THE DIAPASON MARCH, 2012
All Hallows’ Parish Davidsonville, Maryland Cover feature on pages 30–31
THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Third Year: No. 3, Whole No. 1228 MARCH, 2012 East Texas Pipe Organ Festival continue with his fi ne work. I look for- Established in 1909 ISSN 0012-2378 The recent East Texas Pipe Organ Fes- ward to reading Mr. Petty’s forthcoming An International Monthly Devoted to the Organ, tival honored the late Roy Perry, of Kil- book about the Möller fi rm’s history. the Harpsichord, Carillon, and Church Music gore, Texas (February issue, pp. 23–25). Alan D. McNeely He brought together the ideas, musicians, McNeely Organ Company churches, Aeolian-Skinner Organ Com- Waterford, CT pany, and his own fi ne voicing to create CONTENTS Editor & Publisher JEROME BUTERA [email protected] the best pipe organs in this area. In the wind . . . 847/391-1045 My husband, James C. Williams, his Thanks for publishing Leonardo Ci- FEATURES family, and I were privileged to work ampa’s remarks and John Bishop’s com- Early Organ Composers’ Associate Editor JOYCE ROBINSON with him installing these organs, enjoy- ments (Letters to the Editor, January, Anniversaries in 2012 [email protected] by John Collins 20 ing his unique personality, and his life- pp. 3-4). As it happened, the prelude 847/391-1044 long dedication to fi ne pipe organs. I played this past Sunday was, indeed, Der Aa-Kerk Organ I’m retired now and enjoying life in Bach’s “Wir glauben all an einen Gott,” Finally Restored Contributing Editors LARRY PALMER by Robert August 21 Harpsichord Laurel, Mississippi. the chorale prelude mentioned in Mr. Nora Williams Bishop’s remarks. In the unlikely event Organs in Lviv, Ukraine JAMES MCCRAY that a parishioner was familiar with the by Bill Halsey 22 Choral Music Last vestiges of Möller tune to “Wir glauben,” it’s even more un- 56th OHS National Convention I thank Randall Dyer for the fi ne likely that he would have recognized that June 27–July 2, 2011, Washington, D.C. BRIAN SWAGER Carillon and nostalgic article about M. P. Möller tune in the musical foliage in which Bach by Frank Rippl 24 (January issue, pages 24–27). Our asso- enveloped the tune. JOHN BISHOP ciation with the fi rm goes way back to In our Lutheran church, we do at- NEWS & DEPARTMENTS In the wind . . . the 1960s when the factory was thriv- tempt to blend other styles into our Editor’s Notebook 3 ing under the leadership of the Dan- musical offerings: the Chorale offered Letters to the Editor 3 GAVIN BLACK iels family. My assistant and I attended Dan Schutte’s “Here I Am, Lord,” which Here & There 3, 4, 6, 8, 10, 12 On Teaching that sad auction in 1993, buying parts, went nicely with the 1st Samuel Old Appointments 6 Reviewers John L. Speller tools and lumber, and fi lling two large Testament account of Eli and Samuel, Nunc Dimittis 8 Jay Zoller U-Haul trucks. It was a 4-day “funeral” one of the scripture readings du jour. Carillon News by Brian Swager 12 John Collins there, and it rained the entire time. The postlude was Mark Sedio’s impro- David Wagner Organ builders and enthusiasts from visation on “O Zion, Haste.” I suspect a In the wind . . . by John Bishop 12 David Herman On Teaching by Gavin Black 15 all over the world attended and all had large number of organists who read The diffi culty coming to the realization that Diapason similarly offer their parishio- REVIEWS the fi rm (the largest pipe organ manu- ners a variety of music. Also, we make facturing plant in the world) had indeed it a point to use at least one hymn each Music for Voices and Organ 17 THE DIAPASON (ISSN 0012-2378) is published monthly fi nancially failed. Much equipment was Sunday that is relatively modern. This Book Reviews 17 by Scranton Gillette Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. worn out and the roof leaked badly past Sunday, we felt it proper to give the New Recordings 18 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 then, fully documenting that the com- folks a chance to sing the hymnal setting New Organ Music 19 MSG RLY. E-mail:
In this issue Looking ahead The organ and church music world Articles in preparation include fea- was shocked and saddened by the death tures on Dudley Buck’s Grand Sonata Here & There of Gerre Hancock on January 21. Known in E-fl at, historic Italian organs, the life worldwide as one of the fi nest service and works of Jehan Alain, the Möller or- players, choir trainers, recitalists, and of gan at Carl Schurz High School in Chi- Christ Church, Bradenton, Florida, Madison Avenue Presbyterian course improvisers, he is deeply missed. cago, and much more. continues its music series: March 1, Church, New York City, March 4, Trio See his obituary in our “Nunc Dimit- Gregory Chestnut; 3/4, Richard Ben- Cavatina; 3/18, pianist Gila Goldstein; tis” column, along with those of Charles Submitting information edum (Bach, Art of Fugue); 3/8, Cyn- April 1, choral concert, works by Leigh- de Wolff, Arlyn Fuerst, Alice Jordan, For routine items, such as “Here & thia Roberts-Greene; 3/11, The Florida ton, Tallis, and Whitacre; 4/15, Mont- Gustav Leonhardt, and Kay McAbee. There,” “Appointments,” Nunc Dim- Voices; 3/15, Nancy Siebecker; 3/22, R. clair State University Singers and Vocal Elsewhere in this issue of The Diapa- ittis,” “Letters to the Editor,” “Organ Alan Kimbrough; 3/23, Istvan Ruppert; Accord; 4/29, violin and piano; May 6, son, John Collins gives information on Recitals,” and “New Organs,” send text 3/29, Michael Wittenburg. For informa- Andrew Henderson, with harp; 5/20, composers of early organ music whose as a Word document and photos as high- tion:
MARCH, 2012 3 pm), Frederick Teardo and Kevin Kwan; della Strada Chapel, and 4/29, Emman- dell Chapel [See the article, “Farrand & 4/15, Paul Bowen; 4/22, Craig Williams; uel Episcopal Church. For information: Votey Organ Installed in Ransdell Cha- 4/29, John Scott; May 6, Elke Völker; 773/508-2940; pel,” by Wesley Roberts, The Diapa- 5/13, Elmo Cosentini; May 20, James
Seated: Justin Miller and Hye Ji Hwang; standing (L to R): James Hopkins, Scott Hayes, Michael Schaner, Paula Maust, Kyle Ballantine, and Ton Koopman Houston Chamber Choir
Students of Todd Wilson at the at Cleveland’s Trinity Episcopal Cathe- The Houston Chamber Choir at St. Mark’s Episcopal Church, Beau- Cleveland Institute of Music took part dral, where Wilson is director of music continues its 16th season: March 24, A mont); May 19, music of Leonard Bern- in a masterclass with Dutch keyboardist and worship. Koopman was in Cleveland Dome of Many-Coloured Glass—music stein, the Church of St. John the Divine. and conductor Ton Koopman on No- as part of a multi-year stint as a guest of Brahms, David Ashley White, and For information: 713/224-5566; vember 15, 2011. The class took place on conductor and artist-in-residence with Dominick DiOrio, the Church of St. John
4 THE DIAPASON Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Petersburg, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Ithaca, New York Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak David K. Lamb Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Organist/Choral Conductor Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea Columbus, Indiana
Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Anna Myeong Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Organist/Lecturer Baltimore, Maryland SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois University of Kansas
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Stephen Roberts Organist Organist/Lecturer Harpsichord & Organ Luther College Organist/Lecturer Western CT State University Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Danbury, Connecticut
Brennan Szafron Marina Tchebourkina Michael Unger Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Organist/Harpsichordist Organist/Musicologist Organist/Harpsichordist Organist/Musicologist Organist Organ/Piano/Harpsichord Spartanburg, South Carolina Paris, France Rochester, New York Speyer, Germany Charleroi, Belgium U of Alberta, King's UC www.ConcertArtist Cooperative.com Founder and Director, Beth Zucchino, Organist/Harpsichordist/Pianist 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988 Composer identity must not appear on of the slower repertoire for harpsichord the musical manuscript. Entry forms Appointments in an attempt to bring the listener to the identifying the title of the work and the threshold between the ordinary and the composer must accompany each submit- spiritual—a “thin place.” Included on the ted score. Deadline for receiving entries recording are works by Bach, Byrd, Cou- is July 30, 2012. For information:
RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595
6 THE DIAPASON
Performers were David Ball, Michael servatory, de Wolff followed his teacher Hey, Colin MacKnight, Griffi n McMa- to the Dutch capital, later continuing hon, Raymond Nagem, Benjamin Sheen, his studies with Anthon van der Horst. Janet Yieh, and Gregory Zelek. All of Van der Horst—whose students had also them are organ students of Paul Jacobs, included Piet Kee, Albert de Klerk, and chair of Juilliard’s Organ Department. Bernard Bartelink—was perhaps the most infl uential Dutch organist of the twentieth century and also an impor- tant composer and conductor, especially known for his annual performances of Bach’s St. Matthew Passion with the Dutch Bach Society. After completing his studies in Amsterdam in 1954 with the Prix d’Excellence (the highest distinction possible), de Wolff continued his stud- ies, on van der Horst’s suggestion, with Jeanne Demessieux in Paris. From her, de Wolff learned to ‘only accept one’s very best’, as he said in an interview in 2008. Demessieux inspired de Wolff Arlyn F. Fuerst Carol Williams to go hear Olivier Messiaen at the Ste- Trinité on Sundays. Along with Bach, the in church music and organ from the Uni- Carol Williams has released the fi rst music of Messiaen became a constant in versity of Michigan in 1964. In 1971 he video about the Disney Hall organ in de Wolff’s career. In 1965, he won the received a Lutheran World Federation Los Angeles: TourBus goes to Disney Dutch Gaudeamus competition for con- scholarship and was granted a leave of Hall, the seventh DVD in the TourBus temporary music with a performance of absence from his position at Trinity Lu- Margaret Phillips series. The DVD tells the story of the or- Messiaen’s Livre d’orgue. theran Church for further studies at the gan, and features interviews with Frank That same year van der Horst died, Musikhochschule in Lübeck, Germany Margaret Phillips is featured on a Gehry, the architect of the hall and or- leaving ‘his’ Bach Society in the hands of and the University of Iowa. His teach- new recording, Volume VI in her series gan, and Fred Swann, who played the in- de Wolff, who had already gained signifi - ers included Warren Schmidt, Robert of Bach organ works on the Regent la- augural concert of the organ. In addition, cant experience as a conductor following Glasgow, Uwe Röhl, Kurt Thomas, and bel (REGCD307). Recorded on the Manuel Rosales leads a crawl into the or- studies with Franco Ferrara and Albert Gerhard Krapf. 1738 Christian Müller organ at St. Bavo, gan and shows the mechanical advances Wolf. A year later, de Wolff was ap- Fuerst was minister of music at Trinity Haarlem, and the 2004 Bernard Auber- of the instrument. Phil Smith, the organ pointed music director of the Noordelijk Lutheran Church (ELCA) in Madison, tin organ at St. Louis-en-l’Île, Paris, the conservator, demonstrates the instru- Filharmonisch Orkest, based in the Wisconsin, from 1964 to 2006. He or- two-CD set includes preludes and fugues ment, and Carol Williams performs on city of Groningen in the north of the ganized and directed an annual Renais- in E minor (BWV 548), B minor (544), both consoles music by Bach, Rimsky- Netherlands. De Wolff would stay with sance Festival for Advent and Christmas G major (550), concertos in C major Korsakov, Marchand, Kleive, and two the orchestra for a quarter century. In on the First Sunday of Advent for 25 (595) and D minor (596), trio sonatas in of her own compositions. Aerial scenes Groningen, he also led the choral society years from 1977–2001. The Trinity Choir G major (530) and E-fl at major (525), of the exterior of the building are also Toonkunstkoor Bekker (1961–1989). toured Europe under his leadership in fugues in C minor (574) and G major included. More details can be found at A difference of opinion about artis- 1979, 1986, and 1996. He represented (577), the Fantasia and Fugue in G Mi-
AUSTINORGANS.COM t8PPEMBOE4U)BSUGPSE$5
8 THE DIAPASON of the people he taught and for whom throughout the United States, Europe, organ works; one of her best-known ar- practice. He founded the Leonhardt he performed. South Africa, Japan, and Great Britain. rangements, “America the Beautiful,” Consort in 1955, for performance of At the time of his death, Dr. Hancock He also performed on occasion with his was sung many times by the Iowa All- Baroque repertoire, fi rst concentrat- was Professor of Organ and Sacred Music wife, Judith, including a recital at West- state Chorus. Sherrill Milnes of Metro- ing on then little-known composers like at the University of Texas at Austin, where minster Abbey. politan Opera fame, and Jon Spong, his Biber and Scheidt, and later including he taught along with his wife of fi fty years, Compositions for organ and chorus by accompanist, chose her “Take Joy Home,” works by Rameau, Lully, Campra, and Dr. Judith Hancock. Prior to this appoint- Dr. Hancock are published by Oxford as a closing work on many of their world- other Baroque composers. The group ment in 2004, he held the position of University Press, as is his textbook Im- wide concerts, including a White House collaborated with Harnoncourt’s Con- Organist and Master of the Choristers at provising: How to Master the Art, which concert. Over 40 of her works had been centus Musicus Wien to record, begin- St. Thomas Church Fifth Avenue in New is used by musicians throughout the commissioned by churches, universi- ning in 1971, all of Bach’s church can- York City, where for over thirty years country. He recorded for Decca/Argo, ties, and other organizations across the tatas for the Telefunken (later Teldec) he set a new standard for church music Gothic Records, Koch International, United States. Das Alte Werk series. The recordings in America. Previous to his time at St. Priory Records and Pro Organo, both as Alice Jordan served on the boards of took nearly two decades to complete, Thomas, he held positions as organist and conductor of the St. Thomas Choir and as the Des Moines Symphony Association, and were released in boxed sets that choirmaster of Christ Church Cathedral a soloist. In addition, the American Guild the Des Moines Women’s Club, and included full scores of the cantatas. Le- in Cincinnati, where he also served on the of Organists produced a DVD about him, the Drake Alumnae Association, and onhardt also recorded Bach’s keyboard artist faculty of the College-Conservatory volume IV of The Master Series. was president of the Des Moines Civic music, sometimes revisiting works—he of Music, University of Cincinnati, and Gerre Hancock is survived by his Music Association when it had 4,200 recorded the Goldberg Variations in as assistant organist at St. Bartholomew’s wife, Dr. Judith Hancock of Austin, Tex- members. Memberships also included 1952, 1965, and 1979. Church, New York City. as, his daughters Deborah Hancock of ASCAP, Kappa Alpha Theta, PEO, and Leonhardt taught harpsichord at con- A native of Lubbock, Texas, Gerre Brooklyn, New York and Lisa Hancock Mu Phi Epsilon, which honored her servatories in Vienna and Amsterdam, Hancock began to hone his legendary of New York City, as well as his brother, with the Orah Ashley Lamke Distin- and also taught at Harvard in 1969 and skills as a child, taking piano and organ the Reverend James Hancock, of Sa- guished Alumni Award at its triennial 1970. His students included Richard lessons in Lubbock and playing in a lo- vannah, Texas. A memorial service took national convention. For many years she Egarr, Philippe Herreweghe, Christo- cal church. He went on to study at the place February 4 at St. Thomas Church, was a member of the Des Moines Club. pher Hogwood, Ton Koopman, Bob van University of Texas at Austin, where he New York City. The family requests that A long-time member of First United Asperen, Alan Curtis, Pierre Hantaï, received his Bachelor of Music degree, in lieu of fl owers, donations may be sent Methodist Church, she was also an elder Francesco Cera, Andreas Staier, and and from there to Union Theological to the University of Texas at Austin Or- in the Presbyterian Church. Skip Sempé. He was also the founding Seminary in New York for his Master gan Department with an emphasis on Alice Jordan was preceded in death music director of the New York Colle- of Sacred Music degree, from which Sacred Music. by her parents, her brother Lawrence, gium. In Amsterdam, Gustav Leonhardt he received the Unitas Distinguished —Karen McFarlane and her husband, Dr. Frank B. Jordan, was appointed organist of the Waasle Alumnus Award. A recipient of a Rotary an accomplished organist and a longtime Kerk and later the Nieuwe Kerk (New Foundation Fellowship, he continued Professor of Music and Dean of Drake Church), both of which have historic his study in Paris, during which time he University’s College of Fine Arts. instruments. He continued to teach, was a fi nalist at the Munich International —Robert Speed and he edited the Fantasies and Tocca- Music Competitions. His organ study tas of Jan Pieterszoon Sweelinck for the was with E. William Doty, Robert Bak- complete edition of Sweelinck’s works, er, Jean Langlais, Nadia Boulanger, and published in 1968. That year he also por- Marie-Claire Alain. trayed Bach in Jean-Marie Straub’s fi lm A Fellow of the American Guild of Chronicle of Anna Magdalena Bach, a Organists, Dr. Hancock was a member non-speaking role that required him to of its national council, and was a founder perform, in period costume and wig, in and past president of the Association of locations where Bach worked. He gave Anglican Musicians. As a noted teacher, his last public performance on Decem- he served on the faculties of the Juilliard ber 12, 2011 at the Théâtre des Bouffes School, the Institute of Sacred Music of du Nord in Paris. Yale University, and the Eastman School Gustav Leonhardt is survived by his of Music. wife, Marie Leonhardt, a noted Baroque Dr. Hancock was appointed a Fellow violinist and concertmaster of the Leon- of the Royal School of Church Music hardt Consort, three daughters, and a sis- in 1981 and of the Royal College of Or- ter, the fortepianist Trudelies Leonhardt. ganists in 1995. He received honorary Doctor of Music degrees from Nasho- Gustav Leonhardt (Photo courtesy of Janos Kay Arthur McAbee died January tah House Seminary, the University of Sebestyen) 8, after a month-long illness. He was the South at Sewanee, Tennessee, and Alice Yost Jordan born in Joliet, Illinois on November 17, from Westminster Choir College in Dutch harpsichordist, organist, and 1930, and had been a resident of Albu- Princeton New Jersey. In 2004 he was Alice Yost Jordan died January 15 conductor Gustav Leonhardt, a pio- querque since 1986. He started his pro- awarded the Doctor of Divinity degree at the age of 95 at the Bright Kavanagh neer in period instrument performance fessional career as staff organist for the (Honoris causa) from the General Theo- House. Born in Davenport, Iowa, De- and Baroque performance research, W. W. Kimball Company in 1952. After logical Seminary in New York, and was cember 31, 1916, she moved with her died January 16 at his home in Am- completing his musical education at the presented with the Medal of the Cross family to Des Moines, where she attend- sterdam. He was 83. Born in the Neth- Chicago Musical College and the Amer- of St. Augustine by the Archbishop of ed Hubbell, Callanan, and Roosevelt erlands on May 30, 1928, Leonhardt ican Conservatory of Music in Chicago, Canterbury in a ceremony at Lambeth public schools, and graduated from began studying piano at age 6, and the he went on to become a featured solo- Palace, London. He is listed in Who’s Drake University. She pursued graduate cello when he was 10. His parents and ist in at least fi ve national conventions Who in America. His biography appears studies at Drake, Columbia University, his brother and sister were avid cham- for the American Theatre Organ Soci- in The New Grove Dictionary of Music and Union Theological Seminary. Drake ber music players, and when he was a ety (ATOS), and was inducted into their and Musicians, second edition, and the honored her during their centennial year teenager his parents bought a harpsi- Hall of Fame in 1985. He was a pioneer New York City Chapter of the American as “One in a Hundred.” chord for Baroque music performances; in the theatre organ world and well re- Guild of Organists named him Interna- In 1986, Grand View University con- he made it his specialty. In 1949 he en- membered for the series of concerts he tional Performer of the Year in 2010. ferred the honorary degree, Doctor of rolled at the Schola Cantorum, in Basel, performed at the Rialto Theater in Jo- Gerre Hancock’s consummate skill Letters, upon her, and in 2006 Drake Switzerland, to study organ and harpsi- liet, Illinois and the Aurora Paramount was clearly apparent in his concert ap- bestowed the honorary degree Doctor chord with Eduard Müller, moving the in Aurora, Illinois, and more recently at pearances. Possessing a masterly inter- of Fine Arts. Mrs. Jordan was listed in following year to Vienna to study con- the Phil Maloof Roxy Organ at the Albu- pretive style, he was an artist of taste, the fi rst edition of Who’s Who in Ameri- ducting and musicology, where he made querque Ramada Classic, Fred Hermes warmth, perception, and style—and a can Women, and in Women in American his debut as a harpsichordist in 1950, residence organ in Racine, Wisconsin, master of virtuosity in his improvisa- Music. She was inducted into the Iowa performing Bach’s Art of the Fugue. He and concert series for the St. Louis The- tions. Considered for decades to be the Women’s Hall of Fame in 2002. also met Nikolaus Harnoncourt and be- ater Organ Society. fi nest organ improviser in America, he As a composer, she was best known gan playing with his group. McAbee taught up to fi fty students was heard in recital in countless cities for more than 250 published choral and Among his fi rst recordings were per week in Joliet for years at the World collaborations with the countertenor of Music. He was member of the Amer- Alfred Deller on music by Bach, Pur- ican Guild of Organists for 50 years, cell, Matthew Locke, John Jenkins and choirmaster and organist at St. Peter’s Elizabethans. As a keyboard soloist and United Church of Christ in Frankfort, founder and director of the Leonhardt Illinois for 23 years, and most recently Consort, Leonhardt made hundreds of organist for Covenant United Method- recordings in the 1950s and ’60s that ist Church. helped establish historical performance —Larry Chace
CLAYTON ACOUSTICS GROUP THE WANAMAKER ORGAN 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com Listen to it worldwide CLAYTON ACOUSTICS AND SOUND SYSTEM ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP over the Internet! AHIGHER L EVEL of E XCELLENCE Hourlong streamcasts are featured at 5pm ET Great musicians need extraordinary instruments the first Sunday of to deliver magnificent performances. each month at wrti.org
P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com
10 THE DIAPASON
The Royal School of Church Mu- Other new projects include a four- Michigan: Joseph Brink of Yale Univer- Here & There sic (RSCM) is publishing four short-list- manual organ for the Kennedy Center sity, Stephan Burton of Brigham Young ed anthems from the King James Bible in Washington, D.C.; new three-manual University, Nick Huang of Yale Univer- Composition Competition, which was or- organs at St. John’s Episcopal Church in sity, Joseph Peeples of Brigham Young Bärenreiter announces new releas- ganized by the King James Bible Trust to Cold Spring Harbor, New York, and St. Univeristy, and Chelsea Vaught of the es. The Organ Plus One series presents mark the 400th anniversary of the bible’s John’s Episcopal Church, Georgetown University of Kansas. The next congress pieces—both freely composed and hymn publication in 1611. The RSCM spon- Parish, Washington, D.C.; and a number of the GCNA will be hosted by Clemson tune-based, and both original works as sored one of two categories—submission of projects to restore or rebuild existing University in Clemson, South Carolina, well as arrangements—for organ plus a of an anthem or worship-song suitable pipe organs. For information: June 19–22, 2012. solo instrument. The editions include solo for use in churches and schools. There
12 THE DIAPASON Perhaps it’s rare for words like these tion of that organ give us a glimpse into click your way further in to fi nd stoplists According to
MARCH, 2012 13 Portland City Hall Hermann Kotzschmar tion in Portland, he lived with the Curtis family, and Cyrus Libby Curtis gave his Console and façade son the name of his favorite musician, hence the initials H.K. rium for a tour of the organ. The mayor In the ensuing years, Kotzschmar marveled at the thousands of pipes, took founded choral societies and orchestras, a slew of photos with his cell phone, and performed as conductor, organist, and commented that he had stood on the pianist in countless concerts, and taught stage dozens of times presiding over civ- a generation of the city’s musicians. ic events without having any idea what Meanwhile, Cyrus H. K. Curtis really was behind the organ case. He repeated made something of himself. He founded those comments for the City Council the Curtis Publishing Company in 1891 and the members approved the funding and subsequently launched the Satur- unanimously. Watching both elected and day Evening Post and the Ladies’ Home appointed city offi cials discuss and ap- Journal. Later he founded Curtis-Mar- prove the motion to care for that organ tin Newspapers, Inc., whose proper- at such a meaningful level was a great ties included the Philadelphia Inquirer experience for an organbuilder. and the New York Evening Post. Cyrus FOKO is raising the balance to fund H. K. Curtis made a lot of money, and not only the organ’s renovation but to he carried the musical infl uence of Her- endow the positions of Municipal Or- mann Kotzschmar all his life. He pur- ganist and Organ Curator, and to ex- chased three pipe organs for his home tend the organization’s ambitious and in Wyncote, Pennsylvania (Aeolian, effective education programs, bringing Opus 784, 943, and 1374); he donated a Maine’s schoolchildren together with 160-stop Austin organ to the University the King of Instruments. of Pennsylvania where it still stands, re- The renovation of the organ will be cently renovated, in Irvine Auditorium. accomplished by Foley-Baker, Inc., of He gave huge amounts of money to the Tolland, Connecticut. Having completed Philadelphia Orchestra, and his daugh- similar projects on the organs of the First ter Mary Louise Curtis Bok founded Church of Christ, Scientist in Boston the Curtis Institute of Music, named in (The Mother Church), Symphony Hall honor of her father. Hers was a particu- Kotzschmar Organ, Merrill Auditorium in Boston, and the Aeolian organ in the larly classy honor as the Curtis Institute Chapel of Duke University, Mike Foley was founded nine years before her fa- on October 6, 1909, and on January 10, D.C.), presentation of the organ by Cyrus and the staff of FBI bring vast experi- ther’s death! 1911, former Mayor Adam Leighton Curtis, unveiling of the Hermann Kotz- ence to this project. § announced that Portland native Cyrus schmar bust by his widow Mary, and ac- To commemorate the centennial, Curtis was donating a pipe organ to be ceptance of the whole shebang by Mayor FOKO will present a Centennial Festi- At about 2:00 in the morning on installed in Merrill Auditorium of the Oakley Curtis (no relation). Macfarlane val of concerts and masterclasses starting January 24, 1908, a fi re started in the new City Hall in memory of Portland’s also played his own compositions Eve- on Friday, August 17, 2012, and culmi- city electrician’s offi ce in Portland’s most prominent musician. ning Bells and Cradle Song, and a tran- nating with a grand Kotzschmar Centen- City Hall, ironically caused by an elec- The new City Hall was dedicated on scription of Kotzschmar’s Te Deum in F. nial Concert on the actual anniversary, trical short-circuit in the Gamewell August 22, 1912. Municipal Organist Judge Joseph Symonds gave an oration, Wednesday, August 22. Participating art- Fire Alarm System that was housed in Will C. Macfarlane was at the organ. The and representing the Catholic Bishop of ists and presenters include Tom Trenney, the offi ce (pesky new-fangled contrap- program included Macfarlane’s perfor- Portland, Rev. Martin A. Clary gave the Walt Strony, Mike Foley, Dave Wicker- tions). Because the alarm system was mance of Boëllmann’s Suite Gothique, prayer and benediction. Must have been ham, Frederick Hohman, Michael Bar- the fi rst thing to go, the fi re quickly a report from the city building commit- a lovely afternoon.2 one, Thomas Heywood, Peter Conte, went out of control and City Hall was tee (Adam Leighton, chairman), presen- § John Weaver, Felix Hell, John Bishop, destroyed. Coincidentally, Hermann tation of keys to the building by Owen and Ray Cornils. Kotzschmar died on April 15, 1908. Brainard of the architecture fi rm Car- In January of 2007, the FOKO board The festival will be housed at Port- After plenty of discussion, the remains rere and Hastings (designers of the New asked the organ committee to investigate land’s Holiday Inn By the Bay. Details of the building were razed and the cor- York Public Library and the House and the possibility of some additions and ma- will be announced soon. Like a hawk, you nerstone for the new City Hall was laid Senate Offi ce Buildings in Washington, jor repairs to the organ. Specialists were should watch the website of the Friends called in to assess the questions and re- of the Kotzschmar Organ,
14 THE DIAPASON Example 1 with much of what else is known about keyboard playing, whether on organ or On Teaching on harpsichord or clavichord: in partic- by Gavin Black ular, that full legato was the exception, especially over long chains of notes such as the ornamented melody in the fi rst ex- ample above. I however have always felt cautious about assuming that no one in the time before Couperin ever used substitution, either with fi ngers or with feet. My prin- cipal reason for this is that it seems to me to be a natural human thing to do—not necessarily as a result of planning or ar- tistic decision-making, but as a tool for coping with situations that might arise. I have seen many students—beginners, Example 2 with no preconceptions about fi ngering, to whom I had certainly not (yet) said a word about substitution—in effect re- invent the technique because they found themselves at some sort of fi ngering dead end. Furthermore when they do this, they usually do it—because it is not self-conscious—in a relaxed and natural way that constitutes good technique. Also, substitution is a natural thing to do Some thoughts about substitution by analogy with other human activities. Substitution in organ playing—both For example, arriving at the front door with fi ngers and with feet—is a tech- recently from a trip to the grocery store, nique that is practiced to some extent by I shifted the bag of groceries from one almost every organist. This includes both kept himself rather well informed. The playing and pedagogy as there was in arm to the other so that I could reach those who plan it out and know that they second piece of evidence is simply that later centuries. However, enough such my keys. This is conceptually the same are doing it and those who don’t plan it no one mentions it prior to 1716. During writing has survived that it seems signifi - thing. If a player is holding a note with and nonetheless do it by chance at the the seventeenth century there was by no cant that substitution is not even hinted a particular fi nger and fi nds that it is in- last minute. It has been the subject of means as much written about keyboard at in any of it. This is of course consistent convenient to be holding it with that fi n- heated debate and disagreement—one of those subjects that can sometimes seem almost political in nature. The disagree- ments are usually about the relationship between substitution and various aspects of authenticity—and of course authen- ticity is the most political subject in the Buying an Organ? realm of performance. Indeed, it is quite certain that substitution has been more prevalent at certain times in the long his- • tory of organ music than at others, and practiced, or expected, more by some composers than by others. It is also a technique that can be car- ried out in ways that are natural and easy Invest in Pipes! or in ways that are awkward and diffi cult. In this column I want to discuss, just briefl y, the history and theory of substi- tution and also to suggest ways of think- ing about applying the technique itself. Before the eighteenth century The usual succinct way of describing the history of substitution in keyboard NORTH AMERICA’S PREMIER playing is this: that it was unknown or at PIPE ORGAN BUILDING AND SERVICE FIRMS least very uncommon before the late Ba- roque, and that by the nineteenth centu- ry it had become extremely common— BUILDER MEMBERS though more so in organ playing than in ANDOVER ORGAN COMPANY PARSONS PIPE ORGAN BUILDERS piano playing. As far as the historical re- BEDIENT PIPE ORGAN COMPANY PASI ORGANBUILDERS, INC. cord is concerned, there are no sources BERGHAUS PIPE ORGAN BUILDERS, INC. PATRICK J. MURPHY & ASSOCIATES INC. from before the early eighteenth centu- BIGELOW & CO. ORGAN BUILDERS PAUL FRITTS & CO. ORGAN BUILDERS ry that explicitly discuss substitution or that direct a player to use it, but there BOND ORGAN BUILDERS, INC. QUIMBY PIPE ORGANS, INC. are many from the nineteenth century BUZARD PIPE ORGAN BUILDERS, LLC RANDALL DYER & ASSOCIATES, INC. and beyond. C.B. FISK, INC. SCHANTZ ORGAN COMPANY The fi rst surviving printed or written CASAVANT FRÈRES SCHOENSTEIN & CO. reference to fi nger substitution comes OBSON IPE RGAN UILDERS TAYLOR & BOODY ORGANBUILDERS from François Couperin, writing in his D P O B L’Art de toucher le clavecin—a harp- GARLAND PIPE ORGANS, INC. sichord method published in 1716. GOULDING & WOOD, INC. SUPPLIER MEMBERS He speaks of it as something unusual HENDRICKSON ORGAN COMPANY A.R. Schopp’s Sons, Inc. if not downright new, contrasting it to HOLTKAMP ORGAN COMPANY Harris Precision Products “l’ancienne manière”—“the older way [of fi ngering].” Couperin’s prose is con- KEGG PIPE ORGAN BUILDERS Solid State Organ Systems cise or even cryptic, and he says very LÉTOURNEAU PIPE ORGANS OSI - Total Pipe Organ Resources little about the thinking behind his em- NOACK ORGAN COMPANY, INC. Peterson Electro-Musical Products, Inc. ployment of substitution, but it seems to be intended some of the time to make it easier to achieve some sort of legato, as in Example 1, or to cope with sus- pensions or other complicated textures, while maintaining legato as in Example 2. (Note that there are no fi ngerings giv- en for the upper left-hand notes. The G in the second measure would be played with the thumb—after the substitution on the lower note is complete. But what then? A substitution to preserve strict le- gato in the inner voice or not?) There are two signifi cant pieces of evidence that substitution was not com- mon before the time of Couperin. They are, fi rst of all, Couperin’s own attitude the highest standards of integrity, quality and craftsmanship in pipe organ building about substitution: that it was something new. Of course, he did not know every- 1-800-473-5270 call for our free 64 page prospectus www.apoba.com thing about musical practices over the whole world and for all of the decades before his own time, but he probably
MARCH, 2012 15 ger, slipping a different fi nger onto the Example 3 note is a natural, spontaneous human response. I put it this way only partly to make the case that players prior to the eighteenth century may well have used substitution willy-nilly, so to speak, even though it was clearly not a prominently taught technique. I also want to suggest that because it is a natural and physical- ly obvious thing to do, when we in fact want to do it, we should remember to do it in a physically natural and comfortable way. Also, perhaps, that we should avoid it whenever it cannot feel natural and comfortable, unless there is a very strict reason for its being necessary. The choice about whether to use sub- The section of the piece from which Example 4 stitution in playing music that was writ- this passage comes is under the marking ten in the era when it was, at a minimum, “très soutenu,” which suggests legato. clearly not being taught as a core tech- However, I myself cannot devise any way nique is of course one for each individual at all to play the last three eighth-note player to make. It will inevitably stem in left-hand chords of either the second or part from that player’s overall approach the fourth measure truly legato, with or to questions of authenticity, and also without substitution. There are other from other things about technique and spots throughout the section of the piece habit. Every teacher should frame this about which I would say the same thing. Example 5 note at a defi nable time, the old fi nger particular issue to students in whatever Does this tell us anything about articu- moves away at a defi nable time—or in way is consistent with the teacher’s and lation? We know that Franck had large a way that is unmeasured, with the new students’ interactions over matters of au- hands—much larger than mine or than fi nger simply sweeping onto the note as thenticity in general. To me the bedrock those of other players whom he might promptly, quickly and lightly as possible, caveat or concern about substitution in have expected to play his music. We also while the old fi nger is swept away. The what we might categorize as “pre-Cou- know that most European churches, cer- fi rst of these is, in a way, analogous to a perin” music is this: that if you actually tainly including Sainte-Clotilde, have measured appoggiatura in the Baroque need substitution to make a particular spacious acoustics in which listeners style, and the second to a quick grace articulation or phrasing happen, then can experience the effect of legato even (more on that below), with the possible note or an acciaccatura. Furthermore, that articulation or phrasing is almost through subtle breaks. exception of the one on the chord that whether the substitution itself is mea- certainly not anything that the composer The point here is not to resolve any- spans the fi rst bar line. That one I might sured or quick, it can, on a longer note specifi cally had in mind. thing in general about the articulation divide between the two beats in a mea- at least, be positioned either right at the practices of Franck. It is rather this: that sured way. The 3–4 in the second mea- beginning of the note or anywhere else The Classic period and beyond we should be ready to use substitution sure is—again in relation to my particu- in the lifespan of the note before the mo- Substitution is referred to in print- where it makes sense, but be cautious lar hand—an attempt to make the large ment when the logistics require the new ed sources only a little bit through the about assuming that legato is necessary jumps at that spot more comfortable and fi nger to be in place. middle of the eighteenth century, but in nineteenth or twentieth century mu- closer to legato, although, as I said above, On the whole, I prefer to execute references to it in keyboard methods and sic, simply because the possibility of sub- I cannot quite reach them fully legato. suspensions quickly—the acciaccatura elsewhere proliferate in the Classic era. stitution exists. There is a kind of circu- As I wrote in my column on repeated model—and as close to the beginning It is interesting to note that although we lar logic that says: “This passage must be notes (January 2009), there is a relation- of the note as possible. I believe that I organists (rightly) think of substitution as played with a lot of substitution because ship between the practice of playing re- do this because I want them to have being most at home in a certain branch it has to be legato, and we know that it has peated notes with different fi ngers and no rhythmic weight of their own. Not of organ technique, it was in early piano to be legato because players at that time substitution, but with a difference in ar- that they would have audible rhythmic playing and teaching that it fi rst caught used a lot of substitution.” This doesn’t ticulation. In playing two notes in a row weight since by defi nition they are silent. on. This was in the era when the damp- make sense. (I have certainly caught my- with different fi ngers, you release the In fact, that is the point. As much as pos- er ‘pedal’ on pianos was usually either self thinking that way, as well as students fi rst fi nger before playing the second; in sible I like to reduce the feeling—which a hand stop or a knee lever but, in any and people who have written about substitution you play the second fi nger substitutions by their nature are inclined case, was awkward to operate. Legato these things.) The more appropriate way before releasing the fi rst. (It is interest- to create—that there is something go- lines were by and large achieved through of thinking about it something like this: ing, by the way, that Couperin was an ad- ing on physically in the playing that is fi ngering. During the nineteenth century “If I want this passage to be legato and vocate of, and wrote about, both of these not refl ected by anything audible to the two developments shifted the emphasis that requires substitution—even a lot of practices.) There is also this difference: listener. All else being equal, I believe on substitution from piano to organ: fi rst, substitution—that is indeed completely with repeated notes you have the op- that a one-to-one correlation between the invention and quick universal accep- consistent with what the composer might portunity to get the fi rst fi nger out of the physical gestures that we feel ourselves tance of the (real) damper pedal, and have intended or expected.” way early, but with a substitution the two making and sounds that we hear our in- second, the use of a more legato style in This is the fi ngering, just as an exam- fi ngers must be able to share the key at strument producing helps to intensify organ technique. ple, that I myself would use for part of the least briefl y. This can dictate the details our focus on the rhythmic aspect of the It is worth remembering that even for left hand in the excerpt from the Prière of how the fi ngerings are carried out— music and to make it more likely that we the relatively well-documented nine- (Example 4). The function of most of the which fi nger goes above or below which, will effectively project rhythm and pulse teenth century we do not in fact know double substitutions is clear and normal: and whether the fi nger being released is to the listeners. In my fi ngering example how everyone did everything. Franck, to create the possibility of smooth le- released up, sideways, or down. above, I might play the substitution on for example, left no substitutions among gato. There are a few specifi c things to the note that crosses the fi rst bar line the few fi ngerings that he provided for say about these fi ngerings. The 3–4 sub- Playing substitutions at the downbeat of the second measure his own organ music. There are clearly stitution on the fi fth eighth-note of the The most important thing in prepar- rather than at the beginning of the note. many places indeed where substitution fi rst measure is really just for comfort— ing a substitution to be comfortable and This is because there is an implied rhyth- is required, especially if the goal is to better hand position reaching that chord natural is working out the details of the mic event there—the strong beat across create true unbroken legato. In this pas- and moving away from it. That is specifi c direction in which the fi ngers move—the which that chord is suspended. I would sage from the Prière (Example 3), there to my hands: another player might play choreography of the fi ngering event. In probably still make the gesture of the is a need for substitution in, probably, a the lower note initially with 4 or hold it the fi rst Couperin example, the fi rst few substitution a quick one, since there is majority of the transitions from one mo- with 3. Holding that D# with 3 might substitutions are all 4–3. In these cases only one rhythmic event going on with ment to the next—if, again, true legato is take away the need for the lower part of the fourth fi nger must be released down which the gesture might be correlated. to be maintained. (It is possible to play the next substitution (Example 5). (towards the player) and slightly to the these notes without any substitution if I would execute these substitutions right. In the 4–5 substitution at the be- The use of substitution the full-fl edged legato is abandoned.) quickly and in an unmeasured fashion ginning of the second line, the fourth fi n- There are three ways in which substi- ger must be released up (away from the tution is used: 1) as part of a well worked- player) and probably straight or slightly out fi ngering plan, with some specifi c to the left. These shapes will prevent the goal in mind, usually related to achieving fi ngers from interfering with one anoth- legato, but sometimes for comfort, reli- MANDER ORGANS er. In double substitutions the most im- ability, or good hand position; 2) as part portant part of the choreography is the of an approach to fi ngering, even when it order in which the chain of substitutions is not explicitly worked out in advance, New Mechanical is carried out. There is always an order but still with goals in mind, again usually that allows the hand to contract during having to do with creating legato; and Action Organs the process and an order that causes the 3) as a way of scrambling around to get hand to stretch. It is never hard to tell notes at the last minute in a passage that which is which. The former is always bet- has not been adequately prepared. For ter; it is always possible to tell which is an observer, including a player observ- which: it is important to do so. ing him- or herself and also including Exquisite The gesture of substitution can usually a teacher observing students, these last Continuo Organs be carried out either in a way that is mea- two can be hard to tell apart. The third St. Peter’s Square sured—the new fi nger moves onto the of these is on the one hand a useful fall- London E 2 7AF • England [t] 011 44 20 7739 4747 [f] 011 44 20 7729 4718 [email protected]
www.mander-organs.com Imaginative Reconstructions
16 THE DIAPASON back if it is needed: substitution can be After a dissonant sixteenth-note fl our- Late spring 2012 borhood of quite a few of Sweetland’s a powerful way of crawling around the ish on the organ to open the setting, the organs, and several of the instruments keys and getting notes in an emergency. choir enters in a bold unison singing O Blessed Spring, arr. David Cher- described in this book are “old friends.” However, any tendency to rely on it for the title words. That organ fl ourish is wien. SATB or two-part, organ, Gordon Curtis has made a very careful that, except in the occasional emergency, used throughout the work as a unifying optional C instrument, and assem- study of William Sweetland (1822–1910) has to be resisted ferociously. If a teacher theme. Dissonant chords are later heard bly, Augsburg Fortress, 9781-4514- and his organs, mostly based on primary believes that a student is using a facility vertically. The music builds to a majestic 2075-3, $1.75 (M). sources, though it is a curious fact that with substitution to avoid having to think “Alleluia,” which closes the anthem. This In this sweet setting that uses a text while some of these are in the Wiltshire about the best fi ngerings, listen for what will take an experienced choir, but will by Susan Cherwien, the alternate verse County Record Offi ce, not far from fi ngering does for interpretation and per- be a dramatic anthem for Pentecost and for two-part choir (verse 3) is published Bath, one important source turned up formance, and practice enough and well, is highly recommended. on the back cover as is the music for the in the Biblioteca Franzoniana in Genoa, then the teacher must step in and ask assembly. The text states “Christ is the Italy. This is not perhaps as astonishing the student to pull back from that and God of Tempest, God of Whirlwind, vine and we are to be branches.” There as it might at fi rst seem, since Sweetland restore substitution to its place amongst Carolyn Jennings. SATB and organ, is a long instrumental introduction and exported pipework to Genoa and one the legitimate technical tools that we Augsburg Fortress, 978-1-4514- the optional C part plays throughout of his former employees, W. G. Trice, have at our disposal. Q 2068-5, $1.90 (M). much of the work as a counter-melody. A lived there. Though originally built for Part of the St. Olaf Choral Series, this charming setting. locations in Britain, a few of Sweetland’s Gavin Black is Director of the Prince- anthem’s text is a poem of Herbert G. organs have found their way around ton Early Keyboard Center in Princeton, Stemple Jr. The composer has sugges- The Beauty of the Earth, Gwyneth the world over the last century. One is New Jersey. He can be reached by e-mail tions for organ registrations, which are Walker. SATB and organ, ECS Pub- now to be found in the USA, another at
MARCH, 2012 17 less than innocent. His wife took him to count of the opening of the organ at to continue. The unfairness of an early never overwhelm on the manuals, and court to obtain a legal separation on the Holy Trinity, Nailsea (p. 236), which in- death by a dreadful disease and the fact add weight to the bass, especially in those grounds of adultery, something that he cludes the specifi cation (additionally to that such a talented musician was cut chorale preludes in which the melody is readily admitted, and he was also said to be found on NPOR), but Curtis omits down in the prime of his life is very sad given out in long notes in the pedal. “frequent disorderly houses.” to reproduce it, notwithstanding that to contemplate. In my eyes, Hampton There is considerable variety among Curtis notes how a number of famous it is quite an interesting one, including has risen in stature as a result of my hav- the pieces selected, even within those of players who gave recitals on Sweetland’s such stops as a 2-foot Harmonic Piccolo ing read this book! the same genre, the toccatas showing the organs were highly enthusiastic about his on the Swell. In the entry on All Saints, Jonathan Hall’s book is a fi tting tribute infl uence at least in part of Froberger, workmanship. W. T. Best said of Sweet- Clevedon (p. 230), he comments that it to Calvin Hampton. So much informa- but with some well-controlled sequential land’s organ in the Wesleyan Chapel at was the “only church in Clevedon with a tion about his life and works is provided writing that does not exceed its welcome Hanley, Staffordshire that it “has pecu- Sweetland organ,” and then proceeds to here. I highly recommend the book. over lengthy pedal points. The toccatas liar excellencies, and for its calibre is list two! Nevertheless, such minor incon- —Jay Zoller in E minor and F major that open discs one of the best I have ever played on” sistencies aside, the gazetteer is a gold Newcastle, Maine one and two respectively both com- (p. 51). Others, such as Sir Frederick mine of fascinating information about mence with arpeggiated chords covering Gore Ouseley, James Kenrick Pyne, Sweetland’s organs. the keyboard before the fantasy element and the architect Sir Arthur Blomfi eld, The book concludes with a tentative takes over. The toccata in F that closes were equally complimentary. In some opus list of Sweetland’s organs, a select New Recordings disc 2 is played here with some restraint cases Curtis has been able to fi nd the bibliography, and a useful index. Alto- in the registration. The three in G minor programs from recitals and reproduces gether Curtis’s book makes a fascinat- show different aspects of compositional a few of them in the book. Particularly ing read, and I thoroughly recommend Johann Pachelbel. Andrus Mad- technique; somewhat shorter, they are interesting is the program from a recital it to others. sen, organ, harpsichord, and clavi- mainly in two parts over pedal points. given by Best at Vale Royal Method- —John L. Speller chord. Organs in Schlägl, Erfurt, & The prelude and the fantasias remind ist Church, Tunbridge Wells, Kent, on St. Louis, Missouri Freiberg. Two CDs, Raven OAR-919, one very strongly of the elevazione and May 3, 1883 (p. 139). Here, however, I $15.98,
18 THE DIAPASON pity that the pedal is scarcely audible in Even though as a composer Langlais composer, his music was perhaps out- Three of the pieces are newly published the fantasia in E-fl at and particularly in wrote a number of instrumental, or- shone by that of the next generation, in this volume; a fourth (that by Near) the long held notes in the fi rst toccata in chestral, and chamber works and also Britten and Walton. was fi rst published in 1966 by H.W. Gray. G minor on disc two. However, this is composed some secular song settings, No information is provided about the Two of the works are hymn based and a a small quibble, and these CDs will of- the DVD centers on his organ music. pieces themselves, such as when each was third includes a hymn setting as its sec- fer considerable pleasure, and repeated There are more than 254 works by Lan- written or the nature of the work from ond movement. Biographies of the four listening will reveal more of the craft of glais with opus numbers. For this video which it was extracted. There are eight American composers are included. the Nuremberg master. I look forward presentation, Labounsky’s commentary in all, mostly of two to three pages, with • Triptych on Sine Nomine by Alfred to hearing more from this hugely talent- is skillfully interspersed with still photo- one eight pages long. All are of moderate V. Fedak comprises a quiet and nicely ed performer. graphs, maps, and music scores. There diffi culty, clearly displayed on the page, linear Prelude, a somber Cortège whose —John Collins are excerpts of Langlais speaking in both and work very well on the organ. And title is suggested through cadences of Sussex, England English and French; also included are let us pay tribute to the arranger, Robert insistent dotted rhythms, and a fugal Fi- interviews with students and colleagues Gower, whose skills at making musical nale. Useful service music, especially as such as Marilyn Mason, Charles Dodsley and idiomatic transcriptions are well on there is still not an oversupply of organ The Life and Music of Jean Langlais, Walker, Marilou Kratzenstein, Norberto display here. Among his many other sets pieces on this tune. hosted by Ann Labounsky. DVD, $28, Guinaldo, and others. of arrangements for organ is his Walton • Paean, by Michael McCabe, is an ex- available online from the OHS Cata- Labounsky touches on some of the volume, whose pieces are very much tended work (seven pages) that asks for log (www.ohscatalog.org), by calling professional musical trials of Langlais’ more interesting. both a Fanfare Trumpet and Tuba, and 804/353-9226, or at the American life, including the shift away from Gre- calls to mind others of the same title by Guild of Organists online store. gorian-based music and tradition in the O Love, How Deep, Craig Phil- composers such as Howells, Whitlock, It is very impressive indeed when a decades immediately after the Second lips. MorningStar Music Publishers and Willan. chapter of the American Guild of Organ- Vatican Council in the 1960s. It would MSM-10-240, $12.00. • It is interesting to see and hear again ists takes on a project as challenging as be interesting to imagine how Langlais Here are three standard but contrast- the Suite for Organ by Gerald Near, and presenting a full-length video on one of might today be encouraged by a renewed ing hymn tunes in rather extended (four to wonder if it might not in fact seem the most important 20th-century French appreciation for the central role that to seven pages each) settings whose mu- more “modern” now than at its fi rst composers of organ and liturgical music. chant plays in the liturgy of the Catholic sical fabrics make appropriate clothing appearance, some 45 years ago! The The Los Angeles chapter undertook just Church and the reestablishment of the for the personality of each tune. Slane opening Chaconne (here, really a pas- such a project, and this 2007 DVD is Tridentine Rite as an alternative to the is given a gossamer-like, rather pastel sacaglia, I think) and closing Final are hosted by Ann Labounsky, who studied Novus Ordo of Paul VI. setting—beautiful and quite atmospher- well-crafted pieces that, though techni- with Langlais and wrote the biography, Jean Langlais was a charismatic and ic, if somewhat long (due to an interlude/ cally diffi cult, nonetheless lie well in the Jean Langlais, The Man and His Music, colorful individual who touched the modulation of somewhat funky chro- hands and feet. The harmonic language published by Amadeus Press in 2000. lives of many of his students, who re- maticism). Wer nur den lieben Gott is dissonant (often drawing on quartal, Labounsky made the fi rst recordings mained devoted to him throughout their offers but glimpses of the tune, within added-note, and major-seventh chords) of his complete organ works and is in a lives and careers. With Labounsky’s su- a contemplative setting perhaps refl ec- and quite chromatic. These movements unique position to tell his life story. The perlative playing and commentary on tive of the stanza that begins “The Lord frame a quiet setting of the American great respect and admiration she had for this professionally produced CD, those our restless hearts is holding, in peace hymn tune Land of Rest. her teacher shines through beautifully in individuals who may not be familiar with and quietness content.” Deo Gracias • With seven movements, the Canonic this DVD presentation. Langlais can gain a new appreciation provides the fi reworks for the set—the Variations on SLANE by Larry Visser is a Langlais was born in 1907 in the small of not only the man but of the entire rhythmic excitement of a toccata in 5/8. bit larger than the now-typical hymn par- village of La Fontenelle near Mont St. French Catholic organ culture that so This is a substantial piece but should be tita. The canonic imitation in each move- Michel, France. At the age of two he formed the life and music of this impor- worth the effort. Program it for Trans- ment, always at the octave or unison, became blind due to glaucoma and was tant 20th-century composer. This DVD fi guration, though allow a few weeks be- is easy to perceive. This is an extended sent to study at the Institut National des documentary is an eyewitness appraisal forehand to learn it! work, with a particularly ambitious con- Jeunes Aveugles in Paris, where he was of his music, his personal and profes- cluding toccata. The movements are under the tutelage of André Marchal. sional life, and his place in music history. The Marilyn Mason Music Library, imaginatively conceived and titled, in- From there Langlais progressed to the Highly recommended. Vol. 5. MorningStar Music Publish- cluding a Prayer, Paean, and Lament. Paris Conservatoire, studying organ with —David Wagner ers MSM-10-994, $26.00. I am just not convinced that the rather Marcel Dupré and receiving a fi rst prize Madonna University This is the fi fth in this publisher’s se- simple Irish tune is entirely comfort- in organ in 1930. He also studied com- Livonia, Michigan ries of (thus far) six volumes of organ able within all of them—for example, position with Paul Dukas and Gregorian works commissioned by the indefati- the opening fortissimo, double-dotted improvisation with Charles Tournemire, gable Marilyn Mason. It contains four of “French” Overture. receiving a fi rst prize in improvisation the more than 70 organ works commis- —David Herman in 1934. Langlais would return to the New Organ Music sioned during her distinguished career. The University of Delaware Institut National later as a teacher, and also taught at the Schola Cantorum in The Fifthteenth Annual Paris from 1961 to 1976. It was, how- Music for solo organ ever, as an organist and as a composer for the organ that Langlais would have Suite in Classic Style, Charles Calla- his most profound infl uence. He suc- han. MorningStar Music Publishers Albert Schweitzer ceeded his teacher Tournemire and fol- MSM-10-984, $10.00. lowed in the tradition of César Franck as Moderately easy and, with contrasting the organiste titulaire at the Basilica of dance movements, typical of an instru- Organ Festival Sainte-Clotilde in Paris in 1945, remain- mental suite. Two pieces are for manu- ing there until 1988. als only. The opening Procession could A Weekend in Celebration of Excellence in Organ Music: The basilica was begun in 1846. When serve as its title suggests, for weddings the Cavaillé-Coll organ was dedicated or other ceremonies. The Siciliana and A Gala Concert, ORGAN COMPETITION, Services, and Masterclass in 1859, it was one of the most impor- Sarabande seem the most inventive of tant organs in France, and ushered in the set. High School Division First Prize: $2,000 the new symphonic style of organbuild- Other prizes also awarded ing and enhanced the symphonic style A Bliss Organ Album, compiled of organ composition that came to a full and arranged by Robert Gower. fl owering during the tenure of Franck. Banks Music Publications (UK), £10 College/Young Professional First Prize: $3,500 Ann Labounsky studied most of Lan- ($16.50). Through age 26 Other prizes also awarded glais’ compositions with the composer First, let us suggest that £10 is not a and played them for him on the organ at bad price for 30 pages of very well-tran- This includes an appearance on our 2012 - 2013 Concert Series Sainte-Clotilde. For this DVD, the musi- scribed music by a British composer of cal excerpts were played by Labounsky some standing. If only the music itself and recorded at Pasadena Presbyterian were a little more colorful and engag- 2012 JUDGES Church in Pasadena, California. ing. Although the volume was produced AUDITION CDS: Langlais died at the age of 84 in Paris with assistance from the Bliss Trust, no in 1991. Presently there are a number information about Sir Arthur is given, Due on June 12, 2012 Cherry of websites dedicated to Langlais and save for his dates (1891–1975) and that Rhodes his music, including a tribute website he was once “Master of the Queen’s THE COMPETITION: (www.jeanlanglais.com) and the offi cial Music.” There is much more than that L’Association Les Amis de Langlais (www. to say, of course, including the fact September 7-9, 2012 Gordon Turk jeanlanglais.eu/en/). This DVD was re- that he was a student of Stanford, and leased in 2007 as a tribute to Langlais on once served as director of music for the the 100th anniversary of his birth. BBC. Although he was a very prolifi c For Information & Throughout his life Langlais was Application: much in demand as a concert organ- ist and a teacher, and was a prolifi c composer. He performed extensively First Church throughout Europe and America and conducted countless workshops and of Christ masterclasses. This DVD includes an Faythe example of his masterclass presenta- 250 Main Street tions, where he can be seen urging his Freese young students to play with vigor and Wethersfield, CT 06109 rhythm. Langlais’ organ music is varied firstchurch.org/asof in its style, but can be best classifi ed as a free-ranging tonal/modal style with 860.529.1575 rich harmonies and certainly more tra- Ext. 209 ditionally structured than the music of his fellow composer and contemporary music@firstchurch.org Olivier Messiaen.
MARCH, 2012 19 Early Organ Composers’ Anniversaries in 2012 John Collins
n 2012 there are several composers enna, and court organist, contemporary points for the pedals), medio registro/ church tones, which are edited by I whose anniversaries can be commem- with Froberger. The works certainly by partido (i.e., for divided registers used as Rudolph Walter for Verlag Doblinger. orated. There are several lesser-known him include three toccatas, a courante, a a solo in one or more voices), lleno (i.e., The pedal parts are limited to long names here whose compositions are well Capriccio sopra L’aria Pergamasco, the for the same stops used for the entire held notes; these pieces make excellent worth exploring. Partite sopra l’Aria Favorita with seven compass), a number of dances, toccatas, material for clavichord. The 65 ver- variations, and the 36 variations divided batallas, and almost 1,000 versos. None sets offer excellent practice in playing Giovanni Gabrieli (1557–1612). into three groups of 12 (the second and of his works were published in his life- relatively short contrapuntal works and One of the leading Venetian composers third groups being in the form of a cou- time, but manuscript copies were made, also include some challenging preludes of the late Renaissance, his 38 keyboard rante and sarabande) on an Aria in A mi- mainly by Elías and his other pupils. and fi nales. Eberlin also published two pieces comprise a set of intonations, 12 nor composed by Ferdinand III. Works Most of the nine volumes of his tientos sonatas, which sound well on any key- toccatas, 11 ricercars, three fantasias, of uncertain authenticity include 56 ver- so far published include a mixture of board instrument. These are edited by two fugas, and nine canzonas. They are sets encompassing various forms—i.e., the partido and lleno tientos. The con- Laura Cerutti for Armelin Musica. edited by Dalla Libera for Ricordi in toccata, capriccio, fugue—in the eight tents of volume two are more varied, three volumes; volume three contains 13 church modes (eight of which are vari- with three llenos, one partido, fi ve pas- Pietro Chiarini (1712–77) was an keyboard settings of motets. Many more ants of pieces by Froberger, and one sacalles, fi ve gallardas in duple time with organist in Cremona. Six of his pieces were made by German composers but by Frescobaldi), two preludes, a partita extensive sets of variations, two batallas are found in a manuscript compiled by are not available in modern editions. in A, and eight individual dance move- (one of which is by Kerll), four paseos, G. Poffa. They include two allegros (both ments. Published by Bärenreiter in two folias, a xacara, a pedazo de musica, a through-composed, the fi rst one headed Jan Pieterszoon Sweelinck (1562– volumes edited by Siegbert Rampe, the gaitilla (partido), and six toccatas (one of con violincello, cornetti e tromboncini in 1621) was organist of the Oude Kirck, edition also includes keyboard works by which is partido). The nine volumes are risposta), a marcia, a sinfonia in three Amsterdam, and a seminal infl uence on Georg Muffat. all published by the Biblioteca de Cata- movements, and two sonatas, the fi rst North German organ music in the 17th lunya, Barcelona. through-composed in one movement, century through his pupils. His authen- Wolfgang Briegel (1626–1712). Or- the second a substantial work in three ticated keyboard works include some ganist in Gotha and Darmstadt, he left a Friedrich Wilhelm Zachow (1663– movements concluding with a minu- 17 toccatas, 24 fantasias, one ricercar, few keyboard pieces in manuscript. The 1712). Organist in Halle and teacher of etto. Edited by F. Caporali for Armelin 12 sets of chorale and psalm variations, eight fugues in the church tones are for Handel, he left some 53 chorale pre- Musica, in Musica per Tastiera del ‘700 and 12 sets of dance and song variations, manuals only and were edited by Wil- ludes, including a splendid set of 12 Cremonense; the volume also contains with several more works in each category helm Krumbach for Kistner and Siegel variations on Jesu meine Freude, the pieces by Calamani and Galli. considered of doubtful attribution. Two as Die Orgel: Reihe ii nr. 19. great majority of which are playable on recent complete editions include those one manual and do not require pedals, John Stanley (1712–86). Organist of by Harald Vogel and Pieter Dirksen for Lambert Chaumont (ca. 1630– and 13 secular pieces including preludes, the Temple Church, he published three Breitkopf & Härtel in four volumes, and 1712). Organist in Huys, southern Bel- fugues, fantasia, capriccio and a suite in sets of ten voluntaries, each including Siegbert Rampe for Bärenreiter in eight gium, in 1695 he published a set enti- B minor. There are modern editions by examples of both the “1st voluntary” for volumes. A most useful guide is Pieter tled Pièces d’orgue sur les 8 tons, each Heinz Lohmann for Breitkopf & Härtel, solo stops and the “2nd voluntary” in the Dirksen’s book, The Keyboard Music of of which opens with a prelude followed and Klaus Beckmann for Schott. form of a prelude and fugue. Two sets of Jan Pieterszoon Sweelinck, in which the by about 12 to 15 pieces in the usual concerti (six as op. 2 and ten as op. 10 pieces are discussed in depth. French style. There are also two fi ne Johann Hanff (1665–1712), organ- respectively) for harpsichord or organ chaconnes as well as a few dance move- ist in Hamburg and Schleswig. Only were also published in versions for solo Hans Leo Hassler (1564–1612). Pri- ments clearly intended for harpsichord. three cantatas and six chorale preludes keyboard performance. Contemporary marily known today for his vocal music, He also provides useful information on survive in manuscript. Five of the six manuscripts also contain several ar- he studied organ in Venice with Andrea registration and ornamentation as well are in the Buxtehude style with highly rangements of movements from his two Gabrieli and became a leading player in as a short treatise on accompaniment ornamented melodies in the right hand, sets of solos for melody instrument and Augsburg. He left a substantial corpus and a tuning method for the harpsi- but in Erbarm dich mein two verses are also from his concerti. There are several of keyboard works of considerable scope chord. Jean Ferrard has edited these set, the second opening with a fugue modern editions of the three sets of vol- and length, most of it preserved in the pieces for Heugel. based on the descending chromatic untaries, all 30 being edited in one vol- Turin manuscript, including eight tocca- fourth before reverting to a right-hand ume by G. Lewin for Greg Lewin Music, tas, 18 ricercari, 18 canzone, 14 magnifi - Sebastian Scherer (1631–1712). solo of the ornamented melody. They who has also edited (in two volumes) the cats, an organ mass, four fugues, and two Organist of Ulm cathedral, in 1664 he have been edited by E. Kooiman for six concerti for keyboard. A facsimile of sets of variations. A good selection, as published a print in two parts, the fi rst Harmonia Uitgave. the set of ten concerti has been edited by well as the variations on Ich ging einmal being a set of four versets on the eight G. Gifford for Oxford University Press. spazieren, was edited by Georges Kiss church tones notated on a two-stave sys- Johann-Jakob de Neufville (1684– In volumes three and four of English for Schott and Sons. The toccatas were tem of six and eight lines respectively; 1712). This regrettably short-lived organ- Organ Music, an anthology, published by edited by S. Stribos for the American In- the fi rst and third are toccata-like, the ist in Nuremberg published one volume Novello, Robin Langley has edited early stitute of Musicology, and the magnifi cats fi rst having held pedal notes; the second of keyboard pieces in 1708, the contents versions from the Reading manuscript of by A. Carpenè for Il Levante Libreria. A and fourth are fugal. The second con- of which show clearly the infl uence of his some of the voluntaries that were printed few other pieces from other manuscript tains eight substantial toccatas printed teacher, Pachelbel. It includes fi ve arias in the three sets and of voluntaries in the sources have been included in vari- on four staves, one to each “part”. with variations, three of which require Southgate manuscript. ous anthologies. Twenty-fi ve of the 39 Each is multi-sectional with long-held pedals, and a splendid Ciacona in B Mi- intabulated songs from his Lustgarten of pedal notes, and shows the infl uence of nor. A Suite in G Minor is preserved in Johann Sperger (1750–1812). Or- 1601 have been edited by M. Böcker for Frescobaldi. The two parts have been manuscript. A complete modern edition ganist in Ludwigslust, he was one of the Breitkopf & Härtel. The complete works edited by A. Guilmant. has been edited by Raimund Schächer leading double-bass players of his day from the Turin manuscript are available for Pro Organo Musikverlag. and left many symphonies and cham- in two volumes edited by W. Thein and Juan Baptista Cabanilles (1644– ber pieces. Two collections of his or- U. Wethmuller for Breitkopf & Härtel, 1712). Organist of Valencia cathedral, Joseph Torner (1700–62). Organist gan pieces preserved in manuscripts in but at about £200 each they will remain and regarded as the greatest of the Span- in Trier, he published at least two col- Schwerin have been edited in one vol- well outside the reach of most players. ish Baroque composers for keyboard, he lections of liturgical pieces, comprising ume by Dieter Ultzen for Dr. J. Butz left well over 200 tientos, including ex- eight sets, each consisting of Offerto- Musikverlag. The fi rst collection is ac- Wolfgang Ebner (1612–65) was amples of falsas, contras (which utilize rium, Elevatio, and Communio in binary tually a selection of the preludes and organist of St. Stephen’s Cathedral, Vi- sequential repetition over long pedal form, and miscellaneous toccatas, arias, versets printed in 1689 in Wegweiser fol- and dance pieces. The 1730 print, which lowed by four short fugues; the second is contained pieces in major keys, is pre- a series of preludes in various keys that sumed lost, but the 1735 print with the refl ect the Classical and Rococo infl u- liturgical pieces in minor keys from A to ence; many of them consist of decorative G, and in A major, has been edited by fi guration over sustained chords. Hans-Peter Bähr in two volumes for Dr. We are pleased to unveil the design for J. Butz Musikverlag. Carlo Gervasoni (1762–1819) was Maestro di cappella in Borgotara, in the new III-manual, 29-rank organ for Johann Eberlin (1702–62). Or- which town he oversaw the construction Advent Lutheran Church in Melbourne, ganist in Augsburg, he published nine of a fi ne organ in 1795. Well known in his toccatas for organ in two movements, day for his theoretical works, including Florida which is scheduled for installation the second being a well-wrought fugue notes on organ performance practice, in the Fall of 2012. Our pipe organ or double fugue, edited by Rudolph particularly on instruments with several Walter for Coppenrath (now available manuals, he also left some organ sonatas. builders are ready to consult with you through Carus Verlag) and two sets The lezioni from the Scuola della musica regarding your new organ, rebuilding, of versets (65 and 115) on the eight of 1800 have been edited by M. Machel- la for Armelin. Q restoration, voicing, additions, and service. John Collins has been playing and re- Back by popular demand, you can request Visit searching early keyboard music for over 35 THE years, with special interests in the English, your 2012 Schlueter Pipe Organ Calendar Italian, and Iberian repertoires. He has con- DIAPASON tributed many articles and reviews to several now at www.pipe-organ.com website: American and European journals, including THE DIAPASON, and has been organist at St. P O Box 838, Lithonia Ga. 30058 | 800-836-2726 | www.pipe-organ.com George’s, Worthing, West Sussex, England for over 26 years.
20 THE DIAPASON Der Aa-Kerk Organ Finally Restored Robert August
eter Westerbrink’s recital on Octo- In 2004 a new committee was appoint- Pber 14, 2011, marked the beginning ed with Els Swaab, Peter van Dijk, and of the “Schnitger’s Dream” festival, cel- Harald Vogel, each representing one of ebrating Orgelmakers Reil’s restoration the parties involved. Revised reconstruc- of the Der Aa-Kerk (Groningen, Nether- tion plans aimed to restore the organ lands) organ. The festival included con- back to its 1996 state, with an additional certs, exhibits, theater productions, and supportive back wall for the organ case. a symposium. Dr. Jan Luth presented his The 2010–2011 restoration was carried monograph “Wereldberoemde Klanken: out by Orgelmakerij Reil in Heerde. Het Schnitgerorgel in de Der Aa-kerk te Groningen en zijn voorgangers” (World Stoplist Famous Sounds: The Schnitger Organ in the Groningen Der Aa-Church and M = De Mare/Van Loon S = Schnitger Its Predecessors), while titular organist T = Timpe Peter Westerbrink presented “Return of 1 O = Van Oeckelen the Queen,” the fi rst CD recording of D = Doornbos the newly restored instrument. R = Reil The Der Aa-Kerk’s organ was built fi rst for the Academiekerk (Academy Hoofdwerk C–c3 16′ Praestant S/M Church) in 1702. In 1699 Arp Schnitger ′ was commissioned to build a two-manual 16 Bourdon O 8′ Octaaf M instrument with independent pedal. The 8′ Holpijp M organ was built two years later, with an 8′ Salicionaal O added third manual. Schnitger’s instru- 4′ Octaaf M ment comprised three manuals: Hoofd- 4′ Nachthoorn O 2 werk, Rugpositief, Borstwerk, and Ped- 2 ⁄3′ Nasard D aal. Approximately 10 of its 33 stops came 2′ Octaaf M/S from the Academy Church’s previous V Cornet (discant) O organ, built by Hendrick Harmens van III–V Mixtuur O/D 16′ Trompet O Loon and Andries de Mare in 1674/78. 8′ Trompet S In 1754 the instrument was cleaned and repaired by A. A. Hinsz, who also added Rugpositief CDEFGA–c3 a Rugpositief-Hoofdwerk coupler. 16′ Quintadena S In 1814 the organ was donated to the 8′ Praestant S Der Aa-Kerk, which had been without 8′ Gedekt S 4′ Octaaf M an organ since the church’s disastrous ′ tower collapse of 1710. In 1815 J. W. 4Roerfl uit M 2′ Gemshoorn S Timpe moved the organ to the Der Aa- 1 1⁄3′ Siffl et M/T/R Kerk, leaving the stoplist unchanged IV–V Scherp S/T/R while modifying the organ case. In 1830 8′ Dulciaan M/S Timpe replaced Schnitger’s Borstwerk 8′ Trompet T with a new Bovenwerk, and the Hoofd- werk’s Vox Humana was replaced by the Bovenwerk C–c3 8′ Praestant T/S Rugpositief’s Dulciaan. The old Vox Hu- ′ mana was partly reused on the Boven- 8Holfl uit T 8′ Viola di Gamba T werk. A Trompet 8′ was added to the Groningen Der Aa-Kerk (photo credit: Harold Koopmans) ′ 4′ Fluit T Rugpositief, and the Quint 1½ and Sex- 4′ Octaaf T/S quialter were replaced by a Flageolet 1′ 2′ Fluit T published in Europe and the United States, as Christopher Hogwood and Simon Car- 3 and a Terts 1 ⁄5′. At this time Timpe also 1′ Flageolet D celebrating the composer’s 200th birthday. rington, he has performed in Europe and the replaced the pedalboard, removed one of 8′ Clarinet T/O Educated in the Netherlands and the United United States as a solo artist and accompa- the tremulants, and added a Rugpositief– States, August has an extensive background nist, including tours and CD recordings with Pedaal CDE–d1 in organ performance, and a long history the Harvard University Choir, the Harvard Pedaal coupler. In 1858 P. van Oeckelen ′ of church performance and conducting. He Baroque Chamber Orchestra, and the Texas made some signifi cant changes, includ- 8Praestant S 16′ Bourdon M has served as carillonneur at Brigham Young Boys Choir. Robert August often collaborates ing new windchests for the Hoofdwerk 16′ Subbas O University, and as organist and conductor with his wife Dolores, who holds a master’s and three new pedal stops (Subbas 16′, 2 10 ⁄3′ Quint O at several churches in the Netherlands. In degree in fl ute performance from the Univer- ′ 2 ′ Holpijp 8 and Quint 10 ⁄3 , situated in 8′ Holpijp O/D addition to collaboration with artists such sity of North Texas. the undercase), removal of the organ’s 4′ Octaaf M back wall to accommodate additional 16′ Bazuin R pipework, and replacement and/or mod- 8′ Trompet S ifi cation of several stops. 4′ Trompet S Until the 1950s several modifi cations Afsluiting Hoofdmanuaal and repairs were conducted by Jan and Afsluiting Bovenmanuaal Klaas Doornbos, including replacement Afsluiting Rugpositief of the bellows, addition of a swell box, Afsluiting Pedaal a new Bazuin 16′ (Bombarde 16′), and Calcant replacement and modifi cation of sev- Koppeling Hoofdmanuaal (HW-BW) – bas/ eral stops. D. A. Flentrop modifi ed the discant Bazuin 16′ in 1953, and in 1959 Mense Koppeling Rugpositief (RW-HW) – bas/ Ruiter moved the Bovenwerk Quintfl uit discant ′ Koppeling Pedaal (Ped-RW) up, changing it into a Flageolet 1 . By Tremulant (BW) – R 1970 the church was in serious disrepair and renovations were carried out be- Equal temperament tween 1976–1985. The American organ Pitch a1 = 478 Hz company Taylor & Boody dismantled the Wind pressure: 82 mm wk organ’s Schnitger components in 1977 while the rest of the organ remained in Notes the church, carefully wrapped. 1. Return of the Queen—Schnitgers In 1990 the organ was returned to the Droom, volume 1. Peter Westerbrink, Arp- Schnitger-orgel, Der Aa-kerk Groningen. renovated church. Re-installation and Praeludium in G (Bruhns); Was kan uns kom- renovations were conducted by Orgel- men an für Not (Praetorius); Magnifi cat primi makerij Gebr. Reil of Heerde, under the toni, BuxWV 203 (Buxtehude); Wer nur den supervision of advisors Klaas Bolt, Stef lieben Gott last walten (Böhm); Pièce d’Orgue Tuinstra, and Harald Vogel. In 1992–93, in G, BWV 572 (Bach); Von Gott will ich nicht organ advisor Rudi van Straten presented lassen, BWV 658 (Bach); Sonata III (Ritter); a plan that aimed to restore the organ to Fantasie sopra ‘Von Gott will ich nicht lassen’ its 1858 state—with some technical im- (Matter). CD SIOG201103, €17.50. provements. After some modifi cations, the plan was approved, and in 1996–97 Robert August is director of music/organist Orgelmakerij Gebr. Reil dismantled the at First Presbyterian Church of Fort Worth, instrument. Instability of the organ case, Texas. Before coming to Fort Worth, he held the position of assistant university organist however, required a revision of the resto- and choirmaster at the Memorial Church at ration plans, eradicating the prospect of Harvard University, while pursuing his doc- an 1858 reconstruction. The new plans toral degree at the New England Conserva- were met by resistance, resulting in law- tory of Music. In 2010 his doctoral thesis on suits with rulings in favor of opponents. the organ works of Robert Schumann was
MARCH, 2012 21 Organs in Lviv, Ukraine Bill Halsey
viv, in westernmost Ukraine near the Hall of Organ and Chamber Music, Lviv L Polish border, is a city poised to be- Rieger-Kloss, Op. 3375, 1968 come a major tourist destination. It has graceful cobblestone boulevards, with el- Manual I (Hauptwerk) 16′ Diapason egant 19th-century fi ve- or six-story build- 16′ Bourdon ings dating from the period when it was 8′ Principal ruled by the Austro-Hungarian empire af- 8′ Hohlfl öte ter the last partition of Poland. The Habs- 8′ Gemshorn burgs allowed Ukrainian culture to fl our- 8′ Trichtergambe ish, thus Lviv feels much more Ukrainian 4′ Oktave than Kiev or Odessa, which were ruled by 4′ Rohrfl öte 2′ Superoctave Russia for almost 200 years until the mod- 2 2⁄3′ Kornett III–V ern republic of Ukraine was formed after 1 1⁄3′ Mixtur VI the breakup of the Soviet Union. 16′ Fagott The religious plurality of Lviv is sur- 8′ Trompete prising: the skyline is dominated by Orthodox onion domes, representing Manual II (Positiv) 16′ Lieblichgedact Christ’s crown; St. George Greek Cath- 8′ Principal olic Cathedral, where W. A. Mozart’s 8′ Quintadena younger son was Kapellmeister and con- 8′ Gedact ducted his father’s Requiem; and Roman 8′ Salizional Catholic churches like the Latin Cathe- 8′ Unda maris dral, near the Rynek, or Market Square. 4′ Trichterprinzipal A fi fteenth-century synagogue, the 4′ Blockfl öte 4′ Fugara Golden Rose, also used to stand near the 2 2⁄3′ Nazard Rynek, but was demolished by the Na- 2′ Flagolet zis. The opera house, a fi ne neo-classic Bernardine Church organ (non-working) Sesquialter II structure built around the turn of the last 8′ Dulzian century by building a concrete founda- 8′ Rohrschalmei tion over the city’s small river, is the focal 8′ Vox humana point of the city’s grandest boulevard. Manual III (Oberwerk) Lviv hosts many conferences and 16′ Grossgedact themed musical events, among which is 8′ Hornprinzipal a summer organ festival called, interest- 8′ Flute harmonique ingly, Diapason. I was initially surprised 8′ Gamba to fi nd out Lviv has organs, since Ukraine 8′ Vox coelestis 4′ Oktave is a former Soviet republic. The working ′ organs aren’t numerous, only four, but 4Nachthorn 4′ Fugara Lviv has an active Catholic population 2 2⁄3′ Quinte with a natural interest in organs and or- 2′ Waldfl öte 3 gan music. One of the animating fi gures 1⁄5′ Terz 1 of the organ festival, a 40-something dy- Rieger-Kloss console 1⁄3′ Spitzquinte namo named Sergei Kaliberda, speaks 1′ Siffl ote 1 ′ of a Lviv organ renaissance, and he has 1⁄3 Mixtur V Terzzimbel III made the stoplists of both working and ′ non-working organs available on his 8Trompete harmonique 8′ Oboe website:
Vitaly Pivnov at museum organ
But that somehow never works— an organ needs a certain harmony of conception to sound its best, and even sheer numbers of pipes can be self-cancelling. Some years ago I vis- ited St. Maximin, near Marseille, and I still remember Pierre Bardon, the organist, telling me, “There’s space for Anonymous 18th-century organ at the more pipes in here, but then the organ Museum of the History of Religion wouldn’t sound as strong.” enough stoplist one could build an organ Museum of the History of Religion that was a collection of different organs: Our next stop was at the Latin Ca- a French baroque organ, a German ba- thedral, near the Rynek, and then on to roque organ, a Romantic organ, all in one St. Antoni, built, like many Franciscan distributed over several manuals. churches, on the road out of town, to col-
22 THE DIAPASON Anonymous organ from St. Martin in the Museum of the History of Religion Manual (C2–f3) 8′ Montre 4′ Prestant 4′ Flute 2′ Doublette 8′ Cromhorne 2 2⁄3′ Nazard Fourniture Mixture III Pedal (C–d1) 16′ Bourdon 16′ Soubasse Console of the Slivinsky organ, Latin 8′ Bombarde Cathedral
St. Antoni, Stanislav Krukovski and Son (Potrkuv-Tribunalski), 1929 Manual I 16′ Bourdon ′ Front view of the Krukowski organ at St. Antoni, Lviv 8Principal 8′ Salicional 8′ Flet harmon. lins including an 8-string violin tuned GG tance my favorite Lviv organ. It is an au- 4′ Flet minor DD AA EE with the duplicate strings used thentic example of the French tradition, 4′ Octave for fauxbourdon, and in the back a large built before unwise innovations cheap- Mixture II–III wooden case containing an anonymous ened the sound of these instruments. Its organ from the 18th century, taken from layout is quite unusual for a tracker-action Manual II 8′ Dulcian the church of St. Martin. Its 70-year-old organ, two totally separate cases side by ′ rebuilder, Vitaly Pivnov, was using a re- side and the detached console placed in 8Vox humana 8′ Gamba ciprocating saw and sanders to put some front of the right case, turned at 90 de- 8′ Flute cr. fi nishing cosmetic touches on his master- grees. The Latin Cathedral itself is a mar- 8′ Oboe work, originally completed in 1984. He velous building, its Gothic interior deco- 4′ Amabilis was reticent at fi rst, but we fi nally per- rated with wonderful trompe l’oeil that 4′ Principal Violin suaded him to show off the organ, which adds illusory structures to the tree-like has a pretty big sound and good variety of Gothic columns of the interior. Pedal tone colors for an essentially small instru- Of the non-working organs, perhaps 16′ Subbas 8′ Principalbas ment, with only 11 stops. the most interesting is in the Bernar- ′ Left case of the Slivinsky organ My visit with Sergei concluded with a dine Church. The façade is certainly 8Violinbas hike up the High Hill to admire the in- monumental, and I hope funding will be credible panorama of Lviv, with its mul- found to restore this and other organs. Latin Cathedral, Slivinsky organ,1888 tiple domes, and then after descending At present, the organ hall’s Rieger-Kloss Manual I we had a wine tasting at the Massandra is the workhorse of the festival. The old- ′ store, featuring the wonderful wines pro- er, more authentic instruments can give 8Principal 8′ Salicional duced by Massandra, a winery near Yalta a sense of place and history that is not 8′ Unda Maris in the Crimea. available from newer instruments, even 8′ Amabilis if they are bigger and can offer on paper 4′ Flute travers St. Antoni all the stops needed. The most interest- 4′ Octave On Sunday I came back to the Latin ing organs I saw in Lviv were the Latin 4′ Flute minor Cathedral and St. Antoni to hear those Cathedral instrument and the one in the 2′ Piccolo organs. St. Antoni was not being used Museum of the History of Religion. Q Mixture IV that day because of a wind problem; the Manual II organist had an electronic keyboard set Bill Halsey was born in Seattle, where he 8′ Gamba up in the choir loft, but when he saw studied piano and composition from an early 8′ Flute major me and found out why I was there he age, and began organ lessons in his teens. 8′ Julla turned the organ on and demonstrated a While a student at the Sorbonne, he had ac- 8′ Celeste cess to the two-manual unmodifi ed tracker- 4′ Dulce few softer stops during a spoken part of action Cavaillé-Coll organ at Saint Bernard ′ the service. Of course, from this I could 4Octave de la Chapelle, in a northern arrondissement 4′ Flute form no true idea of the organ. of Paris. This fueled his interest in historic or- gans, and after spending fi fteen years serving Pedal Latin Cathedral in organist positions at St. John Cantius, St. 16′ Subbas My visit to the Latin Cathedral was Peter Claver, Church of the Assumption, and 16′ Violin Bas Right case of the Slivinsky organ the Basilica of Our Lady of Perpetual Help, 16′ Contrabas more productive. The organ is an 1888 ′ 24-stop, two-manual mechanical action all in Brooklyn, New York, he took a perma- 8Principal nent leave of absence to explore historic or- 8′ Cello organ built by Slivinsky, a pupil of Aristide 8′ Flute Cavaillé-Coll, and is upon short acquain- gans, fi rst in France, and later in Italy.
7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ WKHLQVWDOODWLRQ
6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions Solutions for Old Pipe Organs Latin Cathedral choir loft lect alms from travelers to and from the town. On this occasion, it was not pos- sible to hear either of these instruments. We then returned to town through the remnants of the city wall; passing through the Museum of the History of Religion, we came to a back room, where a musical instrument exhibit was being prepared. www.rodgersinstruments.com There was the largest collection of ocari- nas I have ever seen, various types of vio-
MARCH, 2012 23 56th OHS National Convention June 27–July 2, 2011, Washington, D.C. Frank Rippl
n the immortal words of Charles I Dickens, “It was the best of times, it was the worst of times.” Now, please don’t be alarmed by those words, be- cause the convention itself was really wonderful: terrifi c organs, organists, many and varied venues displaying the remarkable depth available in and around our nation’s capital—from the National Cathedral to a former convent chapel. The hotel, the food, the displays and the well-researched Atlas were just fi ne and highly commendable. The only bad thing, that “worst of times,” which nearly brought the con- vention to its knees, was an inept bus situation that seemed to conspire against us each day by being hours late, not showing up at all, sending buses with not enough seats, or by being utterly con- fused as to how to get from point A to point B. It was frustrating, and many an oath was uttered. But we still had a good time in spite of the craziness. Because of the buses, I did miss one of the recitals on the last day, and I truly apologize to the performer. But enough of that. Let’s get on to the good things and the music! Estey Organ Co., 1908, Holy Trinity The convention headquarters was at Episcopal Church (Collington), Bowie, the Holiday Inn at Reagan National Air- Maryland port—not far from Crystal City and Old Town Alexandria, and near the Pentagon. rank organ, making it seem like a much Coming in for a landing at Reagan Air- larger instrument. Next was a favorite, port gives one a stunning view of the Na- Will o’ the Wisp by Gordon Balch Nevin. tional Mall with the Capitol, the White The hymn was O holy city, seen of John House, and all the famous monuments. (Morning Song). Stimmel closed with But, for organists, it is probably the sight Gardner Reed’s Once more, my soul, the of the National Cathedral that causes the rising day (Consolation, same tune as heart to skip a beat or two. Checking in Morning Song), another good choice at the hotel, greeting old friends, and for this organ. visiting the displays are familiar rituals of these conventions. It made it all seem very comfortable. Opening event The fi rst event of the convention was the recital that Monday night at the Na- tional Cathedral by Nathan Laube. The buses were hopelessly late with in- adequate seating, so some of us jumped E. M. Skinner & Son, 1938, Washington National Cathedral into cars and raced across town to the ca- thedral, which stands on the city’s high- Laube ended with his own transcrip- plete with trumpet fanfares. Next came est hill, Mount St. Alban, making it easy tion of Liszt’s Les Préludes. Great salvos Introduction and Fugue in D Minor by to fi nd. It never fails to impress. I sat in of sound were hurled through the arches John Zundel. The introduction had alter- the Great Choir just in front of the con- of the cathedral. The familiar melodies, nating ff and mp sections, and the fugue sole and enjoyed the view in this mas- both loud and soft, fell on our ears like moved along with zeal. I was struck by sive Gothic church. I was surrounded by the voices of old and dear friends. We this organ’s strong bass sounds. Then pipes on three sides. Cathedral organist heard the Trumpet-en-Chamade (which Sowerby’s Chorale Prelude on PICARDY Scott Dettra greeted us and introduced is mounted above the reredos) and the showed off the softer side of this organ, the performer. Laube began with Cathe- 32′ Bombarde for the fi rst time. At other especially the lovely Möller strings and drals from Vierne’s Pièces de Fantaisie, times, the Harp “plucked” away. For an fl utes, and a rather thin Cromorne. op. 55, no. 4. He plumbed the depths encore he played Messiaen’s L’Ascension: Miller then played Mendelssohn’s So- of the huge stone space and the massive II – Alléluias sereins—a perfect end to a nata II in C Minor. He drew dark and E. M. Skinner foundation stops in a won- truly extraordinary recital. ponderous sounds for the Grave section, derful piece well suited to the occasion. and the Adagio featured many opportu- Next was Pierre Cochereau’s Berceuse à Tuesday, June 28, 2011 nities for solo stops. The Allegro maes- la mémoire de Louis Vierne, transcribed The fi rst full day of the convention toso was brought off with just the right by Frédéric Blanc. Like the fi rst piece, it dawned bright and sunny with an amazing amount of style, as was the fugue. Dud- E. & G. G. Hook & Hastings, 1873, St. moved through the vast room at a majes- blue sky, making the sight of our fi rst stop ley Buck’s Scherzo (from the Grand So- Paul’s Moravian Church, Upper Marl- tic pace—quietly at fi rst, then bringing in Alexandria, Virginia, even more out- nata in E-fl at) worked very well on this boro, Maryland in the gorgeous Skinner strings. Laube standing than it might have been. Stand- organ, as did Buck’s Variations on the slowly added the reeds, culminating in ing atop Shuter’s Hill was the George Star Spangled Banner. The hymn was O My group then went to St. Paul Mora- a solo on the Tuba Mirabilis. He pulled Washington Masonic Memorial—a mas- Beautiful for Spacious Skies, a very mov- vian Church in Upper Marlboro, Mary- back to the strings, along with what I be- sive, tall, white stone structure, designed ing song to sing in our nation’s capital. land, to hear the church’s E. & G. G. lieve was an 8′ fl ute and a nazard in the to resemble the ancient lighthouse of We were divided into two groups be- Hook & Hastings Opus 702 (1873), right hand, and clarinet in the pedal. It Alexandria, Egypt. The tower, completed cause the next venues were small. My which has been enlarged and rebuilt was a brilliant demonstration of this or- in 1932, is capped with a pyramid. Inside group went to Holy Trinity Episcopal by David M. Storey, Inc. between 1985 gan’s huge range of orchestral color. was a great semi-circular hall lined with Church in Collington, Maryland, where and 2010. Built for the temporary home Laube then explored the neo-classic columns behind amphitheater-style seat- we heard Phillip L. Stimmel, an au- of Trinity Episcopal Church in Boston, sounds of this instrument with Two Fan- ing. A large portrait of George Washing- thority on Estey organs, play an Estey: it was used until the present sanctuary tasies by Jehan Alain. He closed the fi rst ton, dressed in his Masonic apron, hangs Opus 655 (1908), two manuals, eight was constructed. At some point it was half of the program with a wild, neo-clas- at the back of the stage. The three-manu- ranks, with tubular-pneumatic action. moved down to the D.C. area. St. Paul’s sic-style piece Dupré wrote in memory al Möller, Opus 8540 from 1953, was de- The Praeludium in A Minor by Clarence fi rst church was dedicated in 1972, and of his father—a Tutti that was astonishing signed by Ernest White and Richard O. Eddy was a nice demonstration of the a second in 1985. The Hook organ was in its power. Following intermission he Whitelegg. The Atlas stated that White’s warm foundation stops. Ballade in D Mi- purchased in 1986. It sits in a transept offered salutes to two gentlemen associ- contribution was a Choir division with nor by Joseph Clokey began on the Swell of sorts to the right of the altar in this ated with this cathedral: Leo Sowerby independent mutations and a Cromorne. Stopped Diapason plus tremolo, with smallish modern red brick church, whose and Richard Wayne Dirksen. Sowerby’s The console was on the fl oor and against alternating passages on a particularly proud members welcomed us warmly. Requiescat in Pace used the “subtle col- the stage, while the pipes were in the sweet Great Dulciana. An agreeable solo Kevin Clemens, of Aberdeen, Mary- ors” of Skinner’s “Sowerby Swell”—lovely ceiling, speaking through an elaborate on the Swell reedless Oboe preceded a land, opened with Tone Poem in F, op. strings, solo stops, and chimes. The hymn Art Deco grille. buildup to full organ; it then came back 22, no. 1, by Niels Gade. Next was Arioso was Rejoice, ye pure in heart to the tune Charles Miller, organist at National down to the opening sounds. In Beach’s in the Ancient Style by James H. Rog- Vineyard Haven by Richard Wayne City Christian Church in Washington, Prelude on an Old Folk Tune, “The Fair ers, which used the Oboe with tremolo. Dirksen. Our “Hosannas” made a joyous D.C., opened with Marche aux Flam- Hills Of Eire, O,” Stimmel explored all Then came Caprice by Cuthbert Harris, roar that matched the organ. beaux by Frederick Scotson Clark, com- the colors and registrations of this eight- charming and well played, and Elevation
24 THE DIAPASON from Messe Basse by Louis Vierne, in The second half opened with Henry which we heard the rather nice Celeste, Martin’s Prelude and Fugue in B Minor, which was actually the former Great Dul- a piece commissioned by Michael Bar- ciana. Next, The Cuckoo (Scherzino) by one. This was fairly tempestuous music. Powell Weaver, which featured the Oboe The fugue began in the pedal and quot- and the Melodia. The hymn was Sing ed the theme of the prelude. Next was praise to God who reigns above (Mit Schumann’s Canon in B Minor, Canon in Freuden Zart). We were asked to sing A-fl at Major, and Fugue on B-A-C-H. We harmony on the middle verse, but alas, heard the variety of reed and foundation our printed harmony was not what was tone on this fi ne organ. I especially en- played; we sang out with gusto, nonethe- joyed the A-fl at Major, the end of which less. Clemens closed his program with employed the large Tromba 8′ on the Sousa’s Liberty Bell March. Solo, and then pulled back to the lovely Swell strings. We then heard Cowan’s transcription of Danse macabre by Saint-Saëns. The whole church seemed to sway back and forth to this wonderful music. Cowan made good use of the percussion on the organ: Chimes, Harp, and Celesta. He closed with Dupré’s Deux Esquisses, op. 41—totally virtuosic and muscular play- ing. He treated us to an encore: Roulade Hook & Hastings, 1891, St. Joseph’s by Seth Bingham, a perfect bonbon to R.C. Church on Capitol Hill follow a concert that was like an incred- ibly rich and hearty meal. this recital and were quite smitten with this fantastic organ. Erben, 1849, Old Presbyterian Meeting Wednesday, June 29 The second recital of the morning was House, Alexandria, Virginia We began the day on Capitol Hill at at St. Martin of Tours R.C. Church, an the towering St. Joseph R.C. Church, attractive building completed in 1939 in whose cornerstone was laid in 1868. It the Florentine Renaissance style. A sign was intended to be used by the German- was tied between the two pillars on either speaking Catholics of Washington, D.C., side of the central door: WELCOME and architect Michael Stegmeier used ALL SINNERS. I didn’t know what his hometown’s cathedral (Cologne, to make of that, but I certainly felt ac- Germany) as its model. The neo-gothic commodated. The organ—Möller Opus structure has a very high ceiling painted 6809, three manuals, 22 ranks—stands blue with gold stars. But the real gem for in the rear gallery and speaks into a most us was the magnifi cent three-manual, 29- favorable acoustic. There is reason to be- rank Hook & Hastings organ, Opus 1491 lieve that Möller’s Richard O. Whitelegg Jacob Hilbus, 1819, St. John’s Episco- from 1891. It has been restored/rebuilt worked on this organ. The Atlas states, pal Church, Broad Creek, Fort Wash- many times, most recently by Bozeman- “Most pipework was old and of unknown ington, Maryland Gibson, Inc. in 1986. David Storey now origin.” The Clarinet stop was terrifi c! tends to this highly regarded instrument. Carolyn Lamb Booth opened with The next stop was St. John’s Episco- George Bozeman Jr. entitled his a strong reading of Guilmant’s Grand pal Church, Broad Creek, King George program “Christmas in June.” He began Triumphal Chorus in A Major, op. 47, Parish, Fort Washington, Maryland to Lively-Fulcher, 1997, Old Presbyterian with Reger’s Weihnachten, op. 145, no. no. 2. The powerful sounds of this organ hear Peter Crisafulli play the beauti- Meeting House 3, which began softly with the strings. fi lled the space evenly; I liked the Trum- ful little Jacob Hilbus organ from 1819. The church’s air conditioning, though pet. Next, Edward Bairstow’s Evening Hilbus, born in Westphalia, Germany, the rear gallery: a Lively-Fulcher (1997) welcome, was terribly noisy, making Song, registered perfectly. The hymn was the fi rst organbuilder in Washing- of two manuals and pedal, with mechan- much of the music nearly inaudible. The was “Christ, be our light.” Organ and or- ton. I would encourage the reader to ical key action and electric stop action. piece incorporated four different carols, ganist led it convincingly. After that, the see Michael Friesen’s excellent article in He performed Gerre Hancock’s beauti- ending with Stille Nacht. Bozeman beautiful Elegy by George Thalben-Ball this convention’s Atlas on Hilbus’s work, ful Air (1963)—lovely sounds played played with a wonderful sense of feeling showed the many lovely solo stops and and on this particular organ, as well as with great feeling. The program ended and sensitivity. Dudley Buck’s attractive was nicely played. (I noted the Catholic the fi ne article by convention chair Carl with another hymn: Ye watchers and ye Prelude (from The Coming of the King, Church in its current state of transition: Schwartz. It is a lovely instrument to be- holy ones (Lasst uns Erfreuen). Cantata for Advent and Christmas) in- the confessionals were used to store old hold, with delicately carved pipe shades, The evening concert took place at corporated “Silent Night” and “Adeste fi - kneelers.) The closing piece was Saint- one manual and no pedal. The sound Capitol Hill United Methodist Church. deles.” The hymn was Adeste Fideles, Saëns’ Prelude and Fugue in E-Flat Ma- was sweet and gentle. Crisafulli began The building is modern in style, tall and which we sang powerfully in the resonant jor, op. 99, no. 3, perfectly suited to this with General Washington’s March by an narrow with red brick walls. It stands acoustic of this beautiful church. fi ne organ and organist. anonymous composer. Cornet Voluntary on the site of the birthplace of J. Edgar Next was a wonderful Allegro by The fi nal stop of the morning was at by John Travers followed. We heard the Hoover—the large “west end” window Katherine E. Lucke (1875–1962), which the lovely St. Gabriel’s R.C. Church in Principal 4′ (played an octave lower) for commemorates that historic fact. The or- demonstrated the light and agile fl ute Washington, D.C., to hear its Lewis & the fi rst time. Crisafulli is also an excel- gan, a large and sumptuous 1936 Möller, sounds of this fabulous organ. Bozeman Hitchcock, Opus 165 (1930) of two man- lent composer, as we heard in his next was built for Covenant-First Presbyte- closed with his own fi ne transcription uals and pedal, 21 ranks. It stands in a di- selection: Greensleeves (from In Sweet rian Church, which later became the of Four Fleeting Pieces, op. 15 by Clara vided case on either side of the rear gal- Jubilee—A Suite of Carols for Harpsi- National Presbyterian Church. David Schumann. It was a good tour of the or- lery of this English Tudor-style building, chord), played on the lovely 8′ Stopped Storey is the hero in the restoration of gan’s solo stops, and he played all very whose cornerstone was laid in 1930. We Diapason. He next played Adagio by this priceless gem, once considered old well; each musical line was beautifully were greeted with the sound of bells— Mozart on the Flute 4′, which alter- fashioned. The organ originally had been shaped and controlled. We all enjoyed extra points! Upon entering, we encoun- nated with the exquisitely soft Dulciana voiced by Richard O. Whitelegg, who Treble. We then heard the fi rst Samuel came to Möller from England, where he Sebastian Wesley works of the conven- worked for Harrison & Harrison, August tion: Choral Song—elegant, graceful Gern, and Henry Willis. The Atlas states A gift subscription to music—followed by the livelier Prelude that he voiced the powerful fl ue stops for and Fugue. I enjoyed his adding the the Liverpool Cathedral organ. Sesquialtera in the fugue, giving a bit of The organ is in the front of the THE DIAPASON bite. The hymn was From all that dwell church, with chambers on either side below the skies (Old 100th). A wonder- of the chancel and a smaller chamber The perfect gift for organist colleagues, students, teachers, choir ful recital on a beautiful and very historic in the left wall of the nave for the solo directors, and clergy. instrument—Crisafulli did a masterful division. The walls of the brick nave are job demonstrating its many charms! windowless at the clerestory level, but a Each month your gift will keep on giving by providing the important news Late in the afternoon, we arrived at large window in back has the image of of the organ and church music fi eld. Send in the form below with your the Old Presbyterian Meeting House the risen Christ in chunks of colored check and know that your gift will be just right. For information, contact in Alexandria, Virginia, for a recital by glass embedded in concrete. editor Jerome Butera, 847/391-1045;
MARCH, 2012 25 B sections used the Swell 4′ and 2′ with shades closed. It ended with Procession, which closed quietly. The next selection was Mendelssohn’s Prelude and Fugue in G Major, op. 37, no. 2, which started on the Great 8′ and 4′ Principals. The fugue was solidly played. Following that, Young played Daniel Pinkham’s Be Thou My Vision: Partita on SLANE, a good demon- stration piece. We then sang the hymn on which the partita was based. It was all very enjoyable.
Steer & Turner, 1879, Immaculate Con- ception R.C. Church
João de Sousa Carvalho (1745–1798). Then Bach’s Prelude and Fugue in A Mi- nor, BWV 543. The fugue was especially Stevens & Jewett, 1855, Armed Forces fi ne—masterful and profoundly musical Retirement Home playing! We then heard George Shear- ing’s setting of Amazing Grace, which the Great Open Diapason—a warm and was not in the program. Next was Sat- widely scaled sound. The Allegro used urnus (from The Planets: Suite of Seven Lewis & Hitchcock, 1930, St. Gabriel’s some lovely softer but bright stops on Pieces for Organ) by Bent Lorentzen (b. R.C. Church the Swell. Next, Gavotte Pastorale by 1935); lots of repeated chords accompa- Frederick Shackley (1868–1937). The nying a melodic line—wild music! tered the smell of good incense—more Swell alternated with the Great Dia- Stevens then closed this fi ne program extra points! Stephen J. Morris began pasons, then some of the Swell 8′ stops with Rheinberger’s Sonata No. 9 in B- his program with a hymn, Sing to God! with tremolo—a good piece that showed fl at Minor, op. 142. I especially enjoyed Lift up your voices (Alchester). Ro- some of the many colors of this organ. the second movement, Romanze, which bust OHS singing matched the organ The hymn was, appropriately, Mine eyes was a good demonstration of the exqui- very well in that great acoustic! have seen the glory of the coming of the site fl utes on this instrument, as well Morris’s fi rst selection was Men- Lord (Battle Hymn of the Repub- Schudi, 1987, Crypt Church, National as the quiet foundation stops. Move- delssohn’s War March of the Priests, lic). Mohnsen always chooses hymns Shrine ment three, Fantasie und Finale–Fuga, which showed the strength of this or- and pieces with great care so that they showed the clarity of the plenum. This gan’s sound as we enjoyed this cruciform are well suited to the instrument and For the afternoon’s last recital, our is a very fi ne organ. The Fantasie con- church with its beautiful glass and el- place at hand. Her next selection was buses climbed up the hill to the Basilica tained Buxtehude-like runs, and the very egant appointments. Next was Andante Abraham Lincoln’s Funeral March, op. of the National Shrine of the Immacu- well-conceived Fuga was performed ‘Choeur de Voix humaines’, op. 122, 7 (1865), “In memory of a Country’s late Conception, Crypt Church, to hear with clear and refi ned style that comes no. 7, by Lefébure-Wély. The Great’s Martyred Father” by William Wolsief- the 1987 Schudi organ (two manuals, 23 with a long association with this music. It very beautiful Gross Flute made bub- fer. Paul Marchesano hand pumped the stops, 25 ranks) built in the style of Gott- was a glorious evening! bly sounds against the Swell’s equally organ. The piece showed more of the or- fried Silbermann. The organ stands in a fi ne Vox Humana. Then Seth Bingham’s gan’s color, the fi ne reeds in particular. wide transept to the right of the altar. Rhythmic Trumpet (from Baroques, op. Next came Melodie (Homage to Grieg) Peter Latona, director of music at 41), followed by another character piece, by George Elbridge Whiting (1840– the shrine, began with Buxtehude’s Prae- The Squirrel by Powell Weaver—an en- 1923), which carefully demonstrated ludium in F-sharp minor, BuxWV 146. tertaining bit of whimsey played with more solo stop combinations. Mohnsen In that acoustic, the effect was splendid; good humor. closed with Marche militaire by Scotson clean, clear sound, emanating from the Next was Liszt, Introduction and Clark (1841–1883), a snappy number in polished tin pipes, fi lled the space. It Fugue (after Johann Sebastian Bach, which we heard more of the reeds. was a superb performance, full of life, from Cantata 21, Ich hatte viel Beküm- grace, and vigor. Then the Andante from mernis), played with broad authority and Bach’s Trio Sonata IV, BWV 528, using featuring the organ’s fi ne plenum. That an 8′ fl ute on each manual and 16′ and 8′ was followed by a little composition that fl utes in the pedal—a warm and inviting featured the Oboe: Allegretto in E-fl at, sound. Next, O Gott, du frommer Gott, op. 17, no. 2 by William Wolstenholme op. 122, no. 7, by Brahms, showed the (1865–1931)—cute music. Then came rich 8′ foundation stops. Then Latona the beautiful Claire de Lune from Karg- played Joseph Jongen’s Petit Prelude, Elert’s Trois Impressions, op. 72—lovely soloing out the tune on the Swell Schal- music well chosen for organ, space, and mey, showing more of the romantic side audience. Morris played it exquisitely of this organ. right down to the last ppp on the Aeo- Then came a special treat: a series of line. The recital ended with the March improvisations creating a Suite on RENDEZ upon a Theme of Handel, op. 15, no. 2, A DIEU. I. Trompette en taille; II. was the by Guilmant. A fi ne performance and hymn itself, which we all sang; III. was a concert, which demonstrated the organ trio with the Cornet in the left hand; IV. most admirably. was a Grand jeux complete with a duo Following a box lunch, my group in the middle. Very skillful improvisation E. M. Skinner, 1928, Church of the made its way to the Armed Forces Re- founded securely in the French Baroque Pilgrims tirement Home, founded in 1851. It style. Latona made me wish that I lived sits high on a hill overlooking the city in Washington, D.C. so I could hear him Thursday, June 30 of Washington. Abraham Lincoln spent play every Sunday. Lorenz Maycher began this day for a lot of time there escaping the heat of Following a most tasty buffet dinner at us on a nearly mint-condition E. M. summer. The rolling grounds are exten- the Pryzbyla Center, Catholic University Skinner, Opus 744, from 1928, at the sive, tranquil, and very green with lots of of America, buses took us to Immaculate Church of the Pilgrims (Presbyterian) in trees and grass. The organ was in Stanley Conception Church in Washington, D.C. Washington, D.C. It has three manuals Hall, a facility built for recreation and to hear Bruce Stevens play the eve- and about 30 stops and stands in the rear entertainment, but now used a chapel. George Jardine, 1853, St. John’s Luther- ning recital on the church’s 1879 Steer gallery divided on either side of the win- The organ, a two-manual and pedal in- an Church, Riverdale, Maryland & Turner organ, Opus 131 (two manu- dow. Maycher is a specialist with Skinner strument built by Stevens & Jewett (ca. als, 25 stops). The church is a large sort organs. He played an entire program of 1855), is interesting for its 18-note ped- We next visited St. John’s Evangelical of Tudor Gothic with tall windows. The music by Richard Purvis, beginning with alboard. The 16′ Double Open Diapa- Lutheran Church, Riverdale, Maryland, program opened with Festive Prelude on Toccata Festiva. It was exciting music son has only 12 pipes. The Atlas states: which possesses a sweet little Jardine or- the Chorale ‘Lobe den Herren’ by Niels and playing—the organ fi lling the space “From second C the pedals simply re- gan, originally built in 1853 as a one man- Gade (1822–1890), which started with nicely. The hymn was There’s a wideness peat the pipes in the bottom octave.” ual, and enlarged to two manuals in 1890. long chords and then led into a more in God’s mercy (In Babilone). He then The instrument was acquired through After several church “homes”, it had been “festive” reading of the melody going played the popular Melody in Mauve, the Organ Clearing House, having come purchased by OHS member Carolyn Fix, from manual to manual. That led to the which sounded wonderful on this beau- from the former Universalist Church in who sold it to St. John’s in 1988, and was hymn, Praise ye the Lord, the almighty tiful organ. Next was another popular Mechanics Falls, Maine. David Moore rebuilt and enlarged by James Baird. It (Lobe den Herren). Our “Let the piece, Les Petites Cloches, which fea- did the restoration. stands at the rear of this smallish cement Amen!” in that acoustic was something tured the chimes and harp. Then, Idyl, Rosalind Mohnsen opened her pro- block structure. Lawrence Young be- to hear! with the lovely Flute Celeste II accom- gram with Allegro moderato maestoso by gan with four selections from The Green Stevens then played Partita sopra Aria panying the Concert Flute, followed by Mendelssohn, which had a fi ne majestic Mountain Organ Book by Charles Calla- della Folia da Espagna by Bernardo Pas- the Vox Humana. march feel to it. Then came John Stan- han. In Prelude and Fugue we heard the quini (1637–1710). I was amazed at how Repentance was the next piece and ley’s Voluntary in A, op. 7, no. 1, Ada- lovely 8′ foundation stops. Rondeau used well this very 19th-century organ could showed the softer foundation stops, fol- gio—Allegro. The Adagio was played on Great 8′ and 4′ in the A section, while the sound in this music. Next, an Allegro by lowed by the strings and then the larger
26 THE DIAPASON Rieger, 1969, All Souls Church, Unitarian
companied by gurgling fl utes—very nice Hook & Hastings, 1894, Epiphany R.C. music. The hymn was Surely the Lord Church, Georgetown is in this place to the tune Madison Avenue by Weaver. He then played a foundation stops; the Tutti came on, but piece he wrote based on his hymn tune the piece ended with the softest strings. Meyers Park, following by the singing Maycher ended this lovely program of the hymn. Weaver closed with his fa- with Thanksgiving, which began with mous Toccata for Organ (1958). It was the Great Tuba blasting out a fanfare in very exciting, but, with this instrument, dialogue with the Swell reeds. A quiet it was painfully loud. One longed for the B section, featuring the Clarinet, led us Möller, 1975/1980–81/2003, National City Christian Church old E. M. Skinner organ that fi rst graced back to the beginning. Wonderful music, this church. brilliantly played on a gorgeous Ameri- with very soft fl ute sounds in Sabbath of the sounds as the pipes spoke over the The bus caravan deposited us at the can organ! Eve by Robert Starer (1924–2001). Next player’s head, sending all the sound into lovely All Souls Unitarian Church in The next stop was Epiphany R.C. a piece by one of his teachers: George the nave. Washington, D.C. The congregation Church in Georgetown to enjoy its two- Thalben-Ball’s Elegy—a great piece that Then Karg-Elert’s Five Chorale Im- traces itself back as far as 1815, but the manual, 11-stop Hook & Hastings, Opus built to a fi ne roar. Then a piece by an- provisations from opus 65. 1. Wie schön present church, styled after St. Martin 1623. Built in 1894 for a music room in other of his teachers: Herbert Howells’s leuchtet der Morgenstern used the lovely in the Fields, London, was built in 1923. Boston, it eventually found its way to this Master Tallis’s Testament, with a beauti- strings and soft foundation stops. 2. O The organ was built by Rieger in 1969, small and charming church. David M. ful solo sound from the Choir. Next was Gott, du frommer Gott used several a tracker of four manuals, 60 registers, Storey Inc. restored the organ in 2003. a very moving In Memoriam by Herman levels of foundation tone. 3. Herr Jesu and 96 ranks. It was an important instru- It stands in the rear balcony, its pipes Berlinski (played in memory of Sina G. Christ, dich zu uns wend was quite loud ment in its time and attracted quite a painted in warm yet bright colors. Con- Berlinski). That was followed by “Rosh and seemed to demand Christ’s presence bit of attention, with a Rückpositiv and vention chair Carl Schwartz described Hashana” from Funf Fest-Preludien, op. among us—brilliant playing with a wild an enclosed Brustwerk that has glass this organ brilliantly in the Atlas: “This 37, by Louis Lewandowski, and then pedal part! 4. Herzlich lieb hab ich dich, shades. It also was the fi rst, it is said, to musical instrument reveals its charms in the hymn The God of Abraham praise o Herr—gorgeous music with a gentle have computerized combination action subtle ways, much like a fi ne wine un- (Yigdal). A very beautiful and meaning- echo after each phrase; we heard the fa- with multiple memory levels. To our ears folding before the senses. As with most fi lled program. mous Handbells stop on this organ—in- it sounds dated, but in its day I’m sure it Hook & Hastings organs of this modest We then made our way to Washing- teresting, but I wasn’t crazy about them. was a revelation. There is still much to type, it proves to be far more than the ton’s National City Christian Church, a 5. Nun danket alle Gott was the well- admire in this instrument. sum of its parts.” building designed by John Russell Pope, known piece often played at weddings. Eileen Morris Guenther opened Kimberly Hess opened with Buxte- who also designed the National Archives, It was another case, however, of over-use with Bach’s Prelude and Fugue in C, BWV hude’s Toccata in F Major, BuxWV 157, the Jefferson Memorial, and the National of the loud sounds. This organ is simply 547 (“the 9/8”). I would have liked to hear which worked very well on this 1894 Gallery—so one can imagine that it is in- too big for this room. more articulation in the playing, which organ. The hymn was I sing the mighty deed an imposing structure fronted with Next came one of Weaver’s own com- seemed rushed with many dropped pass- power of God (Mozart). She then a huge sweeping staircase. It opened circa positions, Carillon (2002), which used ing tones. All the drama in that wonder- played no. X from 23 Préludes liturgiques 1929. The fi rst organ was by the Skinner the Handbell stop. The bells were ac- ful fugue was lost. Next, Prelude for the by Gaston Litaize. We heard the beauti- Organ Company, Opus 824 (four manu- ful and careful voicing of the smaller als, 55 ranks). Like many of those grand sounds on this lovely organ; each stop old E. M. Skinner organs, it was deemed DPMKMSP4ICRAF@MMI is satisfying in every way. Then C.P.E. old fashioned by mid-century, and in the 4A?RRCPCBJC?TCQ Bach’s Sonata in D Major, Wq 70/5, 1960s it began to be greatly enlarged by which showed refi ned 8′ and 4′ sounds the Möller Company and others until it in the Allegro di molto. In the Adagio e reached its present size of fi ve manuals mesto she used the Swell Stopped Dia- and 141 ranks, including a large Antiph- pason with tremolo to good effect. The onal division in the rear of the church. Allegro was cheerful and bright with The main organ stands in the front of good dialogue between the manuals. this basilica-like structure behind the Hess ended her fi ne concert with two apse and four huge granite columns—all selections from Arthur Foote’s Seven of this in a building smaller than several Pieces for Organ, op. 71. Cantilena in G of the larger Catholic churches we had featured a solo on the organ’s gorgeous visited. It is the third largest organ in Oboe. The melody was spun out for us the city, but it is in a building smaller, it with warmth and just the right amount seemed, than of one of the National Ca- of fl exibility. Toccata moved well in the thedral’s transepts. Perhaps E. M. had opening A section, coming to a restful B the right idea about proportion for the section. It fi nished big, using the sub and space. This is a very loud organ, and too super couplers from the Swell. First-rate big for the church. playing on a fi rst-rate organ. The legendary and brilliant organist, The last stop of the morning was at the composer, and teacher John Weaver sprawling and beautiful Washington He- gave a terrifi c program. He opened with brew Congregation, begun in 1856. The Bach’s Wir glauben all an einen Gott, S. present building was completed in 1955. 680 (Clavierübung Part III). It was a bit The organ, a large three-manual Aeoli- of a shock to hear this Möller with its an-Skinner, Opus 1285, was installed in 1975-era mixtures after two and a half 1956. The organ stands in front of the days of more subtle mixture sound. Next room, although the pipes (and organist) was Mozart’s Adagio and Allegro in F Mi- are hidden. There is beautiful tone and nor, K 594. The Adagio was lovely, but balance within the divisions. Two well- the Allegro was a bit over the top with known organists have served this congre- the power and aggressiveness of the reg- Schoenstein & Co. gation: German composer and scholar istration choices. Weaver played it very Herman Berlinski, and B. Michael Par- well with good attention to detail, but it Established in San Francisco 1877 rish, a student of Herbert Howells and was just too loud. I found myself won- www.schoenstein.com e (707) 747-5858 George Thalben-Ball. Mr. Parrish began dering if he had trouble judging the level
MARCH, 2012 27 organ in front. The Antiphonal is at the Borstwerk 4′ Roerfl uit, which seemed to back of the room, while the main organ chirp. Steinbach closed with more Philip is behind a screen on the front wall. The Glass: Satyagraha, Act III, Conclusion Allegro assai vivace burst forth with ex- (1980). While it was interesting to hear, traordinary energy and power. This was for me, at least, it soon wore out its wel- one of the most exciting performances come. He did build a fi ne crescendo. I’ve ever heard of this piece. This is a very good organ, and Steinbach In Elgar’s Nimrod (from Enigma gave an excellent tour of it. Variations, op. 36), the organ’s gorgeous The next organ was a major historic and lush strings were on full display; the treat: a nearly intact three-manual Henry clear Clarinet uttered its plaintive cry. Erben organ from 1850—very rare, and The marvelous crescendo began building very exciting for us OHS’ers. This was seamlessly to full organ, then tumbled at Trinity United Methodist Church in gently back down to a breathless ppp— McLean, Virginia. The congregation can it was brilliantly achieved. Next came trace its beginnings back to 1820. They J. S. Bach’s Passacaglia and Fugue in C built their present Georgian-style church Minor. Neil began on quiet fl utes. His in 1961. The organ was originally built for trills were fl awless, and the calm pedal Monumental Episcopal Church in Rich- was unruffl ed by the increasingly busy mond, Virginia. In 1926 they replaced it manual parts. This was a fabulous perfor- with a Skinner, keeping the Erben façade, mance of one of the great monuments of which was silenced. The Erben pipes western civilization. My only criticism of went to another church. James Baird this concert was that there was too much managed to put the Erben back together loud music. Our ears needed more vari- between 1975 and 1997. It now stands ety. Stunning though this performance rather proudly in the front of this sanctu- was, we had a long day ahead of us. The ary. Nearly all the pipework has been re- hymn was O Lord, You are my God and stored, with three rare Erben reed stops. King (Jerusalem). The organ has a painted white case with gold trim. There are dentils adorning the tops of the towers. The capitals at the tops of the towers have carved fl owers painted colorfully. The church created needlepoint kneelers using the case de- signs. Convention chair Carl Schwartz, in introducing the concert, called the organ “a national treasure.” Before the recital began, we had the annual meeting, which included the in- troduction of the four E. Power Biggs Fellows to this convention. The Fellows get an all-expense-paid trip to the con- vention. Many eventually become per- formers at subsequent conventions and go on to great success in the organ world. We also had a delightful preview of next summer’s convention in Chicago. Kevin Birch began his program with Concerto in G Major, BWV 592 (after Schoenstein & Co., 1996, St. Paul’s Episcopal Church, K Street Ernst) by J. S. Bach. In the Allegro he used the Great 8′ 4′ 2′ in alternation with Organ in G Major by Fanny Hensel (née the psalms was carefully prepared by the the Swell. The second movement, Grave, Mendelssohn-Bartholdy). The mid-20th organist, and the choir sang with proper used fl utes 8′ with tremolo, a beautiful century mixtures got in the way of an oth- style and grace. sound. The Presto was played with secure erwise good performance. Then Robert The offi ce hymn was All praise to thee, rhythm and nicely shaped phrases. Next, Schumann’s Sketch in D-fl at, which used for thou, O King divine (Engelberg). William Boyce’s Voluntary I in D. The the 8′ foundations and fl utes. Staying in Now, if you have never been to an OHS Larghetto featured the very attractive the Schumann family, we heard Clara’s convention, the hymn singing is amaz- 8′ Open Diapason; the Vivace featured Prelude and Fugue for Organ, op. 16, ing. So it was with a certain amusement the delicious Great Trumpet; I loved that no. 3, played very well. Two spirituals by that I noted a few of the choir members sound—full bodied and true. Next, Muf- Joe Utterback (b. 1944) followed: Swing looking out at us with widened eyes as if fat’s Aria sub elevazione (aria, three vari- Low, Sweet Chariot (blues for manuals) to say “Who are these people?” We fed ations, aria), which worked quite well on and Balm in Gilead. I enjoyed her fi ne each other as congregation, choir, and this organ. Then, Mendelssohn’s Sonata performance of them, which showed the organ raised the song from our collec- Flentrop, 1981/2009, St. Columba’s Epis- No. 1 in F, op. 65. I especially enjoyed pretty soft string sounds. The hymn, a tive hearts to amazing heights—it was an copal Church the fourth movement, when he added new setting of “A Mighty Fortress” by unforgettable moment! The Magnifi cat the thrilling 16′ Trombone in the Pedal. Emma Lou Diemer (Reformation), and Nunc dimittis came from Evening We made our way through the tree- It was all good, solid playing on a really was not the easiest thing to sing. This was Service No. 2 in E-fl at Major by Charles lined streets of Washington, D.C. to St. fi ne and certainly historic instrument! an instructive recital that showcased the Wood. It was a powerful sound—Mc- Columba’s Episcopal Church in a quiet The hymn was Ye servants of God transitional state of organ building mid- Cormick drew astonishing sounds from neighborhood. A handsome church, it (Hanover). Guilmant’s Prière et Ber- way through the last century. his forces. After the prayers, they sang looks as though it would be right at home ceuse followed the hymn, beginning on The evening program was Solemn the Salve Regina, and then one of my fa- in an English village. Built in 1926–1927, a very quiet string. The Berceuse began Evensong and Benediction of the Most vorite anthems, Te Lucis ante terminum its fi rst organ was a Lewis & Hitchcock with a solo on the Oboe. It was a gor- Blessed Sacrament at St. Paul’s Epis- by Henry Balfour Gardiner. That was that was replaced in 1981 by the present geous call from the past that made one copal Church, K Street in Washington. followed by Benediction. The closing organ, a two-manual, 25-rank Flentrop long for the many organs that are lost. D.C. My bus got lost and we barely made voluntary was a stunning improvisation. that the company enlarged in 2003, add- Thanks be that this one has come down it on time. Since all the pews were occu- It was an unforgettable evening, both ing three stops to the pedal. It stands ma- to us virtually intact. The piece ended pied, I got to sit in a row of chairs set up musically and spiritually. jestically in the liturgical north transept. with the sweet sound of the Swell Dul- in front of the front pew—a great view Mark Steinbach began with Philip ciana and tremolo. Birch ended this of all the proceedings. The church was Friday, July 1 Glass’s Mad Rush (1981), which worked marvelous recital with Grand Choeur in founded in 1866, but the present build- Our day began at the beautiful Na- well on this organ. Next, Bruhns’s Kleine G Major by Théodore Solomon. After a ing dates from 1948. It is very traditional, tional Presbyterian Church in Washing- Praeludium in E Minor, played freely sturdy beginning, a fugue started, using with all the high church trimmings, great ton, D.C. with a recital by that church’s and skillfully. This piece provides good 8′ foundations and the Oboe, sound- acoustics, and a four-manual Schoen- organist, William Neil. The church was opportunity to vary registration—a plus ing very French. The Mixture came on stein & Co. organ of 52 voices and 65 established in 1947, but has connections at an OHS convention. There were a few with full organ, bringing the piece to an ranks. The organ and choir are divided dating back to 1780. The present building inner rhythmic patterns that were hur- end—very good playing on a remark- on either side of the chancel, and there is was opened in 1969. The organ was one ried, but he got the big overall shape of ably versatile organ! a Tuba Mirabilis mounted on the liturgi- of the last Aeolian-Skinner organs, and this piece quite nicely, and the organ was And so we came to the fi nal evening cal west end (the pipes stand vertically). has been altered many times since then. lovely. Then came Buxtehude’s chorale recital of the convention. Following a The volunteer choir was superb in every A Solo division was added in 2010 using prelude on Nun komm’ der Heiden Hei- delicious meal at the American Indian way, led by director of music and organ- several E. M. Skinner ranks. The organ land in a beautiful demonstration of the Museum, we walked to St. Dominic’s ist Robert McCormick, and accompa- has four manuals and seven divisions. Hoodfwerk Cornet—played with won- R.C. Church, just a few blocks off the nied by assistant director of music John It was featured at the AGO convention derful sensitivity and fl exibility. Keeping National Mall. It is a large gray granite Bradford Bohl. in 2010 in a concert by Nathan Laube. with that same chorale, the hymn was church completed in 1875. It has seen The pre-service voluntary was Rhein- I was eager to hear the Skinner Solo Savior of the nations, come. The organ several fi res in its history. The church’s berger’s Introduction and Passacaglia division ranks, as they were not playing held its own leading our vigorous sing- Hilborne Roosevelt Opus 290 dates from from Sonata No. 8 in E Minor. It was for that recital. Neil’s fi ne recital began ing—good playing! 1885: three manuals and 47 ranks. Origi- marvelously played, but I could not tell with Mendelssohn’s Sonata in F Minor, My teacher in college, Miriam Clapp nally a tracker, after various fi res and re- by whom. The responsory was by Han- op. 65, no. 1. In the fi rst movement we Duncan, was Anton Heiller’s second builds it is now on electro-pneumatic ac- cock, the preces were by Philip Radcliffe, heard the clear and never overwhelm- American student. So I was eager to hear tion. It enjoys a fantastic acoustic, is just and the psalms were sung to Anglican ing plenum, with echos on an 8′ reed. the next piece, Nun Komm’ der Heiden the right size for the building, and stands chants by Stanford and Thalben-Ball. The beautiful Adagio showed the lovely Heiland—Eight Variations (1972), by in the rear gallery. The organ was perfect for the proper ac- strings along with several excellent solo Anton Heiller. (Steinbach has recorded Thomas Murray began with Rhein- companiment of Anglican chant; amaz- stops including the French Horn. The a forthcoming CD of the music of An- berger’s Sonata in G, op. 88, no. 3. The ing effects could be created by the swell Andante used the Antiphonal 8′ and 4′ ton Heiller’s music.) He used the full fi rst part featured the fi ne plenum. Later boxes within swell boxes. Each line of fl utes against a reed chorus on the main range of this organ. I especially liked the we heard the beautiful Cornopean on the
28 THE DIAPASON he demonstrated all manner of sounds small and great. Bring a Torch, Jeanette Isabelle had three canons. These were great organ demonstration pieces, with many refi ned colors. Next was Myron Roberts’ Improvi- sation on God Rest You Merry. I loved the sweet little 8′ Dolcissimo stop on the Great. Then, Harvey Gaul’s The Christmas Pipes of County Clare. The fl utes had their day in this charming and wonderful music. Get this music—your congregation will love you! A second hymn followed: Hark! the herald angels sing (Mendelssohn), then Balbas- tre’s Joseph is a good husband. The fi ne reeds on this organ were well displayed making a mighty Grands Jeux. The fi nal piece, and the fi nale to the convention, was Fantasy on Two English Carols. The First Noel was nicely articulated. Good King Wenceslaus was heard on the Swell reeds, and then on the soft fl ues and fl utes. The First Noel returned triumphantly! A grand conclusion to a A. Pomplitz, 1869, St. Vincent de Paul grand convention. R.C. Church This was another outstanding OHS convention. Carl Schwartz and his com- foundation stops, which ended in a fi ne mittee are all to be congratulated for fugal section. an exceptional effort. The organs were Cooper’s own Fuga I tertii tone was in great shape, the venues were spec- a hit with the audience. The hymn was tacular, the scholarship we saw in the Jerusalem, my happy home, sung to Coo- Atlas, the Convention Handbook, and per’s tune, Kenny Dawson’s Mighty the Hymn Book evidenced their thor- Hymn. We then heard this organ’s el- oughness and affection for the organs egant strings in Tantum Ergo by John of the communities in which they are Henry Wilcox. The program closed with so blessed to live. And, of course, the Postlude in A Major by George J. Webb. beauty of our nation’s capital seemed to The fi nal concert of the convention grace and welcome us at every turn. was at St. Mary Mother of God R.C. The 2012 OHS national convention Church in Washington, D.C., found- takes place July 9–13 in Chicago. For in- ed in 1845 for the German-speaking formation:
returning to the Great. The piece gave voice to several solo stops and a fugue before returning to the opening mate- rial. Liszt’s Epilogue (from Années de Pèlerinage, Suisse) worked very well on the organ. Murray closed with Dupré’s Prelude and Fugue in G Minor, op. 7, no. 3, which made one want to get up and dance. It was a brilliant performance! Saturday, July 2 This was an “extra” day, with just three recitals. About half the convention at- tendees chose to go home following the Friday night recital. A few elected to stay, wanting to hear the Pomplitz organ that was on the schedule. However, the buses confounded our best intentions. The company only sent one bus, but we needed two. We all lined up in the usual manner behind the hotel. The fi rst ones in line got on that bus. The rest of us waited for nearly two hours. It really was frustrating. But fi nally one came after Hilborne L. Roosevelt, 1885, St. Domi- several frantic phone calls. We missed nic’s R.C. Church the recital at St. Patrick’s in the City R.C. Church with its large three-manual 1994 Swell. The closing movement was all fi re Lively-Fulcher organ built in a French and bravura. Then, Bossi’s Ave Maria, manner. The recitalist was Ronald Stolk. showing the lovely strings and fl utes with My apologies to all concerned that I was tremolo, and Bossi’s Divertimento en for- unable to review that recital. ma de Giga—immaculate playing. Next, We did get to hear the August Pom- Guilmant’s Communion on Ecce panis plitz organ, No. 140, built in 1869 for angelorum on quiet 8′ and 4′ fl utes, then Grace Episcopal Church in Alexandria. the soft 8′ foundations. Guilmant’s Ca- The organ was believed to have come price in B-fl at was a nice contrasting bit to St. Vincent de Paul R.C. Church in of whimsey, with chords tossed out into Washington, D.C. about 1905—two the great nave of this church—a charm- manuals, 16 ranks with mechanical key ing sense of fun. Then, Grand Choeur on and stop action. Carl Schwartz called “Benedicamus Domino” (1934) by Guy it “a lovely instrument and a survivor.” Weitz. The Great and Swell reeds called It stands in the rear gallery of this little back and forth. A fugue followed on the church. Philip T.D. Cooper started very good plenum—all very lively and with Voluntary VII in G Major (from yet grand. The hymn was There’s a wide- Ten Organ Voluntaries, op. 6) by John ness in God’s mercy (Blaenwern). Stanley. Next, Flute Piece in F by Wil- Following intermission, Murray played liam Hine. The fl utes on this organ Alfred Hollins’s Concert Overture in C possess a rare beauty. Cooper handled Minor (1899). Bold, strong, and large the sounds with deftness and clarity. chords were fl ung through the nave. In Voluntary in A Minor by Lucien H. The Swell reeds had a solo or two before Southard (1827–1881), we heard the
MARCH, 2012 29 Cover feature
A. David Moore, Inc., North Pomfret, Vermont All Hallows’ Parish, Davidsonville, Maryland
From the builder Designing an organ for All Hallows’ Church involved some unique challeng- es for its builder. The small brick build- ing dates to 1734, and was gutted by fi re in 1940. Rebuilt much as it was (without the Victorian alterations), the original walls and brick fl oor were retained. It seems that until 2010, the parish never owned a pipe organ. The decision to place the organ on the left side of the chancel included the re- quests that the casework be no taller than the altar window, that the instrument be no larger than the sacristy in the opposite corner, and that the case was to “fi t” the furnishings of the room. Thus, the back and left sides of the organ are against the walls, and maintenance can be done only through the front and right side of the main case. The detached console and Positiv division are one unit, adjacent to the case front, and facing the choir on the other side of the nave. Three fl ats of Open Diapason and Principal basses face the congregation, and the side contains two fl ats of Open Diapason basses, one of which is in a door that can be opened for Great and Pedal tuning. Those offset basses are operated by a remote assist- ing mechanism in which a small amount of air travels down a 5/16″ diameter tube that feeds a small wedge bellows and valve below each pipe. The Great is on a C and C# chest, with Chancel (photo: Jan Power) the smallest pipes in the middle. The Pos- itiv is played from the upper keyboard; the chromatic chest is at fl oor level; and the pipes are tuned by removing a grille on the top of the case. The manual keys are suspended, with a backfall system that pulls up the Positiv pallets; angled trackers and a rollerboard operate the Great pallets. The Positiv stop knobs are in the console and the Great knobs proj- ect from the main case on the organist’s left. The basswood tables of the chests will not split; the sliders are of quarter- Nameplate (photo: Sabine Joyce) sawn maple; the slider seals are of Neo- prene; there is no plywood in the organ; the wind pressure is almost two inches; and the temperament is Kirnberger III. Though the acoustics are quite good and the sound of the organ is focused by a curved ceiling, there is a slight “fl utter echo” heard by a listener in the center of the room. The maple case is of wood harvested on the Moore farm in North Pomfret, Vermont, and sawn on location by a Wood-mizer band sawmill. There are no carvings on the case, but some subtle ornamentation appears at the tops of the pipe fl ats. The cornice of the case Keydesk (photo: Sabine Joyce) was copied from the 18th-century Amer- ican case in Old North Church, Boston, ings. In terms of hardness, the wood is existed as early as 1650, with its fi rst writ- and the All Hallows’ sacristy cornice was somewhere between lead or brass and a ten record that of the birth of Thomas changed to match it. leathered surface, and the brass tongues Chaney on 1 March 1669. The original In the Great, the metal pipes are 28% are fairly wide and thick. Long tuning church building, now lost, was probably tin and 72% lead, with small amounts wires are labeled on the tops and are of timber construction, and either burned of copper, antimony, and bismuth; the easily reached. or deteriorated to the extent that a new metal was cast from old organ pipes. The installation of A. D. Moore’s Opus building, at a new site, was constructed, 2 3 The 8′, 4′, 2 ⁄3′, 2′, and 1 ⁄5′ ranks are 34 was enjoyable, and there were many with the aid of a levy of 20,000 pounds of close to Hook pipe scales, and have trips to Davidsonville for installation, tobacco, around 1727–1730. The church Positiv stop knobs (photo: Sabine Joyce) fairly low cutups and moderate nick- fi nal voicing, and tuning. The crew of bell, in a separate wooden tower, bears ing. The Holpipe is a metal chimney builders—A. David Moore, Tom Bowen, the inscription “Belonging to St. All Hal- 18th century with white walls, white box fl ute, and has 12 stopped wood basses; John Atwood, and Lubbert Gnodde— lows’ Church 1727” and was probably pews, and clear glass windows. a new Haskell bass serves the Viol; and stayed with Jan and Mike Power. Mike provided by Queen Anne’s Bounty. There is no record of any pipe organ the Hautboy is an exact copy of a Hook Menne is the organist at All Hallows’, The 1727 building, still in use, is a during the building’s fi rst 280 years, so stop. The Positiv Stop’d Diapason is of and collaborated on the organ’s speci- modest brick, hipped-roof building, just any description of musical accompani- wood, small in scale but with a good fi cation. Mr. Gnodde played the dedi- under 30 by 60 feet. There are no re- ment before the fi re is purely conjectur- fundamental tone, and is copied from a catory recital on November 7, 2010, cords extant that show the original seat- al. After the restoration, a series of elec- Geo. S. Hutchings stop; the Flute is of which included works by Alain, Bach, ing plan of the building, but in the 19th tronic instruments was installed in the stopped and open wood and has metal Sweelinck, Scheidemann, Buxtehude, century a small balcony was taken down front of the room. When a new rector ar- trebles; the Fifteenth has 24 Claribel- Mendelssohn, Couperin, Langlais, and (probably originally for the use of some rived in 2000, he hired his friend James style open wood basses and metal tre- the “Flower Duet” from Lakmé by Léo of the 200 slaves who had been baptized Weaver, Curator of the Division of Musi- bles. The German scales for the Dulcian Delibes, featuring Sharon Potts and by the second rector), and at least twice cal Instruments at the Smithsonian and are a composite, and there are half- Laurie Hays, sopranos. remodeled in the Victorian taste of the co-founder of the Smithsonian Chamber length resonators in the lowest octave. —E. A. Boadway and A. David Moore times, with heavy dark wood furnishings, Players, to come to the parish and revive The basses have wood blocks and shal- stained glass, and slip pews. a fl agging music program and small choir lots made in one piece, and the dimen- From the organist The church was nearly lost on 11 Febru- of willing and enthusiastic singers. Dur- sions for the shallot openings, bores, ta- All Hallows’ Parish, also known as ary 1940 when a disastrous fi re broke out ing his tenure, Weaver established a high pers, and inside resonator diameters are South River Parish, is one of the original about an hour after a service, destroying level of musical expectation but hesitated close to 18th-century North European parishes established by Act of the Gener- everything but the brick walls. For the to begin a project to replace the dreary practice. The use of wood for a shallot al Assembly of the Province of Maryland rebuilding, it was decided to return the electronic. When he left to pursue other avoids the need for lead or leather fac- in 1692. As a worshiping community, it building to the look and feel of the early projects and I arrived, enthusiasm to
30 THE DIAPASON Great stop knobs (photo: Sabine Joyce)
begin an organ project was high and the parishioners was “It looks like it’s always process began. been there!” It was decided to use the Early on, it was determined that (1) natural darker grey of lead/tin pipe metal the organ would have mechanical action, in the display pipes rather than shiny tin (2) it would be tonally appropriate to the to minimize visual distraction from the age of the building, (3) it would be vi- altar. The wood façade pipes of the 8′ sually designed so as not to overwhelm fl ute of the second manual are painted the scale and balance of the architecture, white to match the case. Many people and (4) the primary visual focus at the don’t realize they are pipes at all until front of the room would continue to be they see the mouths near the fl oor! The the triple window behind the altar. The use of removable slatted grilles at the restoration of the early 1940s had creat- top of the second manual case allows for ed two large closets in the front corners both good tonal egress and tuning ease. of the building. One was used as a tiny Musically the organ has been a huge sacristy, the other as storage and place- success. The modest stoplist of 13 reg- ment for the bass speaker cabinets of the isters, with two reeds, two mutations, organ. It was determined that the organ and four unison fl ue ranks lends itself to would be placed where the sacristy had performing a wide spectrum of music. been, and the sacristy moved to the other Though much of the instrument is in- side. The Altar Guild was quite pleased, spired by 19th-century American organ- as they had improved facilities and more building, early music sounds extremely extensive storage. convincing. Bach sounds very convinc- Keydesk and main case (photo: Sabine Joyce) A number of organbuilders were con- ing, Sweelinck variations show off va- sulted, both from the U.S. and abroad, rieties of tonal color, the Dulcian can in our search for a builder. Almost ev- sound like a Renaissance consort when ery builder proposed an instrument that used by itself but becomes a chameleon would be the dominant visual focus in when combined with one or both of the the room. Some of them were tonally Positiv fl utes. The Hautboy functions as based on no more than an 8′ fl ute. David a ‘petit trompette’, smooth in the treble Moore, recommended by St. Margaret’s and bolder in the bass. It serves as a very Convent in Boston and United Church attractive solo stop, but when combined on the Green, New Haven, was the only with the principals, becomes bold and one who demonstrated an enthusiasm to assertive. Add the Twelfth and Tierce work within our constraints. and it becomes a fi ery French Grand As the organ and case design pro- Jeu. The solid foundation tone makes gressed, David proposed a novel solu- the instrument an excellent vehicle for tion: place the console at right angles to Mendelssohn, and the Viol, both alone the main case and put the second man- and with the Holpipe, provides softer ual pipes in the console in the manner sounds. There is suffi cient tonal variety of a continuo. In that manner, the main for stirring hymn singing as well as ac- case could be lowered to match the sac- companiment of Anglican choral music. risty on the other side, maintaining the In addition to a performance by the Georgian balance of the church interior, young Dutchman from David Moore’s while providing the tonal resources we shop, Lubbert Gnodde, further recitals needed. It also made it possible for the in the inaugural series were presented organist to face the choir directly across by Mark Brombaugh, Bryan Mock, and the chancel, with excellent sight lines. myself, with repertoire ranging from late The tonal design had three major ob- Medieval to William Albright. jectives: (1) to provide leadership for The instrument continues to serve as congregational singing, (2) to accom- proof that a real pipe organ is within the Positiv pipework (photo: Jan Power) pany a wide variety of choral music, realm of possibility for a small parish, and and (3) within its modest resources, to that it can provide more musical satisfac- play as wide a spectrum of organ music tion than an electronic with a plethora of as possible. digital gadgets and twice as many stops. Early in the planning stages, it was —Michael Menne determined that the foundation would be an 8′ Principal, with both an 8′ fl ute Cover photo: Sabine Joyce and string to provide solid unison tone. 2 A full diapason chorus, including 2 ⁄3, GREAT (I) 56 keys, CC–g3 would be included, but the modest size 8′ Open Diapason of the building made the inclusion of a 8′ Holpipe mixture unnecessary. The suggestion of 8′ Viol a Hook-style Oboe as the Great reed was 4′ Principal 2 inspired! We insisted on a Tierce as well, 2⁄3′ Twelfth for both solo color and ensemble bril- 2′ Fifteenth 3 1⁄5′ Tierce liance. Having used a continuo for a year ′ and a half before the instrument was in- 8 Hautboy stalled, a similar tonal scheme of 8′, 4′, ′ POSITIV (II) 56 keys, CC–g3 and 2 for the second manual seemed 8′ Stop’d Diapason natural. David suggested a Dulcian to 4′ Flute round out the resources of that manual, 2′ Fifteenth adding signifi cantly to the color possibili- 8′ Dulcian ties of the instrument. PEDAL 30 keys, CC–g3 The organ has proved a tremendous ′ success. Visually, it slips effortlessly into 16 Bourdon its corner of the building. The three pipe Couplers fl ats of the case front echo the semi-cir- I–P cular arches of the tripartite east window, II–P repeated in pipe fl ats on the case side. II–I Church exterior (photo: Sabine Joyce) The most oft-repeated comment from
MARCH, 2012 31 New Organs
Dobson Pipe Organ Builders, Ltd., Lake City, Iowa, Op. 89 Sykes Chapel and Center for Faith and Values, the University of Tampa, Tampa, Florida Set in distinctly urban surroundings, the University of Tampa has grown tre- mendously since its founding in 1933. Tampa’s fi rst institution of higher learn- ing, the UT was founded in the former Tampa Bay Hotel, an exotic landmark with fl amboyant Moorish domes and minarets set on the Hillsborough Riv- er. The rooms that once hosted Teddy Roosevelt and his Rough Riders, Sarah Bernhardt, Babe Ruth (who hit his lon- gest home run ever—587 feet—at near- by Plant Field), Clara Barton, Stephen Crane, Mrs. Ulysses S. Grant, the Queen of England, and many other celebrities, are today’s classrooms, laboratories, pub- lic rooms, and academic and administra- tive offi ces— the heart of a 6,500-student university that now fans out in 50 build- ings on 100 acres around Plant Hall. Located a shorter distance from Plant Hall than Ruth’s record homer is Sykes Chapel and Center for Faith and Values, the latest addition to the campus. A gift of local entrepreneur John H. Sykes, the facility includes the 250-seat Main Hall and meditation and meeting rooms, as well as outdoor plazas and gardens. The Main Hall is furnished with fl exible seat- ing and serves for worship and assembly of various student religious groups at UT, as well as concerts, lectures, and ceremo- nial events. The space has an airiness that comes from its 65-foot arched ceiling and the fl ood of light entering through a skylight that runs the entire length of the building. Large side windows and a rear wall made entirely of glass add even more light. The fl oors are honed granite, with walls paneled in American black cherry. Fabric curtains hidden in ceil- Dobson Op. 89 ing pockets may be deployed according to the acoustical needs of a given event. Principal (notes 1–27, at the top of the Dobson Pipe Organ Builders The building’s HVAC system is as quiet case), Great/Pedal 16′ Principal (notes Op. 89, 2011 as possible and the building is well insu- 1–45, at impost level), and the Pedal 8′ 56 ranks, 58 stops lated from exterior noise. Octave (9–32, mounted upside down in ′ GREAT (II) Our involvement came in 2007 front of the Choir division). The 8 Hori- ′ through organ consultant Scott Riedel zontal Trumpet, also made of tin, takes 16 Principal 90% tin 8′ Principal 90% tin of Milwaukee. Our fi rst meeting with its commanding position in the center of 8′ Gamba 75% tin university representatives took place at the façade. 8′ Harmonic Flute 30% tin St. David’s Episcopal Church, Wayne, Op. 89 employs mechanical key action 8′ Chimney Flute 30% tin Pennsylvania, where our Op. 84 (III/47, for the manuals and pedal upperwork; 1–12 stopped wood 2007) is installed. After hearing and see- the Horizontal Trumpet and the largest 4′ Octave 52% tin ing the organ, the Tampa delegation pipes of the Pedal have electric action. 4′ Spire Flute 30% tin 2 ′ made it clear that they intended to select All coupling is mechanical. The electric 2⁄3 Twelfth 52% tin 2′ Fifteenth 52% tin us as the builder of their new instrument. stop and combination action includes 3 1⁄5′ Seventeenth 52% tin A contract for the organ was signed in the usual complement of pistons and 256 2′ Mixture IV 52% tin summer 2008; installation commenced memory levels. The manual divisions and 16′ Posaune 52% tin two years later. Pedal upperwork are voiced on 3 inches 8′ Trumpet 52% tin The visual design for Op. 89 was creat- wind pressure while the Pedal basses 4′ Clarion 52% tin ed especially for the unique architectural and solo reed are voiced on 5 inches. The 8′ Horizontal Trumpet 90% tin setting of the new space. It responds to organ is tuned in equal temperament. en chamade the sheltering shape of the ceiling with The new building was dedicated on Swell to Great great arcs that give the organ case a dy- December 10, 2010, at which time the Choir to Great namic appearance. By having the tops of organ was fi rst heard by the public. Ded- SWELL (III, enclosed) the organ case refl ect the shape of the ication recitals in early 2011 included 8′ Diapason 75% tin building’s arches, there is an immedi- January 30, David Isele; February 12 8′ Bourdon wood & 30% tin ate recognition of the dominant feature and 13, Haig Mardirosian; March 12 and ′ PEDAL 8 Viola 75% 32′ Contra Bourdon wood of the room, but in reverse. The space 13, Carole Terry; April 9 and 10, Kurt 8′ Voix Celeste CC 75% tin ′ ′ 16 Open Diapason wood gives the sense of enclosing or envelop- Knecht. Pictures of the construction and 4 Octave 75% tin 16′ Principal (Great) ing, while the organ gives the sense of installation may be found at 4′ Harmonic Flute 30% tin ′ 2 ′ 16 Subbass (ext) rising up and pushing the room open.
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH 21 MARCH This calendar runs from the 15th of the month of Pickle Piano & Church Organs John Lowe; Morrison United Methodist, Lees- NEW YORK issue through the following month. The deadline is burg, FL 12 noon Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. Ketil Haugsand, Mitzi Meyerson, Joyce issue). All events are assumed to be organ recitals Lindorff, Vivian Montgomery, Elaine Funaro, unless otherwise indicated and are grouped within Rebecca Pechefsky, Nicholas Good, Helen each date north-south and east-west. •=AGO chap- Skuggedal Reed, Heidi Mayer, Deborah Stein- Christopher Babcock ter event, • •=RCCO centre event, +=new organ dedi- bar, multi-harpsichord works; Cincinnati College- cation, ++= OHS event. Conservatory, Cincinnati, OH 7:30 pm Information cannot be accepted unless it speci- St.St. Andrew’s by the Sea,Sea, Ed Bruenjes; Asbury United Methodist, Co- fi es artist name, date, location, and hour in writ- lumbus, IN 12 noon Hyannis PortPort ing. Multiple listings should be in chronological order; please do not send duplicate listings. THE DIAPA- 22 MARCH SSt.t. David’s, South Yarmouth SON regrets that it cannot assume responsibility for R. Alan Kimbrough; Christ Church, Braden- the accuracy of calendar entries. ton, FL 12:15 pm Georgia State University Singers & University of Georgia Hodgson Singers; Peachtree Road UNITED STATES United Methodist, Atlanta, GA 7:30 pm Dean W. Billmeyer GAVIN BLACK East of the Mississippi Cecilia’s Circle; Cincinnati College-Conserva- Princeton Early Keyboard Center tory, Cincinnati, OH 8 pm University of Minnesota 732/599-0392 23 MARCH 15 MARCH Gail Archer; St. Francis Xavier Roman Catho- Minneapolis 55455 • [email protected] www.pekc.org Nancy Siebecker; Christ Church, Bradenton, lic Church, New York, NY 7:30 pm FL 12:15 pm Patricia Bleecker; Holy Trinity Lutheran, Lan- Raúl Prieto Ramírez; Ball State University, caster, PA 12:30 pm Muncie, IN 7:30 pm Istvan Ruppert; Christ Church, Bradenton, FL 7:30 pm Byron L. Blackmore THOMAS BROWN 16 MARCH Roberta Gary & Gwendolyn Toth; Cincinnati UNIVERSITY Peter Sykes; Old West Church, Boston, MA College-Conservatory, Cincinnati, OH 12:45 pm Crown of Life Lutheran Church 8 pm PRESBYTERIAN CHURCH Edward Parmentier & Mitzi Meyerson, con- Sun City West, Arizona John Huber; Holy Trinity Lutheran, Lancaster, tinuo masterclass; Cincinnati College-Conserva- CHAPEL HILL, NORTH CAROLINA PA 12:30 pm tory, Cincinnati, OH 3 pm 623/214-4903 ThomasBrownMusic.com The American Boychoir; Culpeper County High Kevin Calloway; First Presbyterian, Birming- School, Culpeper, VA 8 pm ham, MI 7 pm •Boyd Jones; University of Richmond, Rich- Nathan Laube; St. Paul’s United Methodist, mond, VA 7:30 pm Rochester, MI 7:30 pm Isabelle Demers; Holy Trinity Lutheran, Akron, David Lamb; St. John Presbyterian, New Al- David Chalmers OH 8 pm bany, IN 12 noon DELBERT DISSELHORST Janette Fishell & Colin Andrews; First Pres- Concert Organist byterian, Saginaw, MI 8 pm 25 MARCH GLORIÆ DEI CANTORES Professor Emeritus Raúl Prieto Ramírez, masterclass; Ball State David Spicer; First Church of Christ, Wethers- University of Iowa–Iowa City University, Muncie, IN 9 am fi eld, CT 4 pm Orleans, MA Judith Miller; Wall Street United Methodist, Wilma Jensen; St. John’s Episcopal, West Jeffersonville, IN 12 noon Hartford, CT 5 pm Katherine Meloan; Cathedral of the Incarna- 17 MARCH tion, Garden City, NY 4 pm JAMES DORROH, AAGO, PhD STEVEN EGLER David Higgs; Bryn Mawr Presbyterian, Bryn Gail Archer; St. Paul’s Episcopal, Albany, NY Central Michigan University Mawr, PA 7:30 pm 3 pm Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Nicole Keller; St. Patrick’s Cathedral, New York, NY 4:45 pm Samford University Artist in Residence 18 MARCH First Congregational Church Hervé Duteil; St. Patrick’s Cathedral, New Robert Costin; Cathedral Church of St. John Birmingham, Alabama the Divine, New York, NY 5 pm Saginaw, Michigan York, NY 4:45 pm Organ Consultant Organ Recitals [email protected] John Coble; Cathedral Church of St. John the Alexander Ffi nch; St. Thomas Church Fifth Divine, New York, NY 5 pm Avenue, New York, NY 5:15 pm David Baskeyfi eld; St. Thomas Church Fifth David Herman; Newark United Methodist, Organist / Pianist Avenue, New York, NY 5:15 pm Newark, DE 3 pm The Chenaults; First United Methodist, Her- Eric Plutz; Washington National Cathedral, JOHN FENSTERMAKER shey, PA 3 pm Washington, DC 5:15 pm Michael Gailit Mozart, Requiem; Our Lady, Queen of the Most Ken Cowan; St. Paul Cathedral, Pittsburgh, www.gailit.at Holy Rosary Cathedral, Toledo, OH 7:30 pm TRINITY-BY-THE-COVE PA 4 pm [email protected] Choral Evensong; Cathedral Church of St. Weston Jennings; St. Paul’s Rock Creek, Paul, Detroit, MI 4 pm Konservatorium Wien University Washington, DC 5 pm NAPLES, FLORIDA Nathan Laube; St. Paul’s Episcopal, Flint, MI University of Music, Vienna Stewart Scharch; Washington National Ca- 3:30 pm thedral, Washington, DC 5:15 pm Stephen Hamilton; First Presbyterian, Flint, Ted Dix, with brass; McDaniel College, West- MI 4 pm minster, MD 3 pm Shin-Ae Chun, harpsichord, with violin; First A Professional Card in Richard Elliott; Lutheran Church of the Holy Baptist, Ann Arbor, MI 4 pm STEPHEN HAMILTON Comforter, Baltimore, MD 4 pm The Diapason Stephen G. Schaeffer; Cathedral Church of For rates and digital specifi cations, Katherine Scott; Mount Calvary Church, Balti- the Advent, Birmingham, AL 4 pm recitalist–clinician–educator more, MD 5:15 pm, following 4:30 pm Evensong contact Jerome Butera Christopher Houlihan; First Lutheran, Rock- 847/391-1045 Christopher Houlihan; Messiah United Meth- ford, IL 3 pm www.stephenjonhamilton.com odist, Springfi eld, VA 3 pm [email protected] Robert Parkins; Duke University Chapel, Dur- 26 MARCH ham, NC 5 pm Mozart, Mass in C, K. 259; Christ Church Gail Archer; Stetson University, DeLand, FL Grosse Pointe, Grosse Pointe Farms, MI 7 pm 3 pm Jill Hunt; Elliott Chapel, Presbyterian Homes, ANDREW HENDERSON, DMA Bradley Hunter Welch; Fifth Avenue Baptist, Evanston, IL 1:30 pm WILL HEADLEE Huntington, WV 3 pm Christopher Houlihan, masterclass; First Lu- 1650 James Street Madison Avenue Presbyterian Church Scott H. Atchison & Zachary Hemenway, theran, Rockford, IL 7 pm New York, NY Passion of the Christ: The Musical Stations of Syracuse, NY 13203-2816 the Cross; Peachtree Road United Methodist, 27 MARCH (315) 471-8451 www.andrewhenderson.net Atlanta, GA 7 pm Jonathan Biggers; Shadyside Presbyterian, Yun Kyong Kim; Christ Church Cathedral Pittsburgh, PA 4 pm (Episcopal), Cincinnati, OH 5 pm Choral Evensong; Christ Church Grosse 28 MARCH Pointe, Grosse Pointe Farms, MI 4:30 pm Scarlatti, Stabat Mater; Cathedral of St. John A two-inch Professional Card John Schubring; Zion Lutheran, Wausau, WI the Divine, New York, NY 7:30 pm 3 pm Ture Larson; Morrison United Methodist, in The Diapason Dennis Northway; Madonna della Strada Leesburg, FL 12 noon Tallis Scholars; Cathedral of St. Peter in Chains, Chapel, Loyola University, Chicago, IL 3 pm For information on rates and specifi cations, contact Jerome Butera: Cincinnati, OH 3 pm Newberry Consort; Rockefeller Memorial Cha- David Lamb; First United Methodist, Colum- [email protected] 847/391-1045 pel, Chicago, IL 3 pm bus, IN 12 noon Aaron David Miller; House of Hope Presbyte- rian, St. Paul, MN 2 pm 29 MARCH Michael Wittenburg; Christ Church, Braden- LORRAINE BRUGH, Ph.D. 19 MARCH ton, FL 12:15 pm Ken Cowan, masterclass; Calvary Episcopal, Pittsburgh, PA 8 pm 30 MARCH Associate Professor “Happy Birthday, Bach” concert; Brevard-Da- Janette Fishell; Vassar College Chapel, University Organist vidson River Presbyterian, Brevard, NC 7:30 pm Poughkeepsie, NY 8 pm Peter Brown; Holy Trinity Lutheran, Lancaster, 20 MARCH PA 12:30 pm Valparaiso University Joan Lippincott; Merrill Auditorium, Portland, Scott Elsholz; St. Mary’s Episcopal Cathedral, Valparaiso, IN ME 7:30 pm Memphis, TN 7 pm www.valpo.edu Gail Archer; First Presbyterian, Marietta, GA Marijim Thoene; St. Paul’s United Methodist, 7 pm Rochester, MI 12 noon David Schout; Park Congregational, Grand Theresa Bauer; Trinity United Methodist, New 219-464-5084 Rapids, MI 12:15 pm Albany, IN 12 noon Levi Henkel; Edman Chapel, Wheaton Col- John W.W. Sherer; Fourth Presbyterian, Chi- [email protected] lege, Wheaton, IL 7:30 pm cago, IL 12:10 pm
MARCH, 2012 33 CALIFORNIA LUTHERAN UNIVERSITY 31 MARCH David Chalmers; Washington National Cathe- MICHELE JOHNS Janette Fishell, masterclass; Vassar College dral, Washington, DC 5:15 pm Chapel, Poughkeepsie, NY 10 am Singing Boys/Keystone Girls Choir; Maryland A.Mus.D Kyle Johnson, DMA Northwest Choral Society; Trinity United Meth- Theatre, Hagerstown, MD 3 pm odist, Mount Prospect, IL 7:30 pm Organ — Harpsichord Cathedral Choir, with organ and orchestra; University Organist Jacob Taylor; Edman Chapel, Wheaton Col- Cathedral of Mary Our Queen, Baltimore, MD The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV lege, Wheaton, IL 2 pm 5 pm School of Music Theodore Bickish www.callutheran.edu ; Mount Calvary Church, 1 APRIL Baltimore, MD 5:15 pm, following 4:30 pm Andrew Henderson, with chorus; Madison Av- Evensong enue Presbyterian, New York, NY 3 pm Craig Cramer, Buxtehude works; St Joseph +Nathan Laube; First Presbyterian, Engle- KIM R. KASLING wood, NJ 3 pm Cathedral, Columbus, OH 3 pm Brian Jones Daniel Sansone, Dupré, Le Chemin de la Bruckner, Symphony No. 3; Our Lady, Queen D.M.A. Croix; Cathedral of Mary Our Queen, Baltimore, of the Most Holy Rosary Cathedral, Toledo, OH DirectorDirector of Music Emeritus 4 pm St. John’s University MD 5 pm TRINITY CHURCH Choral Evensong; Christ Church Grosse Joyce Jones; First Presbyterian, Birmingham, Collegeville, MN 56321 Pointe, Grosse Pointe Farms, MI 4:30 pm MI 3 pm BOSTON Craig Cramer, with Baroque trumpet; Or- David Troiano; Cathedral of the Holy Angels, gan Hall, DeBartolo Center, University of Notre Gary, IN 3 pm Dame, South Bend, IN 2:30 and 5 pm Peter Richard Conte; Trinity English Evangeli- David Higgs; Schermerhorn Symphony Cen- cal Lutheran, Fort Wayne, IN 4 pm JAMES KIBBIE ter, Nashville, TN 2 pm John W.W. Sherer, RMS Titanic Commemoration Concert; Fourth Presbyterian, Chicago, IL 7 pm The University of Michigan 3 APRIL Ann Arbor, MI 48109-2085 Eric Strand; Park Congregational, Grand Rap- 17 APRIL ORGAN CONSULTANT ids, MI 12:15 pm 734-764-1591 FAX: 734-763-5097 Chelsea Chen; Memorial Church, Harvard www.gabrielkney.com Eric Budzynski; Alice Millar Chapel, North- University, Cambridge, MA 7:30 pm email: [email protected] western University, Evanston, IL 12:15 pm Renaissonics Early Music Ensemble; Bre- vard-Davidson River Presbyterian, Brevard, NC 4 APRIL 7:30 pm Donald Golden; Camp Hill Presbyterian, David K. Lamb, D.Mus. Camp Hill, PA 12:15 pm Thomas Fielding; Park Congregational, Grand University of North Carolina School of the Arts Rapids, MI 12:15 pm Director of Music/Organist ARTHUR LAMIRANDE students; Visitor Center, Old Salem Museums & Wesley Roberts; Ransdell Chapel, Campbells- ville University, Campbellsville, KY 12:20 pm First United Methodist Church [email protected] Gardens, Winston-Salem, NC 12 noon Columbus, Indiana Tenebrae; Our Lady, Queen of the Most Holy www.youtube.com/watch?v=WTkDk-cX1X4 Rosary Cathedral, Toledo, OH 7:30 pm 18 APRIL 812/372-2851 Ancient Office of Tenebrae; Cathedral of St. Pe- Pamela Kane; Visitor Center, Old Salem Mu- ter in Chains, Cincinnati, OH 7:30 pm seums & Gardens, Winston-Salem, NC 12 noon Christopher Urban; First Presbyterian, Arling- ton Heights, IL 12:10 pm 20 APRIL Concerto Köln; Coolidge Auditorium, Washing- David Lowry 5 APRIL ton, DC 8 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Paul Cienniwa, harpsichord; First Church, John Scott; St. Michael’s Episcopal, Raleigh, Boston, MA 12:15 pm 1512 BLANDING STREET, COLUMBIA, SC 29201 NC 7:30 pm David Lamb; First United Methodist, Colum- DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Bruce Neswick; Parish Church of St. Helena, bus, IN 7 pm Beaufort, SC 7 pm ROCK HILL, SC 29733 Thomas Trotter; St. Paul’s Episcopal, India- 6 APRIL napolis, IN 7:30 pm Stephen Hamilton, Dupré, Le Chemin de la David Enlow Croix; Trinity Church, Copley Square, Boston, MA ; First United Methodist, Carbon- 5:30 pm dale, IL 7:30 pm Durufl é, Requiem; First Church of Christ, ANDREW PAUL MOORE Wethersfi eld, CT 7 pm 21 APRIL A.S.C.A.P. Davies, Prayers from the Ark; St. John’s Church Mastersingers by the Sea; St. Barnabas Epis- FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Lafayette Square, Washington, DC 12:10 pm copal, Falmouth, MA 8 pm Pärt, Passio; Trinity Cathedral, Cleveland, OH Gail Archer, with Barnard-Columbia Cho- 345 SADDLE LAKE DRIVE rus; Union Theological Seminary, New York, NY ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS 7:30 pm (770) 594-0949 Bach, St. Matthew Passion; Christ Church 8 pm Grosse Pointe, Grosse Pointe Farms, MI 7 pm Singing Boys/Keystone Girls Choir; J J Ferrari Macmillan, Seven Last Words from the Cross; Center, Hazleton, PA 7 pm Fourth Presbyterian, Chicago, IL 7:30 pm DOUGLAS O’NEILL 22 APRIL LEON NELSON 8 APRIL Mastersingers by the Sea; St. Barnabas Epis- Frederick Teardo & Kevin Kwan; St. Thomas University Organist Cathedral of the Madeleine copal, Falmouth, MA 3 pm Church Fifth Avenue, New York, NY 2:30 pm Gail Archer; First Presbyterian, Potsdam, NY Salt Lake City, Utah Jeremy Filsell North Park University ; Washington National Cathe- 4 pm dral, Washington, DC 5:15 pm Chicago, Illinois [email protected] K. Scott Warren; St. Ignatius Loyola, New 801/671-8657 York, NY 4 pm 10 APRIL David Higgs; Memorial Church, Cambridge, JeeYoon Choi; St. Patrick’s Cathedral, New MA 7:30 pm York, NY 4:45 pm MARILYN MASON Sergio Paolini; Central Synagogue, New York, David Goodenough; Cathedral Church of St. CHAIRMAN, DEPARTMENT OF ORGAN NY 12:30 pm John the Divine, New York, NY 5 pm UNIVERSITY OF MICHIGAN Craig Williams; St. Thomas Church Fifth Av- enue, New York, NY 5:15 pm ANN ARBOR 11 APRIL East Carolina University students; Visitor Cen- Craig Cramer; St. Stephen’s Episcopal, Mill- “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it ter, Old Salem Museums & Gardens, Winston- burn, NJ 4 pm with awesome technique and a thrilling command of its daring writing.” Salem, NC 12 noon The Practitioners of Musick; St. Mary’s Church, The American Organist, 1980 Case Collegium Musicum & Baroque Ensem- Burlington, NJ 4 pm bles; Trinity Cathedral, Cleveland, OH 12:10 pm Paul Winter’s Missa Gaia; Bryn Mawr Presby- terian, Bryn Mawr, PA 4 pm 12 APRIL Gerhard Weinberger; Washington National SYLVIE POIRIER Mary Preston; All Saints Chapel, University of Cathedral, Washington, DC 5:15 pm LARRY PALMER the South, Sewanee, TN 7 pm Ken Cowan; St. Andrew’s Episcopal, College Park, MD 4 pm PHILIP CROZIER 13 APRIL Professor of Ryan Hebert, with instruments, works of Mes- Craig Cramer; Westminster Presbyterian, Al- ORGAN DUO siaen; Sykes Chapel, University of Tampa, Tam- bany, NY 7:30 pm Harpsichord and Organ pa, FL 2 pm 3355 Queen Mary Road, Apt 424 Stewart Wayne Foster; Parish Church of St. Helena, Beaufort, SC 7 pm Marilyn Keiser; Broad Street Presbyterian, Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Columbus, OH 4 pm 14 APRIL Douglas Cleveland; Hyde Park Community SOUTHERN METHODIST UNIVERSITY Canada Paul Cienniwa, harpsichord, with New Bed- United Methodist, Cincinnati, OH 4 pm (514) 739-8696 ford Symphony; Zeiterion Performing Arts Center, Choral Evensong for Eastertide; Cathedral Dallas, Texas 75275 New Bedford, MA 8 pm Church of St. Paul, Detroit, MI 4 pm Fax: (514) 739-4752 David Higgs, masterclass; South Congrega- Karen Beaumont; St. Mark’s AME, Milwau- Musical Heritage Society recordings [email protected] tional, New Britain, CT 10 am kee, WI 3 pm Ken Cowan; Princeton University Chapel, Princeton, NJ 8 pm 23 APRIL Juilliard Baroque, Bach works; Coolidge Audi- Music Sacra; Weill Recital Hall, Carnegie Hall, torium, Washington, DC 8 pm New York, NY 8 pm Jonathan Dimmock; St. Norbert Abbey, De Todd Wilson, service playing workshop; Com- Pere, WI 2 pm munity Presbyterian Church of Ben Avon, Pitts- A four-inch Professional Card burgh, PA 8 pm 15 APRIL Frédéric Champion; Cincinnati Museum Cen- David Higgs HE IAPASON ; South Church, New Britain, CT ter, Cincinnati, OH 7:30 pm in T D 4 pm Mario Duella; Elliott Chapel, Presbyterian Montclair State University Singers & Vocal Ac- Homes, Evanston, IL 1:30 pm For rates and specifi cations cord; Madison Avenue Presbyterian, New York, NY 3 pm contact Jerome Butera David Lamb; St. Patrick’s Cathedral, New 24 APRIL York, NY 4:45 pm Bach, Easter Oratorio and Magnifi cat; St. Bar- 847/391-1045 Florian Weelkes; Cathedral Church of St. John tholomew’s, New York, NY 7:30 pm the Divine, New York, NY 5 pm David Enlow, with l’Orchestre des Portes [email protected] Paul Bowen; St. Thomas Church Fifth Avenue, Rouges; Church of the Resurrection, New York, New York, NY 5:15 pm NY 8 pm Herndon Spillman; St. Thomas Episcopal, Bruce Neswick, hymn festival; Christian Theo- Lancaster, PA 4 pm logical Seminary, Indianapolis, IN 7 pm
34 THE DIAPASON
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 25 APRIL Andrew Scanlon; Visitor Center, Old Sa- UNITED STATES Stephen G. Schaeffer lem Museums & Gardens, Winston-Salem, NC West of the Mississippi 12 noon Recitals – Consultations CSU Chamber Choir; Trinity Cathedral, Cleve- 16 MARCH land, OH 12:10 pm Marilyn Keiser; First Presbyterian, Little Rock, Cathedral Church of the Advent AR 8 pm Birmingham, Alabama 26 APRIL Alan Dominicci; St. John’s Cathedral, Denver, www.AdventBirmingham.org Brumel and Josquin works; St. Luke in the CO 7:30 pm Fields, New York, NY 8 pm Thatcher Lyman, with trumpet; Christ Episco- pal, Tacoma, WA 12:10 pm 27 APRIL Handel, Coronation Anthems; All Saints’ Epis- Stephen Tappe Philippe Lefebvre; Old West Church, Boston, copal, Beverly Hills, CA 8 pm ROBERT L. MA 8 pm Organist and Director of Music Stephen Hamilton; Church of the Transfi gura- 17 MARCH SIMPSON Saint John's Cathedral Marilyn Keiser, workshop; St. Luke’s Episco- tion, New York, NY 7:30 pm Christ Church Cathedral Gail Archer, An American Idyll; Rutgers Pres- pal, Little Rock, AR 9 am Denver, Colorado Frederick Frahm, with Chatter 20-21; Keller 1117 Texas Avenue byterian, New York, NY 7:30 pm Houston, Texas 77002 www.sjcathedral.org Ken Cowan, with brass and tympani; Christ Hall, University of New Mexico, Albuquerque, NM and St. Luke’s Episcopal, Norfolk, VA 8 pm 7:30 pm David Higgs; Trinity Lutheran, Akron, OH 8 pm 18 MARCH ORGAN MUSIC OF THE SPANISH BAROQUE Massimo Nosetti; Trinity United Methodist, Choral Evensong; St. John’s Cathedral, Den- New Albany, IN 7 pm ver, CO 7:30 pm Isabelle Demers David Troiano Joe Utterback Nigel Potts; Christ Church Cathedral, Nash- ; Gold Canyon United Meth- odist, Gold Canyon, AZ 3 pm DMA MAPM ville, TN 7:30 pm COMMISSIONS & CONCERTS Raúl Prieto Ramírez; American Evangelical David Enlow; Episcopal Church of the Nativ- 586.778.8035 Lutheran, Prescott, AZ 2:30 pm 732 . 747 . 5227 ity, Huntsville, AL 7:30 pm Stephen Hamilton, Dupré, Le Chemin de la [email protected] Croix; Trinity Episcopal Cathedral, Portland, OR 28 APRIL 4 pm Sine Nomine, works of Schütz & Monteverdi; Marc Cerisier; St. Mary’s Cathedral, San Fran- St. Michael’s Episcopal, Bristol, RI 8 pm cisco, CA 3:30 pm David Wagner Alumni recital; McDaniel College, Westminster, Nathan Laube; First Congregational, Los An- Marcia Van Oyen MD 3 pm DMA geles, CA 3 pm First United Methodist Church, David Higgs, masterclass; Trinity Episcopal Ann Marie Rigler; Resurrection Parish, Santa Madonna University Cathedral, Cleveland, OH 10 am Rosa, CA 3:30 pm Plymouth, Michigan Livonia, Michigan Peter Richard Conte, with Canton Symphony Orchestra; Umstattd Hall, Canton, OH 8 pm 19 MARCH mvanoyen.com [email protected] David Enlow, masterclass; Episcopal Church Isabelle Demers, workshop; Episcopal Parish of of the Nativity, Huntsville, AL 9:30 am St. Barnabas on the Desert, Scottsdale, AZ 7 pm William Ferris Chorale; Madonna della Strada Thomas Murray; St. Cyril of Jerusalem Chapel, Loyola University, Chicago, IL 7:30 pm Church, Encino, CA 8 pm Kevin Walters KARL WATSON 29 APRIL 20 MARCH Sine Nomine, works of Schütz & Monteverdi; Nathan Laube; St. Margaret’s Episcopal, Palm M.A., F.A.G.O. Grace Episcopal, New Bedford, MA 3 pm Desert, CA 7 pm SAINT LUKE’S Two Choirs Concert; South Church, New Brit- Rye, New York ain, CT 4 pm 23 MARCH METUCHEN Ryan Jackson; Cathedral of the Incarnation, James Welch; Salt Lake Wasatch LDS Stake Garden City, NY 4 pm Center, Salt Lake City, UT 7 pm Choral Evensong; St. James’ Church, New Lauridsen, Lux Aeterna; St. Matthew’s Episco- York, NY 4 pm pal, Pacifi c Palisades, CA 8 pm Davis Wortman Julian Revie; St. Patrick’s Cathedral, New RONALD WYATT York, NY 4:45 pm 24 MARCH Todd Fickley; Cathedral Church of St. John Houston Chamber Choir; Church of St. John St. James’ Church Trinity Church the Divine, New York, NY 5 pm the Divine, Houston, TX 7:30 pm John Scott; St. Thomas Church Fifth Avenue, The Tallis Scholars; St. John’s Cathedral, Den- New York Galveston ver, CO 7:30 pm New York, NY 5:15 pm Christopher Houlihan; St. Bernard Roman 25 MARCH Catholic Church, Pittsburgh, PA 4 pm Ken Cowan; Mount Olive Lutheran, Minneapo- Andre Rakus; Washington National Cathedral, lis, MN 4 pm Charles Dodsley Walker, FAGO Washington, DC 5:15 pm Roger Sherman, with trumpet; Thomsen Cha- Central Florida Master Choir; First United pel, St. Mark’s Episcopal Cathedral, Seattle, WA Artist-in-Residence Founder/Conductor Methodist, Ocala, FL 3 pm 2 pm Saint Luke’s Parish Canterbury Choral Society Massimo Nosetti; First United Methodist, Co- Robert Gurney; St. Mary’s Cathedral, San 1864 Post Road 2 East 90th Street lumbus, IN 3 pm Francisco, CA 3:30 pm Darien, CT 06820 New York, NY 10128 Craig Cramer; Cathedral of St. Joseph the Michael Burkhardt, hymn festival; Trinity Lu- (917) 628-7650 (212) 222-9458 Workman, La Crosse, WI 3 pm theran, Manhattan Beach, CA 4 pm William Ferris Chorale; Emmanuel Episcopal, Isabelle Demers; Walt Disney Concert Hall, La Grange, IL 3 pm Los Angeles, CA 7:30 pm William Webber, C.A.G.O. 30 APRIL 26 MARCH Haydn, The Creation; St. Bartholomew’s, New James Welch; Church of Sts. Peter & Paul, Organist, First Christian Church, Danville, KY York, NY 7:30 pm San Francisco, CA 7:30 pm Instructor of Music & Religious Studies, Maysville Community College Contact Bill at
A Professional Card in The Diapason For rates and digital specifi cations, House Organist contact Jerome Butera The Bushnell Memorial 847/391-1045 Hartford [email protected]
A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact: Jerome Butera [email protected] 847/391-1045
MARCH, 2012 35 27 MARCH John Schwandt; Vine Congregational, Lin- 27 APRIL 27 MARCH George Baker; Wiedemann Recital Hall, Wich- coln, NE 3 pm Joyce Kull; St. John’s Cathedral, Denver, CO Pierre Pincemaille; Eglise Saint-Martin, ita, KS 7:30 pm Thomas Trotter; Parker Chapel, Trinity Univer- 7:30 pm Dudelange, Luxembourg 8 pm sity, San Antonio, TX 3 pm Travis Baker; Marlborough Road Methodist, 29 MARCH Choral Evensong; St. John’s Cathedral, Den- 28 APRIL St. Albans, UK 12:30 pm Nathan Laube; Tarrytown United Methodist, ver, CO 3:30 pm Craig Cramer; St. Olaf Catholic Church, Min- Austin, TX 7:30 pm Timothy Olsen; Lagerquist Hall, Pacifi c Lu- neapolis, MN 7 pm 28 MARCH theran University, Tacoma, WA 3 pm Britten, War Requiem; Lied Center, Lincoln, NE Gillian Weir; Philharmonie, Luxembourg City, 30 MARCH Martin Setchell; St. Mary’s Cathedral, San 7:30 pm Luxembourg 8 pm Jonathan Ryan; St. Thomas Aquinas Roman Francisco, CA 3:30 pm Catholic Church, Dallas, TX 8 pm Ekaterina Gotsdiner-McMahan; Trinity Epis- 29 APRIL 29 MARCH copal, Santa Barbara, CA 3:30 pm E. Ray Peebles & Bryan Bierbaum; First Unit- George de Voil; St. Mary Redcliffe, Bristol, UK 31 MARCH Choir of Canterbury Cathedral; St. James’ ed Methodist, Shreveport, LA 4 pm 1:15 pm Thomas Froehlich, with Dallas Chamber Or- Episcopal, Los Angeles, CA 4:30 pm The American Boychoir; First-Plymouth chestra, Poulenc Organ Concerto, Fauré Requi- Bach, Cantata 67; St. John’s Lutheran, Orange, Church, Lincoln, NE 4 pm 31 MARCH em; First Presbyterian, Dallas, TX 7:30 pm CA 7 pm Bruce Neswick; Broadway Baptist, Fort Kaori Goto; S. Michele Arcangelo a Piuvica, Bach, St. John Passion; Walt Disney Concert Worth, TX 7 pm Pistoia, Italy 9 pm Hall, Los Angeles, CA 8 pm 17 APRIL Norma Aamodt-Nelson, with Brass Refl ec- Avis McIntyre; Renfi eld St. Stephen, Glasgow, Thomas Trotter; Chapel of the Christ, Martin tions; Edmonds United Methodist, Edmonds, WA UK 1 pm 1 APRIL Luther College, New Ulm, MN 8 pm 3 pm Christopher Houlihan; Davies Symphony Naomi Shiga & Jonathan Wohlers; Walker- 1 APRIL Hall, San Francisco, CA 3 pm Ames Room, Kane Hall, University of Washing- Kaori Goto; Cattedrale, Pistoia, Italy 5 pm Lorraine Miller; St. Mary’s Cathedral, San 18 APRIL Stile Antico; St. John’s Episcopal Cathedral, ton, Seattle, WA 3 pm Francisco, CA 3:30 pm 5 APRIL Los Angeles, CA 8 pm Lenore Alford; St. Mary’s Cathedral, San Bach, St. John Passion; Walt Disney Concert Paul Hayward; St. Paul, Birmingham, UK 1:15 Francisco, CA 3:30 pm Hall, Los Angeles, CA 7 pm pm 20 APRIL Chelsea Chen; La Jolla Presbyterian, La Jolla, Jeremy Filsell, piano and Nigel Potts, organ; CA 7 pm 6 APRIL 8 APRIL Green Lake Church of Seventh-day Adventists, Los Angeles Master Chorale; Walt Disney Con- Rutter, Requiem; First United Methodist, Gillian Weir; St. Lamberti, Munster, Germany Seattle, WA 7 pm cert Hall, Los Angeles, CA 7 pm Shreveport, LA 11 am 8 pm Rutter, Requiem; Pasadena Presbyterian, Pas- Christopher Houlihan; All Saints’ Episcopal, Fort Worth, TX 7:30 pm adena, CA 7:30 pm 10 APRIL INTERNATIONAL Ludger Lohmann; S. Ignazio, Pistoia, Italy 21 APRIL 8 APRIL 9 pm Ulrike Northoff; St. Mary’s Cathedral, San Dean Billmeyer, masterclass; Riverside Re- cital Hall, University of Iowa, Iowa City, IA 10 am 16 MARCH Francisco, CA 3:30 pm 11 APRIL Choir of Men and Boys of Canterbury Cathe- Eliseo Sandretti; Santonuovo, Quarrata, Italy Roberto Menichetti & Andrea Vannucchi; S. 10 APRIL dral; St. Mark’s Episcopal Cathedral, Seattle, WA 9 pm Ignazio, Pistoia, Italy 9 pm The Renaissance Project; St. John’s Cathedral, 7:30 pm Jonathan Hope; St. Stephen Walbrook, Lon- Denver, CO 12 noon don, UK 12:30 pm 12 APRIL 22 APRIL John Grew; Redpath Hall, McGill University, Guy Bovet; S. Maria del Carmine, Pistoia, Italy 13 APRIL Dean Billmeyer; Congregational United Montreal, QC, Canada 12:30 pm 9 pm VocalEssence; Central Lutheran, Minneapolis, Church of Christ, Iowa City, IA 4 pm Gillian Weir; Keble College, Oxford, UK 8 pm MN 8 pm Christopher Houlihan; Trinity Episcopal, Tul- 17 MARCH Stile Antico; Cathedral Basilica of St. Louis, St. sa, OK 7:30 pm Norman Harper; St. George’s Metropolitan 13 APRIL Louis, MO 8 pm Thomas Baugh; Bates Recital Hall, University Cathedral, Southwark, UK 1:30 pm Gillian Weir, Easter Course; Royal College of Robert Bates, with Ars Lyrica; Christ the King of Texas, Austin, TX 4 pm Organists, Oxford, UK Lutheran, Houston, TX 1:30 pm Paul Jacobs; St. Martin’s Episcopal, Houston, 18 MARCH TX 3 pm Gillian Weir; Concert Hall, Bamberg, Germany 14 APRIL 14 APRIL Jeremy Filsell, piano and Nigel Potts, organ; 5 pm Gillian Weir, Easter Course; Royal College of Thomas Trotter, masterclass; Parker Chapel, Our Lady of Lourdes Church, Sun City West, AZ Arnau Reynes; St. Paul’s Cathedral, London, Trinity University, San Antonio, TX 10 am Organists, Oxford, UK 3 pm UK 4:45 pm Bach, St. John Passion; St. John’s Episcopal Timothy Zerlang; St. Mary’s Cathedral, San 17 APRIL Cathedral, Los Angeles, CA 7:30 pm Francisco, CA 3:30 pm 19 MARCH Naji Hakim; Eglise Saint-Martin, Dudelange, Jonathan Holl 15 APRIL ; Christ Church, Woking, UK Luxembourg 8 pm 23 APRIL 12:40 pm Andrew Peters; Second Presbyterian, St. Christoph Bull; Royce Hall, UCLA, Los Ange- 19 APRIL Louis, MO 4 pm les, CA 2 pm 20 MARCH Keno Brandt, with bagpipe; Eglise Saint-Mar- Philip Scriven, Bach works; Chapel, Cran- tin, Dudelange, Luxembourg 8 pm leigh School, Cranleigh, Surrey, UK 1:10 pm ORGAN BUILDERS 20 APRIL 24 MARCH Avis McIntyre; St. George, Beckenham, UK Cyril Baker; Renfi eld St. Stephen, Glasgow, 12:30 pm L. W. BLACKINTON THE NOACK ORGAN CO., INC. UK 1 pm and associates, inc. MAIN AND SCHOOL STREETS Stephen Disley, with Amadeus Chamber 24 APRIL GEORGETOWN, MA 01833 www.noackorgan.com Orchestra; St. Saviour’s Church, St. Albans, UK Philip Scriven, Bach works; Chapel, Cran- 380 FRONT ST. 5:30 pm leigh School, Cranleigh, Surrey, UK 1:10 pm EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America 25 MARCH 26 APRIL Simon Hogan; St. Paul’s Cathedral, London, Jane Parker-Smith; Reading Town Hall, Read- martin ott pipe UK 4:45 pm ing, UK 7:30 pm organ company inc. 26 MARCH 28 APRIL Jonathan Hope; Southwark Cathedral, South- Daniel Moult; Bridlington Priory, Bridlington, 7408 Somerset Ave. wark, UK 1:10 pm UK 6 pm St. Louis, MO 63105 314-504-0366 Phone Martin Ott [email protected] Orgelbaumeister www.ottpipeorgan.com
NEW INSTRUMENTS MAINTENANCE RESTORATIONS Parkey 974 AUTUMN DRIVE OrganBuilders ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs ABR 847-395-1919 ATOS F I N C Y 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 ExperienceAmerican Theatre Organ Society www.fabryinc.com Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com Preserving a unique art form. Concerts, education, silent film, preservation, fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838
sound INSPIRATION
Acoustical Design & Testing • Organ Consultation & Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training
www.riedelassociates.com • (414) 771-8966 email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202
Advertise in A. David Moore, Inc. _ The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected]
36 THE DIAPASON GRAHAM DAVIES, Presbyterian Homes, Langlais; Offi ce de Quasimodo, Tournemire; Style of Bach (Alles Was Du Bist), Nalle; Two Evanston, IL, September 26: Praeludium in Offertoire sur les Grands Jeux (Messe pour les Chorale-Based Piecelets (S. III), P.D.Q. Bach; Organ Recitals C, BuxWV 137, Buxtehude; Españoleta (c. couvents), Couperin; Crucifi xion, Résurrec- Military March No. 1, Elgar, arr. Lemare; 17th century), Anon. Spanish; Intermezzo tion (Symphonie-Passion, op. 23), Dupré. Prelude, Fugue and Variation, op. 18, Franck; on an Irish Tune, Stanford; Sonata No. 2 in Scenes of Childhood, Leavitt; Amazing Grace, ROBERT BATES, All Souls Episcopal c, Mendelssohn; Arabesque (Pièces en style PETER K. MILLER, First United Meth- Shearing; Toccata (Symphony V, op. 42, no. Church, San Diego, CA, October 16: Prae- libre, op. 31, no. 15), Vierne; Fugue in E-fl at, odist Church, Mowequa, IL, September 25: 5), Widor. ludium in F, BuxWV 145, Canzona in G, BWV 552b, Bach. Christ ist Erstanden, Christus Resurrexit BuxWV 170, Ein feste Burg ist unser Gott, (Buxheimer Orgelbuch), transcr. Booth; Ric- CAROLYN SHUSTER FOURNIER, BuxWV 184, Praeludium in g, BuxWV 148, THOMAS FITCHES, St. James’ Angli- ercar No. 3 in F, Ricercar No. 4 in F, Fo- Basilique du Château de Valère, Sion en Va- Buxtehude; Pavane, Gaillarde, Hau, hau, le can Church, Orillia, ON, Canada, October gliano; Chorale on “In Dulci Jubilo” (Orgel lais, Switzerland, August 6: La Romanesca boys, Dolent depart, Tant que vivray, Anony- 15: Prelude, Fugue and Chaconne in C, Nun Tabulaturbuch, 1543), Sicher; Psalm 140, con cinque mutanze, Valente; Almande Brun mous (Attaignant, 1531); Magnifi cat in the bitten wir, Buxtehude; Quand Jésus naquit Sweelinck; Canzona Seconda (Il 2e Libro di Smeedelyn, Almande prynce, Almande de Sixth Tone, Titelouze; Schmücke dich, o liebe à Noël, Balbastre; Fantasia (Fantasia Sonata Toccate d’intavolatura di Cembalo e Organo), amour (Clavierbüch Der Susanna Van Soldt); Seele, BWV 654, Canzona in d, BWV 588, No. 17 in B, op. 181), Rheinberger; Prelude Frescobaldi; Es ist das Heil uns kommen her, Variations sur Est-Ce Mars, Sweelinck; Gail- Prelude and Fugue in a, BWV 543, Bach. and Fugue in d, BWV 539, Bach; Choral No. Scheidemann; Fantasia II (Klavierwerke, Li- larde du Roi du Danemark, Dowland; Volun- 3 in a, Franck; Fantaisie sur Picardy, Bédard; bro Seconda Parte Seconda), Froberger; Nun tary en ré mineur, Purcell; Partite sopra la Aria CRAIG CRAMER, Ludgerikirche, Nor- Toccata in F (Symphony No. 5), Widor. bitten wir den Heil’gen Geist, Buxtehude; Al- della Folia da Espagna, Pasquini; Rondeau den, Germany, July 3: Praeludium in G, Al- legro (Trio Sonata V in C, BWV 529), Bach; ‘Les Bergeries’ (6ème Ordre des Pièces de leluja, Lauden Dicite Deo Nostro, Canzon RICHARD HOSKINS, Alice Millar Cha- Adagio e mesto (Sonata in D, Wq 70/5, H86), Clavecin), Rondeau ‘Sœur Monique’ (18ème in F, Scheidemann; Ferdinandi, Poznanie, pel, Evanston, IL, October 4: Improvisa- C.P.E. Bach; Minuet (Song of the Quail), Ordre des Pièces de Clavecin), Couperin; Ro- Rex, Rocal fusa, Italica, Corea super duos tion sur le Te Deum (Cinq Improvisations), March (The Musical Clocks), Haydn; Prelude mance de la Sonate en Quatuor, Œuvre IIIe, saltus (Tabulaturbuch), Lublin; Tiento de Tournemire, transcr. Durufl é; Magnifi cat, Et (Prelude and Fugue in G, op. 37, no. 2), Men- Balbastre; Toccata Quinta (Second Livre de 1 tono de mano derecha, Bruna; Ach wie exsultavit Spiritus meus (Livre d’Orgue pour delssohn; Petit Prelude, Jongen; Ricercare on Toccata), Frescobaldi; Wie schön leuchtet der nichtig, ach wie fl üchtig, Böhm; Aria in C le Magnifi cat), Roth; Variations sur un thème “St. Anne”, Young. Morgenstern, Buxtehude; Wie schön leucht mit Variationen, BuxWV 246, Toccata in D, de Clément Jannequin, Postlude pour l’Offi ce uns der Morgenstern (Nouveau cahier des BuxWV 155, Buxtehude. de Complies, Alain; Allegro risoluto (Sym- PRISCILLA NIERMANN, St. Martin’s Pièces d’orgue), Bovet; Caprice sur les grands phonie No. 2), Vierne. Lutheran Church, Sugar Land, TX, August jeux (Suite du deuxième ton), Clérambault. 14: Fanfare in C, Purcell; Organ Concerto PHILIP CROZIER, Grote Kerk, Breda, JANINE JOHNSON, harpsichord, Resur- No. 4, BWV 595, Liebster Jesu, wir sind hier, STEPHEN THARP, Essener Dom, Essen, Netherlands, August 5: Triptyque, Bédard; rection Parish, Santa Rosa, CA, October 16: BWV 706, Bach; Now the Green Blade Rises, Germany, September 21: Sonate Nr. 8, A-Dur, Trio in d, BWV 583, Bach; Toccata in F, Toccata in c, Bach; Suite in e, Buxtehude; So- Amazing Grace, arr. Niermann; Jubilate, op. op. 91, Guilmant; Intermezzo A-Dur, op. 118, BuxWV 156, Buxtehude; Miroir, Wammes; nata in G, J.C. Bach; Suite in g, d’Anglebert; 67, no. 2, Mathias. no. 2, Brahms, transcr. Tharp; Funérailles Sonate III in c, op. 56, Guilmant; Vater unser Pieces in D/d (Book II), Duphly; French Suite (Harmonies Poétiques et Religieuses), Liszt, im Himmelreich, Böhm; Deux danses à Agni in G, Bach. HAROLD PYSHER, Episcopal Church of arr. Demessieux; Variations on the hymn tune Yavishta, JA 77 & 78, Variations sur Lucis Bethesda-by-the-Sea, Palm Beach, FL, Oc- ‘Rouen’, Baker. Creator, JA 27, Ballade en mode phrygien, JA DAVID JONIES, Cathedral of the Holy tober 2: Choral No. 1 in E, Franck; Liturgi- 9, Choral (Suite pour Orgue), Alain. Angels, Gary, IN, October 23: Entrée (So- cal Improvisation No. 1, Oldroyd; Prelude et ROBERT E. WOODWORTH JR., with Slotskirke, Frederiksborg, Denmark, Au- nata VII, op. 89), Guilmant; Concerto in D, fugue sur le nom d’ALAIN, Durufl é. Priscilla Andreae, organ, and Susan Massey, gust 7: Bergamasca (Fiori Musicali), Fresco- Stanley; Sonata II in c, BWV 526, Bach; 2nd piano, The Federated Church, Paxton, IL, baldi; A Gigge—Doctor Bull’s my selfe, Bull; Fantasy, op. 101, Saint-Saëns; Symphonie VI, NAOMI ROWLEY, with Angela Fos- October 16: Variations on the Hymntune: A Trumpet Minuet, Hollins; Prelude on Rho- op. 42, Widor. ter, narrator; Shepherd of the Bay Lutheran Picardy, Helman; Fugue in b, BWV 951, symedre, Vaughan Williams; Allegretto Grazi- Church, Ellison Bay, WI, October 8: Allegro, Bach; Voluntary in G, Goodwin; Rhapsody oso (First Book of Organ Pieces), Bridge; JAMES METZLER, Worcester Cathedral, from “Autumn” (The Four Seasons), Vivaldi, for Organ & Piano, Demarest; Fantasia for Grand Choeur, Reed; Lamento, JA 14, Cho- Worcester, UK, July 9: Marche de Fête, Büss- arr. Wolff; When Thou Art Near, Bach, arr. Organ, Guilmant; Rondo & Allegretto, Buck; ral Dorien, JA 67, Alain; Toccata in F, BuxWV er; Andante sostenuto (Symphonie Gothique), Smith; Now Thank We All Our God (Cantata The Answer, Wolstenholme; Meditation-Ele- 156, Buxtehude; Vater unser im Himmelreich, Widor; Fantasia in G (BWV 572), Bach; 79), Bach, arr. Rawsthorne; Nimrod (Enigma gie (Suite for Organ), Borowski; Postlude in Böhm; Triptyque, Bédard. Chant de Paix, Chant Héroïque (Neuf Pièces), Variations), Elgar, arr. Rawsthorne; Trio in a C, Cappelen.
Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045,
Advertise in Visit The Diapason The Diapason For rates and digital specifi cations, website: contact Jerome Butera www.TheDiapason.com 847/391-1045 [email protected]
CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected]
Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 23.00 ______Display Classifi ed, per word 1.35 Display Classifi ed minimum 27.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 17.00 ______($30 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $5.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.
MARCH, 2012 37 Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ AVAILABLE RECORDINGS RECORDINGS RECORDINGS
The Church of Saint Thomas More, East 89th Certifi ed appraisals—Collections of organ Like the harpsichord? Harpsichord Tech- Utterback Service Music Sale . . . Images—3 Street in Manhattan, seeks a Music Director who books, recordings, and music, for divorce, es- nique: A Guide to Expressivity, second piano/organ duets: $10 for 2 copies. Voluntar- tate, gift, and tax purposes. Stephen L. Pinel, will have responsibility for the parish’s music pro- edition, by Nancy Metzger is the hands-on ies—7 useful organ solos: $10. Send order and Appraiser. [email protected]; 609/448-8427. gram, including supervision of a full and part-time guide for touch and historically informed check for either or both pieces with $3 postage music staff. St. Thomas More is a Roman Catho- performance. www.rcip.com/musicadulce. (media mail) to Jazzmuze, Inc., 80 Rumson lic Church with a highly regarded liturgical music Place, Little Silver, NJ 07739. Please include program. The successful candidate must have 39 Free Harmonizations of 26 Familiar Hymn e-mail and phone. Check www.jazzmuze.com for a deep knowledge of classical Roman Catholic Tunes for Organ, Vol. 2 (34 pages), settings sample pages. music from the past and present and be a fl uent for 1 or 2 manuals w/ pedal, 1–4 verses each: reader of Gregorian Chant. The candidate should Land of Rest; Lasst Uns Erfreuen; Lauda Ani- The Tracker —The Organ Historical Society pub- have a Master of Music degree, or equivalent ma; Laudes Domini; Leoni; Lyons; Melita; Men- lishes its journal four times a year. The Tracker Two classic American choral recordings, con- experience, and demonstrate a high profi ciency delssohn; Mit Freuden Zart; Nicaea; Oh when includes news and articles about the organ and ducted by Wilma Jensen , are available again. as an organist, with emphasis on sight-reading the Saints; Old 100th; Old 124th; Perfect Love; its history, organbuilders, exemplary organs, Both recordings feature the Choir of St. George’s and improvisation. The church organ was built by Personent Hodie; Puer Nobis; Quittez, Pasteurs; regional surveys of instruments, and the music Episcopal Church, Nashville, Tennessee. Music played on the organ. The emphasis is on Ameri- the fi rm Lively-Fulcher of Rocky Mount, Virginia. St. Anne; Salzburg; Shalom; Slane; Stuttgart; at St. George’s (item 7065) showcases Jensen as Toplady; Truro; Westminster Abbey; Woodbird. can organ topics of the 18th, 19th, and 20th conductor & organist; Christmas at St. George’s It comprises 23 ranks and is an unusually ver- centuries, and there are occasional subjects on satile instrument. For further information about Visit www.frumuspub.net to view listings and de- (item 7078) presents organist Elizabeth Smith tails; also look for featured downloadable PDF European topics. Most issues run 32 pages with and Wilma Jensen, conductor. $17.98 each; avail- the Church of St. Thomas More and to receive a many illustrations and photographs, and at least copy of the job description, please visit our web- fi les. Contact: [email protected]; 805/682- able online from proorgano.com. 5727, mornings, Pacifi c time; or: Fruhauf Music one annual issue is published in full color. Mem- site: www.thomasmorechurch.org. After reviewing bership in OHS includes a subscription to The the job description, please send résumé and re- Publications, P.O. Box 22043, Santa Barbara, CA 93121-2043. Tr a c ke r . Please visit our website for more infor- Send recital programs to THE DIAPASON, 3030 W. lated material to: Church of Saint Thomas More, mation or subscription: www.organsociety.org. Salt Creek Lane, Suite 201, Arlington Heights, IL 65 East 89th Street, New York, NY 10128 or 60005; e-mail: [email protected]. [email protected]. New classifi ed advertising rates are in effect. THE DIAPASON 2012 Resource Directory was See page 37 for information. mailed to all subscribers with the January 2012 PUBLICATIONS/ issue. Additional copies are available at a cost PIPE ORGANS RECORDINGS ATTENTION ORGANISTS! Is too much of $5.00 postpaid. Contact the editor, Jerome FOR SALE of your time taken up practicing intri- Butera, at 847/391-1045, [email protected]. cate counterpoint that nobody listens to 1968 Wicks organ—47 registers, 36 ranks, uni- Woodland Sketches (MacDowell-Ellsasser) anyway, yet you still want to play organ fi ed to 46 stops. Three-manual draw-knob “eye- is much more than “To A Wild Rose.” All ten The Organ Historical Society has released literature? We have the answer! Our new Historic Organs of Indiana, 4 CDs recorded at line” console with Great, Swell, Positiv, and Pedal movements have been restored in a beauti- Fake Book Series offers you unheard-of divisions. Visual design is façade-fence and some ful edition with articles and photos, through the OHS National Convention in Central Indiana convenience—all those hard pieces you in July, 2007. Nearly 5 hours of music features pipes in a modifi ed “garden” arrangement with a contributions from several generous organists. know and love, but in a simplifi ed nota- 31 pipe organs built between 1851–2004, by central swell box. Organ space approximately 40′ michaelsmusicservice.com; 704/567-1066. tion of melody plus chord symbols. You Aeolian-Skinner, Skinner, Henry Erben, Felge- wide, 14′ deep, 17′ tall. Organ to be removed by improvise your own inner parts, just as maker, Hook & Hastings, Kilgen, Kimball, and purchaser by June 2012. Make offer. Contact Mu- any cocktail-hour pianist would. Volumes many more builders. Performers include Ken sic Director Jeremy Wirths, St. Monica Catholic Two Films on DVD about J. S. Bach’s “Art of available for Bach, Buxtehude, Messiaen, Cowan, Thomas Murray, Bruce Stevens, Carol Church, 9933 Midway Road, Dallas, TX 75220. Fugue,” and 2 CDs of the entire work played by Reger, Vierne, and Widor. Save time when Williams, Christopher Young, and others. A 40- 214/358-1453, [email protected]. George Ritchie, as well as two hours of video preparing for Sunday services (not recom- page booklet with photos and stoplists is includ- lecture by Ritchie at the organ, receive rave re- mended for recital use), while still regaling ed. OHS-07 4-CD set is priced at $34.95 (OHS views from all quarters and are sold as a set, your “listeners” with the tunes they love. members, $31.95) plus shipping. Visit the OHS Hook & Hastings opus 1366, built in 1887. FSF-DVD-001, for $39.95 postpaid worldwide by Box Fake-Con, The Diapason, jrobinson@ Online Catalog for this and over 5,000 other or- From Felicity Methodist, New Orleans, Louisiana. Raven, Box 25111, Richmond, VA 23261, www. sgcmail.com. gan-related books, recordings, and sheet music: Completely restored and installed; $75,000. Roy RavenCD.com. www.ohscatalog.org. Redman; 817/996-3085.
TOTAL PIPE ORGAN RESOURCES
2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215
PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
PIPE ORGANS ELECTRONIC ORGANS MISCELLANEOUS ANNOUNCEMENTS FOR SALE FOR SALE FOR SALE
Austin Op. 1513— Two-manual/pedal, 4-rank Rodgers Organ, 905, 3 manuals, 45 ranks, Consoles, pipes and numerous miscellaneous Tours of the World’s Largest Pipe Organ in At- unifi ed. $6,000 or best offer; buyer to remove/ eight speakers, manufacture date 1998, excellent parts. Let us know what you are looking for. lantic City’s Boardwalk Hall are now available by ship. Currently in storage, playable before dis- condition, $25,000. Rockford, IL, 815/397-5579. E-mail [email protected] (not comcast), reservation. The two-hour docent tours include assembling, some restoration needed. 612/554- Buyer assumes shipping costs. phone 215/353-0286 or 215/788-3423. the ballroom Kimball organ and the 33,000+ 3350; [email protected]. pipe Midmer-Losh organ, with its 7-manual con- sole and 5-manual portable console. Tourgoers ′ ′ MISCELLANEOUS SERVICES/ will see the 64 pedal stop, the immense 32 Martin Pasi pipe organ—Two manuals, 24 FOR SALE Diapasons, and areas of the organs not open stops, suspended-tracker action. $350,000. Web: SUPPLIES to the casual visitor. Tours cost $20, which goes http://martin-pasi-pipe-organ-sale.com; phone: directly to support the restoration of these in- 425/471-0826. Wood pipes. Missing pipes made to match. struments; children under 12 are admitted free. Damaged pipes in any condition repaired. Over Releathering all types of pipe organ ac- For reservations: [email protected]. For infor- 25 years experience. Filip Cerny, 814/342-0975. tions and mechanisms. Highest quality ma- mation: www.acchos.org. Möller “Classique Artiste”—II/3, 1955 proto- terials and workmanship. Reasonable rates. type. Exposed, unifi ed pipework: Quintaton/Flute Columbia Organ Leathers 800/423-7003. 2 1 ′ www.columbiaorgan.com/col. If your company was not listed in THE DIAPASON 16–2′, Principal 4–1′, Nasard/Larigot 2 ⁄3′–1 ⁄3′. 16 Open Wood with chest—44 notes, CCC 1 12″ x 14″, 5″ wp. Excellent condition—must sell, 2012 Resource Directory, be sure to be part of ⁄3-horsepower Kinetic blower. Restored 1973, the 2013 issue! Visit www.TheDiapason.com and revoiced 1998; beautiful to see, hear, and play. space is needed. $4,200. Call J.R., 610/955-9437. Pick up only. Highest quality organ control systems since from the left column select Supplier Login. For Pictures and specifi cations on request. $15,000 information, contact Joyce Robinson, 847/391- or best offer. Buyer to remove. 316/264-8756. 1989. Whether just a pipe relay, combination action or complete control system, all parts 1044, [email protected]. 16′ Double Open Wood Diapason with chests are compatible. Intelligent design, competitive and racks. 14″ Scale, 5″ WP. $8000 FOB Deer- 4 stop portable organ—3 piece, move in a pricing, custom software to meet all of your re- The Organ Historical Society’s 57th Annual minivan. $20,000. Roy Redman; 817/996-3085. fi eld, NH. Can deliver. john@organclearinghouse. quirements. For more information call Westa- com; 617/688-9290. National Convention meets July 8–13 in Chicago, cott Organ Systems, 215/353-0286, or e-mail the City of Big Sounds. These are all different [email protected]. Moeller Artiste, 3 ranks, very good condition, organs than those featured at the 1984 or 2002 some renovation completed, builder ready to 16′ Principal pipes, wooden, small scale, Moller OHS Conventions held in Chicago. For informa- low 12 notes, cost $4000. 8′ Tuba, large scale, tion and to view the instrument gallery, visit www. assist in moving for additional cost. $10,000/ Aeolian/Robert Morton-style maroon organsociety.org/2012/. best offer. 414/228-8737; jennifer.ankerberg@ Tellers, cost $1200. Deagan Xylophone, 37 notes, leather is now available from Columbia Or- sbcglobal.net. needs releathering, cost $800. 24-note Harp needs releathering, $600. Reisner direct action gan Leathers! Highest quality. 800/423-7003, www.columbiaorgan.com. THE DIAPASON E-News is mailed monthly to magnets, 77 3/4, 66 1-1/8, 159 5/8, cost $350 registered subscribers who have signed Small pipe organs for sale. Great prices. For each. Siedle Organ Company, 412/221-5484. up to receive it. Don’t miss the latest news, more information, please go to our website, Austin actions recovered. Over 40 years announcements and classifi ed ads (with www.milnarorgan.com. Atlantic City Pipe Organ Company—2-man- experience. Units thoroughly tested and fully photos) before they appear in print! Visit ual, 3-rank, 5 Walker stops, free-standing DE guaranteed. Please call or e-mail for quotes. www.TheDiapason.com; at the bottom left chest & pipes with detached console, Peterson Technical assistance available. Foley-Baker, column, click Subscribe to our newsletter. Wicks organ—two manuals, four ranks, ca. For assistance, contact Joyce Robinson, ′ ′ relay, 10 years old; $7,000 or best offer. 16′ reeds, Inc., 42 N. River Road, Tolland, CT 06084. 1990. 16 Rohrfl ute, 97 pipes; 8 Principal, 85 847/391-1044, [email protected]. pipes; 4′ Gemshorn, 73 pipes; 8′ Trumpet, 61 principals, strings. 609/641-9422; mywebpages. Phone 1-800/621-2624. FAX 860/870-7571. pipes. Excellent condition. Oak casework and comcast.net/acorgan. [email protected]. console. See photo on The Diapason website. Lauck Pipe Organ Co. 269/694/4500; e-mail: Postal regulations require that mail to Place your classifi ed ads on THE DIAPASON’s Need help with your re-leathering HE IAPASON [email protected]. website! Ad placements include a photo or T D include a suite number to graphic, and are e-mailed to our registered sub- project? All pneumatics including assure delivery. Please send all corre- scribers in The Diapason E-News each month. Austin. Over 45 years experience spondence to: THE DIAPASON, 3030 W. Request a free sample issue of The Diapason For more information, or to place an ad, contact (on the job assistance available). Salt Creek Lane, Suite 201, Arlington 615/274-6400. for a student, friend, or colleague. E-mail the Edi- Joyce Robinson, Associate Editor, at 847/391- Heights, IL 60005. tor, Jerome Butera: [email protected]. 1044; [email protected].
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in -+ &62GHOO The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS odellorgans.com s 860-365-8233 contact Jerome Butera P.O. Box 405, East Haddam, Connecticut 06423 847/391-1045 518-761-0239 2 Zenus Dr., Queensbury, NY 12804-1930 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected]
GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
MARCH, 2012 39