THE DIAPASON OCTOBER 2014

St. John’s of Lattingtown Episcopal Church Locust Valley, New York Cover feature on pages 30–31 “A true revelation…. He is an eloquent musician. His rhythmic sense is clear-cut American. His feet elegantly tap dance on the pedals. Everything he plays is sharply and smartly delineated. His tempos were on the satisfyingly quick side, yet so naturally that nothing felt rushed or unduly showy. ….Most listened to emotionally and musically challenging, unfamiliar pieces with riveted attention…an unnervingly honest and direct performance, astonishing for so young a performer. The Houli fans can give themselves high fives. They’ve helped launch a major career.” CHRISTOPHER Mark Swed, Music Critic, HOULIHAN Los Angeles Times

[email protected] (860)-560-7800 www.concertartists.com THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fifth Year: No. 10, In this issue Whole No. 1259 Composer, performer, and teacher William Albright would OCTOBER 2014 have celebrated his seventieth birthday this month, and Established in 1909 Douglas Reed has paid tribute in a pair of interviews with two Joyce Robinson ISSN 0012-2378 persons very close to Albright; they provide a portrait with both 847/391-1044; [email protected] personal and professional views. www.TheDiapason.com An International Monthly Devoted to the Organ, Cicely Winter reports on the organ and early music festival the Harpsichord, Carillon, and Church Music that took place in Oaxaca, Mexico, in February; the group of All this is in addition to our regular columns of news, reviews, which she is president has led the restoration efforts for an international calendar, and organ recitals. CONTENTS organ in Tlacolula. John Collins’s review of Winter’s recording FEATURES at the Oaxaca Cathedral also appears in this issue. Save the dates Remembering William Albright (1994–1998) Larry Palmer reminds us that time does indeed fl y, and we Many of us are at work on programs for the 2014–15 season. on his 70th birthday ought to consider what we’ll play on the harpsichord for that The Diapason, whose offi ce is located in the Chicago suburbs, by Douglas Reed, with Sarah Albright and John Carlson 20 upcoming holiday in December. He surveys works from the will partner with other local organizations to present recitals seventeenth through the twentieth centuries. and workshops in January. Mark your calendars and plan to join Tenth International Organ and Early Music Festival, Oaxaca, Mexico John Bishop explores numerous topics, including the balance us for our Midwinter Pipe Organ Conclave on January 18 and Presentation of the newly restored organ in between performing well-known favorites versus the new and 19 in La Grange, Illinois. Further details will be forthcoming in Santa Maria de la Asunción Tlacolula, unknown, and the fi nancial demands that affect this argument. future issues of The Diapason. February 20–25, 2014 by Cicely Winter 25 Gavin Black begins a discussion of keeping the playing going—continuing through any wrong notes or other problems. In preparation NEWS & DEPARTMENTS Our cover feature this month is Glück Pipe Organs’ instru- In the coming months, we will be publishing articles on Pol- Editor’s Notebook 3 Here & There 3 ment at St. John’s of Lattingtown Episcopal Church in Locust ish organ music sources and editions, correspondence between Nunc Dimittis 10 Valley, New York. Alexander Boggs Ryan and Marcel Dupré, and more. Q Appointments 10 Harpsichord News by Larry Palmer 12 On Teaching by Gavin Black 16 In the wind . . . by John Bishop 18 Here & There

REVIEWS Music for Voices and Organ 13 Events Karen Christianson; 1/11, Janet Yieh; Thomas Dahl; 10/26, Ulrike Theresia New Recordings 13 First Presbyterian Church, 1/18, Katherine Meloan; 1/25, Mickey Wegele-Kefer; November 2, Fauré, Book Reviews 15 Arlington Heights, Illinois, announces Thomas Terry; February 22, Jeremy Requiem; 11/9, Christoph Tietze; 11/16, New Organ Music 15 its 2014–15 concerts: October 1, fl ute Filsell; March 1, Douglas Buchanan; Angela Kraft Cross; 11/23, Jacob Reed; 11/30, Christoph Tietze. For informa- NEW ORGANS 32 and guitar; 10/12, Bruce Blanck Jazz 3/22, Jonathan Biggers; April 5, Chris- Ensemble; November 5, Christopher topher Betts, Benjamin Straley; 4/12, tion: 415/567-2020 ext 213. CALENDAR 33 Urban, with piano; 11/9, Grant Street Kurt Ison; May 3, Jeremy Filsell; July ORGAN RECITALS 37 Quartet; December 3, Christopher 4, Christopher Betts, Benjamin Straley. St. Norbert Abbey, De Pere, CLASSIFIED ADVERTISING 38 Urban; 12/14, The Glory of Christmas; For information: Wisconsin, announces its 2014–15 February 4, soprano and baritone; www.nationalcathedral.org. Canon John Bruce Memorial Organ 2/8, 30th annual Organ Fest; March Concerts: October 8, Pater Stefan 4, Kris Ward, handbells, with piano; The American Institute of Organ- Kling; March 21, Isabelle Demers; 3/15, Timothy Brinkman, guitar; April builders will hold its 41st annual con- April 18, Michael Hey. For information: 1, Christopher Urban; May 3, choral vention October 5–8 in Oklahoma City, www.norbertines.org. concert. For information: Oklahoma. Events will feature organs by www.fpcah.org. Bigelow, Buzard, Fisk, Glück, Möller, The Indianapolis Symphonic Choir Reuter, and Simmons/Andover, plus a announces its 78th annual season: Octo- Washington National Cathedral two-day post-convention reed voicing ber 10 and 11, Mozart, Requiem; Decem- continues its 2014–15 season of organ seminar. For information: ber 7, 20, and 21, Festival of Carols; recitals: October 5, Piotr Rachon; www.pipeorgan.org. 12/19, Handel’s Messiah; March 7, Gala COVER 10/12, Sigurd Øgaard; November Bel Canto: New York, New York; April 24, Glück Pipe Organs, New York, New York; 16, Eric Dombrowski; 11/23, Jens St. Mary’s Cathedral, San Francisco, Fauré Requiem & Fairouz Zabur; June St. John’s of Lattingtown Episcopal Church, Locust Valley, New York 30 Korndörfer; December 25, Christopher announces upcoming concerts: October 12, 13, and 14, Beethoven’s Ninth. Betts, Benjamin Straley; January 4, 5, Cappella SF; 10/12, harpists; 10/19, ³ page 4

Editorial Director JOYCE ROBINSON [email protected] 847/391-1044

Editor-at-Large STEPHEN SCHNURR [email protected] 219/531-0922

Sales Director JEROME BUTERA [email protected] 608/634-6253

Circulation/Subscriptions VY DUONG [email protected] 847/391-1043 Designer DAN SOLTIS Associate Editor LYNNE FORT

Contributing Editors LARRY PALMER Harpsichord

JAMES MCCRAY Choral Music

BRIAN SWAGER Carillon Cathedral Choir of St. John at Winchester Cathedral JOHN BISHOP In the wind . . . The Cathedral Choir of St. John, Albuquerque, New performed the U.K. premiere on August 3 of Andrew Carter’s GAVIN BLACK Mexico, completed week-long residencies in both Winchester Consider the Lilies, commissioned by the Friends of Cathedral On Teaching Cathedral and Westminster Abbey July 28 through August 10. Music, sponsored by Maxine Thevenot and Edmund Connolly. Directed by Maxine Thevenot and accompanied for the week This work also received its London premiere at Westminster Reviewers John L. Speller in Winchester by Edmund Connolly, the choir was responsible Abbey on August 7 with organist Martin Ford accompanying. Dr. Jay Zoller for daily Evensong in each venue in addition to Sunday Mat- Thevenot’s Introit, Here I am Lord (Paraclete Press), received its John Collins ins and Choral Eucharist. At Winchester Cathedral, the choir U.K. premiere in Westminster Abbey on August 5. Kenneth Udy

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2014. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 3 Here & There

³ page 3 Early Music America announces its Baroque Competition fi nalists for 2014 in association with the University of Chicago Presents. The purpose of the competition is to encourage the development of emerging artists in the performance of Baroque music. Finalists were selected by an inde- Jack Bethards, president of Schoenstein & Co., with Patrick Will Sherwood, Stuart Forster, Jack Bethards, Eileen Guen- pendent panel of judges. Competi- Scott, Tom Mueller, and Stuart Forster ther, and Carl Daw tion fi nals take place October 11 at 7 p.m., in the Performance Hall of the The fi nal round of the 2014 Schoenstein Competition Tom Mueller won fi rst prize, and Patrick Scott was awarded Reva and David Logan Center for the in Hymn Playing took place at Christ Church, Cambridge, second prize. Arts, Chicago. The ensemble fi nalists Massachusetts, on June 22, on the 2006 3-manual, 43-voice The competition was sponsored by Schoenstein & Co., scheduled to perform are: Consort Schoenstein organ. Each of the four fi nalists (Brent Stamey, Organ Builders as part of their program to achieve greater Laurentia, Elixir Baroque Ensemble, Russell Weismann, Patrick Scott, and Tom Mueller) led the recognition for the art of accompaniment. It was announced Infusion Baroque, Les Ramoneurs, audience, who played the vital role of the singing congrega- to coincide with the release by MorningStar Music Publish- and Trio Speranza. For information: tion, through three hymns, chosen from lists provided. The ers of the book Hymn Playing: A Modern Colloquium by www.earlymusic.org. judges were Carl Daw, Eileen Guenther, and Will Sherwood. Stuart Forster, who designed and hosted the competition.

The Cathedral of St. John the Divine, New York City, announces its piano; 12/7, 10th Annual Carol Sing; Methuen Memorial Music Hall, 12/13, Star of Wonder; February 8, Wit- 2014–15 concerts: October 15, works by January 11, Vassily Primakov & Natalia Methuen, Massachusetts, continues ness: Let Freedom Ring; March 14–15, Pärt, Tavener; November 18, Kent Tritle; Lavrova, piano; February 8, “Songs my concerts: October 24, Isabelle Demers; Radio Hour; April 10, P.D.Q. Bach & December 13, Cathedral Christmas con- Mother Taught Me”; March 1, Nadejda November 1, Chandler Noyes, silent Peter Schickele Birthday Bash; May 2, cert; 12/31, New Year’s Eve Concert for Vlaeva, piano; March 15, The Elora Fes- movie accompaniment, “The Cat and Gather at the River with Mark Twain; Peace; February 24, works of Machaut tival Singers; 3/19, Juilliard415, Vivaldi the Canary,” December 5, Holiday Open 5/22, ¡Cantaré! Community Concert. and Josquin; March 26, Verdi, Requiem; violin concertos; 3/22, Peter Vinograde, House; 12/6, Ray Cornils and brass duo; For information: May 14, Cathedral Choir with Rose of piano, “Mostly Bach”; 3/29, Bach canta- 12/7, Brandon Santini and brass duo. www.vocalessence.org. the Compass. For information: tas and motets; April 19, New York City For information: www.mmmh.org. www.stjohndivine.org/. Children’s Chorus; 4/26, Margaret Mills, Resurrection Parish, Santa Rosa, piano; May 3, St. Andrew Chorale & New The University of Cincinnati Col- California, announces its Creative Arts Juilliard Historical Performance York City Children’s Chorus. For infor- lege-Conservatory of Music (CCM) Series, Sundays at 3:30 p.m.: October announces its 2014–2015 season. Masaaki mation: www.mapc.com/music/sams. presents a Fall Organ and Sacred Music 26, Philip Manwell; November 23, Trio Suzuki conducts Zelenka’s Missa Dei Workshop October 24, and the morning Céleste; January 25, JungHae Kim, harp- Patris: Jordan Hall, Boston, Massachu- Duke University Chapel, Durham, of Saturday, October 25. Participants will sichord; February 22, Daniela Mineva, setts; 10/18, Woolsey Hall, Yale University, North Carolina, presents organ recitals, take part in an improvisation workshop piano; March 22, Cristina Garcia Bane- New Haven, Connecticut; 10/19, Peter Jay Sundays at 5 p.m.: October 19, David and hymn festival led by James E. Bobb gas; April 19, American Canyon Singers. Sharp Theater, Juilliard, New York City. Heller; November 9, Stephen Schnurr; (St. Olaf College), in addition to sessions For information: www.creativeartsseries. Other events: 10/30, Kristian Bezuiden- January 25, Christopher Jacobson; on aspects of organ and sacred music com; [email protected]. hout and Juilliard415, Alice Tully Hall; March 1, Marie Rubis Bauer; 3/22, using signifi cant Cincinnati-area instru- November 3, Juilliard415, Bohemian Robert Parkins. For information: http:// ments with Michael Unger (CCM). The Presbyterian Homes, Evan- Club (New York Musicians’ Club); 11/14, chapel.duke.edu. Stephen Cleobury (King’s College, Cam- ston, Illinois, announces upcoming music of the Italian Baroque, Alice Tully bridge) will lead an organ masterclass. organ recitals in Elliott Chapel: October Hall; December 8, Handel, La resurrezi- The Cathedral Church of St. For information: 27, Mario Duella; November 24, Marina one, Alice Tully Hall. Paul, Detroit, Michigan, announces www.ccm.uc.edu/summer. Omelchenko; January 26, Stephen All- Free lunchtime concerts at Holy Trin- upcoming music events: October 26, top; February 23, Harry van Wijk; March ity Lutheran Church, New York City, November 23, February 22, March 22, CONCORA (Connecticut Choral 23, David Fienen; April 27, David take place Tuesdays at noon: October April 26, May 14, Choral Evensong; Artists) announces its 2014–15 season, Jonies; May 18, Hyea Young Cho; June 7, December 16, February 24, and November 30, An Advent Procession; which includes concerts programmed by 22, David Troiano. For information: April 21. On May 16, Juilliard Baroque December 20, Nine Lessons and Car- the three fi nalists for artistic director, and www.presbyterianhomes.org. performs Bach’s A Musical Offering, in ols; March 29, Jeremy David Tarrant two guest conductors who will explore Sleepy Hollow, New York. (Poulenc Concerto), with Oakland Sym- special repertoire, including a new St. Paul Cathedral, Pittsburgh, con- Historical performance program phony; May 2 and 3, Three Cathedrals composition, the fi rst CONCORA com- cludes its 2014 concert series: October residencies include Harry Bicket, public Choir Festival Concert (choirs of St. mission from the newly-formed Richard 28, Haig Mardirosian; November 9, master class, October 22, in Juilliard’s Paul Paul’s Cathedral, Buffalo, Detroit, and M. Coffey Fund for the Advancement Mary Beth Bennett. For information: Hall. For information: www.juilliard.edu. London). For information: jtarrant@ of the Choral Arts. October 26, “Tradi- stpaulpgh.org. detroitcathedral.org. tion Re-imagined,” led by fi nalist David The St. Andrew Music Society Hodgkins; November 23, “Bach and St. Luke in the Fields, New York of Madison Avenue Presbyterian Musica Sacra San Antonio Beyond, and Wordplay,” led by fi nalist City, announces its concert series: Church, New York City, announces announces its fi fth season, under the Christopher Shepard; December 14, October 30, music of Thomas Tomkins, its 50th season of concerts: October direction of Robert M. Finster. Even- “Refractions: Bach, Brahms, and the Orlando Gibbons, and Thomas Weel- 19, Andrew Henderson & Dariusz songs will take place at Our Lady of Lens of History,” led by fi nalist Richard kes; December 4, German Baroque Przybyliski, with students from Mannes the Atonement Catholic Church in San Giarusso; February 1, Steven Sametz, Christmas music (Choir of St. Luke in College; 10/26, Andrew Henderson, with Antonio, Texas, 4 p.m. on Sundays: Octo- conductor; March 29, CONCORA’s the Fields, with period instruments); violin; November 16, Brahms, A German ber 19, December 7, February 1, March annual “Bach!” program. For informa- January 22, David Shuler, Bach organ Requiem and Alto Rhapsody; December 22, and May 16. For information: tion: concora.org. works; March 5, Handel, Esther; April 7, Andrew Henderson, with violin and www.musicasacrasa.org. 30, Lassus, Missa Congratulamini mihi. Minneapolis-based choral ensemble For information: www.stlukeinthefi elds. VocalEssence announces its 2014–15 org/music-arts/concerts. concerts: October 26, Made in Min- nesota; November 13–16, River Songs St. Peter in Chains Cathedral, Cin- and Tales with Mark Twain: Greater cinnati, Ohio, announces its 20th season Minnesota Tour; 11/22, Young People’s of concerts: October 30, Choir of West- Chorus of New York City; December minster Abbey; November 30, Advent 5–7, 12/13–14, Welcome Christmas; ³ page 6

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4 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Michael D. Boney Richard Brasier Daniel Bruun Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Presenter Organ/Choral Organist/Editor Organist Indiana University Montevideo, Uruguay Charlotte, North Carolina St. Michael's, Boise, ID London, UK Copenhagen, Denmark

Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Organist/Harpsichordist Organist/Lecturer Organist/Pianist Organ/Carillon Head of Organ Studies Professor of Organ Ann Arbor, Michigan Birmingham, Alabama Bloomington, MN University of Florida Birmingham Conservatoire University of Alabama

Johan Hermans James D. Hicks Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross David K. Lamb Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Organist/Conductor Hasselt, Belgium Morristown, NJ Brooklyn, New York Ripon College San Mateo, California Columbus, Indiana

Mark Laubach Yoon-Mi Lim Philip Manwell Christopher Marks Katherine Meloan Scott Montgomery Organist/Presenter Assoc. Prof. of Organ Organist Organist/Professor of Music Organist Organist/Presenter Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX Reno, Nevada U of Nebraska-Lincoln New York, New York Champaign, Illinois

Shelly Moorman-Stah lman Anna Myeong David F. Oliver Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Pianist Organist/Lecturer Organist Organist Organist/Presenter Organist/Harpsichordist Lebanon Valley College University of Kansas Morehouse College Luther College William Jewell College Spartanburg, S. Carolina

Frederick Teardo Timothy Tikker Michael Unger Maria Welna Rodland Duo Christine Westhoff Organist Organist/Composer/ Organist/Harpsichordist Pianist/Organist/ Viola and Organ & Timothy Allen Birmingham, Alabama Improviser Cincinnati, Ohio Singer/Composer Eastman School of Music/ Soprano & Organ Kalamazoo College, MI Sydney, Australia St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 a non-traditional representation celebrating its 27th year of operation Here & There

³ page 4 all ages of students, involve the entire Lessons & Carols; February 11, 2015, St. school or a grade level, and can utilize Wilbur Held 100th Birthday Celebrations Olaf Choir; 2/15, Medieval and Renais- the intricate components and functions sance choral works; April 1, Ancient of the Kotzschmar Organ to explain con- Offi ce of Tenebrae; 4/17, Chanticleer. cepts in subjects as diverse as physics, For information: mathematics, and history. stpeterinchainscathedral.org. Ray Cornils, Portland’s municipal organist, guides students through pieces Musica Sacra, New York City, by Bach and Olivier Messiaen on the announces its upcoming concerts: portable “Kotzschmar Junior” pipe November 6, 8 p.m., Mendelssohn’s Die organ and the continuo—an instrument erste Walpurgisnacht, at Carnegie Hall; similar to a harpsichord. He explains that December 20, 2 p.m., at the Perform- the Kotzschmar Organ, when looked at ing Arts Center at Purchase College; objectively, “can be approached from and 12/23, 7:30 p.m., at Carnegie Hall, historical, mathematical, scientifi c, artis- Handel, Messiah. For information: tic, musical, sociological, and emotional www.musicasacrany.com. viewpoints. Making these connections and comparisons models for students the interconnectivity of our lives and living.” For information: foko.org/ kotzschmar/205-2/. Leo Cichocki, Malcolm Benson, and Dr. Frances Nobert

VocalEssence performed at the 10th On August 16, an enthusiastic group World Symposium on Choral Music of about one hundred and fi fty friends, held August 7–14 in Seoul, South Korea. relatives, colleagues, and neighbors VocalEssence, founded in 1969 by Artis- celebrated with Wilbur Held at Clare- tic Director Philip Brunelle, was the only mont Manor in Claremont, Califor- professional choir from the U.S. to be nia. Along with an impressive photo- included in 2014. graphic display were copies of many of The International Federation for Wilbur’s compositions, and above all Choral Music sponsors the World Sym- much fi ne socializing. Refreshments posium on Choral Music, an eight-day were provided, with cool drinks (the event organized every three years, show- temperature was in the high nineties) casing the world’s most prestigious choral and later, carrot cake. conductors and choirs. The symposium Wilbur Held’s family was present: Malcolm Benson with Wilbur Held Philip Crozier promotes artistic excellence, coopera- son Jon, daughter Linda, brother tion, and exchange by bringing together David, sister Miriam and her husband During the summer, Montreal organist the fi nest choirs and choral leaders for Jim, and several others. Wilbur Held’s Philip Crozier performed eleven recit- performances, seminars, workshops, traveling friends, Perry Hall and Stan- als in Europe. The tour was in Austria exhibitions, and choral reading sessions. ley Wimberley, were also present. Oth- (Graz Cathedral), Germany (the cathe- For information: www.ifcm.net. ers attending this very festive occasion drals of Regensburg and Meissen; the were Maxine and Charles Brechbiel, Reger organ of the Stadtkirche, Meinin- People Leo Cichocki, and Nancy Raabe of gen; and the historic Schnitger organ in Cameron Carpenter is featured on Morningstar Music Publications. St. Jacobi Kirche, Hamburg), Denmark a new recording, If You Could Read My At the appropriate time, silence (Skagen Kirke and Lemvig Kirke), Swe- Mind, on the Sony label. The repertoire was called for and Frances Nobert den (Karlstad Cathedral), and Holland includes transcriptions of works by Bach accompanied the group in the sing- (Brigidakerk, Geldrop, and Sint-Jan’s (Cello Suite No. 1, Prelude), Bernstein ing of Clayton F. Summy’s classic, Kathedraal, ‘s-Hertogenbosch). (Candide Overture), Dupré (Variations Happy Birthday. Nancy Raabe and Wilbur Held sur un Noël), Piazzolla (Oblivion), Rach- When I was eighteen years old I The Kotzschmar Organ, donated over maninoff (Vocalise), and Scriabin (Piano was introduced to the then twenty-three year old Wilbur by our organ teacher, a century ago by publishing mogul Cyrus Sonata No. 4), along with paraphrases on Frank W. Van Dusen, in Chicago. It is exciting and most pleasing to refl ect on Curtis and the centerpiece of Merrill songs by Burt Bacharach (Alfi e), Leon- the various aspects of Wilbur’s outstanding career as it has developed over so Auditorium in Portland, Maine, has ard Cohen (Sisters of Mercy), and Gor- many years. As the song says, “And many more!” ever since become the inspiration for don Lightfoot (If You Could Read My —Malcolm Benson a progressive, multi-faceted education Mind), and the world premiere record- San Bernardino, California program in Maine schools. Developed ing of Carpenter’s own work, Music for by the Friends of the Kotzschmar an Imaginary Film. The recording was Immanuel Lutheran Church, Organ (FOKO) nonprofi t, the curricu- made on Carpenter’s new International Des Plaines, Illinois (Held’s home lum includes a series of events, presenta- Touring Organ (ITO), which was built town), celebrated the centennial birth- tions, and in-school courses. One such to his own specifi cations in collaboration day of Wilbur Held throughout the event is the Kotzsch-O-Rama, an all-day with American digital organ pioneers, month of August. Director of Parish immersion in the music of Bach or Mes- Marshall and Ogletree. Carpenter’s tour Music and Organist Dr. Jeffrey Schleff siaen through various stations of activi- throughout the United States began in performed settings of Held’s during ties in art, creative writing, movement, September and will continue through services, including Of the Father’s and science, creating in various media March. For information: Love Begotten, 7 Settings of American to the music of one of these compos- [email protected]. Folk Hymns (Beach Spring, Land Wilbur Held birthday cake ers. This festival day can be tailored to ³ page 8 of Rest, Foundation, Simple Gifts, Detroit, Wedlock, and Kedron), Variations on VRUECHTEN, Reces- sional on ‘Turn Back, O Man,’ and Partita on ‘O God, Thou Faithful God.’ On August 24, a birthday cake in Dr. Held’s honor was enjoyed by many friends MANDER ORGANS and members of Immanuel’s congregation, who also prepared a birthday card with many good wishes. New Mechanical Action Organs

³ St. Peter’s Square - London E 2 7AF - England Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 CLAYTON ACOUSTICS GROUP Continuo Organs [e] [email protected] 2 Wykagyl Road Carmel, NY 10512 www.mander-organs.com 845-225-7515 [email protected] www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM Imaginative Reconstructions ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP

6 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM PHILIPPINE ARENA CIUDAD DE VICTORIA, BOCAUE BULACAN, PHILIPPINES

Congratulations

Dr. Genesis C. Rivera, organist

Johannus would like to congratulate the Iglesia Ni Cristo (Church of Christ) on their striking custom-made Monarke organ installed in the Philippine Arena in Ciudad de Victoria, Bocaue in Bulacan, Philippines, an architectural marvel that was built in commemoration of the centennial of the Church. The many speakers, amplifi ers and subwoofers make it possible for the three-manual organ to accompany the entire congregation in song. You can watch the video of its construction and installation at www.johannus.com. Here & There Managements

Bálint Karosi Jack Mitchener Kathrine Handford

Penny Lorenz Artist Management announces the addition of three artists to her roster of organists. Jack Rain with well-wishers Bálint Karosi is an award-winning concert organist, composer, and record- ing artist. He has won prizes at international organ competitions, including fi rst Jack Rain celebrated his 45th anniversary as organist at First Presbyterian Church, prizes at the J. S. Bach Competition in Leipzig, the Dublin International Organ St. Petersburg, Florida, on March 2. Church and choir members gathered around the Competition, and the Improvisation Competition of the University of Michi- Reuter console to hear the postlude and congratulate him afterwards. In honor of the gan. He has performed in Germany, France, Switzerland, Poland, Norway, the occasion, the church received an anonymous donation for the addition of a 5-rank United Kingdom, and in the United States, and has recorded three CDs, most mounted Cornet. The stop, made by the Reuter Organ Co., was installed at the end recently the Clavierübung III by J. S. Bach. Karosi is presently Cantor at First of July and used for the fi rst time on August 10. The 44-note Cornet extends from Lutheran Church in Boston. tenor C to high G and brings the organ to 86 ranks. Jack Mitchener is University Organist and Associate Professor of Organ in the Townsend School of Music at Mercer University. He has a full studio of undergraduate and graduate organ majors from throughout the United States, ³ page 6 Europe, and Mexico, and also serves as organist/choirmaster at historic Christ Church, Episcopal, in Macon, Georgia. He holds the Doctor of Musical Arts, two master’s degrees, and two Performer’s Certifi cates in organ and harpsi- chord from the Eastman School of Music. During his studies at the Conser- vatoire National de Rueil-Malmaison, France, he was unanimously awarded the Médaille d’or (Gold Medal), Prix d’Excellence, and Prix de Virtuosité. He records for the Raven and Albany labels. Kathrine Handford is University Organist and Lecturer of Music at Law- rence University’s Conservatory of Music in Appleton, Wisconsin, a position she has held since 2004. She holds a Master of Music degree in Organ Perfor- mance and Literature and the Performer’s Certifi cate from the Eastman School James D. Hicks of Music where she is currently completing her DMA. Handford has appeared Dorian Komanoff Brandy, Paul Cienniwa in recital in the United States, Canada, England, and Scandinavia where she Church; 10/9, St. Jacob’s Church; 10/10, has been a featured artist at numerous festivals. Paul Cienniwa, harpsichordist, and St. Jacob’s Church. On 10/12, Hicks will Since 1998 Penny Lorenz has been manager for such organists as Robert violinist Dorian Komanoff Bandy will perform at Kiruna Church in Kiruna, Bates, Craig Cramer, and Aaron David Miller; she is the United States rep- present “Bach Explored,” a recital series Sweden, and on 10/19, at Heinz Chapel resentative for Parisian organist Christophe Mantoux. For information about focusing on different aesthetic facets in Pittsburgh, Pennsylvania. these artists, contact: [email protected] or visit www.organists.net. Q of Bach’s musical language, surveying its roots in music of his contemporaries and forebears. Recitals of violin sonatas 10/15, masterclass, St. Killian Roman will take place at the New Bedford Art Catholic Church, Farmingdale, Long Museum, 608 Pleasant St., New Bed- Island; November 7–8, recital and mas- ford, Massachusetts, Wednesdays at terclass, Brevard–Davidson River Pres- 7:30 p.m. on October 1 (“Bach the Dio- byterian Church, Brevard, North Caro- nysian”), January 29 (“Dark Visions”), lina; January 18, Washington National and April 8 (“Bach the Apollonian”). Cathedral; March 5, University of the Cienniwa is chorus master of the New South, Sewanee, Tennessee. Katherine Bedford Symphony Orchestra, directs Meloan is represented by Concert Artist the chorus at Framingham State Uni- Cooperative. For information: Kather- versity, and teaches at the University of ineMeloan.com. Massachusetts, Dartmouth. As organist Jameson, Nicholas, and James Welch and conductor, he is music director at First Church in Boston, where he leads Katherine Meloan On June 13 and 14, James Welch, the fully professional First Church Choir Santa Clara University organist, per- and can be heard weekly on WERS (88.9 Katherine Meloan, chapel organist formed on the historic Welte theatre FM) Boston. For information: http:// and director of chapel music at United organ at Scotty’s Castle in Death Val- paulcienniwa.com/itinerary. States Merchant Marine Academy in ley, California. Scotty’s Castle was built Long Island and faculty member at in the 1920s by Chicago businessman James D. Hicks presents concerts in Manhattan School of Music, presents Albert Johnson, in collaboration with Stockholm, Sweden: October 7, Adolf recitals and masterclasses: October 12, gold prospector Walter “Scotty” Scott. Fredrik Church; 10/8, Engelbrekts St. Mary the Virgin, New York City; The 15-rank 1928 Welte player organ, originally intended for silent movie accompaniment, features 1,121 pipes, Doug Cleveland and David Salmen a grand piano, glockenspiel, xylophone, (photo credit: Bill Goehring) Follow us on chimes, orchestral and sleigh bells, bird calls, cymbals, bass drum, wood block, and David Salmen, of Salmen Pipe Organs, other toys. It is playable from a 3-manual Photo: Michael Timms Facebook presented organist Doug Cleveland in console or from a Welte roll-player. a patriotic July 4th concert on the pipe Welch performed pieces found among RGUES ÉTOURNEAU TÉE organ at his Wessington Springs, South the castle’s paper roll collection, includ- O L L Dakota, residence. The recital included ing works by Wagner, Bach, Dvoʼnák, works of Ives, Buck, Whitlock, Handel, and Boëllmann, as well as “Shadow CANADA UNITED STATES and Sousa. Salmen has sponsored organ Waltz” (Gold Diggers of 1933), “Singin’ 16 355 avenue Savoie 1220 L St NW, Ste 100, Box 200 recitals for several years, presenting such in the Rain,” and Irving Berlin’s 1918 St-Hyacinthe (Québec) J2T 3N1 Washington, DC 20005 artists as John Weaver, Chelsea Chen, and “The Song Is Ended, But the Melody Tel: 450-774-2698 Tel: 800-625-PIPE Christian Lane; www.salmenorgans.com. ³ page 10 [email protected] [email protected] Duchon’s Organ Pipes Photo: David Morrison New Reeds & New Flues letourneauorgans.com Additions & Repairs 330/257-0491 [email protected]

8 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM SMU MEADOWS SCHOOL OF THE ARTS ANNOUNCES THE APPOINTMENT OF STEFAN ENGELS

The Leah Young Fullinwider Endowed Centennial Chair in Music Performance Professor and Chair, Organ Department

Professor Engels, winner of the 1998 Calgary International Organ Competition, joins Meadows from the University of Music and Performing Arts “Felix Mendelssohn Bartholdy”, in Leipzig, Germany, where he shaped the organ program at the University’s Church Music Institute to international acclaim. A renowned concert & recording artist and educator, he will teach in the Meadows School of the Arts and in the Master of Sacred Music program in the Perkins School of Theology.

For more information on studying organ at SMU, visit smu.edu/Meadows or contact Corinna Nash at 214.768.4067 or [email protected]. Here & There

Nunc Dimittis Appointments Ovid Young, artist-in-residence at Rebecca Groom te Velde has been appointed Olivet Nazarene University, Bourbonnais, adjunct instructor of organ at the Wanda L. Bass Illinois, passed away August 24 at the age School of Music, Oklahoma City University, of 74. A 1962 graduate of Olivet Naza- effective August 2014. Organist at First Pres- rene, he spent his career as a member of byterian Church in Stillwater, Oklahoma, since the school’s faculty as pianist, organist, 1991, she is also interim chancel choir director composer, and conductor. Appearances in 2014–15. Te Velde is co-editor and contributor performances were common throughout with David Blackwell for Oxford Hymn Settings the United States, as well as in England, for Organists, a new multi-volume anthology Germany, Austria, France, Switzerland, of hymn-based organ pieces by U.S. and U.K. the Czech Republic, Japan, South Korea, Ovid Young composers. Volumes 1 and 2 were published by Denmark, Canada, India, and the Carib- Oxford University Press in 2014; volumes 3 and bean. He performed on the organ in the United States and Europe, and played 4 will be released early in 2015. A commissioned Rebecca Groom te Velde an integral role in acquiring the Fratelli Ruffatti pipe organ for Olivet’s Centen- composer for the 2016 AGO national convention nial Chapel. Music director of the Kankakee Valley Symphony Orchestra from in Houston, Texas, te Velde’s organ and choral compositions are published by 1974 to 1984, he would also direct ensembles such as the English Chamber OUP, Darcey Press, and Santa Barbara Music Publishing. She holds the M.M. Orchestra, English Symphony Orchestra, Seoul (Korea) Philharmonic, Danish degree in organ literature and performance from the University of Western Radio Symphony, Aarhus (Denmark) Symphony, Florida Philharmonic, and Ontario in London, Canada, where she studied organ with Hugh J. McLean the symphonies of Denver, Phoenix, and Nashville. His numerous composi- and composition with Jack Behrens. Undergraduate organ, church music, and tions and arrangements have been published by several American publishing composition studies were with her father, Lester H. Groom, at Seattle Pacifi c houses. He composed scores for several feature-length movies, and was one University. Post-graduate organ studies were with Flor Peeters in Belgium, half of the piano duo, Nielson & Young. Michael Schneider at the Staatliche Hochschule für Musik in Cologne, Almut Ovid Young is survived by his wife, Laura (Rees), and two sons, Erik and his Rössler in Düsseldorf, Germany (on a grant from the Deutscher Akademischer wife, Heather, and Kirk. Q Austauschdienst), and Gerald Frank at Oklahoma State University. Q

³ page 8 Michael’s Music Service announces processing). Proper installation of the Lingers On,” along with works by Dale new sheet music restorations: March ringtone is the recipient’s responsibility. Wood, Richard Purvis, Leroy Anderson, in G by Henry Smart (composer of and John Philip Sousa. Joining Welch hymntunes Regent Square and Lan- Organs / Organ Builders in duo numbers were his sons Jameson cashire); The Storm by Clarence Kohl- (14) in a piano-organ arrangement of mann, long associated with the ground- “Solfeggietto” by C. P. E. Bach/Norlin, breaking Hope-Jones organ in the Ocean and Nicholas (15) in Clifford Demarest’s Grove Auditorium; Theme and Varia- 1917 “Fantasie” for piano and organ. For tions by W. J. D. Leavitt; and Three Trios an encore all three performed a six-hand by Beethoven, edited by Robert Leech arrangement of Gautier’s “Le Secret.” Bedell and described by Weldon Whip- ple (“Beethoven’s Organ Trios: Authen- Carol Williams has a new YouTube tic or Spurious?” The Diapason, July series, “On the Bench with Dr. Carol,” 1977) as “prepared by Beethoven during where she interviews famous organists, the summer of 1809 to teach composi- composers, and organ builders. Fred tion to the Archduke Rudolph.” All Swann, Anthony Newman, Monte Max- four pieces can be purchased together well, and others have been interview for $39 plus shipping. For information: subjects; the emphasis with the relaxed michaelsmusicservice.com. interviews is to learn how great musi- Brombaugh Opus 4 at First Evangeli- cians work and achieve. For information: The Haarlem Essays Recordings cal Lutheran Church, Lorain, Ohio (Photo www.melcot.com. credit: Dale Preston) Competition in 2014; it contains articles Publishers by scholars and authors including Ton The First Evangelical Lutheran Dr. Butz Musikverlag announces Koopman, Christoph Wolff, Peter Church of downtown Lorain, Ohio, was the release of The Haarlem Essays, Planyavsky, Roman Summereder, Jean- struck by fi re on the morning of August a special anniversary collection (in Claude Zehnder, Joris Verdin, Hans 28. Firefi ghters from at least four dif- English) of articles, interviews, and Fidom, and Ran Raas. ferent districts worked to extinguish the portraits for organ lovers and ‘Haar- Dr. Butz Musikverlag, one of Europe’s fl ames of the red brick building of Gothic lem’ devotees. One of the world’s leading publishing houses for organ and design, dating to 1924. The church’s best-known centers of organ music, choral music, produced the 480-page John Brombaugh & Associates organ, based around St. Bavo’s Church and its Haarlem Essays as a hardcover book Opus 4, a two manuals, 24-stop, 42-rank legendary Müller organ, Haarlem regu- with more than 150 illustrations and instrument, was a complete loss. The larly hosts an organ festival, improvisa- examples, all the competition themes, instrument was dedicated in service and tion competition (fi rst held in 1951), and seven winning organ improvisations recital on June 21, 1970, played by David and masterclasses in connection with on a CD (80 minutes). It is available S. Boe, the church’s organist and profes- the summer academy for organists. through the Organ Historical Society A Couple of French Fifths sor of organ at harpsichord at the Oberlin The Haarlem Essays is being pub- (www.ohscatalog.org) or through Dr. Conservatory of Music. First Church has lished in celebration of the 50th Organ Butz Musikverlag (www.butz-verlag.de); As of August 1, Frederick Hohman’s started funds to rebuild the sanctuary and Festival and the 50th Improvisation e-mail: [email protected]. performance of the Toccata from to obtain a new organ. Donors may assist Charles-Marie Widor’s Fifth Organ Sym- online by credit card or send a check. See phony, op. 42, no. 1, has exceeded one www.fi rstlutheranlorain.org. million views on YouTube. The video, recorded at the Cathedral of the Sacred In the early morning hours of Sunday, Heart in Newark, New Jersey, concludes August 24, an earthquake rocked the episode #18 of the 1990s Midnight Pipes Napa Valley region of northern Cali- television series; it is on the CD A Couple fornia. Measuring 6.0 on the moment of French Fifths (Pro Organo 7021). magnitude scale, the earthquake was the To celebrate the one-million mark largest to hit the San Francisco metropol- in views, Pro Organo is offering a free itan area in a quarter century. As of this download of the fi rst 45 seconds of this writing, damage is estimated to exceed track as a ringtone. Request choice “A” one billion dollars. About two hundred on the Ringtones page at www.proogano. persons were injured. In Vallejo, the com; Angie at Pro Organo will e-mail the tower of the First Baptist Church was download link (please allow a week for left in near-collapsed condition. The

Music of Ed Nowak DIAPASON Student Rate We are working in your area, how can we help you? Choral, hymn concertatos, psalm $20 one year settings, organ, piano, orchestral and chamber ensembles NEW! 847/391-1044 http://ednowakmusic.com [email protected]

10 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM Here & There redbrick Gothic building erected in the from the rest of the structure and the The Hancher-Voxman-Clapp complex The entire instrument including blower 1920s had been earthquake-retrofi tted two-manual 1976 Wicks Opus 5550 has that housed the recital hall was severely was removed in order to permit a major in 1992, which may have kept the tower sustained considerable damage. St. Mary damaged by a fl ood in 2008 and was construction project to enlarge the organ from completely collapsing into the Episcopal Church of Napa, founded in scheduled for demolition in 2013. The chamber. The original installation placed sanctuary. Within days, the top section 1858 and housed in a 1931 brick Gothic organ’s future was in serious doubt as severe limits on serviceability and tonal of the tower was removed. First Baptist edifi ce, also sustained considerable dam- demolition neared. Peterson Contrac- egress. The congregation decided to has been home to Wicks Opus 4776, a age, to the church and to its 1989 two- tors, Inc., which was to demolish the provide a perfect setting for it in keeping two-manual organ built in 1969. manual, 26-rank Casavant Opus 3657. complex and had salvage rights to the with its quality. In Napa, the First Presbyterian remaining contents, donated the organ Schoenstein is providing entirely new Church, founded in 1854 and housed Dobson Pipe Organ Builders will to St. Andrew Presbyterian Church. The expression boxes, building frame, wind- in an 1874 neo-Gothic edifi ce listed on reinstall Casavant Opus 3105, a three- organ was removed to storage at Dobson ing, and wiring for the new layout. There the National Register of Historic Places, manual, 74-rank instrument built for the Pipe Organ Builders, Ltd., in Lake City, were minor tonal changes over the years, and the First United Methodist Church, Clapp Recital Hall of the University of Iowa. The project is expected to be com- but only one original stop—the Swell founded in 1851 and housed in a build- Iowa, Iowa City, in 1971 during the tenure pleted in 2015. Echo Salicional—was lost. It is being ing of Gothic style from 1917, were “red of Gerhard Krapf; in 1972 , it was the larg- replaced with new pipes duplicating the tagged” (indicating too dangerous to est mechanical-action instrument installed Schoenstein & Co. is carrying out originals. Schoenstein is adding an Aeo- inhabit) due to structural damage. First in an American university. The organ will a complete in-factory renovation of the lian-Skinner-style Harmonic Trumpet. Presbyterian houses Austin Organs, be refurbished with minimal changes three-manual, 46-rank organ designed Kountze Memorial Lutheran Church’s Inc. Opus 2304, a two-manual, 21-rank and installed in St. Andrew Presbyterian by Aeolian-Skinner in 1946 and com- organist is Mark Jones and the director organ built in 1960. At First Methodist, Church, which is building a new worship pleted in 1950 for Kountze Memorial of music and fi ne arts is Barb Carlsen. the sanctuary façade has pulled away space in University Heights, Iowa. Lutheran Church in Omaha, Nebraska. For information: www.schoenstein.com.

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 11 Harpsichord News By Larry Palmer

Gosh! It’s already October. lovely work on an historic organ without Two settings of the 6/8 Christmas carol What should I play on my pedals: engage another person to play Den die Hirten lobten sehre (He whom harpsichord for Christmas? the simple pedal line. Three succeed- shepherds praised most highly) come ing sections (possibly portraying angels, from organists Helmut Walcha (1907– Some suggestions reed-playing shepherds, and the return 1991) and Guy Bovet (born 1942). The Noëls by Nicolas Lebègue (1631– to Bethlehem’s hills or heaven in the master German Bach specialist took his 1702) include French classic settings contrapuntal fi nal section) are playable cue from that baroque composer in his of Puer nobis nascitur; A la venue de on any keyboard instrument. composition (number six of 25 Choral Noël; Une Vierge Pucelle; Noël pour The other 1685ers, Domenico Scar- Preludes, Peters Edition, 1954) by com- l’amour de Marie; Noël, cette journée; latti (d. 1757) and George Frideric posing a canonic pastorale above an F Or nous ditte Marie; Les Bourgeoises de Handel (d. 1759) also provide memo- pedal-point. One may either omit the Chatre; Laissez paistre vos Bestes; Où rable pastorales. Scarlatti’s Sonata in pedal-point, or resort to the second set s’en vont ces gays Bergers; Les Cloches; C, Kirkpatrick number 513 comprises of hands, as suggested above. Bovet’s and Le petit nouveau né (Paris: Schola evocative continuous sections: Pastorale one-page setting sparkles with the Swiss Cantorum, 1952; available in various (Moderato) in 12/8 [shepherds], whose virtuoso’s usual wit and charm, and pro- reprints). Other Kalmus/Belwin-Mills music morphs into a Molto allegro vides the player with an opportunity to editions of comparable pieces by later drone-based clog dance, with an osti- encounter at least two more delightful, baroque composers Jean-François Dan- nato ending leading to the 3/8 Presto audience-pleasing (non-holiday-season) drieu and Claude-Bénigne Balbastre fi nale (Angels, perhaps?). Of course organ compositions that do require are equally recommended. Handel wrote the most-often per- pedals: all included in Bovet’s Nouveau L’Organiste by César Franck formed of all pastorales, the Pifa from Cahier de Pièces d’Orgue (Cantate Dom- A Baroque Christmas (1822–1890): These late works for har- Messiah. It is also perfectly playable on ino, 1993)—La Boléro du Divin Mozart monium include several Noël settings: keyboards. Incidentally the Overture and a mysteriously titled Fuga sopra un “In all humility I am sending you the from the D minor/major set of seven to the beloved oratorio is available in soggetto—frequently a favorite encore fi rst proofs of my new Sonatina as a pieces try the Vieux Noëls (numbers an 18th-century keyboard transcrip- surprise, based on a certain popular Christmas greeting. In its simplicity and four and six) and similar offerings from tion, as well. (Scarlatti: many editions, movie-music subject. earnestness it is a true Christmas piece . . . the G/g set (numbers two, three, fi ve). If Franck’s miniature masterpieces are unfamiliar to you, take a look through the Tempus Fugit’s entire volume. You will fi nd many useful With holiday parties and midnight Masses, Try culling the stacks of the scores that abound— and beautiful short works from the Bel- On the horizon, a “respite” from classes? Manual music for organ might offer good sound: gian/French master. (Various editions.) Harpsichord tuned, and ready to play? Noëls, in arrangements, are lovely to hear, Any piece titled Pastorale is So what should I program this year for that day? I’d better start practice, for Christmas draws near. appropriate for the Christmas season; composers through the centuries have enjoyed writing music to portray the shepherds and their sheep cavorting including Ralph Kirkpatrick’s Sixty Other suggestions, offered to encour- Together with the Rondo Arlecchinesco it in compound triple meters. From the Sonatas in Two Volumes, published by age an exploration of scores that may not is my favorite piece of the past year.” (Fer- 1685 “boys,” J. S. Bach’s four-sectioned G. Schirmer: volume two, pages 90–93. have crossed your mind, as far as potential ruccio Busoni: Selected Letters, edited by one in F, BWV 590, requires a pedal Handel: 60 Handel Overtures arranged harpsichord music is concerned: from Anthony Beaumont, New York: Columbia part only in its fi rst section (the actual for solo keyboard, New York: Dover Johannes Brahms’s Eleven Chorale University Press, 1987, Letter 192.) pastorale); to perform it on a single- Publications, 1993—a modern reprint- Preludes, opus 122, number eight, Es ist manual instrument one might adopt the ing of Walsh’s original London publica- ein Ros’ entsprungen (Lo how a rose, e’er From the neo-classic German compos- solution I have found for playing this tion of c. 1756.) blooming), composed for manuals only, is ers of the 20th century I could suggest playable on the harpsichord. (One imag- further pieces for this year’s Christmas ines that Brahms [1833–1897], defi nitely explorations: several of the 30 Spielstücke Opus 50 • Good Shepherd Episcopal an early music afi cionado as demonstrated Opus 18 by my signature composer Hugo Lexington, KY • IV/58 by his exemplary pioneering edition of Distler (1908–1942) are appropriate for Francois Couperin’s Pièces de Claveçin, the harpsichord (published by Bären- would not be averse to having his sublime reiter or found in reprint editions) as are work played on an ancient instrument.) several of the manuals-only pieces from For something really “out there” how Ernst Pepping (1901–1981) published about learning one of the harpsichord’s in his Kleines Orgelbuch (Schott Edition earliest 20th-century compositions, Fer- 3735), especially three versets based on ruccio Busoni’s 1916 Sonatina ad usum Vom Himmel hoch, da komm ich her infantis, pro clavicembalo composità (From Heaven above to earth I come). (Breitkopf Edition 4836) in which the (In the second of these short pieces I fi rst movement is almost certainly based suggest adding missing F-sharps on both on the chorale Gelobet seist du, Jesu fi rst and second beats, three measures Christ (Praised art thou, Lord Jesus before the concluding double bar.) Christ). I wrote of this strangely beauti- Perhaps the best of all, saved for ful work in an article for The Diapason last, is an accessible, idiomatic, and way back in the issue for September relatively easy collection of Christmas 1973, recorded it for the Musical Heri- favorites actually written specifi cally for tage Society (The Harpsichord Now and harpsichord, although composer Edwin Then, 1975), and have returned to its McLean (born 1951) suggests that these many challenges several times in sub- arrangements are suited to the organ or sequent encounters. Most recently I piano, as well. Under the title A Baroque offered it as the major “modern” work Christmas: Carols and Counterpoint for for my 45th consecutive annual faculty Keyboard this collection includes the recital at SMU in September, and I favorite seasonal works Noël Nouvelet; continue to fi nd new challenges as well God Rest You Merry, Gentlemen (a as new felicities in this work, which the Fugue); What Child is This; The Coven- composer described in a letter to his try Carol; We Three Kings (Theme and student, the pianist Egon Petri: Variations); Pat-A-Pan; In Dulci Jubilo; O Come, O Come Emmanuel; Good King Wenceslas; Silent Night; and Adeste Fideles (Fort Lauderdale: FJH Music, THE WANAMAKER ORGAN 2003). I have performed many of these charming compact pieces for listeners Listen to it worldwide ranging from toddlers to seniors. Their responses have been uniformly positive. over the Internet! So, Tempus fugit’s! Find the music, tune your instrument, and Hourlong streamcasts practice now! Q Artistry are featured at 5pm ET Comments and news items are always Excellence the first Sunday of welcome. Address them to Dr. Larry Reliability each month at wrti.org Palmer, Meadows School of the Arts, Southern Methodist University, Dallas, gouldingandwood.com TX 75275; [email protected].

12 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM Reviews

Music for Voices and Organ that announces it in a briefer context. choral parts are not diffi cult and include diocese in New Spain, ca. 1535, a small by James McCray More interesting for organ than choir. an optional solo section. The busy key- organ imported from Spain, Mexico City, board part has a soloistic character and or Pueblo being in use within ten years. Advent music and traditions Advent, David Conte. SATB and organ, is moderately diffi cult as Mary sings her A larger instrument was commissioned ECS Publishing, 8026, $1.95 (D-). story. Her text asks, “Help me be strong, in 1569–70, the smaller organ being Petal by petal, a rare fl ower grows Amid bitter cold and winter snows; Using a text by Christina Rossetti Breath of heaven hold me together and retained; until about 100 years ago there God’s gift to the world—an Advent Rose, (1830–1894), Conte has created a sophis- be forever near me.” were always two organs in the choir, one That Hope may bloom again. ticated and moderately diffi cult musical on either side. Between 1711 and 1712, setting. The organ part has a soloistic There is a fl ow’r, Alan Smith. SATB a new organ was constructed in about 10 The Advent Rose Kim Norton Rich character and usually moves indepen- and organ, ECS Publishing, 7780, months by Matías Chávez, using three dently from the choir; it is on three $2.25 (D-). registers from the 16th-century organ In America’s secular world, a popular staves with registrations. The slow, mys- Winner of the 2012 AGO/ECS and only fi ve additional registers, as well December song is “It’s the most wonder- terious opening is a fanfare that seems to Publishing Award in Choral Composi- as a windchest with divided registers and ful time of the year!” but in the sacred announce the entrance of the contrasting tion, this text is by John Audelay (15th bellows. In 1716, two more stops were environs its parallel theme is O Come, and chant-like choir. This is a work that century) and tells the story of Gabriel added, and a new medium-sized organ O Come, Emmanuel. Both speak to the may appeal more to larger, well-trained greeting Mary. T replaced the old 16th-century proces- coming events of the month. groups than to the typical church choir, he sophisticated organ music is on sional instrument. In the church year, the season of yet it will reward singers and congrega- three staves with some diffi cult passages Further additions and amendments Advent is the period beginning four tion with an effective musical anthem. that include fl owing septuplets and ensued over the years, and in 1907 the Sundays prior to Christmas; as with the Highly recommended to accomplished quick, short solo statements between secondary organ was dismantled with secular world it is a period of prepara- singers and organist. textual phrases. Well crafted with an some of its components incorporated into tion and anticipation. The fi rst Sunday optional soprano solo and brief unac- the larger organ. A few years later, further of Advent is also the beginning of the Come, Come, Emmanuel, Joel Raney. companied passages. “modernizing” action took place, which Christian liturgical year. Probably the SATB and piano with optional instru- made the eventual reconstruction in 1997 most common tradition followed in the ments, Hope Publishing Co., C 5841, Belfast Evening Canticles, Philip W. by Susan Tattershall diffi cult. In this, all church is the lighting of Advent candles. $2.10 (M-). J. Stopford. SATB divisi and organ, of the old pipes were reused and some A ceremony in which members of the This is not based on the traditional MorningStar Music Publishers, 350 new pipes made. The organ now pos- congregation read Scripture and mes- Advent melody, but rather a new work MSM-50-6319, $2.10 (D-). sesses a single manual from C to d3 with sages during the weekly lighting of one with words and music by Raney. Instru- In the traditions established during the a short octave in the bass, and is tuned in new candle in each of the four Sundays ments include strings, brass, and synthe- Renaissance, the Magnifi cat and Nunc 1/6 comma meantone at a1=392. Divided in Advent helps to symbolize the coming sizer (C 5841P); however, a conductor’s Dimittis canticles are linked together registers include: left-hand, Trompeta 1 of Christ as the Light of the World. score will be needed since parts are not for evening services in some churches; Real, Flautados up to 1 ⁄3′, Flautas of 8′ Another common tradition is to put an indicated in the choral score. The music both close with the same Gloria Patri and 4′, and a 3-rank Lleno (Mixture); and empty cradle in the front of the church; is jazzy with some syncopation and (in English). The music is chromatic at in the right hand, Trompeta Real, Flauta- a baby is not placed in it until Christmas strong, driving rhythms. Choral parts times, but there is very limited divisi and dos up to 2′, Flautas of 8′ and 4′, a 4-rank Eve. In some countries, statues of the are easy, often in unison. The setting will contrapuntal lines are used. English texts Lleno and a Corneta of 4 ranks. The two Holy Family are placed somewhere dis- prove popular and fun for most choirs. are sung above a three-stave organ part toy stops of Tambor (drums) and Pajaritos tant in the sanctuary, then moved closer that frequently has sustained chords in a (little birds) were added in 1997. to the front each week. Some churches O Come, O Come, Emmanuel, driving rhythm. The music we hear on this recording decorate the church with a Christmas tree Thomas W. Jefferson. SATB and was typically played by brass bands, and adorned with Christian symbols (in some piano, Augsburg Fortress, 978-1- the organ, by its very tonal make-up, cases this is not done until Christmas Eve 4514-8589-9, $2.25 (M+). New Recordings offers a wonderful medium for this music, or Day). These remain in place through As with the previous setting, this one is Órgano de la catedral de Oaxaca, Vol which is well known by the Oaxacans and Epiphany. Such representative symbols not based on the traditional, well-known V: Cicely Winter, organ, and Valentín is a vital part of any local celebration. add greatly to the growing anticipation. Advent chant. The text has additional Hernández, percussion. TT 64:27. The organ is complemented by the usual The four Advent candles usually are biblical excerpts beyond those normally Instituto de Órganos Históricos percussion instruments of drums and placed in the circle of a wreath with a used; they include “Behold a virgin shall de Oaxaca, $14.98. Available from cymbals along with rattles, bells, triangle, larger and taller pure white candle in the conceive...” and “He is the Son of God...” Organ Historical Society at www. a scraper, and a conch shell. The themes center. That candle is lit on Christmas There are two verses in unison and several ohscatalog.org/spanporandme.html. of the songs include not only love but Eve, and its lighting may be part of the different sections in four parts, which are This recording introduces us to the also life after death and the longing for concluding Christmas Eve ceremony repeated; often they have long melismas, exciting world of Mexican folk music and home by those working away. The CD in which everyone in the congregation counterpoint, and some unaccompanied includes arrangements of both songs and offers 22 such songs and dances, from passes its light throughout the church singing. The music is fast and rhythmic dances, played on the restored organ of seven regions, plus an introduction and with smaller individual candles, often with bold interruptions of “Rejoice.” the cathedral of Oaxaca, with percussion two pieces in conclusion. Most are under while singing Silent Night. This helps accompaniment. Oaxaca was the third ³ page 14 bring the anticipation of Advent to its Jesse Tree: Advent Song for Children, conclusion as Christ’s arrival in the fl esh Dennis J. Newman. Two parts, piano, is celebrated. optional fl ute, and 12 handbells, GIA The musical works below are all Publications, G-5192S (Singers’ Edi- appropriate for Advent church services; tion), $1.50 (M-). A Precious Gift they have a great variety of texts and There are different movements style. The next two months of reviews for each of the four Advent Sundays, will focus on Christmas and Epiphany repeated refrains, and responsorial from the Past music to help with the preparation and refrains. A full score with paraliturgies anticipation during the Advent season. (G-5192) will be needed for perfor- mance. This singers’ edition is on two for the Present Prepare the Royal Highway, arr. staves with no keyboard part. For those Timothy Shaw. SATB unaccompanied churches with a good children’s choir and the Future with tambourine, Augsburg Fortress, this will be an attractive addition to 978-1-4514-8592-9, $1.66 (M). their permanent yearly repertoire and is Supremely beautiful and blendable This Swedish folk tune from the highly recommended to them. tonal color – a Gift from the Venetian 17th century has a lilting 6/4 meter that School of organbuilding, a monumental part of our dances along at a moderately fast pace. The Advent Rose, Dale Jergenson. The choral parts, on two staves, maintain SATB and piano, Laurendale Associ- JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH the simplicity and keep the folk spirit ates, CH-1379, $2.45 (M). SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN throughout while the tambourine adds The poignant text by Kim Norton Rich to the energetic rhythm without intrud- is set syllabically to bring out the words Intriguing? Let us build your dream. ing or dominating. Its music is on the clearly. The keyboard music is very easy back cover and as a separate line in the placing the emphasis on the four-part choral score. choir, which sings expressive and tender musical lines. Three of the four verses Anthem for the Annunciation, David have similar music. Charming and mean- Schelat. SATB and organ, Morning- ingful to the Advent season. Star Music Publishers, MSM-50- 2665, $1.70 (M+). Breath of Heaven, arr. Lloyd Larson. The organ music is more challenging SSA and piano with optional 3–5 Builders of Fine Pipe Organs to the World than that for the choir. It begins in 5/8 octave handbells, Hope Publishing then settles comfortably into a 6/8 meter. Co., C 5830, $2.15 (M). There are a few tricky rhythmic spots Also available for SATB (C 5437) www.ruffatti.com later when the organ is playing sextuplets. or SAB (C 5641), this is an Amy Grant Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 This is a setting of the Magnifi cat story tune that is subtitled Mary’s Song. The

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 13 Reviews

³ page 13 and, I hope, will be warmly received Born in Hong Kong in 1949, Chan Ka Helmut Walcha Chorale Preludes two minutes, the longer tracks including around the globe—it is the least that Nin was educated in North America and vols. 1, 2, Wolfgang Rübsam, organ- two multi-selection items, Danza de la this inspired venture deserves. I am also is currently professor of music theory ist; Vols. 3 and 4, Delbert Dissel- Pluma, and Sones de Pochutla. After the sure that it would be much appreciated and composition at the University of horst, organist; at the Brombaugh short introduction in which we hear the if Cicely Winter could publish a modern Toronto. He is a prolifi c composer of organ, Opus 35, First Presbyte- conch shell followed by drums and a very performing edition of her arrangements. choral, orchestral, and instrumental rian Church, Springfi eld, Illinois. high-pitched stop, the second track Mar- —John Collins music. His contemplative Refl ection and Naxos Vol I—8.572910; Naxos cha Gira Triunfal sets the scene—how Sussex, England Promenade for Solo Organ combines Vol II—8.572911; Naxos Vol III— far removed this is from the “art” music Chinese motifs with Messiaen-like tonal- 8.572912; Naxos Vol IV—8.572913. of Torres! Different sonic landscapes Soliloquies: New Japanese and Chinese ities and harmonies. Messiaen himself As one of the most infl uential organ- are achieved through registration, and Music for Harpsichord and Organ. incorporated Asian rhythms and motifs ists of the twentieth century, Helmut frequently the changes within even the Calvert Johnson plays an Anderson into his music, so perhaps in Professor Walcha had a profound effect on scores shorter pieces add to the variety, as in Dupree French double harpsichord Chan these musical infl uences have of students and countless others through La Sandunga, which runs to just over six (1986) and the Manuel Rosales organ come full circle. This is followed by one his recordings, far beyond his modest minutes. Half a dozen or so pieces are (2003), St. Bartholomew’s Episcopal of Professor Chan’s most popular pieces, number of compositions. Blinded at the in triple time and have a waltz-like feel, Church, Atlanta, Georgia. Albany his Phantasmagoria for Harpsichord. age of seventeen, he went on to memorize and the several in the minor achieve a compact disc TROY 1048; www. The vivacious character of this piece and record more of Bach’s music than well-conveyed plaintive and wistful feel- albanyrecords.com. forms an interesting contrast with the any other person in history. It included ing. La Tortuga opens with a bright and Four Pieces for Harpsichord—i. Pré- preceding Refl ection and Promenade. virtually all the organ works of Bach, the bubbly gapped registration, and in many lude, ii. Les Tourbillons, iii. Caprice, We hear next from one of the older harpsichord works, the Well-Tempered tracks the horizontal trumpets are used iv. Rio, Makiko Asaoka; Ancient Cities generation of Chinese-American com- Clavier, the Goldberg Variations, and the to great effect, sometimes presenting the for Harpsichord, Isaac Nagao; Sonata posers, Wang An-Ming, who was born in entire Art of Fugue. Unlike his other well- tune in the treble, sometimes in the bass No. 1 for Harpsichord—i. Energiaco, 1929 and currently resides in Potomac, known contemporary, Jean Langlais, who or swapping between them as in Himno ii. Scherzando, iii. Fantasy, Asako Hira- Maryland. Her Fantasy for Organ was learned and wrote music using Braille, al Rey Condoy. In Pinotepa we hear both bayashi; Suite for Organ—I. Cloudy written in 1988. It is a particularly pleas- Walcha relied on the playing of each line single and double notes played on the Sky, ii. Raining Night’s Flower, Pei-lun ing piece, again featuring Messiaen-like by his devoted wife, Ursula. One sup- trumpets. The fi nal piece, Dios nunca (“Vicky”) Chang; Refl ection and Prom- tonalities and rhythms, though with a poses that he wrote music by the reverse muere, a slow refl ective 12/8, includes enade for Solo Organ, Phantasmagoria much more ordered structure, reminis- process and with the assistance of his wife. examples of crushed notes in the melody. for Harpsichord, Chan Ka Nin; Fantasy cent in some ways of Franck’s Prelude, Walcha’s chorale preludes are short, The booklet contains a history of the for Organ, Wang An-Ming; Rain Dream- Fugue, and Variation. It gradually builds usually lasting from one to four min- organ culture in the province of Oaxaca, ing for Harpsichord, Toru Takemitsu; up to a climax before returning to a qui- utes. The melodies are often set in a a detailed account of the cathedral Jardin des Herbes for Harpsichord—i. eter mood at the end. straightforward manner, a throwback to instrument and its registers, a note on Rosemary, ii. Sweet Violet, iii. Laven- A Japanese contemporary of Ms. his interest in the Baroque, but often the music and the reasons for presenting der, Karen Tanaka; ‘Miyabi:’ Ballad for Wang, Toru Takemitsu (1930–1996) was motives pop out of the texture in unex- it in this manner, and a biography of the Organ, Reiko Arima. an essentially self-taught composer who pected places. Coming out of his impro- performers. The overall feeling from this The compact disc begins with Makiko acknowledged a heavy debt to Debussy visatory practices as it does, the music is well-played CD is one of a vitality and Asaoka’s Four Pieces for Harpsichord. and Messiaen, as well as to Japanese often complex and makes much greater exuberance that has been transferred Ms. Asaoka was born in 1956 and comes idioms in his compositional style. His use of canons and ostinato basses than, most successfully to the organ, with from Tokyo. She is well known in Japan Rain Dreaming was commissioned for say, the chorale preludes of his contem- the percussion accompaniment really as a singer and as a composer of music for the 1986 Aliénor Musical Festival in porary, Ernst Pepping. enhancing the joyous atmosphere even harpsichord and voice. Her style is heav- Washington, D.C. Its use of fourths both During World War II, Walcha began in the slower minor-key pieces. These ily infl uenced by 18th-century French melodically and harmonically is appar- to compose chorale preludes, which in pieces mark a new aspect of the timeless music, and makes effective use of harp- ently characteristic of the composer’s 1954 were published by C.F. Peters. scope of the organ in Oaxacan culture like arpeggiated passages contrasted with style, which with its arpeggiated chords These, with their horizontal contrapuntal sometimes dissonant chordal passages. and lilting character gives the piece approach and the singing characteristics Isaac Nagao (b. 1938) is a retired something of the Rain Dreaming quality of the old masters, became popular as music professor and is organist of the of its title. It may have been intended to teaching pieces. Volume I was followed Baptist Church in Tokushima, Japan. evoke the music of the Aboriginal Rain in 1963 by Volume II and by Volume His Ancient Cities for Harpsichord is Dreaming ceremonies of Australia. III in 1966. With encouragement from a particularly interesting piece with a Karen Tanaka, who was born in Tokyo his American students he published wistful, nostalgic character that makes in 1961 and received some musical edu- Volume IV in 1979. Volume II included effective use of arpeggiated chords. It cation in Japan, moved to France and the specifi cation of his Schuke organ, a shows infl uences of J. S. Bach and tradi- Italy for further study. She is best known picture of the organ, and extensive notes tional Japanese music. The result is a fi ne for her orchestral music, but has also on the interpretation of his organ works. evocation of the Japan of past centuries. written some instrumental music includ- Walcha wanted his music to be played Asako Hirabayashi (b. 1960) is a Juil- ing Jardin des Herbes for Harpsichord. clearly and lively, and to this end, he liard-trained Japanese music professor This was written in January 1989 for developed articulation markings to assist and harpsichordist who is quite a prolifi c Japanese harpsichordist Akiko Kuwagata the player. He also carefully marked composer with several dozen published and consists of three movements inspired tempo recommendations based on his compositions to her name. I have to say by aromatic plants. The three delicately Schuke organ and its environment with that, among her compositions, I do not crafted movements contrast with each four seconds of reverberation when think the rather stiffl y academic Sonatina other as well as complement each other empty. Tempos could then be adjusted No. 1 for Harpsichord, a very early work, to form a very coherent totality. for different acoustics. East Texas is either the best or most representative The fi nal work on this compact disc This set of four CDs is a monumental opus to have chosen. Among her more represents the work of Japanese music undertaking by two of Walcha’s former Pipe Organ recent work is some much more inter- professor and composer Reiko Arima students. Wolfgang Rübsam, who is esting stuff, such as her Dance for the (b. 1933). Arima wrote ‘Miyabi:’ Bal- internationally known for his many Festival Harpsichord (2008), her Sheet Music for lad for Organ in 1986. The Japanese recordings, plays the fi rst two CDs. Violin and Harpsichord (2009), and her word miyabi translates as “elegance” or Delbert Disselhorst, professor emeritus Scherzo, Elegy, and Tango for Piano and “refi nement,” and these qualities clearly of the University of Iowa, is the organist Harpsichord (2009). More of her music, characterize the piece. Once again, the for volumes 3 and 4. Each CD covers November 9–14 incidentally, is available on another com- infl uence of Olivier Messiaen is appar- the 24 chorales in each one of the Peters pact disc, New Millennium, played by the ent, especially here in the contrasts of editions so if you want to follow along composer with Gina Dibello, violin, and mood between loud chordal passages with the music score, it works out very Fifteen Recitals also on the Albany label (TROY 1180). and ebullient softer ones, as well as in handily. All the CDs are recorded on the We turn then to the Rosales organ its rhythms and tonalities. The piece magnifi cent Brombaugh organ, which on Seven for a performance of two movements ends surprisingly suddenly, to consider- is large enough and colorful enough Aeolian-Skinners of Taiwanese-American composer Pei- able effect. to do justice to Walcha’s registrational Lun “Vicky” Chang, who is currently I have suggested before that, whatever demands, despite the variances from choir director and organist of St. John’s may be the case in North America and Walcha’s Schuke organ. P. O. Box 2069 Evangelical Lutheran Church, Lan- Europe, classical music in general and The playing is impeccable on the part caster, New York. Like Chelsea Chen’s organ music in particular are very much of both organists. Each observes, as Kilgore, Texas 75663 Taiwanese Suite and Three Taiwanese growing in popularity in Asia, particu- much as possible, Walcha’s recommen- Folksongs, Ms. Chan’s Suite for Organ larly in Japan, China, Taiwan, and Korea. dations for registrations and tempi. I is based on the melodies of Taiwanese This interesting compact disc offers fur- sense slightly more elasticity in Rübsam’s www.EastTexasPipeOrgan folksongs and represents an interesting ther evidence for this and also suggests rendition, but both are faithful to the Festival.com blend of Taiwanese and Western musical to me how far reaching the infl uence of intent. And, my hat is off to Naxos for EastTexasPipeOrgan motifs. The suite consists of four move- Olivier Messiaen may come to be in the very fi ne and clear recordings. I wish all [email protected] ments—Cloudy Sky, Raining Night’s 21st century. organ recordings could be as clear! The Flower, Bird, and Train—of which the —John L. Speller set includes in each CD a picture of the fi rst two are included on this recording. St. Louis, Missouri Brombaugh organ as well as the stop list.

14 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM Reviews

Bravo to Wolfgang Rübsam and Del- by a canzona (an unusual pairing); the Gabriel Menalt, Obra completa and bars or so each, they are written in a vari- bert Disselhorst for their fi ne playing, and fi rst has testing passagework in sixteenth Francesc Espelt, Versos de Missa per ety of styles, from imitative to homopho- to Naxos for an exceptional recording. I notes, while the second contains a triple- a orgue, edited by Bernat Cabré. nic including the chant, and all require was thrilled by the discs and recommend time section that merges into a toccata- Published by Tritó Barcelona, €22 the same stops throughout the compass of them for the casual listener and especially like coda. This is followed by an archaic and €20.70 respectively; www.trito.es. the keyboard; each Verso has the option for the student of Walcha’s organ music. but majestic Ricercar on three subjects These volumes contain pieces by two of a conclusion about half way through. A —Jay Zoller including the chromatic tetrachord, a less well-known Catalan composers from few are imitative but most are based on Newcastle, Maine splendidly rhythmic Ciaccona in four late 17th-century Barcelona, whose short rhythmic motifs against the chant in sections which also culminates in toc- works survive only in two manuscripts long notes. Apart from the second Verso cata-like writing, an equally vigorously written in open score, now in the Bib- on the fi fth Tone, which is a rare example Book Reviews rhythmic Ballo della battaglia (the fi nal lioteca Nacional de Catalunya in Bar- of the second half changing from com- An Organ a Day: The Enterprising repeat marks are confusing but the cor- celona. The shortlived Gabriel Menalt mon time to 3/2, and the fourth Verso on Spirit of M. P. Möller, by Bynum rect sequence can easily be elucidated!), (1657–87) was organist at Santa Maria the sixth Tone, which is in 9/4, the Versos Petty. The Complete Organ Series, a lengthy Pastorale in four sections based del Mar, and his extant works comprise are all in common time. The second col- No. 9. Hillsdale, New York: Pen- entirely on a pedal point (ideal for Christ- fi ve Tientos, two sets of Versos, two set- lection of Versos are headed partits de dragon Press, 2013. Paperback, mas), two Corrente, which are probably tings of the Pange Lingua and four of mà dreta and comprise one on each Tone pp. vii + 229, plus compact disc, better suited to harpsichord, and fi nally the Sacris Solemnis, although the two with the right hand carrying a melismatic $54. ISBN: 9781576472439; another rhythmic Ballo in C minor in six concluding pieces are almost identical. solo, these Versos being more extended www.pendragonpress.com. sections, the fi nal one being a 12/8 Cor- The Tientos offer examples of the four than the preceding set. Apart from the The Danish immigrant Mathias Peter rente. It is a pity that one of the variation main kinds of the genre. The fi rst one is Verso on the fourth Tone, which changes Möller (1854–1937) founded what sets on popular melodies, or one of the for the same stops throughout; it is imita- from common time to 3/2 (with quarter- became the largest pipe organ building imposing Passacagli in numerous sec- tive, with plenty of passagework in dif- note triplets) all are in common time. company in history. Whereas other lead- tions was not included, especially the ferent rhythms, and the second section Both of the Pange Lingua settings are in ing organ companies of the twentieth A-minor or F-minor examples with their is in triple time. The second Tiento is an three voices; the fi rst is headed mà dreta, century featured a number of at times highly dissonant moments. All pieces can example of the Falsas, the slow-moving the second for dos baixos (two voices in contentious individuals—for example, be played manuals only, but pedals can dissonant pieces played during the Eleva- the left hand—the right hand carries the Ernest M. Skinner, Arthur Hudson indeed be used for cadences. tion of the Host, this one being loosely one-voice solo). This piece is the only one Marks, and G. Donald Harrison in the This edition is clearly printed in imitative. The third and fourth Tientos not playable on organs without divided case of Aeolian-Skinner—with the pos- a generously sized font, which does, are Gaitillas de mà esquerra, i.e., the solo registers, since the upper of the intervals sible exception of Richard Whitelegg however, make some page turns incon- voice is in the left hand. Both are loosely is frequently a tenth above the lower, in the 1930s, M. P. Möller, Inc., was all venient. The introduction includes imitative and contain some virtuoso writ- which can be taken easily with the right about one man: its founder. brief information on the forms used by ing for the left hand with both conjunct hand. The fi rst is in 9/4, the second in 3/1. Bynum Petty’s excellent little book tells the composer and on the Sicilian organ passagework and leaps. The fi rst one The four Sacris Solemnis settings are the story of Möller’s life in the context of (note that the specifi cation given is for a concludes with a triple-time section, the also in three voices; each is in 3/1, with his times. It discusses how the personal 16-foot organ; pitches should be trans- second contains a triple-time section as the fi rst two subdivided into triplets; they contacts he made enabled him to fi nance posed up a pitch for English instru- the central section before a return to are headed respectively glossat, a dos his business and how his enterprising ments), but there is no comment on common time. Interestingly, both were tiples, a dos baixos and a tres, the chant spirit led him to introduce innovations how to play the ornaments; the player conceived for a two-manual organ since appearing in the tenor, bass, treble, and that led to the immense popularity of the also will need to consider very carefully the writing exceeds middle C, which treble. Because of large stretches it will Möller organ. As the title of the book sug- adding accidentals in several places. is where the registers divided on most be diffi cult to play them with the parts gests, at the height of the company’s suc- Original notation and note groupings Iberian organs. The fi nal Tiento is partit divided where indicated; some adjust- cess in the 1920s they were shipping out have been retained, resulting in long de mà dreta, i.e., the right hand carries ments will be required. an organ a day. Furthermore, Möller’s measures, which may be perplexing to the solo, which contains more virtuoso Francesc Espelt was interim organist interests were not restricted to organ players not used to them. These pieces passagework. The piece concludes with a at Santa Maria del Mar at the death of building, but included being involved will require a sound working knowledge triple-time section in which before long Menalt, but he was unsuccessful in gain- in railroads, banking, hotels, apartment of 17th-century Italian performance the half notes are further divided into ing the post, and then worked in Figue- buildings, a music store, and automobile practice to bring them off successfully, three quarter notes; care must be taken res, Barcelona, and Manresa until his manufacture among other interests. He when they will sound exciting and fresh. to maintain the proportional tempi in death in 1712. His extant organ works, was also a philanthropist who was gener- They are worthy of inclusion in services these sections. The rhythmic grouping of found in the same two manuscripts as ous to the community, both in Hagers- and concerts. It would be splendid if the 3+2+3 eighth notes, so popular with Agu- Menalt’s, are all settings of either hymns town and in his native Denmark. player is then motivated to explore not ilera and Bruna, among others, makes a or Versos, comprising in total eight The book ends with helpful appendi- only the complete collection of some 29 brief appearance in the third Tiento. groups of pieces. This volume includes ces, containing patent applications, organ pieces, which is available in two modern The Versos de Salmòdia comprise groups 4–8, a series of organ Versos for scales (both Möller and Whitelegg), the editions as well as a facsimile, but also fi ve pieces on each of the eight Tones the Mass; each group comprises fi ve Ver- diary of a visit to Denmark in 1921, stop the Neapolitan and Sicilian predeces- (although the “keys” used do not all cor- sos for the Kyrie, nine for the Gloria, and lists, recital programs, contracts, and sors and contemporaries of this enig- respond to those which are commonly three each for the Sanctus and Agnus. lists and indexes of rolls for the Möller matic composer. found in these collections). Of about 20 ³ page 16 “Artiste” player mechanism. More stop lists, letters, and other documents are included on a compact disc enclosed with the book, which also includes an opus list of organs built by M. P. Möller, Inc., amounting in all to another 625 pages. There is also an extensive bibliography and an index. This is a very useful intro- duction to M. P. Möller’s life that ought to be on every organophile’s bookshelf. —John L. Speller St. Louis, Missouri

New Organ Music Bernardo Storace: Selected Works from ‘Selva di varie compositioni.’ Edited by Jolando Scarpa. Doblinger Verlag DM 1391, £19.95. Bernardo Storace is one of many early composers of whom we know very little; indeed, in his case, all that we know is contained in the preface to his print of Rieger builds classics 1664 entitled Selva di varie compositioni, in which we learn that he was vice mae- for the future. stro de capella in Messina, Sicily. The extensive print contains pieces in a wide variety of genres, many of which are bet- ter suited to the harpsichord or chamber organ; it is interesting that it includes no Rieger-Orgelbau GesmbH liturgical works. This anthology contains A-6858 Schwarzach-Vbg., Hofsteigstraße 120 nine pieces, opening with the two tocca- T +43 (0) 5572/58132-0, F +43(0) 5572/58132-6 tas, which show clearly the infl uence of www.rieger-orgelbau.com, [email protected] Frescobaldi and Trabaci, each followed Essen Folkwang University of the Arts, Germany 2014

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 15 Reviews On Teaching

³ page 15 an organist in Las Vegas whose warm Keeping It Going I note can be surprisingly successful in spite The fi rst item is the Missa doble major heart is without equal. The descriptive This month and next I shall muse in of its “wrong”-ness. Indeed, it suggests on the 5th Tone; Verso eight of the Gloria titles are appropriate. “Lyric Prelude on some detail about one transcendentally that the main problem with wrong notes is marked Flautat (for the fl autados, the Londonderry Air” gives out the beloved important aspect of practicing and some is that they induce timid, apologetic, or diapason tone registers). The second melody three times—each time slightly related matters. I say “muse” because rhythmically inaccurate playing, not that group is the Missa de Nostra Senyora, more ornamented. “Variations on The this is largely about the psychology of the they are themselves wrong. I think that with the Versos for the Kyrie in the 1st Ash Grove” comprises four: Amabile student and the teacher’s role in helping this is extremely important, regardless of Tone, for the Gloria in the 1st Tone per (solo/accompaniment), Cantabile, Mis- the student to do something important where that quote did or didn’t actually Delsolre, i.e., with the major third (the terioso e meno mosso (melody somewhat but diffi cult. Therefore, the question originate. Of course this is specifi cally sixth Verso is missing and the eighth Verso veiled), and Amabile (melody decorated of how to work on it is unusually open- about the rhetoric of performance, not is marked Partit de mà dreta, i.e., the in a Celtic style). “Reverie on Annie ended. I have been consolidating my own about practice. solo voice is in the treble above middle Laurie” captures the tune’s Scottish fl a- thoughts about it, and in so doing I have The fact that a “wrong note” can be C, the layout here may be confusing to vor. These pieces will win many friends increasingly realized that the psychologi- defi ned, detected, and measured is at least players not used to this Iberian style), the for the organ when played in recitals or cal and motivational dimensions are key, one principal reason that we as players Sanctus is in the 5th Tone and the Agnus worship services. Highly recommended. though there are also technical sides of it (and perhaps as listeners) and our students on the 6th, its fi nal Verso contains the that need to be thought through. place a strong value on them—albeit a 3+2+3 note grouping. The third group Robert Lau, Fanfares and Toccatas This aspect of practicing is keeping the negative one. If you play a piece and make is the Missa doble ‘per annum’ with the on ‘Engelberg’ for Organ. Paraclete playing going through any wrong notes no wrong notes, or three, or seven, or two Versos again being set for different tones: Press PPM 01240, $7.50. or other problems or distractions. I have hundred, then anyone can describe what the Kyrie on the 1st, Gloria on the 4th For over 25 years, Robert Lau (b. 1943) alluded to this in columns before, and it was good or bad about the piece as to its with the opening Verso in 3/2 with dotted has been organist/choirmaster at Mt. is something that is, stated simply, rather wrong notes. Nothing else about perfor- rhythm triplets, Sanctus and Agnus on Calvary Episcopal Church in Camp Hill, obviously necessary and good. However, mance, except tempo, can be measured the 6th. The fourth group is headed sim- Pennsylvania. This short piece was com- continuing to play during practice (as as precisely. (And students are much less ply Missa, again on different tones like missioned for the 2011 Region III AGO opposed to performance, where it is also inclined to stop and go back because they the preceding set; a folio is missing in the convention in Harrisburg, Pennsylvania. crucially important, but routinely recog- hear their articulation depart a little bit original resulting in the loss of the fi nal Dr. Lau expertly treats Stanford’s popular nized and considered obvious) seems to from what they intended, or that a mixture two Versos of the Kyrie and the opening tune in a majestic style with improvisatory me to be of such great importance that blends less well in the tenor register than two Versos of the Gloria, which is on the fanfares using slowly arpeggiated chord I am tempted to describe it as being the they would like it to, or something else, 2nd Tone. The penultimate Verso of the clusters interspersed with detached alle- most important thing about practicing— than because they hear a wrong note. This Gloria is an extended setting partit de dos gro sections with the tune given out on a or the aspect of practicing that adds the kind of stopping happens, but it doesn’t tiples, i.e. the right hand voices are to be solo reed stop over pedal points. A pedal most probability that the practicing will happen very often.) played using the solo stops. cadenza adds fl air to the grand climax. be effective. It is also not intuitively It is probably this clarity that makes a The fi nal group is another Missa doble This piece would work well as a postlude obvious to students that this makes a wrong note during practice or during the ‘per annum’ on the same tones as the for a service in which the tune is sung as difference, and it is rather hard to do. I moment when a student is playing a piece third group; the 3rd Verso on the Kyrie the closing hymn. want to explore the reasons for this and for the teacher so intrusive to the student’s uses the same descending hexachord as to suggest strategies for helping students concentration. Everything else is debat- Frescobaldi in his Capriccio, and the Choral Classics Arranged for Organ. get comfortable implementing it. Not able; wrong notes are there on display. eighth Verso of the Gloria is headed MorningStar Music Publishers MSM every student has a problem with this, The main reasons that students give Flautat. Of relatively modest dimensions, 10-798, $16.00. so what I am writing applies to working for stopping or hesitating at wrong notes rarely exceeding 12 bars, the majority This is a collection of fi ve different with those who do. are as follows: of the Versos are imitative, although choral works from fi ve different arrang- 1) I want you, the teacher, to know that frequently the opening and closing ones ers. Pie Jesu from Fauré’s Requiem is Why this matters I knew that that was wrong. Otherwise it’s of each group are homophonic and in arranged by David Howard Pettit with The logical place to start is with a embarrassing. some cases approach miniature toccatas; fi ve general stop combinations sug- review of why and how this matters. 2) The passage sounds better with the in some cases decisions must be made gested. He uses some double pedaling First, although I mention “other prob- right notes (which it almost certainly about the length of tied notes. These to good effect, but the pedal line on the lems or distractions” above, what I am does, of course) and I can’t stand not to short pieces will prove useful in today’s last page perhaps should be played an really concerned with—the thing that hear it that way. Mass and are also ideal for use where octave higher in places. From Messiah, has the potential to disrupt effi cient 3) I have just practiced it wrong, and I short interludes are required in services. Donald Moore’s arrangement of the learning—is the tendency to stop or have to cancel out the negative effect of There is a comprehensive introduction ubiquitous Hallelujah Chorus contains hesitate upon perceiving a wrong note. that by practicing it right, right away. in English, which provides a brief look at some questionable doublings of the Other distractions can be a problem, 4) I actually can’t get to the next note the sources and the style of each piece, left hand and pedal, but Wilbur Held’s but they are easier to learn to ignore. correctly, because, as a consequence of and a critical commentary. It is very much solo/accompaniment arrangement of He In fact, as I will discuss next month, the having played a wrong note, I am in the to be hoped that the second volume of Shall Feed His Flock is exquisite. The ability to ignore other distractions can be wrong position, or: the Versos by Espelt will be published top reason to purchase this volume is the cultivated as a help in learning to ignore 5) I simply don’t know where I am on in the future to provide further evidence sensible arrangement by Kathryn Sparks one’s own wrong notes or other directly the keyboard. of the late 17th-century use of the organ White of Brahms’s complete How Lovely playing-related distractions. 6) If I try to keep going I will make a during the Mass. The printing in both Is Thy Dwelling Place, which makes an I want to start with some background. string of further wrong notes. These are of these volumes is very clear and in a effective prelude for All Saints’ Day. Be What is a wrong note? Why are we (and inexcusable, because I am making them generous-size font, although this does at careful not to couple the pedal and to especially people who are learning or who knowingly. times lead to page turns in the middle of mind the occasional misprints. The fi rst are not yet secure about their abilities) so And, not as a reason but as a sort of short Versos. Original note values have movement of Vivaldi’s Gloria is laid out preoccupied with them? A wrong note is justifi cation: been retained throughout; this means by Dennis R. Johnson for either a two- or a note the pitch of which is wrong—dif- 7) Of course I wouldn’t do that in a that the Pange Lingua and Sacris Solem- three-manual instrument. ferent from what the printed music told performance, but this is just a lesson run- nis settings by Menalt appear in 3/1 with us to play. (With keyboard instruments, through (or just practicing). strings of quarter notes, which may take J. Wayne Kerr, Organ Celebrations. we achieve this by pressing the wrong Each of these is inappropriate, though a while to get used to (interestingly, the Augsburg Fortress ED022285, $17.50. key—the matter of the pitch is categorical, they are all psychologically very natural. right hand triplets are shown as 9/4 in the Wayne Kerr (b. 1958) serves as Kan- no fudging.) Putting it this way is meant Numbers 4, 5, and 7 are real technical fi rst Pange Lingua but shown as half-note tor for West Portal Lutheran Church to highlight the following: that rhythm, points with which a teacher can help; the triplets in 3/1 in the fi rst Sacris Solemnis). and School in San Francisco, California. sonority, timing, articulation, the role of others are mental matters with which, I In both composer’s works there are This book comprises twelve easy but the note in phrasing or the fl ow of a mel- think, the teacher can also help. occasional diffi culties with crossed parts, effective pieces that will require only ody or the rhetoric of a passage can all be First, as a matter of understanding and and passages where parts have to be minimal practice. Five pieces are not in place even if the “note” (pitch) is wrong. motivation, it is important to establish passed seamlessly between the hands, based on hymn tunes: Aria, Fanfare for I recall my father telling me, a long for a student why keeping the playing which will require careful study. While a New Day, Jubilate Deo, Procession for time ago, probably when I was in high going is a good idea, or indeed a crucial both volumes are highly recommended, a Joyous Day, and Jubilant Procession, school, that Louis Armstrong—a hero practice. Part of this that is circular and the Menalt will probably have a wider which attractively juxtaposes triple and of his—had once said “Play your wrong experiential: it is a good idea because it appeal through the greater variety of the duple rhythms. Two tunes are associ- notes louder than your right notes.” To makes practicing work better; if you start compositions it contains. ated with Psalm 23 (St. Columba and be honest, my attempts to do research approaching your practicing and play- —John Collins Belmont) and make a lovely pairing. about this have failed to fi nd that quote or ing this way, you will learn your pieces Sussex, England Two tunes capture ethnic fl avors using anything like it, from Armstrong or from more solidly and more quickly become a Asian-sounding open harmony (Tokyo) anyone else who has come to the attention skillful and comfortable player. In other Franklin D. Ashdown, Three Folk- and stylized Native American fl ute and of search engines. At the time that I fi rst words, one practical effect of following song Paraphrases for Organ. Morn- drum accompaniment (Lac qui parle). heard it from my father, I assumed that it this approach for long enough for it to ingStar Music Publishers MSM Folk tunes from Finland (Nyr ylos was a joke or meant to be sort of paradoxi- start making a difference should be to 10-660, $12.00. sieluni) and Switzerland (The Staff cal or silly. Now I believe that it is quite convince the student that this approach A retired physician, Dr. Franklin Ash- of Faith) utilize catchy ritornellos. serious, and should be taken to mean that is good. However, this is a sort of cart- down (b. 1942) is a longtime resident of The other tunes include Consolation, if a note is “wrong” in some respect, prob- before-the-horse motivation. It really Alamagordo, New Mexico. These warm- Hymn to Joy, and Was Gott tut. ably pitch, but you are especially emphatic amounts to saying “do this because I say hearted arrangements were composed —Kenneth Udy about making everything else about that to, and you’ll see later that it was a good at the suggestion of Ethelyn Peterson, Salt Lake City, Utah note right, then the overall effect of that idea.” There is often an element of this in

16 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM By Gavin Black teaching and learning, and that’s OK, but trained on what happened last and there- with as much attention as possible, so as I wouldn’t want to rely on it too strongly. fore lost to what should happen next to maximize the chance that you will hear The main way in which stopping on can be powerful. Playing a passage with yourself actually play it correctly. In fact, wrong notes and going back to repair the conscious thought that “I am going the sequence of making a wrong note, them damages learning is that it takes to keep my eyes and mind focused on stopping, and playing a truncated version focus away from what is coming up next. what is next” can feel very different from of what would have been correct is not Some of the student’s concentration is what the student is used to. It can feel the right thing anyway. always back on the last note, or the one dangerous, in a sense, as though walking 3) For purposes of technical practic- before that, monitoring those notes for a tight-rope. But it can also be liberating. ing, the wrong note–stop–play correct whether they were right or wrong, cal- (Of course, as an explicit thought held sequence is useless. The only way to culating whether or not to stop. This is onto while playing, it is also potentially counteract a passage that was off in some not a small matter. I would say that for a distraction, so the hope is that it will respect is to fi nish the passage and then, many students, more than half of their become second nature.) in an orderly way, practice it again. Prac- total attention at any given time is back One way of describing the ideal loca- ticing getting a note right must involve on the last few notes of the passage. This tion in time of a player’s focus is this: by coming to that note from the place can be enough that the student in effect the time the sound waves from the last before it, where you would naturally be. just isn’t paying attention to the next notes have reached your ears, you are 4) This is indeed a tricky one. If you 6) As in #4 above, it is actually better bit: the bit that he or she should now be already so focused on what comes next have just played a wrong note, then the act to go on making a string of wrong notes playing. Sometimes this is refl ected in a that it would be impossible even to notice of getting to the next note is different from than to allow a wrong note to cause you student’s being unable to tell you what what happened with that last note. This is what it should have been. On the other to stop. It is actually a good practicing the next note was supposed to be. You can an exaggeration, of course, but still a use- hand, it is actually impossible for it to be habit in this situation to play any notes experiment with this: the next time that a ful image. There is also a good cautionary impossible. You may have to allow yourself in the correct rhythm, keeping track of student stops to go back to a wrong note tale to be told. I have experienced more to go on making wrong notes for a while, where you are supposed to be in the (or hesitates substantially, or seems to be than one instance of a student’s stop- while you try to get back on track. You may music, until you fi nd a way back to the stopping to worry about a note that was ping immediately after a note that was very well have to change articulation and correct notes. In particular, this is much just almost wrong), ask what the next note entirely correct because he or she had phrasing on the fl y. If at all possible, try better than letting the initial wrong note was supposed to be. The chances are the been expecting that note to be wrong, to judge by ear what the physical relation- derail you. student won’t know. This can be a pretty and had been in effect self-programmed ship is between the note that you should 7) If you don’t practice keeping it compelling experience for the student. to stop at that point. There can have been have played and the note that you actually going, you will not be able to keep it essentially no concentration on the next heard yourself play and adjust accordingly. going reliably in “real” performance! Focus and concentration notes and on keeping the passage going. In a pinch, however, this is one situation The notion that playing—practicing— A student who is convinced by this as in which glancing down at the hands can To be continued . . . Q requires full and genuine concentration a proposition will probably start to do it be the best solution. This should be done is clear and convincing (in theory) to more of the time, and thus also begin to briefl y—fl eetingly—with proper attention Gavin Black is director of the Prince- everyone. In fact, this is a sort of paradox be convinced by the results. However, it to staying oriented on the printed music. ton Early Keyboard Center in Princeton, that can be exploited fruitfully: students is still important to deal with the specifi c 5) If you feel completely at a loss as to New Jersey. During the 2014–2015 who are the most worried about and pre- concerns. This is some of what I say to a where you are on the keyboard, then you concert season he will present a series occupied with wrong notes are also likely student about those concerns: should certainly try to solve this by judi- of fi ve recitals at the center offering a to be those who are most convinced that 1) I will assume that you know that a cious looking. It is in general a good idea survey of keyboard repertoire from the what they are trying to do is hard and wrong note was wrong, and in any case not to look at the keyboard very much, sixteenth through eighteenth centuries. requires intense—even unrealistically we can and will talk about it afterwards. and certainly not to become dependent Details about this and other activities can intense—concentration. Simply pointing 2) If you can’t stand to miss out on on that for fi nding notes. However, in this be found at www.gavinblack-baroque. out and asking a student to notice and hearing a passage correctly, use that to case, it is clearly better than concluding com. Gavin can be reached by e-mail at monitor how much focus is explicitly motivate yourself to play as carefully and that you have to stop. [email protected]. With these keyboards, your fingers won’t want to stop.

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 17 In the wind...

Abetted by Satan appears regularly in those ubiquitous On August 5, 2014, the New York pages. Asked at the age of ninety-three Times published a review of two concerts why he still practiced three hours a day, performed on the same evening as part Casals replied, “I’m beginning to notice of Lincoln Center’s “Mostly Mozart Fes- some improvement.” tival.” Both featured Swedish clarinetist It’s easy to argue that those three mas- Martin Frost, about whom critic Corinna ters set the standard for modern cello da Fonseca-Wollheim wrote, “In earlier playing, if one fails to mention Jacqueline times, the talent of Martin Frost would Du Pré, Janos Starker, or Lynn Harrell. have attracted suspicion. Like that of But in the spirit of gushing, I’m willing Paganini, whom contemporaries sus- to single out Yo-Yo Ma as an inspiration, pected to be in cahoots with the Devil…” a technical wizard, a magical interpreter, Ms. Fonseca-Wollheim gushed on: “… and an imaginative performer. Heaven something approaching the supernatural knows how many times he has played … sounds he drew from his clarinet were The Elgar, The Barber, or The Dvorak so extraordinary that they produced (there are two Dvorak cello concertos), incredulous laughter and head-shaking but it must be hundreds of repetitions …” The headline read, “Languid, Mean- for each. dering, and Clearly Abetted by Satan.” Yo-Yo Ma has made more than sev- In the second half of the fi rst program, enty-fi ve recordings and he has sixteen Frost joined the Emerson String Quartet Grammy Awards to show for his trouble. to play Mozart’s glorious clarinet quintet. A Grammy Award is a mighty special Ms. Fonseca-Wollheim reported that thing, and many performers are satis- Stephen Tharp after his performance, in Carnegie Hall his artistry pulled the Emerson’s players fi ed with just one. But think of this. He back together after a lackluster fi rst half. received those sixteen Grammys in just and excellent piano, and funds suffi cient spate of stories about strained labor rela- Of that, she wrote, “Without him … the twenty-seven years, between 1986 and to maintain a large library and to engage tions between orchestral musicians and Emersons were having a bad evening 2013. That’s an average of 1.7 Grammys other musicians for festivals and con- the institutions that pay them. The Min- … visibly struggled to hit their stride … each year! Give me a break. certs. I was proud of the programming, nesota Orchestra is a premier example. uncharacteristic intonation problems … But wait, there’s more. You might but as I look back on it, I know I wasn’t When the board of directors asked the It felt as if the players were fi ddling with expect that Yo-Yo Ma’s Grammys would always as imaginative as I could have musicians to accept reductions in salary the radio dial in search of a frequency on be in the usual categories: Best Chamber been. I could never resist the temptation and benefi ts, the musicians pointed out which to broadcast the music clearly.” Music Performance, Best Instrumental to play Bach’s settings of Valet will that the wildly expensive renovation of Ouch! She went on, “It was an entirely Soloist Performance, Best Classical ich dir geben on Palm Sunday. They the concert hall was the cause of the different string quartet that returned for Album. Of course he’s all over those. But are both smashing pieces, based on the orchestra’s fi nancial diffi culties. The the performance of the Mozart…” he’s also received four for Best Classical tune we know colloquially as St. Theod- dispute raged for years with the board It’s unusual for a critic to carry on with Crossover Album and one for Best Folk ulph (“All glory, laud, and honor”). Of of directors locking out the players, such abandon. It was as if the fair Corinna Music Album! course, I published the title in German, culminating in the resignation of music was smitten and couldn’t help herself. Instead of satisfying himself with the assuming that the parishioners would director Osmo Vänskä, who was credited Last week, there was another article acknowledged glory of playing the great fi gure it out. I haven’t gone back through with creating a dramatic increase in the about Martin Frost in the New York works for cello and orchestra on all the archives to prove it, but it’s a safe bet I quality and popularity of the orchestra. Times. This time the writer was George world’s greatest stages, the height of played those pieces on each of those The musicians made a unanimous Loomis, and he was commenting on ambition for most performers, he has nineteen Palm Sundays. vote of no confi dence in the board’s another facet of Frost’s apparent genius. collaborated with the electrifying genius What’s the formula for a classic organ president, Michael Henson. Vänskä He opened the piece reporting that Frost Bobby McFerrin, and founded the Silk recital? I can give you a couple. The stated that Henson’s departure would was to start his season of appearances by Road Project, which has brought the simplest is the “All-Whomever” recital. be essential to the orchestra’s recovery. playing Mozart’s Clarinet Concerto with world’s indigenous music together in Your choice. Bach, Buxtehude, Scheidt, Henson resigned, and eight other board the Amsterdam Concertgebouw, adding the most energetic and meaningful way. the list goes on and on. Open with a members resigned in protest. Now, Vän- that he had played the same piece thirty- Wendy and I attended a concert of the chaconne, then a set of chorale preludes, skä has been engaged in a new two-year seven times last season. But the point of Silk Road Project at Tanglewood last followed by a choral fantasy. Interval. contract to start rebuilding the fortunes the article was Martin Frost’s “urge to summer, and were thrilled and mysti- Second half: minor prelude and fugue, of the orchestra. This dispute has been a move beyond the traditional concert for- fi ed by the beauty of the collaboration. trio sonata or set of variations, close with classic example of the struggle between mat to create a new kind of experience.” I was especially moved to witness Yo-Yo a major toccata and fugue. art and commerce. It costs a fortune to In an interview following his appear- Ma (the world’s greatest cellist?) sitting Or for more variety: Classic French place an elite symphony orchestra on ances at the “Mostly Mozart Festival,” as an equal between two younger bril- set (the usual Couperin, Corrette, De stage for a single concert. One might the forty-three-year-old Frost said, “I’ve liant cellists. Grigny, or Clérambault), three German wish that excellence in performance started to look back at my career from a Remember that folk music Grammy? chorale preludes, then a Baroque pre- and programming would be enough to point in the future. When I’m 85, what The Goat Rodeo Sessions is the col- lude and fugue. Interval. Second half: assure funding. will I think I’ve done with my life? I laboration of Yo-Yo Ma, Stuart Duncan, Selections from a favorite collection § wouldn’t be proud that I’d done 1200 Edgar Meyer, and Chris Thile. It’s (Vierne or Langlais 24, or Pierné 3), nov- Weber concertos. I need to shake myself roughly described as a blend of classical elty (elves, nymphs, naiads, your choice), James Levine was music director of around and be brave enough to develop and bluegrass music, and the term “goat close with swashbuckling barnburner. the Boston Symphony Orchestra from new ideas.” rodeo” refers to a chaotic event that Similar formulas also apply to the 2004 until 2011. Levine, a musician’s In that interest, Martin Frost has can succeed only if everything goes just programming of orchestral concerts: musician, brought a host of terrifi c col- created a program that includes music right. One of the cuts on the album (my Opera overture, classical piano concerto laborators to the Boston stage. And as taken from Stravinsky’s Pulcinella, kids hate it when I use the old-fashioned (“Elvira Madigan”). Intermission. Sec- a tireless champion of new music, he Dukas’s Sorcerer’s Apprentice, and other word, album) is titled “13:8.” Students ond half: Major Romantic symphony programmed the most fascinating series well-known works, in which he appears of music have pored over the piece ana- with lots of recognizable tunes and of concerts. Wendy and I benefi tted as soloist, conductor, dancer, actor, and lyzing the meter in attempts to make it French horn solos. from this in three ways. One was simply master of ceremonies. Two other clari- conform to the time signature, 13:8. The the exposure to many brilliant perfor- netists appear (Bless their hearts!) along mystery was revealed during a concert at Catch–22 mances of exciting and challenging new with other orchestra players, the whole Tanglewood in August of 2013, during Joseph Heller’s novel published in music. The second was when friends enhanced by lighting and choreography. which Stuart Duncan shared the story 1961 is a brilliant, satirical telling of the offered us their excellent subscription of an airline pilot with the audience. experiences of a group of World War II seats because they were tired of all the Silk and goats Each evening, when the fl ight attendant airmen in a fi ctional squadron based on new music. The third—we lived for two In the world of sports, “the greatest served his dinner, he replied, “Hebrews an Italian island. The common thread years in an apartment on Massachusetts of all time” can be defi ned, at least in 13:8.” Her interest piqued, she fi nally seems simple enough—they are all Avenue next door to Symphony Hall part, by numbers—the most home runs, looked up the New Testament verse: trying to hold it together until the end and as BSO audiences dwindled, the the most goals, the most saves, the most “Jesus Christ, the same yesterday, today, of the war or their discharge from the management of the apartment building strikeouts. It’s more diffi cult to defi ne and forever.” service, whichever comes fi rst. Some are received complimentary tickets from “the greatest” in the arts. Who was the By the way, The Goat Rodeo Sessions trying to maintain sanity, while others the BSO in their effort to put “butts in greatest painter? Was it Rembrandt, was awarded two Grammys: Best Folk are trying to convince their superiors of seats,” and we were only too happy to Picasso, Monet, or Pollock? The work of Album, and Best Engineered Album, their insanity. The telling is so complex accept those offers. those four can hardly be compared, so it Non-Classical. that the title of the book has become a It’s ironic that we who are interested seems impossible to know who was best. catchphrase in our language describ- in hearing new music benefi t from the The twentieth century knew three What should I play this year? ing an enigma, a puzzle that cannot be dismay of the many who don’t. It’s a great cellists, Pablo Casals (1876–1973), I served a Congregational church in solved. A simple example that happens safe bet that if Levine returned to the Mstislav Rostropovich (1927–2007), suburban Boston as music director for to me: if you lose your glasses, you can’t beloved formula, the hall would be fi lled. and Yo-Yo Ma (born 1955). The twenty- almost twenty years. I was fortunate see to fi nd them. § fi rst century has given us Facebook as to have lots of resources to work with The commercial demands of the sym- a new vehicle for the dissemination of including enthusiastic volunteer singers, phony orchestra have never been more In September of 2013, the stage- wisdom. A lovely quote from Casals a professional quartet, a fi ne pipe organ clear. The past few years have shown a hands at Carnegie Hall went on strike,

18 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM By John Bishop demanding that they should have control that the highest fee paid to solo artists hits.” Brilliant and innovative program- over the movement of musical furniture is about $16,000 a performance. Nice ming, such as Levine’s in Boston, reduces in the hall’s new educational wing, due to compensation, but given the depth of the audience, but we need programming open the following month. The turmoil education and preparation compared to like that to sustain the arts, to encourage was well documented in the New York an evening’s take for a hip-hop artist, it creativity, and to be sure there always is Times and other august publications. doesn’t seem like that much. new music. Forbes Magazine documented that the The dispute put the musicians into But the enigma continues. While hall’s executive director Clive Gillinson the awkward position of arguing for I am strongly supportive of bold pro- was paid $1,113,000 in 2012. The next fewer new productions of old favorites, gramming in concert venues, and am highest-paid employee was stagehand and less new music in the interest of disappointed when programming seems Dennis O’Connell ($465,000), followed saving money. The recent new produc- weak when bending to popular demand, by carpenter James Csollany ($441,000). tion of Wagner’s Ring Cycle cost nearly I realize that the future of the organ Fourth on the list was the Hall’s chief $20,000,000. Why not just trot out the world, performers and audiences alike, fi nancial offi cer. Fifth and sixth were an old one? There was an excruciating series depends on the discovery of bold new electrician and another stagehand. How of articles as the company threatened to ways to use our venerated and ancient in the world can we afford to make music lock out the employees and cancel the instrument. “Dead White Men” is a if we have to pay someone $465,000 a season. A special national arbitrator was phrase that implies the kiss of death in I got interested in the organ as a kid year to move music stands? Many of us engaged to direct the negotiations. Sev- the world of the arts. I interpret that to simply because I thought it was the cool- sweated through this dispute because eral deadlines passed or were extended, mean that we shouldn’t depend on the est thing ever. I have many friends and the opening of the Carnegie Hall season and fi nally a settlement was announced. work of those from centuries before colleagues who share that experience. was in doubt, and our friend and col- The show must go on. us for the completeness of our artistic Ours is a world in which you can easily league Stephen Tharp was to appear expression. And with its huge heritage of spend $250,000 on a fi ne piano. When with the American Symphony Orchestra And our survey says… ancient music, its correct and unswerv- I was a student at Oberlin in the 1970s, in Aaron Copland’s Organ Symphony. In many markets, the most banal of ing connection with the church, and its that was the price of a new 45-stop Happily, that concert was presented classical music programming is the most often arcane voice among the clamor of Flentrop (Warner Concert Hall). We’re as scheduled, but the season opener, successful. Radio stations run audience the modern world, the pipe organ can more than a tenth of the way through the ironically an important fundraising surveys whose results are predictable. be the ultimate example of the Dead twenty-fi rst century. Let’s give ’em their event for the (recovering from a bitter The audience wants to hear the “greatest White Man. money’s worth. Q labor dispute) Philadelphia Orchestra, celebrating its new music director, was cancelled because of the strike. By the way, because the new wing is specifi cally dedicated to educational activities and is not a performance space, the stagehands lost that round. On August 22, the New York Times INSANITY \ in-’san-et-é\ noun: published an article about the opera house Teatro Regio in Turin, Italy. The Doing the same thing over and over story opened with snide comments about how Italian opera houses are typi- again and expecting different results. cally known for poor management and fi nances, singling out Teatro Regio as ~Albert Einstein one company that’s making waves with wonderful performances, and ambitious tours and recording projects. But once again we run into that struggle. Music How many electronic organs will your director Gianandrea Noseda is threaten- ing to resign, accusing the company’s congregation purchase before they realize general manager Walter Vergnano of reigning in the fi nances unnecessarily. WKDWDSLSHRUJDQODVWVLQGHÀQLWHO\" Noseda is quoted as saying, “Now we have the engine of a fantastic car, like a Ferrari, but you cannot drive a Ferrari and win the Gran Prix if you leave the brake down all the time.”

The mother of them all All of these stories pale in comparison to the recent wild machinations at the Metropolitan Opera. The Met’s general manager Peter Gelb has been heralded as a genius in the fi eld of arts administra- tion, especially through his introduction of live HD simulcasts of Met perfor- mances, showing in some 700 movie theaters around the world, and attended by nearly a million viewers. But when the Met faced growing and serious defi - cits in its colossal budget, which exceeds APOBA.COM $330,000,000, the salaried employees accused Gelb of placing too much of the 1-800-473-5270 burden of economy on them. According to the Met’s website, there are some 3400 employees, including 300 solo art- ists, 100 orchestra players, and 80 chorus Call today for members. These most visible workers are supported by legions of carpenters, tai- APOBA’s free 66+ lors, directors, make-up and hair artists, painters, electricians, and—you guessed page color prospectus it—stagehands. All of these workers are represented by powerful unions, and the dirty details were published in the Times in a long series of complex articles. BUILDER MEMBERS SUPPLIER MEMBERS We learned that members of the ANDOVER ORGAN COMPANY DOBSON PIPE ORGAN BUILDERS NOACK ORGAN COMPANY, INC. QUIMBY PIPE ORGANS, INC. A.R. SCHOPP’S SONS, INC. BEDIENT PIPE ORGAN COMPANY GARLAND PIPE ORGANS, INC. PARKEY ORGANBUILDERS RANDALL DYER & ASSOCIATES, INC. HARRIS PRECISION PRODUCTS orchestra and chorus are paid over BERGHAUS PIPE ORGAN BUILDERS, INC. GOULDING & WOOD, INC. PARSONS PIPE ORGAN BUILDERS SCHANTZ ORGAN COMPANY INTEGRATED ORGAN TECHNOLOGIES, INC. $200,000 a year—nice compensation, BOND ORGAN BUILDERS, INC. HOLTKAMP ORGAN COMPANY PASI ORGANBUILDERS, INC. SCHOENSTEIN & CO. SOLID STATE ORGAN SYSTEMS but it doesn’t seem like that much when BUZARD PIPE ORGAN BUILDERS, LLC J.H. & C.S. ODELL PATRICK J. MURPHY & ASSOCIATES TAYLOR & BOODY ORGANBUILDERS SYNDYNE CORPORATION C.B. FISK, INC. KEGG PIPE ORGAN BUILDERS PAUL FRITTS & CO. ORGAN OSI - TOTAL PIPE ORGAN RESOURCES you realize that the 2012–2013 season CASAVANT FRÈRES LÉTOURNEAU PIPE ORGANS PETERSON ELECTRO-MUSICAL PRODUCTS included 209 performances of 28 operas. Add the requisite rehearsal time, and you have a mighty busy year! We learned

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 19 In memoriam Remembering William Albright (1944–1998) on his 70th birthday

By Douglas Reed, with Sarah Albright and John Carlson William Albright, in the late 1980s

illiam Albright would have cel- John Mueller, and received the Master He also studied with Max Deutsch,4 who Here, he composed the Five Chromatic Webrated his seventieth birthday of Music degree from the University of was a student of Schoenberg and con- Dances for piano, partly inspired by a on October 20, 2014. Born in 1944 in Michigan as a student of Marilyn Mason. ducted several of his works. Bill enjoyed Chopin mazurka, op. 17, no. 4, which Gary, Indiana, he died unexpectedly at She studied in Paris for a year with being in Messiaen’s class. Messiaen he often played when he was composing his home in Ann Arbor, Michigan, on Marie-Claire Alain. From 1985–2007, played a lot of recordings for the class the Dances.6 September 17, 1998.1 One of the most she was director of music at the First and frequently commented “c’est beau signifi cant composers of organ music in Unitarian Universalist Church in Ann ça”. Messiaen also had a fondness for How do you think the Paris and the 20th century, Albright was known Arbor. Presently, she teaches a large class Ives, which Bill really liked, as Bill and European experience affected Bill mainly for his keyboard works, although of private piano students. Ives have the same birthday, October and his music? he composed for nearly every medium. 20! Bill also looked forward to his les- He loved Paris. He was very stimu- He received many commissions and Douglas Reed: How did you meet sons with Max Deutsch. They had many lated and inspired in Paris, where awards including the Queen Marie- Bill? conversations about music, composition, musicians, composers, and artists were José Prize for Organbook (1967), two Sarah Albright: I came here to and life, which Bill found stimulating appreciated. Yes, he was affected by Fulbright grants, two Guggenheim fel- graduate school in 1964 to study with and meaningful. the French music. He used to listen to lowships, two National Endowment for Marilyn Mason. I fi rst recall hearing Bill won the Queen Marie-José prize Debussy’s La Mer and Stravinsky’s Rite the Arts grants, and two Koussevitzky Bill play in a student recital that fall. In for Organbook (1967).5 Sargent Shriver, of Spring all the time. Competition Awards. His three Organ- the following months, we became good U.S. ambassador to France, gave a big books explore new means of idiomatic friends, and on Valentine’s Day, 1966, he reception at the American Embassy to Can you speak about Bill’s early expression for the organ. A brilliant pia- proposed to me. We got married in June honor Bill. The mayor of Geneva also years? nist and organist, he commissioned and at the Presbyterian Church in Martins- had a dinner for us when Bill was invited He was born in Gary, Indiana, but premiered many new works for organ. ville, Virginia. We had great music! Mr. to play a concert at the Geneva cathedral the family moved to New Jersey when He also performed and recorded the Mueller came from Winston-Salem and on a large Metzler organ. We did a lot Bill was in junior high. His father was music of James P. Johnson, the complete played for the wedding and Rosemary of traveling out of Paris. One of Bill’s a school administrator in West Orange, piano music of Scott Joplin, and his own Russell sang. She was my roommate close high school friends and his wife and his mother was a math teacher and rag compositions.2 and later taught at the University of came to Paris on their honeymoon and a graduate of the University of Illinois. The following interviews with Sarah Michigan. We went to Asheville, North we traveled with them to play several Bill and his two brothers were in the Albright and John Carlson shed light on Carolina, for our honeymoon and a week organs in Germany, at Ebersmuenster Cub Scouts, and their parents gave William Albright’s formative years and later, to Tanglewood where Bill was and Marmoutier, and in Holland where them many opportunities, including lots his creative process. going to study with George Rochberg.3 we played the organ at Alkmaar and the of Sunday school and church. In high We also met Bill Bolcom that summer. beautiful Schnitger in Zwolle. school, Bill had a church job in a New Interview with Sarah Albright We lived in Paris again in 1977, this Jersey suburb. Sarah and William Albright were mar- Let’s talk about your time in Paris. time with our four-year-old son John In Gary, he was really fortunate to ried from 1966 to 1985. Sarah earned her The fi rst time we lived in Paris was and four-month-old daughter Eliza- have had a fi ne piano teacher named Bachelor of Music degree from Salem in ’68–69. Bill had a Fulbright grant to beth. Bill had a Guggenheim grant and Gladys Relph. When they moved to College where she studied organ with study with Messiaen at the Conservatory. we lived in an apartment in Neuilly. West Orange in 1959, he began study- ing piano with Rosetta Goodkind and composition with Hugh Aitken at the Juilliard Preparatory Department. When Penny Lorenz Artist Management he was a junior in high school, he played presents the Grieg piano concerto with the New Jersey Symphony. During this time he used to take the train into New York for lessons and concerts and enjoyed walk- ing around in the city. He often checked out scores from the Newark public library for study, and spent a lot of time with two close friends, Glen Phillips, who sang in the St. Thomas Boy Choir, and Leonard Schaper. He and Len worked on build- ing a pipe organ, and Bill played clarinet in the West Orange High School Band. Robert Bates Craig Cramer Kathrine Handford Balint Karosi Please tell us about your children. Bill loved our children, John and For Organ Recitals & Workshops, Elizabeth. He was very interested in their activities just as his father had been Please Contact: with him and his two brothers. John loved cars almost from day one and when he was about seven years old, we started Penny Lorenz going to the Detroit Auto Show. We had 425.745.1316 a great time admiring the cars, sitting in [email protected] them, and taking pictures. Afterwards, we would take the People Mover to www.organists.net Greek Town for dinner. Aaron David Miller Jack Mitchener Elizabeth began dance classes at age four and we always looked forward to her dance recitals. Bill took her to dance

20 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM Elizabeth, John, and Bill Albright in De- Albright at his desk at the Cité Interna- Ragtime composer Eubie Blake and Bill Albright in the late 1980s cember 1986 tionale des Arts, 1968 Albright at William Bolcom’s and Joan Morris’s wedding, November 1975

Example 1. TIC: a spectacle for two groups of performers, soloist, fi lms, and tape (manuscript, 1967) concerts at U-M and a couple New York shows. He supported her dancing for Example 2. BEULAHLAND RAG for speaker, jazz quartet, improvisation ensemble, tape and fi lm (manuscript, 1967–1969) years and was there to see her graduate from NYU in Fine Arts. him with their thoughtful teaching and played records constantly…mostly con- Milton Cohen,13 who specialized at that respect for his talent. temporary music, things that appealed to time in theatrical lighting. Bill and I Can you speak about Bill’s work as a Tragically, Bill’s life and creativity them as young composers. I frequently attended at least one ONCE Festival church musician? were cut short due to complications of spent time in their room, and I vividly together, probably in 1964. Each one was Bill served as music director at the alcoholism. It affected his work, and his recall the fi rst piece I heard: Stockhau- held in a different place. One was on the Ann Arbor Unitarian Universalist relationships with his family, friends, col- sen’s Gesang der Jünglinge. This seminal top of a parking structure. Church from 1966–1985. In 1970, he leagues and students. People often tell piece of electronic music was shock- began a campaign to fund a new pipe me how much they miss him. We all do. ingly original, combining electronically Do you remember any specifi c organ for the sanctuary. To raise money generated sounds with conventionally ONCE Festival events? What kinds he came up with the idea of having a Thank you, Sarah. produced singing.11 of sounds did you hear? “Ragtime Bash” to coincide with the ris- The next year Bill and I became One or two of these composers had ing popularity of classical ragtime music. Interview with John Carlson roommates. During that year, I came to access to the early University of Michi- These concerts were held annually until John Carlson was Albright’s roommate appreciate the full extent of his musical gan Electronic Music Studio. Others 2007 and were a huge success. The per- for one year at the University of Michi- capabilities as a composer, a performer… worked with their own equipment. Per- formers were nationally known ragtime gan and a close friend in the following and teacher. He was so enthusiastic haps they used a tape recorder to make a players from southeast Michigan, and years. Carlson earned bachelor and about imparting his interest and knowl- prepared audio tape which accompanied the church was overfl owing with enthu- master of music degrees in organ and a edge of this new music. And, Bill’s work instruments or other activities. Perhaps a siastic listeners. master of music degree in composition ethic was very rigorous. The task at hand cartoon fi lm was used, or someone made From the money raised at the early from the University of Michigan where would be completed no matter how long his own fi lm. A projection of this fi lm concerts and donations from the congre- he studied organ with Robert Glasgow it took. If that meant staying up all night, might accompany one or more people gation, the church was able to purchase and composition with George Balch Wil- that’s what he did. playing various instruments. Perhaps a Holtkamp organ which was installed in son and Leslie Bassett. Carlson taught someone would recite a poem with dra- 1973. Dedication recitals were played at the University of Dayton and the Were there any fun times? matic lighting effects. by Bill and the University of Michigan University of Michigan, and maintained Certainly! We would frequently go as a Sometimes the intention was to not organ faculty. a private studio in Ann Arbor where he group to the same concerts, movies, and have a specifi c piece, but rather to set The choir loved working with Bill. offered instruction in music theory and other events such as the ONCE Festival.12 up a situation and let it evolve. So, the They performed many standard choral electronic music composition. His inter- The ONCE Festival was not a one-time goal was not to provide a “written-down” works as well as music by Bill and other est in the history and future of record- event. There was a series of festivals piece, except for a set of instructions. It School of Music composers. Many stu- ing technologies led to the invention of between 1961 and 1966. These were would not be possible to go back, pick dents offered special music to enhance a holographic data storage system for music and multi-media presentations by a something off the shelf and recreate it, the worship services. Through the which he received two U.S. patents. He group of composers, performers, and art- nor was that the intent. Ragtime concerts and installation of the lives near Muskegon, Michigan, where ists that involved use of drama, lighting, organ, Bill had a very defi nite impact on he continues to pursue his interest in staging, and fi lm. Perhaps a performance This is a fi ne description of Bill’s the Ann Arbor community. The organ is information storage and the acoustics of would occur but once, since you could TIC (1967), composed entirely of now in a private home in New Orleans. performance venues. never get those people together again little cartoon bubbles with suggested under that venue and in that circum- activities for the performers (see Do you have any fi nal thoughts? Douglas Reed: When did you meet stance. Apparently, that’s where the title Example 1).14 His BEULAHLAND Bill was always appreciative of the Bill Albright? came from. There was a deep seriousness RAG (1967–69) also includes much teachers who guided and inspired him John Carlson: I met Bill in the fall of of intent by the original ONCE Group, improvisation but more specifi c during his years as a student. Ross 1963 at the University of Michigan in the which included several young compos- musical notation and timing (see Lee Finney,7 Leslie Bassett,8 George old School of Music on Maynard Street ers, all students of Ross Lee Finney: Example 2).15 Bill was also the asso- Wilson,8 and Marilyn Mason at the U in Ann Arbor. We lived in the same Robert Ashley, George Cacioppo, Roger ciate director of the University of of M, and Messiaen, Max Deutsch, dormitory. Bill’s roommate was Russell Reynolds, Donald Scavarda, and Gordon Michigan Electronic Music Studio. and George Rochberg, all infl uenced Peck, a fellow composition major.10 They Mumma. Also involved was the artist Is there a relationship between his

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 21 In memoriam

Example 4. Benediction (Organbook I, 1967)

Example 3. Pneuma (manuscript, 1966) work with electronic music and his extent it was a lot easier on the organ acoustic music?16 than on any other instrument. Yes. Understanding some electronic studio techniques from the mid to late At the end of Benediction (Organ- 60s may help performers and listeners book I), the alternation of two understand his organ music from that chords includes the rapid succession time. The actual electronic generation of ten different organ timbres20 (see Example 5. Benediction (Organbook I) of sound was done by signal generators Example 4). that could be found in any electronic It must have been a pleasure for Bill to Did you work with Bill in the elec- Yes, Bill spoke enthusiastically about repair shop, but instead of just one or produce such musical gestures so easily. tronic music studio? You mentioned Nancarrow in one of his lectures. He two, the University of Michigan studio Oddly enough, the Hammond organ has Bill’s tapping on the back of a door played a recording of Nancarrow’s had a dozen. A large part of working in come to be respected as a precursor to to create a sound. Study No. 21 (Canon X) and cited the early electronic studio was manipu- the electronic synthesizer because of its My involvement in the studio was these very things: how fast Nancar- lating these electronically generated unique ability to manipulate various sine simply to assist him. If a dial needed to row could get the music to go and sounds—sine waves, square waves, waves selected by drawbars. Bill had a be turned while he was occupied with how complex he could make the and saw-tooth waves—in order to get healthy respect for that. Also, the attack starting or stopping a tape recorder, or rhythm.24 He could have the effect of some kind of humanness to them, some and decay of the Hammond organ sound vice versa, I helped by turning that dial three or four different hands playing warmth and shape. is very abrupt. It’s suddenly on, and then perhaps to make a sound go up or down, the piano totally independent of one If a series of pitches were desired, it’s off. There is no soft beginning to each or with manipulating that tape recorder. another at different rates of speed. each being a short percussive sound, specifi c note. Each has a percussive qual- And, yes, the door to the electronic Much of Underground Stream each one would have to be generated ity that was very familiar to people work- music studio in Hill Auditorium was (Organbook III, 1978) has three dif- and recorded separately on audiotape. ing in the early electronic music fi eld. hollow, and it had a nice sound when ferent rhythmic layers going on at Then the tape would be cut up with a you rapped it with your knuckles, and, the same time.25 The second section razor blade in what was called a splic- That attack could be accentuated of course, the sound changed as you of Bill’s De Spiritum, called Celestial ing block. Next, we taped the little on the Hammond with various other moved from the edge of the door. If Duel, ends with material gradually pieces back together interspersed with controls. This relates to several pas- you started at the very top and simply speeding up from a moderate tempo paper “leader” tape in whatever order sages in Benediction (Organbook) started tapping it rapidly as you moved (quarter=72) to Vivo (quarter=160) we wished. That segment of tape could where the beginning of a sustained down toward the center of the door, you and accelerates beyond that to be played at its recorded speed, either chord is articulated, by a louder, could get a descending pitch of sorts. At “presto pos.”26 It sounds just like 15 or 7.5 inches per second, or played more harmonically developed least the timbre changed. So, we found some of the fast passages in Nancar- back at the alternate speed to raise or sound on an adjacent manual. (See if you recorded that tapping sound at row’s Studies for player piano. lower the recorded pitches by a fac- Example 5.21) 15 inches-per-second and then slowed Nancarrow pushed tempo to the limits tor of one octave. The tape could be Another element you can hear in it down to 7.5, instead of having some- of the player piano by punching holes in reversed end for end and played back- Bill’s organ music, a direct result of thing that went “tic, tic, tic,” it would paper sheets. Bill’s formidable keyboard ward. This work was extraordinarily his work in the electronic music idiom, go “tok… tok… tok… tok.” And then if technique allowed him to achieve similar time-consuming. The tapes we ended relates to masses of sounds or tone clus- you re-recorded that sound with a lot effects on the organ. up with consisted of paper leader inter- ters. One of the techniques in the early of reverberation at 15ips and dropped spersed with recorded audio segments electronic music studio was to gradually the result down to 7.5, instead of Can you talk about your fi lm-making sometimes only a quarter or half-inch alter the speed of the tape recorder. “tok… tok…tok” it would have become experience? long. By the way, the old advertisement We could do that with those profes- “boom…boom…boom… boom.” It was While we were roommates in 1964–65, for Maxwell House with the so-called sional tape recorders by taking them so mundane, but looking back on it now, we collaborated in making several 8mm “drips” of coffee were actually sine off the line voltage and, employing one it holds some very fond memories. fi lms. As students, the possibility of hav- waves at various pitches that had been of our sine-wave oscillators, generating ing our own professional video camera chopped up into short segments in the our own alternating current so that we In the 1960s, the electronic music was virtually zero. Since 16mm fi lm was manner I’ve just described. could operate it not only at 60 cycles per medium seemed so far removed terrifi cally expensive, we resorted to This effect was diffi cult to achieve in second, but also at 59, then 58, 57, 56, from traditional music making, but using 8mm fi lm, which was in our budget. the electronic music studio, but it was thereby decelerating the speed of the it’s worth remembering that these One of our productions was good enough easy to get on the pipe organ. Bill got tape recorder’s motor. developments did not just come “out to win second prize in the fi rst Ann Arbor the same effect by playing widely spaced We could take a very complex natural of the blue.” There were numerous 8mm Film Festival. intervals staccato and very quickly on sound—perhaps the low-pitched, sus- earlier developments such as the fl ute stops. tained singing with complex overtones Theremin, Ondes Martenot, and What was it about? of a group of Tibetan monks—record it the Hammond organ. Charles Ives, (chuckle) It was…to use that all too In Pneuma (1966) there are several and then slow it down to half that speed Edgard Varèse, Henry Cowell, and frequently abused word…an experi- passages that sound like they came to get it extremely low, or we could start other composers used sound blocks mental fi lm. Our main character was the right out of the electronic music the tape recorder playing back at an and clusters.22 composer, Robert Morris,27 who will- studio.17 This type of abrupt juxta- artifi cially higher speed and then slow Using mechanical devices and ingly did just about anything we asked position of sounds or textures surely the tape recorder down very, very care- whatever else was at hand has always of him including running up and down has a connection with the splicing fully to make a glissando of this massed appealed to composers. Bill was very the stairwell of Burton Tower. At one block you mentioned earlier. Sur- sound. You can hear Bill emulating that fond of the American expatriate com- point we were aiming the camera down prising explosions or reductions of in his organ pieces where he asks for the poser Conlon Nancarrow who lived the stairwell and fi lming at a slow speed. sound were stylistic characteristics palm of a hand to move a note-cluster up in Mexico.23 Nancarrow found that he After the fi lm was processed and running in several of Bill’s early pieces. (See and down the keyboard slowly or rapidly. could compose for player piano, thereby at normal speed, it appeared as though Example 3.18) I’m sure this derives from his familiarity vastly exceeding the capabilities of the Bob was corkscrewing himself right into There aren’t many examples in his with electronic music. human hand in what became sophisti- the ground. We sped up the camera; we music where he emphasized electronic Of course, clusters and cluster glis- cated and complex music. Bill did meet slowed it down; we reversed the fi lm; sound. In fact, tonal, rhythmic, and sandos were a part of a genre of organ Nancarrow on at least one occasion we photographed things in stop action. other traditional musical elements are technique for at least 40 or 50 years by when he returned to the United States. All the same things we were doing in documented in a number of articles and Bill’s time. That’s how theatre organ- Bill not only enjoyed the music itself the electronic music studio, we did with dissertations on his music.19 But Bill was ists simulated the sound of a departing but also admired the methodology by fi lm. We knew that we could splice fi lm quite aware of the ability of the modern locomotive. And what theatre organist which the compositions were created, together and cut it up in the same way pipe organ to juxtapose sounds in a way has not slid the palm of the hand up to as they demonstrate the lengths to that we did audio tape. So, we could similar to what was being done in an one of those big major chords with an which composers are willing to go to introduce snippets of color with mostly electronic music studio. To a certain added sixth?! follow an aesthetic arrow. black and white. We even hired some

22 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM School of MUSIC Wade Weast, Dean

Albright playing at a late 1970s Ragtime Bash, with Percy Danforth playing “the Bones” school children to do a small bit part. We But, I had occasion to be at Ross Lee asked them if they wanted to be in the Finney’s house when he invited me for a movies, and they said, “Of course!” So, private conversation, which I understand we gave them a dime apiece, and they he did from time to time with all the acted for us (laughter). composition majors. He was a brilliant man and very generous with his time. Photography by Brent LaFever What did you have them do? He was very tough, but in a nice way. I think we told them to stand at atten- That is to say, he wanted the students to tion for a few seconds and then to look employ their talents to the very best of to their left, and then all run away…or their ability. There was a professionalism CONCENTRATIONS something like that. Anyway, we pieced about him. Brass, Collaborative Piano, Composition, this thing together. We had heard there Finney’s contribution was not only was a new Ann Arbor Film Festival that as a teacher, but he was also able to get Guitar, Harp, Opera, Organ, Percussion, had an 8mm division, so as a lark, we put many other well-known composers to Piano, Strings, Voice, Woodwind it into the Festival, and lo and behold, we come to the university and donate their won second prize. It was shown to great time to the task at hand of teaching and acclaim and applause that next night in a associating with the student composers, FACULTY coffee house in Ann Arbor. We were very plus putting together ensembles for proud of ourselves, although it was a silly performance. He had many contacts Dr. Timothy Olsen, little thing. But it was fun. throughout the musical world, which UNCSA Kenan Professor of Organ he could exploit in the best sense of the Could you tell about your invention word, all for the benefi t of his students. and how Bill helped you with that? When he retired, Leslie Bassett, in his 2015 AUDITION DATES When it became necessary for me to own way, did the same thing. Instrumental and Composition: establish a legal “date of conception” for a holographic storage system I had Then Bill continued that tradition January 23*; February 6*, 13*; April 3 invented, Bill spent many hours looking when he became the chair of the *Scholarship Priority Auditions at every single page in a bound note- department… book, then signing and dating that page. …succeeding Bassett, that’s right. And This was a very generous thing that he then Bill was succeeded by William Bol- FOURTH ANNUAL HIGH SCHOOL ORGAN did for me. In the process of reaching com. So, there’s been a long heritage of a patentable stage, the inventor is obli- top-notch composition teachers. COMPETITION & FESTIVAL: JAN. 30 -- FEB. 1, 2015 gated to write his ideas into a bound Prizes include cash and/or tuition scholarships notebook in his own hand using indel- Let’s talk a little bit about the fun, ible ink detailing every feature of the humorous aspect of Toccata Sata- in excess of $12,000. Workshops, master classes invention. Each page must be signed nique and literary associations. Bill and lessons included. For details, contact by the inventor and two witnesses, who told me it really had nothing to do must be suffi ciently knowledgeable with Satan, and, in fact, the title may Dr. Timothy Olsen at [email protected], or visit about the technology so they can sign have been an attempt to poke fun at www.timothyolsenorganist.com every page of the book, “witnessed and such “devilish” ideas. He also spoke understood by….” One person was an about Poe, Hawthorne, and other old friend of mine, an M.D. with enough 19th-century writers who some- technical prowess to understand the times dealt with such subjects, and, technology. The other person was Bill of course, we have Tartini’s famous Albright, who did, indeed, sit there for “Devil’s Trill” sonata and numerous several afternoons looking over all the pieces by Liszt and Berlioz. written material including the detailed In the notes to his recording of the diagrams until he understood each piece, he writes that Toccata Satanique page. He would quiz me about things, I “is a matinee performance by the devil at would quiz him about his knowledge of the console, an attempt to exorcise those it, and when he felt he was comfortable fi endish virtuoso toccatas of Mulet, Widor, doing so, he signed off on that page, and et al;…”28 Bill had a rapier wit. People then we went to the next page and the who knew him well enjoyed his joking, Your passion today. next page. his fun with words, his double-entendres, everything in the bag of tricks of people Your profession tomorrow. And the nice bottom line is that you who enjoy interacting with others in a actually got the patent (U.S. Patent social environment when everyone is 4,420,829—“Holographic System enjoying each other’s familiarities with for the Storage of Audio, Video and certain literary things, musical gestures, WWW.UNCSA.EDU/ORGAN Computer Data”). artistic relationships, and whatnot. Some [email protected] Yes! religious connotations and associations can have a humorous aspect to them, and 336-770-3290 Ross Lee Finney was one of Bill’s so church musicians and the organ can be Winston-Salem, NC major composition teachers. part of that basket of topics as well. I barely knew Finney. By the time I One must be careful not to read in became a composition student, Leslie too much into a title. Actually the real Bassett was the head of the department. purpose of a title might simply be to

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 23 In memoriam

Albright playing the piano in August 1982 Example 6. Melisma (Organbook, manuscript, 1967) distinguish one piece from another when I got the impression that Bill really “Boy, those guys are good!” And his father 17. Albright, Pneuma for Organ (Philadel- you’re talking with someone on the tele- wanted that thing to be at full bore veloc- said, “Oscar, that’s only one man playing.” phia, PA: Elkan-Vogel Co., 1969), p. 9, line 1, and p. 13. phone. Sometimes, it doesn’t really get ity. Of course, you’re dealing with a per- When Oscar realized his father was tell- 18. Preparing a fi nal “tag” ending (codetta), much beyond that. son who is a virtuoso performer of great ing the truth, he said, “I didn’t go near a an abrupt decrease in volume (pp) interrupts stamina. After all, he could keep up very piano for three months.” the grand climax of the piece (ffff) and arrival However, notes and comments on well with those friends he’d invite over When a standard like that is set, it at tonic G. 19. Articles and dissertations include: Edwin sketches for Night Procession and and with whom he’d play ragtime music forces people to do more than they think Hantz, “An Introduction to the Organ Music of the Whistler Nocturnes suggest that all night long. You know, there were the they can. You fi nd that, yes, you can do it. William Albright,” The Diapason, May 1973, in some cases Bill may have been legendary “cutting contests” [ragtime Bill’s fi ngers weren’t built any differently pp. 1, 4–5; Robert Douglas Reed, “The Organ thinking of titles right along with the playing competitions] of the early ragtime than anybody else’s. With practice, you Works of William Albright: 1965–1975.” DMA 29 diss. (Rochester: Eastman School of Music of musical concepts. pianists, and some of those fellows were can achieve those velocities that he was the University of Rochester, 1976); Stephen It’s possible that the title gave to still around, some who emulated that cul- looking for. W. Krahn, “Structural, Tonal, and Linear the piece its nucleus, that is, the title ture, so sheer speed and endurance was Problems in William Albright’s Symphony for might have to do with the style of the something Bill expected. Perhaps in his Thank you, John. Organ,” DMA diss. (Lincoln: University of Nebraska, 1994); James Edward Perone, “Plu- piece or it might be reminiscent of a later years he modifi ed that a little. Thank you. It’s been a pleasure talk- ralistic Strategies in Musical Analysis: A Study certain performer whom he was trying ing about an old friend and colleague of Selected Works by William Albright,” Ph.D. to emulate. The question of tempo is a peren- and his music. Q diss. (Buffalo: State University of New York at nial one. When I performed Four Buffalo, 1988). 32 20. Albright, Organbook, p. 5. You performed several of Bill’s Fancies (for harpsichord, 1979) Notes 21. In Example 4, sharp attacks (mf) on organ pieces. Did he have sugges- and Symphony (for organ, 1986)33 1. For Albright’s obituary in the Univer- Great and Pedal keyboards accent the begin- tions for you? he told me not to worry too much sity Record, see: www.ur.umich.edu/9899/ nings of sustained material (ppp) on Swell and Sep23_98/obit.htm. Choir keyboards. In Example 5, rapid color Bill coached me on the performance about tempo, that the most impor- 2. Albright’s rag compositions include: (piston) changes mark fi nal cadence on E and of Melisma. As usual, I was practicing tant thing was good rhythm. He Three Novelty Rags and Grand Sonata in climax a general increase in rhythmic activity it slowly at fi rst and gradually picking commented specifi cally on honoring Rag (Paris: Société des Editions Jobert, after the opening sustained chord on B. up the tempo. Bill said, “You know that the complex rhythms in the second 1973–74). For a complete list of Albright’s 22. For more information, see www.indiana. compositions, click on “Biography” at: http:// edu/~emusic/elechist.htm fi rst little group of notes…you shouldn’t movement of the harpsichord piece, quod.lib.umich.edu/cgi/f/findaid/findaid- 23. For more information on Nancarrow, be able to hear the individual notes…it’s Mirror Bagatelle. Another time he idx?c=bhlead;idno=umich-bhl-00135. see http://conlonnancarrow.org/nancarrow/ just baroop.”30 It’s a glissando. You have wanted me to play much faster. 3. George Rochberg (1918–2005). See: Home.html. to do that fast! I can see him in the old When he narrated 1732: In Memo- www.presser.com/Composers/info.cfm? 24. For a video recording of Study No. 21 see: 34 Name=GEORGEROCHBERG. www.youtube.com/watch?v=f2gVhBxwRqg. electronic music studio with his hand on riam Johannes Albrecht (1984), he 4. Max Deutsch (1892–1982). http:// 25. Albright, Organbook III (New York: the dial of the signal generator and here’s pushed me to the limit on several en.wikipedia.org/wiki/Max_Deutsch C.F. Peters, 1980), p. 30ff. a sine wave coming from the speakers, sections where he wanted it faster. 5. William Albright, Organbook (Paris: So- 26. Albright, De Spiritum for Organ Solo and he’d be twiddling the dial, making “Let ’er rip!” he said. ciété des Editions Jobert, 1968). with 2 Assistants (New York: C.F. Peters Cor- 6. Albright, Five Chromatic Dances (New poration, 1990), p. 11. the sound barooarooaroo go up and I am reminded there are certain times York: C.F. Peters, 1979). 27. Morris, Robert (b. 1943) http://ecmc. down. (See Example 6.)31 in our musical past when new standards 7. Ross Lee Finney (1906–1997). See: www. rochester.edu/rdm/morris.bio.html. of velocity were set. I recently read a biog- ur.umich.edu/9697/Feb18_97/artcl08.htm. 28. Albright, liner notes for New Music for …which is like the beginning of raphy of the pianist Art Tatum who had 8. Leslie Bassett (b. 1923). See: www. Organ (Nonesuch recording H-71260). lesliebassett.com. 29. Albright Papers, Bentley Historical Melisma… extraordinary facility. As a young teen- 9. George Balch Wilson (b. 1927). www. Library. Sketches for Night Procession and Yes, but you can’t be playing the thing ager, Oscar Peterson, another famous jazz music.umich.edu/departments/composition/ Whistler Nocturnes. da-da-da-da-da-….It has to go so fast pianist, thought he had arrived in terms alumni.php?year=196. 30. Organbook, p. 6. that it’s just a blur. of his technical prowess. He was told that 10. Russell Peck (1945–2009). See www. 31. Growing in range and density, an ex- russellpeck.com. tremely rapid single line blurs into narrow and by all of his relatives! Why shouldn’t he 11. Stockhausen’s Gesang der Jünglinge is at: then wider cluster glissandos. And with a traditional chromatic fi n- believe it? Oscar’s father brought home a www.youtube.com/watch?v=WTtzAmZFtds. 32. Albright, Four Fancies for harpsichord gering, you can’t get it fast enough. record of Art Tatum and played it without 12. ONCE Festival information is at: (New York: C.F. Peters, 1991). www.music.umich.edu/muse/2010/spring/ 33. Albright, Symphony for organ with per- So instead of (L.H.) 2-1-3-1-3, you telling Oscar anything about it. When once.html and www.newworldrecords.org/ cussion (New York: C.F. Peters, 1993). use consecutive fi ngers 5-4-3-2-1 it was all done, he asked his son, “Well, linernotes/80567.pdf. 34. Albright, 1732: In Memoriam Johannes with a quick fl ick of the wrist. what ’ya think of that?” And Oscar said, 13. Milton Cohen (1924–1995). For infor- Albrecht (New York: C.F. Peters, 1986). mation about Milton Cohen’s role in estab- lishing the ONCE Festival, see: www.music. umich.edu/muse/2010/spring/once.html. Douglas Reed is a professor emeritus The right 14. Albright’s score instructions state: “All of music at the University of Evansville performers are to prepare a part using their where he taught and served as university organ at the scores as extremely free inspiration….The ma- organist for 39 years. Reed has made terial is to be played in response to light from recording premieres of Albright’s music right price the lens of the projector as the fi lm is shown on them. The motion and progression is spastic on the Eastman School of Music’s Ameri- and nervous, whence the title of the piece; and can Music Series (Albany Records), We’ll help you chRRse from the players should be ready to alternate and ARKAY, and EQUILIBRIUM labels. the hundreds of vintage organs jump from event to event quickly and almost hazardously [sic].” While extreme freedom is His recording of Albright’s early organ available through our website. granted the individual performers, the pacing, compositions on the University of Michi- We can deliver it to the dynamics, and length of the piece (11’46”) are gan’s Hill Auditorium organ is slated for precisely controlled by stopwatch. release on BlockM Records. organ builder of your choice 15. Chaotic improvisation, electronic or refurbish, revoice, and sound, and a Mickey Mouse cartoon suddenly Reed has authored a chapter in The install it ourselves. give way to a fragment of Joplin’s Maple Leaf Cambridge Companion to the Organ Rag and the narrator’s painful shout, “Beu- (1998), and articles for The Diapason lah!” Color slides of natural wonders (sunsets, and The American Organist. He holds “In choosing OCH, I know that the work has been done northern lights) accompany the conclusion of degrees in organ performance from the with the utmost knowledge, enthusiasm, care and integrity.” the piece. 16. Albright, TIC, a spectacle for two groups University of Michigan, and the Doctor David Enlow, Sub-Dean, NYCAGO of performers, soloist, fi lms, and tape, ms., of Musical Arts degree and the Per- 1967. BEULAHLAND RAG for speaker, jazz former’s Certifi cate from the Eastman quartet, improvisation ensemble, tape and Organ Clearing House fi lm, ms., Ann Arbor, November 1967; Ann School of Music, where his dissertation www.organclearinghouse.com or call John Bishop at 617-688-9290 Arbor, May 1968; Paris, January 1969; Ann topic was The Organ Works of William Arbor, September 1969. Albright: 1965–1975.

24 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM Organ festival report Tenth International Organ and Early Music Festival, Oaxaca, Mexico Presentation of the newly restored organ in Santa María de la Asunción Tlacolula, February 20–25, 2014

By Cicely Winter

ver one hundred people from six collaboration: a series of postage stamps was chosen to honor the recent restora- Oforeign countries and six different depicting six Oaxacan organs and a spe- tion of the Tlacolula organ and featured states of Mexico gathered in Oaxaca cial postal cancellation in honor of the organ contracts and references to build- during February to revel in the tenth tenth festival. ers from local archives. organ celebration of the Instituto de Órganos Históricos de Oaxaca (IOHIO). The festival activities extended over six and a half days and included concerts on eight restored Oaxacan organs; visits to twelve unrestored organs with explana- tions of their churches’ art and history; guided tours of the archaeological sites of San Martin Huamelulpan and Santa María Atzompa; the presentation of a series of postage stamps depicting Oaxa- can organs; “Oaxacan Organs and their Builders,” an exhibit of manuscripts from local archives; the opportunity for organists to play several Oaxacan organs; Roberto Fresco plays the inaugural con- a Mass and concert to bless and inaugu- cert of the festival in the cathedral. rate the recently restored organ in Santa Festival participants view the 8′ organ María de la Asunción Tlacolula; delicious After a welcoming reception, everyone (ca. 1860) in Tlalixtac. local cuisine, band music, and dancing in proceeded to the Oaxaca Cathedral for several communities. the fi rst concert of the festival, offered Though missing around 30% of its Fortunately, the theme of historic by renowned Spanish organist Roberto pipes, the Jalatlaco organ is still an excel- pipe organs is increasingly familiar in Fresco, titular organist of the Almudena lent candidate for a future restoration. those towns that still have instruments, Cathedral in Madrid. A long line wound When the vans were ready to leave, and slowly but surely the idea of an out into the atrium to purchase tickets The 8′ organ in Jalatlaco, built in 1866, three participants were missing and it organ, its sound, and its conservation and attendance surpassed 350 people. is a future candidate for restoration. turned out they had been locked in the has begun to penetrate public aware- Fresco’s elegant performance transfi xed choir loft, shouting for help, after the ness. We were consistently received by the audience and it was certainly one of We then climbed into the vans that sacristan thought everyone had already the authorities with respect and often the most beautiful concerts ever heard would become so familiar to us during come down! ceremony, the choir lofts and churches on this organ. the days ahead for the fi eld trip to visit We made a quick stop at the famous had been cleaned beforehand, and the Because of the position of the organ in three unrestored organs in the Tlacolula Tule tree and a local guide pointed local people were most appreciative of the choir loft, the organist’s back is to the Valley. The fi rst stop was in San Matías out the images evoked by the gnarls of our attention to this previously unknown audience, so this and all succeeding con- Jalatlaco, located on the edge of the his- the trunk and branches. Around 1,500 part of their cultural heritage. certs were projected onto a screen in the toric center of Oaxaca City. We ascended years old, this Montezuma cypress church. In this way the audience could the fi rst of the many winding stone (sabino or ahuehuete) has the stoutest Thursday, February 20 appreciate the changing of registers and staircases we would face during the days trunk in the world. watch Roberto’s hands as he played. ahead to admire the elegantly propor- Our next destination was San Miguel This monumental 8′ organ was built tioned blue 8′ organ, built in 1866 by Tlalixtac, included for the fi rst time in in 1712 and retains its opulently carved the distinguished Oaxacan organbuilder our festival tour. One of the later and and gilded upper case, but its lower case Pedro Nibra. larger organs of the Oaxacan school has been rebuilt several times and there The choir loft looked neat and clean, (built ca. 1860), it must have had an is no evidence of its original appearance. but once we removed the keyboard impressive look and a huge sound. Many However, one can assume that it was cover, lo and behold, mice had invaded components are missing and a complete once one of the most lavishly decorated and left their droppings all over the key- reconstruction, though theoretically organs in Oaxaca, based on the contract board! This did allow participants to see possible, would make little sense at this for its construction. the ongoing challenge of organ conserva- point. But for the time being the IOHIO tion, since only a year had passed since assures its conservation and it was Cicely Winter, IOHIO director, at the spe- Friday, February 21 our last visit to this church. heartening to see our labels still in place cial cancellation of postage stamps of The day started with “The Historic Oaxacan organs in honor of the festival Organs of Oaxaca and the Work of the IOHIO,” a bilingual presentation by Dry overheated churches can The festival’s inauguration began Cicely Winter in the Francisco de Bur- wreakwreak havochavoc with pipe organs! in the Oaxaca Philatelic Museum goa Library within the Santo Domingo (MUFI). Cicely Winter, director of the Cultural Center. Although the title of the ’=c`TcZZgOaaS[PZSR IOHIO, spoke about the activities and talk has not changed over the years, the ]`UO\Vc[WRW¿QObW]\ goals of the festival and was followed by content always does, and the images of Q]\b`]ZagabS[aOZZ]e María Isabel Grañen Porrúa, presi- the organs and the various IOHIO proj- Vc[WRWbgb]PSaS\b dent of the Fundación Alfredo Harp ects—protection, conservation, restora- eVS`SWbWa\SSRSR[]ab´ bVSW\bS`W]`]TbVS]`UO\ Helú Oaxaca, Sergio Bautista Orzuna, tion, presentation of concerts, discover- director of the Oaxaca Regional Center ies related to the organs, recordings, and ’6WUVZgSTTSQbWdSO\R of the Instituto Nacional de Antrop- publications—spoke for themselves. Q][^ZSbSZgOcb][ObWQ ología e Historia (INAH), and Emilio This was followed by an exhibit of ’2SaWU\W\abOZZObW]\ de Leo, in representation of the Secre- documents, “Los Órganos Oaxaqueños y O\R]\aWbSbSQV\WQOZ taría de Cultura y las Artes of the Oaxaca sus Artífi ces” (“The Oaxacan Organs and OaaWabO\QSOdOWZOPZS state government. They offered words of Their Builders”), inaugurated by María congratulations and the support of their Isabel Grañen Porrúa, director of the A^SQWOZWabaW\@Sab]`ObW]\ 1]\aS`dObW]\D]WQW\UB]\OZ4W\WaVW\U respective institutions. library, and explained by the curator, ]T6WUV>`Saac`S>W^S=`UO\a The IOHIO offi ce has always been former IOHIO collaborator Ricardo &"#A]cbV;WQVWUO\/dS\cS '# housed in the MUFI, and, during this Rodys, as well as the presentation of a JL Weiler , Inc. 1VWQOU]7ZZW\]Wa$$ $ festival, our two institutions were able to book with the same title edited by Rodys PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS ! &" %"%# XSTT.XZeSWZS`Q][jeeeXZeSWZS`Q][ present a tangible product of our 14-year and Lérida Moya Marcos. The theme

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 25 Organ festival report

petitions (usually to the Virgin Mary) that are painted on small tin plaques. This and succeeding visits were enhanced by com- mentaries about the church art by special- ists Richard Perry (http://colonialmexico. blogspot.com) and Montserrat Galí.

Left: The 2′ positive organ in Santa María de la Natividad Tamazulapan (ca. 1720–1730)

Above: Víctor Manuel Rodriguez from Mexico City plays the organ in Tamazulapan.

Right: Mary Jane Ballou from Florida plays the organ in Tamazulapan.

Richard Perry explains the altarpieces in the Tlalixtac church. indispensible in pulling the stops, since Rodríguez de la Torre. The church has the music required many changes of one of the most magnifi cent baroque from the previous visit some years back. registration. The church was once again altarpieces in all Mexico and includes The challenge posed to participants was packed with more than 350 people and paintings by the renowned 16th-century to imagine how the organ might have The 4′ organ (1772) in Huayapam the audience had a chance to sing along Spanish painter Andrés de Concha. looked, based on what remains. to several pieces from the texts provided The second organ in this church, an 8′ We were received in San Andrés The 4′ table organ (1772), simply in the programs. The magnifi cent deco- instrument built in Oaxaca in 1840, faces Huayapam, located on the outskirts of carved and originally painted bright red rated case of this monumental 8′ organ the small organ from the left balcony. Oaxaca City, with a drink of tejate, tra- but now a dark maroon color, is nearly bears the earliest date of any Oaxacan Once a magnifi cent instrument, it has ditionally served in colorful painted half intact and like Jalatlaco, an excellent organ: 1686. The interior components unfortunately been the victim of vandal- gourds. A local specialty of pre-Hispanic candidate for a future restoration. were rebuilt during the 18th century, ism over the years and is missing most origin, this delicious foamy drink is made In Huayapam we savored the fi rst of and the organ was restored in 2000. of its pipes. Its neo-classic, undecorated with ground cacao, corn meal, the seed many exquisite meals prepared by the aspect contrasts with the baroque opu- of the mamey fruit and the fl ower of a local women. We had mole amarillo Saturday, February 22 lence of the portative organ. tree (rosita de cacao) that grows only in served in the atrium of the church. The all-day fi eld trip to the Mixteca and near Huayapam. That night organist Cicely Winter Alta began with the third concert of the This lovely village church has one of and percussionist Valentín Hernández festival in Santa María de la Natividad the most beautiful altarpieces in Oaxaca, presented the festival’s second concert, Tamazulapan and featured professional whose intricately carved columns are in the Basílica de la Soledad, featur- Mexican and foreign organists, who were referred to as “gilded lace.” Also famous ing well-known regional folk music. Joel delighted to have a chance to play the is the collection of antique exvotos, Vásquez and Andrea Castellanos were Oaxacan organs. The contrasting pieces selected by Warren Steel, Margarita Ricardez, Víctor Manuel Rodriguez, and Mary Jane Ballou showcased this little 2′ organ to best advantage. The portative organ dating from approximately 1720–1730 is situated in a high side balcony overlooking the huge nave of the church and is exquisitely decorated with images of saints and angel musicians. The case and bellows are origi- PIPE ORGANS OF THE nal but the pipes, keyboard, and interior components were reconstructed in 1996. RICH AND FAMOUS As in years past, we have featured ROLLIN SMITH music on other instruments to alternate ′ ROLLIN SMITH’S PIPE ORGANS OF THE RICH with this small organ and enjoyed the The carved and gilded 8 organ (mid- contrast of its sound with baroque and 18th century ) in Teotongo AND FAMOUS is the story of organs in more than 50 contemporary marimba pieces played by private homes. It recounts a time when the organ was Oaxacan percussionist Gabriela Edith Our next stop was in the neighboring not only a symbol of those who had arrived socially, but Pérez Díaz and the three guitarists of town of Santiago Teotongo, in which the was considered the ultimate appointment of the luxuri- the ensemble “Terceto Cuicacalli” (Mex- baroque altarpieces and organ all appear ous home, indeed, the Home Orchestra of the Twenti- ico City): Diego Arias Ángel, Miguel to date from the 18th century, offering a eth Century. Included are royalty, captains of industry, Ángel Vences Guerrero, and Eduardo pleasing consistency of artistic style. The famous organists and composers, organbuilders, and profi le of the 8′ organ closely resembles those whose names are less familiar, but who were pa- that of San Mateo Yucucuí (1743), thus trons of the King of Instruments on a lavish scale. giving us a clue as to its more specifi c date Designed by Len Levasseur and profusely illustrated of construction. Even though it lost all its with 300 photographs and engravings, this large- pipes and keyboard during the Mexican Revolution, the magnifi cent gilded and format, hard-cover book documents the work of more painted case still exists. than 25 organbuilders in the United States, England, The fourth concert took place in France, and Germany; stoplists of each instrument are Santo Domingo Yanhuitlán, the 16th- included. century Dominican base in the Mixteca PAGES, HARDBOUND WITH DUST JACKET Alta. With its soaring stone vault sup- 547 ported on the sides by fl ying buttresses MEMBER PRICE: $49.95 NON-MEMBER PRICE: $59.95 and its magnifi cent altarpieces, it is one of Mexico’s most dazzling complexes of IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM 4,367 SELECTIONS! baroque art. Organist Jesús López Moreno ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG (titular organist of the Mexico City Cathedral), and trumpet player Juan Luis González offered a thrilling ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we program that reverberated throughout P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. the immense atrium. Located on a Telephone: (804) 353-9226 Media Mail shipping is $5.00 for your entire decorated lateral balcony, the 8′ organ order. Shipping outside U.S. is $4.50, plus Monday–Friday 9:30am–5:00pm ET was built around 1690–1700 and recon- the cost of air postage, charged to your VISA The second organ in Tamazulapan, built structed in France in 1998. Its case is [email protected] SHIPPING or MasterCard. in 1840, has lost most of its pipes. one of the most elaborately decorated

26 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM concert of the 8′ organ, built in Oaxaca in 1792 by Manuel Neri y Carmona for the community of Santa María de la Asunción Tlacolula. Interested participants could climb up to the choir loft to see the newly restored organ up close, hear about its restora- tion (the case by Oaxacan restorer Eric González Castellanos and the musical and mechanical aspects by the Gerhard Grenzing Taller, El Papiol, Spain) and admire its gorgeous red, gold, and black case decoration. This organ also has very The organ in the opulently decorated elaborately painted façade pipes. 16th-century church of Tlacochahuaya was built before 1735.

We savored a variety of Oaxacan spe- cialties in the “Donají” restaurant in Mitla before proceeding to Tlacolula, where we would spend the rest of the day.

González, in alternation with Gabriela Edith Pérez Díaz, percussion, and the guitarists of the Terceto Cuicacalli. Once again the organists presented won- derfully contrasting pieces, even without knowing how they would fi t in with the rest of the program. There was a nice improvisatory feel to this concert, which was pleasant at the end of such a packed and exciting day. It ended with a stirring rendition for vibraphone and guitars of the famous The unrestored 4′ positive organ in Tla- “Huapango” of José Pablo Moncayo. colula, built around 1700, is the smallest The case of this 4′ table organ (1726) in Oaxaca with just two ranks. is exquisitely gilded and painted with Oaxacan restorer Eric González Castel- Trumpeter Juan Luis González (white images of Sts. Peter and Andrew and four lanos talks about the restoration of the Afterward, organ afi cionados could coat) and organist Jesús López Moreno archangels. The Zautla and Tamazulapan organ case in Tlacolula. see the unrestored positive organ, built (red coat), both from Mexico City, pre- sented a concert in Yanhuitlan. bellows are still hand pumped and the around 1700 and the smallest in Oaxaca register sliders are on the sides, and the The atrium and church were already with just two ranks. It was built specifi - projection on the screen allowed people bustling with people when we arrived in cally for the recently restored baroque in all of Oaxaca, with fantastic swirling to appreciate the teamwork involved. anticipation of the Mass and inaugural side chapel of the Señor de Tlacolula. imagery as well as Dominican symbols on the case and fi erce faces painted on Sunday, February 23 the façade pipes. This year we arranged time for inter- ested artists and students to play the organs in Tlacochahuaya and Tlaxiaco and 20 organists, about half foreign and half Mexican, took advantage of the opportunity. There was a delight- ful atmosphere of camaraderie and we all got to hear many new pieces on yet another organ.

The 4′ organ (1726) in Zautla has a richly decorated case depicting Sts. Peter and Andrew and four archangels

Thanks to the ongoing support of the Federal Road and Bridge Commission, a special entrance was opened from the super highway, allowing us direct access to San Andrés Zautla and saving us over an hour of travel time. The folk Roberto Fresco performs on the 4′ Tla- fi esta and friendly concert in Zautla, cochahuaya organ contrasting with the majesty of the pre- ceding visit to Yanhuitlán, are always a The rest of the group joined us before highlight of the festival. the sixth concert of the festival in San We were received in the atrium of Jerónimo Tlacochahuaya, played the church by the elderly women of the by Roberto Fresco. His expert touch town, dressed in their traditional skirts lured rarely heard subtleties of sound and blouses, and the local band, with out of the organ. fi reworks, plenty of mezcal, necklaces of This church is one of the loveliest in bugambilia, and dancing—and after all Mexico with its exuberant interior fl oral of this, a delicious meal of estofado de decoration and exquisite baroque altar- pollo (chicken stewed in almond sauce) pieces, all recently restored. The organ served in the patio behind the church. was built sometime before 1735 and After dinner, we crowded into the restored in 1991. The case and pipes are lovely little church to hear the fi fth beautifully decorated with fl oral motifs, concert of the festival, presented by and the organ harmonizes perfectly, both organists Mary Jane Ballou, David visually and acoustically, with the archi- Furniss, Lee Lovallo, and Tonatiuh tecture of the church.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 27 Organ festival report

Those who needed a break from organs Monday, February 24 have been typical of the period, probably were able to enjoy one of the most For the third time we included a visit to because the parish ran out of money. But famous indigenous markets in Oaxaca the Tlaxiaco organ and points in between. it is richly carved and still has its original and admire the women’s costumes and This trip is not scheduled regularly, keyboard. As mentioned above, its case the stalls piled high with local produce. because its three-hour distance from closely resembles the sumptuously deco- Oaxaca City requires an overnight stay. rated yet empty organ case in Teotongo. This year for the fi rst time we visited the It’s too bad that these two organs couldn’t Mixtec community of Santiago Ixtalt- somehow be combined into one! It is epec, which is farther away than any said that when this 8′ organ was played, others we have included in past festivals, it could be heard for miles around. The but the dirt road was in good condition fl oor of the high balcony on which the and the scenery spectacular. organ sits is much deteriorated, but the We included this village to celebrate custodian had laid down some planks so the inauguration of its museum of that the more daring participants could musical instruments and colonial art get a closer look. in a small room next to the sacristy. An early 19th-century fortepiano sits on a table and was presumably used as a practice instrument. There is also a variety of 19th-century band instruments on display. The com- munity hopes that more people will come to visit their museum, and the IOHIO will promote it for anyone will- ing to make the trip. The 2′ table organ is the only one of its category in Oaxaca that still has its pipes, although not all of them appear to be original. The keyboard is in excellent condition and the table and bellows are Lourdes Ambriz, soprano, and Roberto decorated to match the organ. Interest- Fresco and Rafael Cárdenas, organists, ingly enough, the fi gures depicted on at the Tlacolula inaugural concert the sides and doors of the organ appear to be Jesuit rather than Dominican, and At last the long-awaited moment the church itself has a Franciscan look. arrived for the blessing of the organ in We wonder if the organ could have been a special Mass celebrated by Monseñor purchased from another community, The 8′ organ in the church of the 16th- José Luis Chávez Botello, Archbishop since we are discovering that organs century Dominican architectural com- of Antequera Oaxaca. The Mass was were moved around more often than plex in Teposcolula was gilded in 2010. enhanced with participation of the previously imagined. Oaxaca City Chorus, Lourdes Ambriz, Our next stop was at the 16th-century soprano, and Rafael Cárdenas and Cicely Dominican architectural complex— Winter, organ. church, former convent, and the famous Approximately 1,000 people attended: open chapel—of San Pedro y San 500 people were in the church and Pablo Teposcolula. The 8′ organ has another 500 were outside in the atrium, a similar profi le to that of Yanhuitlan listening to the Mass and the music but was painted a cream color rather over a loudspeaker. We have been told than polychromed, probably because that this is not a typical turnout for an of lack of funds at the time of the con- organ concert in most countries! It was struction. We refer to this organ as the thrilling to hear the organ brought back “King Midas“ organ, because in 2010 a to life, after so many years of silence well-connected architect took the liberty and months of careful preparation. of gilding (at great cost) all the carved One expert characterized its sound as pipeshades and moldings, even though “vocal” and was amazed how perfectly they had only been minimally gilded his- it blended with Lourdes’s pure soprano torically; in fact the organ’s manufacture voice. Rafael led the enthusiastic singing is not of the highest quality. Unfortu- José Francisco Álvarez, organ, and of the Mass with the organ and Lourdes nately one of the loveliest features of this Vladislav Badiarov, baroque violin, of- fered the fi nal concert on the 8′ organ sang several solos. organ—its delicate carving, which before in Tlaxiaco. This was followed by the exciting looked almost like lace—now has a hard inaugural concert, the seventh concert of look and the shine of the gold obscures the festival (Lourdes Ambriz, Rafael The unpainted but richly carved 8′ the fi ne work of the carving. So, besides festival with an elegant program featuring Cárdenas, and Roberto Fresco), organ in Yucucuí was built in 1743. accumulated fi lth from negligence, the both solo and ensemble pieces. which highlighted all the registrations of intrusion of animals, and the ongoing This monumental 8′ organ, dating the organ. The organ looked stunning, The community of San Mateo Yucu- risks of earthquakes or fi res, we now from around 1800, offers a broad pal- and the community was quite proud of cuí sits on a promontory overlooking the must be on guard against the whimsical ette of sonorous possibilities that were this previously unrecognized aspect of Yanhuitlán Valley. The organ (1743) was decisions of misguided “experts.” enhanced by the excellent acoustics in their local culture. never painted or gilded, which would After lunch in Teposcolula, we drove the church. All the altarpieces and the up into the pine forest to Santa María organ are stylistically matched in neo- Tlaxiaco for the eighth concert of the classic design and painted white, gold, festival. José Francisco Álvarez, organ, and red, creating an unusual visual and Vladislav Badiarov, baroque vio- coherence. The imposing, outwardly lin, concluded the musical aspect of the austere church, one of Oaxaca’s oldest,

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28 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM Festival participants pose in front of the 16th-century Tiltepec church.

design, whimsical decoration, and fi nely photos of the churches visited during carved keyboard. the festival. We then walked down the hill and The IOHIO is grateful for the sup- Top left: The newly inaugurated Musical Instrument and Colonial Art Museum across the river to the home of the Cruz port of the following institutions: in Ixtaltepec includes an early 19th-century tabletop fortepiano. García family for our farewell dinner. We CONACULTA INAH; Arquidiócesis de feasted on barbacoa de borrego, lamb Antequera Oaxaca; Universidad de Val- Left: Besides the organ, the museum also includes a variety of 19th-century barbecued Oaxacan style, cooked in the ladolid, España; Biblioteca Francisco de band instruments. ground over hot rocks and covered with Burgoa; Museo de Filatelia de Oaxaca Above: The fi gures depicted on the sides and doors of the 2′ table organ in maguey leaves. (MUFI); and Caminos y Puentes Fede- Ixtaltepec appear to be Jesuit rather than Dominican. Mezcal from San Bartolo Yautepec rales (CAPUFE). We are also grateful fl owed freely, and everyone had one last for the support of the following Oaxacan chance to enjoy the festival company businesses: Hostal de la Noría, Hotel was the Dominican outpost for this and dance to music from a local guitar Parador San Agustín, Hotel de la Parra, strategic area of the high sierra in the ensemble before returning to Oaxaca. Color Digital. Q 16th century. From there we went to the nearby vil- Wednesday, February 26 Cicely Winter grew up in Michigan lage of San Pedro Mártir Yucuxaco. The Even after the closing ceremony in and studied piano and harpsichord at table organ here (1740) is complete and Tiltepec, this festival just would not Smith College and the University of in excellent condition, even though its stop! About 40 people chose to make Michigan, where she obtained a B.A. in bellows no longer exist. It closely resem- the trek up to the recently opened late Music and an M.A. in European History; bles the organ in Zautla, though without classic (500–800 AD) archeological site she later studied piano performance at the painted decoration, the carved pipe- of Santa María Atzompa, part of greater Indiana University. Her principal teach- shades include faces in profi le, and the Monte Alban, guided by Dr. Marcus ers were Fritz Steinegger and Leonard keyboard is exquisite. Winter (INAH). Hokanson (piano), and Lory Wallfi sch Our festivals create an atmosphere of and Elisabeth Wright (harpsichord). Tuesday, February 25 joy and celebration around the organs Winter has lived in Oaxaca since 1972 and have proved to be the best way to and has presented numerous piano, promote and, as a consequence, preserve harpsichord, and organ concerts over the organs. We are continually amazed the years, many of which have benefi tted when people ask when the next concert community service projects in Oaxaca. In or festival will take place, as we look back 2000, with the support of philanthropist on all those years when hardly anyone Alfredo Harp Helú, she and organist The 1703 Tiltepec organ, one of Oaxa- knew or cared about the organs. And the Edward Pepe co-founded the Instituto ca’s oldest and most beautiful, is unique support and enthusiasm from this year’s de Órganos Históricos de Oaxaca A.C. in its construction and decoration. wonderful group of participants still (IOHIO), which she serves as its direc- energize us as we face many challenges. tor. Her professional performances have arches. The unrestored organ, situated Richard Perry’s blogspot (http:// increasingly focused on historic organs, on a side balcony, is one of Oaxaca’s old- colonialmexico.blogspot.com) provides presenting a broad repertoire of classical, est (1703) and is unique in its technical detailed information and excellent sacred, and folkloric music.

The 4′ polychromed organ (1776) in Tej- upan is the last Oaxacan instrument to exhibit religious imagery. graduate study in Our Mixtec tour continued with a organ performance visit to the church and organ of Santiago Tejupan. The lovely polychromed organ at Yale Institute of Sacred Music and Yale School of Music case (1776) is the last extant Oaxacan instrument to exhibit religious imagery. The name of the donor, cost of the organ, and date of construction appear inscribed on decorative medallions on the façade. A complete reconstruction of this organ would not make sense, however, since the population has been drastically reduced over the past years, but we hope that the authorities agree to have the case cleaned and restored in order to appreciate the unique portraits. The splendid altarpieces span from the 17th to the 19th century and high- light the stylistic changes over time. Our fi nal church and organ visit was in Santa María Tiltepec, for some the crowning visual experience of the fi eld trips. Located in the Dominican sphere of Yanhuitlan and built atop a Office of Admissions pre-Hispanic temple, this 16th-century Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511 church has long been appreciated by tel 203.432.9753 fax 203.432.9680 · yale.edu/ism/admissions/admissions.html art historians for its richly carved, asym- [email protected] metrical façade and carved stone interior

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 29 Cover feature

Glück Pipe Organs, from St. John’s. It was this little organ, highly informative books, whether with walnut caps. Because this is a two- New York, New York with roll-playing mechanism, which technical or historical. It was co-opted manual instrument, some solo stops are St. John’s of Lattingtown appears to have infl uenced the church’s by the speculative and operative arms duplexed between the manuals, and Episcopal Church, choice of Skinner to build his Opus 447 of organbuilding to describe service- some extension work is included. Of note Locust Valley, New York when the church was reconfi gured for its playing instruments of small scope are the variably scaled 16′ Pedal exten- reopening in 1924. The church organ was and grand effect, most associated with sion of the Skinner string and the 24-pipe An historic idyll a smaller affair of eleven ranks, built in English builders of the past 150 years, downward extension of the Great 2′ The hamlet of Lattingtown, a sub- Skinner’s Westfi eld shop. although the French have been parallel Gemshorn as the Pedal 8′ Spitzfl öte and enclave of Locust Valley on New York’s Neither of the small Skinner organs adepts. The criteria for this appellation 4′ Choral Bass. Although it is my policy Long Island, is named for the locust remains intact. Frieda Frasch Whiton remain nebulous, and the label has been to avoid unifi cation of any manual rank at trees that forest the terminal moraines divorced Henry in 1921, married Count adhered to organs of between 18 and 40 adjacent pitches, opting for a two-octave left by receding glaciers. The land was David Augustus Constantini the follow- ranks, two or three manuals, French, separation, the Chimney Flute appears purchased from the Algonquin-speaking ing year, and upon the count’s death in English, or American, with mechanical twice in the Great department, charm- tribe of the Lenape nation in 1667, and 1937, married Baron Carl Gottlieb von or assisted action. ing at the unison, beguiling at the octave. during the late nineteenth century, the Seidlitz, to whom she remained married In designing this 20-rank instrument The short-but-useful-compass 8′ Herald region became known for its quiet seren- until her death in 1951. The fate of the for St. John’s, I chose to focus upon Trumpet is voiced on the same pressure ity while enjoying proximity to New York house organ appears lost to history. what the substantive literature demands as the rest of the organ. Its distinction City, where many of the area residents of the organ. Thousands of American comes from its scaling, shallot style, and also kept city homes and offi ces for their The commission instruments have harbored lovely stops, voicing, its tone warmer and rounder business interests. Ten years ago, Eric Milnes, director but could never honor the wishes of than its name implies. By the 1920s, society architects such of music, approached me about build- the composers who wrote organ music. as Delano and Aldrich; Bertram Gros- ing a new organ for St. John’s, which I Since concert literature was written by Expression: upstairs, downstairs venor Goodhue; McKim, Mead, and assumed would be a mechanical-action church organists for the instruments The Great and some of the Pedal White; Cass Gilbert; and Carrère and organ in historic style and temperament, they played in church, I always choose to fl uework are unenclosed above the Hastings designed resplendent resi- as Mr. Milnes has earned an internation- work backwards from the score to create impost, and the remainder of the organ’s dences for privacy-seeking industrialists ally celebrated reputation as a conductor instruments with the required voices at resources are under expression, includ- and fi nanciers in the Glen Cove region, and historical keyboard artist specializing the right pitches, properly grouped and ing the Herald Trumpet and four of the whose names may still be unfamiliar to in the historically informed performance usefully juxtaposed. Desirable elements fi ve 16′ stops: the Violone, a downward most. The imposing estate houses were of Baroque keyboard, instrumental, and in an organ of this limited size are an extrapolation with a broadening scale (and are) known by name rather than choral music with period instruments. anchoring principal chorus, warmly and of the 8′ Viole de Gambe, with Haskell by street address, including attorney Yet to my delight, he envisioned a power- elegantly voiced with a clear, silvery re-entrant tubes; the Bourdon, extended William Dameron Guthrie’s vast prop- ful, multifaceted, colorful adjunct to the mixture of sensible composition; a col- from the 8′ Stopt Diapason; the Bom- erty, “Meudon,” named for Château de Episcopal liturgy that could authentically lection of fl utes of diverse structure barde, an extension of the Trumpet; and Meudon in the Parisian suburb where interpret the concert repertoire. The use and material; a tierce combination for the Basset Horn. This is accommodated Marcel Dupré kept a house fi tted up of electropneumatic action opened the solo work; a pair of vibrant strings of by a two-story expression enclosure, with with a Mutin-Cavaillé-Coll organ. door to a world of tonal possibilities in authentically cutting, exceptional char- upper and lower banks of shutter blades. In the bucolic Locust Valley–Glen which the two of us could scratch our acter; the three primary reed colors The knob engraved “Lower Shutters Cove region, about a dozen houses in the academic itches free from the strangula- (Trumpet, Oboe, and Clarinet, the last Off” disables and closes the shutters at “neighborhood” were furnished with pipe tion of purist dogma. The challenge was of which must play in dialogue with the the choir-loft level while permitting the organs by the Aeolian Company, includ- not to acquiesce to bland “eclecticism,” cornet); and a pedal division producing entirety of the enclosed organ to speak ing the II/27 in Louis Comfort Tiffany’s but to devise an enchanting chameleon a very clean pitch line that can be heard through the controllable upper set “Laurelton Hall,” the IV/63 in Nicholas F. without spawning a generic creature moving clearly beneath and through the behind the Great, using the nave’s ceil- Brady’s “Inisfada,” and the colossal IV/107 devoid of character and personality. manual textures. No wasted space, no ing as a sounding board. The Great 16′ in Frank W. Woolworth’s “Winfi eld Hall.” wasted metal. Double Diapason is also enclosed, yet Yet it was the wife of sulfur baron Henry The musical formula By good fortune, the Skinner Salicio- has no pipes of its own, being derived Devereux Whiton who is listed as the cli- The Latin multum in parvo, or “much nal and Voix Céleste, as well as the Pedal from the Swell 4′ Principal from C25 ent for the II/13 Ernest M. Skinner organ in little,” often is used to assess the use- 16′ Bourdon, survived the onslaught of to G56, and the bass taken from the 16′ of 1919 for their house “up the road” ful content-to-thickness ratio of short, the Orgelbewegung, so some heritage Bourdon/8′ Stopt Diapason unit. The pipework, renamed, lives on in the addition to the ensemble is one of nobil- organ. The new metal pipes are built of ity and gravity without muddiness. The a spotted alloy of 50% tin (including the Pedal 16′ Subbass provides signifi cant hefty resonators of the Swell 16′ Basset punch, never shared by, or extended Horn). New timber pipes are poplar from, its manual brethren.

Detail of case, Glück Opus 18 Console of Glück Opus 18, St. John’s of Lattingtown Episcopal Church

30 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM The organ case The remarkable oak casework was carved by William and Alexander Clow of Edinburgh to the designs of Sir Robert Stodart Lorimer, and was the gift of Mr. and Mrs. John Pierpont Morgan. The Clow brothers had completed the carved fi gures in the Chapel of the Knights of the Order of the Thistle at St. Giles Cathedral, Edinburgh, in 1911 and were a perfect team to work on a small sum- mer church of this stature. The organ case was part of a much larger decorative program by Sir Robert and fi nanced by Morgan; the entirety of St. John’s is pavé with exuberant carving in this style. The case was altered to accommodate the Skinner instrument, and again in the 1970s. In the course of decades, carved panels were discarded, crockets cut down, and a brash horizontal trumpet stop installed. Carvings were desiccated and cracked, and the case had settled after structural elements were removed Sebastian M. Glück in the organ loft with the voiced pipes of Detail of key cheeks during the last campaign of alterations. the Mixture, ready for installation and tonal fi nishing Our mission was to structurally stabilize and restore the case to the spirit of The family of artisans at Glück Pipe longed for the more eclectic instruments case in particular is a splendor to behold, the Skinner era, with new components Organs is grateful to have been invited of my youth, when I was a student of and required the most loving care in its respecting the aesthetic sensibility of to design and build this jewel in a jewel Gerre Hancock, John Weaver, and Ver- conservation and adaptation to a new Morgan’s gift. There could be no stylis- box. We appreciate the trust of the par- non de Tar. What would make that dream instrument. Sebastian Glück’s distinction tic infelicities. ish and their patience during the decade a reality would be an electropneumatic in the fi eld of architectural restoration For the fi rst time since the church was of study, design, construction, and fi nish- instrument through which I could luxuri- was of no small interest to the stewards built, the organ chamber is thermally ing. Our longstanding accomplices in ate in the French and German Romantic of St. John’s legacy. His workshop’s treat- insulated, and the façade bears speaking engineering and craftsmanship—OSI, legacies, the great post-Victorian Angli- ment of the organ case, and his design pipes of the Great 8′ Open Diapason. A. R. Schopp’s Sons, Peterson Electro- can tradition, and the magnifi cent reper- of a complementary, luxurious console, The original façade was composed of Musical Products, and Harris Preci- toire that has followed. have brought us transcendent joy. Albert dumb pipes without winded toeboards, sion Products—continue to work with Sebastian Glück’s tonal and archi- Jensen-Moulton’s exquisite lighting plan so the new façade pipes are given breath the dedicated members of the Glück tectural insights and Albert Jensen- has revealed to us the grandeur of the through the back of the foot via a tube of team: General Manager Albert Jensen- Moulton’s technical capabilities com- reimagined organ case, and we believe pipe metal. Moulton, Joseph DiSalle, Dominic bined to fully divine my desire to return that the organ had not been fully illu- Inferrera, Peter Jensen-Moulton, Daniel to those musical roots, and to conceive minated since the Skinner organ was The console Perina, and Robert Rast. a plan that would ultimately satisfy installed almost 100 years ago. Every The elaborately inlaid and carved —Sebastian M. Glück completely. Their ability to express craftsman member of the fi rm brought keydesk was inspired by the South Ger- President and Artistic & Tonal Director poetically, as well as in succinct and uncommon care to protect and restore man rococo work of Joseph Gabler from accessible technical terms the myster- the beauty for all to appreciate, present the second quarter of the 18th century. For more information about Glück ies of concept, design, construction, and future. The morphology is his, but the console pipe organs, video presentations, com- and installation made the leap from Having just celebrated the dedica- is dressed in Tudor clothing to match the pact discs, workshops, and lectures, imagination to implementation feel tion and blessing of the new organ at St. exceptional work of the Clow brothers. please visit gluckpipeorgans.com. attainable. They equipped me well John’s, the glorious sounds (fi rst heard Linenfold panels surround the entire with the descriptive tools to guide a at this occasion) have fi lled us with console, including the back, and the Photo credit: All photos by Albert searching congregation through the inspiration and delight. We perceive the astonishingly detailed corbels that sup- Jensen-Moulton process with assurance and anticipatory individual character of each exquisitely port the key bed are just as intricately exhilaration. Their excitement about voiced rank, the kaleidoscope of a multi- carved on their inside surfaces as they Regarding Sebastian a freshly conceived instrument, their tude of ensembles, blended, rich, warm, are where visible. As with all of our Glück’s Opus 18 commitment to historical fealty and full, and thrilling in the unique acoustic consoles, contrasting species of wood are Upon my return from conducting tonal integrity, and their respect for the of the sanctuary. A twenty-rank organ, used for everything from “skunktailing” Bach at the Tage für Alte Musik early mission of music in worship make for a conceived, built, and voiced by the car- the key cheeks to differentiating toe music festival in Regensburg, Germany, wonderfully responsive and interactive ing (and compulsive!) hands of master studs by function. Keyboard compasses I made the decision about a new organ collaboration with the church musician builders, has been richly appointed to are 56/30, accommodating the majority for St. John’s, where I have been director and the worshipers. We at St. John’s felt express the enormous range of a broad of the repertoire, anthem accompani- of music and organist for 34 years. My shepherded and fully participatory at and diverse repertoire. Our church has ments, and robust hymnody. All mea- career outside of the church has resided all stages of the process as our musical received the gifts of exhilaration, inspira- surements and relationships comply with mainly in the period-instrument realm, dream became the longed-for voice of tion, wonder, and mystery in support of AGO standards, and the organ is tuned conducting productions of Monteverdi praise in our parish. praise and prayer. in equal temperament. through Mozart, and performing on his- St. John’s chancel is a marvel of Our deepest gratitude is expressed to The organ was dedicated and blessed torical 17th- and 18th-century keyboards intricately embellished woodcarving Sebastian, Albert, and all the artisans of during the morning service on Septem- and modern replicas. It was perhaps a in a heritage edifi ce preserving the Glück Pipe Organs. ber 7, and the inaugural recital per- paradoxical realization, when imagining a extravagant preferences enjoyed by the —Eric Milnes formed by Eric Milnes on September 28. dream instrument for my church, that I privileged of the Gilded Age. The organ Director of Music & Organist

Glück Pipe Organs, Opus 18 St. John’s of Lattingtown Episcopal Church, Locust Valley, New York

GREAT – Manual I SWELL – Manual II PEDAL Manuals Reversed 16′ Double Diapason (a) 8′ Viole de Gambe 56 pipes 16′ Violone 12 pipes Lower Shutters Off 8′ Open Diapason 56 pipes 8′ Voix Céleste 51 pipes 16′ Subbass 32 pipes Blind Playback 8′ Chimney Flute 56 pipes 8′ Stopt Diapason 56 pipes 16′ Bourdon 12 pipes 8′ Open Flute (b) 4′ Principal 56 pipes 8′ Principal Great (a) C1–B24 from Swell Bourdon/Stopt 8′ Viole de Gambe Swell 4′ Viole d’Amour 12 pipes 8′ Spire Flute 12 pipes Diapason unit; 8′ Spire Flute (c) 4′ Harmonic Flute 56 pipes 8′ Viole de Gambe Swell C25–G56 from Swell 4′ Principal 2 4′ Principal 56 pipes 2⁄3′ Nazard 56 pipes 8′ Stopped Flute Swell (b) C1–B12 from Swell Stopt Diapason; 4′ Chimney Flute 12 pipes 2′ Recorder 24 pipes 4′ Choral Bass 12 pipes C13–G56 from Swell Harmonic Flute 3 2′ Gemshorn 56 pipes 1⁄5′ Tierce 56 pipes 4′ Bourdon Swell (c) 8′ Spire Flute and Pedal 4′ Choral Bass Mixture II-IV 188 pipes 16′ Basset Horn 56 pipes 16′ Bombarde 12 pipes are a 24-pipe extension of Great 2′ 8′ Trumpet Swell 8′ Trumpet 56 pipes 16′ Basset Horn Swell Gemshorn 8′ Oboe Swell 8′ Oboe 56 pipes 8′ Trumpet Swell (d) from Basset Horn 8′ Clarinet (d) 12 pipes Tremulant 8′ Oboe Swell (e) G20–D51 8′ Herald Trumpet (e) 32 pipes 16′ Swell to Swell 4′ Clarinet Great Chimes Swell Silent 8′ Great to Pedal 16′ Swell to Great 4′ Swell to Swell 8′ Swell to Pedal The organ can be heard in a performance by 8′ Swell to Great Chimes 4′ Swell to Pedal Eric Milnes: 4′ Swell to Great www.youtube.com/watch?v=GK073TQqsf0

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 31 New Organs

Mander Organs, London, England Kobe Anglican Cathedral, Japan Christianity was fi rst established in Japan by the Portuguese missionary St. Francis Xavier in 1587. The Anglican Communion was not established until 1859 in Nasaki, but was only permitted to serve the British and American com- munities in the Nagasaki foreign settle- ment until 1860, when restrictions on religious freedom were lifted. The fi rst Anglican bishop, the Rev. William Ball Wright, was appointed in 1866. In 1881 the fi rst Cathedral Church of Kobe was established. The existing Cathedral Church of St. Michael, Kobe, was built in 1959, and while provision was made for a pipe organ, none was installed until September 2013. Initially, the new organ was to be placed close to its fi nal location, but against the rear wall of the church, Great organ during installation which is what led to the unusual asym- metrical design. Later it was decided to place it against the liturgical north wall, but the church decided it wished to retain the asymmetrical design. Creat- ing an asymmetrical design that is also balanced is not as simple as creating the more usual symmetrical design; it also introduces technical issues, which must be resolved. The Great and Pedal organs are on a common soundboard at impost level and the Swell organ is above these, leading to the ideal vertical disposi- tion of the three departments. The key action is mechanical and suspended, the drawstop action electric, with the usual playing aids. The specifi cation was conceived to offer all the requirements of the Mander organ at Kobe Anglican Cathedral, Japan Swell key action Anglican liturgy, while also provid- ing Kobe with an organ that could be on traditional English principles, with used to teach aspiring organists in the emphasis on a high degree of blend area. In the short time the organ has between the different registers. The been there, a teaching program has organ was dedicated on September 29, already blossomed. Tuned to Vallotti’s 2013, St. Michael’s Day. temperament, the organ offers insight —John Pike Mander into the earlier repertoire without Managing Director of Mander Organs compromising the more romantic rep- ertoire too much. The voicing is based Photo credit: Mander Organs

Mander Organs Kobe Anglican Cathedral, Japan

GREAT SWELL PEDAL 8′ Open Diapason 8′ Gedackt 16′ Bourdon 8′ Stopped Diapason 8′ Salicional 8′ Principal 4′ Principal 8′ Celeste 16′ Trombone 2′ Fifteenth 4′ Chimney Flute 8′ Trumpet 1 2 1⁄3′ Mixture IV 2⁄3′ Nazard Great to Pedal 8′ Trumpet 2′ Recorder Swell to Pedal 3 Swell to Great 1⁄5′ Tierce 8′ Oboe Tremulant

Congregation admires the organ after the dedication The Diapason 2015 Resource Directory

• The only comprehensive directory for the organ and church music fi elds • Includes listings of associations, suppliers, and the products and services they provide

Reserve advertising space now! Deadline: November 1

To reserve advertising space, contact Jerome Butera 608/634-6253; [email protected] John Pike Mander works on tonal fi n- Interior of the organ showing bellows ishing of the Swell organ and Great key action

32 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Cameron Carpenter; Town Hall, New Park Ridge Presbyterian Church This calendar runs from the 15th of the month York, New York 8 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK 24 OCTOBER Bloomingdale, IL Feb. issue). All events are assumed to be organ Isabelle Demers; Methuen Memorial recitals unless otherwise indicated and are grouped Music Hall, Methuen, MA 8 pm within each date north-south and east-west. •=AGO Christopher Houlihan; Trinity College chapter event, • •=RCCO centre event, +=new organ Chapel, Hartford, CT 8 pm dedication, ++= OHS event. Tom Trenney, silent fi lm accompaniment; Christopher Babcock Information cannot be accepted unless it Third Presbyterian, Rochester, NY 8 pm specifi es artist name, date, location, and hour in Jean-Baptiste Robin; First Presbyte- writing. Multiple listings should be in chronological rian, Lockport, NY 7:30 pm St. Andrew’s by the Sea, order; please do not send duplicate listings. Chelsea Chen; First Presbyterian, Fort Hyannis Port THE DIAPASON regrets that it cannot assume Lauderdale, FL 7 pm responsibility for the accuracy of calendar entries. James Bobb, hymn festival; Covenant- First Presbyterian, Cincinnati, OH 7:30 pm UNITED STATES Bruce Ludwick; Cathedral Church of the East of the Mississippi Advent, Birmingham, AL 12:30 pm Dean W. Billmeyer GAVIN BLACK Westminster Abbey Choir; Overture Hall, Princeton Early Keyboard Center Madison, WI 7:30 pm University of Minnesota 15 OCTOBER 732/599-0392 Katherine Meloan, masterclass; St. 25 OCTOBER Killian Roman Catholic Church, Farming- Tom Trenney, panel discussion; Third Minneapolis 55455 • [email protected] www.pekc.org dale, NY 7 pm Presbyterian, Rochester, NY 9 am Pärt, Te Deum; St. John the Divine, New Edoardo Bellotti & Stephen Kennedy, York, NY 7:30 pm silent fi lm accompaniment; Christ Church, Rochester, NY 8 pm THOMAS BROWN 16 OCTOBER Byron L. Blackmore UNIVERSITY Richard Hoskins; Siebert Chapel, Car- 26 OCTOBER Crown of Life Lutheran Church thage College, Kenosha, WI 7:30 pm Thomas Murray; Cathedral of the Holy PRESBYTERIAN CHURCH Cross, Boston, MA 2 pm Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA 17 OCTOBER Hook Organ Rededication Concert; Me- 623/214-4903 ThomasBrownMusic.com Todd Wilson, silent fi lm accompaniment; chanics Hall, Worcester, MA 3 pm Our Lady of Refuge, Brooklyn, NY 7:30 pm CONCORA; First Church of Christ, New Diane Meredith Belcher; Grace Episco- Britain, CT 4 pm pal, Utica, NY 7 pm Philip Carli, silent fi lm accompaniment; Thomas Murray; St. Stephen’s Pro-Ca- Eisenhart Auditorium, Rochester Museum ROBERT CLARK DELBERT DISSELHORST thedral, Wilkes-Barre, PA 7:30 pm & Science Center, Rochester, NY 2:30 pm Houston Texas Choirs of University of Georgia & Geor- Andrew Henderson, with violin; Madison Master Classes, Consultation Professor Emeritus gia State University; All Saints’ Church, At- Avenue Presbyterian, New York, NY 3 pm [email protected] lanta, GA 7:30 pm F. Allen Artz; Crescent Avenue Presbyte- 513/478-0079 University of Iowa–Iowa City Peter Latona; Basilica of St. John the rian, Plainfi eld, NJ 3 pm Baptist, Canton, OH 7 pm Cherry Rhodes; East Liberty Presbyte- David Schrader; Rockefeller Chapel, rian, Pittsburgh, PA 4 pm University of Chicago, Chicago, IL 7:30 pm Chelsea Chen; First Presbyterian, Fort JAMES DORROH, AAGO, PhD STEVEN EGLER Lauderdale, FL 7 pm Central Michigan University 18 OCTOBER Joan Lippincott; First Presbyterian, Tus- Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Nathan Laube, masterclass; First Pres- caloosa, AL 3 pm Samford University Artist in Residence byterian, Haddonfi eld, NJ 2 pm Scott Montgomery; Fairmount Presby- Birmingham, Alabama First Congregational Church Thomas Murray, masterclass; St. Ste- terian, Cleveland Heights, OH 4 pm Saginaw, Michigan phen’s Pro-Cathedral, Wilkes-Barre, PA 10 am Jonathan Ryan; Hyde Park Community Organ Consultant Organ Recitals [email protected] Ron Rhode; Phipps Center for the Arts, United Methodist, Cincinnati, OH 4 pm Hudson, WI 7:30 pm Jonathan Rudy; Cathedral of St. John the Evangelist, Milwaukee, WI 3 pm 19 OCTOBER JOHN FENSTERMAKER STEPHEN HAMILTON Vaughn Mauren; Cathedral of All Saints, 27 OCTOBER Albany, NY 2:30 pm, followed by Choral Tom Trenney, silent fi lm accompani- TRINITY-BY-THE-COVE recitalist–clinician–educator Evensong ment; Capitol Hill United Methodist, Wash- ington, DC 7:30 pm www.stephenjonhamilton.com Andrew Henderson & Dariusz Przybilis- NAPLES, FLORIDA ki, with Mannes College students; Madison Jean-Baptiste Robin; Cincinnati Muse- Avenue Presbyterian, New York, NY 3 pm um Center, Cincinnati, OH 7:30 pm Nathan Laube; Haddonfi eld United Mario Duella; Elliott Chapel, Presbyte- Methodist, Haddonfi eld, NJ 7 pm rian Homes, Evanston, IL 1:30 pm ANDREW HENDERSON, DMA Ken Cowan; Holy Trinity Lutheran, Lan- WILL HEADLEE caster, PA 4 pm 28 OCTOBER Haig Mardirosian; St. Paul Cathedral, 1650 James Street Madison Avenue Presbyterian Church James Hicks; Heinz Chapel, Pittsburgh, New York, NY PA 3 pm Pittsburgh, PA 7:30 pm Syracuse, NY 13203-2816 Westminster Abbey Choir; Trinity United William Wharton; St. Mark’s United (315) 471-8451 www.andrewhenderson.net Methodist, Easton, MD 3 pm Methodist, Huntsville, AL 7:30 pm David Heller; Duke University, Durham, 29 OCTOBER NC 5 pm Westminster Abbey Choir; Church of the Hector Olivera; Venice Presbyterian, Ascension, Knoxville, TN 8 pm Venice, FL 3 pm Todd Wilson, silent fi lm accompaniment; 30 OCTOBER David Herman Stambaugh Auditorium, Youngstown, OH Tomkins, The Great Service; St. Luke in Trustees Distinguished Professor Emeritus of Music and University Organist 4 pm the Fields, New York, NY 8 pm Marilyn Keiser; Church of the Savior Westminster Abbey Choir; Cathedral of The University of Delaware Q [email protected] United Methodist, Canton, OH 4 pm St. Peter in Chains, Cincinnati, OH 7:30 pm Jeremy David Tarrant; Cathedral Fauré, Requiem; Cathedral Church of Church of St. Philip, Atlanta, GA 3:15 pm the Advent, Birmingham, AL 7:30 pm Evensong; Cathedral Church of the Ad- Jean-Baptiste Robin; Cathedral of St. A Professional Card in vent, Birmingham, AL 3 pm Paul, St. Paul, MN 7:30 pm Christopher Houlihan; First Presbyte- rian, Birmingham, MI 5 pm 31 OCTOBER The Diapason Marsha Foxgrover; Madonna della Stra- Tom Trenney, silent fi lm accompaniment; For rates and digital specifi cations, contact Jerome Butera da Chapel, Loyola University, Chicago, IL Merrill Auditorium, Portland, ME 7:30 pm 847/391-1045; [email protected] 3 pm Ken Cowan, Paul Jacobs, & Peter Paul Jacobs; Grace Lutheran, River For- Richard Conte; Verizon Hall, Kimmel Cen- est, IL 8 pm ter, Philadelphia, PA 9:30 pm David Jenkins; St. Mary Chapel, St. Monte Maxwell; Naval Academy Cha- LORRAINE BRUGH, Ph.D. Paul Seminary, St. Paul, MN 4 pm pel, Annapolis, MD 8 pm Cameron Carpenter, silent fi lm accom- 21 OCTOBER paniment; Symphony Center, Chicago, IL Associate Professor Judith Hancock; Savage Chapel, Union 8 pm University Organist University, Jackson, TN 7:30 pm 1 NOVEMBER Valparaiso University 22 OCTOBER Westminster Abbey Choir; Woolsey Hall, Valparaiso, IN Westminster Abbey Choir; Washington Na- Yale University, New Haven, CT 5 pm tional Cathedral, Washington, DC 7:30 pm Monte Maxwell; Naval Academy Cha- www.valpo.edu pel, Annapolis, MD 8 pm 23 OCTOBER Edoardo Bellotti, silent fi lm accompani- 2 NOVEMBER 219-464-5084 ment; University of Rochester, Rochester, Nathan Laube; Mead Chapel, Middle- [email protected] NY 6 pm, 7:30 pm bury College, Middlebury, VT 3 pm

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 33 Gary L. Jenkins CALIFORNIA LUTHERAN UNIVERSITY Calendar Central Presbyterian Church Director, Schmidt Concert Series Kyle Johnson, DMA Christopher Houlihan; Somers Congre- Brenda Day, with Crescent Choral Soci- Carmelite Monastery University Organist gational, Somers, CT 2 pm ety; Crescent Avenue Presbyterian, Plain- Curator of Organs 

r
LFKPIOT!DBMMVUIFSBOFEV Westminster Abbey Choir; Christ and fi eld, NJ 8 pm Rose-Hulman Institute of Technology Holy Trinity Episcopal, Westport, CT 5 pm David Briggs, silent fi lm accompani- Terre Haute, Indiana www.callutheran.edu David Enlow; Church of St. Ignatius ment; St. Paul’s Episcopal, Greenville, NC Loyola, New York, NY 3 pm 7:30 pm Stefan Engels; St. Anne Church, Roch- ester, NY 4 pm 16 NOVEMBER Brian Jones KIM R. KASLING Choral Evensong; St. John’s Episcopal, Brahms, Requiem; Madison Avenue D.M.A. Director of Music Emeritus Hagerstown, MD 5 pm Presbyterian, New York, NY 3 pm St. John’s University Raúl Prieto Ramírez; Independent Pres- Alan Morrison; Hendricks Chapel, Syra- TRINITY CHURCH byterian, Birmingham, AL 4 pm cuse University, Syracuse, NY 4 pm BOSTON Collegeville, MN 56321 Mario Duella; St. Chrysostom’s, Chica- Jeremy Filsell; Wilson College, Cham- go, IL 2:30 pm bersburg, PA 3 pm Christian Lane; First Christian Church, 3 NOVEMBER Hagerstown, MD 4 pm Stefan Engels, masterclass; Christ Eric Dombrowski; Washington National JAMES KIBBIE Church, Rochester, NY 7 pm Cathedral, Washington, DC 5:15 pm The University of Michigan Westminster Abbey Choir; St. Thomas Scott Carpenter & Raymond Hawkins; Ann Arbor, MI 48109-2085 Church, New York, NY 7:30 pm St. Timothy’s Episcopal, Winston-Salem, ORGAN CONSULTANT 734-764-1591 FAX: 734-763-5097 Haydn, Creation; Carnegie Hall, New NC 4 pm www.gabrielkney.com York, NY 8 pm Evensong; Cathedral Church of the Ad- email: [email protected] Daryl Robinson; Belmont University, vent, Birmingham, AL 3 pm McAfee Concert Hall, Nashville, TN 7:30 pm Chelsea Chen; Christ Presbyterian, Canton, OH 4 pm David K. Lamb, D.Mus. A Professional Card in 5 NOVEMBER Nathan Laube; St. Joseph Cathedral, Shawn Gingrich; Camp Hill Presbyte- Columbus, OH 3 pm Director of Music The Diapason rian, Camp Hill, PA 12:15 pm For rates and digital specifi cations, Mendelssohn, Hymn of Praise; Westmin- Trinity United Methodist Church contact Jerome Butera ster Presbyterian, Dayton, OH 4 pm New Albany, Indiana 6 NOVEMBER Monteverdi, Vespers; Christ Church Ca- 608/634-6253 Musica Sacra; Carnegie Hall, New York, 812/944-2229 [email protected] thedral, Cincinnati, OH 5 pm NY 8 pm Jeremy David Tarrant; Plymouth Con- 7 NOVEMBER gregational, Lansing, MI 7 pm Christopher Houlihan; SUNY, Buffalo, Robert Sullivan, with brass; Basilica of NY 7:30 pm St. John the Baptist, Canton, OH 4 pm Benjamin Sheen; Abingdon Episcopal, Elizabeth Walden; Madonna della Strada White Marsh, VA 7:30 pm Chapel, Loyola University, Chicago, IL 3 pm Katherine Meloan; Brevard-Davidson 21 NOVEMBER River Presbyterian, Brevard, NC 7:30 pm Thierry Escaich; Our Lady of Refuge, 8 NOVEMBER Brooklyn, NY 7:30 pm Evensong; Christ & St. Stephen’s Episco- Andrew Scanlon; First United Method- pal, New York, NY 5 pm ist, Salisbury, NC 7 pm Marilyn Keiser, masterclass; West Side Frederick Teardo, with baritone; Cathe- ANDREW PAUL MOORE Presbyterian, Ridgewood, NJ 9 am dral Church of the Advent, Birmingham, AL A.S.C.A.P. Douglas Cleveland; Sayles Hall, Brown 12:30 pm FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH University, Providence, RI 4 pm Stephen Tharp; Augustana Lutheran, St. Paul, MN 7:30 pm 345 SADDLE LAKE DRIVE Ken Cowan, with Philadelphia Orches- ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS tra; Verizon Hall, Kimmel Center, Philadel- (770) 594-0949 phia, PA 8 pm 22 NOVEMBER Katherine Meloan, masterclass; Bre- TENET; St. Luke in the Fields, New York, vard-Davidson River Presbyterian, Bre- NY 7 pm vard, NC 10 am Visit The Diapason website: www.TheDiapason.com 23 NOVEMBER 9 NOVEMBER Mozart, Mass in C, K. 257; First Church Like The Diapason on Facebook: Lynne Davis; Yale University, New Ha- of Christ, New Britain, CT 4 pm ven, CT 7:30 pm Jean-Baptiste Robin; Woolsey Hall, www.Facebook.com/TheDiapason Marilyn Keiser; West Side Presbyterian, Yale University, New Haven, CT 8 pm Ridgewood, NJ 3 pm Thierry Escaich; Bryn Mawr Presbyte- Mary Beth Bennett; St. Paul Cathedral, rian, Bryn Mawr, PA 4 pm Pittsburgh, PA 4 pm Michael Messina & John Cummins; MARILYN MASON Peter Richard Conte; St. John’s United Shadyside Presbyterian, Pittsburgh, PA 4 pm CHAIRMAN, DEPARTMENT OF ORGAN Church, Nazareth, PA 4 pm Jens Körndorfer; Washington National UNIVERSITY OF MICHIGAN Stephen Schnurr; Duke University, Dur- Cathedral, Washington, DC 5:15 pm ANN ARBOR ham, NC 5 pm Nathan Laube; Chapel of the Immacu- “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Todd Wilson; St. John’s Episcopal Ca- late Conception, Mundelein, IL 3 pm with awesome technique and a thrilling command of its daring writing.” thedral, Jacksonville, FL 4 pm Evensong; Cathedral Church of St. Paul, The American Organist, 1980 Katelyn Emerson; Basilica of St. John Detroit, MI 4 pm the Baptist, Canton, OH 4 pm Huw Lewis; Central College Presbyte- 24 NOVEMBER rian, Westerville, OH 4 pm TENET; St. Barnabas Episcopal, New LARRY PALMER Brahms, Ein Deutsches Requiem; Cal- York City, NY 5 pm PHILIP CROZIER vary Episcopal, Cincinnati, OH 2 pm Marina Omelchenko; Elliott Chapel, Presbyterian Homes, Evanston, IL 1:30 pm CONCERT ORGANIST Professor of Jonathan Rudy; Faith Lutheran, Glen Ellyn, IL 4 pm 30 NOVEMBER ACCOMPANIST Harpsichord and Organ Nathan Laube; Chapel, University of St. Thomas, St. Paul, MN 2 pm An Advent Procession; Cathedral Church 3355 Queen Mary Road, Apt 424 of St. Paul, Detroit, MI 4 pm Meadows School of the Arts Alan Morrison; St. Patrick’s Church, Montreal, H3V 1A5, P. Quebec New Orleans, LA 4 pm Advent Lessons & Carols; St. Peter in Chains Cathedral, Cincinnati, OH 3 pm SOUTHERN METHODIST UNIVERSITY Canada 11 NOVEMBER (514) 739-8696 Dallas, Texas 75275 Kenneth Stein; Ransdell Chapel, UNITED STATES [email protected] Campbellsville University, Campbellsville, West of the Mississippi Musical Heritage Society recordings KY 12 noon Nathan Laube; Church of the Gesu, Mil- waukee, WI 7:30 pm 17 OCTOBER Organized Rhythm, workshop; First Pres- 14 NOVEMBER byterian, Fargo, ND 3 pm Stephen Buzard; St. Bridget Catholic Carol Williams; Trinity United Methodist, Church, Richmond, VA 7:30 pm Denver, CO 7:30 pm Jonathan Rudy; Cathedral of St. John Avi Stein, harpsichord, with violin & the Evangelist, Cleveland, OH 7:30 pm cello; St. John’s Cathedral, Denver, CO Simon Thomas Jacobs; Holy Trinity Lu- 7:30 pm theran, Akron, OH 8 pm Mina Choi; Christ Episcopal, Tacoma, Steven Egler; First Congregational, Sag- WA 12:10 pm WARREN D. HOOD II, DSM inaw, MI 7:30 pm Organist and Director of Music •Anita Werling; First Presbyterian, Ma- 19 OCTOBER comb, IL 7:30 pm Organized Rhythm; First Presbyterian, Th e Historic Sharon Baptist Church Fargo, ND 4 pm 15 NOVEMBER Evensong; Our Lady of the Atonement Baltimore, MD 21217 Alan Morrison, masterclass; Hendricks Catholic Church, San Antonio, TX 4 pm Chapel, Syracuse University, Syracuse, Evensong; St. John’s Cathedral, Denver, NY 2 pm CO 3 pm

34 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer LEON NELSON Recitals – Consultations David Higgs; First Plymouth Congrega- Dana Robinson; Queen Anne Lutheran, Director of Traditional Music tional, Lincoln, NE 4 pm Seattle, WA 3 pm Director of Music Emeritus Jean-Baptiste Robin; St. Mary’s Col- Fauré, Requiem; St. Mary’s Cathedral, Southminster Presbyterian Church Cathedral Church of the Advent lege, Moraga, CA 4:30 pm San Francisco, CA 4 pm Arlington Heights, IL 60005 Birmingham, Alabama Thomas Dahl; St. Mary’s Cathedral, San Francisco, CA 4 pm 3 NOVEMBER Isabelle Demers; Cathedral Church of 21 OCTOBER St. Mark, Salt Lake City, UT 8 pm ROBERT L. Benjamin Sheen; St. Paul’s United Nicholas E. Schmelter Methodist, Houston, TX 7 pm 6 NOVEMBER Director of Music and Organist Cameron Carpenter; Walton Arts Cen- SIMPSON 24 OCTOBER ter, Fayetteville, AR 7:30 pm First Congregational Church Christ Church Cathedral Andrew Peters, silent fi lm accompani- Saginaw, Michigan 1117 Texas Avenue ment; Historic Trinity Lutheran, St. Louis, 7 NOVEMBER Houston, Texas 77002 MO 6:30 pm Andrew Peters, silent movie accompa- Dorothy Papadakos, silent fi lm accom- niment; Scottish Rite Cathedral, St. Louis, paniment; St. John’s Cathedral, Denver, MO 7:30 pm Stephen Tappe CO 7:30 pm Malcolm Matthews; St. Mark’s Episco- Organist and Director of Music Olivier Latry, with Los Angeles Philhar- pal Cathedral, Seattle, WA 7:30 pm Mark Steinbach Saint John's Cathedral monic; Walt Disney Concert Hall, Los An- Brown University geles, CA 8 pm 8 NOVEMBER Denver, Colorado Cameron Carpenter; Stiefel Theatre, www.sjcathedral.org 25 OCTOBER Salina, KS 8 pm Jeannine Jordan, with media artist; Houston Chamber Choir; Christ Church United Lutheran, Grand Forks, ND 7 pm Cathedral, Houston, TX 7:30 pm Olivier Latry, with Los Angeles Philhar- ORGAN MUSIC OF THE SPANISH BAROQUE monic; Walt Disney Concert Hall, Los An- 9 NOVEMBER geles, CA 8 pm Raúl Prieto Ramírez; First Presbyterian, David Troiano Joe Utterback Oxford, MS 3 pm DMA MAPM COMMISSIONS & CONCERTS 26 OCTOBER Alan Morrison; St. Patrick’s, New Or- VocalEssence; Orchestra Hall, Minne- 586.778.8035 732 . 747 . 5227 leans, LA 4 pm [email protected] apolis, MN 4 pm The Chenaults; First Presbyterian, Cameron Carpenter; Kauffman Center for Kilgore, TX 8 pm the Performing Arts, Kansas City, MO 7 pm Edoardo Bellotti; Lagerquist Hall, Pa- Clive Driskill-Smith ; Boston Avenue cifi c Lutheran University, Tacoma WA 3 pm United Methodist, Tulsa, OK 5:30 pm Christoph Tietze; St. Mary’s Cathedral, Marcia Van Oyen Westminster Abbey Choir; Church of the San Francisco, CA 4 pm David Wagner Incarnation, Dallas, TX 4:30 pm First United Methodist Church DMA Philip Manwell; Resurrection Parish, Plymouth, Michigan 10 NOVEMBER www.davidwagnerorganist.com Santa Rosa, CA 3:30 pm George Bozeman; First Presbyterian, Ulrike Theresia Wegele-Kefer mvanoyen.com ; St. Palestine, TX 2 pm Mary’s Cathedral, San Francisco, CA 4 pm George Bozeman; Sacred Heart Catho- Raúl Prieto Ramírez; First United Meth- lic Church, Palestine, TX 3 pm odist, San Diego, CA 7 pm Graham Schultz, with Tudor Rose En- Olivier Latry, with Los Angeles Philhar- semble; First Presbyterian, Kilgore, TX 8 pm monic; Walt Disney Concert Hall, Los An- Kevin Walters KARL WATSON geles, CA 2 pm 11 NOVEMBER M.A., F.A.G.O. SAINT LUKE’S Casey Cantwell 31 OCTOBER ; Kessler Park United Todd Wilson, silent fi lm accompaniment; Methodist, Dallas, TX 10:30 am Rye, New York METUCHEN Davies Symphony Hall, San Francisco, CA Joby Bell; Fifth Church of Christ, Scien- 8 pm tist, Dallas, TX 2 pm James Welch; St. Mark’s Episcopal, Lorenz Maycher; Lovers Lane United Palo Alto, CA 8 pm Methodist, Dallas, TX 1 pm Alan G Woolley PhD Jean Guillou; St. Luke’s Episcopal, Dal- RONALD WYATT 1 NOVEMBER las, TX 3 pm Musical Instrument Research

Fauré, Requiem; St. John’s Cathedral, Choral Evensong; Church of the Incarna- Edinburgh Trinity Church Denver, CO 7:30 pm tion, Dallas, Texas 7 pm [email protected] Galveston Isabelle Demers, workshop; First Pres- Christopher Houlihan; Trinity Univer- byterian, Lincoln, NE 10 am sity, San Antonio, TX 7:30 pm

2 NOVEMBER 12 NOVEMBER Isabelle Demers; First Presbyterian, Lin- David Baskeyfi eld; First Presbyterian, DIAPASON Student Rate coln, NE 3 pm Kilgore, TX 10 am RUDOLF ZUIDERVELD Fauré, Requiem; St. John’s Cathedral, George Bozeman; St. Luke’s United $20 one year Denver, CO 3 pm Methodist, Kilgore, TX 2 pm Illinois College, Jacksonville First Presbyterian Church, NEW! 847/391-1044 Springfi eld [email protected]

Charles Dodsley Walker, FAGO Artist-in-Residence Founder/Conductor Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 6 (917) 628-7650 (212) 222-9458

* 6RPH$QQLYHUVDULHVDVHOHFWLYHFROOHFWLRQRIRUJDQZRUNVE\ ; FRPSRVHUVZLWKVLJQL¿FDQWELUWKGD\VREVHUYHGGXULQJWKLV\HDU A two-inch Professional Card 6 )URP'DUNQHVVWR/LJKWPXVLFRIFRQWUDVWDQGFRQWUDGLFWLRQ DSURJUHVVLRQRIPRRGDQGVSLULWOHDGLQJWRUHYHODWLRQ in The Diapason ) For information on rates and specifi cations, contact Jerome Butera: ±$W6DLQW3DXOLQ6DLQW3DXOUHFRUGLQJVRQWKH6NLQQHU [email protected] 608/634-6253 , DQG$HROLDQ6NLQQHURUJDQVLQWKH5RPDQ&DWKROLF&DWKHGUDO 9 RI6DLQW3DXO0LQQHVRWD¶VFDSLWDOFLW\ Artist Spotlights 9HUL]RQ+DOO6SRWOLJKWVHOHFWVRORVDQGZRUNVIRURUJDQDQG Artist Spotlightspotlights DAVID SPICER RUFKHVWUDIHDWXULQJWKH)UHG-&RRSHU0HPRULDO3LSH2UJDQ E\  'REVRQ DW3KLODGHOSKLD¶V.LPPHO&HQWHU Artist Spotlights First Church of Christ  are available on Wethersfi eld, Connecticut  The Diapason website and  e-mail newsletter. Contact Jerome

7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK Butera for rates [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM and specifi cations. [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY 608/634-6253 ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZŽHWVIHJVT House Organist [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 35 Calendar

Walt Strony, silent fi lm accompaniment; Ken Cowan; Davies Symphony Hall, INTERNATIONAL 7 NOVEMBER First Presbyterian, Kilgore, TX 8 pm San Francisco, CA 3 pm Donald MacKenzie, silent fi lm accom- Angela Kraft Cross; St. Mary’s Cathe- 16 OCTOBER paniment; St. John’s, Notting Hill, London, 13 NOVEMBER dral, San Francisco, CA 4 pm Lukas Arvidsson; St. Margaret Loth- UK 8 pm Michael Kleinschmidt; St. Mark’s Epis- Carol Williams; All Souls’ Episcopal, bury, London, UK 1:10 pm copal Cathedral, Shreveport, LA 10 am San Diego, CA 4 pm 9 NOVEMBER Peter Stevens; Westminster Cathedral, Christopher Lynch, lecture-demonstra- Cameron Carpenter; Copley Symphony 18 OCTOBER London, UK 4:45 pm tion; Church of the Holy Cross, Shreveport, Hall, San Diego, CA 7:30 pm Petra Veenswijk; Old Church, Rotter- LA 1:45 pm dam, Netherlands 8 pm 11 NOVEMBER Ian Tracey; Liverpool Cathedral, Liver- Charles Callahan; Holy Trinity Catholic 17 NOVEMBER David Pether; Great Hall, University of pool, UK 3 pm Church, Shreveport, LA 3:15 pm Scott Dettra; First Presbyterian, Little Reading, Reading, UK 1:10 pm Fred Swann; St. Mark’s Episcopal Ca- Rock, AR 7:30 pm Cameron Carpenter; Royal Festival thedral, Shreveport, LA 4:15 pm Hall, London, UK 7:30 pm 12 NOVEMBER Richard Elliott; St. Mark’s Episcopal Ca- 18 NOVEMBER Anthony Hammond; Reading Town 19 OCTOBER thedral, Shreveport, LA 5 pm Simon Thomas Jacobs; Wichita State Hall, Concert Hall, Reading, UK 1 pm David Aprahamian Liddle; St. Paul’s VocalEssence; Shattuck-St. Mary’s School, University, Wichita, KS 7:30 pm Maxine Thévenot, Eugenio Fagiani, Cathedral, London, UK 4:45 pm David Enlow; St. Paul’s Cathedral, Okla- Omar Caputi, & Toronto Ecumenical Faribault, MN 7:30 pm Martin Ford; Westminster Abbey, Lon- Cameron Carpenter; Performing Arts homa City, OK 7:30 pm Chorale; St. Paul’s Anglican, Toronto, ON, don, UK 5:45 pm Canada 7:30 pm Center, University of Texas, Austin, TX 7 pm Elisabeth Ullmann, with cello; Our Lady 20 NOVEMBER of Sorrows, Toronto, ON, Canada 4 pm 14 NOVEMBER Cameron Carpenter; Walt Disney Con- 14 NOVEMBER VocalEssence; Knowlton Auditorium, cert Hall, Los Angeles, CA 8 pm (also Isabelle Demers; Lawrence Park Com- 21 OCTOBER munity Church, Toronto, ON, Canada 8 pm Austin High School, Austin, MN 7 pm 11/21, 8 pm, and 11/22, 2 pm) Roy Meek; Marlborough Road Method- Jean Guillou; First Baptist, Longview, ist, St. Albans, UK 12:30 pm 15 NOVEMBER 22 NOVEMBER TX 10 am Clive Driskill-Smith; Merton College, Scott Dettra Charles Callahan, with harp; First Pres- , accompaniment workshop; 24 OCTOBER Oxford, UK 5:30 pm byterian, Kilgore, TX 3 pm First Presbyterian, Little Rock, AR 10 am Stephanie Burgoyne & William Mark Dwyer; First Presbyterian, Kilgore, Young People’s Chorus of New York City; Vandertuin; Waterford United Church, Wa- 16 NOVEMBER TX 7 pm Roseville Lutheran, Roseville, MN 8 pm terford, ON, Canada 7 pm Martyn Rawles; Westminster Cathedral, London, UK 4:45 pm 15 NOVEMBER 23 NOVEMBER 25 OCTOBER Rufus Frowde; Westminster Abbey, Lon- VocalEssence; Sheldon Theatre, Red Karen Beaumont; Basilica of the Im- Christophe Mantoux; Notre Dame de don, UK 5:45 pm Wing, MN 7 pm maculate Conception, Denver, CO 3 pm Paris, Paris, France 8:30 pm Raúl Prieto Ramírez; Westminster Unit- Jacob Reed; St. Mary’s Cathedral, San Eleni Keventsidou; Bloomsbury Central ed Church, Winnipeg, MB, Canada 7:30 pm 16 NOVEMBER Francisco, CA 4 pm Baptist, London, UK 4 pm Susan Ohannesian, with trumpet; Ryer- VocalEssence; Dawson-Boyd Memorial Frederick Swann, Carol Williams, son United Church, Vancouver, BC, Can- 26 OCTOBER ada 3 pm Auditorium, Dawson, MN 7 pm Cameron Carpenter, Chelsea Chen, & Martin Baker; Klosterkirche, Roggen- Frederick Swann; Trinity Lutheran, St. Ken Cowan; Walt Disney Concert Hall, burg, Germany 4 pm 20 NOVEMBER Louis, MO 3 pm Los Angeles, CA 7:30 pm Juan Paradell Solé; St. Sulpice, Paris, Handel, Dettingen Te Deum; Second Diego Innocenzi; St. Margaret Lothbury, France 4 pm London, UK 1:10 pm Presbyterian, St. Louis, MO 4 pm 30 NOVEMBER Johann Hammerström; St. Paul’s Ca- Jeannine Jordan, with media artist; Trin- Advent Lessons & Carols; St. John’s Ca- thedral, London, UK 4:45 pm 22 NOVEMBER ity Lutheran, Klein, TX 4 pm thedral, Denver, CO 3 pm Benjamin Bloor; Westminster Cathe- Jonathan Dimmock; King’s College Isabelle Demers; Broadway Baptist, Advent Lessons & Carols; St. Mark’s dral, London, UK 4:45 pm Chapel, Cambridge, UK 6:30 pm Fort Worth, TX 7 pm Episcopal Cathedral, Seattle, WA 7 pm Jeremy Woodside; Westminster Abbey, Andrew Henderson; St. Mark’s Anglican, Evensong; St. John’s Cathedral, Denver, Christoph Tietze; St. Mary’s Cathedral, London, UK 5:45 pm Niagara-on-the-Lake, ON, Canada 7:30 pm CO 3 pm San Francisco, CA 4 pm 28 OCTOBER 23 NOVEMBER James Banville; Marlborough Road Louis Robilliard; St. Sulpice, Paris, Methodist, St. Albans, UK 12:30 pm France 4 pm Simon Johnson; Westminster Cathe- 1 NOVEMBER dral, London, UK 4:45 pm Donald McKenzie, with silent fi lm; Liver- David Price; Westminster Abbey, Lon- pool Cathedral, Liverpool, UK 7:30 pm don, UK 5:45 pm

2 NOVEMBER 29 NOVEMBER Martin Baker; Westminster Cathedral, Donald Mackenzie; Victoria Hall, Han- London, UK 4:45 pm ley, Stoke-on-Trent, UK 12 noon Oliver Walker; Westminster Abbey, Lon- don, UK 5:45 pm 30 NOVEMBER -+ &62GHOO Iris Lan; Westminster Cathedral, Lon- 6 NOVEMBER don, UK 4:45 pm odellorgans.com s 860-365-8233 Anne-Caroline Prénat; St. Margaret Daniel Cook; Westminster Abbey, Lon- P.O. Box 405, East Haddam, Connecticut 06423 Lothbury, London, UK 1:10 pm don, UK 5:45 pm REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 A. David Moore, Inc. TRACKER ORGAN DESIGNERS & BUILDERS HC 69 Box 6, North Pomfret, Vermont 05053 ATOS ExperienceAmerican Theatre Organ Society 801-756-5777 www.bigeloworgans.com 802/457-3914 Preserving a unique art form. Member Firm: The Associated Pipe Organ Builders of America GAN BUILDERS - EST E OR . 187 Concerts, education, silent film, preservation, PIP 7 RANDALL DYER fellowship and more. www.atos.org & ASSOCIATES, INC. Jim Merry, Executive Secretary, [email protected] Schoenstein P.O. Box 5327, Fullerton, CA 92838 PIPE ORGANS OF QUALITY AND DISTINCTION SAN FRANCISCO BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 w ww 58 ◆ .sch 47-58 [email protected] www.rdyerorgans.com oenstein.com - (707) 7

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36 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM Organ Recitals

THOMAS BAUGH, Old West Church, Suite No. 1, Price; Sonata in G, Larrañaga; DOROTHY YOUNG RIESS, M.D., Pasa- lair; Veni Creator (Premier Livre d’Orgue), de Boston, MA, May 16: Prelude and Fugue in Tiento 1º tono mano derecha, Bruna; Tiento: dena Presbyterian Church, Pasadena, CA, Grigny; Veni Creator Spiritus, Frith. c, op. 37, no. 1, Mendelssohn; Fantasia No. 10 De Batalla. 5º tono. Punto Baxo, Cabanilles; May 17: Paean (Six Pieces for Organ), How- in a, Gibbons; Trio Sonata IV in e, BWV 528, Wind of Ryukyu, Inagi; Sacred Idioms of the ells; Prelude and Fugue in C, BWV 545, Bach; THOMAS WIKMAN, Lutheran School Toccata and Fugue in F, BWV 540, Bach; Pel- Negro, Sowande; Toccatina, Noble; Toccata, Pièce Héroïque, Bossi; Prelude in B, op. 99, of Theology, Chicago, IL, May 6: Offertoire léas et Mélisande Suite, op. 80, Fauré, transcr. Adagio, and Fugue, BWV 564, Bach. no. 2, Saint-Saëns; Fantasy and Passacaglia sur le Chant d’O fi lii et fi liae, LeBegue; Alle- Baugh; Fantasia on the Chorale ‘Wachet auf! on ‘Ein Feste Burg,’ Riess; Five o’ clock Fox- mande Unter der Linden gruen, Sweelinck; ruft uns die Stimme,’ Reger. PHILLIP KLOECKNER, Bond Chapel, trot (L’enfant et les Sortilèges), Ravel, arr. Choral (Symphonie Romane, op. 73), University of Chicago, Chicago, IL, June 7: Or- Riess; Valse Mignonne (Drei Stücke für Orgel, Widor; Prelude and Fugue in E-fl at, BWV JOHN FENSTERMAKER, with James gan Concerto in F, op. 4, no. 4, Handel; Key- op. 142, no. 2), Vivace e brioso (Symphony in 552, Bach. Gburek, piano and accordion, Trinity-by-the- board Concerto in G, op. 7, no. 6, J.C. Bach; f-sharp, op. 143), Karg-Elert. Cove Episcopal Church, Naples, FL, April 4: Organ Concerto in C, op. 26, no. 4, Corrette. MADELEINE XIANG WOODWORTH, Air, Allegro maestoso (‘Water Music’ Suite), STEPHEN SCHNURR, Cathedral of the St. John Cantius Catholic Church, Chicago, Handel; Sonata in B-fl at, KV 186c, Mozart; NATHAN LAUBE, Music Institute of Holy Angels, Gary, IN, April 27: Praeludi- IL, May 3: Trio in c, BWV 526, Bach; Lita- En Bateau (Petite Suite), Debussy; Preludes Chicago, Evanston, IL, May 17: Sinfonia um in g, BuxWV 148, Buxtehude; O Lamm nies, Alain; Benedictus, op. 59, no. 9, Reger; for Piano, Gershwin; Sous le Ciel de Paris, (Cantata 29, BWV 29), Bach, transcr. Dupré; Gottes, unschuldig, BWV 656, Prelude and Divertissement (24 Pièces en style libre, op. Giraud; Pennsylvania Polka, Leet & Manners. Variations Sérieuses, op. 54, Mendelssohn, Fugue in a, BWV 543, Bach; Sonata V in D, 31, no. 11), Vierne; Cantilène (Suite Brève), transcr. Laube; Studien für den Pedalfl ügel: op. 65, no. 5, Mendelssohn; Prélude, op. 29, Langlais; Moto Ostinato (Musica dominica- CARRIE GROENEWOLD, First Presby- Sechs Stücke in kanonischer Form, op. 56, no. 1, Pierné; Humoresque ‘L’organo primi- lis), Eben; Naïades (24 Pièces de Fantaisie terian Church, Springfi eld, IL, May 11: Pièce Schumann; Allegro Vivace (Symphonie no. tivo,’ Yon; Introduction, Passacaglia (Sonata pour Grand Orgue, op. 55, no. 4), Vierne; Fi- d’Orgue, BWV 572, Bach; An Wasserfl üssen 5), Widor; Prelude in g, op. 28, no. 5, Rach- VIII in e, op. 132), Rheinberger. nal (Première Symphonie pour Grand Orgue, Babylon, Reincken; Prelude and Fugue in G, maninoff, transcr. Federlein; Fantaisie pour op. 14), Vierne. BWV 541, Bach; Plein Jeu, Tierce en taille, Orgue, op. 101, Saint-Saëns; Adagio und STEPHEN THARP, Cathedral of St. Récit, Grand Jeu (Premier Livre d’Orgue), Allegro für ein Orgelwerk, K. 594, Mozart; John, Albuquerque, NM, May 18: Overture ROYCE YOUNG, Christ Cathedral, Sa- DuMage; Choral No. II in b, Franck; Saga Prélude et Fugue en sol-mineur, op. 7, no. to the Oratorio ‘St. Paul,’ op. 36, Mendels- lina, KS, March 21: Now Thank We All Our No. 7, op. 38, Guillou. 3, Dupré. sohn, transcr. Best; Lamento, Baker; Fantasy God, Karg-Elert; Improvisation on O WALY for Flute Stops, Sowerby; Le tombeau d’Igor WALY JAMES HICKS, Presbyterian Homes, WILLIAM McVICKER, Reading Town Stravinsky, Newman; Berceuse, op. 95, no. , Biery; Festal Rhapsody, Candlyn; Pie Evanston, IL, May 19: Tone Piece in F, op. 22, Hall, Reading, UK, May 9: Choral-Impro- 3, Matthias; Circus Polka, Stravinsky, transcr. Jesu (Requiem), Fauré; Variations on SIMPLE no. 1, Gade; Toccata and Fugue in c, Nyvall; visation Nun danket alle Gott, Karg-Elert; Tharp; Choralefantasie: ‘Straf mich nicht in GIFTS, Pethel; Let everything that has breath As You Are, Lindberg; Largo maestoso-Alle- Overture to ‘The Pirates of Penzance,’ Sulli- deinem Zorn,’ op. 40, no. 2, Reger. praise the Lord, Wagner. gro, Fugue-Moderato (Organ Sonata in f, op. van; In Springtime, Hollins; Fantasia on Old Christ Cathedral, Salina, KS, March 28: 9), Sandvold; Meditation on a Swedish Folk Welsh Airs, Faulkes; March: Halley’s Comet, DAVID TROIANO, Pillar Church, Hol- Praeludium, Fuge und Ciacona, Buxtehude; Melody, Bond; Symphonic Organ Piece, Alvin. Moore; Jubilant March, Dawre; Overture to land, MI, May 5: Fantasia Ut, Re, Mi, Fa, Sol, Meditation on THE ASH GROVE, Lasky; Medi- ‘Zampa,’ Hérold, arr. McVicker; Five Por- La, Sweelinck; Aria, Peeters; Fantasia pro du- tation, Durufl é; Lift High the Cross, Busa- DAVID HIGGS, Cathedral of the Holy taits, Lloyd-Webber; Sortie in E-fl at, Lefé- plici organo, van der Kerckhoven; La Bamba, row; Were You There, Lasky; Toccata on the Name, Chicago, IL, May 19: Bolero de bure-Wély. El Flautista Allegre, Divertimento en el Tema Doxology, Wolford; Meditation on KEDRON concert, Lefébure-Wely; Toccata in F, Antigua, Noble; Praise to the Lord, Diemer; MELODY, Wood; Crown Him with Many BuxWV156, Buxtehude; What a Friend We JUSTUS (JAY) PARROTTA, Christ Epis- Aria, Manz; Festive Gloria, Miller; Prelude Crowns, Westenkuehler. Have in Jesus (Gospel Preludes), Bolcom; copal Church, Cambridge, MD, May 18: on All Things Beautiful, Travis; Ave Maris Fantasia and Fugue in g, BWV 542, Bach; Prelude, Fugue, and Chaconne, Buxtehude; O Stella, Decker; Berceuse, Cooman; Toccata on WITOLD ZALEWSKI, St. Paul’s Angli- Annum per annum, Pärt; Sweet Sixteenths: a Mensch, bewein dein Sünde groß, Bach; Aria Amazing Grace, Pardini. can Church, Toronto, ON, Canada, May 16: concert rag for organ, Albright; Sonate I in F, on Abide with Me, Parrotta; Carillon de West- Prelude and Fugue in E-fl at, BWV 552, Bach; op. 65, Mendelssohn. minster, Vierne; Prière à Notre Dame (Suite PATRICK WEDD, Ryerson United Fantasy ‘Holy God,’ Fuga-Bolero, Sawa; Mar- Gothique), Boëllmann; Suite on the Fifth Church, Vancouver, BC, May 4: Carillon Fes- ian Preludes, Luciuk; Toccata ‘Tu es Petra,’ CALVERT JOHNSON, Trinity United Mode, Parrotta; Adagio in g, Albinoni/Held; tivo, Elms; Plymouth Suite, Whitlock; Fan- Mulet; Prelude, Fugue and Variation, Franck; Methodist Church, Darlington, SC, May 18: Go Tell It!, Parrotta. taisie in f-Moll, K. 594, Mozart; Rubrics, Lock- Symphony II, op. 20, Vierne.

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Service Technician: Berghaus Pipe Organ OHS Press announces the publication of Rollin 1960 two-manual Reuter/Milnar organ, Builders, Bellwood, IL seeks experienced, reli- Smith’s Pipe Organs of the Rich and Famous, Harpsichord Technique: A Guide to Expres- 24 ranks. For more information please go to able technician who can tune skillfully, perform the story of organs in more than 50 private sivity—2nd edition with CDs, by Nancy www.milnarorgan.com. basic voicing and maintenance, and troubleshoot homes—a few residents being more famous Metzger, now reduced 30% at author’s problems. Occasional travel, reliable transporta- than rich. It recounts a time when the organ website: www.rcip.com/musicadulce. 1981 Casavant tracker—3 manuals, 23 tion, and a valid driver’s license required. E-mail was not only a symbol of those who had arrived stops, 30 ranks. Footprint 10′ x 14′; height 18′. [email protected] or for more info socially, but was considered the ultimate visit: www.berghausorgan.com. 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Available on www.lulu.com, the information at http://www.thediapason.com/ books, recordings, and music, for divorce, This organ is designed to support a mid-sized book is priced at $4.99. classifi ed/1859-robjohn-ny. estate, gift, and tax purposes. Stephen L. Pinel, congregation, but is suitable for a small recital Appraiser. 629 Edison Drive, East Windsor, NJ hall, organ studio or practice room. The organ is 08520-5205; 609/448-8427. The new Nordic Journey series of CD record- in pristine condition and is currently located at 58-rank beautiful pipe organ. 3-manual draw- ings reveals premiere recordings of symphonic Parsons’ shop in Canandaigua, NY. Contact Dave knob console with 100 feet of fl exible cable, organ music—much of it still unpublished—from McCleary at [email protected] or via adjustable bench, solid-state relays, includes cell at 585/831-6218. 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38 Q THE DIAPASON Q OCTOBER 2014 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

PIPE ORGANS FOR SALE HYBRID ORGANS FOR SALE SERVICES / SUPPLIES SERVICES / SUPPLIES

J. W. Steere Opus 1, 1867. Historically sig- Three-manual Rodgers Hybrid with seven Klann “Skinner” style tilt tabs—Molded with Complete Pipe Organ Services from the Organ nifi cant two-manual and pedal, 20-stop, 26-rank sets of Laukhuff/Stinkens pipes; all work- same material used for the Klann manual pistons Clearing House: 450 vintage pipe organs avail- mechanical-action organ offered for immediate ing. For more information please go to and drawknob heads assuring a perfect color able, renovation, tuning, consultation. Other sale. Unaltered and in very good condition, the www.milnarorgan.com. match. Available in white, off-white, ivory and services include transportation, cleaning and organ is suitable for church, college, or large resi- black. 540/949-8737, [email protected], renovation of carvings, reredos, liturgical furnish- www.KlannOrgan.com. ings. Call John Bishop at 617/688-9290. john@ dence. Voicing is refi ned and gentle. Sale as-is, ELECTRONIC ORGANS FOR SALE or inclusive of restoration. Contact Matt Parsons, organclearinghouse.com. Parsons Pipe Organ Builders at 585/229- Do you have a pipe organ that you would ALLEN MDS 75: 3-manual drawknob, walnut, 5888; e-mail: [email protected]. See like to interface with an electronic or digital Releathering all types of pipe organ actions 68 stops, 7 speakers, 7 audio channels, MIDI. photo and stoplist at www.thediapason.com/ organ? We can interface any digital organ or and mechanisms. Highest quality materi- 20 years old in excellent condition with war- classifi ed/j-w-steere-opus-1. any organ console with any pipe organ. For more als and workmanship. Reasonable rates. ranty. Steve Beddia 609/432-7876, acorgan@ information e-mail [email protected] (not Columbia Organ Leathers 800/423-7003. comcast.net. Comcast) or call 215/353-0286. www.columbiaorgan.com/col. Holtkamp organ, three manuals, 43 stops, built 1973. $50,000. Contact the Organ Clear- MISCELLANEOUS FOR SALE ing House at 617/688-9290, or john@organ- Aeolian/Robert Morton-style maroon ANNOUNCEMENTS clearinghouse.com. leather is now available from Columbia Organ Wood pipes. Missing pipes made to match. Leathers! Highest quality. 800/423-7003, www.columbiaorgan.com. Damaged pipes in any condition repaired. Over THE DIAPASON 2015 Resource Directory is Expressive and compact—3/27 Kilgen (1940). 25 years experience. Filip Cerny, 814/342-0975. the most complete listing of products Two expressive divisions. 17 manual 8-foot fl ues. and services for the organ and church Reeds include Tuba, Cornopean, Oboe, Clarinet, ATTENTION ORGANISTS! Does your music fi elds. Make sure your business’s ′ residence include blinds or window Vox Humana. Harp. 16′ Open Wood. H: 237″, W: Möller 16 Principal (32 pipes) in zinc. Suit- information is included. You can list your able for a façade with over-length bodies. Asking shades? Is it difficult or just plain annoy- 170″, D: 189″. Stopkey console. Original restor- company’s details free of charge. To add $5,000. For information: mail@letourneauorgans. ing to have to adjust them? Now you can a listing or make updates, contact Joyce able condition. $30,000. Organ Clearing House, com or 450/774-2698. open and close them with swell-pedal Robinson at 847/391-1044 or jrobinson@ 617/688-9290, [email protected]. ease! Our new Swell Shades System uses sgcmail.com. ultra-high-tech black-box (and Bluetooth) Consoles, pipes and numerous miscellaneous technology with a handy, portable swell 1986 Rudolf von Beckerath, 2/15 (20 ranks) parts. Let us know what you are looking for. shoe that you use to adjust the shades ″ ″ ″ Visit THE DIAPASON on Facebook. 162 H, 146 W, 114 D. $150,000, Organ Clear- E-mail [email protected] (not comcast), or blinds exactly right. The system can www.facebook.com/TheDiapason ing House, 617/688-9290, john@organclearing- phone 215/353-0286 or 215/788-3423. be also used with multiple sets of win- house.com. dow treatments—just point the shoe at the blinds you wish to adjust, and open Postal regulations require that mail to THE Atlantic City Pipe Organ Co. Hook & Hastings or close with the shoe. Installs easily DIAPASON include a suite number to assure 1938 Kimball studio/practice organ, 4 ranks, pipework restored: Diapasons, Strings, pedal with ordinary kitchen tools. Order yours delivery. Please send all correspondence ″ ″ ′ 21 stops, excellent condition, 91 H, 85 W, and manual Flutes. C.S. Haskell 16 Pedal Dul- today! Box Shades-Con, THE DIAPASON, to: The Diapason, 3030 W. Salt Creek Lane, ″ 56 D (+pedalboard). Organ Clearing House, ciana and Bourdon; much more. 609/432-7876, [email protected]. Suite 201, Arlington Heights, IL 60005. 617/688-9290, [email protected]. [email protected].

Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 608/634-6253, [email protected]

DIAPASON Student Rate $20 one year NEW! 847/391-1044 [email protected]

CLASSIFIED 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 ADVERTISING THE DIAPASON 608/634-6253 • [email protected] RATES

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2014 Q 39 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Jonathan Rudy 2014 AGO National Competition Winner Available 2014-2016

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Choirs

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jens Korndörfer Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray The Choir of Saint Thomas Church, NYC John Scott, Director April 2016

James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Daryl Robinson Daniel Roth* Jonathan Ryan Celebrating Our 93rd Season!

*=Artists based outside the U.S.A.

Ann Elise Smoot Donald Sutherland Tom Trenney Thomas Trotter* Todd Wilson Christopher Young