THE DIAPASON MARCH 2015

St. Mark’s Anglican Church Niagara-on-the-Lake, Ontario, Canada Cover feature on pages 26–27 Christopher Houlihan Ben Sheen

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³$ÀDVK\H[FLWLQJLQWHUSUHWDWLRQ´ St. Albans International Organ (The American Organist) &RPSHWLWLRQ¿UVWSUL]H THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Sixth Year: No. 3, In this issue Whole No. 1264 This month we feature Lorenz Maycher’s compilation of cor- MARCH 2015 respondence between Marcel Dupré and his pupil Alexander Established in 1909 Boggs Ryan; Karl Watson provides an introduction. The letters Joyce Robinson ISSN 0012-2378 provide a fascinating glimpse into the relationship between the 847/391-1044; [email protected] two men, and into Dupré’s life. www.TheDiapason.com An International Monthly Devoted to the Organ, Martin Goldray reports on the Haarlem International Organ the Harpsichord, Carillon, and Church Music Festival, held last July. The event included its 50th Improvisa- In preparation tion Competition (the winners were David Cassan and Lukas In future issues, we will be publishing a wide range of CONTENTS Grimm), and a related book, The Haarlem Essays (published by features, including an interview with Kimberly Marshall, an FEATURES J. Butz Verlag, it is available from ohscatalog.org). Allison Alcorn exploration of the American harmonium, and an introduction From the Alexander Boggs Ryan Collection: presents remembrances of Richard Rephann—harpsichordist, to the organ works of Kjell Mørk Karlsen. The Letters of Marcel Dupré teacher, and director emeritus of the Yale University Collection In addition, our “20 under 30” nominations have closed. and Alexander Boggs Ryan compiled by Lorenz Maycher of Musical Instruments. John Bishop discusses hymn playing, We thank all who submitted nominations, and we are at work with an introduction by Karl Watson 19 and how speed, volume, and expressivity fi gure in, along with selecting the members of the Class of 2015. Haarlem International Organ Festival the use of mixtures in hymn registrations. Gavin Black presents We look forward to presenting the winners in our May issue. July 12–26, 2014 his thoughts on listening to oneself while playing. To advertise in that issue (or any other!) please contact our by Martin Goldray 24 Our cover feature is Opus 82 by Gabriel Kney, which was sales director, Jerome Butera, at 608/634-6253 or jbutera@ Remembering Richard Rephann relocated into St. Mark’s Anglican Church in Niagara-on-the- sgcmail.com. And make sure that you and your colleagues are February 9, 1932–December 29, 2014 Lake, Ontario, Canada. subscribers, so that you’ll see the results! Q by Allison A. Alcorn 25

NEWS & DEPARTMENTS Editor’s Notebook 3 Here & There Here & There 3 Appointments 6 Events The New Amsterdam Singers pres- Rodgers, harpsichord; 3/12, Cynthia Nunc Dimittis 10 The St. Andrew Music Society ent settings of poems of Robert Frost, Roberts-Greene; 3/19, Michael Edward In the wind . . . by John Bishop 16 of Madison Avenue Presbyterian William Butler Yeats, James Agee, Rob- Stuart; 3/26, Haig Mardirosian. For infor- On Teaching by Gavin Black 18 Church, New York City, continues its ert Graves, and Thomas Hardy by living mation: www.christchurchswfl a.org. REVIEWS concerts: March 1, Nadejda Vlaeva, composers including Dominick Argento, Music for Voices and Organ 12 piano; 3/15, Elora Festival Singers; 3/19, Donald Grantham, Matthew Harris, Madonna della Strada Chapel New Recordings 12 Juilliard415, Vivaldi violin concertos; Morten Lauridsen, Elizabeth Lim, Ben at Loyola University Chicago con- New Organ Music 14 3/22, Peter Vinograde, piano, “Mostly Moore, and Ronald Perera: March 6 (8 tinues its organ concerts, Sundays at 3 New Handbell Music 15 Bach”; 3/29, Bach cantatas and motets; p.m.), and March 8 (4 p.m.), at Church p.m.: March 15, David Jonies; April 19, of the Holy Trinity, New York City. For Anthony Jurich; May 17, Chicago Bronze NEW ORGANS 28 April 19, New York City Children’s Cho- rus; 4/26, Margaret Mills, piano; May 3, information: www.nasingers.org. Handbell Choir with Steven Betancourt, CALENDAR 29 St. Andrew Chorale & New York City organ. For information: www.luc.edu/ ORGAN RECITALS 33 Children’s Chorus. For information: Church of the Gesu, Milwaukee, organ or call 773/508-2195. CLASSIFIED ADVERTISING 34 www.mapc.com/music/sams. Wisconsin, presents organ recitals: March 10, Christopher Berry; April 14, Peachtree Road United Methodist Duke University Chapel, Durham, David Lim; May 12, Matthew Lawrenz; Church, Atlanta, Georgia, continues North Carolina, concludes organ recit- June 9, David Jonies; July 14, Simone its music series: March 15, South City als, Sundays at 5 p.m.: March 1, Marie Gheller; August 11, Bryan Dunnewald; Winds; 3/22, Musical Stations of the Rubis Bauer; 3/22, Robert Parkins. For September 8, Jeff VerKuilen; October Cross; 3/24, GSU Singers, UGA Hodg- information: http://chapel.duke.edu. 13, John Paradowski; December 8, Rob son Singers, Emory University Concert McWilliam. For information: Choir; 3/29, Coro Vocati; April 20, Pied- St. Chrysostom’s Church, Chicago, www.gesuparish.org. mont College Singers; May 3, Atlanta continues its concerts, Sundays at 2:30 Singers; June 10, Marilyn Keiser. For p.m.: March 1, Richard Clemmitt and Jay St. John’s Cathedral, Denver, Colo- information: prumc.org. Peterson; April 12, Stephen Alltop, with rado, continues its concerts: March 10, Josefi en Stoppelenburg, soprano; May 3, Boulder Bassoon Quartet; 3/13, Voices First Congregational Church of COVER David Jonies, with Thomas Aláan, coun- of Light; 3/15, Duo Chagall; 3/20, Los Angeles presents concerts: March Gabriel Kney, Opus 82; ter tenor. For information: https://sites. Richard Robertson; April 14, Opera 15, Iveta Apkalna; May 31, Organica, St. Mark’s Anglican Church, Niagara-on-the-Lake, Ontario, Canada 26 google.com/site/musicatstchrysostoms/. Colorado Young Artists; 4/19, Rocky with Christoph Bull, First Congrega- Mountain Children’s Choir; 4/24, tional’s organist-in-residence. For infor- The Lutheran School of Theology Karen Black; May 8, Chanticleer; 5/12, mation: www.FCCLA.org. Editorial Director JOYCE ROBINSON at Chicago continues its Paul Manz Mary Creswell, mezzo soprano; 5/17, and Publisher [email protected] Organ Series on fi rst Tuesdays of the Brian du Fresne. For information: The 150th anniversary season of the 847/391-1044 month at 12:15 p.m.: March 3, Eliza- sjcathedral.org/music. Father Willis Organ at the Town Editor-at-Large STEPHEN SCHNURR beth Walden; April 7, Daniel Segner; Hall in Reading, U.K., continues. [email protected] May 5, Don Mead. For information: The vocal ensemble TENET contin- Events have included organ lessons for 219/531-0922 www.lstc.edu/events/music/. ues its concerts, to be held at various New beginners and for pianists by teachers Sales Director JEROME BUTERA York City venues: March 12, Gesualdo, from the Royal College of Organists; [email protected] The Camp Hill Presbyterian Tenebrae Responsories for Holy Satur- making your own plastic organ pipe and 608/634-6253 Church, Camp Hill, Pennsylvania, con- day; April 18, Concerto Delle Donne. playing it with the Father Willis Organ; VP/Group Publisher DIANE VOJCANIN tinues 12:15 p.m. organ recitals: March For information: www.TENETnyc.com. illustrated talks; and recitals. Lunchtime [email protected] 4, Brian Rotz; April 1, Helen Anthony. organ recitals at 1 p.m. continue: March 847/391-1046 For information: www.thechpc.org. Brevard-Davidson River Presby- 18, Jeremy Lloyd; May 20, David Pether; terian Church, Brevard, North Caro- July 1, Eton College student. For infor- Circulation/Subscriptions VY DUONG [email protected] First Presbyterian Church, Pom- lina, announces music events: March mation: www.readingarts.com. 847/391-1043 pano Beach, Florida, “The Pink Church,” 13, Smokey Mountain Brass Quintet; continues concerts, Sundays at 4 p.m.: 3/20, silent movie “The King of Kings” The Organization of American Designer DAN SOLTIS March 8, Neil Nelson and Brian Ricci, accompanied by John Schwandt; 3/21, Kodály Educators holds their 2015 Associate Editor LYNNE FORT accompanied by Mark Jones; March hymn improvisation workshop with John national conference March 19–22 in 29, Everglades Legacy Choir; April 19, Schwandt; May 25, Memorial Day organ Minneapolis. The events will include Contributing Editors LARRY PALMER Mark Jones, with harpists. concert by Charlie Steele. For informa- more than 50 sessions, demonstrations, Harpsichord Lenten lunch organ concerts are tion: 828/884-2645, ext. 31. performances, and honor choirs, and JAMES MCCRAY offered Wednesdays at noon: March 4, feature guests Bob Chilcott, Fernando Choral Music Timothy Brumfi eld; 3/11, Mark Jones, Christ Church, Bradenton, Florida, Malvar-Ruiz, Libby Larsen, the Rose BRIAN SWAGER with fl ute; 3/18, Chuck Stanley; 3/25, continues its 2015 music events: March Ensemble, and VocalEssence Ensemble Carillon Mark Jones with pianist Jon Robertson. 15, Ahreum Han; Thursday recitals Singers. For information: www.oake.org. For information: thepinkchurch.org. in Lent, 12:15 p.m.: March 5, Julane ³ page 4 JOHN BISHOP In the wind . . .

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. GAVIN BLACK Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2015. Printed in the U.S.A. On Teaching 5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $38; 2 yr. $62; 3 yr. $85 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Reviewers James M. Reed Foreign subscriptions: 1 yr. $48; 2 yr. $75; 3 yr. $96. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading John L. Speller Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: at the rate of one copy for every fi fteen students. Such copies may be reused for other Karen Beaumont Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington courses or for the same course offered subsequently. Charlie Steele Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the Jay Zoller issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, Leon Nelson should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 3 Here & There

³ page 3 concerts: April 1, Ancient Offi ce of Tene- The St. Albans International brae; 4/17, Chanticleer. For information: Organ Festival continues, Saturdays www.stpeterinchainscathedral.org. at 5:30 p.m.: March 21, Pieter Van Dijk; April 18, Martin Neary, with Alice Neary, cello; May 16, Simon Thomas Jacobs. For information: www.organfestival.com.

St. Norbert Abbey, De Pere, Wis- consin, concludes its 2014–15 Canon John Bruce Memorial Organ Concert series: March 21, Isabelle Demers; April 18, Michael Hey. For information: www.norbertines.org.

Musica Sacra San Antonio continues its fi fth season; Evensongs will take place Jonathan Rudy with Berghaus Opus 215 at St. Francis Xavier Catholic Church at Our Lady of the Atonement Catholic Church in San Antonio, Texas, 4 p.m. on Sundays: March 22, and May 16. For information: www.musicasacrasa.org.

Resurrection Parish, Santa Rosa, California, continues its Creative Arts Douglas Reed Series, Sundays at 3:30 p.m.: March 22, Cristina Garcia Banegas; April 19, The Evansville Chapter of the American Canyon Singers. For informa- American Guild of Organists presents tion: www.creativeartsseries.com; Beth- a concert in honor of Douglas Reed on [email protected]. April 10 at First Presbyterian Church in Evansville, Indiana. The concert will The Presbyterian Homes, Evan- include the world premiere of Fantasia ston, Illinois, announces upcoming da Chiesa, for brass quintet and organ, organ recitals in Elliott Chapel: March by Pulitzer Prize-winning composer Wil- 23, Derek Nickels; April 27, David liam Bolcom, commissioned in honor of Jonies; May 18, Hyea Young Cho; June Dr. Reed. The concert will feature the 22, David Troiano. For information: American Brass Quintet. For informa- www.presbyterianhomes.org. tion: www.evansville.ago. Scott Montgomery David Schrader with Stephen Schnurr

The Philadelphia Singers conclude The Diapason, along with the Chicago and Fox Valley chapters of the their 42nd season with Music Director American Guild of Organists and the Chicago-Midwest Chapter of the David Hayes in his 22nd and fi nal season Organ Historical Society, presented a Midwinter Pipe Organ Conclave in La of leading the choir: March 27 and 28, Grange, Illinois, on January 18–19. The well-attended event comprised recit- Jake Heggie’s The Radio Hour and works als and lectures. David Schrader played a program of Mendelssohn, Mozart, of Menotti; May 16, David Hayes’ Fare- Reger, Bach, and Reubke on First Presbyterian Church’s 1962 Aeolian-Skinner well Concert. For information: Opus 1390 (III/40); Jonathan Rudy played works ranging from Frescobaldi and www.philadelphiasingers.org. Marchand to Guillou and Decker on St. Francis Xavier Catholic Church’s 2003 Berghaus Opus 215 (II/32); and Scott Montgomery offered a range of works from The Houston Chamber Choir Bruhns to Utterback, including his own arrangement of a Debussy Arabesque, continues its 19th season: March 28, on Emmanuel Episcopal Church’s 1970 Casavant Opus 3062 (III/62). Lectures Mozart’s Messiah Magic; May 2, Sacred were presented by Stephen Schnurr (Organs Past and Present in La Grange), Visions. The choir will also appear with Philip Kloeckner (Organs in South America), and Karen Brunssen (Tried, True, the Houston Ballet on May 28, 30, 31, and Teachable Vocal Techniques for Choirs). and June 5 and 6. For information: www.houstonchamberchoir.org. mark the 50th anniversary of Schickele’s The Association of Lutheran The Cathedral Church of St. Paul, most (in)famous discovery/invention; a Church Musicians has selected David Detroit, Michigan, continues its music Peter Schickele (photo credit: Stephen Ladner) composer sometimes referred to as “the Ashley White of Houston, Texas as the events: March 29, Jeremy David Tarrant most dangerous musician since Nero.” winner of the 2015 Raabe Prize for (Poulenc Concerto), with Oakland Sym- The 100-voice VocalEssence Cho- VocalEssence conductor Philip Excellence in Sacred Composition for phony; May 2 and 3, Three Cathedrals rus, 32-voice Ensemble Singers, and Brunelle and Craig Kirchhoff, professor his Spirit, Moving Over Chaos, set for Choir Festival Concert (choirs of St. the University of Minnesota’s Wind of conducting and director of university chorus, oboe or C-instrument, percus- Paul’s Cathedral, Buffalo, Detroit, and Ensemble will celebrate the 80th birth- bands at the University of Minnesota, sion, optional handbells, and keyboard. London). Choral Evensong is sung March day of legendary composer, musicologist, will lead the evening’s program at Ted Honorable mention was given to Jona- 22, April 26, and May 14. For informa- and foremost P.D.Q. Bach historian, Mann Concert Hall on April 10 at 8 p.m. than Kohrs of Chicago, Illinois, for tion: [email protected]. Professor Peter Schickele with a concert Minnesota Public Radio’s John Birge his Divine Service/Holy Communion, featuring works by Professor Schickele, will host a pre-concert conversation with set for congregation and piano with St. Peter in Chains Cathedral, Cin- as well as those by his alter ego, P.D.Q. Schickele at 7 p.m. For information: optional fl ute, oboe, clarinet, string cinnati, Ohio, concludes its 20th season of Bach. The birthday concert will also 612/371-5656 or www.vocalessence.org. ³ page 6

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4 Q THE DIAPASON Q MARCH 2015 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 Hutchinson, MN University of Florida Birmingham Conservatoire University of Alabama

Simone Gheller Johan Hermans James D. Hicks Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Organist/Recording Artist Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Oconomowoc, WI Hasselt, Belgium Morristown, NJ Brooklyn, New York Ripon College San Mateo, California

David K. Lamb Mark Laubach Yoon-Mi Lim Philip Manwell Christopher Marks Katherine Meloan Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Organist Organist/Professor of Music Organist Columbus, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX Reno, Nevada U of Nebraska-Lincoln New York, New York

Scott Montgomery Shelly Moorman-Stah lman Anna Myeong David F. Oliver Gregory Peterson Ann Marie Rigler Organist/Presenter Organist/Pianist Organist/Lecturer Organist Organist Organist/Presenter Champaign, Illinois Lebanon Valley College University of Kansas Morehouse College Luther College William Jewell College

Brennan Szafron Frederick Teardo Michael Unger Maria Welna Rodland Duo Christine Westhoff Organist/Harpsichordist Organist Organist/Harpsichordist Pianist/Organist/ Viola and Organ & Timothy Allen Spartanburg, S. Carolina Birmingham, Alabama Cincinnati, Ohio Singer/Composer Eastman School of Music/ Soprano & Organ 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 synthesizer, vibraphone, and bass; and Appointments Latry and Michel Bouvard at Alfred Fedak of Albany, New York, for Vincent Boucher has the Conservatoire National his You Hold All Souls in Life, scored been apppointed titular Supérieur de Musique et de for SATB a cappella choir. The prize, organist at St. Joseph’s Ora- Danse de Paris, he began his awarded every two years, was endowed tory of Mount Royal, Mon- musical studies with his father. by Dr. William and Nancy Raabe of treal, Quebec. Boucher He later entered the Poznaĸ Milton, Wisconsin, to recognize accom- will play both of the Music Academy where he stud- plishments in sacred music composition sanctuary’s organs, includ- ied organ with Elżbieta Karo- in the Lutheran heritage. For informa- ing the newly restored lak and Jarosław Tarnawski. tion: www.alcm.org. fi ve-manual, 78-stop Bec- Mossakowski has received kerath instrument of 5,811 scholarships from the French Karol Mossakowski (photo The Twelfth International Organ pipes, making it the largest government and the De Tarrazi courtesy The Historic New Or- leans Collection) Competition of the City of Biarritz, purely mechanical-action Vincent Boucher (photo credit: and Meyer’s foundations, and a France will be held October 20–24, organ in the country. He Alain Lefourt) grant from the Brieux-Urstaritz 2015, in Biarritz. The competition, in will also hold the position Foundation. In Poland, he won several competitions includ- the two disciplines of interpretation and of artistic director, carrying on the tradition of Sunday organ ing the 2010 Feliks Nowowoiejski International Competition improvisation, will award grand prizes of concerts, now in its 55th season. His inaugural concert will and fi rst prize at the Springtime International Competition €3,000 each, as well as additional prizes take place on April 19 at 3:30 p.m. in Prague in 2013. As Young Artist in Residence, in addition in each discipline. For information on Vincent Boucher’s career is in both music and fi nance. to liturgical responsibilities, he will perform recitals in the the requirements of pre-selection by He has performed in England, Austria, and France, has southeast Louisiana region. The Young Artist in Residence cassette, to be sent after April 15, 2015, been awarded some fi fteen prizes and honors, including the program was established in 2009 in collaboration with the and before July 8, 2015, see www.acad- Prix d’Europe in 2002, and his discography includes eleven Conservatoire National Supérieur de Musique and is made emieandremarchal.org or contact M.A. recordings that have garnered critical praise. Boucher stud- possible through the generosity of the Elise Murray Cambon Wotring at 610/375-0668. ied under Bernard Lagacé and, while in Mireille Lagacé’s Memorial Trust. class at the Conservatoire de musique de Montréal, was unanimously awarded a fi rst prize for organ and harpsi- Daniel Bennett Page has been named director of sacred chord. He also completed a doctorate in performance at music at Sacred Heart of Jesus Parish and Sacred Heart McGill University with John Grew and William Porter and Academy, Grand Rapids, Michigan. He will direct adult and furthered his studies in Vienna and later in Paris. With over children’s choirs, Gregorian chant scholas, and a new par- 21 years of experience as a liturgical organist, Boucher was ish chamber orchestra. The church is the only parish in the the titular organist at Sainte-Cécile de Valleyfi eld Cathedral Roman Catholic Diocese of Grand Rapids where the Tradi- from 1996 to 2000 and is currently the assistant organist at tional Latin Mass (also called the ‘Extraordinary Form’ of the Saint-Jean-Baptiste Church in Montreal since 1993. With a Roman Mass) is celebrated every Sunday and on major feast degree from Oxford University, he has worked in the fi nan- days, in addition to a weekly chanted English-language High cial industry for over 15 years and is currently an investment Mass. A music educator, musicologist, program administrator, advisor at National Bank Financial. conductor, and organist, Page holds MFA and PhD degrees from Brandeis University and was a Fulbright Scholar at the Paul Cienniwa has been British Library, London. He is a frequent lecturer on Catholic appointed director of the Col- sacred music, and a workshop leader, organ consultant, and legiate Chorale at Stonehill concert reviewer. Page leaves positions as Assistant Dean College, a liberal arts college for Undergraduate Studies and Associate Professor at the in Easton, Massachusetts, University of Baltimore, and as director of music at Mount founded by the Congregation Calvary Church of Baltimore, Maryland, where he led a fully of the Holy Cross. He will professional choir and played the 1961 Fisk-Andover organ. continue as chorus master of Page has also served as an offi cer or board member of the the New Bedford Symphony Baltimore, Berkshire, and Boston (Massachusetts) AGO Kraków, Collegiate Church of St. Florian Orchestra, choral director at chapters. He studied organ with Marion Reddick Anderson, Framingham State University, Paul Cienniwa (photo credit: John Severance Barry, and Philip David Johnson. This year’s Pipedreams Group Tour and director of music at First Robert Leger) (June 10–22, 2015) will visit Poland. The Church in Boston, where the Gregory Zelek was recently tour itinerary will focus on central and professional First Church Choir can be heard weekly on appointed music director eastern Poland and include a variety of WERS (88.9 FM) Boston. From 2003–2010, he led Newport and organist at the Episcopal instruments from fi ve centuries, includ- Baroque in works from Arne to Zelenka, including perfor- Church of St. Matthew and ing the 96-stop organ at Oliwa Cathe- mances of Bach cantatas and Purcell’s Dido and Aeneas, and St. Timothy in New York City, dral; the richly ornamented installation from 2006–2013, he led Sine Nomine choral ensemble. In where he is responsible for (1680) by Stanislaw Studzinsk in Lezajsk, 2009, he was music director for Boston Opera Collabora- overseeing the music program, with its high-pitched, multi-rank cymbal tive’s acclaimed production of Handel’s Alcina. He received a conducting the choir, and play- mixture; the oldest historic instrument bachelor of music degree from DePaul University, studying ing for Sunday services. Last Michael Tilson Thomas in Poland (1620), in Kazimierz Dolny; harpsichord with Roger Goodman and organ with Jerome May, he performed Strauss’s and Gregory Zelek late-romantic organs by Schlag und Butera, and the doctor of musical arts degree from Yale Uni- Alpine Symphony with the Söhne, with their distinctive ‘symphonic’ versity in 2003, where he was a student of Richard Rephann. MET Orchestra at Carnegie Hall, and was the organist for voice; new concert hall installations by For more information, visit www.paulcienniwa.com. the Metropolitan Opera’s production of Faust. Additionally, Schuke in Warsaw and Rieger in Lodz; he twice performed Lukas Foss’s Phorion with the New and Christian Wegscheider’s careful res- Karol Mossakowski has been named 2014-2015 Young World Symphony, Michael Tilson Thomas conducting. toration of the 1719 Hildebrandt organ Artist in Residence at Cathedral-Basilica of St. Louis King Zelek is a Kovner Fellow at the Juilliard School, studying in Paslek. of France in New Orleans. A student since 2011 of Olivier with Paul Jacobs. Q ³ page 8

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³ page 6 For information, including tour brochure and application: pipedreams. publicradio.org/tour/ or 651/290-1539. Some of the organs to be visited can be heard on a recent Pipedreams broad- cast at pipedreams.publicradio.org/ listings/2015/1501/.

People Christoph Bull has contributed a song, “Peace,” to the recording, 2 Unite All: A Benefi t Album for Healing and Peace in Gaza and the Middle East, which also features artists such as Peter Gabriel and Stewart Copeland. It is Front row: Dan Locklair, P.J. and John Williams; back row: John Cummins, Brent available on iTunes and Amazon.com. Neuenschwander, assistant organist of St. Paul’s (photo credit: Elizabeth Allen)

Dan Locklair’s Angel Song (a Christmas anthem for SATB chorus and organ) was David Herman, A Box of Whistles! given its world premiere on December 21 at St. Paul’s Episcopal Church, Winston- Salem, North Carolina, as part of a Festival of Nine Lessons and Carols. Commis- three historic organs of Scotland. Filmed sioned in 2014 by John and P.J. Williams in honor of the music program of St. Paul’s and edited by John Palmer and Jennifer Church and its director, organist/choirmaster John Cummins, Angel Song is a setting Barker, the 30-minute video can be of a December 1863 Christmas hymn text by Moncure Daniel Conway (1832–1907), viewed at https://vimeo.com/105406414. Now Let the Angel Song Break Forth! For information: www.locklair.com.

Sarah Kraaz presented a paper, “Music for the Eyes and Mind’s Ear many organists, including Thomas Mur- in Taddeo di Bartolo’s Madonna and ray, Delbert Disselhorst, Christopher Child,” in October at the annual meeting Young, Brian Jones, and others. Latsko of the Southeast College Art Confer- has also served for many years as organ- ence (SECAC) in Sarasota, Florida. ist and choirmaster of historic Grace The paper explored music iconology Church in Keswick, and he is currently in Taddeo di Bartolo’s 1418 painting head of the human resources division at Madonna and Child, in which angels the University of Virginia. around the Madonna and child sing the chant Regina caeli, notated precisely and Wicks organ donated to Western Illinois accurately, from a scroll that they hold. University

Western Illinois University, Macomb, has received the donation of an organ for use of its students. Melissa and Carol Williams James Francis, formerly of St. Louis, Missouri, now of Oro Valley, Arizona, Carol Williams has released Free- have donated the hybrid organ built dom, op. 12, for organ, written for Frank for their home in 2001 by the Wicks Gehry and the tenth anniversary of the Organ Company of Highland, Illinois. Disney Hall organ; Williams performed Melissa Duft Francis is an alum of the the work last November at Disney Hall, university, having received her master’s Los Angeles. Published by Melcot Music degree there in 1981. The organ was Publishing, it can be viewed or listened disassembled, moved to Macomb, and Michael G. Latsko Dorothy Young Riess to at www.melcot.com. On Sunday, May reassembled by the builder for use in 24, Williams will perform a 12-hour-plus Browne Hall. The project was funded Charlottesville organist Michael G. Dorothy Young Riess, M.D., played marathon, donations for which will go to by donors. The organ will be used for Latsko is celebrating twenty years as the opening concert for the Forbes Pipe Challenged Athletes Foundation’s (CAF) practice purposes. host of the radio show King of Instru- Organ Recital Series (Fisk Opus 129) at Operation Rebound® program—a sports ments. On Sunday evenings from Uni- the Christopher Cohan Performing Arts and fi tness program for American military As a retirement gift, colleagues of versity of Virginia station WTJU, Latsko Center, San Luis Obispo, California, personnel, veterans, and fi rst responders David Herman, Trustees Distinguished has hosted more than one thousand seg- November 16, 2014. The program was with permanent physical disabilities. For Professor Emeritus at the University of ments of his hour-long program devoted an eclectic mix of Buxtehude, Bach, information: www.melcot.com. Delaware, produced A Box of Whistles!, to classical organ music. From its Beethoven, Wagner, Saint-Saëns, Reger, a video about his lifelong dedication to inception in 1994, Latsko has presented Howells, Langlais, Riess’s original com- the organ. The video documents Dr. to the Charlottesville area programs positions, and a fi rst performance of Publishers Herman’s career as a concert organist covering some of the world’s greatest her scored transcription of three scenes Bärenreiter announces new publica- in the United States and Europe and as organs and organists, playing the entire from Stravinsky’s Petrouchka. The audi- tions. Louis Vierne’s Symphony No. 5, a church musician. Included are scenes spectrum of organ literature. He has ence included Bert and Candace Forbes, op. 47 (BA 9225, €28.95), Volume V of from Herman’s recent series of recitals on also conducted on-air interviews with donors of the organ. ³ page 11 Dry overheated churches can wreak havoc with pipe organs!

’=c`TcZZgOaaS[PZSR ]`UO\Vc[WRW¿QObW]\ Q]\b`]ZagabS[aOZZ]e Vc[WRWbgb]PSaS\b eVS`SWbWa\SSRSR[]ab´ bVSW\bS`W]`]TbVS]`UO\ 16355, avenue Savoie ’6WUVZgSTTSQbWdSO\R Saint-Hyacinthe (Québec) J2T 3N1 Q][^ZSbSZgOcb][ObWQ Canada ’2SaWU\W\abOZZObW]\ T 450 774-2698 O\R]\aWbSbSQV\WQOZ [email protected] OaaWabO\QSOdOWZOPZS www.letourneauorgans.com A^SQWOZWabaW\@Sab]`ObW]\ 1]\aS`dObW]\D]WQW\UB]\OZ4W\WaVW\U ]T6WUV>`Saac`S>W^S=`UO\a &"#A]cbV;WQVWUO\/dS\cS '# JL Weiler, Inc. 1VWQOU]7ZZW\]Wa$$ $ F O L L O W U S O N F A C E B O O K PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS ! &" %"%# XSTT.XZeSWZS`Q][jeeeXZeSWZS`Q][

8 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM

Here & There

Nunc Dimittis Bertram Schoenstein, 97 years old, John Hubert Corina, 86, of Athens, Georgia, died January 8, 2015, in San Rafael, Cali- died December 13, 2014. Born in Cleveland, fornia. Born September 11, 1917, Bert Ohio, he studied piano and organ with his father. was the eldest remaining third-generation As a young oboist, he taught in the Cleveland member of the pioneer San Francisco Music Settlement, performed with the Cleve- organbuilding family. As a youngster he land Philharmonic Orchestra, and was a bands- helped his father, Louis, in the organ man in the Army at Fort Meade and West Point. business, but coming of age in the depth Corina earned bachelor’s and master’s degrees of the Great Depression when there was from Case Western Reserve University and a little prospect for the organ business, he doctoral degree in composition from Florida began a 40-year career as a master painter State University. He taught composition, oboe, and decorator. During World War II, he and theory at the University of Georgia, where served in the Army Air Corps. After retir- he performed with the UGA Baroque Ensemble John Hubert Corina ing, he achieved his dream of a second and the Georgia Woodwind Quintet and estab- career in organbuilding with Schoenstein lished the New Music Center and the Electronic Music Studio. In 1985, he & Co. from 1978 to 1995. Bert was a was awarded the university’s teaching excellence professorship; he was named natural mechanic and practical problem Professor Emeritus of Music and retired in 1991. solver. In addition to running the paint As composer of over 130 works, Corina received 14 awards from ASCAP and and fi nish department, he devised many Bertram Schoenstein other organizations. He was an organist/choirmaster for 50 years, serving at Young clever fi xtures and tools for the other Harris Memorial UMC and Emmanuel Episcopal Church. He also conducted the departments and maintained plant equipment. Also a natural musician, as was the University of Georgia Symphony Orchestra and the Athens Choral Society, among family tradition, he played the violin in several orchestras and ensembles including other choruses, orchestras, and bands, and became the founding board chairman the Deutscher Musik Verein. Among his many mechanical interests was antique of the Athens Civic Ballet and founding director of the Classic City Band. car restoration, specializing in Model T Fords. Bertram Schoenstein is survived by John Hubert Corina is survived by his wife of 54 years, Carol; son and daughter- children Karl and Heidi, fi ve grandchildren, and three great grandchildren. in-law, Robert and Sandra Corina; son, Donald Corina; daughter and son-in-law, Susan and Michael Mears; daughters and son, Mary Ellen Gurbacs, Gail Brant, Charles Dodsley Walker, 94, died in and John L. Corina; granddaughter and grandson, Laura and Michael Johnson; New York City on January 17. At the time granddaughters and grandson, Jordan, Sydney, and Brendan Corina; brother and of his death he was the conductor of the sister-in-law, Lawrence and Jacqueline Corina, and other family members. Canterbury Choral Society and organist and choirmaster emeritus of the Church Myles J. Criss died on January 12 of melanoma, of the Heavenly Rest in New York City, his cat Gracie at his side. He was born on April 7, and the artist-in-residence of St. Luke’s 1933, in Winterset, Iowa. He attended Drake Uni- Parish, Darien, Connecticut. During his versity in Des Moines, Iowa, and the Kansas City career Walker held numerous positions, Conservatory. In 1952 he joined the U.S. Navy; his including at the American Cathedral in naval career included service on the hospital ship Paris, St. Thomas Chapel, and the Church USS Haven, where he worked for the chaplain, of the Heavenly Rest in New York City, the played the ship’s organ, and had his fi rst choir. The Berkshire Choral Institute, Union Theo- USS Haven sailed throughout the Pacifi c during the logical Seminary School of Sacred Music, Korean War. He also served aboard the supply ship Manhattan School of Music, and New USS Alludra and the destroyer USS Dixie. York University. A Fellow of the American Honorably discharged from the Navy in 1956, Guild of Organists, he also served as presi- Criss returned to Kansas where he enrolled at dent of the AGO from 1971–75. Washburn University in Topeka, studying organ with Myles J. Criss An article in memoriam will follow in Jerald Hamilton. He transferred to Kansas Univer- the April issue of The Diapason. Charles Dodsley Walker sity, studying organ with Laurel Everette Anderson and conducting with Clayton Krehbiel. He earned his bachelor’s degree in 1960 and master’s degree in 1963. Harry Wilkinson, 92, of Philadelphia, Pennsylvania, died January 15 of con- Criss served in organist and choirmaster positions at many churches, including gestive heart failure. Born in Saginaw, Michigan, in 1922, he spent most of his at All Souls’ Episcopal Church in Oklahoma City, where he subsequently designed life in the Philadelphia area. He began his study of the organ at the age of twelve the organ, developed choir programs, and founded the Canterbury Choral Society, with Harry C. Banks of Girard College. The Girard College organ remained his at Grace Episcopal Cathedral in Topeka, Kansas, where he established a full choir favorite throughout his life. He studied organ with Harold Gleason and David program, and at Good Samaritan Episcopal Church in Corvallis, Oregon. Semi- Craighead at the Eastman School of Music, University of Rochester, New York, retiring from Good Samaritan in 2002, he accepted the position of organist at the earning a doctorate degree in music theory there in 1958. In 1995, Wilkinson was Congregational Church of Corvallis. named honorary college organist and honorary lifetime member of the Girard He founded the Topeka Festival Singers in 1984 and conducted them until College Alumni Association. A lifelong member of the Philadelphia Chapter of 1987. He was made an honorary Canon and retired from Grace Cathedral in 1997. the American Guild of Organists, he was a Fellow of the AGO and served on a In December of 2013, Canon Criss moved to Fayetteville, Arkansas, where he national level as councilor for conventions. Wilkinson was professor emeritus assisted with the music program at St. Paul’s Episcopal Church. of music theory and composition and taught organ students at West Chester Criss was a member of the Association of Anglican Musicians and the American University, serving there for over 35 years. He also served on the faculties of Guild of Organists, which he served as dean three different times. He traveled Chestnut Hill College, Beaver College, and Arcadia University. As a church extensively and knew by heart the stop lists of pipe organs around the world, many musician, he served as director of music and organist for St. Martin-in-the Fields of which he played. He also played concerts and recitals throughout the U.S. Episcopal Church, Chestnut Hill. Wilkinson recorded several discs with the Pro Myles J. Criss is survived by nieces and nephews Sandra Bentley, Linda Mosteller, Organo label. Memorial gifts may be made to the Organ Restoration Fund, St. Marjorie Ross, Larry Kuhn, Anita Luce, Lynn Ellen Morman, David Morman, Francis de Sales Catholic Church, 4625 Springfi eld Avenue, Philadelphia, Penn- Debi Foster, and Steve Criss, and by a stepsister, Sharon Boatwright. sylvania 19143. Q

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10 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM Here & There

³ page 8 Michael’s Music Service announces Phelps’s work in Boston, at Casavant the Complete Organ Works, is edited by new sheet music restorations. Ave Maria, Frères, and at his own fi rm. For informa- Helga Schauerte-Maubouet, assisted by by Eugene Thayer (1875), from Thayer’s tion: www.organsociety.org/ohspress. Thierry Escaich, Jean-Pierre Mazeirat, Organ Recital Music with Registration and Rollin Smith. Sacred choral works and Pedaling, is pure melody and accom- Recordings by Mårten Jansson include Fear thou not paniment; Second Sonata in F, by Rene Regent Records announces new (BN 7411, €3.95), Maria (IV) (BA 7412, Becker (1912); Oh, the Lilting Spring- recordings. Hymns from Bath Abbey €3.95), and The Choirmaster’s Burial time!, by Charles Stebbins, is the second (REGCD445) features the Choir of (BA 7413, €3.95). For information: of a two-piece characteristic set; March Bath Abbey, directed by Peter King, with www.baerenreiter.com. Processional, by John Hermann Loud, organist Marcus Sealy. Vol. XVIII of the who studied with Alexandre Guilmant in English Cathedral Series features Chris- Edition Walhall announces When Paris, among others; the restoration was topher Allsop playing works of Tour- the angels dance, by Ernst-Thilo Kalke, made from Douglas Rafter’s personal nemire, Mathias, Bridge, Distler, and a “pop suite” with three movements copy, which contained an inscription more on the new Kenneth Tickell organ (Tango, Blues, and Waltz), for organ: “for from the composer. For information: of Worcester Cathedral (REGCD449). Hymns from Bath Abbey the glory of God and for the pleasure of michaelsmusicservice.com. Blow out, ye bugles (REGCD451) pres- the people” (EW957, €12.80). The suite ents music from the time of World War I Arts Brass, and organists George Castle is well suited for a three-manual organ; The Organ Historical Society is performed by the Truro Cathedral Choir and Jonathan Hope, directed by Andrew the composer favors orchestral timbres accepting subscriptions to Burton Tidwell’s and organist Luke Bond. On A Win- Lumsden, perform works by Britten, in registration. For information: book, Lawrence Phelps, Organbuilder, chester Remembrance (REGCD437) Ireland, Howells, and others. For infor- www.edition-walhall.de. through March 30. The book chronicles the Winchester Cathedral Choir, Fine mation: www.regentrecords.com.

La Trompette Des Fondateurs

“Because of the historic Catholic and French heritage of Maternity B.V.M., plus the beauty it exhibits, we pursued a combination pipe and digital French Terrace console that blended well with the church décor. We also chose to have a Festival Trumpet incorporated into our instrument, and named that stop the “La Trompette Des Fondateurs”, honoring all of our founding lay parishioners, Viatorians and Sisters.” Ms. Chris Lord, Director of Music and Liturgy Maternity B.V.M.

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WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 11 Reviews

Music for Voices and Organ gather once a month to sing a previously Printed refrains for the assembly are ever present. A full score and orchestra by James McCray prepared anthem for the traditional on the back cover; they include a series parts are available as MSM-50-5006 A Sunday service, and that is usually a of syncopated alleluias. Published in the and 5006 B. Eastertide and Pentecost welcomed change for the congregation. African American Church Music Series, For readers of this column, reviews and this very rhythmic work has four verses; The Greater Gifts, Paul French. Behold, I am with you always, commentary will continue throughout three are strophic. The trumpet parts are SATB and organ, with optional brass until the end of all time. —Matthew 28:20 the summer months. Happy summer to in the choral score and are sometimes in quartet, MorningStar Music Publish- (for Ascension Day) each of you! unison. There are repeated “alleluia” ers, MSM-50-5018, $2.25 (M). sections, which call for an improvised Well-crafted music, especially for the Faith lends its realizing light, Eastertide soloist. The piano score has driving organ, which is on three staves and mod- the clouds disperse, the shadows fl y, the invisible appears in sight, This Joyful Eastertide, Alan Smith. rhythms that are tricky but effective. erately diffi cult, sometimes soloistic. The and God is seen by mortal eye. Unison and organ, Cantica Nova This is certain to be a rollicking anthem choral parts add to the “maestoso” char- —Charles Wesley (1707–1788) Publications, #4312, $1.40 (E). that will excite Eastertide services and acter; they build to a loud and climactic (in praise of Pentecost) This might be useful for the fi rst will want repeating each year. ending. The brass parts are not indicated Sunday after Easter when the choir has on this score, but are available with full Eastertide in the church calendar is been challenged with diffi cult music the Faithful Shepherd, Grayston Ives. score (MSM-50-5018 A) or separately a period of 50 days from Easter Sunday previous week. The unison setting is a SATB and organ, GIA Publications, (MSM-50-5018 B). Very effective and to Pentecost Sunday. After the glorious Dutch carol that has three verses, all to G-8343, $2.25 (M). meaningful music. and exhausting Sunday of Easter, sing- the same unison music. The organ part This setting for Eastertide (A, B, ers drift off to other springtime Sunday is on two staves with some solo passages and C years) is taken from the Royal activities, and sustaining interest in the that are optional. The music is bright, School of Church Music Series. The New Recordings church choir is a serious challenge. The happy, and very easy. slow anthem features cantabile choral French Trilogy: Eric Plutz plays the post-Easter period usually is among the lines that are also used in the organ part. Aeolian-Skinner organ of Winthrop most diffi cult for church choir directors The Strife is O’er, Paul Ritchie. SATB Quiet dynamics, gentle tuneful lines, and University, Rock Hill, South Caro- in terms of singer attendance. unaccompanied, GIA Publications, recurring statements of the title highlight lina. Pro Organo, CD 7255, Each Sunday of this period is treated G-7692, $1.90 (M-). this sensitive anthem, which is a mixture www.proorgano.com. as a Sunday of Easter, and, after the Sun- There are fi ve verses, which use the of contrapuntal and syllabic phrases. Those familiar with organist Eric Plutz day of the Resurrection, they are named same melody in modifi ed arrangements. know to expect something extraordinary Second Sunday of Easter, Third Sunday The text tells the Crucifi xion story, with Christ Is the Vine, James Biery. SAB and compelling from his every perfor- of Easter, etc., up to the Seventh Sunday each verse ending in a series of alleluias. and piano, with optional B-fl at clari- mance, and this Pro Organo disc (his of Easter; the whole fi fty-day period con- The fi fth verse, on three staves, has a net or C instrument and optional fourth) is certainly no exception. In fact, cludes with Pentecost Sunday, which in divisi line for the sopranos so that the congregation, MorningStar Music it would be no exaggeration to say that 2015 is May 24. In Judaism, the feast of melody continues to be heard. Publishers, MSM-50-8854, $2.25 (M). this is the best yet! Shavu’ot (also called Pentecost), which This work is appropriate for Easter 5. The program presented here has great marks the giving of the Torah on Mount Communion Antiphons for the Eas- Music of the chorus is in two parts, and integrity and comprises three sets of Sinai, is celebrated seven weeks after ter Season, Normand Gouin. Can- the clarinet plays throughout the entire works: Trois pieces, op. 29 (Prélude, Can- Pesach (Passover). And in some Chris- tor, unison or SATB, assembly, and work. The keyboard part is not diffi cult, tilène, and Scherzando de Concert) com- tian churches, the Sunday preceding the organ, with optional C instrument, often doubling the vocal lines. The posed by a little-known student of César feast of the Ascension of the Lord was MorningStar Music Publishers, congregation’s part is available as a free Franck, Gabriel Pierné (1863–1937); generally called Rogation Sunday (the MSM-80-420, $5.00 (E). download at www.morningstarmusic. Camille Saint-Saëns’ Trois préludes et Rogation Days were three days before These nine brief, one-to-two-page anti- com. Useful, sweet music. fugues, op. 99; and Louis Vierne’s Deux- Ascension Day, in which God’s blessing phons are identifi ed by day (e.g., Second ième symphonie in e, op. 20 (Allegro, on the crops was requested). Sunday of Easter), and include Easter, Pentecost Choral, Scherzo, Cantabile and Final). In many churches, Pentecost signals Ascension, and Pentecost. There are short The Day of Pentecost, Hal H. Hop- The repertoire fl ows seamlessly from one an end of weekly duties for choirs. The (six to eight measures) congregational son. SATB, piano, and optional piece to the next, and the 1955 G. Don- 2015 Pentecost date may be helpful for responses for each work, which includes string bass, Augsburg Fortress, 978- ald Harrison Aeolian-Skinner Opus 1257 church choir directors since it is not fi ve to thirteen verses for a cantor or choir, 1-4514-9259-0, $2.25 (M+). (restored 2009, Orgues Létourneau) rises the same weekend as Memorial Day; making this very useful. Some antiphons Using both the traditional melody of beautifully to the challenge of emulating that holiday often has missing singers. also have a soprano descant. The choral Pentecost (Veni Creator Spiritus) and a a French romantic organ. Pentecost may be a good seasonal end- writing is extremely simple with block rousing setting of Ev’ry time I feel the Its specifi cation is as follows: 2 ing for church choirs. Many volunteer chords in a chanting style. Spirit, Hopson has written an exciting Great: 16 8 8 8 4 4 2 ⁄3 2 III–VI IV 8 4 choirs do not rehearse or sing during and spirited anthem for this end-of-the- Swell: 16 8 8 8 8 8 8 4 4 2 III 16 8 8 8 4 the summer, and other performers Christ the Victorious, Norah Dun- year celebration. Both Latin and English Choir: 8 8 8 8 4 4 II 16 8 4 8 4 3 1 such as soloists (vocal or instrumen- can IV. SATB and piano with two texts are provided for Veni; the two Positiv: 8 4 2 1 ⁄5 1 ⁄3 III 8 4 tal), chamber groups, etc., provide the trumpets, GIA Publications, G-7867, melodies are fi rst introduced in a free, Pedal: 32 16 16 16 16 8 8 4 4 2 IV 32 music for the weekly services. Some $2.15 (M). unmetered chant after a dramatic and 16 16 8 4 8. mysterious piano solo. This leads to a Vierne’s symphonies will be familiar vigorous rhythmic setting with a walking to enthusiasts of the French organ bass as accompaniment for Ev’ry time. repertoire and require no introduction; That quickly changes to a setting of the equally so the Saint-Saëns preludes and A Precious Gift Pentecost story (disciples experiencing a fugues. But the three pieces by Pierné wind from heaven). The work closes with are absolute gems—the powerful and the chant style and text of the opening. emotive Prélude; a lovely, delicate Can- from the Past This is a true winner for those churches tilène; and the virtuosic Scherzando de wanting to commemorate Pentecost Concert, opening with a delightfully for the Present Sunday. Highly recommended. playful section (not entirely dissimilar to Joseph Bonnet’s Elfes) with a slower, O Day Full of Grace, Walter Pelz. gentle middle section, culminating in a and the Future SATB, organ, brass quartet, and reprise of the fi rst section, which builds Supremely beautiful and blendable congregation, Concordia Publishing to a glorious, compelling climax. House, 98-4186, $2.00 (M-). Plutz is a master craftsman, there can tonal color – a Gift from the Venetian The folk hymn tune Den signede be no doubt! His performances are sensi- School of organbuilding, a monumental part of our dag is used for all fi ve verses, with the tive, emotional, stunningly accurate, and JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH congregation joining the choir on the spectacularly musical; his technical skill SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN fi rst and last. The music is not diffi cult, and dexterity put him inside the small with each verse lasting a page. The con- circle of leading international organ- gregation’s music is on the back cover for ists. A colleague recently remarked that Intriguing? Let us build your dream. reproduction. Brass parts and a full score (J. S.) “Bach never wrote a bad note,” and are available for ordering (97-7669). it would be fair to raise equal plaudits to Plutz’s musicianship and technical mas- Author of Faith, Eternal Word, tery here. His virtuosity appears to know Howard Helvey. SATB and organ or no bounds, as he nurtures us effortlessly orchestra, MorningStar Music Pub- through this program of superbly color- lishers, MSM-50-5006, $1.85 (M). ful and exciting French repertoire on Using a Charles Wesley text, the six this remarkably convincing instrument; verses are structured in various textured it is truly a world-class performance by a Builders of Fine Pipe Organs to the World arrangements, from unison through world-class musician. four parts. The keyboard part, on two The accompanying booklet is excel- www.ruffatti.com staves, is independent but not diffi cult. lent, with copious notes and bursting This traditional music has numerous with information about performer, Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 meter changes, with the hymn melody instrument, repertoire, and even a word

12 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM Reviews or two about the engineering details that since I was not always able to fi gure out do not seem to be the same pieces, and I This CD is the sort we would all like have enabled Pro Organo to capture such what was being used. The performance do not know of any Skizzen für Orgel, so to be able to make for our friends, and a crystal clear and intimate recording. of these chorale preludes is noteworthy I must concede defeat on that one. Wher- I suspect Stephen Ketterer will make This must be, without a doubt, the for Ketterer’s exquisite ornamentation, ever they came from and whatever they quite a few more friends among those French organ music CD of the year. Bravo! particularly apparent in Meine Seele are, they are very attractive little sketches. who listen to it. I thoroughly recom- —James M. Reed erhebt den Herren. I smiled at his com- The sketches are followed by the well- mend it. Worksop, England ment in the notes on Christ lag in Todes- known Impromptu from Louis Vierne’s banden that it “suggests the composer 24 Pièces en style libre, op. 31. The Bec- Les Grandes Orgues Dubois, 1766, This Time It’s Personal. Stephen J. in an unhinged state.” I like to describe kerath strings are particularly effective Abbatiale Sts. Pierre et Paul, Wissem- Ketterer plays the von Beckerath it in a phrase coined by my late uncle, in this piece, and one might mistake the bourg. Pascal Reber, organ. IFO Clas- organ at Edgewood. MSR Classics “mad monk music.” Ketterer mentions organ for the work of Cavaillé-Coll. The sics ORG7247.2, www.ifo-classics.com. CD, MS 1225, www.msrcd.com. Virgil Fox in the note on Erbarm dich same is true with the Adagio from Widor’s Triptyque improvisé: Offertoire sur ‘O Marche Héroïque, Brewer; Tuba Tune, mein, o Herre Gott and Fox’s infl uence Symphony No. 5. fi lii et fi liae,’ Pascal Reber; Chaconne in Lang; Elegy, Thalben-Ball; Prière à is readily apparent. The effect is all the Ketterer then inserts a moment of lev- f-Moll, Johann Pachelbel; Hymne ‘Veni Notre-Dame, Boëllmann; Seven Chorale more remarkable because the Beckerath ity into his program with his transcription Créator Spiritus,’ Nicholas de Grigny; Preludes—Wer nun den lieben Gott läßt organ is tiny compared with the organ at of The Teddy Bears’ Picnic, which he ded- An Wasserfl üssen Babylon, BWV 653, walten, BWV 642, Meine Seele erhebt Riverside Church. icates to Rolf Miehl, who was the tonal Fantasia super Komm heiliger Geist, den Herren, BWV 648, O Mensch, Next Ketterer plays William Albright’s fi nisher of the Beckerath organ at Edge- Herr Gott, BWV 651, J. S. Bach; Par- bewein’ dein’ Sünde gross, BWV 622, delightful ragtime piece for organ, Sweet wood. It provides an excellent opportu- tite sur ‘Wer nun den lieben Gott lässt Christ lag in Todesbanden, BWV 625, Sixteenths. This is followed by something nity to show off the 16-ft. English Horn walten, Georg Böhm; Suite du Premier Wachet auf ruft uns die Stimme, BWV rather fascinating—three pieces from stop on the Solo manual. On researching Ton, Pierre du Mage. 645, Ich ruf’ zu dir Herr Jesu Christ, Sketches for Organ by Sigfrid Karg-Elert: the English composer Andrew Wright Alsatian organist Pascal Reber holds BWV 639, Erbarm dich mein, o Herre Evening, Sundown, and Gossip. The (b. 1955) I discover that he overlapped the posts of Titulaire of both the swal- Gott, BWV 721, J. S. Bach; Sweet Six- notes mention that Ketterer’s friend Al, with me as a student at Oxford University, low’s nest organ at Strasbourg Cathedral teenths, Albright; Three Pieces from who has “an encyclopedic knowledge of though I regret to say that I never met and of Saint-Etienne in Mulhouse, Sketches for Organ—Evening, Sun- organ music,” had never heard of them. him. His delightful, ebullient Paean for as well as being a professor at the down, Gossip, Karg-Elert; Impromptu, Neither have I. Karg-Elert published 6 Organ makes a very fi tting conclusion to Archiepiscopal Institute of Organ in Vierne; Adagio from Symphony No. 5, Skizzen für Harmonium, op. 10, but these Ketterer’s recording. ³ page 14 Widor; The Teddy Bears’ Picnic, Bratton, arr. Ketterer; Paean, Andrew Wright. Stephen J. Ketterer combines being a brilliant organist with a career as president of a pharmaceutical market research and consulting company. The organ featured on the recording is Ketterer’s own house organ at Edge- wood in Washington, Connecticut. God is in The Hamburg organ builder Rudolf von Beckerath (1907–76) once told an acquaintance of mine that the organs he really loved and would most have liked to emulate were the Cavaillé-Coll organs he had worked on when he was with Gonzalez in Paris before World War II, but the fashions of the post-war the details. era simply would not allow him to build such instruments. If he were still around he would, I think, be delighted with the organs the company he founded is building in the twenty-fi rst century, such as the French Romantic style of instrument the Beckerath fi rm has built at Edgewood. It has three manuals (Great, Swell, and Solo) and Pedal, with 43 ranks and tracker action. It looks and sounds magnifi cent. Ketterer has clearly crafted a program that shows just how versatile the Beck- erath organ can be. He has also chosen pieces that are tributes to or have partic- ular associations with his friends—hence the title, This Time It’s Personal. He begins with the best-known work of Sir Herbert Brewer, the Marche Héroïque, which was popularized by its use at Lord Mountbatten’s funeral. It is out of very much the same stable as Elgar’s Imperial March, and sounds equally fi ne. Next is C. S. Lang’s Tuba Tune, in which Stephen Ketterer does a very good job of making the Beckerath Trumpet sound like an English Tuba. After the Tuba Tune, Sir George Thalben-Ball’s Elegy gives him an opportunity to show off the quieter voices of the organ in a piece that was originally improvised to fi ll in some unused time at the end of a choral Evensong that was being broadcast on the BBC. This gentle mood continues in the third movement of Léon Boëllmann’s Suite gothique, the Prière à Notre-Dame, an evocation of Notre-Dame Cathedral in Paris. The quote is attributed to the architect, Mies van der Rohe, but it’s a belief we live The next seven tracks, all Bach cho- by. After 40 plus years of handcrafting bells, we understand that the signature rale preludes, demonstrate the organ’s versatility in effectively playing music Malmark tonal quality can all come down to 1/64 of an inch. So while we may from periods other than the one it was craft the largest range of handbells in the world, we put just as much emphasis on primarily designed for, and display the smallest of details. Because we know that can make all the difference between some of the color stops on the organ. a performance that’s just ok and one that’s, well, heavenly. malmark.com Ketterer’s registrations are extremely creative and interesting, and I would have welcomed a list of the registrations,

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 13 Reviews

³ page 13 Harst. Alsatian musical practice can an organist, I am happy to have such Walther, and Michel Corrette. Several Strasbourg and of the Conservatoire de nonetheless be said to be a synthesis delightful, lively music come out of of Wold’s original compositions are Musique et Danse Saint-Louis, Haut- of French and German ideas, and thus whatever organ I am playing. quite delightful and useful, particularly Rhin. On this compact disc he plays the the rest of this compact disc consists The art of the transcription is not his set of variations on Noël Nouve- organ of the former Benedictine Abbey appropriately of relatively well-known limited to organ. Think of Brahms tran- let. Though the variations are given of Sts. Peter and Paul in Wissembourg, compositions by German and French scribing his Hungarian Dances—origi- the title of the hymn’s Easter text (Now Alsace. The instrument was built in composers of the baroque and classical nally for piano—for orchestra, where the Green Blade Riseth), they work 1766 by Louis Dubois of Kayserberg in period. All this is very well executed the strings can lend a swoosh to the equally well for the Christmas season. Alsace. It has 56 ranks spread over three and gives a good impression of this very sound that the piano is simply incapable If an organist has insuffi cient time to manuals and pedals. One of the fi nest interesting organ. This recording is a of producing. And, an example related master Marcel Dupré’s Variations on surviving eighteenth-century Alsatian valuable contribution to the organ his- to this review today, is Mussorgsky’s a Noël, this work will suffi ce as an easy instruments, it was restored by Daniel & tory of eighteenth-century Alsace. Pictures at an Exhibition, originally for and enjoyable alternative. Gaston Kern of Strasbourg in 2010–12. —John L. Speller piano, and fl eshed out and enhanced The sixteen settings include the It is tuned in an unequal temperament Port Huron, Michigan by Ravel’s orchestra, the version best use of tunes associated with both the to the original low pitch of a = 370 Hz. In known today. major seasons of the liturgical year and tonal terms I would describe the effect Serge Ollive, a young Frenchman, Ordinary Time. The tunes found in this as more like the Clicquot at Poitiers than New Organ Music makes a specialty of transcribing the volume are Beach Spring, Erhalt the Silbermann at Marmoutier. Chopin, Frédéric, Three Nocturnes works of Liszt, Mahler, Franck, Debussy, Uns, Herr, Jesu Dulcedo Cordium, The improvisation on this recording (op. 9, no. 2; op. 15, no. 1; op. 15, Chopin, and Mussorgsky for organ. Llanfair, Martyrdom, Morning is situated rather unusually at the begin- no. 3; TRP-T-072004, 164 kroner); Some of these works are very long and Star, Nettleton, Noel Nouvelet, ning. O fi lii et fi liae is of course one the Mussorgsky, Modest, Pictures at seem only suitable, in my mind, for con- Nun Komm, Der Heiden Heiland, best tunes ever written to improvise on, an Exhibition (TRP-T-072005, 323 cert performance. Not all organists have Praise, My Soul, Salzburg, Song and here Pascal Reber matches the style kroner); transcribed by Serge Ollive the time to invest in such long composi- 13, Sussex Carol, Veni Creator of the improvisation to the instrument, for organ. Trumph Music Publishing tions. For this review, I have selected Spiritus, Veni Emmanuel, and providing a tripartite set of variations House, www.Trumph.se. some of Ollive’s transcriptions that could W Zlobie Lezy. very much in the style of Nicholas de An audience member at an organ be suitable for concerts but that would Organ volumes of this type help to fi ll Grigny. In so doing he succeeds in giv- concert that featured a number of also work in a church setting. two needs: useful settings of hymn tunes ing an excellent demonstration of the transcriptions said to me, “There is so Chopin’s Nocturne, op. 15, no. 3, is for those who are new to playing the capabilities of the organ, in the course much good repertoire for organ. Why the least known of the three that Ollive organ, particularly students with good of playing a Grand Jeu, various dialogues bother us with these transcriptions?” transcribes in this collection, and, keyboard facility but limited pedal expe- on the reeds and cornets, a Basse et Des- Yes, there is so much good repertoire therefore, to me, the most distinctive. rience, and quality pieces for organists sus de Trompette, and so on. At the end for the organ. Transcriptions are part of If an organist wishes to tickle the ears whose positions require a large amount of the fi nal section, an improvised fugue, this. From early on in the organ’s his- of their listeners, they may wish to try of service music for which preparation he concludes with the plainsong melody tory, transcriptions have been one way the other two. time may be limited. As Wold indicates played on the Grand Plein Jeu, making of producing interesting repertoire for Of Pictures at an Exhibition, all of the in the foreword, referring to the chorale for a very effective ending. the instrument. The intabulations of Promenades, The Old Castle, The Ox settings in this volume, “you will fi nd It might have been nice to include Scheidemann come to mind. I some- Cart, and The Great Gate of Kiev seem them appropriate for worship, concert, one or two works by Alsatian composers times think he took a good choral idea most effective for organ and could poten- and teaching situations.” Wold is to be of the eighteenth century, but it turns and then enhanced it by giving to the tially be woven into a church setting. commended on the creativity and quality out that these are surprisingly few in music things a voice simply cannot do Serge Ollive shows intimate knowl- of the music contained in this collection. number, and not much eighteenth- and, in the end, creating a wonderful, edge of the organ. Though challenging, Based on the contents and usefulness of century Alsatian organ music exists distinct composition. the pieces “work” technically. He pro- this third volume of Light on Your Feet, apart from the four sonatas of Georges There are Bach’s and Walther’s tran- vides good guidance with registration, the fi rst two volumes in the series war- Franck and a few works of Célestin scriptions of Italian concerti grossi. As and, practically speaking, the volumes rant exploration. are nicely engraved and have user- —Charlie Steele friendly bindings. Brevard-Davidson River While some transcriptionists endeavor Presbyterian Church to exactly replicate the original score, Brevard, North Carolina Ollive instead does what I believe all the effective transcriptionists do: he creates Fanfare on ‘York’ by Alan Bullard. a new piece of music. Colne Edition Church Music Series, For those who would love to play Colne Edition CE50, £4.95; www. Chopin on the organ, for those who spartanpress.co.uk. would love to experiment with the dis- One thinks of a fanfare as being bright, tinctive tunes of Mussorgsky’s Pictures at loud, and triumphal, and sounding with an Exhibition, Serge Ollive gives you a the majestic en chamade trumpets. So chance to satisfy this desire. I hope he I was quite surprised at fi rst playing continues his work. this piece because it begins very softly. —Karen Beaumont Marked piano, it is based on rising tri- Milwaukee, Wisconsin adic fragments, in quarter notes, from the York hymn tune. These fragments, Light on Your Feet, Volume Three: A as they are repeated, begin to build in Collection for Organ with Minimal volume, up to a mezzo forte, before sub- Pedal. Augsburg Fortress, ISBN 978- siding to a mezzo piano section marked 0-8066-9802, $25.00, with rubato. store.augsburgfortress.org. It is in this more meditative middle Wayne L. Wold serves as associate section that the hymn tune fragments professor of music and college organist become inverted. The opening fi gures at Hood College in Frederick, Mary- then return along with the inverted tri- land. He holds degrees from Concordia ads, for the fi rst time in the music at a College of Moorhead, Minnesota, forte, and they gradually lead to a grand Wittenberg University in Springfi eld, crescendo. For the fi rst time the tune Ohio, and Shenandoah University in appears in its entirety in the pedal. A soft Winchester, Virginia. More than 200 section appears for a short period, then of his compositions—both organ and crescendos again using, I imagine, the choral music—have been published by crescendo pedal. The melody moves at fourteen different publishing compa- fff to large chords in the soprano line. A nies. He is also an active clinician and sudden change to mp brings back a short has served as a workshop leader for semblance of the opening before the numerous organizations. piece concludes at fff. Light on Your Feet, Volume Three, The harmonic vocabulary of the piece is designed for organists who are profi - is fairly traditional. And at eight pages cient on the keyboard but who have lim- long, the duration is about 4 to 5 min- ited experience with pedal technique. utes. It is of easy-to-medium diffi culty The sixteen settings include works from and should not pose a problem for the the eighteenth through the twenty-fi rst average organist. centuries. Ten of the chorale preludes I imagine that this piece could be were composed by Dr. Wold; the used in recital or celebratory church remaining six, judiciously edited by service. Indeed, it was fi rst played by Wold, include works by G. Winston Graham Barber and “commissioned by Cassler, Alexander Guilmant, Johann G. the Leeds Organists’ Association for the

14 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM Reviews

60th Jubilee of Queen Elizabeth” where in the soprano, but it made an effective in a small cluster (a, b, and d), which Jesu, Joy of Man’s Desiring, Bach; it must have had a grand reception. surprise entrance in the pedal near the repeated many times and, to me, didn’t Wedding March, Wagner; Thanks Be to Although this music did not grab end. A funny little note in the margin, seem in keeping with the feeling of Thee, Handel; Wedding March, Men- me when I fi rst played it through, it which said that you could play an “a” the hymn. delssohn; O Waly, Waly, English folk did grow on me as time went on, and I instead of the written “g” on one chord, I found that in general this music was tune; Allegro Moderato, Handel. With recommend it. left me wondering if she couldn’t make well done and certainly provides some the purchase of a single copy, you are up her mind. hymn tune-based literature that will be granted permission to locally duplicate Organ Voluntaries on Saintly Tunes St. Columba (The King of Love My useful. Not all of it was to my taste, but these arrangements for the sole pur- by Emma Lou Diemer. Augsburg Shepherd Is), in a key change from C everyone should fi nd something usable pose of your ensemble. Fortress, ISBN 978-1-4514-2420-1, to D-fl at, has an effective, but much here. I recommend it. $17.50. more diffi cult middle section that will —Jay Zoller Wondrous Love (Southern Harmony, I own quite a collection of Emma Lou take more practice time to work out. I Newcastle, Maine 1835), arranged for 3–6 octaves Diemer’s organ music and fi nd it well liked the tune portions of St. Clement of handchimes and keyboard with written, crisp and clear, and employing (The Day You Gave Us, Lord, Is Ended), optional 3–5 octaves of handchimes refreshing dissonances in the harmony. but for me, the introduction and inter- New Handbell Music and fl ute, by Joel Raney and Arnold In addition, I like that it doesn’t lower ludes, which were drawn from the tune, Crown Him with Many Crowns, Sherman. Agape (a division of itself to the level of triteness. Her har- seemed less imaginative. arranged for 3–6 octaves of hand- Hope Publishing Company), Code monies clash enough to surprise the St. Thomas (I Love Your Kingdom, bells by Joel Raney, with optional No. 2704, $4.50; separate director/ listener, but seldom enough to shock, at Lord) alternated the melody between trumpet part by Arnold B. Sherman. keyboard score, Code No. 2704D, least for me. the right and left hands and in general Agape (a division of Hope Publishing $7.95, Level 3 (D-). Diemer calls these ten tunes was an effective setting of the tune, Company), Code No. 2709, $4.95; Here is a rich, lush setting of the “Saintly,” and for the most part, they although at times I wondered where it separate director score and trumpet early American hymn, What Wondrous are well-known beloved hymns that was headed harmonically. part, Code No. 2709T, $7.95, Level Love Is This?, arranged by Joel Raney have been around for years. Among St. Catherine’s Court (In Our Day 4 (D+). and transcribed by Arnold Sherman. the settings I really enjoyed were St. of Thanksgiving) was the only setting in Appropriate for any time of the year, The addition of the keyboard, fl ute, and Peter (How Sweet the Name of Jesus the volume based on a tune with which and especially the Easter season, George handchimes only adds to the beauty of Sounds). Diemer’s alterations to the I was unfamiliar. It features slow moving J. Elvey’s triumphant hymn Diademata this setting. rhythm of the tune were refreshing, chords played on soft strings; Diemer exudes energy and joy throughout, with and her transposition to E major from also specifi es slow-moving strings in a demanding pace for the ringers. The Luck o’ the Irish (Jubilate), written C minor and turning the solo into two St. Catherine (Faith of Our Fathers), trumpet part adds a festive dimension to for 3, 4, or 5 octaves of handbells by parts in the middle section was unex- which was a little too contemplative for the already brilliant arrangement. Matthew Prins. MorningStar Music pected. The return to the original key my tastes. Publishers, MSM-30-741, $4.75, contained a condensation of the tune Parts of St. George’s Windsor Wedding Rings, Volume I, arranged Level 3 (M+). and brought the composition together (Come, Ye Thankful People, Come) for 3 octaves of handbells and This clever and whimsical arrange- in its closing moments. might make a wonderful introduction optional keyboard by Sondra K. ment for handbells will have you In St. Patrick’s Breastplate (I to the singing of the hymn. From that, Tucker. Choristers Guild, CGB892, whistling the tune while you ring or as Bind unto Myself Today), I enjoyed a toccata-like middle section with the $49.95. Levels 2–3 (M). you listen to this music. Matthew Prins its straightforward display of the tune tune in the pedal under repeated chords Aside from the wedding titles, has used material from traditional Irish against parallel fourths. in the manuals leads back to the original several of the pieces in this collection jigs: Mist on the Mountain, Monahan’s St. Stephen (When Morning Lights key of the opening. The piece would also can be used for general use. If you’re Jig, and Morrison’s Jig. This piece, in the Eastern Skies) kept me on my toes make a good postlude. looking for good, solid arrangements 6/8 rhythm, should be a huge hit with with its rhythmic changes from 4/4 to In St. Agnes (Jesus, the Very Thought with organ, this collection is a great any audience. 7/8 and back, and later 10/8 and 5/8, of You) the melody and its introduc- resource. There are suggested assign- —Leon Nelson then 4/4 again. The tune was generally tion have three notes placed almost ments for eight ringers. Titles include: Vernon Hills, Illinois

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WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 15 In the wind...

Where’s the fi re? How loud is too loud? Throughout my organbuilding career, Several years ago, Wendy and I I’ve owned and driven large vehicles. attended a recital by a visiting European There was an interval when I tried a organist played on the Kotzschmar mini-van. It was a nice car with lots of Organ in Portland, Maine’s City Hall. He space inside, but it was no truck. It only came out on the stage to the customary lasted 185,000 miles, by far the least applause. When he got to the bench, of any car I’ve had. The transmission the audience went silent and the lights couldn’t take the loads. dimmed. The fi rst chord he played was A Mixture (size XL) Romanesco broccoli (photo credit: Jacopo The current job is a black Chevy so furiously loud that we jumped, and I Werther, licensed under CC by SA 3.0) Suburban—think presidential motor- set my teeth against liking the rest of the cades (Wendy thinks Tony Soprano!). program, which predictably continued in What’s your job? giving the melody in the tenor is an awe- It has a big V-8 engine and a 31-gallon bombastic style. I often ride the train between Boston some effect, but I don’t want to hear it in gas tank. It’s a 5,800-pound carbon My Facebook page regularly lights up and New York. It’s a beautiful route along every hymn. footprint. I know it’s environmentally with posts from organists who indignantly the Connecticut coast, passing tidal inlets Many of us are inclined to characterize irresponsible, but I justify it because of report to the community that a parishio- loaded with osprey, egrets, and herons. the pipe organ as a keyboard instrument, my work as an organbuilder. As often ner had the audacity to complain that “the There’s a wonderful sensation as those as if it is common with the piano or harp- as not, the car is loaded with ranks organ was too loud.” No doubt, some are trains leave a station. I’m daydreaming, sichord. In the matter of tone production, of organ pipes, a reservoir or two, a meant in fun—one exchange included gazing out the window, and suddenly the organ has more in common with a windchest, or at least, fi ve or six boxes the quip, “if they don’t like it, they can sit realize the train is moving. There’s no trumpet or fl ute, the piano has more and bags of tools and supplies. It’s also in the hallway.” Surely, no organist would sound of locomotion, or clanking as links in common with a xylophone, and the great for taking organ committees on say something like that in earnest. Would between cars take up slack. My imagina- harpsichord has more in common with fi eld trips to visit our past projects. they? But I often read similar comments tion goes next to the expert bus driver a guitar. I consider the organ fi rst to be Three ranks of reeds or a six-member that I know are heartfelt. and his ability to operate the vehicle a wind instrument. Making organ music committee takes the GVW up to nearly No other musical instrument can smoothly. His foot on the brake pedal is happen is about managing air. This, sim- 7,000 pounds! approach the dynamic range of the pipe feather-light, his speed through turns is ply, is why the organ is ideal for leadership Even though the car is big and organ. Organbuilders tell an old joke: just right, and his passengers are free to of our singing—both the organ and the heavy, that engine has power to spare. enjoy the ride, knowing that they’ll arrive human voice are wind instruments. We Trusting that there are not many state The voicer, seated at the console, cups safely and promptly at their destination. circulate the same air molecules through troopers reading The Diapason, I his hands to his mouth and yells to his I know, I know, that may be a fi ctional the organ’s pipes and through our voices confess that I routinely drive close to 80 assistant in the distant chamber, driver. The New York to Boston route in sympathy. We’re all in it together. miles-per-hour. I know I’ve exceeded “Is the Aeoline playing?” is crowded with budget bus companies 90 going downhill and not paying Barely audible, from the distance, that have terrible safety records. That’s You can’t play a tune attention, but I’ve never “maxed out” “Yes.” why I take the train. But I like the image on a Mixture. the speed. I’m pretty sure I could pass “Make it softer!” and compare it to the “hymn driver” at Since the revival of classic organbuild- 95, maybe even 100—but I doubt I’ll church. He goes fast enough that the ing in the mid-twentieth century, many ever try. The Aeoline in the Echo is barely words make sense, but not so fast that of us have had love affairs with Mixtures. audible; with the box closed it’s but a the average congregant can’t keep up. They provide brilliance and clarity in How fast is too fast? heavenly whisper. And the full organ is When an organist is really focused on polyphonic music, and their harmonic When I joined the Organ Clearing mighty roar—a hurricane of sound to be the words of a hymn, both pace and reg- structures blend wonderfully with cho- House, I knew I was taking on a travel used with discretion. istration follow. The other night, Wendy ruses of stops. I say this assuming that schedule that would preclude my work Of the hundreds (thousands?) of and I attended a service of Evensong, the Mixtures on your organ are well as a church musician, so after thirty pipe organs I’ve heard and played, I’ve and the devil made an appearance in planned, well voiced, and balanced with years on the bench, I hung up my experienced only one that was so much a middle verse. The organist led us to the other voices. In my days as a student, cassock. It’s been fi fteen years since I too loud that there was no single stop safety, acknowledging Satan’s presence I was organist at a church in Cleveland played for worship. Of course I miss it, soft enough to accompany a solo singer. with a growling registration for those few that had an aging Austin organ. Origi- and I may go back to it someday. But in There are many organs that are infamous bars, and returning to something more nally, there was no Mixture, and one had the meantime, it’s been fun to mix hav- for their power, but even they can be soothing. There’s the majesty of the been added not long before I got there. ing free weekends (!) with hearing other used with discretion. As organists, we organ, painting pictures with tone color. But even in my brash youth, steeped in people play for worship. have become inured to the mighty tones the ethic of Northern European classic The huge repertory of music for the of our instruments. We sit on the bench, A happy little cloud organs, I couldn’t bear to use the thing. organ is chock-full of fast passages, and alone in a dark church, challenging the Bob Ross (1942–95) was a teacher of It was just too loud, and had nothing to any good organist is capable of send- muses to our hearts’ content, in the thrall painting who famously hosted a series on do with the rest of the Great division. ing salvos of notes across a room faster of the power of the tone. For many con- PBS called The Joy of Painting. He had Mixtures in pipe organs are harmonic than a speeding bullet. And good bel gregants, not so much. a goofy way of chattering as he painted tricks. The typical Great Mixture com- canto singers can dazzle listeners with I have to admit that when sitting in that I think was intended to make aspir- prises four ranks, meaning four pipes are fast passages. But the ordinary person the pews, I often feel that the organ ing painters feel at ease. Make a little speaking on every note. My organbuild- in the pew is comfortable at a slower is too loud. I wonder how many of you mistake, a slip of the brush? No problem, ing colleagues know that I’m leaving pace. Though I’m not a trained singer, I would simmer down your registrations if make it into a bird. It’s a bird now! His out a lot of exceptions and variations as think I do pretty well, and I’m certainly you had the chance to sing to someone brush strokes were quick and easy, and I describe Mixtures generally, but it’s familiar with most of the hymns we sing, else’s hymn playing a couple times a year. he often suggested dropping in “a happy enough to say here that those four pipes but still I fi nd that sometimes I have Besides, if you’re always playing “with little cloud.” each speak a different harmonic, and the trouble keeping up. And I’m uncomfort- the pedal to the metal,” you’re making The pipe organ has a greater expressive harmonics “break back” each octave. It’s able when I’m not given enough time to organbuilders look bad. We’re supposed range and wider variety of tone colors than formulaic. At low C, those four pipes breathe. It’s easy to tell if an organist is to provide instruments that can challenge any other musical instrument, and the typically speak at 11⁄3′–1′–2⁄3′–1⁄2′, which paying attention to the words, even sing- the Gates of Hell once in a while, but expressive musician uses those character- are logical additions to “Principals, 8-4- ing them as he plays, because he needs thank heaven we’re not always facing the istics like a brilliant painter with a lovely 2”. At tenor C, they jump back a notch: time to breathe also. Gates of Hell. palette of colors. Think of the landscapes 2′–11⁄3′ –1′–2⁄3′. The 22⁄3′ pitch enters at of Meindert Hobbema (1638–1709) with middle C; 4′ pitch enters at “soprano” C. those magical patches of sunlight glowing In the top octave, some builders omit the through the trees. How did he do that? I scratchy 51⁄3′ and jump directly to 8′. think he always included trees just so he Follow me carefully. A 4′ pitch at could do his sunlight trick. I love it when soprano C is the same note as 1′ pitch at the organist gives me glimpses of sunlight tenor C. A 11⁄3′ pitch at low C is the same through the trees, or happy little clouds. note as 51⁄3′ pitch at middle C. Think this If you play through all the verses of a through, and you’ll realize that an ordi- hymn on full registrations, loud, louder, nary Mixture has pipes at soprano C that loudest, you deprive the listener/singer of speak the same, and even lower pitches the beauty of it all. than at tenor C. Sounds like a muddle, You can use your palette like sunshine doesn’t it? Well friends, use it wrong, and clouds, and you can use it like an and it is a muddle. Just for fun, play the arsenal. The arsenal is fi ne with me at melody of a hymn on Mixture alone, the right moment—that powerful Tuba especially a hymn whose tune passes out of the middle octave past soprano C. Doesn’t make much sense, does it? French Organ Now play all four voices of the same hymn on Mixture alone. Wacky. Abso- Music Seminar lutely wacky. Imagine that as a tool for July 14 - July 27, 2015 teaching a tune to someone for the fi rst ′ www.bfoms.com time. Now play the same hymn on 8 Principal alone. That’s better. What’s my

16 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM By John Bishop

Because of this, it’s often easiest to tune high mutations to reeds, assuming that the reeds are trustworthy, because the harmonics of the reed pipes are so clear. Draw 4′ Principal and 13⁄5′ Tierce, and play up the top octaves of the key- board. Substitute a Clarinet for the Prin- cipal, and do it again. I’ll bet a tuning Meindert Hobbema, A Wooded fork that you hear the pitch of the Tierce Landscape more clearly with the Clarinet. Why is a Rohrfl ute brighter than a that overtone a little better in some notes Gedeckt? Because the hole in the cap than others. Then, play and hold tenor with the little chimney emphasizes the C on the Clarinet, and on your second second harmonic, which is 22⁄3′ pitch. keyboard, tap fourth E of an 8′ stop. What does all this have to do with play- That’s the equivalent of 13⁄5′ pitch, and ing hymns? It tells us that higher-pitched Statue of Pythagoras on his home island you should be able to hear the Tierce stops are secondary to fundamental pitch. as appropriate. If you have a variety of of Samos, Greece (photo credit: John Bishop) independently in the Clarinet note. What is fundamental pitch? Eight-foot lovely solo sounds, use them. Play one Have you ever wondered why a Nazard tone. It’s that simple. If your hymn regis- verse on Trumpets alone. Play another point? Be sure that every hymn registra- and a Tierce sound so good with a Clarinet trations favor higher pitches, you’re back with Principals but no Mixtures. Just be tion includes enough fundamental tone or Cromorne? It’s because the Clarinet at that exercise of playing a hymn on a sure they can hear the tune. And be sure that the tune is easily recognizable when and Cromorne (those two stops are very Mixture alone. Awareness of all this is at that your choice of sounds supports the playing four-part harmony. similar in construction) both have promi- the heart of good pipe organ registration. words. There’s more to hymn playing If you’re playing on a large organ, you nent 22⁄3′ and 13⁄5′ overtones. That explains You can’t play a tune on a Mixture. than a blur of harmonics. likely have more than one Mixture on the origin of the French registrations It’s confusing to the singer, especially if Gentle on the accelerator and the each keyboard. Listen to each one care- Cornet (8′, 4′, 22⁄3′, 2′, 13⁄5′), and by exten- that singer doesn’t know the tune. Sug- brakes, paint beautiful colorful pictures, fully, octave by octave, and try to analyze sion, Grand Jeu (Trompette 8′, Octave 4′, gestion? Introduce the tune on a simpler “ . . . and the wheels on the bus go round what pitches are actually playing? Use that Cornet). Accident? I don’t think so. registration, and bring in bigger sounds and round . . .” Q to inform how you use them. A Principal Chorus with Mixture(s) is ideal for playing a fugue, because the graduated harmon- ics of the Mixture help project inner and lower voices of the polyphony. Mixtures are great with Reed Choruses, because they emphasize the rich harmonics of the Reeds. But Mixtures are like icing on a cake—they enhance, even decorate, but substance is in the batter. All icing, and Get Real your teeth will hurt. Do I sound like the parishioner who says the organ is shrill? Maybe it is. The math says so.

It’s all in the numbers. Here are some pipe organ facts for nothing. The reason reeds sound more brilliant than fl utes or Principals is that Are you purchasing real sounds, reeds have richer development of over- tones—those secondary pitches present or recorded sounds? in every musical tone. Pythagoras (571 BC–495 BC) was the ...real pipes last for centuries. fi rst to understand overtones. He proved that they follow the simple formula of 1:2, 2:3, 3:4, 4:5, etc. That simple pro- gression was later defi ned by Leonardo Bonacci (c. 1170–c. 1250) as the Fibo- nacci series. Google that, and you’ll fi nd Call today for terrifi c articles that show how the Fibo- nacci series describes the shell of the APOBA’s free Nautilus, pineapples, artichokes, pine cones, and magically, the Romanesco 66+ page color broccoli, which I think is one of the most beautiful and delectable vegetables. prospectus Break a head of Romanesco apart into fl orets, toss them in olive oil and salt, and roast them at 400° for 40 minutes (or less if want to keep some “tooth”), maybe sprinkle a little lemon juice and parmesan.

What does all this have to do with playing hymns? Pythagoras’s overtones can be defi ned this way. Play low C on an 8-foot organ stop, and you’ll be pro- ducing the following pitches: 8′, 4′, 22⁄3′, 2′, 13⁄5′, 11⁄3′, 11⁄7′. Recognize those? It’s nothing but a list of the most common pipe organ pitches. Accident? I don’t think so. You may fi nd these hard to hear, and as a practical matter, lots of them are inaudible, but they’re there. I demonstrate this at the console using voices like Oboes or Clarinets. They NORTH have especially rich “second overtones,” AMERICA’S which is the equivalent of 22⁄3′ pitch. Play and hold tenor C on the Clarinet. Then, PREMIER on another keyboard, tap third G on an ORGAN BUILDING 8′ stop. (That’s the equivalent of 22⁄3′ pitch at tenor C.) That should enhance & SERVICE FIRMS your ability to hear the 22⁄3′ pitch pres- APOBA.COM 800-473-5270 ent in the Clarinet note. Move around to different notes, and you’ll likely hear

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 17 On Teaching By Gavin Black

Listening carefully any hesitation or stopping to think. If we of the sustained sound of those longer It seems to me that there exists a set are listening carefully—especially during notes might infl uence how we play the of challenges and opportunities that any sort of performance, but also during faster notes. The articulation and timing arise from questions about how to lis- practicing—then we should be listening of those notes does not take place in a ten to one’s own playing while playing, in order to react and to learn, not to ana- vacuum, but rather against the sound both when practicing and while actually lyze on the spot. Analysis has to be done of the sustained notes. There is an ebb performing. This is only one way of fram- afterwards from memory, otherwise it and fl ow of dissonance and consonance ing or organizing those issues, some of can lead to hesitation or a sort of timid- between the moving notes and the held which might otherwise seem only loosely ness about going on. (This works out notes. This might especially infl uence related, if related at all. I think that this differently from one person to another, choices about timing—rubato and/or is useful and interesting, however, and and it is important not to become hung agogic accentuation—but also articula- it helps me think both about aspects of up on listening in a way that causes hesi- tion. With what we might call “medium- my own learning, playing, and perform- tation—if you sense that you are having sized” notes—notes that do not even ing, and about ways of inviting students a problem of that sort. I sometimes do approach seeming like pedal points, but to approach all sorts of aspects of their myself; some people will, some won’t.) are long enough that a subconscious work that are not directly about note- But what might we be listening to or tendency to short-change our attention learning or other basic, practical things. I listening for when we do listen carefully to to the middle part of the note might kick of this vary with pitch, volume, sonority, will focus on different sides of this range our own playing—on organ in particular? in—the middle forms an integral part how long you have held the note before of questions this month and next. With any way of making music, there of the overall shape. A more conscious you release it? are things that the musician can con- attention to that middle might affect One side effect of doing some of this Listening during playing trol, and things that he or she cannot. decisions about articulation and timing, sort of listening is that you will begin not This is a good thing—something that This profi le is different for each type of or, on sensitive mechanical action instru- to consider your pieces over until some everyone who creates music tries to do instrument. On unfretted bowed string ments, even about how (as opposed to little while after you have released the most of the time, I would think. Almost instruments, for example, the player can just when) we attack and release notes. fi nal sound. It is not at all uncommon for no one would say (again, at least within set pitch freely and change pitch freely students to behave as if a piece is over as my experience) that we should all just during the course of a note, and can also Room acoustics soon as the last note has been “played”— learn our pieces very solidly, physically, shape dynamics fairly freely during the Another thing that we can listen to that is, initiated. Sometimes someone and then play them physically without middle of a note. Changes of timbre are more consciously than we sometimes will press down the keys for the fi nal paying attention to the sound. Thus it possible over a somewhat limited range, do is acoustics. The importance of room notes and begin talking about the piece would be arrogant and silly for me to either at the beginning of the note or acoustics to organ sound and organ play- before releasing those notes. Of course claim to have come up with anything across the note’s duration. The player of ing is well known. At the simplest level it this is not a terrible sin: any such person brand new here—just a few ideas about a fretted string instrument can change is essentially this: the more resonant the knows perfectly well not to do that in how to think about it or to apply it. pitch slightly, and can set the initial room, the more it is possible for notes performance. Still, there is something to At the same time, being honest about volume of a note, but cannot change with articulation between them to sound be gained by listening until the sound is it in my own case (which I think does the volume of an ongoing note freely— effectively legato. Or, to put it another really, entirely gone. For one thing, the generalize to many other players), I real- only by determining when and how to way, the more resonant the room, shaping of a fi nal cadence or other end- ize that I don’t always listen to what I am end the note. He or she can adjust the the more space you need between ing gestures should be based on a timing doing while I play—at least not with real timbre of a note at its beginning over a notes to achieve any given level of that includes the post-release effect of focus and/or not in any great detail. If it fairly wide range, but cannot adjust that detached or articulated sound. the acoustics on the sound. is an ideal to do so, then it is one that aspect of the sound during the note. A However, something more technical Focusing one’s listening on specifi c I don’t live up to. And I think that this harpsichordist cannot change the sound and specifi c also takes place. The sound elements of a piece can be a useful is sort of a mixed bag. Some of the time of an ongoing note in any way at all until of the beginning instant of each note practice technique. This applies to iden- when I am practicing or performing and it is time to release the note. On organ, lingers in the room for a length of time tifi able motives: for example, once you I notice that I have gone a few beats or a the player can mostly not infl uence a determined by the acoustics of the room. know the notes of a fugue (or other piece few measures without really registering note once it has been started, again, that The sound from each subsequent instant with melodic motives) rather well, you anything much with my ears, I realize is, until it is time to release it. There are of the sound does the same. Thus the can play through it focusing on listening that I have just spaced out. This is cer- some exceptions to this—changing stops sound of each note will continue to grow only to the fugue subject whenever it tainly not best for keeping my playing during a held note, for example, and until the lingering sound from the fi rst comes in, or to a particular countersub- sharp or for avoiding technical pitfalls. changing swell pedal position, which instant of that note has died away. From ject, or to more than one such melodic And it is dangerous: carried to any sort does not change what the pipes are doing that point on the sound will remain component, but not consciously listening of extreme it can lead to full-on falling but changes the way that the sound constant until the note is released. That to the whole texture. Or, you can even go apart. It is a normal human thing to do, reaches the listeners. There is also the means that the specifi c timing of the through a passage or piece only playing however, and the main thing to say about somewhat specialized but occasionally resonance of the room actually helps to one particular melodic component—or it is that it is a good idea to gain some important phenomenon of infl uencing create the specifi c shape of notes. Since more than one, but not the whole tex- experience noticing it and keeping play- wind pressure during a sustained note this acoustic timing is, for a given space, ture—listening carefully to it/them and ing through it. by playing other (faster) notes. defi ned in absolute time—not through hearing everything else in your head as Sometimes, it is a practical neces- Still, in listening carefully to our own anything about the beat of whatever best you can. After you do this, when you sity to quit listening with real attention playing, we are mostly listening to an piece you are playing—its relationship put all the rest of the texture back, see (obviously we always hear what we established sound for the purpose of to the notes that you are playing varies whether your overall listening and hear- are doing, at least out of the corner of reacting to that sound, not for the pur- with tempo and note length. This effect ing experience has changed a little bit. our ears) on purpose and focus hard pose of changing it. One thing that it is is most noticeable with medium-length Many questions revolve around the on something technical and diffi cult, important to remember about this act notes. Quick notes are likely to be over project of listening for the overall impact or something that seems about to go is that we should develop the habit before this acoustic accumulation has of what you are doing. This is a large wrong. If a passage suddenly seems of listening to the whole sound, not peaked; very long notes have most of subject, and one which involves ques- to be slipping away in performance, just the beginning of the note, and their duration after the sound has leveled tions that are hard to tackle: How much then it is important to take whatever also not just the beginning and then off. Of course, “quick” and “long” are not and in what ways can you experience the emergency rescue action seems likely to the end. It is the beginnings of notes rigorous terms. The point is that, in any emotional or affective content of your work. (This happens to just about every- that almost defi ne “playing” as a physical given space, you can systematically listen playing while you are playing? Should one from time to time.) This is unlikely act on keyboard instruments. We have to the bloom of sound created by the a performer even be trying to do so? If to include listening carefully to sonority “played” a note on the organ when we acoustics. The best way to approach this so, why, if not, why not? What are the or acoustics, or anything of that sort. have initiated it. When the note reaches is probably the most direct and simple. risks to letting yourself listen as if you It is more likely to include things like its end we “release” it. The part in the Play an isolated note and listen to the were one of your own listeners? Does redoubling focus on reading the notes middle is non-active for the player. These fi rst few seconds of it carefully. Can you this set of questions shed any light on the and remembering fi ngerings and pedal- circumstances create a constant pull not hear it grow and then level off? Can you relationship between players and listen- ings, possibly glancing at the keys, being to pay attention to that middle part. hear this better with your eyes closed, or ers, perhaps by seeming to have differ- careful not to speed up, and so on. facing one way or another? (Those are ent answers for different performance Furthermore, there are moments The middle portion of notes probably just tricks to shift the focus of situations? And, at a more concrete level, during a performance (or just while play- However, the middles of notes your listening, but that doesn’t mean that what about listening for your registra- ing through a piece) when everything actually constitute most of what a they don’t work.) Does this effect seem tions, balance, and so on? seems to be fl owing easily, comfortably, listener hears: more so with organ than different with a note of different pitch, Next month I will muse further about and naturally. During some of these with most other means of music produc- volume, or sonority? some of this. Q moments, the listening that I am doing tion, since the middle portion of a note You can also practice listening directly is somewhat detached—not close or does not die away. This, in and of itself, to the acoustics of a room by playing Gavin Black is director of the Prince- analytical. And this is probably OK at seems to suggest that it is important to notes, releasing them, and listening to ton Early Keyboard Center in Princeton, those moments. The important thing is remember to listen to this part of what we what happens after you have let the key New Jersey. He has recently begun mak- to make sure that this sort of calm, “in play. What do I think that we can achieve up. Can you hear the sound linger? Does ing informal recordings of some of his the zone” not-really-listening does not by paying more conscious attention to the dying away of the sound seem linear, harpsichord and organ performances shade over into a spaced-out lack of pay- that part of our sound? When it comes or does it die away in waves? What is available through Soundcloud: https:// ing attention. to really long notes—say half-notes or the longest-out point from releasing the soundcloud.com/gavinblack. It is also important not to listen with longer in a contrapuntal texture that note where you can convince yourself Gavin can be reached by e-mail at a kind of misdirected focus that involves has a lot of eighth-notes—the presence that you still hear something? Does all [email protected].

18 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM Organists’ correspondence

From the Alexander Boggs Ryan Collection: The Letters of Marcel Dupré and Alexander Boggs Ryan Alexander Boggs Ryan at the 1951 Aeolian-Skinner Opus 1174, First Compiled by Lorenz Maycher Baptist Church, Longview, Texas

Note: All letters, photos, articles, and that the moment he began playing, one fi ne brilliant technique and undeniable transcription of the piano work “St. other memorabilia used here are from felt strongly the presence of an artistic musical gifts. Francois de Paule marchant sur les the personal library of Dr. Alexander giant—a god of music. In that respect his He has been through an exhaustive fl ots.” Both had a great success. Boggs Ryan, housed at Trinity Episcopal playing was quite unlike any other of my repertory of classical and modern works Yes, the long-playing record of Dora Church, Longview, Texas, and Kilgore acquaintance. Privately, he was the most with me and given a fi ne organ recital Poteet was sent to me. Her death has College, Kilgore, Texas. The letters were affectionate and loving master that one which has won him applause in the been a great sorrow for us. She was such fi rst publicly presented at the Gregg could possibly imagine, full of fatherly organ hall of the National Conservatory a remarkable artist and a fi ne woman. County Historical Society, Longview, care for every aspect of one’s life and of music in Paris. Serious and earnest I also have the photo taken at St. Texas, by David Ford during the 2012 thought. High standards and unremit- in his work, of perfect good-breeding, I Sulpice with Widor, Philipp and myself, East Texas Pipe Organ Festival. All spell- ting work were necessary but he inspired am confi dent he will fulfi l with distinc- but thank you all the same for your ing and punctuation has been retained as and guided with a unique, genial humor tion any post he may be entrusted with. kind thought. found in the original letters. and sweetness. (signed) Marcel Dupré I certainly was most happy about the Boggs, I believe, was an almost ideal wonderful reception I had in Detroit Introduction subject for study with Dupré. With his § and it was so good to see again so many Marcel Dupré and Alexander Boggs superb pianism (very important to the old students such as yourself and so Ryan—By one who knew them both master) and his familiarity with the Parisian 40 BOULEVARD ANATOLE-FRANCE many friends who had come from quite Marcel Dupré (1886–1971) had many organ school, he was able to imbibe the MEUDON (S. &-O.) a distance. American pupils, notable among whom maximum benefi t from study in Meudon. November 12th 1961 With affectionate thoughts from were Emory Gallup, Carl Weinrich, Boggs’ fi ne Southern manners would have My dear friend, Madame Dupré and myself and best Clarence Watters, and Dora Poteet. been appreciated by the Dupré family. In I returned from concerts in Germany wishes for continued success, Although the foregoing were better addition, he brought Dupré repertoire that last night and found your good letter for Yours ever, suited to his approach than some others, would not have been part of the usual con- which many thanks. I was glad to hear (signed) Marcel Dupré there is no doubt that Clarence Watters servatory organ class drill (i.e., the Reubke your news about your work and activities. and Dora Poteet were shining examples Sonata). The notoriously miserable organ I am sending you the photos dedi- § of his tradition and that they in turn in the Salle d’Orgue had recently been cated. When I have a little time, I will passed this legacy on to their pupils in a replaced by a new, electric-action instru- look up whether I have the signature of 40 BOULEVARD ANATOLE-FRANCE way that insured reverence and respect. ment. Dupré was able to provide this Philipp and Widor, but I am leaving to- MEUDON (S. &-O.) Alexander Boggs Ryan (1928–1979) venue for Boggs’ début in 1953. night for a concert tour in England and OBS. 14-45 possessed an enviable and, in some ways, As a fi tting coda to his years of study, have still much work on hand. March 27, 1962 unique musical pedigree. Quite apart Boggs earned his DMA at Ann Arbor in The concert for Liszt’s commemora- My dear friend, from his excellent piano background 1963. He studied with Helen Hewitt’s tion was not a recital, but a concert Many thanks for your letter. It was and well before he came to Dupré, he classmate, Robert Noehren, another with orchestra at Palais de Chaillot. kind of you to write about the article on had received the Great Tradition (the member of Farnam’s celebrated Curtis Two transcriptions of mine for organ Alexandre Guilmant. Parisian organ school’s “apostolic succes- organ class.* Marilyn Mason was also an and orchestra were performed, with Thanks for the interesting programs sion”: Bach to Kittel to Rinck to Hesse to infl uence, with her connection to Palmer myself at the organ and the Pasdeloup you sent me and for the French program Lemmens to Guilmant & Widor and their Christian, a sometime pupil of both orchestra: Fantasy on “ad nos” and the for your third recital. pupils) from Dora Poteet Barclay. Helen Straube and Guilmant. Hewitt, one of Lynnwood Farnam’s pupils Alexander Boggs Ryan had an acute at the Curtis Institute, would become sense that this great cloud of witnesses another early infl uence. (Although Far- had contributed in many and various Scattered leaves ... from our Scrapbook nam lacked a direct connection to the ways to his musical footprint. In my Parisian organ tradition, he was on inti- opinion, his best years as a player were, mate terms with many of its great lights. roughly speaking, a ten-year period from Farnam was in and out of many famous 1954 to 1964. Everything that he played organ lofts and established bonds with seemed to contain a leading soprano line The most Albert Dupré, Henri Mulet, and Charles and cantabile legato, including Reger, a Tournemire among others. He and the composer that benefi ted greatly from his meticulous technique Duprés often met at Claude Johnson’s relaxed, lyric approach. country house. As is well known, Vierne’s —Karl Watson and thoughtful musicianship Sixth Symphony is dedicated to him.) Staten Island, New York When Boggs arrived in Paris in 1952, go for naught Marcel Dupré was in the fi nal years of *In the years before his early death, his professorship at the Conservatoire. In Lynnwood Farnam taught the fi rst organ unless projected previous decades his organ class included class at the then newly founded Curtis a glittering roll-call of greats, from Institute of Music. The members of the by a beautiful sound. Olivier Messiaen to Jeanne Demessieux, class were Lawrence Apgar, Robert Cato, to name only two. In the immediate post- Helen Hewitt, Alexander McCurdy, war period alone there had been, among Robert Noehren, and Carl Weinrich. the women, Françoise Renet, Marie- Henri Temianka Madeleine Chevalier, and the fabulous Letters Suzanne Chaisemartin; among the men, CONSERVATOIRE NATIONAL Pierre Labric, Jean Costa, and the unfor- DE MUSIQUE gettable Pierre Cochereau. Beginning PARIS, le 22 February 1955 in 1954, Dupré would place the organ 14, RUE DE MADRID, 8E class in the hands of his faithful Rolande LABORDE 20-80 Falcinelli and assume the title of director LE DIRECTEUR of that august institution. I have pleasure to state that Mr. Much nonsense has been written and Alexander Boggs Ryan who has studied Schoenstein & Co. muttered-about concerning the so-called organ with me during a year has proved a Olympian aloofness of Marcel Dupré but most interesting and satisfactory student. Established in San Francisco š 1877 the facts, as well as the testimonies of his Through steady and intelligent work he www.schoenstein.com ❧ (707) 747-5858 pupils, tell a very different story. It is true has made continued progress. He has a

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 19 Organists’ correspondence

I congratulate you on your recent fi ne appointment at Western Michigan Uni- versity and am very happy to see that your hard work and talent are being acknowl- edged. I shall always be interested in the progress of your musical career. The centenary of the organ of Saint- Sulpice will be commemorated on May 3rd. It was dedicated on April 29, 1862 by César Franck, Guilmant and Saint- Saens. So, I shall play some of their music, also my Passion-Symphony etc. The organ is always magnifi cent. With warmest regards, Sincerely, (signed) Marcel Dupré

§

40 BOULEVARD ANATOLE-FRANCE MEUDON (S. &-O.) OBS. 14-45 Letter from Dupré, February 22, 1955 Alexander Boggs Ryan’s 1953 Paris Conservatoire recital program announcement April 25, 1962 My dear friend, Many thanks for your kind letter, for the interesting programs you gave in with the organ, but the combinations year ahead. A new organ work of mine The above enumeration indicates one New-York and for the photo at the organ are not ready yet, nor the new stops. So, will be released this month. copy of each, as to get will take some in Detroit. I am returning the other two at the present moment, but for the new We both keep in the best of health. work on the part of M. Legouix. which I have inscribed according to console, the organ is as it was. With every good wish, Cher maître, I realize that you are a your wish. As for Saint-Sulpice, I keep my own Cordially, busy man. If you do not have time to With every good wish, beautiful console and organ as they are, (signed) Marcel Dupré attend to this for me, just send me the Cordially, as they were when I started playing there address of M. Legouix. I don’t have it, or (signed) Marcel Dupré as Widor’s assistant over fi fty years ago. § would write to him direct. I am sorry not to be able to send you Am off for recitals in Chicago, Wichita P. S. In 1956, I recorded several works a program of the bi-centennial of Liszt, Tuesday, 12 February 1963 (Kansas), Columbus (Ohio), and New for the Westminster Co. on the St. Sul- but I have none left. Dear M. Dupré: York City during March and April. Wish pice organ, among which my “Stations With kindest regards and best wishes, This is my fi rst communication to you me luck. of the Cross.” I know the Company has Yours cordially, in 1963, and I trust that this fi nds you Sincerely, had fi nancial diffi culties, and I have, of (signed) Marcel Dupré and Mme. Dupré feeling well and busily (signed) Alexander Boggs Ryan course, never got any royalties, but this engaged in activities that you both love is not what I am concerned about. I have § so much. P. S. I forgot to tell you. My informa- written to them to inquire whether my We have had a terrible winter so far: tion states that Stradal also made an “Stations of the Cross” were available, 40 BOULEVARD ANATOLE-FRANCE much more snow than in former record organ edition of the Reubke “Sonata,” in but they never replied. The recording MEUDON (S. &-O.) years. I’m not used to it, of course, origi- which he made some corrections (notes) of that big work means a lot to me and OBS. 14-45 nating from Texas, but am confronted indicated by Liszt. This was also Edition I should be more than sorry if my work October 14, 1962 with the facts at hand. Cotta, and I’m interested in this, too. So came to nothing. My dear friend, I hope to fi nish my Doctorate at the tell Legouix about it. Thanks. Do you know anything about it or I am just back from Holland, where I University of Michigan by June. I’m could you kindly make some inquiries? gave four recitals during the week and working on my third and fi nal recital, § Many thanks in advance. fi nd your letter, for which I thank you. I which will be all French. It includes am delighted to hear you are doing so well some of your “Stations” as well as your 40 BOULEVARD ANATOLE-FRANCE § both in your teaching and concerts. Thanks “Noel Variations.” In addition, I’m pre- MEUDON (S. &-O.) for the interesting clippings you sent. paring a document on all three recitals, OBS. 14-45 40 BOULEVARD ANATOLE-FRANCE I am glad to hear you will play at Rock- which will contain program notes and an March 18th, 1963 MEUDON (S. &-O.) efeller Chapel, Chicago during Lent. analysis of some 30 works. My dear friend, OBS. 14-45 Such a magnifi cent organ! I shall think of Is M. Legouix (the second-hand music I apologize for this belated answer May 10th 1962 you playing my “Stations.” dealer) still alive? The reason I ask is to your letter, but we have been away a My dear friend, As regards the Variations of the Sym- that, when I studied with you ten years good deal. Many thanks for your letters and for the phonie Gothique, it was Widor’s wish ago, I bought a considerable amount of We found Legouix address, which is: information about the Westminster Co. that one of them, the Canon in trio form, music from him in rare editions—mostly 4 Rue CHAUVEAU-LAGARDE and their successor. I am writing to them. should be omitted. He considered it as German publications that had long been 8e How kind of you to have got my “Sta- too scholastic, so I always complied with out of print. At that time I studied the Madame Dupré called at the shop tions of the Cross” as a gift to me. I shall his wish. Reubke “Sonata” with you, which I this afternoon and was received by let you know when the record comes. I When I write to Marriott, I will cer- performed at the Conservatoire. I tried Madame Legouix from whom she have the two other records. tainly put in a good word about you. to locate an “original” of that work, origi- heard that her husband died seven I am sending you the program of the You inquire about my activities? The nally published by J. Schuberth & Co., years ago accidentally. But she is car- St. Sulpice organ centenary. The concert next will be the performance of my Ora- Leipzig. This organ-work was not among rying on his work with some help. She was a tremendous success. Thousands torio, “La France au Calvaire,” for choir, Legouix’s holdings at the time, although could not tell me whether she had the packed the church and the organ soloists, organ and orchestra, at Palais de he promised to get me a copy. I have works you ask for, but is going to make sounded more gloriously than ever. Chaillot on November 4th at the Pasde- never heard from him since. some research and let me know. She Concerning the rebuild of Notre- loup concerts. Now, the point is this: I would like, took my phone number and has your Dame, the rebuild is not completed yet. Then I am leaving for Switzerland on if possible, to get these compositions list of works in hand. The new console has been connected November 10th. I have another busy from Legouix. They are all works by So, as soon as I have some news, I will Julius Reubke, and would be helpful in let you know. the preparation of my document. They Cordially yours, Whole & Fast include piano works, also. They are (signed) Marcel Dupré Half Sizes Shipping! the following, and I’d appreciate your in 3 Widths giving M. Legouix a call on the phone § in order that he might make some Try our suede soles and experience inquiries for me. For this favor, I’d be 40 BOULEVARD ANATOLE-FRANCE most appreciative: MEUDON (S. &-O.) the perfect combination of Titles, as they appear in German: OBS. 14-45 slide and grip Organ: 1) Sonate in c moll. Der 94ste October 2, 1963 on the pedals! Psalm. J. Schuberth My dear friend, Piano: 2) Sonate in c moll. Der 94ste As soon as your letter of August 7 Mens & Unisex Psalm. Edition Cotta arrived I wrote to Madame Legouix say- Women’s Mary Oxford $60.50* and up Jane $52.50* (transcribed for piano by August ing you had never heard from her and *plus postage Stradal, Stuttgart, 1926) asking whether she had been able to fi nd TOLL FREE: 1 (888) 773-0066 organmastershoes.com Piano: 3) Sonate in B moll. J. Schuberth any of the rare editions you wanted. 44 Montague City Rd, Greenfield, MA 01301 USA Piano: 4) Scherzo (not certain of pub- Her reply to my letter came yesterday lisher, probably J. Schuberth) only. (She may have been away during

20 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM Autographed program cover for the centennial of the St. Sulpice organ, Alexander Boggs Ryan publicity fl yer, Dora Poteet Barclay May 3, 1962 Letter from Dupré, May 10, 1962 circa 1963

the summer vacation.) A very short reply be the same again for us. But we have to playing, composition and teaching. He When the Doctors arrived, there was it was as you may see, at the back of the go on for the dear children she has left us. has made some new recordings for Phil- nothing to be done; rupture of abdomi- fi rst letter you wrote in February. (“With Mr. Dupré is very courageous, though, ips recently—a disc of Bach Chorales. nal aneurism. my apologies for not fi nding this.” L. and has resumed all his duties. Music I am heart-broken. After our many Legouix) I am sorry it will prove disap- helps us and I am always looking forward § years spent together in such close union, pointing for you. to St. Sulpice on Sundays. the loss of that wonderful companion, so Our most sincere congratulations on We are going next week to Frankfurt, 40 BOULEVARD ANATOLE-FRANCE great, but so simple, so kind, so loving is your Doctor’s degree from the Univer- where a group of organists is to give a 92 – MEUDON so hard to bear. sity of Michigan. concert of M. Dupré’s works, and the 027-14-45 But I thank God for his peaceful end, We were shocked to hear about day before, he will be giving a recital of Friday 23 July 1971 a blessing for him, this end he deserved Parvin Titus’ terrible accident but were French music. My dear friend, after his great life of devotion to his art, somewhat relieved when we were told We have read the programs you sent us Your letter reached me this morning to his students, to his friends, and his recently by Mr. Cunkle, the editor of with great interest, always touched about and I was profoundly moved by all you humanity. Everybody loved him. “The Diapason,” that he was getting bet- your devotion to your master’s music. wrote from your heart. Yes, I have received I try to get some strength from so many ter. But his poor wife! Affectionately Yours, letters and telegrams by hundreds from happy memories of our life, particularly With affectionate regards from both, J. Dupré all over the world and am far from hav- from the very last ones. On April 22, he (signed) J. Dupré ing answered them all. But yours, which played for the last time in London, at § came apart, gets this returned answer. the Albert Hall for the celebration of the § The sudden passing away of my centenary of the Hall in which he had Mr. & Mme. Marcel Dupré beloved husband was a terrible shock. given his fi rst concert abroad in a con- December 3, 1963 40, BOULEVARD ANATOLE On Whit-Sunday, May 30th, he was play- cert hall fi fty years before, in December M. and Mme. Marcel Dupré FRANCE ing his two masses at St. Sulpice, ending 1920. He had such an ovation from the 40, Boulevard Anatole France MEUDON (S. &-O.) at 12 o’clock with an improvisation on impressive crowd: 7000 people. We were Meudon, S.- et - O. Telephone 14-45 the Easter Alleluia which a friend had both deeply moved. I am sorry I have no France Observatoire requested, and a few hours later, at the programs of the Albert Hall. My dear friends : Undated handwritten notecard end of the afternoon, all was over. After Then for his 85th birthday, there was It is with a sense of extreme regret Dear friend, St. Sulpice, we had driven back home, a most moving evening at St. Sulpice: that I have just read of the passing of Many thanks for your nice card and had a quiet lunch together, then he read his oratorio “De Profundis” was sung your daughter, Marguerite, on October for the interesting press notices. We his Sunday paper and said suddenly: “I during the fi rst hour, then a big group 26, 1963. I had no idea that she had been are happy to know your concerts are so feel a little cold; I am going to lie down of his former pupils at the Conserva- desperately ill, and there was no indica- successful. We both keep well and Mr. on my bed.” Shortly after, he lost con- toire where he had taught for 28 years, tion of this in Mme. Dupré’s letter of Dupré is as busy as ever with concert sciousness and passed without any pain. gathered around him in the centre of the early October. Herefore, please accept my sincerest sympathies in this your hour of extreme sorrow. Please convey to Marguerite’s husband and her children my heartfelt shock upon receiving this news. I am looking forward to seeing you next summer, as I contemplate my fi rst trip to Europe in ten years. Very sincerely, Dr. Alexander Boggs Ryan Chairman of the Organ Dept. Assistant Professor of Music Western Michigan University ABR/leh

P. S. In as much as Marguerite and the late Dora Poteet Barclay were close friends some twenty-fi ve years ago, St. Stephen (mobile organ), Vienna - Austria - 2009 I shall inform Dora’s husband of this tragedy; for surely he will want to write Rieger builds classics to you.

§ for the future.

40 BOULEVARD ANATOLE-FRANCE MEUDON (S. &-O.) OBS. 14-45 January 6, 1964 Dear friend, Rieger-Orgelbau GesmbH Many thanks for your letter of sympathy A-6858 Schwarzach-Vbg., Hofsteigstraße 120 in our great sorrow. We are heart-broken, T +43 (0) 5572/58132-0, US: 212-289-0615 for our beloved Marguerite always fi lled www.rieger-orgelbau.com, [email protected] our lives with happiness. Life will never Presbyterian Church, Bryn Mawr - USA - 2005

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 21 Organists’ correspondence church; Messiaen, Langlais, Cochereau, Mme. Durufl e, etc., etc., read beautiful tributes before him. A week later, on May 13th, Rolande Falcinelli who succeeded him as the head of the organ class when he was appointed Director of the Conserva- toire gave a recital with his 2nd Sym- phony and he concluded the recital by a great improvisation. The funeral took place at St. Sulpice on June 3rd, in the packed church. The ser- vice was so beautiful, with the Requiem Gregorian Mass which I had requested. He was buried in our little cemetery in Meudon, a few minutes from our home, with our darling Marguerite. We both used to go to her grave every day. Now I Alexander Boggs Ryan publicity photo, go alone until I join them. Notation from Madame Legouix March 2, 1964 Dupré recital series announcement Marguerite was our only child. The girl you saw at the concert last year was a cousin from Rouen. Now, I am trying to be courageous for Madame, pass away. Then Death, where is thy In such a home, an exceptionally my three grandchildren, all three students My dear colleagues, victory? For he will pass through this gifted child found the most favourable and who still need me. They are sweet Ladies and Gentlemen, supreme test and emerge still greater; climate possible for the fl owering of his kids and their grandfather loved them so. It is with deep emotion that I come and the glorious reputation which he talents. Without having frequented that With many thanks for your sympathy, here today, bringing in the name of the leaves us is as the sun shining from the blessed dwelling, called simply “le Vert- Sadly Yours, whole Académie des Beaux-Arts, a last world beyond the grave. Buisson” (the green bush)—the name J. Marcel-Dupré farewell to our illustrious colleague and Thinking of the life of the soul in the of the street—by the people of Rouen, friend Marcel Dupré, who has been kingdom of shade which is now his, where one could not possibly assess how much P. S. I don’t get The Diapason and taken away so suddenly from the affec- is the new Paul Valery who can describe ardour, hard work, and faith, the love of a would be so grateful if you would send tionate companionship of his family and for us in the style of “Eupalinos” the fas- diffi cult art can muster in order to achieve me a clipping of the article. his countless disciples and admirers. cinating discussions which Marcel Dupré the most important objectives, which are On this sad day, it is not only the will be able to have with his well-loved J. to arouse curiosity, to consolidate knowl- § French Institute and our society which S. Bach, and with all the giants of music edge, and to create enthusiasm. shares your mourning, Madame, but whom he will meet in the Elysian Fields. For his enlightened parents applied French Institute also the whole world of music or as one For us, it remains to measure the enor- the utmost care in nourishing the talent (Institut de France) can truly put it, all the musicians in the mous void created by the disappearance of Marcel Dupré, which declared itself Academy of Arts world, for, in the unanimous opinion of of our dear and illustrious colleague. early. At the age of twelve, he performed (Académie des Beaux-Arts) his peers, Marcel Dupré must be classed One can succeed to the post of a Marcel the opening recital on the organ at the Funeral of Marcel Dupré, in the fi rst rank among musicians, com- Dupré, but one can never replace him. church of St. Vivien. He soon became Member of the Musical Composition posers and organists of all time. In this day of sadness, Madame, may a living legend for the young musicians division, Member of the music division of the I express to you and your children the of the town. My mother was always talk- held in St. Sulpice Church Académie des Beaux-Arts 15 years, he deep and sorrowing sympathy felt by the ing to me about him, with the ardour of Paris, 3rd June 1971. was one of the most remarkable fi gures members of the Academy of Arts, all of an admiring music-lover, who hoped to in its long history. whom share your grief. But as the great inspire her young offspring at an early ORATIONS Without any doubt Dupré was a great Christian orator Massillon, who belonged age with sound reasons for working, hop- By artist, as his whole life and career bear to the Academy more than two centuries ing, and admiring in his turn. M. Jacques Carlu, witness, and his immense musical output ago and whose statue stands before us in These reasons quickly multiplied. President of the Académie des Beaux-Arts will presently be described for us by this Square of Saint-Sulpice, said in one of Recitals succeeded one another, keep- And his lifelong friend and companion, and his famous sermons: “the feelings which ing always the same high standard of M. Emmanuel Bondeville, fellow native of Rouen, our permanent a sudden death arouse in our hearts are perfection. Prizes accumulated, marking Permanent Secretary of the Académie secretary, the musician Emmanuel feelings of a day of grief, as though death the fruits of a complete musical training, des Beaux-Arts Bondeville, with all his wide knowledge itself was a matter of a single day.” including as they did prizes for perfor- and the brotherly affection he felt for the Dear Marcel Dupré, our friend and mance on the piano and the organ, and Paris, musician who has passed away. colleague, you rest assured that our grief the Grand Prix de Rome for composi- MCMLXXI But one didn’t have to be a musician will be unending. tion. At the same time, to hear Marcel Institute publication to admire Marcel Dupré, for although Dupré praising the teaching of Guilmant Printers to the Institute: not everyone is gifted with a good ear, ORATION and Widor, was a lesson in their contri- 1971 No. 13 you only needed to have a heart in order pronounced by bution to music, but it was also a lesson Firmin-Didot & Co. to love the man. M. Emmanuel BONDEVILLE in modesty, a spiritual quality which this Rue Jacob 56. For among all those who in many Permanent Secretary of the Acadé- great man never forsook. countries have drawn near to Marcel mie des Beaux-Arts In spite of these successes, which gave ORATION Dupré, is there a single one who could Madame, as much pleasure to those who loved him by forget the man, the friend, or the master? My dear Colleagues, as they did to himself, an even higher M. Jacques Carlu He was so innately good and infi nitely Ladies and Gentlemen, summit was to be reached in 1920, when President of the Académie des gracious, always ready to share the fruits How can one call to mind the great Marcel Dupré played in ten recitals the Beaux-Arts of his experience and his immense talent. fi gure of Marcel Dupré without reca- whole of the organ works of John Sebas- Whatever the circumstances he could pitulating the main stages of the career tian Bach, from memory. never be selfi sh or insensible—his which marked his astonishing and This wasn’t merely a feat of stupen- natural and unvarying kindliness would ineluctable ascendance? dous prowess, but a manifestation of not allow it. So the great artist Marcel He had this great privilege of the strong, something even greater, for Marcel Dupré was surrounded by much admi- of following with sureness the ordained Dupré had performed these recitals with ration and loving respect among all the path, climbing it with fi rm undeviating the meticulous care which he insisted on circles he frequented. steps, and reaching the higher summits applying to every act, whether of inter- Rarely can France have possessed a by an unbroken ascending curve. pretation or of creation. “Do you know,” better ambassador for the art and cul- He always remained close to his roots. said his father one day to me, “that before ture of our country, hence the warmth of The rue du Vert-Buisson, at Rouen, was giving these recitals, Marcel consulted all the welcome which greeted him on his an excellent musical centre. The province the editions, and all the available manu- numerous tours abroad, especially in the and regions provide generous facilities for scripts of the works of Bach, particularly United States. the arts, for study, practice, and the faith those in the Berlin library?” Happily he is not dead altogether which gives life meaning and nobility. The news of these concerts was to since a large part of himself will never Albert Dupré, the organist of St. Ouen, spread like lightning. One of the most which possesses one of the fi nest organs impressive fi gures of the art of sound had New Choral Compositions in France, used to run a choral society revealed himself. “Perfect Harmony” (L’Accord Parfait), At the same time, Marcel Dupré Added Weekly! which enabled the music-lovers of Rouen brought the art of improvisation to an to become familiar with the masterpieces undreamt of level of profi ciency. Here, Listen in at DeniceRippentrop.com of music, notably the great works of Bach. too, there was no room for mere facil- His wife, Alice Dupré, a cellist, possessed ity. A rigorous mastery led to fullness www.pipe-organ.com a lively musical intelligence. of expression. Each work revealed the

22 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM Linda Ryan Thomas during the 2012 Alexander Boggs Ryan at the portable Alexander Boggs Ryan at the temporary Alexander Boggs Ryan, August 26, East Texas Pipe Organ Festival presen- Schlicker organ, Western Michigan Uni- Aeolian-Skinner organ at Cathedral of 1971, Culver Military Academy, Culver, tation honoring her brother, Alexander versity, Kalamazoo, Michigan Christ the King, Kalamazoo, Michigan Indiana Boggs Ryan

fathomless resources offered by a simple by listening for their structure, their 40 BOULEVARD ANATOLE-FRANCE Holda, president, and Jeanne Johnson, chair theme, but instead of this result being quest for new sounds. 92—MEUDON of music and dance, for allowing access to achieved by patient work at the desk, the Very early, the main lines of his life 027-14-45 Alexander Boggs Ryan’s complete personal edifi ce of sound sprang forth from an act were set. With what mastery he mapped May 26, 1972 library, and for granting permission to reprint of spontaneous creation. out his route! He was never to deviate Dear friend, these letters and memorabilia. It is true that the act of improvisation from the chosen path: he embellished Many thanks for your good letter from had had some impressive exponents. it continually. Hamburg. I will be happy to see you dur- Lorenz Maycher is organist-choirmaster at First Presbyterian Church, Kilgore, Texas, and César Franck had made an unforget- The former pupil of Diemer, of Guil- ing your short visit in Paris. founding director of the East Texas Pipe Organ table impression on those who heard mant, and of Widor was to become Pro- Will you come to Meudon on Monday Festival. He is a frequent contributor to THE his improvisations on the organ at St. fessor of Organ at the Conservatoire and May 29, about 3 p. m. You have got a train DIAPASON, which has published his interviews Clothilde during the Magnifi cat. Director of the illustrious institution. from Montparnasse station at 2:51 p.m. with Thomas Richner, William Teague, Nora Dupré’s teacher, Widor, was equally What were his merits as a teacher? Nearly a year has elapsed since my Williams, Albert Russell, and Robert Town, as admired. But his pupil’s contribution We have no need to enumerate them. beloved husband left us. This month of well as his series of articles “From the Clar- gave the king of instruments a still On the 7th May last, at St. Sulpice, after May with all its last-memories of our life ence Dickinson Collection.” Maycher is also greater primacy. Alone of instruments, hearing his “De Profundis,” his for- is so sad! director of the Vermont Organ Academy, a the organ enables a single player to build mer pupils paid him homage and their With affectionate wishes, website promoting articles and recordings devoted to the Aeolian-Skinner legacy. a whole cathedral of sound on the spot, famous names show that the continuity J. Marcel Dupré using a variety of tone colours to rival the of his work and mission are assured. Karl Watson was a pupil of Alexander orchestra. As he unceasingly developed A few weeks ago, he went back to Special thanks to Linda Ryan Thomas; to McCurdy at the Curtis Institute and, during his talent, Marcel Dupré attained a Rouen and visited again the house of his Trinity Episcopal Church, Longview, Texas, 1970, of Marcel Dupré in Meudon. He has breadth of expression hitherto unknown. parents, “le Vert Buisson,” and played Bill Bane, organist-choirmaster; and to served both Protestant and Catholic churches His tours of America began at that the organ at St Ouen. Kilgore College, Kilgore, Texas, Dr. William on the East Coast. time, and soon set the seal on his reputa- The world’s most glittering successes tion as the premier French organist; he had never altered his affection for those amazed his transatlantic audience by he always revered, his family. He always THE EIGHTEENTH ANNUAL improvising a complete symphony in spoke of them with moving tenderness. four movements for the fi rst time in the He was so discreet and secret in his history of organ music. inmost thoughts that, in order to know Albert Schweitzer He knew fame. This manifested itself him well, one had to be favoured with in many ways, sometimes the most unex- his affection. How his face shone when pected and simple ways, which were all he spoke of his family. He expressed Organ Festival the more moving, like the time when himself then with a contained warmth A Weekend in Celebration of Excellence in Organ Music: a young Australian came to work in my which was stronger than loud bursts family and asked, on her arrival, “Where of sound, for this master of sound was A Gala Concert, ORGAN COMPETITION, Services, and Masterclass can one hear the organist Marcel Dupré?” also master of his heart. When he gave The composer didn’t relinquish his his affection, how comforting was his High School Division First Prize: $2,000 work. Rarely can the improviser and the welcome! Whether it was in his joyful Other prizes also awarded composer have been so perfectly matched home at Saint-Valery-en-Caux or the as in the person of Marcel Dupré, for his great organ room at Meudon, his arms spontaneous impulses, like his refl ective were wide open to welcome those who College/Young Professional First Prize: $3,500 and poignant meditations, were as perfect in their turn followed the same path. Through age 26 Other prizes also awarded as the written composition. They knew, of course, that a superior This includes an appearance on our To list his works, which ranged from being was receiving them. 2015 – 2016 Concert Series the instrumental solo to the lyrical fresco, The rarest gifts were magnifi ed by an 2015 would take up the whole of this speech. uncompromising conscience, and a strict JUDGES In any case there is available for reference application to work, so as to achieve a AUDITION CDS: the very thorough bibliographical study by constant elevation of talent and thought. Due on June 8, 2015 Diane his learned pupil, Canon Robert Delestre. Those of us who have sat next to him Meredith But, to continue along our path in the on the organ bench at St. Sulpice know Belcher company of the Master, we can halt at the what is genius. THE COMPETITION: Preludes and Fugues, which, composed His fi nest praise was spoken by his for- September 11-13, 2015 as early as 1912, represent an astonishing mer pupil, now famous, Olivier Messi- enrichment of organ technique. aen, who, speaking of his master, Marcel Speaking of these works, Marcel Dupré, called him “the modern Liszt.” For Information & Dupré, the innovator, fully master of Liszt, the noblest fi gure in the his- Application: Peter his bold strokes of composition, said tory of music, a generous spirit and a Conte “All I did was to follow Bach’s example discoverer of new sounds—he combined . . . There’s no place for academicism in a stupendous virtuosity with composi- First Church fugue, whatever one may think.” tions which broke new ground in their In subsequent works, the “Suite development of the resources of music. of Christ Bretonne,” the “Symphonie-Passion,” Let us keep in our minds this brief and 250 Main Street the “Chemin de la Croix,” he went on complete tribute. Wethersfield, CT 06109 to develop more fully this rich style of When his admirers mourn him all over John composition, to cite a few examples, for the world, you, Madame, who have been firstchurch.org/asof Walker his extremely orderly mind yet found his attentive and so much loved partner room for bold experiment. A short time in life, will receive the greatest comfort 860.529.1575 ago, reading through scores by young from his hands. You know that his name Ext. 209 composers, he showed me the interest will remain what he made it—that of one music@firstchurch.org which lay in examining new techniques of the greatest of men.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 23 Organ festival report

Haarlem International Organ Festival July 12–26, 2014

By Martin Goldray

he Haarlem International Organ TFestival (July 12–26, 2014) cel- ebrated a milestone with its 50th Improvisation Competition this sum- mer. The festival runs concurrently with the Haarlem Summer Organ Academy, which celebrated its 46th anniversary. At the academy, fi fteen teachers taught eleven subjects, and it was attended by 110 students from 30 countries. In addition to these classes there were around forty public events: recitals, lectures, masterclasses, and excursions Michael Radulescu at masterclass Müller organ at St. Bavo’s to other cities. These could easily have accounted for every minute of every day, The Haarlem Essays comes with a com- and it would have been a challenge to pact disc of seven of the winning organ justify missing any of them. The center- improvisations, dating back to Piet Kee’s piece of the festival is the famed 1738 in 1955, as well as all of the competition Müller organ at St. Bavo’s (restored by themes starting with the fi rst one in 1951. Marcussen, revoiced by Flentrop, and The theme for the fi nals of this summer’s played by Mozart), but organs all around competition was by Dutch composer Haarlem are used for classes and con- Louis Andriessen. It appeared about an certs, including the Cavaillé-Coll at the hour before the competition and thus was Philharmonie and instruments at the too late to be included. The two top prize- Nieuwe Kerk, the Waalse Kerk, and the winners were Lukas Grimm, from Ger- Lorenzo Ghielmi at masterclass Louis Robilliard at masterclass (photo Doopsgesinde Kerk. many, who received the audience prize, credit: Cor van Gastel) To celebrate the event the organizers and David Cassan, from France, who released The Haarlem Essays, a marvel- won fi rst prize. They treated the theme so in its emotion, and he was both practical Bach was a student in Lüneberg and may ous 480-page book (noted in the Octo- differently that it seemed to me to repre- and dramatic in his teaching. At one point very well have lived in his house. ber 2014 issue of The Diapason and sent two entirely contrasting conceptions he had a student playing pleno forearm Many of the faculty gave forty-fi ve- available through the Organ Historical of improvisation: Grimm’s was dazzling clusters on the Müller to encourage her to minute public lectures on a variety of Society). It contains essays and inter- in its variety of styles and techniques and be more physically engaged. I was scared topics. I’ll just mention two of them: views directly related to the festival, to built to a thrilling conclusion, while Cas- to look over the balcony to see how the Jon Laukvik’s lecture on tempo rubato its instruments, and to its important fi g- san’s was more of an integrated whole in tourists were taking it. Radulescu brought focused on an aspect of early performance ures over the years, and is an invaluable four large sections, with thematic recur- great scholarship to his Bach class and that we tend to ignore but which is well resource for anyone interested in the his- rences as well as a polyphonic elaboration showed how understanding rhetorical documented. He noted that historical tory of this important festival. But it also of the theme. Both were remarkable and terms and an awareness of formal and performance practice uses “a small slice includes essays on a variety of scholarly, hard to compare. historical issues can illuminate perfor- of the cake.” Christoph Wolff and Ton historical, and aesthetic issues by noted At the academy there were four Bach mance. Luigi Ferdinando Tagliavini fi rst Koopman gave a joint talk on Bach in scholars and performers, most of which teachers: Ton Koopman, Masaaki taught at Haarlem in 1959 (where he was which Koopman reiterated his belief that are newly written, and which makes the Suzuki, Michael Radulescu, and Jon known as a member of the “holy trinity” Bach never used heels (well, with the volume of great interest beyond the sub- Laukvik, and there were classes by along with Marie-Claire Alain and Anton exception of perhaps six places, accord- ject of the festival itself. Olivier Latry on Messiaen, Lorenzo Heiller). He returned this summer after ing to Koopman). It would have been fun Ghielmi on Italian-infl uenced North a long absence, and it was a privilege to to have had the entire Haarlem faculty in German music, Jon Laukvik on Vierne, experience the elegance and generosity on that topic, as none of them seem to Louis Robilliard on Franck, Luigi of his teaching and playing. His admission agree with him. Forty-fi ve minutes isn’t Ferdinando Tagliavini on Italian that he’s still uncertain about whether enough to deal with the questions that repertory, Bernhard Haas on contem- to normalize accidentals was liberat- any of these lectures raised, let alone the porary repertory, Leo van Doeselaar ing. Ghielmi’s class, which focused on topic of heels in Bach. But what a great on Mozart and Bach’s sons, Jürgen Essl Buxtehude and Bruhns, showed how way to both observe the masterclass and Peter Planyavsky on advanced drama and imagined operatic scenes can teachers in a lecture setting and to raise improvisation, and Jos van der Kooy bring this repertory to life (a subject that the intellectual level of the conference by on improvisation for beginners. Jean-Claude Zehnder also treats in his at least starting important discussions. After a week of two-hour masterclasses article in The Haarlem Essays), and also Stephen Taylor, chairman of the artistic it would be foolhardy to try to describe how a teacher with a sense of theater can council, is the guiding spirit of this most a teacher’s approach in a sentence, but I entertain as well as instruct. And Haas’s remarkable festival and is a most genial will try to anyway for the classes I took: inspiring class on contemporary repertory and ubiquitous presence. His introduc- Suzuki’s Bach was physical and extrovert brought a level of belief and insight into tions to all of the events were models of the modernist repertory that I haven’t brevity and wit, but if you engaged him encountered in this country in a while, in conversation on any seemingly trivial whether he was discussing Cage and topic you would discover that he’s some- the Buddhist conception of silence (not thing of a polymath, and subjects like absence of emotion but its foundation), neo-Gothic architecture or the history Schoenberg, or Messiaen. of the Dutch canals are likely to come There were excursions between the up. That’s another recommended way to two weeks of classes, to Utrecht, Amster- spend your time, if you have any energy dam, and Leiden. At the Nikolaikerk in left over from the festival. Q Utrecht, where festival leader Stephen Taylor was the organist for many years, All photos by Martin Goldray except Christoph Wolff gave a fascinating as noted. presentation on the work of the Bach Archive in Leipzig, including the newly Martin Goldray is on the faculty at Detail of Müller organ, viewed from Luigi Tagliavini teaching at the Müller discovered document that shows that Sarah Lawrence College in Bronxville, the loft organ (which he fi rst played in 1959!) Bach studied with Georg Böhm when New York.

24 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM In memoriam

Remembering Richard Rephann February 9, 1932–December 29, 2014

By Allison A. Alcorn

ichard Rephann, 82, harpsichordist R and director emeritus of the Yale University Collection of Musical Instru- ments, died on December 29, 2014, in Hamden, Connecticut. Born February 9, 1932, in Frostburg, Maryland, Rephann attended the Johns Hopkins University Peabody Conservatory of Music, where he studied organ with Arthur Howes and piano with Mieczyslaw Munz and Alexander Sklarevsky. He earned a teach- ing certifi cate in piano in 1953 and then supported himself by working in hobby shops, playing piano for ballet classes, and teaching in both public and private schools. Returning to Peabody, he com- pleted a Bachelor of Music degree in piano in 1959. In 1961 he became a harpsichord student of Ralph Kirkpatrick at Yale Uni- versity. During those early years at Yale, he served as organist and choirmaster at St. Paul’s Episcopal Church in Wall- ingford, Connecticut; in the summers between 1962–65, Rephann worked for Frank Hubbard, learning much about harpsichord design and construction. After hours, Hubbard helped him build a single-manual Italian instrument that is currently being re-voiced in the work- shop of Frank Rutkowski. Harpsichords Richard Rephann examining a historical organ in Peru, 1974 Rephann with a Triumph TR3, Frostburg, Maryland, August 1957 were not the only building fascination for Rephann, however. He was also a classic leading conservation experts to create Richard was, in every regard, a consum- capable of making an unpleasant sound or car enthusiast, owning classic cars—such guidelines for the restoration of the mate gentleman. As a teacher and mentor, violent gesture, his performances of French as the Triumph TR3 pictured—and collection’s instruments, particularly students witnessed a spirit of generos- baroque music were models of refi nement ity, wisdom, and kindness. The benefi t of and sophistication and his performances of building models of them as well. the string and keyboard instruments. Richard’s friendship—beginning in those Froberger were without equal. His touch at After completing his master’s degree He brought full-time conservators to highly formative years as a student—has the instrument was always utterly controlled at Yale, in 1964 Rephann was appointed the museum staff in 1982, guiding the continued unceasingly to infl uence my and his ornamentation always exceedingly musicianship and worldview. He will be tasteful and appropriate. Although perhaps to the Yale University School of Music laudable “de-restoration” of instruments deeply missed. as instructor in harpsichord playing and that had experienced injudicious repairs not well known among the general public, he was nonetheless one of the greatest harp- as assistant curator of the Collection in earlier years. These instruments now The collection tripled in size under sichordists in the second half of the twenti- of Musical Instruments. He served as maintain integrity as historic artifacts Rephann’s leadership, funded to a large eth century. He was an incredible teacher, director of the collection from 1968 to while sounding as close as possible extent through his own development always patient, but he also had extremely 2006 in addition to holding the rank of to the intent of their original sound. initiatives but also through the board of high expectations for his students. full professor (adjunct) of organology Laurence Libin, emeritus curator of advisors, and associates of the collection, and harpsichord playing in the School musical instruments at the Metropolitan a museum membership organization Rephann is survived by his wife, Susan of Music. In 2006 he was awarded the Museum of Art, noted: Rephann established in 1977. Publica- E. Thompson; daughter, Lola Voysest Morris Steinert Award, the museum’s tions involved checklists and catalogues Rephann of Jersey City, New Jersey; highest honor, in recognition of his Richard’s chief curatorial interest was in of the Yale collection, and also the Pedro brother, Oliver Rephann of Simpson- historical keyboard instruments, for which outstanding contribution to the devel- he wisely advocated conservation or con- Traversari Collection in Quito and the ville, South Carolina; brother-in-law, opment of the collection, its role in the servative restoration and careful documen- Schambach-Kaston Collection of Rare Rev. Kirk E. Thompson of Saint John- university, and its presentation to the tation over repair or renovation. By thus Strings and Bows, now in Tokyo. sbury, Vermont; sisters-in-law, Claudia New Haven community for more than maintaining the integrity of the Yale collec- In many ways, the Collection of R. Thompson of Wooster, Ohio, and tion, he best served the interests of organ- forty years. ologists, musicologists, instrument builders, Musical Instruments was Rephann’s Julia A. Thompson of Friday Harbor, Located in a former fraternity house, and historically minded musicians. chief focus, yet he appeared regularly Washington; nephews, James Thaddeous thanks to Rephann’s fi nancial and collec- in harpsichord performances around Rephann and Evan Thompson Keefe; tions development oversight, the Collec- Rephann demonstrated the value of the country. He particularly liked to nieces, Anne Marie Rephann Moore, tion of Musical Instruments was trans- the collection as an academic resource. work with repertoire he thought was Cameron Thompson Exner, and Laurel formed into a facility for the scholarly For his “Art of Continuo Playing” and especially suited to the nationalistic idio- Thompson Exner; his fi rst wife of seven- study, exhibition, and conservation of “History of Keyboard Instruments” syncrasies of Italian, Flemish, French, teen years, Lola Odiaga of New Haven; historical musical instruments. Early in courses, the museum functioned as a German, or English harpsichords, and in and his colleague of thirty-fi ve years, his tenure, Rephann instituted an annual laboratory in which students could study his later years felt acute affi nity for the Wm. Nicholas Renouf of Guilford. concert series of music from the Middle the development of musical instruments music of Johann Jakob Froberger, Louis A memorial concert will be scheduled Ages to the twentieth century. Accord- in their cultural contexts. Many students Couperin, Jean-Henri D’Anglebert, during the coming year. Contributions in ing to the Yale University website, it is utilized historical instruments in the François Couperin, and Jean-Phillipe Rephann’s memory may be sent to the now the longest-running series of its collection in recitals; this sort of use was Rameau. Recordings of some of his live Yale University Collection of Musical kind in the country, often presenting one of Rephann’s goals for the courses. performances are contained within the Instruments (www.collection.yale.edu) instruments from the collection in per- Recognizing the inherent interdisciplin- museum archives. Rephann was also a or to the Alzheimer’s Disease Research formance. In addition, Rephann began ary potential of the instruments, he also studio teacher whose students are now Unit (www.alzheimers.yale.edu). Q having these performances recorded in encouraged professors throughout the organists and harpsichordists around the the early 1980s, making the series one of university to utilize the collection for world. Former student Corey Jamason, Photos courtesy of Susan E. Thompson. the most well-documented early music special presentations dealing with the now professor of harpsichord and direc- series in existence. course subject matter, often with dem- tor of historical performance at the San Allison A. Alcorn is editor of the Jour- Rephann commenced a restora- onstrations or performances as part of Francisco Conservatory of Music, writes: nal of the American Musical Instrument tion and conservation program in the the presentation. Former student Paul Society and serves on the faculty of the late 1970s with an endowment from Jacobs, now chair of the organ depart- Richard Rephann was one the most School of Music of Illinois State Univer- George P. O’Leary and worked with ment at the Juilliard School, notes: elegant musicians I have ever known. In- sity, Normal, Illinois.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 25 Cover feature

Gabriel Kney Opus 82 The consensus was that a new organ St. Mark’s Anglican Church, should be placed in the west-end gallery Niagara-on-the-Lake, Ontario, of the nave and not at the front in the Canada chancel where the fi rst organ was located. Part of this decision was based on the From the organbuilder excellent acoustic properties of the nave, In 1976, a fi re at the historic Christ into which sounds could fl ow freely from Anglican Church in London, Ontario, the balcony location. At Christ Church caused severe damage to the interior of the measured sound decay period across the nave as well as considerable damage a broad spectrum of frequencies was an to the organ. The organ was built in 1907 ideal 2.5 seconds. We would like to believe by the Warren Organ Company—a well- that architect William Robinson must known builder at the time—in Wood- have had in mind such acoustics where stock, Ontario. While the instrument public speaking, congregational singing, contained lovely romantic sounds of well- and other musical sounds projected easily balanced organ voices, it became clear into every corner of the nave. And thus, in after consultation with organ companies the design of a new organ, such acoustic and consultants that the damage to the properties demanded special consider- historic instrument was beyond restora- ation in the development of the organ tion at a reasonable and justifi able cost. pipes, their materials, and scales for their Designed in 1862 in Gothic Revival intended sounds. Behind the pipe shade architecture by London City designer I had the privilege of collaborating William Robinson, Christ Church— with Dr. Black in the development of a ideal location for both organ recitals and London, I became aware of the possible seating about 200—became the second new organ that would not only provide chamber music. All musicians donated closure of that church. My friend, the oldest Anglican church in London after all tonal resources for liturgical worship their talents to the Christ Church organ Reverend Dr. Donald Irvine, former St. Paul’s Cathedral. Located in the city but also offer opportunities for other fund. There are too many artists to name dean of Huron College where I stud- core area between the railway and the musical events, such as recitals and per- and thank at this point. The result was ied theology, informed me that, sadly, Thames River, the church was a center formances with other musicians. that Christ Church would contract me the Christ Church congregation would of worship and activities for both the But with all this enthusiasm there as builder of the new organ in January likely be closing its doors very soon. working community and academia alike, was a problem. While the ideas were all 1976. It would have fourteen stops, And so began my involvement, as rec- and became known for its high standard good, fi re insurance coverage did not mechanical key and stop action, two tor of St. Mark’s, in a six-month process of Anglican liturgy and music. In 1878 provide nearly enough money to build manuals and pedal, and freestanding that would see the Gabriel Kney pipe prominent citizens of London came the envisioned instrument. London, a casework for projection. organ (Opus 82) moved from London, together at Christ Church, and the result city of 300,000, still had the “small-town” The organ dedication, presided over Ontario, into our historic church in of this meeting was the foundation of the community atmosphere where friends of by Bishop of Huron, T. D. B. Ragg, took Niagara-on-the-Lake. University of Western Ontario. Christ Church—musicians from other place on February 6, 1977. When I was at seminary from 1972– Following extensive repairs to the churches or other music disciplines— Similar to other cities and towns, over 1975, one of my professors, Dr. George fi re-damaged nave, the acquisition of a came together. The late attorney, organ- recent years urban changes affected Black, was organist at Christ Church, new organ became the next project. This ist, and conductor Gordon D. Jeffery inner-city activities, which resulted in and it was at that time I fi rst met the involved discussions with a few organ offered, free of charge, his privately diminishing attendance of downtown organ builder, Gabriel Kney, whose companies, the church vestry, organists, owned small concert hall—Aeolian churches. Christ Church was no excep- shop was in London. Both Gabriel and musicians of related disciplines. An Town Hall—as a venue for concerts and tion to such changes, and eventually, after and George were members of Christ invaluable contribution was the advice recitals as fundraisers toward the cost years of efforts to provide local needs, Church. I often listen to a CD recorded given by the late organist and composer of a new organ for Christ Church. His had to close its doors. The organ, along in 1995 featuring George playing that Dr. George Black, who was Professor of Aeolian Town Hall also housed a three- with other contents, was offered for sale. very organ. In the liner notes for that Music, Anglican Liturgy, and Romance manual tracker organ of thirty-four Of the parties interested in purchasing CD there is a phrase that speaks of Languages at Huron College. stops (my Opus 47) and hence was an the organ, one was particularly suitable this marvelous combination of organist in terms of space, liturgical and musi- and organ builder: “the circumstances cal use, and especially for its acoustic of having both a George Black and a environment. It was St. Mark’s Angli- Gabriel Kney in one small church is can Church in Niagara-on-the-Lake, perhaps a testament to the mysteri- Ontario, which agreed to accept and ous working of Spirit.” Knowing both accommodate the organ. Gabriel and the late George Black over I, along with colleagues Tom Churchill, the years I can only say “Amen” to that! Larry Hunt, and Chris McKaskell, Throughout my ministry, over the undertook the relocation of the instru- years our paths would cross many times. ment from Christ Church in London In 1989 Gabriel built a pipe organ for to St. Mark’s, where it has an ideal and my former parish, St. John’s, Stirling, fortunate location. I needed to make only and it was George Black who played minor tonal changes in its new home. the inaugural recital on that instrument, Of interest, it was organbuilder Tom a concert recorded by CBC Radio. In Churchill who joined me when this 2005 St. Mark’s became the recipient of organ, Opus 82, was built in 1976, and it another Gabriel Kney organ, from the is again organbuilder Tom Churchill who Riese family who resided near Ottawa. supervised its move to the new and most This smaller organ now sits in the tran- suitable location. sept of the church. —Gabriel Kney There are two important things to know about St. Mark’s Church, the place From the rector that was to become the second home to Last February, through a conversa- Opus 82. The congregation here is one tion with a good friend who was honor- whose history and heritage seem to seep ary assistant in an Anglican church in from the walls.

Gabriel Kney Opus 82 St. Mark’s Anglican Church, Niagara-on-the-Lake, Ontario, Canada

Manual I Pedal 8′ Gedackt 16′ Subbass 4′ Prestant 8′ Gedecktbass (from 16′) 2′ Blockfl öte 4′ Choralbass 1 1⁄3′ Quintfl öte 8′ Trompete 1 1⁄3′ Mixture III 3 standard couplers Manual II 8′ Quintadena Open-toe voicing 4′ Offenfl öte Wind pressures: 3 1⁄5′ Tierce Manual I = 44mm 1′ Principal Manual II = 40mm 8′ Holzregal Pedal = 75mm Tuning: 6th-comma “Young,” A 440 Gabriel Kney Opus 82 Tremulant

26 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM Behind the case

In 1790 two prominent citizens of Niagara-on-the-Lake, then known as Newark, wrote to the Bishop of Nova Sanctuary of St. Mark’s Anglican Church, Niagara-on-the-Lake, Ontario, Canada, with Gabriel Kney Opus 82 at right Scotia asking that “an Anglican clergyman be sent to Niagara.” This request was passed on to the Society for the Propa- gation of the Gospel in England, and in 1791 Rev. Robert Addison was chosen and sent as a missionary to become the fi rst rector. Addison, a graduate of Trinity College, Cambridge, brought with him his library of over twelve hundred books, the oldest of which was published in 1548. The Addison Library, as it is known today, is the oldest library in the Province Nameplate of Ontario. Although the exact date of the construction of the church is uncertain, we believe it was erected within the fi rst decade. In 1792 Niagara became the fi rst capital of what would eventually become the Province of Ontario, and Robert Addison became Chaplain to the Legisla- ture. Within a generation the community and St. Mark’s Church found themselves in the middle of a war, a confl ict we know as the War of 1812. St. Mark’s Church was fi rst used by British and Canadian soldiers as a fi eld hospital, then later held Close-up view of stop knobs by American soldiers when in 1813 Fort George and the town were captured by the arts, especially music, meant the acqui- American forces. The church is one of sition of an instrument such as this pipe the very few buildings to survive the War organ seemed to be a move in the right of 1812. One of our former parishioners, direction. There are indications already General Isaac Brock, commander of the that this partnership between Music British and Canadian forces, was a mem- Niagara and St. Mark’s new pipe organ ber of St. Mark’s, and Robert Addison is beginning to bear fruit. On July 21, as would conduct his funeral in October of part of the festival’s summer concerts, two 1812 as a result of Brock’s death at the organists from the Netherlands—Susanna Battle of Queenston Heights. Although Veerman and Wim Does—will play an history and heritage are signifi cant organ recital here at St. Mark’s as part of ingredients in our faith community, it is their Canadian tour. also important to note that St. Mark’s is a While there are many who love music living and dynamic faith community. One in our parish, there was one parishioner, of the ways we practice our faith today is and very good friend, who simply adored through exercising God’s gift of music. the sound of the pipe organ. Fred Dixon Under the very capable leadership of was that man. On many occasions Fred Kney Opus 82, view of façade and keydesk our organist and choir director, Michael and his wife, Marti, would tell me about Tansley, the Sunday morning liturgy their travels to Holland and their many Christ Church, a congregation where my not only performed the inaugural recital is fi lled with the wonderful sounds of excursions to churches there to hear father was rector. on this instrument but stayed over to play voice and instrument. Under Michael’s many large pipe organs. When I spoke During the time the organ was being the next day for the Advent Festival of guidance our choir leads a congregation to him about this pipe organ in Lon- reassembled at St. Mark’s, I spent many Lessons and Carols. As we know, Advent that loves to sing, and the Sunday morn- don he simply said, “Let’s get it for St. happy hours watching the two men at marks the beginning of the Christian year ing faith experience is enriched by the Mark’s!” He became a very gracious and work, breakfasting with them at a local res- and speaks of renewal and new begin- joy that the ministry of music brings to generous benefactor without whom we taurant, the Red Rooster, and sharing a few nings. This Gabriel Kney pipe organ worship. But our music experience is not simply would not have the organ. His drinks at the end of the day on the rectory has been moved to another church from limited to the Sunday liturgy. generosity and vision were critical to veranda. It was good to renew old friend- another diocese, the Diocese of Huron, St. Mark’s was a key participant in the the process of securing the instrument. ships. Gabriel Kney and his wife, Mary and given a new beginning here at his- founding in 1999 of an annual music fes- With Fred’s help we also received a Lou Nowicki, who is herself a fi ne organist toric St. Mark’s. Those who call this faith tival, Music Niagara. Atis Bankas, resident grant from the Foster Hewitt Founda- and retired professor of organ at Central community home could not be happier. of Niagara-on-the-Lake, violinist in the tion enabling us to cover the cost of Michigan University and the University of —Rev. Canon Dr. Robert S. G. Wright Toronto Symphony, and a renowned and transporting the organ from London to Kansas, spent a week seeing to the voicing Rector, St. Mark’s Anglican Church experienced teacher of many young violin- St. Mark’s, Niagara-on-the-Lake. and tuning of the instrument. At the end of Niagara-on-the-Lake, Canada ists, is the artistic director of this festival. Gabriel Kney and Tom Churchill that session we were all amazed to discover Under his auspices the very best musicians would oversee the process of dismantling how wonderful the instrument sounded in Photo credit: Cosmo Condina Photog- from all over the world are invited to Niag- and delivering the organ from Christ our acoustic space although it had been raphy (www.cosmocondina.com) ara each summer and most of those con- Church to our congregation, which they designed for another church. certs take place here in this church. The accomplished in mid-August. Tom is a It was fi tting that native son Andrew Websites of interest combination of our rich history, a beautiful lifelong friend, both of us having sung Henderson, organist at Madison Avenue St. Mark’s: www.stmarks1792.com church, and the congregation’s passion for in a choir over fi fty years ago in another Presbyterian Church in New York City, Music Niagara: musicniagara.org

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 27 New Organs

Hinners Opus 2696 project would cost, despite the fact that Buzard Pipe Organ Builders, it had been seven years since we had last Champaign, Illinois seen the organ. Power had already been Living Word Church, cut to the building, so we had absolutely Roberts, Illinois no way to accurately assess the current condition of the instrument. Even though Relocation and resurrection we were in the midst of an installation I received a telephone call in May of elsewhere, it was necessary to remove 2010. A lady familiar with Buzard Pipe the Hinners organ immediately, since the Organ Builders’ restoration work had windows were about to be taken out of purchased a Hinners organ at auction, the building and the building demolished. 1 which she hoped could be installed in This two-manual and pedal, 7 ⁄2-rank Living Word Church in Roberts, Illinois. electropneumatic action organ was built Would we be interested and available to by the Hinners Organ Company of remove the organ from the former Sibley Pekin, Illinois, for an unknown location. (Illinois) United Methodist Church and It appears to have been constructed origi- reinstall it in Roberts? Of course! As is nally with tubular-pneumatic action. We usually the case, we were immediately believe that the original date of the instru- asked to state exactly how much the ment was before 1919, since the pitch of

Hinners Opus 2696/Buzard Pipe Organ Builders Living Word Church, Roberts, Illinois

GREAT PEDAL 8′ Open Diapason (1–24 in façade) 32′ Resultant* 8′ Melodia (1–12 stopped) 16′ Bourdon (12 pipes)** 8′ Dulciana 16′ Lieblich Gedeckt** 2 Chimes (21 tubes) 10 ⁄3′ Gedeckt* Great Unison Off* 8′ Flute** Great to Great 4* Great to Pedal 8 Swell to Great 16* Swell to Pedal 8 Swell to Great 8 Great to Pedal 4* Swell to Great 4* Swell to Pedal 4* 2 Swell to Great 2 ⁄3* Buzard reloction of Hinners Opus 2696 at Living Word Church, Roberts, Illinois 1 Swell to Great 2* 8 stops, 7 ⁄2 ranks, 475 pipes Manual/pedal key compass: 61/30 SWELL the organ is A-435. It was rebuilt by Hin- had no idea whether they still worked. 8′ Stopped Diapason * Stops and couplers presumably added ners circa 1924 with electropneumatic Of course, money did become available 8′ Salicional when console was rebuilt action and installed by them in the United to repair and repaint the façade pipes 8′ Vox Celeste (t.c.) ** There are 12 pipes for the 16′ octave of Methodist Church of Sibley. The manual and replace the fabric in the screening 4′ Harmonic Flute the Bourdon with a soft action for the Tremolo Lieblich Gedeckt. Notes 13–32 of the windchests were originally designed to that forms part of the case front. Swell to Swell 16* Bourdon and Lieblich Gedeckt, and accommodate one more stop in each divi- At long last, as site preparations were 2 Swell Unison Off* the 10 ⁄3′ and 8′ stops each borrow the sion, but the prepared-for mechanisms being completed by church volunteers, Swell to Swell 4* Swell Stopped Diapason with a sepa- and pipes for these possible stops were we began work at the Buzard fac- 2 Swell to Swell 2 ⁄3* rate action. Swell to Swell 2* never completed. At some time in the tory. Cotton-covered wiring had to be 1960s or thereafter, the console mecha- replaced to bring the organ into compli- nisms were replaced with supply-house ance with the revised electrical code. equipment by a Peoria technician. Pipes absolutely needed to be cleaned, Buzard Pipe Organ Builders fi rst and stoppers releathered (or nothing encountered this organ in 2003, when we could have been tuned). Early in March undertook restoration work on the pneu- 2012, we had the organ winded in the matic actions for the speaking façade factory, loaded the pipes, and thanks be pipes. The organ continued in service to God everything still worked! until the Sibley church closed in 2009. Everything was taken down, brought The hasty removal from Sibley was, to Roberts, and the resurrected organ of course, followed by the classic “hurry was fi rst heard again on Easter Day, ANTON HEILLER up and wait.” It would, in fact, be two April 8, 2012. years before Living Word Church com- In this day and age when so many ORGANIST, COMPOSER, CONDUCTOR pleted their preparations to receive the organs go unheard or sit in storage, we instrument (providing an elegant space are deeply appreciative of the foresight of THIS STUDY presents an assessment of when all was said and done, however). one woman who “just wanted the young Heiller’s works and teaching, while exam- From the outset, it was made clear that people to hear what a real hymn sounds the project must proceed with limited like.” The future of this particular little ining his complex personality, one torn be- funds. We did convince the church that organ is secure, and we look forward to tween strong religious devotion and the restoration of the main reservoir was an its continuing in its intended purpose—to world of artistry. The narrative offers a important step, since it would not be eas- create another generation of churchgoers unique view of the organ world in the de- ily removable once the rest of the organ who know and love the pipe organ! cades following World War II, featuring was erected. No money was available to —Keith Williams restore the windchests, even though we Director of Service & Associate in Sales many important organs, builders, and organ- ists across North America and Europe. Author PETER PLANYAVSKY was Anton Heiller’s successor as organ professor in Vienna, and as organist of St. Stephen’s Cathedral in Vienna, from 1969 through 341 pages, hardbound 2014 University of Rochester Press 2004. Christa Rumsey, a Heiller stu- NON-MEMBER PRICE: $90.00 dent, translated the book from the original MEMBER PRICE: $85.00 German. THE WANAMAKER ORGAN

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28 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN F. Allen Artz; Trinity Episcopal, Pottsville, Park Ridge Presbyterian Church This calendar runs from the 15th of the month PA 4 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Seton Hill Una Voce Choir; Shadyside Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Presbyterian, Pittsburgh, PA 12:30 pm Feb. issue). All events are assumed to be organ Bloomingdale, IL Barbara Bruns; St. Paul Cathedral, recitals unless otherwise indicated and are grouped Pittsburgh, PA 4 pm within each date north-south and east-west. •=AGO chapter event, • •=RCCO centre event, +=new organ Jonathan Biggers; Washington Nation- al Cathedral, Washington, DC 5:15 pm dedication, ++= OHS event. Christopher Babcock Information cannot be accepted unless it Robert Parkins; Duke University, Dur- specifi es artist name, date, location, and hour in ham, NC 5 pm writing. Multiple listings should be in chronological Lutz Felbick, with saxophone; Sykes Cha- St. Andrew’s by the Sea, order; please do not send duplicate listings. pel, University of Tampa, Tampa, FL 2 pm Hyannis Port THE DIAPASON regrets that it cannot assume Gail Archer; St. Joseph Catholic Church, responsibility for the accuracy of calendar entries. Macon, GA 3 pm Scott Atchison & Zachary Hemenway; Peachtree Road United Methodist, Atlanta, UNITED STATES GA 7 pm East of the Mississippi Evensong; Cathedral Church of St. Paul, Dean W. Billmeyer GAVIN BLACK Detroit, MI 4 pm Princeton Early Keyboard Center 15 MARCH Evensong; Christ Church, Grosse Pointe University of Minnesota Schubert, Mass in G; St. John’s Episco- Farms, MI 4:30 pm 732/599-0392 Requiem pal, West Hartford, CT 4 pm Mozart, ; Regina Dominican Minneapolis 55455 • [email protected] www.pekc.org Elora Festival Singers; Madison Avenue High School, Wilmette, IL 3 pm Mass in B Minor Presbyterian, New York, NY 3 pm Bach, ; Grace Lutheran, The Chenaults; First United Methodist, River Forest, IL 4 pm Schenectady, NY 3 pm Tribute to Stephen Paulus; Central Pres- byterian, St. Paul, MN 1 pm Byron L. Blackmore THOMAS BROWN Ahreum Han; Christ Church, Bradenton, UNIVERSITY FL 4 pm Nathan Laube; St. Louis Cathedral, New Crown of Life Lutheran Church Eric Dudley; St. Peter’s Episcopal, Sa- Orleans, LA 5 pm PRESBYTERIAN CHURCH vannah, GA 2 pm Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Raúl Prieto Ramírez; Piedmont College, 23 MARCH 623/214-4903 ThomasBrownMusic.com Derek Nickels; Elliott Chapel, Presbyte- Demorest, GA 4 pm rian Homes, Evanston, IL 1:30 pm Gail Archer; Divinity Lutheran, Parma Choir of King’s College, Cambridge; Ca- Heights, OH 3 pm thedral of St. Paul, St. Paul, MN 7:30 pm Cincinnati Children’s Choir; Christ’s ROBERT CLARK Church, Mason, OH 4 pm 24 MARCH Houston Texas DELBERT DISSELHORST Evensong; Christ Church, Grosse Pointe Cameron Carpenter; Brooks Center for Master Classes, Consultation Farms, MI 4:30 pm Professor Emeritus the Performing Arts, Clemson, SC 7:30 pm [email protected] David Jonies; Madonna della Strada Donald Sutherland; Church of the 513/478-0079 University of Iowa–Iowa City Chapel, Loyola University, Chicago, IL 3 pm Epiphany, Miami, FL 7 pm Sharon Kleckner; Church of St. John GSU Singers, UGA Hodgson Singers, the Evangelist, St. Paul, MN 4 pm Emory University Concert Choir; Peachtree Road United Methodist, Atlanta, GA 7 pm JAMES DORROH, AAGO, PhD STEVEN EGLER 16 MARCH Choir of King’s College; Fourth Presbyte- Thomas Murray; Church of the Resur- Central Michigan University rian, Chicago, IL 7:30 pm Saint Luke’s Episcopal Church Mt. Pleasant, Michigan rection, New York, NY 8 pm Jessica Park; Church of St. Louis, King Artist in Residence Marilyn Keiser; St. Peter’s Episcopal, Samford University of France, St. Paul, MN 12:35 pm Birmingham, Alabama First Congregational Church Charlotte, NC 12 noon & 7:30 pm Saginaw, Michigan 25 MARCH Organ Consultant Organ Recitals [email protected] 17 MARCH Gail Archer; Asylum Hill Congregational, Andrew Henderson; Syracuse Univer- Hartford, CT 7 pm sity, Syracuse, NY 8 pm Choir of St. Ignatius Loyola; Church of St. Norberto Ignatius Loyola, New York, NY 7 pm JOHN FENSTERMAKER 18 MARCH Mark Jones, with piano; First Presbyte- Guinaldo Chuck Stanley ; First Presbyterian, Pom- rian, Pompano Beach, FL 12 noon TRINITY-BY-THE-COVE pano Beach, FL 12 noon Choral concert; Corbett Auditorium, Uni- His Music Matt Haider, with orchestra; Pickwick versity of Cincinnati, Cincinnati, OH 8 pm See—Listen—Buy NAPLES, FLORIDA Theatre, Park Ridge, IL 7:30 pm www.GuinaldoPublications.com 26 MARCH 19 MARCH Olivier Latry, with Boston Symphony; Michael Stuart; Christ Church, Braden- Symphony Hall, Boston, MA 8 pm ton, FL 12:15 pm Bach, St. Matthew Passion; St. Thomas WILL HEADLEE Kathy Maresca, with fl ute; Westminster Church Fifth Avenue, New York, NY 7:30 pm STEPHEN HAMILTON Presbyterian, Dayton, OH 12:10 pm Oratorio Society of New York; Cathedral of recitalist–clinician–educator 1650 James Street Cameron Carpenter; Krannert Center, St. John the Divine, New York, NY 7:30 pm Syracuse, NY 13203-2816 University of Illinois, Urbana, IL 7:30 pm Haig Mardirosian; Christ Church, Bra- www.stephenjonhamilton.com denton, FL 12:15 pm (315) 471-8451 20 MARCH Choir of King’s College; St. Thomas 27 MARCH Church Fifth Avenue, New York, NY 7:30 pm Olivier Latry, with Boston Symphony; Brian Jones; Emmanuel Church, Ches- Symphony Hall, Boston, MA 1:30 pm tertown, MD 7:30 pm Philadelphia Singers, Heggie, The Radio David Herman John Schwandt, silent movie accompa- Hour; Temple University Performing Arts niment; Brevard-Davidson River Presbyte- Center, Philadelphia, PA 7:30 pm Trustees Distinguished Professor Emeritus of Music and University Organist rian, Brevard, NC 7 pm Choir of St. Lorenz Middle School; First The University of Delaware Q [email protected] Mickey Thomas Terry; St. Paul’s Episco- Congregational, Saginaw, MI 12:15 pm pal, Greenville, NC 7:30 pm Christian Lane; First Presbyterian, Roy- Marilyn Keiser; First Presbyterian, Ashe- al Oak, MI 7 pm ville, NC 7:30 pm John W. W. Sherer; Fourth Presbyterian, James Gladstone; First Congregational, Chicago, IL 12:10 pm A Professional Card in Saginaw, MI 12:15 pm Cameron Carpenter; Wilson Center for 28 MARCH The Diapason the Arts, Brookfi eld, WI 8 pm Olivier Latry, with Boston Symphony; For rates and digital specifi cations, contact Jerome Butera Orpheus Choir; Fourth Presbyterian, Symphony Hall, Boston, MA 8 pm Chicago, IL 12:10 pm Philadelphia Singers, Heggie, The Radio 847/391-1045; [email protected] Bach, St. John Passon; Harris Theater, Hour; Temple University Performing Arts Chicago, IL 7:30 pm Center, Philadelphia, PA 7:30 pm LORRAINE BRUGH, Ph.D. 21 MARCH 29 MARCH Alan Morrison; St. Vincent Archabbey Bach, St. Mark Passion; King’s Chapel, Basilica, Latrobe, PA 8 pm Boston, MA 5 pm Associate Professor John Schwandt, hymn improvisation Scott Lamlein; St. John’s Episcopal, University Organist workshop; Brevard-Davidson River Presby- West Hartford, CT 12:30 pm CONCORA; Immanuel Congregational terian, Brevard, NC 10 am Valparaiso University Isabelle Demers; St. Norbert Abbey, De Church, Hartford, CT 4 pm Pere, WI 2 pm Professional Choir of MAPC & St. An- Valparaiso, IN Cameron Carpenter; Overture Hall, drew Orchestra; Madison Avenue Presby- www.valpo.edu Madison, WI 8 pm terian, New York, NY 3 pm Handel, Messiah, Part II; Grace Church, 22 MARCH New York, NY 4 pm 219-464-5084 The Dessof Choirs; Peter Norton Sym- Bach Vespers; Holy Trinity, New York, NY [email protected] phony Space, New York, NY 7 pm 5 pm

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 29 ANDREW HENDERSON, DMA Gary L. Jenkins Calendar Director, Schmidt Concert Series Madison Avenue Presbyterian Church Director of Music, Carmelite Monastery Peter Richard Conte, lecture & organ Alan Morrison; West End United Meth- New York, NY demonstration; Longwood Gardens, Ken- Curator of Organs odist, Nashville, TN 7:30 pm www.andrewhenderson.net Rose-Hulman Institute of Technology nett Square, PA 3 pm Terre Haute, Indiana Everglades Legacy Choir; First Presbyte- 14 APRIL rian, Pompano Beach, FL 4 pm David Lim; Church of the Gesu, Milwau- Coro Vocati; Peachtree Road United kee, WI 7:30 pm CALIFORNIA LUTHERAN UNIVERSITY Methodist, Atlanta, GA 5 pm Stephen Hamilton; St. Louis, King of Brian Jones Nathan Laube; St. Paul Lutheran, Mas- France, St. Paul, MN 12:35 pm Kyle Johnson, DMA silon, OH 3 pm Director of Music Emeritus Jeremy David Tarrant, with orchestra; 15 APRIL University Organist Cathedral Church of St. Paul, Detroit, MI Marilyn Keiser; First Congregational, TRINITY CHURCH 

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LFKPIOT!DBMMVUIFSBOFEV 4 pm Saginaw, MI 7 pm www.callutheran.edu BOSTON Frederick Teardo; Cathedral Church of the Advent, Birmingham, AL 2:30 pm 17 APRIL Gerrit Lamain; St. Stephen’s Lutheran, David Schelat; Emmanuel Church, West St. Paul, MN 4 pm Chestertown, MD 7:30 pm KIM R. KASLING JAMES KIBBIE Todd Wilson, recital and silent fi lm; Christ & St. Luke’s Episcopal, Norfolk, VA D.M.A. The University of Michigan 30 MARCH Stephen Buzard; St. Thomas Church 8 pm St. John’s University Ann Arbor, MI 48109-2085 Fifth Avenue, New York, NY 7:30 pm Marilyn Keiser; St. Paul Episcopal, 734-764-1591 FAX: 734-763-5097 Wilmington, NC 7:30 pm Collegeville, MN 56321 email: [email protected] 31 MARCH Tom Trenney; Trinity Lutheran, Akron, Olivier Latry, with Boston Symphony; OH 8 pm Symphony Hall, Boston, MA 8 pm Jonathan Ryan; Holy Trinity Lutheran, Columbus, OH 7 pm David K. Lamb, D.Mus. 1 APRIL Chanticleer; St. Peter in Chains Cathe- Director of Music Helen Anthony; Camp Hill Presbyterian, dral, Cincinnati, OH 7:30 pm Camp Hill, PA 12:15 pm Trinity United Methodist Church Ancient Office of Tenebrae; St. Peter in 18 APRIL ORGAN CONSULTANT New Albany, Indiana www.gabrielkney.com Chains Cathedral, Cincinnati, OH 7:30 pm Concerto delle donne; House of the Re- 812/944-2229 Christopher Urban; First Presbyterian, deemer, New York, NY 7 pm Arlington Heights, IL 12:10 pm John Schwandt, Zion Lutheran, Balti- more, MD 3 pm 3 APRIL Jeremy David Tarrant; Cathedral of Crescent Singers; Crescent Avenue the Most Blessed Sacrament, Detroit, MI Presbyterian, Plainfi eld, NJ 7:30 pm 7:30 pm Exultate Deo Chamber Choir; First Con- Jeannine Jordan, with media artist; First gregational, Saginaw, MI 7 pm United Methodist, Port Huron, MI 7:30 pm Michael Hey; St. Norbert Abbey, De 5 APRIL Pere, WI 2 pm Bach Vespers; Holy Trinity, New York, NY Northwest Choral Society; Jewish Re- 5 pm constructionist Congregation, Evanston, IL Christopher Betts & Benjamin Straley; 7:30 pm Washington National Cathedral, Washing- ANDREW PAUL MOORE ton, DC 5:15 pm A.S.C.A.P. 19 APRIL FELLOW, AMERICAN GUILD OF ORGANISTS Francis Kim; Center Church on the CHRIST CHURCH 7 APRIL Green, New Haven, CT 2 pm 345 SADDLE LAKE DRIVE Wesley Roberts; Ransdell Chapel, ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS New York City Children’s Chorus; Madison Campbellsville University, Campbellsville, (770) 594-0949 Avenue Presbyterian, New York, NY 3 pm KY 12 noon 37th Annual English Handbell Festival; Daniel Segner; Lutheran School of The- Riverside Church, New York, NY 4 pm ology, Chicago, IL 12:15 pm MARILYN MASON Bach Vespers; Holy Trinity, New York, NY CHAIRMAN, DEPARTMENT OF ORGAN 9 APRIL 5 pm UNIVERSITY OF MICHIGAN Gail Archer; St. Stephen’s, Millburn, NJ ANN ARBOR Paul Cienniwa, with baroque violin; First Church, Boston, MA 7:30 pm 4 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Nathan Laube; Redeemer Episcopal, with awesome technique and a thrilling command of its daring writing.” Bethesda, MD 5 pm The American Organist, 1980 10 APRIL William Porter; Old West Organ Society, Chelsea Chen; St. Andrew Chapel, Boston, MA 8 pm Woodberry Forest, VA 10 am worship ser- Gavin Black, harpsichord; Christ Con- vice, 7 pm recital gregation Church, Princeton, NJ 8 pm Mark Jones, with harp; First Presbyte- PHILIP CROZIER LARRY PALMER Isabelle Demers; Presbyterian Church rian, Pompano Beach, FL 4 pm of Chestnut Hill, Philadelphia, PA 7 pm Sylvia Marcinko Chai; Sacred Heart CONCERT ORGANIST Professor of Douglas Reed, with American Brass Church, Tampa, FL 3 pm Huw Lewis; Hyde Park Community ACCOMPANIST Harpsichord and Organ Quintet; First Presbyterian, Evansville, IN 7 pm Methodist, Cincinnati, OH 4 pm 3355 Queen Mary Road, Apt 424 John Gouwens Meadows School of the Arts Bach Week; Music Institute of Chicago, ; Culver Academies, Cul- Montreal, H3V 1A5, P. Quebec Evanston, IL 7:30 pm, 10 pm ver, IN 4 pm SOUTHERN METHODIST UNIVERSITY Lynne Davis; Central United Methodist, Canada 11 APRIL Lansing, MI 3:30 pm (514) 739-8696 Dallas, Texas 75275 Crescent Choral Society; Crescent Av- Evensong; Christ Church, Grosse Pointe [email protected] enue Presbyterian, Plainfi eld, NJ 8 pm Farms, MI 4:30 pm Musical Heritage Society recordings The Crossing; Longwood Gardens, Ken- Simon Thomas Jacobs; Goshen Col- nett Square, PA 8 pm lege, Goshen, IN 4 pm Andrew Peters, hymn festival; Pilgrim 12 APRIL Lutheran, Carmel, IN 4 pm Handel, Messiah, Part III; Grace Church, Anthony Jurich; Madonna della Strada New York, NY 4 pm Chapel, Loyola University, Chicago, IL 3 pm www.pekc.org Bach Vespers; Holy Trinity, New York, NY Craig Cramer; Holy Name Cathedral, 5 pm Chicago, IL 3 pm Princeton Early Keyboard Center University of Pittsburgh Men’s Glee Club; Gerrit Lamain; St. Stephen’s Lutheran, Shadyside Presbyterian, Pittsburgh, PA St. Paul, MN 4 pm Gavin Black, Director 12:30 pm Kurt Ison; Washington National Cathe- 20 APRIL dral, Washington, DC 5:15 pm Louise Bass, with choir; Peachtree Road The Princeton Early Keyboard Center, with its principal Gail Archer; St. Phillip Episcopal, Atlan- United Methodist, Atlanta, GA 7:30 pm studios on Witherspoon Street in Princeton, NJ, is a small, ta, GA 3 pm David Higgs; Stambaugh Auditorium, 21 APRIL independent school offering lessons and workshops in Youngstown, OH 4 pm Juilliard 415; Holy Trinity, New York, NY harpsichord, clavichord, continuo playing, and all aspects Jonathan Ryan; Immaculate Concep- 12 noon of Baroque keyboard studies. Facilities include two tion Catholic Church, Cleveland, OH 3 pm Olivier Latry; St. John Episcopal, Mem- antique harpsichords, several other fi ne harpsichords, Stephen Alltop, with soprano; St. Chrys- phis, TN 7:30 pm ostom’s Episcopal, Chicago, IL 2:30 pm The Tallis Scholars; Cathedral Church of and clavichords, both antique and modern. Lessons at the Wolfgang Rübsam; St. Thomas Aquinas the Advent, Birmingham, AL 7:30 pm Center are available in a wide variety of formats, tailored to Chapel, University of St. Thomas, St. Paul, Dean Billmeyer; Church of St. Louis, the needs of each student. All enquiries are very welcome at MN 2 pm King of France, St. Paul, MN 12:35 pm 732/599-0392 or [email protected]. 13 APRIL 24 APRIL Chelsea Chen, with saxophone; Cincin- Michael Hey; Trinity College, Hartford, nati Museum Center, Cincinnati, OH 7 pm CT 7:30 pm

30 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer LEON NELSON Recitals – Consultations Spring Choir Concert; Grace Church, •Yun Kim; St. Ita Roman Catholic Director of Traditional Music New York, NY 4 pm Church, Chicago, IL 3 pm Director of Music Emeritus Southminster Presbyterian Church Gail Archer, with Barnard-Columbia Nathan Laube; Rockefeller Memorial Cathedral Church of the Advent Chorus; Church of the Ascension, New Chapel, University of Chicago, Chicago, IL Arlington Heights, IL 60005 Birmingham, Alabama York, NY 8 pm 8 pm Cantata 31 Daniel Roth; Our Lady of Refuge Catho- Bach, ; Grace Lutheran, River lic Church, Brooklyn, NY 7:30 pm Forest, IL 3:45 pm Peter Sykes; Riverside Church, New Isabelle Demers; St. Patrick’s Roman ROBERT L. Catholic Church, New Orleans, LA 4 pm Nicholas E. Schmelter York, NY 7 pm Director of Music and Organist Alabama Choir School Concert Choir; 27 APRIL SIMPSON Cathedral Church of the Advent, Birming- Olivier Latry, masterclass; St. John’s First Congregational Church Christ Church Cathedral ham, AL 12:30 pm Episcopal, Georgetown, Washington, DC Saginaw, Michigan 1117 Texas Avenue Jonathan Rudy; First Presbyterian, Sag- 7:30 pm Houston, Texas 77002 inaw, MI 8 pm Daniel Roth; All Saints’ Episcopal, At- Olivier Latry; Basilica of St. John the lanta, GA 7:30 pm Baptist, Canton, OH 7 pm David Jonies; Elliott Chapel, Presbyte- Stephen Tappe Indianapolis Symphonic Choir; Hilbert rian Homes, Evanston, IL 1:30 pm Organist and Director of Music Circle Theatre, Indianapolis, IN 8 pm Mark Steinbach Saint John's Cathedral John W. W. Sherer; Fourth Presbyterian, 28 APRIL Brown University Chicago, IL 12:10 pm Olivier Latry; St. John Episcopal, Denver, Colorado Lakeside Singers; Fourth Presbyterian, Georgetown, Washington, DC 7:30 pm www.sjcathedral.org Chicago, IL 7 pm 29 APRIL Bach, St. John Passion; Lawrence Uni- David Jonies, with countertenor; Ca- versity, Appleton, WI 8 pm thedral of St. John the Evangelist, Milwau- ORGAN MUSIC OF THE SPANISH BAROQUE kee, WI 12:15 pm 25 APRIL Lyra Russian Vocal Ensemble; Sts. Pe- Joe Utterback Chilcott, Salisbury Vespers; Bruton Par- David Troiano ter & Paul Catholic Church, Naperville, IL DMA MAPM COMMISSIONS & CONCERTS ish Episcopal, Williamsburg, VA 5:30 pm 7 pm Choral Society of the Palm Beaches; 586.778.8035 732 . 747 . 5227 Florida Atlantic University, Lifelong Learn- 30 APRIL [email protected] ing Society Auditorium, Jupiter, FL 7:30 pm Karen Beaumont; Princeton University John Gouwens, carillon; Culver Acad- Chapel, Princeton, NJ 12:30 pm emies, Culver, IN 4 pm Daniel Roth; Longwood Gardens, Ken- nett Square, PA 8 pm Marcia Van Oyen 26 APRIL David Wagner First United Methodist Church Scott Lamlein; St. John’s Episcopal, UNITED STATES DMA Plymouth, Michigan West Hartford, CT 12:30 pm West of the Mississippi www.davidwagnerorganist.com Bach Vespers; Holy Trinity, New York, NY mvanoyen.com 5 pm 15 MARCH F. Allen Artz III; Grace Lutheran, Lan- Evensong; St. John’s Cathedral, Denver, caster, PA 4 pm CO 3 pm Eric Plutz; Calvary Episcopal, Pitts- Scott Dettra; Broadway Baptist, Fort burgh, PA 4 pm Worth, TX 7 pm Kevin Walters KARL WATSON Trio Nova Mundi; Shadyside Presbyte- Evensong; Christ Episcopal, Tacoma, rian, Pittsburgh, PA 4 pm WA 5 pm M.A., F.A.G.O. SAINT LUKE’S Readings and Music for the Liturgical Macalester Concert Choir; Christ Epis- Year; St. John’s Episcopal, Hagerstown, copal, Tacoma, WA 7:30 pm Rye, New York METUCHEN MD 5 pm Angela Kraft Cross; St. Mary’s Cathe- Marilyn Keiser; St. Paul Episcopal, Ak- dral, San Francisco, CA 4 pm ron, OH 4 pm Iveta Apkalna; First Congregational, Los Angeles, CA 3 pm Gail Archer; Monroe Street United Meth- Alan G Woolley PhD odist, Toledo, OH 4 pm RONALD WYATT 16 MARCH Musical Instrument Research Evensong; Cathedral Church of the Ad- Daryl Robinson; Herrick Chapel, Occi- vent, Birmingham, AL 3 pm Edinburgh Trinity Church dental College, Los Angeles, CA 8 pm Jeannine Jordan, with media artist; First [email protected] Galveston

Congregational, Traverse City, MI 4 pm 17 MARCH Evensong; Cathedral Church of St. Paul, Bryan Dunnewald; Aspen Community Detroit, MI 4 pm Church, Aspen, CO 6 pm Evensong; Christ Church, Grosse Pointe DIAPASON Student Rate Farms, MI 4:30 pm 18 MARCH RUDOLF ZUIDERVELD Olivier Latry; Church of the Ascension, Gail Thurnau; First Presbyterian, Roch- $20 one year Knoxville, TN 5 pm ester, MN 12:15 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 &OHREXU\RI.LQJ¶VDIWHUPRUHWKDQWKUHHGHFDGHVDV Darien, CT 06820 New York, NY 10128 GLUHFWRURIWKH&KRLURI.LQJ¶V&ROOHJH&KDSHO&DPEULGJH (917) 628-7650 (212) 222-9458 4 6WHSKHQ&OHREXU\NQRZVKLVMREDQGVWLOONHHSVRQKLVWRHV ( DVDQRUJDQLVWVRORLVW %DFKLQ$PHULFDWKRXJKKLVURRWVDUHLQH[WULFDEO\LQ A two-inch Professional Card 9 &HQWUDO*HUPDQVRLOWUDQVSODQWHG%DFKDQGKLVPXVLFQHYHU * FHDVHVWRÀRXULVKKHUHLQWKH8QLWHG6WDWHV in The Diapason For information on rates and specifi cations, contact Jerome Butera: / 6SULQJ¶V%DFKLQFHOHEUDWLRQRIWKH9HUQDO(TXLQR[ DQGDVSHFLDOELUWKGD\ZHGHOLJKWDJDLQLQPRUHRIWKHHYHU [email protected] 608/634-6253 UHVLOLHQWPXVLFRI-RKDQQ6HEDVWLDQ%DFK  7KH6WDWLRQVRIWKH&URVVDPXOWLSHUIRUPHUPXOWL ArtistArtist Spotlights Spotlightspotlight s DAVID SPICER  YHQXHSUHVHQWDWLRQRI0DUFHO'XSUp¶VSURYRFDWLYHDQG SURIRXQGPXVLFDOLQWHUSUHWDWLRQRI3DXO&ODXGHO¶VYLYLG First Church of Christ  IRXUWHHQSRHPF\FOH/H&KHPLQGHOD&URL[ Artist Spotlights are available on Wethersfi eld, Connecticut  0XVLFIRU(DVWHUZKHWKHULQ%DURTXHFKRUDOH The Diapason SUHOXGHV9LFWRULDQDQWKHPVRUFRQWHPSRUDU\PHGLWDWLRQV website and FRPSRVLWLRQVIRUWKH5HVXUUHFWLRQ)HVWLYDODOZD\VXSOLIW 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 MARCH 2015 Q 31 Calendar

20 MARCH 10 APRIL Susanna Vallelau, with trumpet; St. 19 MARCH Judith Hancock; Christ Episcopal, Little Christopher Houlihan; Catalina United Mark’s Episcopal Cathedral, Seattle, WA Simon Johnson; St. John’s, Smith Rock, AR 7:30 pm Methodist, Tucson, AZ 7 pm 2 pm Square, London, UK 1:05 pm Richard Robertson; St. John’s Cathe- Douglas Cleveland; Summit Avenue 21 MARCH dral, Denver, CO 7:30 pm 11 APRIL Presbyterian, Bremerton, WA 4 pm James Hicks; Vor Frue Church, Aarhus, Paul Hesselink; Doc Rando Hall, Uni- Mark Fideldy, silent fi lm accompani- American Canyon Singers; Resurrection ment; Gethsemane Lutheran, Hopkins, Parish, Santa Rosa, CA 3:30 pm Denmark 8 pm versity of Nevada, Las Vegas, NV 7:30 pm Pieter van Dijk; St. Saviour’s, St. Albans, MN 7 pm Gardner, Lamb of God; St. Mary’s Cathe- Macalester Concert Choir; Christ Epis- UK 5:30 pm copal, Tacoma, WA 7:30 pm dral, San Francisco, CA 7 pm 12 APRIL Olivier Latry; Walt Disney Concert Hall, 22 MARCH Bradley Hunter Welch; St. Philip’s Epis- 22 MARCH Los Angeles, CA 7:30 pm Martin Ford; Westminster Abbey, Lon- copal, Beeville, TX 3 pm Stephen Hamilton; Trinity Episcopal, don, UK 5:45 pm Polyphony; Las Placitas Presbyterian, Tulsa, OK 5 pm 20 APRIL Philip Underwood, with baritone; St. Placitas, NM 3 pm Scott Dettra; Community of Christ Tem- Evensong; Our Lady of the Atonement Bartholomew’s, Cheshire, UK 4 pm Paul Jacobs; Our Lady of Lourdes, Sun ple, Independence, MO 7:30 pm Catholic Church, San Antonio, TX 4 pm City West, AZ 3 pm 23 MARCH Joan Lippincott; St. Alban’s Episcopal, Hatsumi Miura; Lagerquist Hall, Pacifi c 24 APRIL Ian Tracey; Leeds Town Hall, Leeds, UK Tucson, AZ 3 pm Lutheran University, Tacoma, WA 3 pm Ken Cowan; All Saints’ Episcopal, Fort 1:05 pm Cristina García Banegas; Resurrection Christoph Tietze & David Hatt, Bruhns’ Worth, TX 7:30 pm Parish, Santa Rosa, CA 3:30 pm 350th birthday commemoration; St. Mary’s Karen Black; St. John’s Cathedral, Den- 25 MARCH Robert Gurney; St. Mary’s Cathedral, Cathedral, San Francisco, CA 4 pm ver, CO 7:30 pm Samuel Kummer; Frauenkirche, Dres- San Francisco, CA 4 pm Alcée Chriss; St. Paul Lutheran, Albu- den, Germany 8 pm 17 APRIL querque, NM 7 pm 8 APRIL 25 MARCH Daryl Robinson; St. Monica Catholic Isabelle Demers; Pinnacle Presbyterian, Marc Jacquet; Kathedrale, Dresden, Andrew Galuska; First Presbyterian, Church, Dallas, TX 7:30 pm Scottsdale, AZ 7 pm Germany 8 pm Rochester, MN 12:15 pm Carole Terry; St James Cathedral, Se- attle, WA 8 pm 25 APRIL 15 APRIL 28 MARCH Olivier Latry; Trinity Episcopal Cathe- Philip Brisson; St. Olaf Catholic, Minne- James Hicks; Vor Frue Church, Aarhus, Houston Chamber Choir; South Main dral, Portland, OR 7 pm apolis, MN 1 pm Denmark 8 pm Baptist, Houston, TX 7:30 pm •Cherry Rhodes & Ladd Thomas; First Hans-Jürgen Kaiser; Kreuzkirche, United Methodist, Glendale, CA 7:30 pm 26 APRIL Dresden, Germany 8 pm 29 MARCH Aaron David Miller; St. Mark’s Episco- Jens Korndörfer; Timothy Eaton Memo- Stephen Hamilton; First Lutheran, 19 APRIL pal Cathedral, Minneapolis, MN 3 pm rial Church, Toronto, ON, Canada 7:30 pm Sioux Falls, SD 3 pm Carolyn Diamond & Diana Lee Lucker; Bradley Hunter Welch; First United Annette Richards; Trinity Lutheran, Wayzata Community Church, Wayzata, Methodist, Fort Smith, AR 3 pm 17 APRIL Lynnwood, WA 7 pm MN 3 pm Raúl Prieto Ramírez; American Evan- Jens Korndörfer; St. George Cathedral, Steve Denmark; St. Mary’s Cathedral, Isabelle Demers; First Presbyterian, gelical Lutheran, Prescott, AZ 3 pm Kingston, ON, Canada 8 pm San Francisco, CA 4 pm Rochester, MN 4 pm Nigel Potts, with soprano; Grace Cathe- Joel Bacon; Trinity Lutheran, Moorhead, dral, San Francisco, CA 4 pm 18 APRIL James Hicks; Copenhagen Cathedral, 3 APRIL MN 4 pm Cappella SF; St. Mary’s Cathedral, San Copenhagen, Denmark 12 pm St. Mark Passion Ahreum Han Congdon Francisco, CA 7 pm Bach, ; St. Mark’s Epis- ; The Congrega- Martin Neary, with cello; St. Peter’s, St. Anthony & Beard; California Polytechnic copal Cathedral, Minneapolis, MN 7:30 pm tional Church, UCC, Iowa City, IA 4 pm Albans, UK 5:30 pm Rocky Mountain Children’s Choir; St. State University, San Luis Obispo, CA 3 pm 9 APRIL John’s Cathedral, Denver, CO 2:30 pm 22 APRIL Mark Fideldy; St. Barnabas Lutheran, Evensong; St. John’s Cathedral, Denver, INTERNATIONAL Matthias Grünert; Frauenkirche, Dres- Plymouth, MN 12:30 pm CO 3 pm den, Germany 8 pm 15 MARCH Faythe Freese; St. Agata, Budrio, Italy 8:45 pm Peter Holder; St. Paul’s Cathedral, Lon- don, UK 4:45 pm 26 APRIL Christopher Houlihan; Westminster Unit- 16 MARCH ed Church, Winnipeg, MB, Canada 7:30 pm Thomas Trotter; Symphony Hall, Bir- Edward Norman; Ryerson United mingham, UK 1 pm Church, Vancouver, BC, Canada 3 pm

17 MARCH 27 APRIL Jeremy Lloyd; Town Hall, Reading, UK Thomas Trotter; Royal Festival Hall, 1 pm London, UK 7:30 pm

-+ &62GHOO 18 MARCH 29 APRIL Stephan Leuthold; Kreuzkirche, Dres- Hans Leitner; Kathedrale, Dresden, odellorgans.com s 860-365-8233 den, Germany 8 pm Germany 8 pm P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859

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L. W. BLACKINTON THE NOACK ORGAN CO., INC. and associates, inc. MAIN AND SCHOOL STREETS GEORGETOWN, MA 01833 www.noackorgan.com 380 FRONT ST. EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America CLAYTON ACOUSTICS GROUP Duchon’s Organ Pipes Member Firm: The Associated Pipe Organ Builders of America 2 Wykagyl Road Carmel, NY 10512 New Reeds & New Flues 845-225-7515 [email protected] Additions & Repairs RANDALL DYER www.claytonacoustics.com & ASSOCIATES, INC. CLAYTON ACOUSTICS AND SOUND SYSTEM 330/257-0491 PIPE ORGANS OF QUALITY AND DISTINCTION ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP [email protected] BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539

[email protected] ◆ www.rdyerorgans.com

Jacques Stinkens Orgelpijpenmakers B.V. Pipe Organ Builders Since 1915 sinds 1914 11561 Edmonston Rd. Flues - Reeds Your personal wishes are in good hands Beltsville, MD 20705 www.stinkens.nl 800/952-PIPE [email protected]

A. David Moore, Inc. Visit The Diapason TRACKER ORGAN DESIGNERS & BUILDERS website: HC 69 Box 6, North Pomfret, Vermont 05053 www.TheDiapason.com 802/457-3914

32 Q THE DIAPASON Q MARCH 2015 WWW.THEDIAPASON.COM Organ Recitals

STEPHEN ALLTOP, EUN JOO JU, & 588, Concerto in d, BWV 596, Pastorella in PHILIP CROZIER, St. Joseph’s Oratory, and Chaconne, Buxtehude; Voluntary, Boyce; LAURIE STIVERS, Winnetka Congrega- F, BWV 590, Pièce d’orgue (Fantasia in G), Montreal, QC, Canada, August 17: Sonata Concerto in B-fl at, Handel. tional Church, Winnetka, IL, September 27: BWV 572, Partite diverse sopra ‘Sei gegrüßet, No. 3 in G, op. 88, Rheinberger; Petite pièce, Wie schön leuchtet der Morgenstern, BWV Jesu gütig,’ BWV 768, Passacaglia in c, BWV Alain; Tre Tonstykker, op. 22, Gade; Fantasie MARK LAUBACH, St. Peter’s Evangelical 763, Herr Jesu Christ, meines Lebens Licht, 582, Bach. Choral No. 2 in f-sharp, Whitlock. Lutheran Church, Lancaster, PA, September BWV 750, Lob sei dem allmächtigen Gott, 27: Sinfonia (Cantata No. 29), Nun danket alle BWV 704, Nun ruhen alle Wälder, BWV 756, SUN CHANG, CHRISTINE KRAE- WILLIAM GUDGER, St. Luke’s Cha- Gott, BWV 657, Bach; Organ Concerto in F, O Herre Gott, dein göttlichs Wort, BWV 757, MER, & PHILIP MCPEEK, Alice Millar pel, Charleston, SC, October 21: Sonata in op. 4, no. 5, Handel; Herzlich tut mich verlan- O Vater, allmächtiger Gott, BWV 758, Jesu Chapel, Northwestern University, Evanston, F, C.P.E. Bach; Adagio (Third Symphony), gen, op. 122, no. 10, Brahms; Cwm Rhondda, der du meine Seele, BWV 758, Wir Chris- IL, October 10: Jesu, meine Freude, BWV Saint-Saëns, transcr. Bernard; My Shep- Manz; Improvisation on St. Clement, Han- tenleut’ hab’n jetzund Freud, BWV 710, Nun 713, Ach Gott, vom Himmel sieh’ darein, herd will supply my need, Gudger; Varia- cock; Kirchliche Fest-Overture, op. 31, Nico- freut euch, lieben Christen, BWV 755, Wir BWV 741, Vom Himmel hoch, da komm ich tions on a Theme from Handel’s ‘Judas lai; Suite Gothique, op. 25, Boëllmann; Scher- danken dir, Herr Jesu Christ, BWV 623, O her, BWV 738, Vom Himmel hoch, da komm Maccabaeus,’ Beethoven. zo, op. 2, Durufl é; Grand Choeur Dialogué, Lamm Gottes, unschuldig, BWV 1085, Ach, ich her, BWV 606, Christe, du Lamm Gottes, Gigout; Variations on a Noël, op. 20, Dupré. was ist doch unser Leben, BWV 743, Liebster BWV 619, Gelobet seist du, Jesu Christ, CHRISTOPHER HOULIHAN, Somers Jesu, wir sind hier, BWV 633, In dich hab’ ich BWV 697, Nun komm, der Heiden Heiland, Congregational Church, Somers, CT, Novem- NATHAN LAUBE, St. Chrysostom’s gehoffet, Herr, BWV 712, Bach. BWV 699, Vom Himmel hoch, da komm ich ber 2: Toccata, Sowerby; Italian Concerto, Episcopal Church, Chicago, IL, Septem- her, BWV 701, Allein Gott in der Höh’ sei BWV 971, Bach, arr. Houlihan; Passacaglia ber 28: Toccata in E, BWV 566, Concerto F. ALLEN ARTZ, Crescent Avenue Pres- Ehr’, BWV 711, Herzlich tut mich verlan- and Fugue in c, BWV 582, Ich ruf zu dir, Herr in d, BWV 596, Pastorella, BWV 590, Pièce byterian Church, Plainfi eld, NJ, October 26: gen, BWV 727, Werde munter, mein Gemüte, Jesu Christ, BWV 639, Bach; Scherzo (Sym- d’orgue, BWV 572, Partite diverse sopra ‘Sei Concerto in a, BWV 593, Air for the G String BWV 1118, Wie nach einer Wasserquelle, phony No. 2, op. 20), Vierne; Andante Soste- gegrüßet, Jesu gütig,’ BWV 768, Passacaglia, (Suite in D), Fugue in g, BWV 578, Chorale BWV 1119, Komm, Gott Schöpfer, Heiliger nuto (Symphonie Gothique, op. 70), Widor. BWV 582, Bach. Prelude on Von Gott will ich nicht lassen, Geist, BWV 631, Ehre sei dir, Christe, der BWV 658, Bach; Partita on Freu dich sehr, du leidest Not, BWV 1097, Christus, der ist DAVID JONIES, Holy Rosary Parish, ANNA MYEONG, Trinity Lutheran Böhm; Fugue No. 1 in B-fl at (Six Fugues on mein Leben, BWV 1112, Herr Jesu Christ, Bozeman, MT, August 3: Concert Varia- Church, Mission, KS, October 19: Fantasia the Name BACH for Organ or Pianoforte, op. du höchstes Gut, BWV 1114, Ich hab mein tions on The Star Spangled Banner, op. 23, 60), Schumann; Prelude and Fugue in d, op. Sach Gott heimgestellt, BWV 1113, O Lamm and Fugue in g, BWV 542, Bach; Tuba Tune 37, no. 3, Mendelssohn; Cortège et Litanie, Gottes, unschuldig, BWV 1095, Allein zu dir, Buck; Organ Concerto in B-fl at, op. 4, no. Ragtime, Baker; Prelude and Fugue on the Dupré; Bells (Three Characteristic Pieces), Herr Jesu Christ, BWV 1100, Bach. 2, Handel, arr. Dupré; Fugue on the Mag- theme B-A-C-H, Liszt; Carnival of the Ani- Langlais; Les Cloches, Le Bègue; Fugue sur nifi cat, BWV 733, Bach; Amazing Grace, I mals, Saint-Saëns; Toccata, Boëllmann. le thème du Carillon des heures de la Cathé- CHELSIE COREN & DAVID SCHRAD- Love Thee, My Lord, Once More, My Soul drale de Soissons, Durufl é; Carillon, Sowerby; ER, Rockefeller Chapel, University of Chi- (Sacred Sounds for Organ), Shearing; Pre- HEINRICH WALTHER, Valparaiso Carillon de Westminster (Pièces de Fantasie, cago, Chicago, IL, October 17: Wer nur den lude and Fugue in E-fl at, op. 99, no. 3, Saint- University, Valparaiso, IN, October 6: Sym- op. 54), Vierne. lieben Gott läßt walten, BWV 690, Vom Him- Saëns; Naïades, op. 55, Vierne; Pasticcio phonique Ouverture on a Gregorian Theme, mel hoch, da komm ich her, BWV 700, Durch (Organ Book), Langlais; Andantino, op. 51, “Irurak Bat” Rhapsodia sobra tres cantos vas- CHARLIE CARPENTER & NATHAN Adams Fall ist ganz verderbt, BWV 705, Lieb- Vierne; Carillon, op. 27, no. 4, Dupré. congadas (Rhapsodie on 3 Basque themes), LAUBE, St. Chrysostom’s Episcopal Church, ster Jesu, wir sind hier, BWV 706, Fantasy Usandizaga, transcr. Walther; Variations on Chicago, IL, September 28: Wo Gott zum in c, BWV 562, Nun komm, der Heiden Hei- JEANNINE JORDAN, Christ Presbyte- a Basque theme, Guridi; Symphony in d, Haus nicht gibt sein Gut, BWV 1123, Denket land, BWV 659–661, Trio Sonata No. 6 in G, rian, Gardnerville, NV, October 5: Festive Franck, transcr. Walther. doch, Ihr Menschenkinder, BWV 1122, Lobet BWV 530, Prelude and Fugue in b, BWV 544, Trumpet Tune, German; Solemn Melody, Da- Gott, unsern Herrn, BWV 1126, Jesus, meine Trio Sonata No. 4 in e, BWV 528, Erbarm’ vies, arr. Tall; How Great Thou Art, Hine, arr. WILLIAM WHITEHEAD, Town Hall, Zuversicht, BWV 728, Ach Herr, mich ar- dich mein, O Herre Gott, BWV 721, Es ist Hamlin; There Is a Balm in Gilead, Porter; Reading, UK, October 4: Finale (Symphony men Sünder, BWV 742, Ach Gott und Herr, gewißlich an der Zeit, BWV 734, Fuga super Come, Thou Fount of Every Blessing, Hamlin; No. 6 in G), Toccata (Symphony No. 5 in F), BWV 714, Der Tag, der ist so freudenreich, Allein Gott in der Höh sei Ehr, BWV 716, Wo Worthy of Worship, Blankenship, arr. Boud; Widor; Prelude and Fugue in d, BWV 539, BWV 719, Gottes Sohn ist kommen, BWV soll ich fl iehen him, BWV 694, Valet will ich Amen/Alleluia and Noel, Pettit; Joyful, Joyful Bach; Air on Holsworthy Bells, Wesley; Toc- 703, Gelobet seist du, Jesu Christ, BWV 604, dir geben, BWV 736, Pedal-Exercitium, BWV We Adore Thee, Beethoven, arr. Jordan; Toc- cata in d, Stanford; Concerto in G, Stanley; Toccata in E, BWV 566, Canzona in d, BWV 598, Fugue in G, BWV 577, Bach. cata and Fugue in d, Bach; Prelude, Fugue World Premiere, Lolavar.

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  Patrick j. Murphy 035DWKNH,QF & associates, inc. 3LSH2UJDQ%XLOGHUV organbuilders   3RVW2IILFH%R[ 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 6SLFHODQG,QGLDQD86$ 610-970-9817 • 610-970-9297 fax 7HO)D[ [email protected] • www.pjmorgans.com ZZZUDWKNHSLSHRUJDQVFRP

sound INSPIRATION DIAPASON Student Rate The Organ Clearing House PO Box 290786 Acoustical Design & Testing • Organ Consultation & $20 one year Charlestown, MA 02129 Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training 847/391-1044 Ph: 617.688.9290 NEW! www.riedelassociates.com • (414) 771-8966 [email protected] www.organclearinghouse.com email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202

Advertise in Don’t just tell people what you _ The Diapason have for sale. Show them! Own a piece of history! For rates and digital specifi cations contact Jerome Butera The cover of the 100th Anniversary 608/634-6253 • [email protected] Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

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

Covenant Presbyterian Church in Charlotte, Edith Lang, fi xture of the Boston organ world Certifi ed appraisals—Collections of organ Werner Bosch tracker organ, 1969. Two manu- North Carolina, is seeking a full-time Direc- for decades, wrote and played music for all books, recordings, and music, for divorce, als and pedal, 9 stops. Case of African mahogany, tor of Music. He/she will be responsible for our organs, from church to theatre. She even wrote estate, gift, and tax purposes. Stephen L. Pinel, 12′ wide, 8′ high, 4′ deep. Self-contained 110-volt traditional music program, which includes vocal a book about fi lm accompaniment! We have Appraiser. 629 Edison Drive, East Windsor, NJ blower. $30,000. The Organ Clearing House, and handbell choirs for children through adults. A restored her most famous piece, Meditation, 08520-5205; 609/448-8427. 617/688-9290, [email protected]. bachelor’s degree in music is required. Additional which works beautifully on all types of organs. post-graduate study in sacred music, choral michaelsmusicservice.com; 704/567-1066. conducting, and/or worship studies, and piano or Consoliere Classic Series for Organ: Complete M. P. Möller Artiste Opus 9750, 1962. Diapa- organ skills are desirable. The Director of Music Set of Six Books. An outstanding collection com- son, Gedeckt, Viola, and Trumpet, 2 manuals piled from World Library Publication’s extensive and pedal, 20 stops. Chimes and Zimbelstern must have proven leadership skills in church Suite for an Old Tracker Organ, the First organ library. A must for any church organist. available. Freestanding swell box, detached music administration, a minimum of fi ve years’ Prize winner in the 1967 OHS composition experience as a Director of Music, a collaborative 003067, $54.00, 800/566-6150, Wlpmusic.com. console with ~ 75 feet cable. Good condition. competition, in print for the first time in 47 approach to ministry, and excellent communica- Buyer to arrange disassembly, crating and ship- years! See, listen and purchase score at www. tion skills. The Director of Music must be able to ping. Los Angeles area. Contact ralphsargent@ work effectively with volunteers and have strong guinaldopublications.com. Raven, America’s leading label for organ record- verizon.net. pastoral, organizational and interpersonal skills. ings since 1978, offers one hundred CDs and The director must have an appreciation for the videos at RavenCD.com. Titles include the 4-disc From Fruhauf Music Publications for organ. Dobson tracker organ: two-manuals and pedal, value and role of other, non-traditional forms DVD/CD set about César Franck, 5-disc DVD/ 40 Free Harmonizations of 24 Familiar Hymn 8 stops, 7 ranks. Opus 39 from 1988, in Long of musical expression in worship, and will work CD set about Cavaillé-Coll, the acclaimed Bach/ Tunes, Vol. 1: Island, NY. Height 13′1′′; width 6′. Free-standing cooperatively with other musicians on staff. See Aberystwyth to Kremser, 34 pages. Art of Fugue/DVD/CD set with George Ritchie, case of fumed white oak with self-contained 110- more complete job description at http://www. These varied settings are appropriate for many Ritchie’s 11-CD set of the complete organ works of volt blower. $65,000. The Organ Clearing House, thediapason.com/classified/director-music- church seasons and occasions. Visit www. Bach, and recent CDs recorded by Jeremy Filsell 617/688-9290, [email protected]. ministries-0. To apply for this position, send frumuspub.net to view tables of contents, details (Epiphany Church, Washington, DC; National resume, references and any supporting materials and notes, and for a downloadable sample Cathedral, National Shrine), Todd Wilson (Gerre Hancock Organ Works at St. Thomas, NYC), to the Music Search Committee, musicsearch@ harmonization. Randall Dyer organ, 4 ranks, all-electric action Jon Gillock (Messiaen on the new Quoirin organ, covenantpresby.org by March 31, 2015. with expansion channel, solid-state relay; 9′ tall Ascension, NYC), Anthony Hammond (Coventry x 7′ wide, 4′6′′ deep with bench. randalldyer@ Cathedral, UK), Mark Brombaugh (David Dahl The new Nordic Journey series of CD record- bellsouth.net, 865/475-9539. See photo and Wanted: Organists visiting Maui. Lahaina’s Holy ings reveals premiere recordings of symphonic organ works on the Christ Church, Tacoma, John stoplist at www.TheDiapason.com/classifi ed/ Innocents Episcopal Church invites visiting organ- organ music—much of it still unpublished—from Brombaugh organ), Jack Mitchener, Stephen Wil- dyer-4-rank-organ. ists to play its Beckerath Positiv organ at Sunday Nordic composers, played by American organist liams, J. Thomas Mitts, Adam Brakel (Beckerath, services. Built in 1972 by Rudolf von Beckerath and James Hicks on a variety of recently restored Pittsburgh Cathedral), Peter Sykes (Bach, clavi- then-apprentice Hans-Ulrich Erbslöh for Honolulu’s Swedish organs. It’s a little bit like Widor, Reger chord), Maxine Thévenot, Damin Spritzer, Faythe 1981 Casavant tracker—3 manuals, 23 Lutheran Church, the 408-pipe Shrankpositiv has Freese (Magdeburg Cathedral), Rachel Laurin, ′ ′ ′ and Karg-Elert, but with a Nordic twist. Check it stops, 30 ranks. Footprint 10 x 14 ; height 18 . a 54-note “split” manual, 30-note pedal, 11 stops, Colin Lynch, Ken Cowan, Daniel Sullivan, John out at www.proorgano.com and search for the Good working order. Available now. Seller will 8 ranks, and 6 registers. Holy Innocents acquired Brock, many more. www.RavenCD.com. consider offers on a competitive basis. For term “Nordic Journey.” the instrument in 1977 and moved it to Maui where details, contact consultant Dr. David Lowry at it has been played by parish musicians such as [email protected]. Carol Monaghan and visiting artists including The OHS Catalog is online with more than Angus Sinclair of Canada and Dalibor Miklavcic of Gabriel Fauré, Requiem, Op. 48. Organ reduc- 5,000 classical and theater organ CDs, books, Slovenia. The instrument is extremely responsive tion from full score, for accompaniment only, pre- sheet music, and DVD/VHS videos. Visit www. Bigelow studio/practice organ: two manuals, and fi lls the worship space beautifully. The parish sented in convenient 3-stave format, 32 pages ohscatalog.org. To add your name to the OHS six stops—8, 4; 8, 4; 16, 8. Currently being re- community is “exemplary in its hospitality to all visi- of music plus notes and a page-turn layout key. Catalog mailing list, send an email to catalog@ built. 801/756-5777, [email protected]. tors,” and that especially includes visiting organists. (N.B. Available in North America only) Visit www. organsociety.org or mail to Organ Historical See details at bigeloworgans.com. Click on For information: 808/661-4202; holyimaui.org. frumspub.net for details. Society, Box 26811, Richmond, VA 23261. News, then on Opus 3.

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N.Y. builder Thomas Robjohn’s sole surviv- 1960 two-manual Reuter/Milnar organ 24 Aeolian/Robert Morton-style maroon Do you have a pipe organ that you would ing instrument—1859—2 manuals, 10 stops. ranks. For more information please go to www. leather is now available from Columbia Organ like to interface with an electronic or digital Stunning rosewood case with gold pipes. milnarorgan.com. Leathers! Highest quality. 800/423-7003, organ? We can interface any digital organ or Beautiful sound. Museum piece. 801/756-5777, www.columbiaorgan.com. any organ console with any pipe organ. For more [email protected]. See photo and more information e-mail [email protected] (not HYBRID ORGANS FOR SALE Comcast) or call 215/353-0286. information at http://www.thediapason.com/ Complete Pipe Organ Services from the Organ classifi ed/1859-robjohn-ny. Clearing House: 450 vintage pipe organs avail- Three-manual Rodgers Hybrid with seven able, renovation, tuning, consultation. Other sets of pipes; all working and in excellent ANNOUNCEMENTS services include transportation, cleaning and Expressive and compact—3/27 Kilgen (1940). condition. For more information please go to renovation of carvings, reredos, liturgical furnish- Two expressive divisions. 17 manual 8-foot fl ues. www.milnarorgan.com. ings. Call John Bishop at 617/688-9290. john@ THE DIAPASON’S 20 under 30 winners will Reeds include Tuba, Cornopean, Oboe, Clarinet, organclearinghouse.com. be announced in our May 2015 issue. ′ ″, Vox Humana. Harp. 16 Open Wood. H: 237 W: MISCELLANEOUS FOR SALE To advertise in this special issue, con- 170″, D: 189″. Stopkey console. Original restor- tact Jerome Butera at 608/634-6253; able condition. $30,000. Organ Clearing House, Releathering all types of pipe organ actions ′ [email protected]. 617/688-9290, [email protected]. Möller 16 Principal (32 pipes) in zinc. Suit- and mechanisms. Highest quality materi- able for a façade with over-length bodies. Asking als and workmanship. Reasonable rates. $5,000. For information: mail@letourneauorgans. Columbia Organ Leathers 800/423-7003. 1928 Casavant pipe organ, completely restored com or 450/774-2698. www.columbiaorgan.com/col. THE DIAPASON E-Newsletters are e-mailed with fi ve new stops by Létourneau in 1987. Two monthly to subscribers who sign up to manuals and pedals, 24 ranks. Organ is in excel- Consoles, pipes and numerous miscellaneous receive them. Don’t miss the latest news, lent condition and is a good candidate for solid- ATTENTION ORGANISTS! We all know the featured artists, and classifi ed ads—all with parts. Let us know what you are looking for. importance of an orderly, clean console state conversion. Asking $65,000 “as is” or can photos—some before they appear in print! E-mail [email protected] (not comcast), or keydesk. So it can be difficult to fi nd be rebuilt with modifi cations. For more informa- Visit www.TheDiapason.com and click on phone 215/353-0286 or 215/788-3423. room for your supplies and necessities. Subscribe to our newsletter. For assistance, tion, contact Létourneau Pipe Organs at mail@ We have the answer! The Organist’s Tool- contact Joyce Robinson, 847/391-1044, letourneauorgans.com or 888/774-5105. belt is a handy way to keep everything [email protected]. Atlantic City Pipe Organ Co. Hook & Hastings close by. The toolbelt is equipped with pipework restored: Diapasons, Strings, pedal pockets of various sizes and shapes ′ 1986 Rudolf von Beckerath, 2/15 (20 ranks) and manual Flutes. C.S. Haskell 16 Pedal Dul- and can accommodate everything from ″ ″ ″ Visit THE DIAPASON on Facebook. 162 H, 146 W, 114 D. $150,000, Organ Clear- ciana and Bourdon; much more. 609/432-7876, pencils to tissues; optional cupholder www.facebook.com/TheDiapason ing House, 617/688-9290, john@organclearing- [email protected]. pocket can hold water bottles or other house.com. liquid refreshment. Our toolbelt is avail- able in liturgical colors, or can match the SERVICES / SUPPLIES Postal regulations require that mail to THE color of your choir’s robes. Slips unob- DIAPASON include a suite number to assure 1938 Kimball studio/practice organ, 4 ranks, trusively underneath a cotta. Order yours delivery. Please send all correspondence to: 21 stops, excellent condition, 91″ H, 85″ W, Klann now offers their music racks with LED today! Box Toolbelt-Con, THE DIAPASON, THE DIAPASON, 3030 W. Salt Creek Lane, Suite ″ 56 D (+pedalboard). Organ Clearing House, lighting (12 VDC) and are available with a dim- [email protected]. 201, Arlington Heights, IL 60005. 617/688-9290, [email protected]. mer. 877/457-5804 or [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2015 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* 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*

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2017

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 Christian Lane Olivier Latry* Nathan Laube 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 94th Season!

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

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