201 Pointe, Grosse Pointe Farms, MI 4:30 pm Boyd Jones; Central Synagogue, New York, Janette Fishell; Second Presbyterian, Louis- DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY NY 12:30 pm ROCK HILL, SC 29733 ville, KY 2 pm Jeremy Filsell; First Presbyterian, Bristol, TN 15 FEBRUARY James O’Donnell; Wabash College Chapel, 3 pm Crawfordsville, IN 7:30 pm Steve Gentile; Como Park Lutheran, St. Paul, MN 3 pm 16 FEBRUARY ANDREW PAUL MOORE Harold Stover; First Parish Church, Portland, 27 FEBRUARY A.S.C.A.P. ME 12:15 pm •Christophe Mantoux; St. Luke Catholic FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Church, McLean, VA 7:30 pm 17 FEBRUARY David Jonies; Elliott Chapel, Presbyterian 345 SADDLE LAKE DRIVE Homes, Evanston, IL 1:30 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS Todd Wilson; St. Stephen’s Episcopal, Dur- (770) 594-0949 ham, NC 8 pm Clive Driskill-Smith; Rollins College, Winter 28 FEBRUARY Park, FL 8 pm Christophe Mantoux; All Hallows Episcopal Peter Richard Conte; Community Church at Chapel, Davidsonville, MD 7:30 pm DOUGLAS O’NEILL Tellico Village, Loudon, TN 7 pm LEON NELSON Stephen Hamilton; Westminster Presbyterian, 29 FEBRUARY Katie Timm; St. Paul’s Lutheran, Columbus, IN University Organist Cathedral of the Madeleine Knoxville, TN 8 pm Salt Lake City, Utah 12 noon North Park University 18 FEBRUARY Marijim Thoene; Rogers Memorial Chapel, Tu- Chicago, Illinois [email protected] Paul Jacobs; Longwood Gardens, Kennett lane University, New Orleans, LA 12 noon 801/671-8657 Square, PA 8 pm Georgia Boy Choir; Peachtree Road United UNITED STATES Methodist, Atlanta, GA 7:30 pm West of the Mississippi MARILYN MASON 19 FEBRUARY CHAIRMAN, DEPARTMENT OF ORGAN Joseph Arndt; St. Patrick’s Cathedral, New 15 JANUARY UNIVERSITY OF MICHIGAN York, NY 4:45 pm Diana Lee Lucker & Steve Gentile, organ & ANN ARBOR Gail Archer; St. Patrick’s Cathedral, Harris- piano; Wayzata Community Church, Wayzata, MN “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it burg, PA 4 pm 3 pm with awesome technique and a thrilling command of its daring writing.” Federico Andreoni; Washington National Ca- Choral Evensong; St. John’s Cathedral, Den- The American Organist, 1980 thedral, Washington, DC 5:15 pm ver, CO 3:30 pm Richard Fitzgerald; Mount Calvary Church, Bal- Gail Archer; St. Mary’s Cathedral, San Fran- timore, MD 5:15 pm, following 4:30 pm Evensong cisco, CA 3:30 pm Isabelle Demers; Covenant Presbyterian, James Walker; St. Gregory’s Episcopal, Long Charlotte, NC 3 pm Beach, CA 4 pm LARRY PALMER SYLVIE POIRIER Mozart, Missa brevis in C, K. 258; Christ Church, Bradenton, FL 11 am 16 JANUARY Choir of St. Peter in Chains Cathedral; Cathe- Dongho Lee; Northridge Presbyterian, Dallas, Professor of PHILIP CROZIER dral of St. Peter in Chains, Cincinnati, OH 3 pm TX 8 pm ORGAN DUO Jeremy David Tarrant; First Presbyterian, Bir- Harpsichord and Organ mingham, MI 3 pm 18 JANUARY 3355 Queen Mary Road, Apt 424 Choral Evensong; Christ Church Grosse David Hatt; Cathedral of Our Lady of the An- Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Pointe, Grosse Pointe Farms, MI 4:30 pm gels, Los Angeles, CA 12:45 pm Douglas Cleveland; Christ Church Cathedral, SOUTHERN METHODIST UNIVERSITY Canada Indianapolis, IN 4:30 pm 20 JANUARY (514) 739-8696 Clive Driskill-Smith; Wisconsin Lutheran Col- Chelsea Chen; Ed Landreth Auditorium, Texas Dallas, Texas 75275 lege, Milwaukee, WI 1:30 pm Christian University, Fort Worth, TX 7 pm Fax: (514) 739-4752 Karen Beaumont; St. John Cantius, Chicago, Joseph Galema; St. John’s Cathedral, Denver, CO 7:30 pm Musical Heritage Society recordings IL 2 pm [email protected] Anthony Williams; Madonna della Strada Chapel, Loyola University, Chicago, IL 3 pm 21 JANUARY VocalEssence; Ordway Center for the Perform- Doane College Choir; Second Presbyterian, St. ing Arts, St. Paul, MN 4 pm Louis, MO 7:30 pm Todd Davis; Christ Episcopal, Tacoma, WA 20 FEBRUARY 12 noon University of Florida & Stetson University or- Frances Nobert, with guest artists; Pasade- A four-inch Professional Card gan students; Morrison United Methodist, Lees- na Presbyterian, Pasadena, CA 3 pm burg, FL 7:30 pm in THE DIAPASON 22 JANUARY 21 FEBRUARY Bálint Karosi; Central Lutheran, Minneapolis, For rates and specifi cations Nicole Marane, with trumpets; Peachtree MN 4 pm Road United Methodist, Atlanta, GA 7 pm Pipedreams Live!; St. Andrew’s Lutheran, contact Jerome Butera Shiloh Roby; Ransdell Chapel, Campbellsville Mahtomedi, MN 4 pm University, Campbellsville, KY 12:20 pm Gerre Hancock; Cathedral Basilica of St. Lou- 847/391-1045 James O’Donnell; Schermerhorn Symphony is, St. Louis, MO 2:30 pm Center, Nashville, TN 7 pm Jieun Kim Newland, with recorder and violin, [email protected] Bach trio sonatas; Thomsen Chapel, St. Mark’s 22 FEBRUARY Cathedral, Seattle, WA 2 pm David Simms; North Christian Church, Co- Paul Jacobs; Davies Symphony Hall, San lumbus, IN 12 noon Francisco, CA 3 pm

32 THE DIAPASON

Jan 2012 pp. 31-35.indd 32 12/13/11 9:28:54 AM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM David Troiano; St. Mary’s Cathedral, San James Vail; Cathedral of Our Lady of the An- Francisco, CA 3:30 pm gels, Los Angeles, CA 12:45 pm Stephen G. Schaeffer Ken Cowan; St. Andrew’s Cathedral, Honolulu, HI 5:30 pm 9 FEBRUARY Recitals – Consultations Tom Ferry; St. Barnabas Lutheran, Plymouth, 23 JANUARY MN 12:30 pm Cathedral Church of the Advent Robert August, harpsichord; First Presbyte- Birmingham, Alabama rian, Fort Worth, TX 12 noon 10 FEBRUARY www.AdventBirmingham.org •Jonathan Dimmock; St. John’s Episcopal Richard Robertson; St. John’s Cathedral, Cathedral, Los Angeles, CA 8 pm Denver, CO 7:30 pm James David Christie; First Presbyterian, 25 JANUARY Santa Fe, NM 5:30 pm David Higgs; Memorial Church, Stanford, CA Chelsea Chen; First Presbyterian, Santa Bar- ROBERT L. Stephen Tappe 8 pm bara, CA 7 pm Organist and Director of Music Emil Iliev; Cathedral of Our Lady of the An- Peter Ryan; St. Andrew’s Presbyterian, New- SIMPSON Saint John's Cathedral gels, Los Angeles, CA 12:45 pm port Beach, CA 12:30 pm Christ Church Cathedral Denver, Colorado 1117 Texas Avenue 27 JANUARY 11 FEBRUARY Houston, Texas 77002 www.sjcathedral.org Lyn Loewi; St. John’s Cathedral, Denver, CO Mary Preston, workshop; Boston Avenue Unit- 7:30 pm ed Methodist, Tulsa, OK 10:30 am James David Christie, masterclass; First 28 JANUARY Presbyterian, Santa Fe, NM 10 am ORGAN MUSIC OF THE SPANISH BAROQUE Luther College Nordic Choir; First-Plymouth John Ditto, masterclass; California Lutheran Church, Lincoln, NE 7 pm University, Thousand Oaks, CA 11 am Joe Utterback WSU Organ Day; Wiedemann Hall, Wichita David Troiano State University, Wichita, KS 3 pm 12 FEBRUARY DMA MAPM COMMISSIONS & CONCERTS Martin Jean; Hope Lutheran, Shawnee, KS S. Wayne Foster; First Presbyterian, Roches- 586.778.8035 5 pm ter, MN 4 pm 732 . 747 . 5227 Mary Preston; Boston Avenue United Method- [email protected] 29 JANUARY ist, Tulsa, OK 6 pm Norma Aamodt-Nelson, with brass; Trinity Lu- James O’Donnell; Bates Recital Hall, Univer- theran, Lynnwood, WA 3 pm sity of Texas, Austin, TX 4 pm •Christoph Bull, improvisation lecture & fi lm Craig Cramer; Arizona State University, Tem- David Wagner accompaniment; Concordia University, Irvine, CA pe, AZ 2:30 pm Marcia Van Oyen DMA 3:30 pm Choral Evensong; St. Francis’ Episcopal, San First United Methodist Church, All-American Boys Chorus; St. John’s Luther- Francisco, CA 5:30 pm Madonna University an, Orange, CA 7 pm John Ditto; Samuelson Chapel, California Lu- Plymouth, Michigan Livonia, Michigan theran University, Thousand Oaks, CA 2 pm mvanoyen.com [email protected] 3 FEBRUARY Evensong; St. James’ Episcopal, Los Angeles, James Welch; Aspen Community Church, As- CA 4:30 pm pen, CO 7:30 pm Edward Tipton; St. James’ Episcopal, Los An- Choral Evensong; All Saints’ Episcopal, Bev- geles, CA 6 pm erly Hills, CA 7:30 pm Los Angeles Master Chorale, Bruckner & Stravin- sky; Walt Disney Concert Hall, Los Angeles, 7 pm Kevin Walters KARL WATSON 4 FEBRUARY Stephen Hamilton, church music repertoire 13 FEBRUARY M.A., F.A.G.O. SAINT LUKE’S class; Trinity Episcopal Cathedral, Omaha, NE James O’Donnell, masterclass; Bates Recital 9 am Hall, University of Texas, Austin, TX 9 am Rye, New York METUCHEN Houston Chamber Choir; Zilkha Hall, Hobby Center for the Performing Arts, Houston, TX 8 pm 15 FEBRUARY John Weaver, hymn festival; Pasadena Pres- Carole Terry; Memorial Church, Stanford Uni- byterian, Pasadena, CA 7:30 pm versity, Stanford, CA 8 pm Davis Wortman 5 FEBRUARY 17 FEBRUARY RONALD WYATT Stephen Hamilton; Trinity Episcopal Cathe- Benjamin Sheen; St. John’s Cathedral, Den- dral, Omaha, NE 3 pm ver, CO 7:30 pm St. James’ Church Trinity Church Craig Cramer; Arizona State University, Tem- James O’Donnell; Pulaski United Methodist, pe, AZ 2:30 pm Little Rock, AR 8 pm New York Galveston Gerre Hancock, hymns and improvisations; Joseph Adam, with Peregrine Chant Ensem- Trinity Cathedral, Portland, OR 5 pm ble; St. James Cathedral, Seattle, WA 8 pm Chelsea Chen; Memorial Chapel, University of Redlands, Redlands, CA 5 pm 18 FEBRUARY Charles Dodsley Walker, FAGO Hymn festival; Church of Our Saviour, San Ga- Philip Wilby & Bill Chouinard, with Lake briel, CA 5 pm Woebegone Brass Band; St. Andrew’s Lutheran, Artist-in-Residence Founder/Conductor Mahtomedi, MN 7 pm Saint Luke’s Parish Canterbury Choral Society 7 FEBRUARY Christopher Young, masterclass; St. Luke’s 1864 Post Road 2 East 90th Street Organ and brass spectacular; Cathedral Ba- Episcopal, Fort Collins, CO 10 am Darien, CT 06820 New York, NY 10128 silica of St. Louis, St. Louis, MO 8 pm Joseph Pettit; Christ Episcopal, Tacoma, WA (917) 628-7650 (212) 222-9458 3 pm 8 FEBRUARY Stephen Hamilton; First Presbyterian, Man- 19 FEBRUARY hattan, KS 7 pm Hans-Uwe Hielscher; Wayzata Community William Webber, C.A.G.O. John Ditto, masterclass; Samuelson Chapel, Church, Wayzata, MN 3 pm California Lutheran University, Thousand Oaks, Gerre Hancock, Choral Evensong; First-Plym- Organist/Director, First Christian Church, Danville, KY CA 11 am outh Church, Lincoln, NE 4 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at DAVID SPICER RUDOLF ZUIDERVELD First Church of Christ Wethersfi eld, Connecticut Illinois College, Jacksonville First Presbyterian Church, Springfi eld

A Professional Card in The Diapason For rates and digital specifi cations, House Organist contact Jerome Butera The Bushnell Memorial 847/391-1045 Hartford [email protected]

A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact: Jerome Butera [email protected] 847/391-1045

JANUARY, 2012 33

Jan 2012 pp. 31-35.indd 33 12/13/11 9:29:25 AM James O’Donnell; Augustana Lutheran, Den- 22 JANUARY 16 FEBRUARY KURT-LUDWIG FORG, St. James Unit- ver, CO 3 pm Gerard Brooks; Methodist Central Hall, West- Santiago Alvarez, harpsichord, with fl ute; San ed Church, Montreal, QC, Canada, August Christopher Young; St. Luke’s Episcopal, Fort minster, London, UK 3 pm Andrés Huayapam, Oaxaca, Mexico 1:30 pm 2: Praeludium in C, BuxWV 137, Buxtehude; Collins, CO 4 pm Jeremy Blasby; Westminster Abbey, London, Cicely Winter, with percussion; Basílica de la Minuetto G-Dur, C.P.E. Bach; Ronde fran- Christopher Houlihan; Our Lady of Lourdes UK 5:45 pm Soledad, Oaxaca, Mexico 8 pm çaise, Boëllmann; Sicilienne, op. 78, Fauré; Church, Sun City West, AZ 3 pm Stephanie Burgoyne & William Vander- Prélude et Fughetta, op. 41, Roussel; Sonate California Baptist University Choir and Orches- tuin; St. Paul’s United Church, Paris, ON, 17 FEBRUARY Nr. 3 G-Dur, op. 88, Rheinberger. tra; St. John’s Lutheran, Orange, CA 4 pm Canada 3 pm Melos Gloriae; Centro Académico y Cultural Olivier Latry; Walt Disney Concert Hall, Los San Pablo, Oaxaca City, Mexico 8 pm JAMES HAMMANN, Sinsinawa Mound, Angeles, CA 7:30 pm 23 JANUARY Sinsinawa, WI, August 3: Ciacona in e, Timothy Wakerell; St, Michael’s Cornhill, Lon- 18 FEBRUARY BuxWV 160, Buxtehude; Wachet auf, ruft 21 FEBRUARY don, UK 1 pm Jane Parker-Smith; St. Albans Cathedral, St. uns die Stimme, Auf meinen lieben Gott, Wer Olivier Latry; Bates Recital Hall, Rice Univer- Albans, UK 5:30 pm nur den lieben Gott lasst walten, Meine Seele sity, Houston, TX 7 pm 25 JANUARY Organ and instruments concert; Santa María erhebet Herrn, Ach bleib bei uns, Herr Jesu Douglas Tang; Concert Hall, Reading, UK Tamazulapan, Oaxaca, Mexico 11 am Christ, Kommst du nun, Jesu, vom Himmel 22 FEBRUARY 1 pm Abraham Alvarado, with Melos Gloriae; Santo herunter, Prelude and Fugue in C, BWV 547, Olivier Latry, masterclass/lecture; Bates Re- Domingo Yanhuitlán, Oaxaca, Mexico 2 pm Bach; Kleine Praeludien und Intermezzi, cital Hall, Rice University, Houston, TX 12 noon 29 JANUARY Organ and instruments concert; San Andrés Werk 9, Schroeder; Minuet, Hollins; Mit Zautla, Oaxaca, Mexico 7 pm sanften Stimmen, Langsam, nach und nach 24 FEBRUARY Ronny Krippner; Westminster Abbey, London, Michael Unger; St. John’s Cathedral, Denver, UK 5:45 pm schneller und starker (Fugues on the name CO 7:30 pm 19 FEBRUARY BACH, op. 60), Schumann. Craig Cramer; Linfi eld College, McMinnville, 5 FEBRUARY Gerard Brooks; Methodist Central Hall, West- OR 2:30 pm Luke Bond; Westminster Abbey, London, UK minster, London, UK 3 pm RICHARD HANSEN, St. James’ Angli- 5:45 pm Mark Brafi eld; Westminster Abbey, London, can Church, Orillia, ON, Canada, August 26 FEBRUARY UK 5:45 pm 3: Trumpet Tune in D, Johnson; Berceuse, Anne Wilson; Southwood Lutheran, Lincoln, 6 FEBRUARY Elisa Freixo; San Jerónimo, Tlacochahuaya, Vierne; Toccata and Fugue in d, BWV 565, NE 4 pm, children’s event at 3 pm Jane Parker-Smith; Methodist Central Hall, Mexico 6 pm Bach; Adagio in E, Bridge; Voluntary in A, Peter Richard Conte; First Presbyterian, Westminster, London, UK 7:30 pm Communion on ‘Laus Deo’, Bedard; Marche Wichita Falls, TX 3 pm 25 FEBRUARY Triomphale, Karg-Elert. Delbert Disselhorst, works of Bach; Trinity 7 FEBRUARY Hannah Parry-Ridout; Bloomsbury Central Lutheran, Lynnwood, WA 7 pm David Graham; St. Giles-in-the-Fields, Lon- Baptist, London, UK 4 pm DAVID C. JONIES, St. Helena Cathe- Craig Cramer; St. Mark’s Episcopal, Medford, don, UK 1:10 pm dral, Helena, MT, July 17: Grand Choeur OR 3 pm 26 FEBRUARY alla Handel, op. 18, Guilmant; Concerto in D, 12 FEBRUARY Michael Bacon; Westminster Abbey, London, Stanley; Sonata No. 2 in c, BWV 526, Bach; 27 FEBRUARY Mark Swinton; Westminster Abbey, London, UK 5:45 pm Mozart Changes, Gárdonyi; Symphonie No. •Craig Cramer, lecture/workshop; St. Mark’s UK 5:45 pm 6, op. 42, Widor. Episcopal, Medford, OR 10 am Scott Dettra; Westminster United Church, Winnipeg, MB, Canada 2:30 pm NATHAN LAUBE, Loyola University, Organ Recitals Chicago, IL, August 21: Allegro (Symphonie INTERNATIONAL 15 FEBRUARY No. 6), Widor; Variations Sérieuses, op. 54, Elisa Freixo; Oaxaca Cathedral, Oaxaca, Mendelssohn, transcr. Laube; Toccata X (Ap- Mexico 8 pm paratus Musico-Organisticus), Muffat; Pre- 15 JANUARY R. MONTY BENNETT, Sinsinawa Mound, mière Fantaisie, Deuxième Fantaisie, Alain; Carolyn Shuster Fournier; Saint-Roch, Paris, Sinsinawa, WI, August 24: Alleluyas, Preston; Suite pour Orgue, op. 5, Durufl é. France 4 pm Choralfantasie: LOBE DEN HERREN, Drischner; Andrej Kouznetsov; Westminster Abbey, Lon- A Trumpet Minuet, Hollins; Rhumba, Elmore; WILLIAM MADDOX, St. James’ Angli- don, UK 5:45 pm It’s not too early to send us your Reverie, Still; El Flautista Alegre, Noble; summer conference information! can Church, Orillia, ON, Canada, August Choral Evensong, St. Jude’s Anglican Church, Praise the Lord with Drums and Cymbals, 24: Coronation March (Le Prophète), Mey- Brantford, ON, Canada 4 pm Summer conference listings are includ- Karg-Elert; Carillon-Sortie, Mulet. erbeer, arr. Best; Adagio, Albinoni, arr. Gia- ed in the April issue—deadline is Feb- zotto; Sicilienne (Pélleas et Mélisande), Fauré, 16 JANUARY ruary 29. Contact Joyce Robinson, The RAY CORNILS, with Kotzschmar Festival arr. Hesford; Trio in the style of Bach, Nalle; Stephen Disley; Southwark Cathedral, Lon- Diapason, 3030 W. Salt Creek Lane, Brass, Merrill Auditorium, Portland City Hall, March on a theme of Handel, Guilmant. don, UK 1 pm Suite 201, Arlington Heights, IL 60005- Portland, ME, August 30: Crown Imperial March, Walton, arr. Cornils; Adagio, Albinoni, JOHN MCELHINEY, St. James’ Angli- 21 JANUARY 5025; e-mail fi les (Microsoft Word pre- ferred) to [email protected]. arr. Cornils; Canzon Duodecimi toni, Gabri- can Church, Orillia, ON, Canada, August 31: Thierry Escaich; St. Albans Cathedral, St. Al- eli; Gigue Fugue, Bach; Prayer (Mozartiana), Rondo in G, Bull, arr. Elsasser; Processional bans, UK 5:30 pm Tchaikovsky; Toccata, Bédard. March, Prelude, Harris; Trumpet Tune on ‘Lobe den Herren’, Webber; Chorale Prelude, ORGAN BUILDERS PHILIP CROZIER, Marktkirche, Han- ‘Westminster Abbey’, Gant; Chorale Prelude, nover, Germany, July 23: Triptyque, Bédard; ‘Ein’ feste Burg ist unser Gott’, Reger; Fan- Scherzo, A. Alain; Litanies, JA 119, Le Jardin tasy in a, Bach, arr. Reger. suspendu, JA 71, Petite pièce, JA 33, Climat, L. W. BLACKINTON THE NOACK ORGAN CO., INC. JA 79, Deuxième Fantaisie, JA 117, Alain; and associates, inc. MAIN AND SCHOOL STREETS Prélude et Fugue sur le nom d’Alain, op. Submit calendar information through GEORGETOWN, MA 01833 TheDiapason.com! Just click on Events www.noackorgan.com 7, Durufl é. 380 FRONT ST. Calendar, then on Submit an Event— Member: Associated Pipe Organ Builders of America EL CAJON, CA 92020 LYNNE DAVIS, Domkirke, Haderslev, you can add much more detail than Denmark, August 12: Suite du Deuxième Ton, what is in our print issue Calendar, and Clérambault; Incantation pour un Jour Saint, information should be viewable that martin ott pipe Langlais; Pastorale, op. 19, Franck; Toccata day. Items added will be placed in the organ next print issue if received before dead- company (Pièces de Fantaisie), Vierne; Vitrail, Rosace inc. (Esquisses Byzantines), Mulet; Variations sur line. For assistance or information: un thème de Clément Jannequin, Alain; Varia- [email protected]. 7408 Somerset Ave. tions sur un Vieux Noël, Dupré. St. Louis, MO 63105 314-504-0366 Phone Martin Ott [email protected] Orgelbaumeister www.ottpipeorgan.com

NEW INSTRUMENTS MAINTENANCE RESTORATIONS Parkey 974 AUTUMN DRIVE OrganBuilders ANTIOCH, ILLINOIS 60002 ABR 847-395-1919 Distinguished Pipe Organs ATOS F I N C Y PIPE ORGANS FAX 847-395-1991 3870 Peachtree Ind. Blvd. Voice 770-368-3216 ExperienceAmerican Theatre Organ Society www.fabryinc.com Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com Preserving a unique art form. Concerts, education, silent film, preservation, fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838

sound INSPIRATION

Acoustical Design & Testing • Organ Consultation & Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training

www.riedelassociates.com • (414) 771-8966 email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202

_ Advertise in A. David Moore, Inc. The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected]

34 THE DIAPASON

Jan 2012 pp. 31-35.indd 34 12/13/11 9:29:44 AM JENNIFER MCPHERSON, Old West KYLE RITTER & ERIC PLUTZ, Church CAROLYN SHUSTER FOURNIER, ANDREA PRINTY THOMAS, Old West Church, Boston, MA, August 16: Grand Dia- of the Atonement, Chicago, IL, August 19: Cathédrale Saint-Marie, Saint-Bertrand- Church, Boston, MA, July 26: Variations and logue, Marchand; Partita on ‘Freu dich sehr, Praeludium in C, Böhm; If thou but trust in De-Comminges, France, July 21: Prélude et Fugue on ‘God Save the King’, Reger; Kommst o meine Seele’, Böhm; Ach Herr, mich armen God to guide thee, Bach; Jesu, joy of man’s Fugue en sol majeur, BWV 541, Liebster Jesu, du nun, Jesu, vom Himmel herunter, BWV Sünder, BuxWV 178, Gott der Vater wohn uns desiring, Bach, arr. Biggs; A mighty fortress, wir sind hier, BWV 731, Fantaisie et Fugue 650, Bach; Sonata in d, op. 65, no. 6, Men- bei, BuxWV 190, Nun bitten wir den heiligen Bach, arr. Near; Fidelis, Whitlock; Trio, Hur- en sol mineur, BWV 542, Wachet auf, ruft uns delssohn; Tango de undécimo tono a modo de Geist, BuxWV 208, Buxtehude; Prelude and ford; Toccata in Seven, Rutter; Andante, Alle- die Stimme, BWV 645, Bach; Prélude et fugue bossanova, Bovet; Finale (Symphony No. 1, Fugue in G, BWV 550, Bach. gro (Duet for Organ), S.S. Wesley; The Good sur B-A-C-H, Liszt; Postlude pour l’Offi ce de op. 42), Guilmant. Shepherd, Sandresky; Evensong, Callahan; Complies, Litanies, Alain. Carillon-Sortie, Mulet. WILHELMINA TIEMERSMA, St. James’ FLORENCE MUSTRIC, Trinity Luther- SISTER M. ARNOLD STAUDT, OSF, Sin- an Church, Cleveland, OH, July 6: Toccata Anglican Church, Orillia, ON, Canada, Au- DAVID ROSEVEAR, St. James’ Anglican sinawa Mound, Sinsinawa, WI, July 13: March gust 10: Hymn Au Soleil, op. 53, no. 3, Vierne; and Fugue in d, BWV 565, Toccata in C and Church, Orillia, ON, Canada, August 17: Pre- for a Joyous Occasion, Peloquin; Voluntary in Scherzo (Dix Pièces), Gigout; Cantabile ( Trois Adagio, Toccata and Fugue in F, Bach. lude and Fugue in c, BWV 546, Bach; Sere- A, Selby; Variations on ‘America’, Adeste Fi- Pièces), Franck; Allegro Vivace (Symphony V, nade, Bourgeois; Partita on St. Anne, Manz. deles (In an Organ Prelude), Ives; Aria, Pange op. 42, no. 1), Widor. DEREK E. NICKELS, Sinsinawa Mound, Lingua, Requiem, Improvisation on ‘Salve Re- Sinsinawa, WI, August 17: Choral varié sur BRANDON SANTINI, Old West Church, gina’ (Chant), Callahan; Concert Variations on MARIJIM THOENE, St. Francis of As- le thème du Veni Creator, op. 4, Durufl é; Boston, MA, August 23: Veni Creator Spiritus ‘The Star Spangled Banner’, Paine. sisi Church, Ann Arbor, MI, August 15: Con- Fantasie in f, K. 594, Mozart; Evocation à la (Premier Livre d’Orgue), de Grigny; Prelude certo in d, BWV 596, Bach; Organ Sonata Chapelle Sixtine, Liszt; Fantasia à gusto ital- and Fugue in D, BWV 532, Bach; Canzon KIRSTIN SYNNESTVEDT, Sinsinawa No. 2, op. 386, Hovhaness; Magnifi cat, op. iano, Krebs; Passacaglia and Fugue, BWV ariosa, A. Gabrieli; Sonata in f, op. 65, no. 1, Mound, Sinsinawa, WI, July 20: Lo Ballo dell’ 18, Dupré. 582, Bach; Andante sostenuto (Symphonie Mendelssohn. Intorcia, Valente; Partita on Our Father, Thou Gothique, op. 70), Widor; Prelude and Fugue in Heaven Above, Bender; Mein Jesu der du BEATRICE-MARIA WEINBERGER JOHN L. SCHAEFER, with Claudia mich, op. 122, Brahms; Prelude and Fugue in in g, op. 7, no. 3, Dupré. b, Bach; Amazing Grace, White; Toccata on & GERHARD WEINBERGER, Sinsinawa Risebig, bassoon, Meribeth Risebig, oboe/ Amazing Grace, Pardini; O Gott, du frommer Mound, Sinsinawa, WI, July 27: Prelude and DAVID PITT, Sinsinawa Mound, Sinsi- English horn, Amy Waldron, soprano, Jona- Gott!, Bach. Fugue in C, Handel, arr. Marsh; Allegretto in nawa, WI, August 10: Kyrie (Messe en G), Le than Krinke, baritone, and Keith Benjamin, E, Song of Praise in C, Whitlock; Prélude in Livre d’Orgue de Montréal; Wer nur den lie- trumpet, Grace and Holy Trinity Cathedral, STEPHEN THARP, Merrill Auditorium, c-sharp, Rachmaninoff, arr. Vierne; Toccata ben Gott lässt walten, BWV 647, Wachet auf, Kansas City, MO, August 7: Voluntary in Portland, ME, July 19: Fanfare, Cook; Nim- and Fugue in a, Krebs; Duetto in F, op. 18, ruft uns die Stimme, BWV 645, Kommst du G, Walond; Sonata for bassoon and harpsi- rod (Enigma Variations, op. 36), Elgar, transcr. no. 6, J.C. Bach; Menuetto in F, KV 377, Mo- nun, Jesu, vom Himmel herunter, BWV 650, chord, Vivaldi; Evensong, Callahan; Mein Tharp; Arabesque, Latry; Final (Symphony zart, arr. S. Wesley; Variations on an Original Toccata in F, BWV 540, Bach; Schmücke Freund ist mein (Cantata 140), Bach; Fanta- No. 8, op. 42, no. 2), Widor; Méditation, Vi- Theme in A, Hesse; Prelude and Fugue in sie in f for oboe and organ, Krebs; Fantasie C, Albrechtsberger. dich, o liebe Seele, O wie selig seid ihr doch, erne; We are His people, the sheep of His and Fugue in c, Bach; Beloved, let us love, pasture, Give thanks to Him and praise His ihr Frommen, Herzlich tut mich verlangen Proulx; Pastorale and Dance for bassoon and JAY ZOLLER and CARROLL SMITH, (Elf Choralvorspiele für Orgel, op. 122), name (Symphonic Suite: Psalm 100 —Shout organ, Phillips; Let all the world in every for Joy to the Lord all the earth, op. 102), with Nick Wallace, guitar, James Merrifi eld, Brahms; Prélude, Fugue, et Variation, op. corner sing, Vaughan Williams; Ballade for trumpet, Virgil Bozeman IV, tenor, and Darin 18, Franck; Le Banquet Celeste, Messiaen; Fagiani; Toccata and Fugue in F, BWV 540, English horn and organ, Sowerby; Toccata Bach; Ave Maria von Arcadelt, S. 659, Liszt; Carlucci, whistler, Broad Bay Congregational Improvisation on ‘All Creatures of Our God (Symphonie V), Widor. United Church of Christ, Waldoboro, ME, and King’. Rhosymedre (Three Preludes on Welsh Hymn Tunes), Vaughan Williams; The Fair (Pet- August 26: Broad Bay Welcome, Merrifi eld; STEPHEN SCHNURR, St. Paul Catholic rouchka), Stravinsky, transcr. Tharp. Village Variations, Carter; Barden Kange, op. LEE RIDGWAY, Old West Church, Bos- Cathedral, Pittsburgh, PA, August 7: Praelu- 13, Mertz; Etude, No. 1, Choro, No. 1, Villa- ton, MA, August 9: Toccata and Fugue in d, dium in e, BuxWV 142, Buxtehude; Sonata V VINCENT THÉVENAZ, St. James United Lobos; Prayer of Saint Gregory, Hovhaness; BWV 538, Bach; Partita on ‘Nun laßt uns Gott in D, op. 65, no. 5, Mendelssohn; Praeludium Church, Montreal, QC, Canada, July 26: Toc- Ivory Tower (Marienlieder), Peeters; How dem Herren’, Lübeck; Fantasia on ‘Ich ruf zu et Fuga in e, BWV 548, Ein’ feste Burg ist un- cata I, FbWV 101, Capriccio X, FbWV 510, Can I Keep from Singing, Duncan; Variations dir, Herr Jesu Christ’, Buxtehude; Fantasia on ser Gott, BWV 720, Christ, unser Herr, zum Froberger; Fantasia chromatica, Sweelinck; on ENDLESS SONG, Zoller; Julia Florida, Mang- ‘Auf meinen lieben Gott’, Tunder; Praeludium Jordan kam, BWV 684, Bach; Prelude and Aria Sebaldina (Hexachordum Apollinis), ore; A Trumpeter’s Lullaby, Anderson; The in e, Bruhns. Fugue in g, WoO 10, Brahms. Pachelbel; Suite del Angel, Piazzolla. Whistler and His Dog, Pryor.

Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045,

Visit The Diapason website: www.TheDiapason.com

CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected]

Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 23.00 ______Display Classifi ed, per word 1.35 Display Classifi ed minimum 27.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 17.00 ______($30 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $5.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.

JANUARY, 2012 35

Jan 2012 pp. 31-35.indd 35 12/13/11 9:30:12 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 35.

POSITIONS PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS AVAILABLE RECORDINGS RECORDINGS FOR SALE

Project Leader—Berghaus Pipe Organ Build- Certifi ed appraisals—Collections of organ Like the harpsichord? Harpsichord Tech- Fisk pipe organ—Magnifi cent concert hall ers, Bellwood, IL seeks a highly skilled techni- books, recordings, and music, for divorce, es- nique: A Guide to Expressivity, second Opus 91. Built in 1987—for sale at $700,000. 44 cian to manage and develop service personnel tate, gift, and tax purposes. Stephen L. Pinel, edition, by Nancy Metzger is the hands-on stops, 56 ranks, 2838 pipes. Please visit http:// and projects both in-house and onsite. The suc- Appraiser. [email protected]; 609/448-8427. guide for touch and historically informed www.cbfi sk.com/do/DisplayInstrument/instId/91. cessful applicant will demonstrate management performance. www.rcip.com/musicadulce. Replacement value $1.7M, market value $1.1M experience, communication skills, and an ab- (valuation done by Schoenstein & Co., in agree- solute commitment to quality. Some travel re- Banks Music Publications, York, England, an- ment with the Fisk Company). Please contact quired. E-mail [email protected] or nounces new organ music releases. By Andrew me, ONLY if you are an interested party with Two Films on DVD fax 708/544-4058; www.berghausorgan.com. Carter: Fanfare & Processional (14056, £3.50), about J. S. Bach’s “Art of resources to buy this instrument. Your e-mail Passacaglia (14061, £5.00), and Three Pieces Fugue,” and 2 CDs of the entire work played by George Ritchie, as well as two hours of video might be forwarded to the president of the Fisk for Three Stops (14057, £3.50); by Robert Cock- lecture by Ritchie at the organ, receive rave re- company so he can provide you with more in- Service Technician—Berghaus Pipe Organ roft: Soliloquy (14063, £2.50); and by Thomas formation and handle the technical questions/ Builders, Bellwood, IL seeks experienced, reli- views from all quarters. The set, FSF-DVD-001, is Hewitt Jones: Intrada (14065, £3.50). For infor- $39.95 postpaid worldwide by Raven, Box 25111, details. Viewing of the instrument is available able technician who can tune skillfully, perform mation: www.banksmusicpublications.co.uk. basic voicing and maintenance, and trouble- Richmond, VA 23261, www.RavenCD.com. in California only to qualifi ed potential buyers. shoot problems. Occasional travel, reliable trans- Other costs to keep in mind: $110,000 for dis- portation, and valid driver’s license required. assembling and packing, $40,000 estimate for E-mail [email protected] or fax Atlantic City Convention Hall Organ— Carillon Music—Seasonal, ceremonial, sa- trucking and travel in the US, $250,000 +- to re- 708/544-4058; www.berghausorgan.com. The first recording since 1956 of the world’s cred and secular music, featuring arrange- install in new building. Total $400K if done by the largest organ, the famous organ created by ments from the classics and settings of sacred Fisk Company. ONLY interested parties, please Senator Emerson Richards and built by Mid- and secular tunes for 4-octave instruments. email me at [email protected]. PUBLICATIONS/ mer-Losh with 7 manuals and 449 ranks to An Album for the Carillon is available from fill the 41,000-seat Atlantic City Convention Fruhauf Music Publications: Visit www.frumus- RECORDINGS Hall with sound, is available. Organist Timothy pub.net to view listings, place e-mail orders, Beautiful three-rank, 28-stop Möller in fi n- Hoag and others recorded this CD in Novem- and download featured .pdf files. Contact: ished case. Prepared for four more ranks. Good This year marks the 100th anniversary ber,1998, for the Atlantic City Convention Hall [email protected]; 805/682-5727, mornings, for home or church; in church now. $7400. of the sinking of the Titanic. Play Bonnet’s Organ Society to raise interest in the largely Pacifi c time; or: FMP, P.O. Box22043, Santa Phone 586/202-9960 or 248/471-1515. “In Memoriam” to commemorate April 15. It’s in neglected instrument. This CD is priced at Barbara, CA 93121-2043. Douze (12) Pièces. Find details and samples at $14.98 plus shipping. Visit the OHS Online michaelsmusicservice.com; 704/567-1066. Catalog for this and over 5,000 other organ- Austin Op. 1513— Two-manual/pedal, 4-rank related books, recordings, and sheet music: REED ORGANS unifi ed. $6,000 or best offer; buyer to remove/ www.ohscatalog.org. FOR SALE ship. Currently in storage, playable before dis- The Tracker—Organ Historical Society pub- assembling, some restoration needed. 612/554- lishes its journal four times a year. The Tracker 3350; [email protected]. includes news and articles about the organ and Vocalion—Completely restored, excellent con- Michael’s Music Service presents new sheet dition. 2-manual, full pedalboard with blower. Ask- its history, organbuilders, exemplary organs, music restorations. Meditation, by Gottfried Fed- regional surveys of instruments, and the mu- ing $4500 or best offer. Reed organ collection for erlein (1883–1952), can be used as a prelude Martin Pasi pipe organ—Two manuals, 24 sic played on the organ. The emphasis is on sale. Located in Michigan; 313/770-2970. stops, suspended-tracker action. $350,000. Web: American organ topics of the 18th, 19th, and or in sections for interludes; it calls for optional http://martin-pasi-pipe-organ-sale.com; phone: 20th centuries, and there are occasional sub- chimes. In Fairyland, by Roy Spaulding Stough- 425/471-0826. jects on European topics. Most issues run 32 ton (1884–1953), a bank teller who composed or- PIPE ORGANS pages with many illustrations and photographs, gan music in his spare time, is a three-movement FOR SALE and at least one annual issue is published suite, perfect for the current generation who loves Moeller Artiste, 3 ranks, very good condition, in full color. Membership in OHS includes a fantasy in seemingly unending books and mov- some renovation completed, builder ready to subscription to The Tracker. Please visit our ies. A short 1919 article on him and this suite is Small pipe organs for sale. Great prices. For assist in moving for additional cost. $10,000/ website for more information or to subscribe: also available. Visit michaelsmusicservice.com; more information, please go to our website, best offer. 414/228-8737; jennifer.ankerberg@ www.organsociety.org. 704/567-1066. www.milnarorgan.com. sbcglobal.net.

TOTAL PIPE ORGAN RESOURCES

2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com

Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice

Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail: [email protected] e-mail

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215

PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com

3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

36 THE DIAPASON

Jan 2012 pp. 36-37.indd 36 12/13/11 9:12:48 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 35.

PIPE ORGANS MISCELLANEOUS ANNOUNCEMENTS ANNOUNCEMENTS FOR SALE FOR SALE

Rieger pipe organ—This tracker organ was built Consoles, pipes and numerous miscellaneous THE DIAPASON 2012 Resource Directory was The Guild of Carillonneurs in North America in Austria in 1952. It has 24 ranks over 21 stops. parts. Let us know what you are looking for. mailed to all subscribers with the January 2012 annual Carillon Composition Competition dead- Fully rebuilt, cleaned and regulated. Dimensions: E-mail [email protected] (not comcast), issue. Additional copies are available at a cost line for submissions is January 15. The competi- ′ ′ ″ ′ 6 wide, 7 6 deep, 8 tall. Stoplist, photos, and phone 215/353-0286 or 215/788-3423. of $5.00 postpaid. Contact the editor, Jerome tion is open to composers of any age or nation- information packet available. Can be seen and Butera, at 847/391-1045, [email protected]. ality. Compositions must be four to ten minutes’ played in Troy, Michigan by appointment. Ask- duration, playable on a four-octave carillon (47 ing $39,000. Contact: John at 586/871-7099 or SERVICES/ bells, C, D, E—chromatic to c4). Compositions al- e-mail: [email protected]. Tours of the World’s Largest Pipe Organ in At- ready performed or published, or written prior to SUPPLIES lantic City’s Boardwalk Hall are now available by August 1, 2009, are ineligible. First prize is $800, reservation. The two-hour docent tours include second prize $400. Prize-winning pieces are 1981 Lauck residence organ—2-manual, 3 ranks, 16′ Gedeckt 97, 4′ Principal 73, 8′ Oboe Releathering all types of pipe organ actions the ballroom Kimball organ and the 33,000+ premiered at a GCNA congress and published TC 49. Unifi ed to 19 stops. Expression, tremu- and mechanisms. Highest quality materials pipe Midmer-Losh organ, with its 7-manual con- by the GCNA. The competition is organized by and workmanship. Reasonable rates. Columbia sole and 5-manual portable console. Tourgoers the Johan Franco Composition Fund Committee. lant, combination action. Natural ash casework: ′ ′ 94″ high, 72″ wide, 24″ deep. Movable. Call or Organ Leathers 800/423-7003. www.columbia will see the 64 pedal stop, the immense 32 For information: John Gouwens, attn. Composi- e-mail for information: Lauck Pipe Organ Co., organ.com/col. Diapasons, and areas of the organs not open tion Competition, The Culver Academies, 1300 269/694-4500; e-mail: [email protected]. to the casual visitor. Tours cost $20, which goes Academy Rd., #133, Culver, IN 46511-1291; directly to support the restoration of these in- [email protected]. Aeolian/Robert Morton-style maroon struments; children under 12 are admitted free. MISCELLANEOUS leather is now available from Columbia Or- For reservations: [email protected]. For infor- gan Leathers! Highest quality. 800/423-7003, mation: www.acchos.org. New classifi ed advertising rates are in effect. FOR SALE www.columbiaorgan.com. See page 35 of this issue for information. 16′ Open Wood with chest—44 notes, CCC Bowling Green State University (Ohio) will 12″ x 14″, 5″ wp. Excellent condition—must sell, Highest quality organ control systems since hold its 38th annual organ competition. The Attention organbuilders: for information on space is needed. $4,200. Call J.R., 610/955-9437. 1989. Whether just a pipe relay, combination winner will receive a $4,000 scholarship to sponsoring a color cover in THE DIAPASON, contact Pick up only. action or complete control system, all parts the College of Musical Arts. Contestants will Jerome Butera, Editor, The Diapason, 3030 W. are compatible. Intelligent design, competitive be allowed 15 minutes of playing time, and Salt Creek Lane, Suite 201, Arlington Heights, IL will play one work by J. S. Bach and one work 60005; phone 847/391-1045; FAX 847/390-0408; ′ pricing, custom software to meet all of your For immediate sale—1909 E.M. Skinner 32 requirements. For more information call Westa- written after 1750. Deadline for applications is e-mail: [email protected]. Bombarde (bottom 12 notes); completely re- cott Organ Systems, 215/353-0286, or e-mail February 3. For information: 419/372-2192; stored; originally from Trinity Episcopal Church, [email protected]. [email protected]. Toledo, Ohio; 15 ranks of 1957 Aeolian-Skinner THE DIAPASON E-News is mailed monthly to (Joseph Whiteford). Contact Jonathan Moyer; jon- subscribers who have signed up to receive it. Don’t miss the latest news, announce- [email protected]; 216/421-0482 x231; Austin actions recovered. Over 40 years ments and classifi ed ads (with photos) The Church of the Covenant, Cleveland, Ohio; experience. Units thoroughly tested and fully ATTENTION ORGANISTS! Is the instru- before they appear in print! Visit www. www.CovenantWeb.org. guaranteed. Please call or e-mail for quotes. ment you play coupler-challenged? Do TheDiapason.com; at the bottom left col- Technical assistance available. Foley-Baker, you long for a 2-2/3, but there’s only a 1-1/3 umn, click Subscribe to our newsletter. on the Swell? Fret no more! Our new ex- For assistance, contact Joyce Robinson, Atlantic City Pipe Organ Company—2-manual, Inc., 42 N. River Road, Tolland, CT 06084. Phone 1-800/621-2624. FAX 860/870-7571. clusive downloadable app, Couplers from 847/391-1044, [email protected]. 3-rank, 5 Walker stops, free-standing DE chest the Cloud, will light up your life! Now from & pipes with detached console, Peterson relay, [email protected]. ′ the convenience of your smart phone, our 10 years old; $8,000 OBO. 16 reeds, principals, ultra-high-tech black-box technology will strings. 609/641-9422; mywebpages.comcast. supply virtual couplers of every stripe— Postal regulations require that mail to net/acorgan. Need help with your re-leathering super, sub, and inter-divisional. Just place THE DIAPASON include a suite number to project? All pneumatics including your smartphone nearby, and tap on the assure delivery. Please send all corre- 16′ Double Open Wood Diapason with chests Austin. Over 45 years experience coupler you need. Order yours today! Box spondence to: THE DIAPASON, 3030 W. and racks. 14″ scale, 5″ WP. $8000 FOB Deer- (on the job assistance available). Coupler-Con, THE DIAPASON, jrobinson@ Salt Creek Lane, Suite 201, Arlington 615/274-6400. fi eld, NH. Can deliver. john@organclearinghouse. sgcmail.com. Heights, IL 60005. com; 617/688-9290.

Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America

Advertise in -+ &62GHOO The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS odellorgans.com s 860-365-8233 contact Jerome Butera P.O. Box 405, East Haddam, Connecticut 06423 847/391-1045 518-761-0239 2 Zenus Dr., Queensbury, NY 12804-1930 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected]

GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl

JANUARY, 2012 37

Jan 2012 pp. 36-37.indd 37 12/13/11 9:13:10 AM *=picture +=musical examples 2011 In Review—An Index †=stoplist #=diagrams

Articles, Reports, and Reviews by author (boldface) and subject

Aeolian-Skinner Opus 1091. See Grinnell College. McCray, James. The Evolution of American Choral Music: Roots, Trends, and Aeolian-Skinner Opus 1456. See Childress. Composers before the 20th Century. May 26–29*+ African-American worship. See Wall. ______. Music for Voices and Organ. Jan 17–18, Feb 14–15, March 17, April AGO National Convention. See Thoene et al. 15, May 16, June 14–15, July 16–17, Aug 15–16, Sept 17, Oct 15–16, Nov 17–18, Alain, Jehan. See Christie, Sandresky. Dec 15–16 Albert Schweitzer Organ Festival. See Spicer. McLaughlin, Renate. J. S. Bach’s English and French Suites, with an emphasis on American choral music. See McCray. the Courante. May 24–25+ Atlantic City Boardwalk Hall. See Smith and Swisher. McKinney, David. New Recordings. May 18–19 August, Robert. New Organ Music. Sept 19, Dec 18 Memorization. See Cienniwa. ______. New Recordings. April 16, Oct 18, Nov 19 Music for Voices and Organ. See McCray. Bach’s Clavierübung III. See Knijff. National Presbyterian Church. See Childress. Bach’s English and French Suites. See McLaughlin. Nelson, Leon. New Handbell Music. Dec 18 Bach’s transcriptions of Vivaldi concertos. See Butler. New Handbell Music. See Nelson. Bankole, Ayo. See Sadoh. New Organ Music. See August, Collins, Herman, Knijff, Kramer, Steele, Zoller. Bishop, John. In the wind . . . Jan 15–16*, Feb 13–14, March 15–17, April 13–15*, New Recordings. See August, Campbell, Heaton, McKinney, Palmer, Parizo, Reed, May 12, 14*, June 10, 12–13*, July 14–16*, Aug 12–13, Sept 14–15*, Oct 12–14*, Speller. Nov 12, 14–15*, Dec 13–14* Black, Gavin. On Teaching. Jan 12–14+, Feb 12–13+, March 12, 14–15+, April Oaxaca, Mexico. See Winter. 12–13+, May 14–16, June 13–14, July 12, 14, Aug 14–15, Sept 15–17, Oct 14–15, OHS National Convention. See Rippl. Nov 15–17, Dec 11–13+ On Teaching. See Black. Book Reviews. See Bullard, Reed, Schroeder, Speller, Zoller. Organ building. See Bishop. Borrowings in music. See Hall. Organ Historical Society. See Rippl. Bozeman, George. Squirrel Island completes fi rst summer organ resident program. Organ pedagogy. See Black. Feb 18* Organ Recitals. Jan 34–35, Feb 33. March 40–41, April 36–37, May 36–37, June 33, Bullard, John M. Book Reviews. Feb 16–17, April 16–17, June 15, July 18, Aug 16, July 37, Aug 32–33, Sept 36–37, Oct 33, Nov 37, Dec 32–33 Sept 17–18, Oct 16–17, Dec 16 Butera, Jerome. Editor’s Notebook. Jan 3, Feb 3, Mar 3, April 3, May 3, June 3, July Palmer, David. New Recordings. Feb 16 3, Aug 3, Sept 3, Oct 3, Nov 3, Dec 3 Palmer, Larry. Harpsichord News. Jan 12+, May 12*, Sept 12–14* Butler, H. Joseph. Emulation and Inspiration: J. S. Bach’s Transcriptions from Viv- ______. Harpsichord Playing in America “after” Landowska. June 19–21* aldi’s L’estro armonico. Aug 19–21*+# Parizo, Kevin D. New Recordings. Oct 17–18 Performance practice. See Cienniwa, Enlow. Cairo, Egypt. See Halsey. Practice organs. See Hollingsworth. Campbell, Neal. New Recordings. Sept 18–19 Childress, Jan. Aeolian-Skinner Opus 1456, National Presbyterian Church, Cel- Reed, James. Book Reviews. May 17–18 ebrates 40 years with new Solo division. Feb 22–23*† ______. New Recordings. June 15–16, July 17, Nov 18–19 Choral music. See McCray. Rippl, Frank. 55th OHS National Convention. April 20–25* Christie, James David. National French Centenary Celebration of the Birth of Je- Roll recordings. See Rumsey. han Alain (1911–1940). Nov 21–23* Roberts, William Neal. See Palmer, Harpsichord News, Sept 12–14. Cienniwa, Paul. Dear Harpsichordists: Why Don’t We Play from Memory? Sept Robinson, Joyce Johnson. A Conversation with Christopher Houlihan. April 24–25* 26–28* Collins, John. Early Organ Composers’ Anniversaries in 2011. March 21 Rumsey, David. Welte’s Philharmonie roll recordings 1910–1928: My afternoons ______. New Organ Music. Jan 18, March 17–18, April 18, May 19, Aug 18, with Eugène Gigout. March 25–33* Dec 18 Composers’ anniversaries. See Collins. Sadoh, Godwin. Ayo Bankole’s FESTAC Cantata: A Paradigm for Intercultural Courante. See McLaughlin. Composition. July 25–27*+ Sandresky, Margaret Vardell. Hidden Patterns in Jehan Alain’s “Jannequin” Fu- Dugan, Franjo. See Krampe. gato. March 24+ Schroeder, Joy. Book Reviews. May 17 Early organ composers. See Collins. Scolaro, Fabrizio, translation by Francesco Ruffatti. Birds, Bells, Drums, and Editor’s Notebook. See Butera. More in Historical Italian Organs, Part 1. July 20–24* Enlow, David. Playing Franck in America: Perspectives on Authenticity. Nov ______. Birds, Bells, Drums, and More in Historical Italian Organs, Part 2. Aug 24–25*+ 22–25*+ Feher, Janice. 22nd Annual UK Organ Tour, Led by Leslie Peart. March 20* Serebrennikov, Maxim. On an unknown prelude and fugue by Gottfried Kirchhoff: First Presbyterian Church, Marietta, Georgia. See Johnson. Recovering some lost pages of his output. Sept 20–23+ Franck. See Enlow. Sewanee Church Music Conference. See Smedley. Smedley, Jane Scharding. Sewanee Church Music Conference July 11–17, 2011. Gherardeschi, Giuseppe. See Kraaz. Nov 20* Gigout. See Rumsey. Smith, Stephen D. and Charles Swisher. Atlantic City Boardwalk Hall’s Midmer- Grinnell College: Aeolian Skinner Opus 1091 restoration. Oct 20–22* Losh Organ: “And the Work Goes on Merrily”. Feb 24–25* South Korea. See Zoller. Hall, Jonathan B. J. L. Krebs: Borrower Extraordinaire. July 28–29+ Southern Harmony. See Steele. Halsey, Bill. Two organs in Cairo—a history of renovation by the Ktesibios Foundation. Speller, John L. Book Reviews. April 15–16, June 15, Aug 16, Nov 18 June 22–23*† ______. New Recordings. Feb 15–16, March 19, May 18, Aug 16–17, Sept 18, Harpsichord News. See Palmer. Oct 17, Dec 16–17 Harpsichord performance. See Cienniwa. Spicer, David. Albert Schweitzer Organ Festival Thirteenth Anniversary. Jan 19* Heaton, Charles Huddleston. New Recordings. Jan 18, March 19, June 16 Squirrel Island, Maine. See Bozeman. Herman, David. New Organ Music. June 17–18, Nov 19 Steele, Charlie W. New Organ Music. June 18, Nov 19 Hollingsworth, Devon. The Story of a Home Practice Organ. Sept 26–29* ______. Southern Harmony Revisited—in the pew and on the organ bench. Jan Holy Land. See Johnson. 20–23*+# Houlihan, Christopher. See Robinson. Swager, Brian. 2011 Summer Carillon Concert Calendar. June 28, July 32, Aug 29 House organs. See Hollingsworth. ______. Carillon News. June 10* In the wind . . . . See Bishop. Thoene, Marijim, and Alan Knight. The University of Michigan 51st Conference Italian organs. See Kraaz, Scolaro. on Organ Music. Dec 22–25* Thoene, Marijim, and Francine Maté, and Thomas Marshall. AGO National Japanese earthquake. See Lowther. Convention, Washington, D.C., July 5–8, 2010. Jan 24–27* Johnson, Calvert. First Presbyterian Church, Marietta, Georgia: Chancel Choir Holy Thoene, Marijim, and Lisa Byers. The University of Michigan 50th Conference Land Mission Tour. Dec 19* on Organ Music, October 3–6, 2010. Feb 19–21* Kirchhoff, Gottfried. See Serebrennikov. UK Organ Tour. See Feher. Knijff, Jan-Piet. New Organ Music. April 17–18, July 19 University of Michigan 50th Conference on Organ Music. See Thoene and Byers. ______. The Wayne Leupold Edition of Bach’s Clavierübung III. March 22–23+ University of Michigan 51st Conference on Organ Music. See Thoene and Knight. Kraaz, Sarah Mahler. An Introduction to the Organ World and Works of Giuseppe University of Michigan symposium on the pipe organ in African-American worship. Gherardeschi (1759–1815). Nov 26–29*+† See Wall. Kramer, Gale. New Organ Music. April 18–19, Dec 17–18 Krampe, Chris. Franjo Dugan: Croatian Organist, Teacher, and Composer. Oct 23–25* Vivaldi. See Butler. Krebs, J. L. See Hall. Ktesibios Foundation. See Halsey. Wall, Sylvia. The Pipe Organ in African-American Worship: Symposium at the Uni- versity of Michigan. June 24–25* Landowska, Wanda. See Palmer. Wayne Leupold Edition of Bach’s Clavierübung III. See Knijff. Letters to the Editor. March 3, April 3, May 3, June 3, July 3, Aug 3, Sept 3, Oct 3, Welte Philharmonie. See Rumsey. Nov 3, Dec 3 Winter, Cicely. Eighth International Organ and Early Music Festival, Oaxaca, Mex- Lowther, Roger W. The organ and disaster relief: An American organist in Japan. ico, October 21–27, 2010. May 20–23* Oct 19* 38 THE DIAPASON

Jan 2012 pp. 38-39 (INDEX).indd 38 12/13/11 9:15:00 AM Zoller, Jay. An Organ Adventure in South Baskeyfi eld, David,* wins Twelfth Richie, George,* honored with 2010 Korea. Dec 20–21*† Mader National Organ-playing Com- Oswald Gleason Ragatz Distinguished Organ Stoplists ______. Book Reviews. March petition, Claremont, CA. Jan 4 Alumni Award, Indiana University. Jan 4 18–19 Baumgartner, Balthasar,* awarded Rippl, Frank,* honored at 40th an- ______. New Organ Music. Feb third prize, Canadian International niversary as organist/choirmaster, All Dobson 17–18, April 18, May 19, June 16–17, Organ Competition, Montreal, QC, Saints Episcopal Church, Appleton, St. Andrews Lutheran Church, Park July 19, Aug 17–18, Sept 19, Oct 18 Canada. Dec 4 WI. Sept 8 Ridge, IL. 2/22*, Dec 28 Beachy, Sean Elliot,* wins Fifth Annu- Schaefer, John L.,* celebrates 35th an- al Anthem Competition, First Baptist niversary as organist/director of mu- Fritts Church, Worcester, MA. May 6 sic, Grace and Holy Trinity Cathedral, St. Philip Presbyterian Church, Hous- Appointments Boda, Stephen,* awarded third prize, Kansas City, MO. Dec 8 ton, TX. 3/70*, Aug 1, 26–27 National Organ Playing Competition of Schöch, Michael, wins 60th International the Royal Canadian College of Organ- Musikwettbewerb der ARD München, GOArt / Parsons / Lowe Anderson, David, to vice president for ists, Hamilton, ON, Canada. Sept 4 Gasteig, Germany. Nov 6 Anabel Taylor Chapel, Cornell Univer- church music, GIA Publications. Jan 6 Brown, James Russell,* honored for 25 Schrader, David,* honored with 2010 sity, Ithaca, NY. 2/40*, Oct 1, 26–28 Anderson, Mark A.,* to Shadyside Pres- years’ service as organist and director Oswald Gleason Ragatz Distinguished byterian Church, Pittsburgh, PA. Oct 6 of music, St. Giles Episcopal Church, Alumni Award, Indiana University. Jan 4 Johnson Beaumont, Karen, to the Chapel of St. Northbrook, IL. Jan 6 Scott, Patrick A.,* wins fi rst prize Bethlehem Lutheran Church, Fergus John the Evangelist at St. John’s on the Brunelle, Philip,* receives Ohtli Rec- and Agnes Fowler/Marie V. Thiesen Falls, MN. 3/28*, Aug 28 Lake, Milwaukee, WI. May 6 ognition Award, St. Paul, MN. Aug 8 Award, National Federation of Music Disselhorst, Delbert,* to visiting pro- Davis, Lynne,* receives Excellence in Clubs. Nov 10 Juget-Sinclair fessor of organ, University of Notre Creative Activity Award, Wichita State Siimes, Santeri, awarded a second prize, St. Mark’s Episcopal Church, St. Louis, Dame, South Bend, IN. Oct 6 University, Wichita, KS. July 6 2011 Aristide Cavaillé-Coll composition MO. 2/23*, Feb 28 Dumas, Brandon,* to associate organ- Donner, Andreas, wins 3rd Interna- competition, Paris, France. Nov 6 ist and choirmaster, Cathedral of the tional Franz-Schmidt Organ Compe- Stollhof, Lukas, awarded third prize, Kegg Incarnation, Garden City, NY. Nov 6 tition Kitzbühl, Austria. Jan 4 60th International Musikwettbewerb First Presbyterian Church, Phoenixville, Egler, Steven L.,* to artist in residence, Farris, Michael, posthumously hon- der ARD München, Gasteig, Germany. PA. 3/21*, July 32 First Congregational Church, Sag- ored with 2010 Oswald Gleason Ra- Nov 6 Private Residence, Palm Springs, CA. inaw, MI. Aug 6 gatz Distinguished Alumni Award, Stringham, Phyllis, honored with memo- 2/8*, Nov 32 Grassin, Didier,* to staff of Noack Or- Indiana University. Jan 4 rial recital, Carroll University. May 6 Zion Lutheran Church, Wausau, WI. gan Company, Georgetown, MA. Aug Filion, Aurélien, awarded a second prize, Svendsen, Sarah,* awarded second 3/49*, Jan 1, 28–29 6, 8 2011 Aristide Cavaillé-Coll composition prize, National Organ Playing Compe- Grunow, John,* to regional sales rep- competition, Paris, France. Nov 6 tition of the Royal Canadian College Klais resentative, Reuter Organ Company, Grimm, Lukas, awarded a second prize of Organists, Hamilton, ON, Canada. First Church Congregational, Fairfi eld, Lawrence, KS. Oct 6–7 (distinction), 2011 Aristide Cavaillé-Coll Sept 4 CT. 3/38*, Dec 1, 26–28 Guenther, Timothy E.,* to Gethse- composition competition, Paris, France. Teague, William,* awarded honorary mane Lutheran Church, Columbus, Nov 6 Doctor of Fine Arts degree, Cente- Lewis & Hitchcock OH. Aug 6 Hamilton, Stephen,* celebrated 20 nary College, Shreveport, LA. Oct 10 Christ Ascension Episcopal Church, Halls, Matthew,* to artistic director, years as minister of music, Church Tharp, Stephen,* wins 2011 Interna- Richmond, VA. 3/34*, April 29 Oregon Bach Festival. Nov 6–7 of the Holy Trinity (Episcopal), New tional Performer of the Year Award, Wesley United Methodist Church, Vi- Henderson, Andrew,* to assistant or- York, NY. Sept 8 New York City AGO chapter. July 8 enna, VA. 3/27*, May 32 ganist, Congregation Emanu-El, New Hart, Kenneth,* honored at retirement Vaught, Chelsea Ann,* awarded third York, NY. Aug 8 from senior choir directorship, Epis- prize, Twelfth Mader National Organ- Lewtak Jordan, John,* to regional representa- copal Church of the Good Shepherd, playing Competition, Claremont, CA. First Presbyterian Church, Greenville, tive for service and sales in Wisconsin, Dallas, TX. Jan 8 Jan 4 NC. 2/40*, March 1, 34–35 John-Paul Buzard Pipe Organ Build- Ishimura, Yuka, wins 21st Internation- Wolcott, Vernon,* initiated as North- ers. Dec 8 al Organ Competition Grand Prix de west Ohio Chapter of Sigma Alpha Mascioni Kniff, Jan-Piet,* to lecturer in music, Chartres, France. Jan 4 Iota “Friend of the Arts.” July 8 Tokyo Cathedral, Tokyo, Japan. 3/65*, University of New England, Armidale, Jacobs, Paul,* wins 2011 Grammy Zhao, Weicheng,* awarded second Jan 30 New South Wales, Australia. June 8 Award. April 8 prize and audience prize, Twelfth Lawyer, Lawrence W.,* to associate James, Aaron,* wins National Organ Mader National Organ-playing Com- Odell director of sacred music, Cathedral Playing Competition of the Royal Ca- petition, Claremont, CA. Jan 4 Scarborough Presbyterian Church, Scar- of Saint Paul, and associate director, nadian College of Organists, Hamil- borough, NY. 2/31*, May 1, 30–32 Archdiocesan Choir School of Minne- ton, ON, Canada. Sept 4 sota, St. Paul, MN. Sept 6 Kim, Hyo-Jong, wins International Organ Clearing House Lenti, Elizabeth,* to associate for mu- Organ Competition, Wuppertal, Ger- Obituaries The Church of the Resurrection, New sic and worship, Trinity Episcopal Ca- many. Jan 4 York, NY. 3/40*, June 1, 26–27 thedral, Cleveland, OH. Oct 7 Korndörfer, Jens,* receives second Mantoux, Christophe,* to professor of and Liszt prizes, Canadian Interna- Ash, Fayola Foltz. July 8, 10 David Petty organ, Conservatoire régional de Par- tional Organ Competition, Montreal, Ball, Mary Charlotte.* March 10 St. Ignatius Chapel, Seattle University, is, and Pôle supérieur de Paris. July 6 QC, Canada. Dec 4 Behnke, Wally. Oct 10 Seattle, WA. 1/4*, Oct 28. Moore, Edward Alan,* to East Liberty Kunz, Jean-Willy, awarded third and au- Blair, Nancy Jane. May 10 Presbyterian Church, Pittsburgh, PA. dience prizes, Canadian International Bliss, Elaine Sylvia. Sept 10 Quoirin Dec 8 Organ Competition, Montreal, QC, Boyer, George Evans. July 10 Church of the Ascension, New York, NY. Mozelle, Mary,* to chapel organist and Canada. Dec 4 Briggs, Jeanne Norman. July 10 4 (and 3)/111*, Nov 1, 30–32 adjunct faculty, Rollins College, Win- Lane, Christian,* wins Canadian Inter- Chaplin, Joseph. Dec 10 ter Park, FL. Oct 7 national Organ Competition, Montre- Chapman, James G. April 9 Rieger Sutphin, Norman,* to Trinity United al, QC, Canada. Dec 4 Christian, Billy J. Nov 10 Golden Hall of the Music Society, Vien- Methodist Church, Denver, CO. June Le Dréau, Guillaume, awarded a second Christian, Virginia M. Sept 10 na, Austria. 4/115*, Sept 1, 30–32 8–9 prize, 2011 Cavaillé-Coll composition Colvin, Otis Herbert Jr. July 10 Taylor, Joshua,* to First Presbyterian competition, Paris, France. Nov 6 Daniels, Peter Möller.* Oct 10 Schlueter church, Dallas, TX. Aug 8 Little, Wm. A.,* awarded the Organ Dunn, Wallace M.* Jan 10 Hendricks Avenue Baptist Church, Jack- Tritle, Kent,* to Cathedral of Saint John Historical Society John Ogasapian Dykstra, Elaine Sawyer. Nov 10 sonville, FL. 3/60*, July 1, 30–31 the Divine, New York, NY. Sept 6, 8 Book Prize. Oct 8 Edge, Martha “Jane” (Tinder). Sept Warner, Thomas, to head of perform- Mack, Marius, wins 1st International 10, 12 Schoenstein ing arts program, Longwood Gardens, Daniel Herz Organ Competition, Elling, Henry August “Hank”. Feb 8 The Juilliard School, New York, NY. Kennett Square, PA. March 6 Brixen, Italy. Jan 4 Fischer, Robert M. June 9 3/12*, March 36 Wilson, Todd,* to Trinity Cathedral, Magnifi cat Ifjúsáji Korus* wins Geddes, Richard Malcolm (Dick).* Cleveland, OH. March 6, 8 grand prize, 13th International Choir Oct 10 Swartz Yount, Terry,* to organist and dean of Competition and Festival Budapest. Giles, Rodney Alan. May 10 St. Andrew’s, Sanford, FL. 3/71*, Feb 1, Saint Andrew’s Chapel and Conserva- July 6 Górecki, Henryk Mikolaj. June 9 26–27 tory of Music. Dec 8 Meier-Appel, Manfred, awarded a sec- Grenhart, James Noel. May 10 ond prize, 2011 Aristide Cavaillé-Coll Hall, George M. Jr. Dec 10 Robert William Wallace composition competition, Paris, France. Herrmann, Virginia. July 10 St. Mary of the Immaculate Conception Nov 6 Hoiby, Lee. June 9 Roman Catholic Church, Fredericks- Honors and Murray, Thomas,* honored by Ameri- Hood, Sebron Yates Jr. July 10 burg, VA. 3/49*, Sept 32 can Guild of Organists, New Haven, Kehl, Roy Frederic.* April 9 Competitions CT. April 8, Oct 8 Kerr, Albert Edward. Nov 10 Wicks Nussbaum, Guillaume, wins 3rd In- MacEnulty, Rosalind. Nov 10 All Saints Catholic Church, Manassas, ternational Organ Competition Pierre Mahaffey, Robert. Nov 10 VA. 3/22*, April 29 Backman, Samuel,* wins 2010 Paul de Manchicourt, Bethune, France. Mead, Gilbert.* Feb 8–9 Manz Organ Scholarship. Feb 6 Jan 4 Philllips, Nancy Leask. Dec 10 Zamberlan Bae, Ye Eun,* wins 2011 University of Ostermann, Jared, awarded Royal Ca- Pizzarro, David A. July 10 Mt. Lebanon United Lutheran Church, Alabama Organ Scholarship Competi- nadian College of Organists prize, Ca- Ragatz, Oswald Gleason.* Aug 10 Pittsburgh, PA. 3/39*, June 25 tion. March 8 nadian International Organ Competi- Schieke, Glenn Earl. Sept 12 Bailie, Rev. Paul, wins 2010 hymn tion, Montreal, QC, Canada. Dec 4 Seivewright, Andrew.* Feb 8 Cornel Zimmer contest, Macalester Plymouth United Pasch, William Allen, receives honor- Smith, Frank Cedric. Jan 10 The Community Church at Tellico Vil- Church, St. Paul, Minnesota. June 4 able mention, 2010 hymn contest, Ma- Somary, Johannes. March 10 lage, Loudon, TN. 3/42*, April 1, Baltrusch, Anna-Victoria, awarded sec- calester Plymouth United Church, St. Stein, Sharon L. Dec 10 30–31 ond prize, 60th International Musikwet- Paul, MN. June 4 Stokes, John Albert. July 10 tbewerb der ARD München, Gasteig, Pinel, Stephen,* elected honorary Sue, John M. “Mac”. Sept 12 Germany. Nov 6 member of the Organ Historical Soci- Toppin, Sophie. June 9 Bartek, Michael, wins 13th Interna- ety. June 8 Torrence, Richard.* April 9 tional César Franck Competition, Pleasants, Virginia,* celebrates 100th Umla, Walter W. Nov 10 Haarlem, the Netherlands. Jan 4 birthday. May 12 Wilson, Hugh Allen. May 10 JANUARY, 2012 39

Jan 2012 pp. 38-39 (INDEX).indd 39 12/13/11 9:15:42 AM