THE DIAPASON AUGUST, 2010
Trinity Parish Episcopal Church Seattle, Washington Cover feature on pages 26–27
THE DIAPASON Here & There A Scranton Gillette Publication One Hundred First Year: No. 8, Whole No. 1209 AUGUST, 2010 Friends of the Kotzschmar Organ St. Ignatius Loyola, New York City, Established in 1909 ISSN 0012-2378 presents its 98th season of summer or- presents its Mander organ recital series: An International Monthly Devoted to the Organ, gan recitals at Portland City Hall, Mer- September 12, Kent Tritle; October 27, the Harpsichord, Carillon, and Church Music rill Auditorium, Portland, Maine: August Dong-Ill Shin; January 30, Jehan Alain 3, Ahreum Han & Joshua Stafford; 8/17, celebration, featuring organists Kent Christoph Bull; 8/24, Chelsea Chen; Tritle, Renée Anne Louprette, and Nan- 8/31, Ray Cornils and Kotzschmar Fes- cianne Parrella, with members of the CONTENTS Editor & Publisher JEROME BUTERA [email protected] tival Brass;
Editor’s Notebook
In this issue Classifi ed ads can be posted on our Among the offerings in this issue of website the same day they are received. The Diapason is John Collins’s article At present, there are 16 classifi ed ads on on the keyboard works of Bernardo the website, and they include photos! On Pasquini, the 300th anniversary of our home page, in the left column, under whose death is noted this year. David “SPOTLIGHTS,” click on “Classifi ed Sims refl ects on his experiences on a Advertisements.” In addition to contact tonal fi nishing trip from the perspective information for each ad, you can also re- of an organist. ply to each ad by clicking on the e-mail John Bishop compares the organ and button below the ad. church music scene of the 1960s and ’70s with that of today and reports on a re- E-mail newsletters dundant organ in a Pennsylvania church. Are you receiving our e-mail news- Gavin Black continues his discussion of letters? A general newsletter is sent the two works by Buxtehude and Boëllmann fourth week of the month, and a classi- with an introduction to the latter’s Suite fi ed ad newsletter the fi rst week of the Gothique. Among the reviews this month month. The newsletters are an exclusive is Frank Rippl’s account of the OHS re- benefi t for subscribers to The Diapa- cording, “Historic Organs of Indiana.” son. To subscribe, click on “Newslet- ter” at the top of our home page, or click THE DIAPASON website “Subscribe to our newsletter” at the bot- Did you know that our website contains tom of the left column the most up-to-date and comprehensive calendar of events? As I write this col- Reader’s survey Students of James F. Mellichamp with Wilma Jensen umn, there are almost 300 events listed, We are still collating and analyzing the from now through June 2011. To access results of our reader’s survey. The re- Undergraduate organ students gan in the Piedmont College Chapel. Dr. this on our website, click on “Events Cal- sponse was excellent and included many of James F. Mellichamp at Piedmont Jensen, who was the recipient of an hon- endar” at the top of the home page or fi ne ideas as The Diapason begins its College in Demorest, Georgia, recently orary doctorate from the school in 2003, at the bottom of the third column. And second century. participated in a masterclass with Wilma also spoke to the students about a variety you can list your events: at the bottom of Jerome Butera Jensen. Students performed repertoire of topics, including organ technique and the third column, “Click here to submit 847/391-1045; [email protected] by Clérambault, Bach, Franck, Gigout, performance practice. your event!” www.TheDiapason.com and Langlais on the Casavant Frères or-
AUGUST, 2010 3 performances are free of charge and In addition, the school will offer two with a musical for children. Performers open to the public: September 12, Oli- masterclasses: September 11, 2 pm, include Fabien Desseaux, Odile Jutten, Appointments vier Latry; 9/26, Craig Cramer; Octo- Robert Parkins, “Iberian Organ Music in Daniel Roth, and Lucie Sakova. For in- ber 10, Andrew Sheranian; 10/24, Clive New Spain”; and October 16, 2 pm, Car- formation:
4 THE DIAPASON Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Professor of Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Organ, Indiana University Montevideo, Uruguay Palm Beach, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Catherine Ennis Henry Fairs Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist/Lecturer Organist Dijon, France Spartanburg, South Carolina Frostburg, Maryland Gainesville, Florida London, England Birmingham, England
Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Tuscaloosa, Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea
David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Choral Conductor Organist/Pianist Organist Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana Helsinki, Finland Fort Worth, Texas Bergen, Norway New York, New York Champaign, Illinois
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Mark Quarmby Ann Marie Rigler Organist Organist/Lecturer Harpsichord & Organ Organist Organist/Teacher Organist/Lecturer Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa Sydney, Australia William Jewell College
Stephen Roberts Brennan Szafron Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Beth Zucchino Organist/Harpsichordist Organist/Harpsichordist Organist/Musicologist Organist Organists/Pianists organist/harpsichordist/pianist Danbury, Connecticut Spartanburg, South Carolina Speyer, Germany Charleroi, Belgium Edmonton, AB, Canada Sebastopol, California www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988 The International Handel-Festival by Fritts in Texas and the fi nal part of a 1929 organ of Linköping Cathedral has Göttingen began in 1920 with the fi rst major renovation project of the St. Philip been retained in its original condition; modern performances of Rodelinda, trig- sanctuary. Dirst can be heard on two re- even though its action is mechanical, the gering what became known as the “Göt- cent CDs: J. S. Bach: Organ Music for tonal scheme is very similar to the sym- tingen Handel Renaissance.” The Festi- the Christmas Season (Centaur 3015), phonic organs built by Ernest M. Skin- val now offers one fully staged Handel recorded on the Fisk-Nanney organ at ner during the 1920s. opera and several of his oratorios as part Stanford Memorial Church, and Music of a schedule that includes more than 50 of François and Armand-Louis Couperin performances, exhibits, and other events (Centaur 3016), recorded on a Dumont over a two-week period every spring. French double by John Phillips. An all-Alessandro Scarlatti disc fea- turing his Baroque ensemble Ars Lyrica Houston (Naxos 8.570950) was hailed Here & There recently by Gramophone for its “impas- Holtkamp organ, MIT chapel sioned performance of strongly charac- terized and eloquent music.” Ars Lyrica’s can be heard at
6 THE DIAPASON REVELATION OF THE F RENCH ROMANTIC G RANDE O RGUE INSTALLED IN E COUIS N ORMANDY
BAPTISTE-FLORIAN MARLE-OUVRARD PLAYS ALLEN ELITE OPUS II A musician of immense talent: An organ without digital equal: A recording of rare musicality
Complimentary copy available upon request.
Call 610-966-2202 or order online: http://www.allenorgan.com/revelation.html sachusetts. The concert was jointly spon- Besides serving as the director of music During his 39 years at Berea, Court- sored by Holy Cross and the Worcester ministries at the Cathedral Basilica, Dr. er contributed to the musical life of AGO chapter. John Romeri is the director of the Arch- the campus and larger community. He The program included repertoire and diocesan Offi ce of Sacred Music. Karen taught organ, piano, chime, and carillon extended improvisations. For his open- Romeri is the cathedral’s assistant music performance, church music, and music ing selection, Lefebvre arranged for director and organist. theory, and was a former director of the organ Bach’s Chromatic Fantasia and Harmonia Society. A well-known organ- Fugue in d minor, BWV 903. His im- ist in the region, he was dean of the Lex- provisations included “Suite française ington AGO chapter. He was involved in in Classical French Style on a Gregorian the renovation of the Holtkamp pipe or- Chant,” “Symphonic variations,” and fi - gan in Gray Auditorium at Berea and the nally a free improvisation. The structures recent restoration of the 10-bell chime in of the improvisations were generally Phelps Stokes Chapel. He was the driv- sketched, and Lefebvre was assisted by Bronwyn Potter ing force behind Berea’s 56-bell carillon, two registrants. the largest in the state of Kentucky. Church. One of Greensboro’s summer In 1995 Courter received Berea Col- residents, a Mr. Tirrill, arranged for lege’s Seabury Award for Excellence some singers from the Riverside choir in Teaching, and in 2006 received the to perform in the area. There she met Elizabeth Perry Miles Award for Com- another summer resident, Herbert Pot- munity Service for his numerous contri- ter. She fell in love with him and also butions to the campus and community as with the picturesque little town on Cas- a musician and for volunteer service with pian Lake in Vermont’s rural “Northeast Madison County’s public radio station. Kingdom.” They became year-round res- In 1993, he was awarded the Berkeley idents in 1945. In 1946 she started her Carol Williams and Bernhard Leonardy Medal for Distinguished Service to the 63-year tenure at the United Church, at the Basilica of St. John, Saarbrucken Carillon as a performer and composer. where she presided over the venerable He was a Fellow of the American Guild 1868 Johnson organ, restored in 1972 by Carol Williams recently visited Lux- of Organists and a member of the Guild the Andover Organ Company. embourg, where she performed two of Carillonneurs in North America. Over the years she was a major musical concerts and fi lmed ten organs for the Courter won several international priz- infl uence in the community. She taught TourBus DVD series “TourBus Goes es for his carillon compositions, and his music in the Greensboro school system to Luxembourg.” Organs in the fi lming works have been published in Germany, and also in Craftsbury, Hardwick, and included the Philharmonia Hall, Notre- the Netherlands, and the United States. Woodbury, Vermont. She continued her Dame Cathedral, the Conservatoire He has written works commissioned by studies at Johnson State College, God- in Luxembourg City, and St. Martin’s the Palace of Government in Barcelona, dard College, and the University of Ver- Church in Dudelange. In addition, Wil- the cities of Utrecht, Kampen, and Alme- mont to maintain her teaching certifi cate. liams traveled to Echternach Abbey lo (the Netherlands), the Arts Council of On February 7, 2010 the congregation and across the border to Saarbrucken, Ireland, the University of Michigan, and Robert McCormick and community gathered for a reception to include the Buckingham Palace or- Grand Valley State University. in her honor. It was a time to thank her gan now housed in the Chapel of the In 2005, Courter established the Sum- The choirs of St. Paul’s Parish, K for her devotion and for her musician- Knights. Interviews and performances mer Carillon Concert Series at Berea Street, Washington, D.C., made their ship, which had enriched so many lives of eminent organists—such as Bern- College, which continues to bring inter- fi rst CD audio recording under newly over 63 years. A plaque, which will be hard Leonardy, Maurice Clement, Paul national carillonneurs to Berea’s campus. appointed director of music Robert Mc- hung in the church, was presented to her Breisch, and Paul Kayser—will be in- In his will, Courter provided for the Cormick in November 2009 for the Pro in honor of her serving with “skill, deter- cluded on the DVD. For information: ongoing maintenance of Berea’s caril- Organo label. The choirs had previously mination and grace.”
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8 THE DIAPASON Unveiling the Future
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For more information please visit www.johannus.com BIS, and Vierne’s six organ symphonies Rhondda and Ton-y Botel, Duke scription/library rate for orders of all six for Meridian. He acted as consultant Street, Greensleeves, Nicaea, St. volumes. See
Here & There
Fruhauf Music Publications has is- sued six volumes of hymn tune settings, in a variety of styles and forms. Included CB Fisk open house: Mark Nelson demonstrates Opus 138 are preludes, interludes, and postludes, along with several extended recital piec- On June 12, C. B. Fisk hosted an open es suitable for sacred, secular, ceremo- house at their workshop in Gloucester, nial or concert performance. Massachusetts, to mark the completion Early American Hymn Tunes (43 of Opus 138. The organ, a two-manual, pages) includes original compositions 28-stop tracker instrument, is on its on Amazing Grace, Azmon, Land of way to the First Presbyterian Church at Rest, Morning Song, Simple Gifts Incheon, South Korea. Installation will and Bourbon, Toplady (Rock of Ages), begin in late August. and Wondrous Love. Some 300 supporters from the local Germanic Hymn Tunes (35 pages) of- community were joined by many Korean fers Es ist ein Ros, Grosser Gott, guests, including organ committee mem- Herr Gott, dich loben alle wir bers Pastor Shin-Chul Sohn, organist (Old 100th), Lasst uns erfreuen, Kim Hae-Kyung, Tai-Sik Hwang, Young- Lobe den Herren, Nun danket alle Nam Kim, and Sun-Ai Lee, and church Gott (manualiter and organo pleno), members Kwang-Ok Lee, Dai-Ryung Schmücke dich, and Stuttgart. Yu, Eun-Sook Park, and Ms. Kim’s for- YEARS Hymns for All Seasons (40 pages) in- mer student, Sanghwa Lee. After a short 4O cludes Ein feste Burg (four variations), recital by Mrs. Kim, guests took a turn at Kremser, Picardy, Sicilian Mari- the console or joined in singing the South PIPE ORGAN COMPANY ners, and Variations on a Noël (A la Korean and American national anthems venue de Noël). accompanied by Sanghwa Lee. Hymn Tunes from the British Isles, Vol. 1 (35 pages) presents Brother www.TheDiapason.com CB Fisk open house: Hae-Kyung Kim Bedientorgan.com / 800.382.4225 James’ Air, Bryn Calfaria, Cwm takes a turn at the console
10 THE DIAPASON special projects editor. In this position, While visiting the website, note Best’s The entire matter of the letters was In Hedley’s translation, Chopin asks Fon- she will continue work on GIA’s hymnal edition of several additional Mulet piec- discussed at length by Arthur Hedley in tana to send him a copy of Kastner’s Trea- projects and focus on other projects, in- es for the harmonium. his essay “The Chopin-Potocka Letters,” tise on Counterpoint and requests him “to cluding editions containing the Revised which was published as an Appendix in fi t the things into a suitable box, have them Grail Psalms. GIA will conduct a nation- More on Chopin’s Fugue in A Minor Selected Correspondence of Fryderyk well packed and dispatch them . . . to the al search for a senior editor to lead the Several readers responded to our Feb- Chopin [London and New York, 1963]. In same address as my letters. Do please be editorial department, acquire new publi- ruary article, The Chopin Bicentennial: the seventh edition of Baker’s [Biographi- quick about it . . . don’t delay the dispatch cal Dictionary] it is stated on page 983 if he [the bookseller] has not Kastner’s book cations, and oversee composer relations. Celebrating at the Harpsichord? that “Hedley was instrumental in exposing in stock. Anyhow do send Cherubini’s Trea- Brian Streem, the current managing Paul Cienniwa (Boston) sent word the falsity of the notorious Potocka-Cho- tise—I think—on Counterpoint. I don’t editor, is resigning his position to pursue of the availability of a pristine score for pin correspondence produced by Mme. know the exact title.” (This book would have other career objectives. He will continue Chopin’s 1841 work found at
ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD AAATFEE DBO DOBSON CASAVANT FRERES Harpsichord News by Larry Palmer
With some help from our readers A harpsichord piece by Henri Mulet? BOODY TAYLOR In response to my article on Castelnu- APOBA ovo-Tedesco and his 1909 English Suite for Harpsichord (December 2009), Thomas Annand (Ottawa) wrote to ask if I was aware of a harpsichord piece by Henri Mulet? I was not, and asked Mr. Get the Best Annand for further information. He re- ferred me to Grove’s Online (now Ox- ford Music Online), where the catalog of From the Best. DYER R. Mulet’s works included a “Petit lied très facile, hpd/pf, 1910” among instrumental and chamber music listings. Hoping to locate a score, I checked Then print sources, but was unable to fi nd anything from the cited major publish- ers. So I turned to the leading authority Rest Assured. GARLAND FISK on 19th- and 20th-century French organ music, Rollin Smith, who responded immediately that he knew of the piece, but did not have a copy of it. But only a few days later, he provided an Internet FRITTS address (http://www.evensongmusic.net/ muletfree.html) featuring a free PDF fi le of Mulet’s short piece in an organ adap- Whether your new organ is to be tation by Stephen H. Best, made “from the harpsichord version.” Although this small or large, electric score is presented on three staves, the piece is indeed “simple” enough to play or mechanical action, on the harpsichord manuals without any need for pedal. Beginning and ending in APOBA members are GOULDING & WOOD B minor, the “Little Song” comprises 17 measures in a gently asymmetric 5/4. proven, ethical firms. In notes to the piece, Mr. Best writes that “the Petit Lied was composed by Henri Mulet ca. 1909 and dedicated to Albert Périlhou, organist at Saint And we’ll be here tomorrow and Séverin in Paris from 1889 to 1914.” He for generations of further points out that Mulet and Péri- lhou were colleagues at Saint Eustache tomorrows to meet your needs. during 1905. While not an earth-shaking musical discovery, Mulet’s piece adds another QUIMBY REDMAN SCHANTZ SCHOENSTEIN & charming item to the gradually increas- HENDRICKSON ing number of harpsichord compositions To receive information about pipe organs from the earliest years of the 20th-cen- and recognized pipe organ builders tury revival. I am grateful to Mr. Annand for di- AP write or call toll free 1-800-473-5270 recting attention to this overlooked item, or on the web @ www.apoba.com and to Mr. Best for his online generosity. PASIO Associated RICHARDS-FOWKES Pipe Organ Builders of America BA P.O. Box 155 • Chicago Ridge, Illinois 60415 Be sure that you are listed in the 2010 Resource Directory. OTT OTT PARSONS Contact Jerome Butera, 847/391- 1044, [email protected]. NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP
AUGUST, 2010 11 People: Edward Berryman, Marshall That was the 1960s and 1970s and ens of hundred-organ years, and even Looking Back Bidwell, Herbert Bruening, Margaret the organbuilding renaissance was in many organ-a-day years. Unbelievable. Whitney Dow, Virgil Fox, Charlotte Gar- full swing in New England. Fisk, Noack, And by the way, at least two of the den, George Markey, Janice Milburn, Andover, Casavant, Bozeman, and sev- most prolifi c American organbuild- 10 years ago in the August 2000 is- Frederick Swann, C. Albert Tufts, Eliza- eral European fi rms were building new ers were mostly in the secular world— sue of THE DIAPASON beth Van Horne organs in churches all around the area. Wurlitzer built thousands of organs for Cover: Wicks, First Baptist Church, “Are Organists Psychic,” by Herbert Seems we were attending dedication re- movie theaters and all sorts of other Ocala, Florida D. White citals every few months. But the hand- venues, and Aeolian built more than a Kyle Johnson appointed assistant “The Small Organ: Mutations and writing was on the wall. Aeolian-Skinner thousand instruments for the homes of professor of music, Missouri Valley Other Trifl es,” by Harold Frederic was breathing its last, and I remember the rich and famous. Frank Woolworth, College Organs: Aeolian-Skinner, Austin, clearly when the rumors started to fl y the Five & Dime king, had the fi rst Janet Kaltenbach appointed general Gress-Miles, Hillgreen, Lane and Co., that that venerable fi rm was closing. I residence organ to include a full-length manager, The American Boychoir Möller, Reuter, Schantz, Schlicker, Tell- was sixteen and was more than a little 32-foot Open Wood Diapason. You re- Ralph Mills appointed organist and di- ers, Wicks self-righteous when I spread the news to ally have to stop and think just what that rector of choirs, First United Methodist colleague organists before a recital at the means. The biggest twelve pipes of that Church, Charlottesville, Virginia 75 years ago, August 1935 First Congregational Church, ironically stop would fi ll half a modern semi-trail- Christa Rakich appointed director of People: Roma E. Angel, E. Power the new home of a three-manual Fisk er. Big house. And by the way, it was his music, Church of the Immaculate Con- Biggs, William C. Carl, Winslow Cheney, organ (Opus 50) that had just replaced country house. He also had a big Aeolian ception, Boston Ralph Downes, Edward Eigenschenk, a Skinner. That church was two blocks in his city house at 990 Fifth Avenue, Camilla Jarnot is recipient of the fi rst George H. Fairclough, Virgil Fox, from our house and was where I had my across the street from the Metropolitan Margaret Power Biggs Research Grant Franklin Glynn, Charlotte Lockwood, lessons and did most of my practicing. Museum of Art. Nice address. In an age Charles W. McManis honored on the Alexander McCurdy, Homer Nearing, In the 1970s I went to school at Ober- when there was no central air condition- occasion of his 87th birthday Carlos Francis Newman, T. Tertius No- lin, where I started working part-time ing, no heated swimming pools, no sur- Lawrence Schreiber named minister of ble, Herbert Peabody, Arthur Poister, for John Leek, the school’s organ techni- round-sound home movie theaters, Mr. music emeritus, National City Christian Hugh Porter, Barrett Spach, William C. cian, who did lots of organ service work Woolworth had a 30-horsepower organ Church, where he served since 1960 Steere, Helen Searles Westbrook, Julian on the side. Later he started his own blower in his basement. Charles Burks wins fi rst prize, Gruen- R. Williams, business, now operated by his son James. I don’t know whether the American stein Memorial Organ Competition Organs: Casavant, Hook & Hastings, Together we blasted all over Ohio and organ industry has had any 100-organ Leslie Spelman died May 28 at age 97 Kilgen, Kimball, Möller, Pilcher, Reu- western Pennsylvania and I remember years in my lifetime. Probably, because “20th-Century Church Music in Ger- ter, Wicks all the churches had at least a secre- Möller lasted into the 1990s, but I think many: An Overview,” by Martin West tary and a sexton on duty. The secretary you get the point. It’s less than that now. “Monumental Organs in Monumen- knew everyone in the parish and could tal Churches: The Brick Gothic Phe- anticipate what would happen next, and The coal miner’s heritage nomenon in Northern Germany,” by the sexton scrubbed and polished fi ve Yesterday I visited a Roman Catholic Aldo J. Baggia In the wind . . . days a week and was on hand on Sunday parish in central Pennsylvania that is of- New organs: Jaeckel, B. Rule & Com- by John Bishop mornings making the coffee and being fering an organ for sale, built by M. P. pany, Charles M. Ruggles sure that all the light bulbs were work- Möller in the nineteen-teens. It has 26 ing. You could count on the sexton to stops on two manuals. There’s a 16-foot 25 years ago, August 1985 have the heat on just right in time for Open Wood in the Pedal, a lovely 16-foot Cover: Robert L. Sipe, University the organ tuning, and as we worked he metal Diapason on the Great, and four Presbyterian Church, Chapel Hill, NC was in the chancel several times, almost reeds. I would have expected a dull and Lee Dettra appointed organist and a nuisance, making sure we knew there heavy sound, but the organbuilder who choirmaster, United States Military was coffee in the offi ce. renovated the instrument about eight Academy, West Point, NY It’s different today. Many of those years ago described the organ as having Jared Jacobsen appointed director of parishes I knew as a teenager have dwin- a brilliant and exciting tonal character, liturgy and music, St. Leander Roman dled, 75 or 80 people spread out across enhanced by the spacious acoustics of Catholic Church, San Leandro, CA 600-seat sanctuaries that were once full. its large and vertical Gothic building. Robert Parkins appointed artist-in- Foundation plantings are overgrown, I might not have bothered to visit if he residence and chapel organist, Duke gutters and downspouts swing free, the hadn’t spoken so passionately about what University bell can’t be rung because it’s off its a beautiful organ it is. Let’s face it, there Michelle Lothringer named winner, rocker, the Echo division has been shut are plenty of lukewarm Möller organs on Gruenstein Memorial Contest down because the roof leaked, and the the market. “Catharine Crozier at Illinois College,” secretary is in between nine and eleven, It’s a coal-mining town—there are lots by Anita E. Werling and Ted Gibboney three days a week. Sexton? Forget it. A of coal towns in that area. It was a fam- “Organ Planning for Architects,” by cleaning service comes in once a week, ily-owned mine with as many as 20,000 Pieter A. Visser but the tile fl oor in Fellowship Hall nev- employees. The ruling family had built “Bach’s Canonic Variations on Vom The times they are a-changin’ er gets polished. Motors and pumps are housing, schools, a hospital, and many Himmel Hoch: Text and Context—Part When I was a teenager, I spent a lot never lubricated, heaps of ancient pag- church buildings. Trouble is, the mine 2,” by Gwen E. Adams of time in churches. We lived in a sub- eant costumes are shrouded with spider stopped operating 50 years ago. There’s New organs: Gratian Organ Builders, urb of Boston that had a large Episcopal webs, and there’s an almost ghostly sense a factory that builds high-end stoves, Lee Organs parish (my father was the rector), two of yesterday’s glory. but it’s about to close. The only remain- Congregational churches, Methodist, And I almost forgot—the last three or- ing business of any size is a meat-pack- 50 years ago, August 1960 Baptist, Unitarian, Christian Science, ganists haven’t used the pedals. ing fi rm that employs around a hundred All Saints Chapel of the University of and three Roman Catholic. (There people. The junior high and high school the South, Sewanee, TN, contracted for aren’t that many Presbyterian churches The good old days have closed and are boarded up—the a new Casavant organ of three manuals in the Boston area.) All of them but In recent weeks I’ve had two telling kids are bused nine miles to the next plus a nave division two of the Catholic churches had pipe experiences with these “former glory” town. Twenty-two hundred people live Paul Lindsley Thomas appointed or- organs, and as an ecumenical kid and parishes in my area: one that cancelled there, and there’s not much for them ganist and choirmaster, St. Michael and a young organist to boot, I played on the service contract I’ve had for 25 years, to do. The movie theater is in the same All Angels Episcopal Church, Dallas, TX most of the organs. I had a series of saying they don’t use the organ any more, town as the schools. A shopping mall ten John S. Tremaine appointed minister regular jobs playing for churches there, and another where the insurance settle- miles away stripped downtown of all its of music, Calvary Evangelical United and I remember well that it was easy ment for water damage to the organ was businesses. And the jobs? A lot of them Brethren Church, Detroit, MI to come and go from the buildings. used for something else. I’ve been re- must be further away than that. Richard Westenburg appointed direc- All of them had regular staffs and of- fl ecting on what it must have been like My host was the priest of the Catholic tor of music, First Unitarian Church, fi ce hours. I guess I took for that for in the twenties when all those buildings parish. He drove me around town, telling Worcester, MA granted. In neighboring towns in each were new and all the pews were full. me the local lore and history. He said the Dr. Clarence Dickinson retired from direction the situation was the same—a Those were the days when American owners of the mine were Episcopalians. New York’s Brick Presbyterian Church gaggle of big church buildings, each organbuilders were producing 2,000 or- We drove past their house and saw that June 12 with a pipe organ. gans a year. Most of the venerable fi rms “their church” was next door. Though that contributed to that staggering out- the congregation had always been small, put are gone. This is off the top of my the Episcopal church was exquisite. We head, but it’s a fair guess based on expe- didn’t go in, but he told me that all the rience that the lofty club of 20th-century windows are by Tiffany. And although 20-organs-a-year fi rms included Skinner, there are fewer than ten parishioners Aeolian-Skinner, Hook & Hastings, Kim- now, the place is funded in perpetu- ball, Kilgen, Schantz, Reuter, Wicks, and ity, and I’d guess the building had been Austin. Don’t mention Möller with doz- painted within the last year. The only CLAYTON ACOUSTICS GROUP 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP
12 THE DIAPASON two people who are buried on church we turned onto a different street he grounds in the town are the mine owner beeped and waved to someone, some- and his wife. The company had provided times calling out the window. We ate land for six cemeteries. No schools, no lunch in a pizza shop where he was ob- jobs, six cemeteries. viously well known, well loved, and very There was one small and exclusive comfortable. A troop of motorcycles Episcopal church in town, but there thundered by, inspiring a whole series of had been four bustling Roman Catholic hoots back and forth through the open parishes: one Slovak (St. John Nepomu- door as neighbors (they must have been cene), one Polish (St. Casimir), one Irish parishioners) expressed their reactions. (St. Anne’s), and one Italian (St. Antho- I suggested maybe they were looking ny’s). Because they all were founded by for the Catholic church. After all, it was and for fi rst-generation immigrants in Saturday and there would be a Mass in a the early 20th century, each had a dis- couple hours. tinct cultural and ethnic character. Four years ago, the diocese directed that the Let’s get together and be all right parishes should merge. Oof. Did you Funny to quote Bob Marley when dis- hear that? Four years ago. Remember I cussing the Poles, the Slovaks, the Ital- said the organ had been renovated eight ians, and the Irish. They’re all Roman years ago? That cost hundreds of thou- Catholics (the last four I mean), but they sands of dollars. My visit had started at were surely not ready to be one parish. the rectory where the priest lives. When St. Anne’s had built a new building in the we went outside to get in his car for our sixties. Because it was in the best condi- tour, he introduced me to his neighbor tion, it would be retained. But because across the street who told me he remem- it was built in the sixties, it was not the bered when they “came around collect- most lovely. Skylights were popular then, Möller organ, St. John Nepomucene ing for the organ project. So much mon- so the ridge of the cruciform roof is glass. ey and then they close the place.” There’s no air-conditioning, so it’s terri- buildings to adorn the otherwise blank looks a little like a saintly yard sale. But A signifi cant part of the priest’s job is bly hot inside whenever the sun shines. slate of St. Anne’s building, itself a prod- while I doubt it calmed all the storms to divest the merged parish of redun- There’s dingy industrial carpet, tacky uct of the austerity of the post-Vatican II and salved all the wounds, it was a great dant properties. As we drove he pointed ceiling fans, and straight, plain pews Catholic Church. They moved memorial thought and it obviously means a lot to out the recently sold vacant lot where with crumbling varnish. Imagine a life- plaques, a tabernacle, the Stations of the this diminished and altered community. the fi rst building of the Irish parish had long parishioner of St. John’s (that’s the Cross, a pulpit, and a heavy “priestly” been, decrepit rectories, and crumbling Slovak parish) leaving the arched Gothic chair, among many other things. What in the world is next for our church and school buildings. ceilings, gorgeous windows, colorful stat- When I say moving statues, I mean world? The building where the organ is (by ues, and renovated pipe organ and going personally moving statues. He’d get to- I left this town and this experience for the way, it’s the Slovak one) stands in a to Mass the next Sunday amidst that six- gether a couple guys and they’d load the three-hour drive to Manhattan to con- residential neighborhood on a side street ties kitsch. these things into station wagons and tinue work on our project there. Three that slopes gently up from south to north. I asked the priest how in the world you pickup trucks. The Sunday after they became four as I realized I was not the That means the morning sun had shone preside over the forced and unwanted moved the life-size statue of St. Anthony only guy who thought of driving through through the St. Cecilia window every day union of such diverse ethnic and cultural into the narthex, an elderly Italian wom- the Lincoln Tunnel on a sunny Saturday baking the back of the organ until the communities. There was plenty of anger, an came home from the 7:30 Mass and afternoon, and I had plenty of time to organbuilder who renovated it recom- and lots of people left the church alto- starting making lasagna in celebration refl ect on my day. I had left home that mended that the window be closed. The gether. Most of them grudgingly made of the appearance of “her” saint. Her morning at the militaresque oh-dark-hun- priest asked if that had been necessary the adjustment, but it wasn’t easy. My middle-aged daughter called the priest dred to drive 400 miles to see a 90-year- and I replied that since people started host had been a seminary student just af- to share the family’s delight. old Möller. Who would have thought? I building organs in churches there have ter the Second Vatican Council, and told They even tried to achieve parity by found a cheerful instrument beautifully been confl icts between organs and win- me how as a young priest he had been moving the same number of things from renovated, but suffering at the hands of dows. It’s both a shame to bake the organ involved in the removal of statuary from each building, a formula that only works four years of unheated neglect. I lifted a and to lose the window. church buildings as part of that “new if you count “The Stations” as one! Now façade pipe and put a photocopied psalm I was impressed and moved by the time.” But as he started his ministry in I’ve got to admit, this is a mighty various between toe and toe-hole to silence a ci- relationship this priest has with his com- this coal town, he found himself moving collection of stuff. There’s no artistic or pher. The pedal contacts were full of dust munity. It seemed as though each time statues and icons from the other three stylistic connection in the collection. It and other stuff causing so many ciphers
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AUGUST, 2010 13 that I didn’t play the pedals at all. Draw- Example 1. Boëllmann, Menuet Gothique opening ing a pedal knob was enough to show the weight and presence of the impressive On Teaching bass stops. I played for 20 minutes to get by Gavin Black the hang of it, fi gured out a few tricks to navigate around ciphers, and made a ten- minute recording. When I went down- stairs, there was a group of former pa- rishioners standing in the street with the priest. They had come when they heard of these seems to me to be the one at po suggestion, and its registration is sig- the organ through the open door, the fi rst the Werner Icking Music Archive, edited nifi cantly more different from any of the time it had been played in three years. by Pierre Gouin:
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14 THE DIAPASON Example 2. Boëllmann, Menuet Gothique second motive mid-1880s until his death in 1897. (He patience is to lose the battle.” had married Gigout’s niece.) Gigout In our local school system, instrumen- published his famous Toccata in 1890. It tal lessons do not begin until the summer is obvious on its face that Boëllmann was of the fourth grade, yet vocal involve- infl uenced by this piece in the compo- ment is expected from kindergarten on. sition of the Toccata that forms part of The annual holiday concert usually has this suite. A student who doesn’t know large numbers of children of various ages the Gigout work should listen to it. Also, singing familiar carols. Does this mean organ music and, perhaps especially, oth- that learning to sing is easier than learn- Example 3. Boëllmann, Toccata er music by such composers as Franck, ing to play an instrument? Surely not! As Widor, Saint-Saëns can form an impor- Beverly Sills said, “There are no short- tant part of this context. cuts to any place worth going,” so maybe Next month we will zero in on spe- the thinking is that since singing is more cifi c technical aspects of working on and diffi cult, an earlier start is necessary. I learning the fi rst movement. Q doubt that as well! By the age of ten, children singing Gavin Black is Director of the Prince- in true training choirs do have signifi - ton Early Keyboard Center in Princeton, cant success. Our community children’s New Jersey. He can be reached by e-mail at choirs have two levels, beginning and
AUGUST, 2010 15 are included separately at the end and God Be in My Head, Julia Simon. two staves. The text is an adaptation of Wély. I don’t know about you, but for me generally require only a few bells on Unison and piano with optional di- Colossians 3 and 1st Corinthians 13. a little Lefébure-Wély goes a long way! each selection. This music is very at- visi, Augsburg Fortress, 978-0-8006- Ronald Krebs plays the fi nal ten piec- tractive, easy, and quite useful. Highly 6403-9, $1.30 (E). My Heart Rejoices, Zebulon High- es, the fi rst four on the tiny three-rank recommended to good children’s choirs This setting of the text from Salisbury ben. SATB, children’s choir, organ, instrument and the last six on the rela- in churches. has a melody with a few awkward leaps, viola, handbells and assembly, Augs- tively large organ in Wayzata, Minnesota. yet most of the melody is diatonic. The burg Fortress, 978-0-8006-6415-2, The small instrument accounts for itself Creating God, Your Fingers Trace, piano part usually doubles the melody. $1.75 (M). very well, with appropriate music by Michael Burkhardt. Two-part and There is a long “Amen” section that has This setting, based on a 17th-century Daquin, Wolstenholme, Krebs (a choral organ with optional recorder or momentary divisi. melody by Johann Eberling (Warum prelude with added soprano saxophone), fl ute, cello, and handbells, Augsburg sollt ich), has six verses in various ar- and Dale Wood. Walter Pelz’s Festive In- Fortress, 978-0-8006-6420-6, $1.60 Arise and Shine, John Paradowski. rangements. The viola part is in the score trada begins the fi nal selections, giving (M-). Unison/two-part with keyboard and and also available in a download from ample opportunity to hear the en chama- The melody, from Southern Harmo- optional handbells, Choristers Guild, Augsburg (also offered in tenor clef, or de Festival Trumpet. A careful reading ny, is the well-known folk tune Pros- CGA 1039, $1.60 (M-). for instruments in C or B-fl at). The ethe- of the booklet reveals that Krebs played pect. There are four verses; only one Three octaves of handbells are re- real opening begins with random hand- this at the wedding of Susan De Kam is completely in two parts. The instru- quired and they play full chords on the bells, which create a somewhat haunting and Jason Alden. Now you know! mental parts are in the choral score but second verse. An antiphon is printed on background for a viola solo. Then the Following are familiar works from may be downloaded from Augsburg the back cover, to be sung by the congre- men enter in unison, and close out the Vierne’s 24 Pieces: the “Scherzetto,” (978-0-8006-6449-7, $5.00). This is a gation. Paradowski gives several sugges- fi rst verse. The familiar melody and text, “Lied,” and “Divertissement,” composed lovely arrangement with a fresh text, tions for ways children may be included “Once in Royal David’s City,” is then sung with a two-manual instrument in mind. and is certain to be a favorite with the in this joyful Christmas work. in unison with the congregation and key- The rousing fi nale on this varied record- congregation. board accompaniment. This Christmas ing is an arrangement by Joseph M. Lin- Children with adults anthem moves through several different ger of Sousa’s The Liberty Bell, marred Preces and Responses, Iain Quinn. arrangements with frequent unaccom- somewhat by ambient sounds from Trebles and organ, Paraclete Press, Breathe on Me, Breath of God, Eve- panied singing. Very effective music, and somewhere. All told, interesting selec- PPM 00805, $1.60 (M-). lyn Brokish, OSF. Unison or two-part highly recommended. tions and instruments, well performed. With texts from the Book of Common or with SATB, optional keyboard and Prayer, this setting is a functional work assembly, GIA Publications, G-4854, Be Thou My Vision, Bernard Sexton. Viva Italia, Karel Paukert, organ- for formal, cathedral use. An unaccom- $1.60 (M-). SATB, children’s choir, and piano, ist. 1986 Hradetzky gallery organ, panied, free chant is sung by a cantor or There are four verses and refrain, GIA Publications, G-6813, $1.50 2 manuals, 22 stops, St. Paul’s Epis- offi ciant, followed by an accompanied which could be sung by the children (M). copal Church, Cleveland Heights, response by treble voices. Most of the alone; however, the refrain also has an The children sing the fi rst verse in uni- Ohio. Azica ACD 71255, $15.98, choral singing is in unison with some SATB version for an adult choir so that son with the piano, then they join the so-
16 THE DIAPASON at the Christian Theological Seminary, Next come delightful period pieces sounds wonderful on this organ. Charles He plays Brahms’s Schmücke dich and a warm and resonant sound in the con- played on a 1906 Felgemaker organ in Albert Stebbins’ In Summer has a quiet, Vierne’s Berceuse. The sounds are sweet crete, cube-shaped chapel. Edie John- a Presbyterian church in Rushville, by languid quality that I fi nd quite appealing. and lovely. son stepped in at the last minute to play Yun Kyong Kim: Jagged Peaks in the The 8′ Oboe and Bassoon with tremolo Next Robert Hobby plays the 1988 for Marilyn Keiser, who had been injured Starlight, from Mountain Sketches op. make a marvelous solo. Goulding & Wood organ in the First in an automobile accident. We hear an 32, no. 1 by Indiana’s own Joseph Clokey Disc 3 ends with two selections played Presbyterian Church in Franklin. He excellent reading of Bach’s Fantasia and (is that lovely quiet stop the Aeoline or by Robert Schilling on the 1895 Hook begins with Kirnberger’s setting of the Fugue in c (BWV 537), and the hymn the Dulciana?); a lively Festival Prelude & Hastings in Acton United Methodist hymn tune Passion Chorale. The au- God has spoken to his people (Torah by Horatio Parker, and fi nally a rous- Church. Mein Jesu, der du mich, op. 122, dience then sings it to a gentle accom- Song). In that acoustic, the lively hymn ing and very humorous song We Want no. 1, by Brahms, is played very well, paniment, even doing a verse a cappella. gets a little unwieldy, but the legendary Wilkie!. It turns out that Rushville was with a charming sense of melodic shape That is followed by another quiet hymn, OHS hymn singers and the talented Ms. Wendell Wilkie’s wife’s home town, and and rhythmic continuity. The sound is Abide with Me (Eventide). The sing- Johnson managed to keep together. scene of his campaign for president rich and round. That is followed by the ing and the playing together form a very Next we hear an 1898 Möller tracker against Harry Truman. The song is hi- rousing Charles Wesley hymn And Can moving moment. The fi nal verse is taken (op. 188) in East Germantown’s Zion lariously funny and worth the purchase It Be That I Should Gain (Sagina). I up to a higher key, with full organ and Lutheran Church. Karl Moyer plays a price of these CDs. love OHS hymn singing and this is an full-voiced singing. It is hair-raising! lively Beethoven Scherzo and a chorale We then hear a very beautiful 1931 exceptional example. Then for something completely dif- prelude by Charles Parry on the tune Kilgen organ in St. Joan of Arc Catho- ferent, we hear the bright young theatre Martyrdom—a very sweet sound. lic Church in Indianapolis. The spacious Disc 4. Organs by Kimball/Reyn- organist Mark Herman (age 19!) play That is followed by the much larger and resonant stone room gives an added olds, Sanborn, Sanborn/Seeburg- a wonderful 3-manual, 17-rank Bar- 1968 Aeolian-Skinner in the Second luster as Rosalind Mohnsen plays her Smith, Goulding & Wood, Barton, ton organ in the Warren Center for the Presbyterian Church. Marko PetriēiɄ own arrangement of Marcia Funebre, Aeolian-Skinner, Pfeffer/Wicks/ Performing Arts. He plays two songs by plays the gorgeous Soliloquy by David from Giovanna d’Arco by Verdi. Next Goulding & Wood, and Reuter Cole Porter (born in Peru, Indiana): Just Conte, and Czech composer Petr Eb- is the hymn The Maid of France, with Ken Cowan plays Karg-Elert’s Fugue, One of Those Things and (my favorite) en’s Moto ostinato. These two tracks are Visioned Eyes (Noel Provençale), Canzone, and Epilogue. There are sur- My Heart Belongs to Daddy. Young Mr. among my favorites on these discs. and then Joseph Clokey’s The Wind in prises here: a solo violin is heard, along Herman has quite a fi ne future in store We then hear a 1994 organ by Charles the Chimney. These are charming and with some women’s voices—all coming for him. Ruggles at Calvary U. M. Church in well-chosen pieces. It is good to hear this from inside the organ case! The effect is Next is a marvelous performance by Brownsburg. Carla Edwards gives a music played straight, on a period instru- magical. The organ sound is rich and full. Daniel Jay McKinley on the outstand- very good demonstration of this fi ne ment, and in the style of the time. The violinist was Lisa Shihoten, Ken’s ing 1942 Aeolian-Skinner organ in First tracker organ with the Bruhns Praeludi- Thomas Nichols plays a rebuilt 2001 wife! This is drop-dead gorgeous music. Christian Church, Columbus. Building um in G, and the hymn Praise the Lord Wicks organ in Sacred Heart of Jesus The next track is from St. Mark Unit- and organ are both wonderful. We hear Who Reigns Above (Amsterdam)—well Catholic Church. Two of Dupré’s Fifteen ed Methodist Church in Bloomington just one track from his recital, but it’s a played, led, and sung. Pieces for Organ are followed by a favor- and its 1883 Sanborn organ. Christo- dandy: Prelude, Die Meistersinger von First Presbyterian Church in Frank- ite piece of mine: Cantilène by Gabriel pher Young plays There is a Spirit That Nürnberg by Wagner. This was the last fort has a 1959 Halloway organ on which Pierné, which features nice warm sounds Delights to Do No Evil from A Quaker large organ Aeolian-Skinner built until Mary Gifford plays a pretty little cho- from this organ. Reader by Indiana native Ned Rorem, after the war. Rebuilt by Goulding & rale prelude by Van Denman Thomp- The fi nal piece on this disc is by Denis followed by Flues Blues from The King Wood over a period of many years, the son’s: What a Friend We Have in Jesus. Bédard: Andantino. I liked it very much. of Instruments by yet another Indiana fi nal result is very fi ne. McKinley plays The next track takes us to Peru, In- It was performed on a 1966 E. H. Hol- composer, William Albright. The organ brilliantly, bringing out all the musical diana, hometown of Cole Porter, for a loway organ by David Lamb. sounds are pure and clear. The hymn lines in this score with all the intended visit to St. Charles Borromeo Catholic Father, We Thank You (Albright) is exuberance and elan. Church and its 1893 Louis Van Dinter Disc 3. Organs by Goulding & Wood, next. Its beauty creeps up on you and The fi nal tracks on this disc take us organ. Karen Schneider Kirner plays Aeolian-Skinner, Erben, Hook & does not let go of its gentle hold on your back to Indianapolis: fi rst to St. John the the Passacaglia from Sonata VIII in e, Hastings, and August Prante soul. Dr. Young concludes with Dudley Evangelist Catholic Church. Their fi ne op. 132 by Joseph Rheinberger—a good The 4-manual Goulding & Wood or- Buck’s Variations for Organ on Foster’s men and boys choir sang a lovely Choral organ demonstration piece. gan at the huge St. Luke United Meth- Melody “Old Folks at Home”. Sentiment Evensong for us. We hear two anthems: The fi nal piece on disc 1 was recorded odist Church, built in 1999, is expertly abounds—fi ne playing on a lovely organ. Ave Maria by Josquin Desprez, sung at St. James Lutheran Church in Lo- played by Thomas Murray. We hear Tracks six and seven are from Charles with good style in the generous acoustic gansport on a 1883 Barckhoff organ. Summer Sketches, op. 73 by Lemare. My Manning’s concert on the 1892 Sanborn of the church, and Stainer’s famous How John Gouwens treats us to a very good favorite is The Bees. The Vox Humana organ rebuilt in 1921 by Seeburg-Smith Beautiful upon the Mountains, sung in Improvisation on A Mighty Fortress— buzzes nicely! Murray draws wonderful in Old Centrum (formerly the Central the grand Anglican tradition. Frederick demonstrating the instrument’s resourc- color from this beautiful organ. Avenue Methodist Episcopal Church). Burgomaster is the choirmaster, and es very well, building a fi ne crescendo to Next is a lovely 1935 Aeolian-Skin- full organ, and then coming back down ner organ in Pioneer Chapel, at Wabash to a peaceful end. College in Crawfordsville. Stephen Schnurr and his student Micah Raebel Disc 2. Organs by Kimball, Felge- begin with the hymn Love Divine, All maker, Aeolian-Skinner, Kilgen, Loves Excelling (Beecher), followed by Eloquence and Artistry Wicks, and Holloway Micah’s fi ne playing of two movements Carol Williams starts off this disc at (Andante religioso and Allegretto) from North United Methodist Church on its Mendelssohn’s Sonata IV. Dr. Schnurr in Organ Building 1931 Kimball with additions by Holloway, then plays Prelude & Fugue on Laudes Reynolds, and Goulding & Wood. The Domine by Indiana native H. Leroy sound is lush and dark. We hear Bach’s Baumgartner. Teacher and pupil then Fantasia in c (BWV 562) and Lefèbure- share the bench for Gustav Merkel’s Al- Wély‘s March funèbre. She used the “fu- legro Moderato from Sonata in d. These nèbre” colors of the organ quite well. are good pieces for this organ and show Broadway United Methodist Church its qualities quite well. The playing is full is heard next in a special treat, with the of vigor. Broadway Festival Orchestra and Cho- Gregory Crowell is heard next on rus, led by Jack L. Fox, and Christopher what is believed to be a Henry Erben Schroeder playing the church’s 2001 organ from about 1851. It is now in St. Reynolds Associates organ (which uses Patrick Catholic Church in Lagro. The some pipework from the previous 1967 2004 restoration work by Hal Gober Wicks), in a performance of the Gloria brought this organ back from the near and Credo from Rheinberger’s Mass in dead. It has a clear and distinct sound C, op. 169. The forces produce a grand that fi lls the room. C. P. E. Bach’s Sonata sound in the gothic church. in F was a brilliant choice for this tiny The next track features a lovely 1905 organ. Crowell plays with great sensitiv- Felgemaker organ in Bethel A.M.E. ity and clarity. Church. MaryAnn Crugher Balduf Bruce Stevens played a wonderful gives a sensitive performance of Théo- concert in Reid Memorial Presbyterian dore Dubois’ Offertoire. Church in Richmond, on a 1906 Hook Kirby Koriath and his wife Kristi & Hastings, rebuilt by Henry Pilcher’s Koriath are heard next. Kirby plays Wie Sons, and again by Wicks. Each re- schön leuchtet der Morgenstern and a Toc- build involved minimal tonal changes, cata in d by Pachelbel on an instrument however. The organ’s sound is warm built and assembled by J. Zamberlan & and full-bodied. We hear Karg-Elert’s Co. of Wintersville, Ohio using his own Symphonic Chorale on Ach bleib mit pipework, and vintage pipes he obtained deiner Gnade, and Rheinberger’s Alle- from the Organ Clearing House: an 1870 gro non troppo from his Sonata VII in E. & G.G. Hook, op. 555, and a 1855 f. Stevens’ fi ne attention to detail and George Stevens or Stevens & Jewett. musical line is on display as he demon- St. Bede Catholic Church, Williamsburg, VA Mr. Koriath demonstrates the bright, strates this great instrument with grace Neil Kraft, Music Director assertive sounds of this organ handily in and sophistication. this literature. Louisville organbuilder August Prante’s Member, Associated Pipe Organ We then hear a very different sound 1899 organ in the Quaker Western Yearly John-Paul from a small 1943 Aeolian-Skinner at De- Meetinghouse, in Plainfi eld, restored by Builders of America Pauw University (Greencastle), played Goulding & Wood, is played by the dis- Buzard 112 West Hill Street by Mrs. Koriath: Buxtehude’s Prelude on tinguished Chicago organist William Pipe Organ Builders Champaign, Illinois 61820 Ein feste Burg (BuxWV 184) and Bach’s Aylesworth, featuring music by Chicago Mit Fried’ und Freud’ ich fahr’ dahin composers. Robert John Lind’s Variations 800.397.3103 • www.Buzardorgans.com (BWV 616)—a pleasant, clean sound on Nun Danket Alle Gott was written es- and performance. pecially for this concert! A fi ne piece, it
AUGUST, 2010 17 David Sinden is the organist. The organ ulation marks. These versions are nicely By the way, in playing from Guillou’s sonant at times, rhythmically active, started life as a Pfeffer, rebuilt by Wicks displayed, and on three foldout pages score, know that you will encounter C creative, complex, fi lled with diverse and then by Goulding & Wood. This was (no page turns). If the organist has these clefs: alto (often) as well as soprano and sounds—at times calling for unusual stop excellent music-making all around. pieces in one of the standard volumes of tenor (occasionally). combinations—and, above all, exciting! The last track was recorded at Rob- Bach’s works, however, it is questionable Bach never specifi ed the instrumen- Although some of the music could be erts Park United Methodist Church on a that these versions are necessary editions tation for the pieces in The Musical Of- rated as moderately diffi cult, most falls 1973 Reuter organ, which stands behind to the library. fering (though he almost certainly had in the diffi cult range and could be used a spectacular black walnut case built by in mind use of a fl ute in the sonata, in for recital work. Indianapolis organbuilder William H. Das musikalische Opfer (The Musical deference to King Frederick), nor did he Dreaming Eternity uses the dedica- Clarke for his c. 1876 organ. Michael Offering, BWV 1079), transcribed for indicate the order he preferred. A bal- tee’s initials ANG (A-F-G); these three Friesen plays William H. Clarke’s Short solo organ by Jean Guillou. Schott anced, concentric design, often favored notes and their transpositions structure Service Prelude (Call to Worship). It is 9804, $27.95. by Bach, would place the trio sonata in the work harmonically. The pace is slow, a fairly quiet end to this well-produced First issued in 1964 by the French the middle, surrounded on each side by with a mystical spirit. set of discs. publisher Leduc, this new edition cor- fi ve canons and with the whole framed Horizons is a contemplative cel- I always buy the CDs from the OHS rects earlier misprints, and Jean Guillou by a ricercar at each end. Jean Guillou ebration of the act of looking forward conventions. There are usually builders has added more complex, colorful and chose this order: three-voice ricercar, ten to bright futures. It explores wide- unique to the area, as well as familiar Bach-like registration suggestions. canons, sonata, six-voice ricercar. ranging lyric melodies that undergo names from elsewhere. The playing by The Musical Offering is truly great For organists, the main attractions in various transformations. local performers as well as big names is music, with perhaps a late-Baroque this work are the two ricercars. It is in- Dawn Liturgies is in three move- always riveting and often quite touching. “whodunit.” The story is famous: JSB, teresting to note that the fi rst, in three ments of contrasting moods. The out- The affection shown, especially for the known by then as “Old Bach” to his sons voices, can be considered to be a Bach er two are slow moving and ethereal; older historic instruments, broadens the and the general public, was summoned work written for the piano. It was cre- movement three is an exact note-for- scope of our attention to the instrument in May 1747 to the court of King Fred- ated on one of the newfangled Silber- note retrograde of movement one. The we love. Stephen Schnurr produced erick the Great, employer of Bach’s son mann fortepianos recently acquired by middle movement serves to break apart these discs, William Van Pelt did most C.P.E. (Emanuel). The journey from Frederick. And then there is the famous the other two and refl ect their thoughts of the photography, Paul Marchesano Leipzig to Potsdam must have been long Ricercar à 6: even with the help of two in an energetic manner. did the 39-page booklet layout (which in- and uncomfortable and, it is said, the feet, it’s a handful (literally) of thrilling Gospel Refl ection on “Blessed Assur- cludes photographs and specifi cations), haughty king didn’t even afford Bach the counterpoint. And, just as it represented ance” is based on the well-known hymn and the fi ne recording is by Edward courtesy of a wash-up and rest before a supreme accomplishment for Bach, so tune. The opening section is slow, while Kelly. Good work everyone! ordering him to appear in the palace’s will it be for you! the following section is faster, with a gos- —Frank Rippl music room. Although accounts vary So, what about the whodunit part? pel fl avor. I found it interesting that, al- Appleton, Wisconsin somewhat, it seems that the king gave The “royal theme” presented to Bach though the hymn tune never appears in Bach a theme and asked him to impro- by Frederick is quite complex, lengthy, its entirety, Cooman has captured a rec- vise a fugue. Bach supplied a three-voice and exceedingly chromatic. Was the king ognizable fl avor of the tune. fugue and other music, astonishing those really musician enough to have crafted The Fantasy-Variations on “Hunts- New Organ Music at court. He then returned to Leipzig, such a thorny tune? But if not Frederick, ville” was dedicated to Emma Lou composed the other ingredients in the then who? Could it have been by Eman- Diemer and is based on her hymn tune set, and, at his own expense, had the uel, seeking to challenge, perhaps even Huntsville. It is a set of variations, be- Four Bach Publications pieces engraved, printed, and sent to the embarrass, Old Bach? For a suggested ginning with a majestic opening followed king, as his “musical offering.” The irony: answer and a fascinating account of this by a brief excited section. A slow and Orgeltrios nach J.S. Bach, edited by Frederick probably thought little of it, historic meeting, the reader is encour- hushed quasi-passacaglia follows, which Gerhard Weinberger. Breitkopf & as he was known to prefer music in the aged to seek out and enjoy Evening in is in turn followed by an aria-canon. Af- Härtel 8779, €15.80. newer, simpler 18th-century style to the the Palace of Reason by James R. Gaines ter the opening material returns, a toc- These are transcriptions for organ of complexities of Baroque polyphony. (HarperCollins, 2005). cata emerges. fi ve Bach trios that originated in other The Musical Offering comprises two —David Herman Exaltations, a three-movement work, (chamber music) genres, in an exem- ricercars—the original in three voices Trustees Distinguished Professor of is the fi nal piece in this volume. Each plary edition with easy-to-read layout, and a second, composed in Leipzig, Music and University Organist movement takes its inspiration from a attention to detail, and care in editorial with an amazing six voices. These ricer- The University of Delaware different biblical passage dealing with markings. Trio writing by Bach is always cars are in fact fugues. Bach perhaps “exaltation”. A texture consisting of the technically challenging, especially the chose the earlier term in order to in- building up of thick chords and harmo- faster pieces. The slow movements here, clude this acrostic: Regis iussu cantio et Organ Music Volume II, Carson nies, note by note, permeates the work. however, are shorter and somewhat easi- reliqua canonica arte resolute. (“At the Cooman. Contemporary Organ Rep- Fanfares of jubilation are interrupted er; and they are very beautiful. king’s demand, the song [referring to ertoire, Wayne Leupold Editions, by slower sections. The second move- the fugue] and the remainder [the ten WL 600195, $32.50, ment is slow and warm. Unbounded Adagio [from Toccata, Adagio canons] resolved with canonic art.”) In
18 THE DIAPASON An Overview of the Keyboard Music of Bernardo Pasquini (1637–1710) John Collins
his year we commemorate the 300th new seven-volume edition, under the Contrapuntal pieces and sonatas by Bernardo Pasquini included in the Haynes edition Tanniversary of the death of Bernardo general editorship of Armando Carideo No. Title Key Time signatures Length Pasquini. Although much attention has and Edoardo Bellotti, was issued in 2002; 1 Capriccio D minor C-C-3/2-C 169 bars been given in the past few decades to the fi rst volume contains 60 versets and 2 Capriccio G minor C(4/2)-3/2 (two sections)-6/4-C 103 bars Pasquini’s dramatic and vocal music, of a pastorale from a recently discovered Sigue (to above) G minor 3/4 binary form 54 bars which the scores for twelve operas and manuscript in Bologna, edited by Fran- 3 Fantasia E minor C (incomplete) 57 bars seven oratorios in addition to many can- cesco Cera. The pieces from the Lands- 4 Ricercar D minor C(4/2) two sections 100 bars tatas and motets are known to survive, berg manuscript are included in volumes 5 Ricercar con fuga G major C(4/2) two sections-C-4/2 (two sections)- in più modi 3/4(6/4)-C-6/4-12/8 345 bars his extensive corpus of keyboard music 2–5, with the pieces from MS 31501 6 Canzona Francese G major C (two sections) 32 bars has only comparatively recently received in volumes 6 and 7. A further volume 7 Canzona Francese F major C-6/4 55 bars the attention it deserves. Considered one containing pieces from other sources, 8 Canzona Francese A minor C-6/8(3/4)-incomplete 164 bars of the major Italian composers for key- including as yet unpublished fugues in 9 Fuga G minor C 24 bars board between Frescobaldi (d. 1643) and three and four voices as well as pieces of 10 Sonata D minor C 44 bars Domenico Scarlatti (b. 1685), Bernardo uncertain attribution, is in preparation. 11 Sonata C major C 43 bars Pasquini, teacher of Francesco Gaspa- This edition is far more accurate but un- 105 Sonata Elevazione E minor C 48 bars rini (author of the infl uential L’Armonico fortunately much harder to obtain; see 106 Sonata F major C (two sections, second headed pensiero) 73 bars 139 Ricercar G minor C 56 bars Pratico al Cimbalo, Venice 1708), left the bibliography at the end of this article 140 Ricercar G minor C 83 bars well over 200 pieces for keyboard. for full details of these editions. Below I shall summarize Pasquini’s Sources and early editions extant keyboard music by genre; despite Figure 1d. Fantasia in D minor: example of variation technique The great majority of Pasquini’s works its shortcomings, I have used the AIM are preserved in four autograph manu- edition, and all numbers and titles cited scripts, including 121 in the autograph are from this edition. Because of their MS of Landsberg 215. A further partial extremely limited interest to the average autograph section is included in British player, I have not included the fascinat- Library MS 31501, I–III; to be found ing fi gured-bass sonatas for one and for in part I are the 14 sonatas for two bassi two players, or the fi gured-bass versos, in continui, 14 sonatas for basso solo, and in this discussion. Figure 2a. Canzona rhythms: traditional dactyl (no. 7) and repeated notes (no. 8) parts II and III no fewer than 314 short versi, also in fi gured-bass format. More Contrapuntal works substantial works in MS 31501, part I, Pasquini is known to have made cop- include a long Tastata, a Passagagli with ies of the works of Palestrina and Fresco- 24 variations, a set of variations on the baldi, the infl uence of the latter being Follia and, at the end of the section, nu- identifi able in both the toccatas and the merous short arie, more of which are to contrapuntal works. Only eleven pieces be found in part II. A few toccatas are that fall into this category seem to have also to be found in British Library MS survived, and two of these are incom- Figure 2b. Canzona rhythms: traditional dactyl (no. 7) and repeated notes (no. 8) 36661, which almost certainly predates plete. Those that survive are variable in the autographs by some years. quality, but several of them demonstrate Very few of his works were published the continuation of the variation tech- during his lifetime; three pieces enti- nique so prevalent in Frescobaldi—they tled Sonata, ascribed to N.N. of Roma, are included in book 1 of the Haynes edi- were published in 1697 in a collection tion. The fi rst piece, in D minor, is en- by Arresti, two of which were included titled Capriccio by Haynes (although in in an English “abridged” edition, and the manuscript it is entitled Fantasia); its backward-looking work in quarter and 16th notes taking over again in bar 66. other pieces were included in a collec- fi rst section closes in the dominant and eighth notes. The fourth piece, a ricercar A deceleration achieved via a cadence tion of toccatas and suites published in second section in the tonic. Both sec- in 4/2, is also slow-moving, on an archaic leads to a section barred in 3/4 (although 1698 by Roger of Amsterdam, which tions move mainly in quarter and eighth subject that proceeds through its 100 bars headed 6/8), which starts in bar 106 and also appeared in England in 1719 and notes. In the third section the subject is in half and quarter notes, with further runs to bar 157. Of the next section en- 1731. Others were included in assorted introduced in 16th notes, followed by subjects appearing during the piece. titled Alio modo la tripla, only seven bars manuscripts; see bibliography for fur- a triple-time section in 3/2. The piece By far the longest piece at some 345 survive, a great pity since this piece is of ther details. In the preface to his edition concludes with a return to C time, the bars is the Ricercare con fuga in più a high standard (see Figure 2a–2b). The of MS 964 at Braga, Portugal, Gerhard subject in its original time being accom- modi. This piece is in many sections, in- ninth piece, of 24 bars, entitled Fuga, is Doderer has speculated that some of the panied by fl orid 16th-note writing (see cluding the subject in diminution to half an example of very loose imitative writ- over 30 Italian (mainly Roman) composi- Figures 1a–1d). and quarter notes from bar 69, a return ing; the subject in the RH has LH pas- tions included therein (on folios 218–230 to original values from bar 123, a sec- sagework beneath it immediately. and 253–259) may well have been com- Figure 1a. Fantasia in D minor (no. 1, tion in 6/4 from bar 209 to 246, which Of the two pieces entitled Sonata, the posed by the school of Pasquini, if not by Haynes edition): example of variation includes 16th-note writing, a section in fi rst is also a loosely fugal work with a Pasquini himself; certainly some of his technique C time that closes in bar 265 followed by subject that opens with an ascending run compositions seem to have been known a further section in 6/4 to bar 311, after of six 16th notes followed by an eighth throughout Europe. which 12/8 takes over to the close of the note, another eighth note an octave be- Pasquini’s compositions for keyboard piece. There is scope for shortening this low, and then returning to the note—now cover all the main genres of his time, piece, which makes considerable de- a quarter—before falling a tone, where embracing some seventeen dance suites mands upon the performer. the sequence is repeated a third below (although the term suite is not used in Of the three pieces entitled Canzone the original opening note. The second the manuscripts) as well as single move- Figure 1b. Fantasia in D minor: example Francese, the fi rst in C major runs to sonata opens with a short toccata-like ments, fourteen variations on both self- of variation technique only 32 bars, the second in F opens with fl ourish over a pedalpoint, followed by composed arias and stock basses, four the typical canzona rhythm of quarter quarter-note chords modulating to the passacaglias, sonatas including the 28 fi g- note followed by two eighth notes and dominant; the second section is imita- ured bass pieces mentioned above, over has a second section in 6/4, and the third tive, the subject rising a fi fth in eighth 30 toccatas and tastatas, about a dozen piece in A minor opens with six repeated and 16th notes, and has similarities to a contrapuntal works, and a large number eighth-note Es (the repeated note fugal Corellian fugue. Both were included un- of versets. His numerous pupils in Rome subject was very common in Germany as der the name of “N. N. di Roma” in a included Casini, Zipoli, and possibly Du- well as Italy, with examples by Reincken, collection of 18 sonatas for organ by vari- rante and Domenico Scarlatti, in addi- Figure 1c. Fantasia in D minor: example Pachelbel, Kerll, and Buttstedt, among ous authors printed in Bologna ca. 1697, tion to J. P. Krieger and Georg Muffat, of variation technique others) and soon becomes a moto perpet- of which twelve pieces, including no. 10 as well as Della Ciaja, who published a uo in 16th notes, which slows to eighth here, were included in a London reprint set of mercurial four-movement toccatas and quarter notes briefl y in bar 56, the by Walsh & Randall ca. 1710. and retrospective ricercars and versets. It is highly probable that Handel met Pasquini in Rome in the early 1700s. Modern editions ERTIFIED PPRAISALS In addition to the facsimile edition of C A the Landsberg MS, there are two mod- The second piece, entitled Capriccio, ern editions of his pieces. An edition by opens with a ricercar-like subject in 4/2, Collections of organ books, recordings, and music Maurice Brooks Haynes for the Corpus followed by a triple-time section in 3/2 of Early Keyboard Music (American In- that moves into 6/4, and a closing section for gift, tax, and estate purposes stitute of Musicology) was issued in seven of six bars consisting of half-note chords volumes in 1964; this had the advantage against 16th-note fi gures derived from of grouping pieces by genres rather than the opening subject. The following short Stephen L. Pinel, Appraiser following the somewhat haphazard order binary form piece is headed “Sigue al ca- in the manuscripts, but contained many priccio antecedente.” The third piece, re- [email protected] / (609) 448-8427 printing errors and a somewhat sketchy grettably incomplete in the MS, is entitled approach to sources and evaluation. A Fantasia and is another slower-moving,
AUGUST, 2010 19 Dances ordered into suites, individual dances, and arias by Bernardo Pasquini Variation sets by Bernardo Pasquini included in Haynes edition included in Haynes edition No. Title No. of variations Key No. Key 1st movement 2nd movement 3rd movement 4th movement 5th mvt 48 Bizzarria 1 Dm 12 G minor Untitled C time Giga 6/8 49 (Alemanda) 2 Cm 13 G minor Alemanda C time Corrente 3/4 50 Corrente 1 Am 14 F major Alemanda C time Bizzarria C time 51 Sarabanda 1 F 15 A minor Alemanda C time Giga 3/8 b 52 Variationi Capricciose 7 (Theme not stated) C 16 B major Bizzarria 6/8 Untitled C time 53 Variationi a Inventione 11 (Theme not stated) Dm 17 F major Alemanda C time Corrente 3/4 Giga 6/8 54 Partite diversi sopra Alemanda 7 Am 18 G minor Alemanda C time Corrente 3/8 Giga 6/8 19 B minor Alemanda C time Corrente 3/4 Untitled C time 55 Variationi 13 Am 20 G major Tastata C time Corrente 3/2 Aria 6/8 56 Variationi Fioritas 6 C 21 C major Aria C time Aria 3/8 Aria cut C 57 Variationi 6 Cm 22 E minor Alemanda C time Corrente 3/4 Giga 6/8 Untitled C time 58 Variationi 5 Gm 23 D major Alemanda C time Corrente 3/4 Giga 6/8 Untitled C time 59 Variationi 8 Gm 24 A minor Alemanda C time Corrente 3/2 Giga 6/8 Untitled C time 60 Variationi 9 C 25 G minor Alemanda C time Corrente 3/4 Giga 3/8 Untitled C time 61 Partite diversi di Follia 14 Dm 26 Bb major Alemanda C time Corrente 3/4 Giga 3/8 62 Variationi sopra la Follia 4 (Theme not stated) Am 27 E minor Aria Allegra Untitled C time Giga 6/8 63 Bergamasca 8 (Theme not stated) Gm 28 Bb major Alemanda C time Corrente 3/4 Giga 6/8 Untitled C time Untitled C time 64 Partite di Bergamasca 24 (Theme not stated) C 29 G minor Alemanda C time 65 Partite del Saltarello 17 (Theme not stated) G 30 F major Alemanda C time 66 Passacagli 20 Bb 31 G major Alemanda C time 67 Passacagli 17 C 32 F major Corrente 3/4 68 Passacagli 12 Dm 33 F major Giga 12/16 69 Passacagli 24 Gm 34 D minor Giga 6/8 35 D minor Giga 6/8 36 A minor Giga 6/8 37 C major Bizzarria C time Figure 3a. Variationi a inventione (no. 53): Partita 8 showing rhythmic differences 38 C major Untitled 3/8 between hands 39 F major Untitled 3/8 40 F major Bizzarria 3/8 41 F major Aria Cut C 42 G major Aria C 43 C major Aria C 44 Cm, Cm, Cm, C, C, Gm Six Arias C, C, 3/8, C, 6/8 then C, C 45 C, C, C, Am, Am, C, Gm Eight Arias 3/8, C, C, 3/8, C, Cut C, 6/8, C 46 Em, Dm Two Arias 3/8, C 47 C, C, G Three Arias C, 3/8
The two ricercars, nos. 139 and 140 Alemanda, and Fioritas, with another set Figure 3b. Variationi a inventione: Par- junct eighth-note motion against either in volume 7 of the Haynes edition, are being entitled simply Variationi. Four tita 9 showing rhythmic differences be- full chords or just one other voice, con- both in G minor, the fi rst opening with passagaglie complete this genre. tween hands cluding with a veritable virtuoso fl ourish a canzona rhythm (half note followed by A Bizzarria has just one variation in of eighth notes in contrary motion. two quarter notes, all at the same pitch, which the RH has the 16th-note fi gura- The work entitled Variationi occupies in this case D) and proceeding in main- tion in the fi rst half, the LH in the sec- some twenty pages in the Haynes edi- ly quarter-note movement with a few ond; an untitled piece that is almost cer- tion, and consists of a theme in C time eighth-note runs and two RH runs of tainly an Alemanda has two variations in in mainly two-part texture in quarter and 16th notes, bar 25 being repeated an oc- fl owing 16th notes; a Corrente mainly in eighth notes followed by thirteen par- tave higher at bar 34. There is tonal am- quarter notes has one variation in eighth tite. The fi rst is mainly RH eighth notes biguity at the close of the subject, which notes; and a Sarabanda also mainly in Gagliarda and is unusually in C time against LH 16th notes, the second is in covers the minor scale descent from E- quarter notes, some dotted, has one vari- (examples in C time are also to be found 3/4 and, although not headed as such, is fl at to G via B-natural followed by B-fl at, ation in 16th notes in which parts appear in Pasquini’s Spanish contemporary Juan a corrente with a preponderance of two- which lends the piece charm. No. 140 is a and drop out at will. Batista Cabanilles). Further broken part writing. The third partita is headed longer piece at 83 bars that also proceeds The set of variations on Fioritas has chord fi gures and fi gures of ascending or altro modo and has far more arpeg- mainly in quarter notes, with a further only six variations, but the manuscript descending thirds with the fi rst note held giated eighth-note motion. The fourth example of tonal ambiguity in the sub- contains the heading 7th, which clearly on occur throughout, and neat syncopa- is headed 3/4, but only two bars are in ject (also between B-fl at and B-natural). implies that Pasquini intended to write tions in thirds in the RH appear towards this rhythm, the rest being in 6/8, again Of interest are the written-out trill in the more. The Variationi Capricciose, on an- the end of the second part. with much arpeggiated fi guration begin- treble commencing on the upper note other tuneful theme that may have been The theme of the Partite diverse so- ning on the second eighth note. The fi fth in bar 19 and the written-out alto trill in original, is in seven partite. The theme pra Alemanda moves in quarter notes, is in 16th notes, with frequent rhythmic the penultimate bar with its Lombardic is the fi rst, the second in 3/4 is headed but each half is followed by a written-out imitation; the sixth is in 3/4 with eighth rhythm in the fi rst two beats. “in corrente”, the fourth is a sarabanda, repeat in eighth notes, with imitation notes, sometimes in broken-chord for- the fi fth in 6/4 is in quarter-note motion, between the parts, broken chords, and mat, against quarter notes; the seventh Suites, individual dances, and and the sixth in C time makes great de- contrary motion. The theme is followed has mainly conjunct eighth notes against arias/bizzarrias mands on the player, with an extended by seven partitas, the fi rst of which is in quarter notes in the fi rst section, the sec- Pasquini’s seventeen “suites” for key- trill in the alto in each half as well as oc- 16th-note movement, with the by-now ond section with eighth notes in arpeg- board that are included in volume two of casional simultaneous trills in the tenor. usual fi guration. The second, in binary giated fi gures. the Haynes edition are probably the fi rst The fi nal variation is in 3/4, with LH form, is another rhythmic conundrum, The eighth variation is another Fresco- such examples in the Italian keyboard 16th notes against a mainly chordal RH with the RH in C12/6, and the LH in baldian corrente, with mainly quarter- literature that contain several dances in the fi rst half and at the conclusion of C6/12; this can be played most success- note movement in the RH, against either grouped together in the same key—the the second half. fully as 12/8, much of it being in two quarter notes, dotted half notes, or half term “suite” is not used in the manu- Of much greater substance are the parts only. The third, fi fth, sixth, and notes in the LH. The ninth has an oscil- script. They include Alemanda, Corrente remaining three sets: the Variationi a seventh partitas are all headed 3/4 but lating 16th-note fi gure in the LH, with and Giga, based, however, not on the Inventione contains eleven partite; again barred in 6/4, the fourth actually being RH eighth notes. The tenth is construct- examples of Froberger and the French the theme is considered to be the fi rst headed 6/4. In the third, fl owing eighth ed entirely around an eighth note in the school, but rather on Italian ensemble variation (its fi rst half has mainly chords notes soon give way to treble and bass RH followed by two 16ths in the LH, music. Several movements are untitled, in the RH over a moving eighth-note quarter notes, with an alto eighth note frequently in octaves. The eleventh is an- others carry such terms as Bizzarria; but bass; the second half sees more 16th- after a rest, a fi gure that becomes wear- other movement with extended trills—in since the movements are grouped by note movement in the RH over quarter- ing when used so relentlessly as here. the fi rst section placed in the alto lasting key, they may well have been intended note chords or moving eighth notes). The The fourth partita moves in quarter throughout the section, in the second in to form unifi ed groups as presented in third set in 6/4 is in quarter-note move- notes, the second half opening with one the tenor for just the fi rst six beats after this volume. These “suites” comprise ment in one part against dotted half-note bar of eighth-note imitation before a fi g- which imitative passagework against half two to four movements in various com- chords throughout; the fourth, although ure of rest followed by two quarter notes notes progresses (see Figure 4). binations. Also included in this volume headed 12/8, is barred in 3/4 and 6/4, this is passed between the hands. Although the twelfth partita is headed are several short pieces in binary form, time with 16th-note passagework formed The fi fth partita has broken-chord writ- Sarabanda, it has more in common with including four entitled Bizzarria and no from a sequential fi gure against chords. ing in the RH over a quarter-note bass, a corrente as it progresses in quarter- fewer than twenty-eight entitled Aria, all The fi fth to seventh sets are headed Cor- with the LH also having broken chords note motion with several instances in of which are attractively tuneful. By their rente and are distinctly backward-look- in the repeats; in most of the piece, the the RH of the fi gure of dotted quarter nature the dances, bizzarrias, and arias ing, being similar to Frescobaldi’s Cor- top and bottom notes in fi gures are held bearing a t (for trill) followed by two 16th are more suited to stringed keyboard rente in his two books of Toccate. Broken on to produce a tonal build-up, but this notes and a quarter. The fi nal partita is instruments, although performance on chord fi gures feature in the sixth, and in- is relieved in the middle of the piece by in 3/4; after the fi rst bar it is in two parts a chamber organ would have been quite sistent eighth-note movement appears in only the bass notes being held, which has with eighth-note fi guration throughout, probable; for this reason a more detailed the seventh. In the eighth and ninth sets the effect of acceleration. The sixth par- sometimes in contrary, sometimes in account has been omitted here. there is a further reminder of Frescobal- tita is based around a fi ve-note eighth- parallel motion, but also with one hand di in the time signatures: in the eighth note fi gure passed between the hands, moving quite differently from the other; Variations the RH is in C time against 6/4 in the LH while other parts have held half notes this virtuosic movement brings the work These pieces are to be found in vol- (see Figures 3a and 3b). or dotted half notes; occasionally a third to a fi ne close. It may have been intended umes three and four of the Brooks In both hands, eighth notes are part in quarter notes is used as well. The as a compendium of compositional tech- Haynes edition. The twenty-two sets of grouped in duple as well as triple fi nal partita has continuous, mainly con- niques for students. There is a precedent variations include four based on dance rhythms, and the fi gure of dotted quarter movements with just one or two varia- followed by two 16ths is passed between Figure 4. Variationi (no. 55): Partita 11 showing internal trill tions, two sets on the Follia, two on the the hands. In the ninth partita, the RH is Bergamasca, with a further one on its in 12/8 against a LH of 8/12, with the in- Saltarello, and four sets entitled Varia- sistent pattern of dotted eighth followed tioni based on aria/dance-like themes by 16th. The tenth partita is headed 3/4 that may well have been by Pasquini but barred as 6/4, again a corrente in himself. Further sets are entitled Ca- form, with more broken-chord writing, pricciose a Inventione (perhaps implying sometimes in contrary motion between an original theme), Partite diverse sopra the hands. The fi nal partita is headed
20 THE DIAPASON Figure 5. Partite diversi di Follia: Variation 7 showing violinistic fi guration Toccatas and Tastatas by Bernardo Pasquini included in Haynes edition Piece no. Key Time signatures Length (Ta = tastata; P = prelude) 70 F major C-3/4-C-3/4 in binary form + variation 107 bars 71 C major C (with pedals) 130 bars 72 Ta G minor C 38 bars 73 F major C 40 bars 74 F major C (two sections) 40 bars 75 Ta A minor C 46 bars 76 E minor C (two sections) 41 bars Figure 6a. Passagagli in C (no. 67) showing chordal writing 77 Ta C major C 15 bars 78 G minor C 37 bars 79 D minor C 52 bars 80 D minor C 32 bars 81 A major C Toccata con lo scherzo del cucco 93 bars 82 Ta G minor C 38 bars 83 C minor C 29 bars 84 C major C 29 bars 85 A minor C 44 bars 86 Ta G minor C 34 bars 87 Ta G minor C 35 bars 88 F major C 62 bars 89 Ta F major C 40 bars Figure 6b. Passagagli in G minor (no. 69) showing melodic writing 90 G minor C 29 bars 91 F major C 40 bars 92 Ta D minor C 34 bars 93 Bb major C 46 bars 94 Ta C major C (two sections) 46 bars 95 P C major C (two sections) 83 bars 96 A minor C 45 bars 97 E minor C 64 bars 98 G major C-12/8-C-6/8 60 bars 99 A minor C-3/4-C 76 bars 100 G minor C-6/8-C 101 bars in Bernardo Storace’s Passo e Mezzi in is chordal and in 3/2 and is closer to a 101 D minor C (two sections, fi rst with pedals) his Selva of 1664 for including variations ciacona, they are melodic and in 3/4 (see -3/2-C(with pedals) 90 bars headed corrente and gagliarda. Figures 6a and 6b). The writing in the 102 G minor C 61 bars 103 G minor C 34 bars Together with Buxtehude’s roughly B-fl at and G minor pieces becomes in- 104 C major C 56 bars contemporary arias, the four sets of vari- creasingly virtuosic as they develop. 141 G major C-12/8-C 55 bars ations based on aria/dance-like themes 142 C major C-3/2-C 75 bars are some of the earliest examples of key- Toccatas and Tastatas board variations on original subjects after In volumes fi ve and six of the Haynes Frescobaldi’s Aria detta La Frescobalda; edition, thirty-four pieces are entitled Figure 7. Toccata with chordal opening and pedal notes they almost certainly pre-date Pachelbel’s either Toccata (twenty-fi ve) or Tastata set of six arias with variations published (nine), there is one piece entitled Prelu- in 1699 as Hexachordum Apollinis; they dio, one Sonata–Elevazione; one Sonata have six, fi ve, eight, and ten variations in two sections, the second headed Pen- respectively (although in the latter there siero; two further toccatas are included seems to be an error in the Haynes edi- in volume 7. The choice of keys is still tion: what looks like the second half of very conservative, not exceeding two the binary form theme is headed varia- fl ats, which is used for no. 83 in C minor, tion 1; this would mean that there are and two sharps used for no. 81 in A ma- actually only nine variations). The fi rst jor. Space does not permit a detailed dis- three are in the rhythm of a gavotte. All cussion of this substantial contribution to of the themes are in C time, but the fi rst the repertoire, therefore comments have set contains variations in 3/4 and 6/8; the been limited to generalizations and to second has two in 6/8 including the fi nal those pieces that are of greater interest. one; the third has two in 6/8 (one headed Most of Pasquini’s pieces are in one as 3/4, which may just be a remnant of movement, but at least fi ve (70, 98–101) the tempo theory mentioned by Fresco- are in several sections, of which nos. baldi in his books that related tempi to 98–101 are included in the earlier Brit- time signatures); and the fi nal one has ish Library MS 36661. No. 70 is one of Figure 7a. Toccata with chordal opening, arpeggiation implied (no. 99) variations in 3/4, 6/8, 3/8 and one that is the most ambitious, the sections being in 3/8 in the manuscript, although barred in C time, 3/4, C time, concluding with as 6/8. Again there is much variety of tex- a binary-form corrente-like movement ture including pseudo-polyphony, violin- with a variation. No. 71 opens with two like fi guration in the RH, and sequential bars of chords suitable for arpeggiations fi guration, with several variations requir- (indeed, in no. 94 the instruction “arpeg- ing an advanced technical ability. gio” is included, relating to the fi rst two The two sets based on La Follia are chords) before motives are passed from very different in character. The fi rst has hand to hand over long-held pedal notes; fourteen variations after the initial state- also featured are passages in parallel ment and displays Pasquini’s mastery in tenths (see Figure 7). transferring the string idiom to the key- There are several toccatas that either board in a wide variety of rhythms. Note- open with chords or contain chordal worthy are the continuous triplet eighth passages within the piece; in some the notes in the RH in variations 5 and 9, instruction to arpeggiate is included, in and the LH in variation 6, the fi gure of others it is implicit (see Figure 7a). Ped- three quarter notes followed by a burst als are also required in no. 101 through- of 16th notes in the RH of variation 7 out the fi rst section, which is markedly (see Figure 5), the virtuoso passagework similar to Frescobaldi’s Toccata Quinta for both hands in variation 10, the highly from his second book; the second section chromatic RH in the thirteenth, and the is imitative, starting in C time followed written-out trills and eighth-note fi gures by a variation in 3/2 before a short clos- in the fi nal variation. ing section in C time in which 16th-note The second set has only three varia- passagework against quarter-note chords tions, which move in eighth notes, with is passed from hand to hand, the fi nal thematic imitation prevalent in the fi rst four bars again requiring the pedals for and second, and rhythmic imitation (quar- the long-held notes. ter note or rest followed by two eighths Several pieces include the old Fresco- and a quarter) in the fi nal variation. The baldian written-out accelerating trill Bergamasca sets are similarly varied, with commencing on the upper note (two eight and twenty-four in the C time sets, 16th notes followed by four 32nds) (see and seventeen in the Saltarello, which is Figure 7b); in others it is implied via the in 3/8 as would be expected. Although in letter t placed over the fi rst note, nor- the longer works some of the movements mally a dotted eighth followed by a 16th do not rise above the formulaic, there are one degree below. Although quite a few many variations that carry the melodic of Pasquini’s toccatas do contain passages freshness and tunefulness of an accom- that remind the player of Frescobaldi’s plished composer. writing, there is not the same degree of The four passagaglias are in B-fl at, nervous discontinuity and far more reli- with twenty variations on the theme, ance on sequential writing. C with seventeen (with probably more It would seem unlikely that most of either not transmitted or never com- the suggestions on playing toccatas con- pleted), D minor with twelve (again al- tained in Frescobaldi’s prefaces to his most certainly incomplete), and G minor two books are applicable to these exam- with twenty-four. All stress the second ples, although there is scope for shorten- beat and apart from the C major, which ing those pieces that are presented in
AUGUST, 2010 21 Figure 7b. Toccata showing written out and implied Frescobaldian trills (no. 70) Versets by Bernardo Pasquini edited by Francesco Cera Verset no. Key Time signature Length Shortest note 1 D minor C 11 bars Eighth note 2 D minor 3/2 14 bars Quarter note 3 D minor 3/8 21 bars Eighth note 4 D minor C 6 bars 16th note 5 D minor C 12 bars Eighth note 6 C C 11 bars Eighth note 7 C 3/4 19 bars Eighth note 8 C C 8 bars 16th note Figure 7c. Toccata con lo scherzo del Cucco showing internal trill (no. 81) 9 A minor C 13 bars Eighth note * 10 A minor 3/4 19 bars Eighth note 11 G minor Cut C 13 bars Eighth note 12 G minor 6/8 15 bars Eighth note 13 C C 6 bars 16th note 14 C C 6 bars 16th note 15 C C 8 bars Eighth note 16 C C 6 bars Eighth note 17 D minor C 6 bars Eighth note 18 D minor C 7 bars Eighth note 19 E minor C 7 bars Eighth note Figure 7d. Preludio showing written-out trills commencing on main note (no. 95) 20 E minor C 11 bars Eighth note 21 F C 6 bars Eighth note 22 F C 6 bars Eighth note * 23 F 3/4 7 bars Eighth note 24 G minor C 6 bars Eighth note 25 G minor C 7 bars Eighth note 26 G minor 6/8 8 bars Eighth note 27 G minor C 4 bars 16th note 28 D minor C 8 bars Eighth note 29 D minor 3/2 11 bars Quarter note* 30 D minor C 7 bars Eighth note 31 D minor 3/4 10 bars Eighth note Figure 8. Pastorale, false relation 32 D minor C 8 bars Eighth note 33 D minor C 4 bars 16th note 34 E C 4 bars 16th note 35 E minor C 8 bars Eighth note 36 E minor 3/4 8 bars Eighth note 37 E minor C 5 bars Eighth note 38 E minor C 6 bars 16th note 39 E minor 3/4 9 bars Eighth note 40 E minor C 4 bars 16th note 41 E minor C 5 bars 16th note 42 E minor C 6 bars 16th note sections, and some of Pasquini’s pieces based on passagework passed between 43 F C 7 bars 16th note do indeed carry the indication to arpeg- the hands, varying between conjunct 44 F C 8 bars Eighth note* giate half-note chords. Certainly there movement and from bar 64 arpeggiated 45 F C 13 bars 16th note does not seem to be any reason to adopt fi gures (see Figure 7d). 46 A minor C 17 bars Eighth note Frescobaldi’s suggestion of dotting 16th The two toccatas included in volume 47 A minor C 8 bars Eighth note notes in those passages in which eighth seven (nos. 141 and 142) are each in 48 A minor C 3 bars 16th note notes in one hand are set against 16ths three sections, an opening and closing 49 A C 6 bars 16th note in the other. However, his injunctions to one in C time enclosing central sections 50 A 6/8 7 bars Eighth note 51 Bb C 4 bars 16th note treat the beat freely can be applied cau- in 12/8 and 3/2 respectively. In no. 141 52 Bb 3/4 12 bars Quarter note tiously here, as can the eminently sensi- much is made of sequential fi gures and 53 B minor C 5 bars Eighth note ble comments on pausing before begin- trills, both indicated and implied; the 54 B minor 3/4 8 bars Eighth note ning passages in 16th notes in both hands 12/8 section is homophonic and leads to 55 G C 6 bars Eighth note and retarding the tempo at cadences. In a fi nal section in C time, which makes 56 G C 7 bars Eighth note the longer sequential passages, there can much of seventh chords, before a brief 57 D C 6 bars Eighth note be a judicious slackening and taking up coda based on two 16th notes followed 58 D 3/4 11 bars Eighth note again of the tempo to allow the music to by an eighth note passed from right hand 59 C minor C 4 bars 16th note breathe and not degenerate into mecha- to left hand; a written-out trill in the left 60 C minor 3/4 8 bars Eighth note nistic exercises. Almost certainly, all trills hand against this fi gure is reminiscent * indicates written out resolution notes in one degree lower value should commence on the main note, this of Frescobaldi. In no. 142 the opening being appropriate also for every compo- consists of four bars of 16th notes cover- sitional genre. ing from treble G to tenor C, before a Figure 9a. Versetto 2, retrospective subject One of the most popular and virtuo- passage over a held tenor G moves into sic pieces is no. 81, the Toccata con lo a section that includes a further example scherzo del cucco, which is based on the of a chromatic progression on the third descending minor third. The cuckoo call of the scale, prefi guring the imitative is heard in eighth notes against 16th- triple-time section; the closing C time note passagework, punctuated by sec- consists of only two bars—in the pen- tions in half notes marked arpeggio or ultimate bar the LH consists of a writ- by the nervous rhythms and modulations ten-out trill, with closing notes on tenor by chords of the seventh. At bar 47 the B, the opening two beats being a C–B in RH breaks briefl y into triplets (although reversed dotted rhythms. Figure 9b. Versetto 8, more lively subject printed as 32nd notes they are actually 16th notes), and from bar 79 onwards a Versetti, Pastorale and other long-held A, fi rst in the tenor and then in works the alto, is marked trillo continuo, which Francesco Cera has recently published will pose a most severe test to the player a group of pieces that he discovered in a to maintain it against the other part to be manuscript in Bologna. Included are an played by the same hand. This piece is Introduzione e Pastorale, and 60 Verset- not too dissimilar to Kerll’s own toccata ti. The 27-bar Introduzione leads into a on the same theme (see Figure 7c). Pastorale of almost 90 bars. Both are in The Elevazione-Adagio (no. 105) is triple time and make much use of a dot- also included in the Arresti publication, ted rhythm. Long-held notes in soprano, Figure 9c. Versetto 42, Toccata style where it is entitled Sonata; after a slow alto, and bass imitate the droning of bag- introduction the writing continues in pipes, and particularly noteworthy is the 16th-note fi guration based effectively use of the Neapolitan sixth as well as the on sequences. The second piece entitled false relation (see Figure 8). Sonata (no. 106) is in two sections: sev- The Versetti are mainly short imita- enteen bars of 16th-note fi gures passed tive pieces, many not exceeding fi ve bars from hand to hand are followed by a (they are similar to the short versetti short chordal link marked arpeggio that in the 1689 collection from Augsburg leads to further sequential passages. The known as Wegweiser), but fi ve of them second section, headed Pensiero—itself (nos. 33, 34, 42, 43, and 45) are miniature in two sections—is nothing like the in- toccatas, with 16th notes against held two eighths is common, as is the fi gure of natures of one less accidental than pres- tricate contrapuntal pieces of that name chords. The fi rst four of these are built two 16th notes followed by two eighths ent usage retained (i.e., two sharps and published in 1714 by Giovanni Casini, on passagework against held chords, but and a quarter. Also notable is the insis- fl ats respectively). but opens with imitative passages based there is some imitative writing in no. 45 tent giga-like rhythm of dotted quarter Also included in Haynes’s volume on a rhythmic motive, before its second (see Figures 9a–9c). followed by an eighth and quarter in al- seven are ten short pieces (from four to section opens with passages derived from The grouping by keys in the manu- most every bar of no. 54. The most lively fi fteen bars) without title, which are ten- a further rhythmic motive that leads into scripts implies use as a series (see table). is no. 49, with its subject in 16th notes tatively entitled Versi by Armando Cari- passages based on the rhythmic motive The subjects of the versetti range from treated in inversion at the end. deo in volume seven of the Italian edi- of the fi rst section and its inversion. archaic subjects in longer note values There is one example in 3/8 and three tion. Four of these are in 3/4 and have The one piece entitled Preludio, no. (nos. 1, 2, 9, and 46, for example) to in 6/8 in equal eighth notes, two in 3/2, mainly continuous eighth-note motion in 95, is also in two sections, the fi rst alter- more lively subjects using eighth and and 10 in 3/4, with the majority in C or one hand against long chords, while the nating long-held chords with 16th-note 16th notes (such as nos. 4, 6, 8, 13, and cut C. The part writing is relatively loose others in C time are close to the minia- passagework against chords passed from 14, etc,). A canzona-like dactylic rhythm but effective. Keys used cover up to A ture toccata style noted in the versetti hand to hand. The second section is again of eighth note followed by two 16ths and major and C minor, with the old key sig- above. There are ten Accadenze (or ca-
22 THE DIAPASON dences), which again are very short, with Ottava, fl ute, and reed stops were divid- Silbiger, Alexander, ed. Keyboard Music be- co Cera for his invaluable help and comments either toccata-like fi gures or based on ed, usually between middle e and f or f fore 1700. New York and London: Rout- during the preparation of this article. short rhythmic fi gures. A different Pasto- and f-sharp. ledge, 2003, pp. 299–303. rale opens with a repeated multi-section There is no evidence that Pasquini ad- Silbiger, Alexander. Italian Manuscript Sourc- Modern editions movement in 3/2 leading to a movement hered to Diruta’s system of registration es of the 17th century. Ann Arbor: UMI Re- Collected works for keyboard edited in in C time full of dactyl rhythms, which by mode included in the 1609 volume of search Press, 1980. seven volumes by Maurice Brook Haynes. ______. “The Roman Frescobaldi American Institute of Musicology, Corpus of includes the traditional drone bass that Il Transilvano, but the legacy of Anteg- Tradition, ca. 1640–1670.” Journal of the disappears and reappears at will. nati in offering registrations based on the Early Keyboard Music, CEKM 5-1 to 5-7. American Musicological Society, xxxiii 1980, Vol 1: Contrapuntal works type of piece and its function in his 1608 pp. 42–87. Vol 2: Suites and dance movements, bizzar- Performance practice volume were still followed well into the rias and 20 arias. A few general notes on performance seventeenth century (e.g., for Canzone Facsimiles Vols 3–4: Variations. practice relating to 17th-century Ital- alla Francese, the Ottava plus Flauto in Facsimile edition of Landsberg MS edited by Vols 5–6: Toccatas and Tastatas ian organ music may be helpful in de- ottava [4′ Flute], Principale plus either Emer Buckley in 2 parts + CD: Anne Fuzeau Vol 7: Figured bass sonatas and miscella- termining answers to some frequently Ottava or Flauto in ottava plus Flauto Classique,
AUGUST, 2010 23 Voice Lessons: An organist’s journey to the other side of the console David Sims
n the summer of 2009, I embarked on This is not to downplay the effects or I a journey unusual for most organists: importance of the voicing process. It is I left “our” side of the console and spent indeed some kind of magic that music two weeks in the pipe chambers. As an can become poetic communication. But employee of Goulding & Wood, Inc., of voicing is no more magical than a cellist Indianapolis, I had been in plenty of or- infl uencing the tone quality from her gans before, but this was the fi rst time I cello; it’s a learned musical skill. It feels was able to go on a tonal fi nishing trip magical or mysterious as players because and spend as much time in the organ as we don’t do it and know little about it. playing the fi nished result. Because this Voicing is simply outside the realm of opportunity seldom arises, I wrote the our experience, not an illusion. following as a refl ection on the process As organists, we can begin to de-mys- of tonal fi nishing from the perspective tify the voicing process, starting by taking of an organist and what lessons organists ownership of what we hear. We should can learn from their instruments. practice listening to organs so that we Among musicians, we organists might can be as descriptive as possible, reserv- be guilty of knowing the least about our ing judgment and instead focusing on instrument. Most likely this has to do what we hear, not on what we’ve heard with a typical organ’s size and layout. others say. Because of its small size, it is easy to be- 2) Individuals matter. After the fi rst come intimately acquainted with a violin, day of tuning, we had just the Great 8′ for example, but organs are much larger and 4′ principals in tune. The excitement and more complex. Often the console is of fi nally being able to play something separated by considerable distance or on the organ in its intended space was height from the rest of the organ, with so great that we spent an hour or so just little hope of peering in without a lad- playing on these two stops. der. Inside are tons of moving parts—the I don’t believe I’ve ever played on most interesting of which are sealed in just one or two stops for that long. I a windchest that we are unable to open know that had I sat down at a new or- while the organ is on—and pipes, which gan that was entirely tuned I wouldn’t look the same whether they are sound- have had the patience to limit myself to ing or not. each stop for so long; half a praeludium In college and graduate school, I spent later I’d have tried the entire principal as much time taking practice organs apart chorus and moved on to the fl utes. Nar- as I did practicing, so it’s no surprise that rowing my focus (albeit out of neces- after my master’s degree in performance sity) to only two sounds was the most David Sims tuning the Great division in the shop I went to work for Goulding & Wood. Af- eye-opening experience on the trip. I ter almost a year of tuning, service work, really got to know those ranks, how they and helping in the shop, I had the oppor- changed throughout the register, what tunity to go on the tonal fi nishing trip for they sounded like on their attack, and Opus 48, a 3-manual, 59-rank organ in how their color was rich with descrip- Macon, Georgia. Growing up fascinated tion, not just “principal-ly.” Each day, by organs, I always thought of voicing as the palette of colors expanded as we a form of magic: somehow, with the right had more and more stops tuned. New touch, someone got thousands of pipes stops taught us more about the original to speak together. Our rather unique sit- 8′ and 4′ as we were able to pair them uation among musicians of having only in more combinations. fi nite and incremental control over the As organists, we should challenge timbre of our music exacerbates the ten- ourselves to limit our registrations when dency to view voicing as magical. That is, meeting an organ new to us. Individual once we get down to only one stop, we sounds matter, so get to know each stop cease to have much infl uence over tone as a building block before you add more. color or volume. The rest is, well, magic. We are so quick to mix sounds without So what did this organist learn on a really listening to each ingredient, even tonal fi nishing trip that might help on though the organ was voiced so that each “our” side of the console? Goulding & stop was beautiful in and of itself. Wood’s process of tonal fi nishing begins 3) Duplicates suggest usage. Space in the shop. After visiting the site, our on a windchest is expensive real es- voicer does nearly all of the voicing in tate, so one hopes each rank is placed the shop while the organ is being built, there purposefully and thoughtfully. leaving some room for adjustment. When Because space is such a premium, du- Brandon Woods cutting up a fl ute the organ installation is complete, onsite plicate stops—stops that are essentially tonal fi nishing begins. First, all of the reg- the same in different divisions—are Pedal 8′ Trumpet helps to delineate the isn’t really silence? Air handling equip- ulators on offset pipes are set to match clues that they were voiced for differ- pedal line in contrapuntal music, works ment, passing traffi c, and other activities the pipes on the main chests. Then the ent purposes. Goulding & Wood’s tonal nicely as a solo, and marries the large 16′ are the stuff in a church that we often organ is completely tuned, starting with philosophy is rooted in a fully developed Posaune to the rest of the organ. label as “silence.” But maybe we should the Great 4′ Octave and moving outward skeleton of principal choruses, so each The Macon instrument also has two sit in the church alone long enough to be through the fl ues and then the reeds. division has at least a 4′ principal cho- 16′ stopped fl utes, one in the Swell (and aware of these sounds. Then we can truly At this point, the organ is completely rus. With four 4′ principals on the organ, unifi ed to the Pedal) and one in the Ped- be plugged in to what the organ is sing- playable, and we can hear where the each was voiced to have its own place in al. We adjusted the 16′ Lieblich in the ing. After all, if we ignore ambient noises organ is and what needs adjusting. The the tonal scheme. Swell fi rst, and then voiced the Pedal to call them, in context, “silence,” what stops are gone through carefully and For example, we spent careful time 16′ Subbass to be larger than the Swell. nuances in pipe speech do we gloss over balanced against the rest of the organ’s balancing the Choir 4′ with the Swell 4′ Hopefully, as organists we would take the or label too broadly? Does the Rohrfl öte resources. Pipe speech and quality are because the Choir box is to the rear of the time to investigate why the organbuilder sound like the Gedeckt? Do we register given just as much attention as volume chamber and needed to be brought up decided that two 16′ stopped fl utes were full organ by sight and never experiment and pitch. Our preference is to work in volume. A careful listener could listen necessary, and how each one fi ts in the with what contribution, if any, the fl utes until the evening, then take an hour or to these “duplicate” stops and hopefully vision of the organ as a whole. are making? more to play literature and take notes for hear two ranks with similar volume but 4) Listen deeply. During the tonal 5) “The Room” doesn’t have a the next day’s work. slightly different color—the Swell Oc- fi nishing, we sometimes had minor in- drawknob. We’ve all heard that “the The rhythm of working, listening, and tave a little fuller to match the smooth 8′ terruptions, whether they were from room is the most important stop on the playing led me to refl ect on a number of Geigen Diapason, and the Choir Fugara noises outside or gracious visitors look- organ.” During this trip, I thought a lot lessons I learned that might be helpful to to match the more transparent, lighter ing at the beautifully renovated sanctu- about that axiom. It is true that the room other organists. Choir plenum. ary. While never enough to affect our is vitally important to the technique and 1) Voicing is not magic. Voicing, Opus 48 has an 8′ Trumpet on each di- work, I noticed how jarring it was to hear effect of music-making in that space. the art of balancing pipe speech across vision; as an organist, take time to listen a passing police car or vacuum down the Resonant rooms that eschew echoes but an organ, is just that: an art. It takes ex- to the differences to each one and ask hall after concentrating on the speech of promote reverberation evenly across the perience, hard work, intuition, artistry, “why?” The Great 8′ Trumpet is broad the pipes. When it was my turn to hold pitch spectrum are certainly preferable common sense, personality—but not and voiced to blend with the principal keys and give feedback from the room, to dry rooms, echoing rooms, or rooms magic. “Magic,” after all, is the word chorus, adding richness and color. The I found myself listening more intensely that respond well to only high or low fre- we give to things we cannot explain and Swell 8′ Trumpet has more brilliance and than normal, both to the pipes and any quencies. The organ’s color and power have given up trying to understand fur- upper harmonics to add a fi ery sound to other noise. can fully and naturally develop, and con- ther. For a magic trick to remain magi- the whole organ, while the 8′ Cornopean Can we all listen deeply? That is, can gregational singing is vastly improved. cal, we must take it at face value, in- in the Choir is big in scale but voiced we engage in listening so focused that we We can feel one another singing and the vestigating no deeper and leave merely and regulated to be subdued and have really hear all the sounds the organ is mak- organ sings with us. The room is a large tickled by its illusion. more heavy fundamental in its tone. The ing, even listening to the “silence” which part of that equation.
24 THE DIAPASON Goulding & Wood, Inc., Opus 48 Vineville United Methodist Church, Macon, Georgia 66 stops, 59 ranks GREAT 16′ Violone 8′ Principal 8′ Violone (extension) 8′ Harmonic Flute 8′ Bourdon 4′ Octave 4′ Spire Flute 2 2⁄3′ Twelfth 2′ Fifteenth 3 1⁄5′ Seventeenth 1 1⁄3′ Fourniture IV 8′ Trumpet 8′ Festival Trumpet (Choir) Tremolo SWELL (expressive) 16′ Gedeckt (extension) 8′ Geigen Diapason 8′ Gedeckt 8′ Viole de gambe 8′ Voix céleste (GG) Examining a Rohrfl ute 4′ Principal 4′ Traverse Flute 2′ Octave 2′ Piccolo 2 2⁄3′ Cornet II (TC) 2′ Plein Jeu III–IV 16′ Bassoon-Hautboy 8′ Trumpet 8′ Hautboy (extension) 4′ Clarion Tremolo CHOIR (expressive) 16′ Quintaton 8′ Chimney Flute 8′ Conical Flute 8′ Flute Celeste (TC) 4′ Fugara 4′ Spindle Flute 2 2⁄3′ Nazard (TC) 2′ Fifteenth 2′ Block Flute 3 1⁄5′ Tierce (TC) 1′ Scharf III 8′ Clarinet 8′ Cornopean 8′ Festival Trumpet Tremolo Cymbelstern Regulating the Choir division Harp Completed organ, Op. 48 (photo credit:
AUGUST, 2010 25 Cover feature
Marceau & Associates Pipe Organ Builders, Inc., Seattle, Washington Trinity Parish Episcopal Church, Seattle, Washington
From the builder My fi rst contact with Trinity Par- ish took place in the summer of 1978, when, as an employee of Balcom & Vaughan Pipe Organs of Seattle, I was on the crew that removed the church’s 1902 Kimball instrument. I recall the rather thick layer of furnace dust and grime that made the removal fairly dirty! Since none of the windchests or reservoirs were to be retained in the new organ project, these components were destined for the dump. That proj- ect incorporated some of the original Kimball pipework, but not with any degree of success. I subsequently relo- cated to Portland, Oregon and founded Marceau Pipe Organs in 1985. I had begun maintenance of the Trin- ity pipe organ in 1983, when Martin Ol- son was appointed organist/choirmaster. As the existing console began to show signs of advancing age, Marceau Pipe Organs was awarded the contract of building our fi rst three-manual, tiered Original 1902 Kimball façade drawknob console. With the able assis- tance of Frans Bosman (who built the of faith. Shortly after the new console was console shell), we assembled new com- built, notes started going dead, and we ponents from P&S Organ Supply (key- found out that the organ had used Perfl ex boards), Harris Precision Products (stop instead of leather; we faced a future with action controls), and Solid State Logic an increasing number of dead notes. (combination action—now Solid State At this time the vestry encouraged Organ Systems), and installed this in the us to look at the existing tonal plan, and fall of 1989. the organ was totally rebuilt using slider The second phase focused on a rede- chests. Each of the three arches of the sign of the organ chamber to accommo- organ had façade pipes installed, helping date new slider-pallet windchests (pro- to keep the visual appearance of the or- duced in the Marceau shop) and a façade gan consistent with the nineteenth-cen- that would pay homage to the original Marceau Opus IV, Trinity Parish Episcopal Church, Seattle tury English Country Gothic architec- Kimball façade. The budget did not al- ture. At this point, we were out of money low for the total number of stops to be and only about a third of the planned installed at that time. It was through fate pipework was installed. that this instrument was completed! The Our planning for fund raising came to massive Nisqually earthquake of 2001 an abrupt halt on Ash Wednesday 2001. almost closed this historic building for The Nisqually earthquake hit about an good, if it were not for the unshakable hour before the 12:10 Ash Wednesday vision of this congregation, led by their service. The organ was not too badly rector, the Rev. Paul Collins. damaged, but the building was unusable. During the time in which the church Part of the tower collapsed into the nave, was being rebuilt and upgraded, we were and the north and south transept walls fortunate enough to acquire a large pipe moved outward, so that daylight could be organ of about 35 ranks. From this inven- seen coming through the walls! We were tory, stops that were prepared for future red-tagged by the city, meaning that no addition could be added at about half one could go into the building. For al- the cost of new pipes. One of the unique most fi ve years we worshipped in the trademarks of a Marceau pipe organ is parish hall, using the piano and a lovely the inclusion of vintage pipework that one-manual positive (built by Marceau), is rescaled, revoiced, and re-regulated lent to us by the Seattle AGO chapter. At to be successfully integrated with stops, times we didn’t know if the money would both old and new. The Trinity Parish pipe be found to rebuild the church, but Trin- organ is no exception. A quick glance at ity persevered and the millions of dollars the stoplist suggests a number of musi- needed were raised. cal possibilities that make it possible to As we approached the completion of interpret organ repertoire from Bach to the church restoration, we realized that Manz and everything in between! if we didn’t fi nish acquiring the missing In 2005, I moved back to Seattle to pipework now, it might never happen. open a Seattle offi ce for our activities Swell pipes The vestry gave approval, and thanks to in the Puget Sound region. In 2008, we a lot of searching by René Marceau, we moved into a small but very useful shop added the missing 20 ranks of pipes—all in the Ballard district and have seen our recycled pipework. Today, the 19th-cen- work increase dramatically since then. tury sanctuary has solid wood fl oors, While I enjoy each project that comes hard refl ective walls, and very little car- through the shop, I will always think pet. Thanks to Marceau’s voicing skills, fondly of our Opus IV at Trinity Parish the pipework from 1902 works with the and how that instrument continues to be ranks added in the 1970s and 2000s. one of great satisfaction and pride. During the fi rst several weeks in the —René A. Marceau rebuilt sanctuary and “new” organ, I was surprised that almost everyone stayed From the organist and listened quietly to the postlude, but I started as organist/music director at I didn’t think it would last. I was proven Trinity Parish Church in 1983, over 27 wrong again! Four years later, almost ev- years ago. At that time, there was a re- eryone still stays for the postlude! Years cently remodeled pipe organ, with no ago, under the leadership of Ed Hanson, façade pipes, grille cloth, and a used there was a weekly lunchtime organ re- console that was gradually failing. I had cital every Wednesday. When the church worked with Marceau & Associates on and the organ were rebuilt, I decided to other organ projects in the past and en- revive that tradition, and for some years gaged him to build us a new console. now we have had a weekly organ recital, This proved to be the start of a profes- often featuring student organists from sional and personal friendship that has the area. These recitals, combined with lasted many years! This was Marceau’s other concerts here at Trinity, make this fi rst console and was planned with tonal organ one of the most heard organs in revisions and (hopefully) new pipework the Seattle area. in the future. I didn’t know where the —Martin Olson money was to come from, but I had a lot Positiv pipes Organist/music director
26 THE DIAPASON Trompete is dark and robust in charac- ter, contrasting with the brighter, more aggressive Swell 8′ Trompette. The Swell 8′ Oboe is also bright but at least one or two dynamic levels softer. The unit Fagott rank is from the 1978 proj- ect, appearing in the Pedal only. It was extended to play on the Swell at both 8′ and 4′ pitches. The Positiv 8′ Krumm- horn is scaled more as a Dulzian, giving this stop the power to add color to the Positiv chorus. The most surprising set of reeds is found in the Pedal. Both the 16′ Posaune/8′ Trumpet and 4′ Clarion are vintage pipes. There was some con- cern about tonal and dynamic blend; these fears were laid to rest when, after regulating these stops, they were the perfect balance to the full ensemble! There are Tierce ranks in every divi- sion. The Great mounted Cornet (lo- cated behind the façade pipes) can be Gemshorn and Celeste Swell pipes used for classic French repertoire, the Positiv Sesquialtera II can be used in in December 1900. Such a listing does the sound of the organ. In 1995 Trin- both solo and ensemble roles, the Swell Martin Olson not appear on the Hutchings opus list, ity Church awarded a contract to Mar- Cornet decomposée allows for the indi- so it was likely built under the name of ceau & Associates for the rebuilding of vidual mutations to be used separately or Hutchings-Votey, whose opus list is not the existing organ. This effort sought to in combination, and the Pedal Mixture complete. Coincidentally, the parish re- take the existing pipework and through contains the tierce rank and is quite ef- quested Dr. Franklin S. Palmer of San rescaling, recombining, and revoicing, fective in chorus work. Francisco to come test the completed create a more cohesive whole, includ- —René A. Marceau organ and to play the dedicatory concert. ing appropriate new pipework. Each of Dr. Palmer would later become the or- the manual divisions now has a principal Marceau & Associates Pipe Organ ganist of St. James R.C. Cathedral in Se- chorus in proper terraced dynamics. Part Builders, Inc. attle, and was principal in the design and of this project was to recreate the three Trinity Parish Episcopal Church, acquisition of that congregation’s well- Kimball façades in spirit, but with a new Seattle, Washington known 4-manual, 1907 Hutchings-Votey. twist. The church now has an eclectic 3 manuals, 41 stops, 56 ranks Sadly, the Hutchings-Votey only lasted 3-manual organ, with bold principals, about a year, and was destroyed by a fi re colorful fl utes, two strings with mated GREAT (Manual II, unenclosed) 16′ Pommer 49 pipes within the church on January 19, 1902. celestes, mutation voices, mixtures, and 8′ Prinzipal 61 By May 2 of that same year, the vestry reeds of both chorus and solo colors. And 8′ Rohrfl ute 61 awarded a contract to the W. W. Kim- all is housed behind a handsome façade 8′ Flute Harmonique 49 ball Co. of Chicago for a three-manual of polished zinc principals in the original 4′ Oktave 61 organ to cost $7,500. It had 30 speak- three bays, providing a sense of visual 4′ Koppelfl ute 61 ing stops and 29 ranks, and despite the continuity with the past. 2′ Super Oktave 61 2 2⁄3′ Cornet III (mounted) 147 growing infl uence of orchestral organs, —Jim Stettner 1 1⁄3′ Mixture III–V 269 the Kimball was built more along mid- Organ historian ′ to-late 19th-century tonal designs, with 8Trompete 61 2 Great Unison Off a mostly complete 16′, 8′, 4′, 2 ⁄3′, and 2′ Stoplist description Pedal reed principal chorus on the Great, capped by As with any instrument, the most SWELL (Manual III, enclosed) an 8′ Orchestral Trumpet. The Swell re- critical areas of interest are the principal 16′ Lieblich Gedackt 12 fl ected more of the orchestral infl uence, choruses. Our Opus IV is blessed with 8′ Holzgedackt 61 with one 16′ fl ue register, six 8′ fl ue regis- two divisions with 8′ Principals (Great 8′ Salicional 61 ′ 8′ Voix Celeste 49 ters, and only one 4 fl ue register, plus an and Positiv). The Great principal chorus ′ 8-8-8 reed complement. Even the Choir is based on a normal scale 8′ Principal, 4Principal 61 ′ 4′ Nachthorn 61 sported a 16 fl ue, but included the stan- with the low 19 notes in the façade. The 2 ′ ′ ′ ′ ′ 2⁄3 Nasard 61 dard 2 Harmonic Piccolo and 8 Clari- 4 Octave, 2 Super Octave, and III–V 2′ Waldfl ute 61 3 net among its stops. And the Pedal of Mixture are all stops retained from the 1⁄5′ Tierce 61 16-16-16-8 included a very fi ne wooden 1978 project, rescaled and revoiced for 2′ Mixture III–IV 228 Violone. Monthly recitals were given by a more energetic, colorful presence in 16′ Fagott 12 the organist, and often included a soloist, the room. The Positiv principal chorus is 8′ Trompette 61 8′ Oboe 61 a quartet, or even the full choir. 1–2 notes smaller, with a higher-pitched ′ In 1945 the organ was electrifi ed by Mixture. Added to this chorus is the 8 Fagott 61 4′ Fagott 12 Charles W. Allen, successor to Kimball Sesquialtera II, of principal character, Swell to Swell 16′ representative Arthur D. Longmore. which imparts a “reedy” quality to the Swell Unison Off An only slightly used Kimball console overall sound. Of particular note is the Swell to Swell 4′ was acquired from the Scottish Rite Ca- 8′ Principal. It is scaled 2 notes smaller thedral in Tacoma, one of two installed than the Great 8′ Principal; when heard POSITIV (Manual I, unenclosed there. The chest primaries were elec- in the chancel it has a very Geigen-like & enclosed*) 8′ Prinzipal 61 trifi ed, some stops were moved from quality, but takes on more character in ′ the Great to the Choir, and a few new the nave, and is a perfect complement to 8 Gedackt 61 8′ Gemshorn* 49 ranks were added/substituted. The organ its “big brother.” 8′ Gemshorn Celeste* 61 lasted pretty much unaltered in this form The Swell principal chorus, based on 4′ Spitzoktave 61 Great pipes until 1977. the 4′ level, includes a III–IV Mixture, 4′ Spillfl ute 61 2 Beginning in 1975, Balcom & Vaughan which works well with the reeds in this 2⁄3′ Sesquialtera II 122 History Pipe Organs, Inc. of Seattle had been division. The Pedal principal chorus is 2′ Oktave 61 Trinity Episcopal Church has a long discussing options for rebuilding the based on the 16′ Principal (of wood) and 2′ Lochgedackt 61 1 1⁄3′ Larigot 61 history as one of Seattle’s oldest con- Kimball at Trinity. Various stoplists and progresses up to the III Mixture, which ′ gregations—and music has been a part drawings were considered. In 1979 the includes a Tierce rank. I fi nd this addi- 1 Cymbel IV 244 8′ Krummhorn 61 of that history from the very beginning. parish fi nally decided upon a plan, and tion completes the Pedal chorus without Positiv to Positiv 16′ While the parish’s fi rst organ was a reed the organ was rebuilt. But the Balcom the need to include the reeds. Positiv Unison Off organ of unknown manufacture, the par- & Vaughan was essentially a new organ, The Great fl utes (8′ Rohrfl ute, 4′ Kop- ish has the credit of being the fi rst to on new chests, with predominantly new pelfl ute) provide the foundation for the PEDAL (unenclosed) bring a pipe organ to Seattle. Preserved pipework, and retaining 12 selected voic- rest of the fl ute stops. Contrasting and 32′ Untersatz (electronic) vestry notes from February 2, 1882, es from the venerable old Kimball. The complementary stops appear in the Posi- 16′ Principalbass 32 ′ ′ ′ 16′ Subbass 32 page 82, indicate a signed order to buy impressive 1902 Kimball façades were tiv (8 Gedackt, 4 Spillfl ute, 2 Lochge- ′ an organ “of Mr. Bergstrom’s make” for eliminated, and little ‘buffets’ of exposed dackt), with smoother-sounding stops in 16 Lieblich Gedackt Swell 8′ Octavebass 32 $1,500. This is further corroborated in pipework took their place. The B & V the Swell (8′ Holzgedackt, 4′ Nachthorn, ′ ′ 8 Openbass 12 Thomas E. Jessett’s Pioneering God’s was designed along “American Classic” 2 Waldfl ute). Of particular note is the 8′ Holzgedackt Swell Country—The History of the Diocese lines akin to Aeolian-Skinner, which is Positiv 2′ Lochgedackt, whose character 4′ Choralbass 32 2 of Olympia, 1853–1953, in which he where then B & V president, William is gentle enough to soften the assertive 2⁄3′ Mixture III 96 states on page 33, “The fi rst pipe organ J. Bunch, had been working for many sounds of the Sesquialtera. 32′ Contra Posaune (electronic) in Washington was installed in Trinity years. While the new organ was more There are two sets of strings, found on 16′ Posaune 32 Church, Seattle, in 1882.” transparent-sounding than the Kimball, the Swell and Positiv manuals. The Swell 16′ Fagott Swell ′ ′ 8′ Trumpet 12 By 1900, the parish was ready to ac- and offered more color in the way of mu- 8 Salicional and Positiv 8 Gemshorn ′ quire a larger instrument, and a contract tations and mixtures, the blend between are from the 1902 Kimball; the Voix Ce- 4 Clarion 32 was drawn up towards the purchase new and old was not entirely satisfying, leste is of an unknown builder, while the Intermanual couplers of a larger pipe organ. The vestry even nor did the brighter ensembles seem to Gemshorn Celeste is an original Dolce Great to Pedal 8′ announced they were willing to spend adequately fi ll the church space. built by Stinkens in the late 1960s. Swell to Pedal 8′ $6,000 if necessary. Such was the impor- In 1989 the Portland fi rm of Marceau It is interesting to note that all of the Positiv to Pedal 8′ tance of music to the parish! & Associates provided a handsome new manual reeds were built by Stinkens at Swell to Great 16′, 8′, 4′ Choir to Great 16′, 8′ A contract was signed with the Hutch- terraced drawknob console to replace the some point in time. My colleague, Frans ′ ′ ′ ings Organ Co. of Boston for an organ to existing used Kimball stopkey console. Bosman, was very successful in regu- Swell to Positiv 16 , 8 , 4 Great to Positiv 8′ cost $2,500 plus $138 for a water engine Several preliminary stop changes were lating each stop to work well in both Positiv to Swell 8′ to provide wind. The organ was shipped made with existing pipework to improve solo and ensemble roles. The Great 8′
AUGUST, 2010 27 New Organs
is electric and connected to a Laukhuff 60-level memory and piston sequencer. Two retractable fl at screen video moni- tors give the organist a good view of the choir director and the altar area. Artisans of Bigelow & Co. who par- ticipated in the project were Michael Bigelow, Katherine Bigelow (daughter), Amy Carruth, David Chamberlin, Dustin Cottongim, Felipe Dominguez, Robert Munson, Melanie Smith, and Shayne Ward. Metal pipes were made by the fi rms of Stinkens, Giesecke, and Schopp. Tonal fi nishing was conducted by David Chamberlin and Michael Bigelow, as- sisted by Katherine Bigelow. Logistics of the installation, which spanned over fi ve months, were wonderfully managed by Melanie Sigafoose and other members of the organ committee, and by parishio- ner and construction overseer Dan Iossi. Senior pastor Peter Marty and the entire staff of St. Paul were always very sup- portive and helpful. Mark Sedio served as consultant on the project. On May 15, 2009, St. Paul’s director of music, Dr. Melanie Moll Sigafoose, played the inaugural recital to an enthusiastic full house. —David Chamberlin religious elements. Robert Mahoney was the acoustical consultant, and the results Bigelow Opus 33, 2009 are excellent for music and more than 42 ranks (37 independent voices), adequate for speech. 43 speaking stops A quick look at the stoplist reveals GREAT complete principal choruses with sub- ′ octave foundations for all three divi- 16 Præstant 24 pipes in façade (EP) 8′ Principal 35 pipes in façade sions, and a good selection of voices at (1–7 EP) unison pitch. The Open Bass, utilizing 8′ Harmonic Flute 1–12 Ch. Fl. pre-existing pipes and chests, and the 8′ Chimney Flute 1–12 wood Chamade successfully extend the dy- 8′ Gemshorn namic range into territory previously 4′ Octave unexplored by Bigelow. 4′ Conical Flute 2 ′ The swell box is located at impost lev- 2⁄3 Twelfth (from Sesq.) 2′ Fifteenth el, where it speaks directly to the choir, 2 2⁄3′ Sesquialtera which stands on risers immediately in 1 1⁄3′ Mixture IV front of the organ. The Great division 8′ Trumpet occupies the upper portion of the case. 8′ Chamade (m.c.) EP action Pedal fl ues and reeds reside on separate Swell to Great chests on either side of the swell box. Car- Flexible Wind* bon fi ber rods, 18 feet long, make up the Zimbelstern 8 bells, rotating star, majority of the tracker runs to the Great. pneumatically driven All other trackers are cedar, except for SWELL M. L. Bigelow & Co., Inc., honestly, “This one,” even though it has the long horizontal pedal trackers made 16′ Bourdon wood American Fork, Utah fewer ranks than our magnum opus. In of basswood. Electro-pneumatic action is 8′ Open Diapason St. Paul Lutheran Church (ELCA), any case (no pun intended), 42 ranks is a employed for the Open Bass, the eleven 8′ Stopped Diapason 1–12 wood Davenport, Iowa large number for any two-manual organ. largest pipes of the Subbass, Præstant and 8′ Viola da Gamba “What’s the largest organ you guys The 36-foot-tall freestanding case Principal pipes at the lower façade level, 8′ Viole céleste (GG) have built?” It’s a question organ build- takes a commanding position at the front and the Chamade; electric pull-downs 4′ Principal ers hear often, and there are different of the new sanctuary, but ingenious ar- are used for notes 25–32 of the Præstant 4′ Open Flute 2 ′ ways to answer it. This time, the fact that chitecture by the Groth Design Group 16′ and for the two Pedal duplexes in the 2⁄3 Nasard 2′ Blockfl öte two 53-foot semi-trailers were required (Cedarburg and Madison, Wisconsin) Swell; otherwise all key action, includ- 3 1⁄5′ Tierce to transport it allowed us to answer preserves a focus on the altar and other ing couplers, is mechanical. Stop action 2′ Plein Jeu III–IV 16′ Clarinette 8′ Trompette 8′ Hautbois Tremulant* /44/ (%533 /2'!. 0!243 PEDAL 32′ Subbass ext 16′, 1–5 resultant (6–16 EP) 4RADITION AND 0ROGRESS 16′ Præstant (Gt) 16′ Open Bass wood, EP action 16′ Subbass wood &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN 16′ Bourdon (Sw, electric pull-downs) CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND 8′ Octave ′ ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS 8 Gedackt wood 4′ Octave (ext Octave 8′) 4′ Flute UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY 2′ Flute (ext Flute 4′) / 2 2⁄3′ Rauschpfeife II MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR 2 2⁄3′ Mixture IV (ext Rauschpfeife) EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP 16′ Posaune 1–12 wood ′ MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES 16 Clarinette (Sw, electric pull-downs) 8′ Trumpet 4′ Schalmey 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING Great to Pedal 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS Swell to Pedal
61/32 compass, keys of bone/ebony, AGO %VERYWHERE AND AROUND THE WORLD pedalboard Self-regulating, key-tensioned mechanical /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING action, except Chamade, Open Bass 16′, lowest notes of Subbass 32′, Præstant 16′, Principal 8′, and Pedal duplexes from Swell (Bourdon and Clarinette) Electric stop action Multi-level combination action/sequencer /44/ (%533 'MB( n 'ERMANY Mechanical swell shades 0HONE n s &AX n *Flexible Wind affects both manuals. Tremu- E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE lant affects both manuals when Flexible Wind is on. www.bigeloworgans.com
28 THE DIAPASON 2010 Summer Carillon Concert Calendar Bert Adams, FAGO by Brian Swager Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Pickle Piano & Church Organs Albany, New York Jackson, Tennessee NEW YORK Albany City Hall First Presbyterian Church Bloomingdale, IL August 1, George Matthew, Jr., 1 pm August 28, Jackson Symphony Orches- tra and carillon, 6:45 pm Allendale, Michigan Christopher Babcock Grand Valley State University, Cook Caril- Kennett Square, Pennsylvania lon, Sundays at 8 pm Longwood Gardens August 1, Gert Oldenbeuving Sundays at 3 pm St. Andrew’s by the Sea, August 8, Carol Anne Taylor August 8, Malgosia Fiebig Hyannis Port August 15, Dennis Curry August 22, Ellen Dickinson August 22, Julianne Vanden Wyngaard LaPorte, Indiana St. David’s, South Yarmouth Ames, Iowa The Presbyterian Church of LaPorte Iowa State University August 22, Tim Sleep, 4 pm August 17, Jeremy Chesman, 7 pm September 12, Tin-Shi Tam with ISU Luray, Virginia Percussion, 3 pm Luray Singing Tower Tuesdays, Thursdays, Saturdays and Sun- Ann Arbor, Michigan days in August at 8 pm, David Breneman, University of Michigan, Burton Memorial carillonneur Tower, Mondays at 7 pm August 3, Jason Perry August 2, Ann-Kirstine Christiansen August 9, Patrick Macoska Mariemont, Ohio August 16, Steven Ball and Jenny King Mary M. Emery Memorial Carillon Sundays at 7 pm Berea, Kentucky August 1, Richard D. Gegner Berea College, Draper Building Tower August 8, Richard M. Watson Dean W. Billmeyer GAVIN BLACK September 6, Andrea McCrady, 7:30 pm August 15, Richard D. Gegner and Rich- Princeton Early Keyboard Center ard M. Watson University of Minnesota August 22, Richard D. Gegner 732/599-0392 Bloomfi eld Hills, Michigan August 29, Richard M. Watson Christ Church Cranbrook September 5, Richard D. Gegner Minneapolis 55455 • [email protected] www.pekc.org Sundays at 5 pm September 6, Richard M. Watson, 2 pm August 1, Ann-Kirstine Christiansen August 8, Pat Macoska Middlebury, Vermont August 15, Carrie Poon Middlebury College Fridays at 7 pm Byron L. Blackmore THOMAS BROWN Kirk in the Hills Presbyterian Church August 6, Alexander Solovov UNIVERSITY Sundays at 10 am and noon August 13, George Matthew, Jr. Crown of Life Lutheran Church August 1, Gert Oldenbeuving PRESBYTERIAN CHURCH August 8, Carol Anne Taylor Montreal, Quebec Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA September 5, Dennis Curry St. Joseph’s Oratory, Sundays at 2:30 pm 623/214-4903 ThomasBrownMusic.com August 8, David Maker St. Hugo of the Hills Catholic Church August 22, Andrée-Anne Doane and August 5, Charles Dairay, 7 pm Claude Aubin Centralia, Illinois Naperville, Illinois David Chalmers Centralia Carillon Naperville Millennium Carillon DELBERT DISSELHORST August 8, Carlo Van Ulft, 2 pm Tuesdays at 7 pm Concert Organist September Carillon Weekend August 3, Richard M. Watson GLORIÆ DEI CANTORES Professor Emeritus September 4, George Gregory, 2 pm August 10, Charles Dairay University of Iowa–Iowa City September 4, Claire Halpert, 2:45 pm August 17, David Maker Orleans, MA September 5, Ray McLellan, 2 pm August 24, Tin-Shi Tam September 5, Carlo van Ulft, 2:45 pm August 25, Julianne Vanden Wyngaard Chicago, Illinois New Haven, Connecticut STEVEN EGLER University of Chicago, Rockefeller Chapel Yale University, Yale Memorial Carillon JOHN FENSTERMAKER Sundays at 6 pm Fridays at 7 pm Central Michigan University August 1, Richard M. Watson August 6, Claire Halpert First Presbyterian Church RINITY BY THE OVE August 8, Charles Dairay August 13, Milford Myhre Mt. Pleasant, Michigan 48858 T - - -C August 15, David Maker SOLO Shelly-Egler August 22, Tin-Shi Tam Norwood, Massachusetts RECITALS Flute and Organ Duo NAPLES, FLORIDA Norwood Memorial Municipal Building Cohasset, Massachusetts Mondays at 7 pm St. Stephen’s Episcopal Church August 2, Ellen Dickinson Sundays at 6 pm August 9, J. Samuel Hammond Organist / Pianist August 1, Ellen Dickinson August 16, Milford Myhre August 8, J. Samuel Hammond Michael Gailit August 15, Milford Myhre Ottawa, Ontario www.gailit.at Peace Tower Carillon offi [email protected] Culver, Indiana August weekdays at 11 am, Andrea Mc- Crady Konservatorium Wien University Culver Academies, Memorial Chapel Carillon University of Music, Vienna September 4, John Gouwens, 4 pm Princeton, New Jersey Dayton, Ohio Princeton University, Grover Cleveland Deeds Carillon Tower, Sundays at 1 pm August 1, 15, 29 at 3 pm August 1, Malgosia Fiebig JAMES HAMMANN WILL HEADLEE August 28 at 1 pm August 8, Kim Schafer DMA-AAGO Larry Weinstein, carillonneur August 15, Daniel K. Kehoe 1650 James Street August 22, R. Robin Austin University of New Orleans Syracuse, NY 13203-2816 Detroit, Michigan August 29, Janet Tebbel Jefferson Avenue Presbyterian Church September 5, Anton Fleissner and Emily Chapel of the Holy Comforter (315) 471-8451 August 22, Carrie Poon and Sipkje Kirkegaard Pesnichak, 11:45 am St. Paul, Minnesota
House of Hope Presbyterian Church Fort Washington, Pennsylvania August 1, Dave Johnson, 4 pm ANDREW HENDERSON, DMA Harry H. Huber St. Thomas Church, Whitemarsh D. Mus. August 3, Malgosia Fiebig, 8 pm Springfi eld, Missouri Madison Avenue Presbyterian Church Missouri State University New York, NY Kansas Wesleyan University, Emeritus Glencoe, Illinois Sundays at 6 pm University Methodist Church Chicago Botanic Garden www.andrewhenderson.net August 15, Malgosia Fiebig SALINA, KANSAS Mondays at 7 pm September 19, George Gregory August 2, Richard M. Watson August 9, Charles Dairay Williamsville, New York August 16, David Maker Calvary Episcopal Church LORRAINE BRUGH, Ph.D. August 23, Tin-Shi Tam August 4, Gloria Werblow, 7 pm MICHELE JOHNS August 30, Wylie Crawford A.Mus.D September 6, James M. Brown Valley Forge, Pennsylvania Associate Professor Organ — Harpsichord Washington Memorial Chapel University Organist Grosse Pointe Farms, Michigan Wednesdays at 7:30 pm The University of Michigan Christ Church Grosse Pointe August 4, Malgosia Fiebig School of Music August 1, Ann-Kirstine Christiansen, August 11, Daniel K. Kehoe Valparaiso University 11:30 am August 18, Doug Gefvert Valparaiso, IN August 25, Robin Austin www.valpo.edu Hartford, Connecticut For information on Trinity College Chapel Victoria, British Columbia professional cards, contact Wednesdays at 7 pm Netherlands Centennial Carillon 219-464-5084 847/391-1045 August 4, Claire Halpert Sundays at 3 pm, January–December [email protected] August 11, Milford Myhre Saturdays at 3 pm, August [email protected] August 18, Daniel K. Kehoe Rosemary Laing, carillonneur
AUGUST, 2010 29 Brian Jones KIM R. KASLING D.M.A. Calendar Director of Music Emeritus St. John’s University TRINITY CHURCH Gordon Turk; Ocean Grove Auditorium, This calendar runs from the 15th of the month of Collegeville, MN 56321 Ocean Grove, NJ 7:30 pm BOSTON issue through the following month. The deadline is William Tinker; Sinsinawa Mound, Sinsinawa, the fi rst of the preceding month (Jan. 1 for Feb. WI 7 pm issue). All events are assumed to be organ recitals unless otherwise indicated and are grouped within 4 SEPTEMBER JAMES KIBBIE each date north-south and east-west. •=AGO chap- Susan Ferré & Christa Rakich, harpsichords; ter event, • •=RCCO centre event, +=new organ St. Paul Lutheran, Berlin, NH 4 pm, 7:30 pm The University of Michigan dedication, ++= OHS event. John Gouwens, carillon; The Culver Acad- Information cannot be accepted unless it speci- Ann Arbor, MI 48109-2085 emies, Culver, IN 4 pm ORGAN CONSULTANT fi es artist name, date, location, and hour in writ- 734-764-1591 FAX: 734-763-5097 ing. Multiple listings should be in chronological order; www.gabrielkney.com 5 SEPTEMBER email: [email protected] please do not send duplicate listings. THE DIAPA- Christa Rakich; The Randolph Church, Ran- SON regrets that it cannot assume responsibility for dolph, NH 4 pm the accuracy of calendar entries. Susan Ferré conducts Bach works; St. Barn- abas Episcopal, Berlin, NH 7:30 pm David K. Lamb, D.Mus. Nigel Potts; St. Francis in the Fields Episco- pal, Harrods Creek, KY 5 pm Director of Music/Organist ARTHUR LAMIRANDE UNITED STATES East of the Mississippi Thom Gouwens; Holy Name Cathedral, Chi- First United Methodist Church [email protected] cago, IL 4 pm Columbus, Indiana www.youtube.com/watch?v=WTkDk-cX1X4 15 AUGUST 6 SEPTEMBER 812/372-2851 Milford Myhre, carillon; St. Stephen’s Church, Gordon Turk & Michael Stairs; Ocean Grove Cohasset, MA 6 pm Auditorium, Ocean Grove, NJ 7:30 pm John Sittard; St. Paul Cathedral, Pittsburgh, PA 4 pm 8 SEPTEMBER BETTY LOUISE LUMBY Ronald Wise; Boone United Methodist, Hana and Iva Bartosová; Sinsinawa Mound, David Lowry Boone, NC 4 pm Sinsinawa, WI 7 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO Peter Richard Conte; Madonna della Strada 1512 BLANDING STREET, COLUMBIA, SC 29201 Chapel, Loyola University, Chicago, IL 3 pm 9 SEPTEMBER Hector Olivera; Westbrook Park United Meth- DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO Derek Nickels; Holy Name Cathedral, Chi- cago, IL 4 pm odist, Canton, OH 7:30 pm ROCK HILL, SC 29733 MONTEVALLO, AL 35115 17 AUGUST 11 SEPTEMBER Ray Cornils; First Parish Church, Brunswick, Hector Olivera, workshop; Mees Hall Audito- ME 12:10 pm rium, Capital (Lutheran) University, Columbus, Christoph Bull, silent fi lm accompaniment; OH 10 am Merrill Auditorium, Portland City Hall, Portland, James R. Metzler ME 7:30 pm 12 SEPTEMBER Kent Tritle Christian Lane; Old West Church, Boston, ; Church of St. Ignatius Loyola, New York, NY 4 pm PARK CONGREGATIONAL CHURCH MA 8 pm Daniel Beckwith; Cathedral Church of St. Baroque Band; Martin Theatre, Ravinia Park, GRAND RAPIDS, MICHIGAN John the Divine, New York, NY 5:15 pm Highland Park, IL 8 pm Ken Cowan; Westminster Presbyterian, Lynchburg, VA 4 pm 18 AUGUST •Hector Olivera; Mees Hall Auditorium, Capi- Michael Smith; Methuen Memorial Music Hall, tal (Lutheran) University, Columbus, OH 4 pm Methuen, MA 8 pm Isabelle Demers; St. John United Methodist, LEON NELSON Ann Dobie; First Congregational, Michigan Augusta, GA 3 pm A.S.C.A.P. City, IN 12 noon Bruce Neswick, hymn festival; Trinity Episco- FELLOW, AMERICAN GUILD OF ORGANISTS University Organist David Bohn; St. Bernard’s Catholic Church, pal, Columbus, GA 5 pm North Park University Appleton, WI 12:15 pm 345 SADDLE LAKE DRIVE J. Scott Bennett; First Baptist, Nashville, TN ROSWELL-ATLANTA, GEORGIA 30076 Chicago, Illinois Mark Sikkila; Cathedral of St. John the Evan- 3 pm (770) 594-0949 gelist, Milwaukee, WI 12:15 pm Marilyn Keiser; Sacred Heart Catholic Church, Mark McClellan; Sinsinawa Mound, Sinsina- Lombard, IL 4 pm wa, WI 7 pm Janet Jennings; Hibbing High School, Hib- 13 SEPTEMBER DOUGLAS O’NEILL bing, MN 12 noon Isabelle Demers; St. George’s Episcopal, BEDE JAMES PARRY Nashville, TN 7:30 pm Cathedral of the Madeleine 21 AUGUST Salt Lake City, Utah ALL SAINTS’ CHURCH Gordon Turk; Ocean Grove Auditorium, 15 SEPTEMBER Ocean Grove, NJ 12 noon Alan Hommerding; Cathedral of St. John the [email protected] LAS VEGAS, NEVADA Evangelist, Milwaukee, WI 12:15 pm 801/671-8657 22 AUGUST John Weaver, reed organ, with fl ute & cello; 16 SEPTEMBER Union Church of Belgrade Lakes, Belgrade George Bozeman; St. Kieran Community MARILYN MASON Lakes, ME 4 pm Center for the Arts, Berlin, NH 7 pm Nicholas Will Steven Shaner; St. Luke Catholic Church, CHAIRMAN, DEPARTMENT OF ORGAN ; St. Paul Cathedral, Pittsburgh, PA 4 pm McLean, VA 1 pm UNIVERSITY OF MICHIGAN Oliver Wolcott; First Presbyterian, Waynes- ANN ARBOR boro, VA 3:30 pm 17 SEPTEMBER “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Louise Temte; Shrine of Our Lady of Guadal- Ken Cowan; Shryock Auditorium, Southern Il- with awesome technique and a thrilling command of its daring writing.” upe, La Crosse, WI 3 pm linois University, Carbondale, IL 7:30 pm The American Organist, 1980 Jonathan Ryan; St. John Cantius Church, Chicago, IL 2 pm 19 SEPTEMBER Stephen Schnurr; Holy Name Cathedral, Chi- Scott Lamlein, with trumpet; First Congrega- cago, IL 4 pm tional, Bristol, CT 11:30 am SYLVIE POIRIER Travis Baker; Cathedral Church of St. John LARRY PALMER 24 AUGUST the Divine, New York, NY 5:15 pm Chelsea Chen; Merrill Auditorium, Portland David Arcus; Duke Chapel, Duke University, Professor of PHILIP CROZIER City Hall, Portland, ME 7:30 pm Durham, NC 2:30 pm, 5 pm Daniel Sullivan; Wisconsin Lutheran College, ORGAN DUO Milwaukee, WI 3 pm Harpsichord and Organ 25 AUGUST 3355 Queen Mary Road, Apt 424 Stephen Roberts; Methuen Memorial Music Byron Blackmore; Our Savior’s Lutheran, La Hall, Methuen, MA 8 pm Crosse, WI 4 pm Meadows School of the Arts Steven Betancourt Montreal, H3V 1A5, P. Quebec Craig Williams; Ocean Grove Auditorium, ; Madonna della Strada Chapel, Loyola University, Chicago, IL 3 pm Ocean Grove, NJ 7:30 pm SOUTHERN METHODIST UNIVERSITY Canada Anita Werling; St. John’s Lutheran, Blooming- Marillyn Freeman; St. Paul Lutheran, Nee- (514) 739-8696 ton, IL 3 pm Dallas, Texas 75275 nah, WI 12:15 pm Stephen Steely; Sinsinawa Mound, Sinsina- Fax: (514) 739-4752 21 SEPTEMBER wa, WI 7 pm Musical Heritage Society recordings James Metzler; Park Congregational, Grand [email protected] Jane Scharding; Blessed Sacrament Catholic Rapids, MI 12:15 pm Church, Hibbing, MN 12 noon 24 SEPTEMBER 29 AUGUST Marilyn Keiser; Christ Lutheran, Kokomo, IN Adam Brakel; St. Paul Cathedral, Pittsburgh, 7:30 pm PA 4 pm Elizabeth & Raymond Chenault; Boone Unit- 26 SEPTEMBER A four-inch Professional Card ed Methodist, Boone, NC 4 pm Thomas Mueller, works of Bach; First Con- Michael Batcho; Holy Name Cathedral, Chi- gregational, Camden, ME 3 pm in THE DIAPASON cago, IL 4 pm Christopher Wells; Cathedral Church of St. John the Divine, New York, NY 5:15 pm For rates and specifi cations 31 AUGUST Karen Beaumont; St. Thomas Church, New Ray Cornils, with Kotzschmar Festival Brass; York, NY 5:15 pm contact Jerome Butera Merrill Auditorium, Portland City Hall, Portland, Hector Olivera; First United Church of Christ, ME 7:30 pm Reading, PA 3 pm 847/391-1045 Peter Kranefoed; King’s Chapel, Boston, MA Sarah Davies; Camp Hill Presbyterian, Camp 12:15 pm Hill, PA 4 pm [email protected] Singing Boys of Pennsylvania; Alsace Luther- 1 SEPTEMBER an, Reading, PA 4 pm Angela Kraft Cross; Methuen Memorial Mu- Stefan Engels; First Presbyterian, West sic Hall, Methuen, MA 8 pm Chester, PA 4 pm
30 THE DIAPASON
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Ronald Wise & Faye Ayers; Boone United Olivier Latry; Cathedral of the Madeleine, Salt Methodist, Boone, NC 4 pm Lake City, UT 8 pm Stephen G. Schaeffer Samuel Melson Jr.; John Wesley United Paul Tegels; Lagerquist Hall, Pacifi c Lutheran ROBERT L. Methodist, Cincinnati, OH 4 pm University, Tacoma WA 3 pm Recitals – Consultations Douglas Cleveland; Rockefeller Memorial Robert Gurney; California Palace of the Le- SIMPSON Chapel, Chicago, IL 4 pm gion of Honor, San Francisco, CA 4 pm Cathedral Church of the Advent Christ Church Cathedral Travis Baker; St. Mark’s Episcopal, Berkeley, Birmingham, Alabama 1117 Texas Avenue 28 SEPTEMBER CA 6:10 pm Houston, Texas 77002 Karen Beaumont; Church of the Transfi gura- www.AdventBirmingham.org tion, New York, NY 12:30 pm 16 SEPTEMBER Andrew Peters; Boe Chapel, St. Olaf College, UNITED STATES Northfi eld, MN 7 pm Stephen Tappe West of the Mississippi Beal Thomas 18 SEPTEMBER Organist and Director of Music John Karl Hirten; California Palace of the Le- Saint John's Cathedral Mount Calvary Church 15 AUGUST gion of Honor, San Francisco, CA 4 pm Hector Olivera; Grace Episcopal Cathedral, Denver, Colorado Baltimore San Francisco, CA 3 pm 19 SEPTEMBER www.sjcathedral.org [email protected] Peter Fennema; Westwood United Methodist, Tom Trenney; First United Methodist, Shreve- Los Angeles, CA 3 pm port, LA 7 pm Bruce Power; Christ Church Cathedral, Hous- 16 AUGUST ton, TX 3 pm ORGAN MUSIC OF THE SPANISH BAROQUE Keenan Boswell & Nicole Cochran ; Spreck- John Karl Hirten; California Palace of the Le- els Organ Pavilion, Balboa Park, San Diego, CA gion of Honor, San Francisco, CA 4 pm Joe Utterback 7:30 pm David Troiano DMA MAPM COMMISSIONS & CONCERTS 25 SEPTEMBER 17 AUGUST 586.778.8035 Sandra Krumholz; Bethlehem Lutheran, Keith Thompson; California Palace of the Le- 732 . 747 . 5227 Mankato, MN 12:10 pm gion of Honor, San Francisco, CA 4 pm [email protected] Timothy Howard; Christ Episcopal, Eureka, 18 AUGUST CA 7:30 pm Nathan & Lisa Knutson; Our Saviour’s Lu- theran, Sioux Falls, SD 12:15 pm 26 SEPTEMBER David Wagner Alan Morrison; Cathedral of St. Joseph, Ba- DMA Kevin Walters 23 AUGUST ton Rouge, LA 4 pm Dennis James; Spreckels Organ Pavilion, Olivier Latry; Christ United Methodist, Plano, Madonna University M.A., F.A.G.O. Balboa Park, San Diego, CA 7:30 pm TX 7 pm Livonia, Michigan Craig Cramer; Cathedral of the Madeleine, Rye, New York 24 AUGUST Salt Lake City, UT 8 pm [email protected] •Christine Schulz; Bethlehem Lutheran, Jonathan Dimmock; St. John’s Presbyterian, Mankato, MN 12:10 pm Berkeley, CA 4 pm Keith Thompson; California Palace of the Le- 25 AUGUST gion of Honor, San Francisco, CA 4 pm Wyatt Smith; Our Saviour’s Lutheran, Sioux KARL WATSON Cherie Wescott Falls, SD 12:15 pm Concerts • Masterclasses • Coaching INTERNATIONAL SAINT LUKE’S 30 AUGUST 405/942-3958 Carol Williams, with jazz musicians; Spreck- e-mail: [email protected] els Organ Pavilion, Balboa Park, San Diego, CA 15 AUGUST METUCHEN 7:30 pm Gillian Weir; Høje Kolstrup Kirke, Aabenraa, Denmark 8 pm 4 SEPTEMBER Philip Crozier; Maribo Domkirke, Denmark 8 David Hegarty; California Palace of the Le- pm gion of Honor, San Francisco, CA 4 pm Davis Wortman Duo Henry-Laloux; Orgue Alain, Romainmô- RONALD WYATT tier, Switzerland 4 pm 5 SEPTEMBER Duo Henry-Laloux; Abbatiale, Romainmôtier, St. James’ Church Trinity Church David Hegarty; California Palace of the Le- Switzerland 5 pm gion of Honor, San Francisco, CA 4 pm Petra Veenswijk; Maria van Jessekerk, Delft, New York Galveston Netherlands 3 pm 7 SEPTEMBER Jean-Luc Thellin; St. Paul’s Cathedral, Lon- Nigel Potts; St. Paul’s Cathedral, Oklahoma don, UK 4:45 pm City, OK 7:30 pm Paul Derrett; Westminster Abbey, London, UK 5:45 pm Charles Dodsley Walker, FAGO 10 SEPTEMBER Marsha Foxgrover; The Mormon Tabernacle, Artist-in-Residence Founder/Conductor Salt Lake City, UT 7:30 pm 17 AUGUST Saint Luke’s Parish Canterbury Choral Society Gillian Weir; Konservatorium, Esbjerg, Den- 1864 Post Road 2 East 90th Street 11 SEPTEMBER mark 7:30 pm Darien, CT 06820 New York, NY 10128 Robert Parkins, masterclass; Organ Studio, Philip Crozier; St.-Gertraud-Kirche, Frankfurt (917) 628-7650 (212) 222-9458 University of Texas, Austin, TX 2 pm (Oder), Germany 8 pm Robert Gurney; California Palace of the Le- Robert Horton; Laurenskerk, Rotterdam, gion of Honor, San Francisco, CA 4 pm Netherlands 12:45 pm
12 SEPTEMBER 18 AUGUST William Webber, C.A.G.O. Robert Parkins; Bates Recital Hall, University Pieter van Dijk; Grote St. Laurenskerk, Alk- Organist/Director, First Christian Church, Danville, KY of Texas, Austin, TX 4 pm maar, Netherlands 8:15 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: http://webspace.setel.com/~wmwebbiv DAVID SPICER First Church of Christ www.organconsulting.ca Wethersfi eld, Connecticut
RUDOLF ZUIDERVELD Illinois College, Jacksonville House Organist First Presbyterian Church, The Bushnell Memorial Hartford Springfi eld
Cathedral of St. John Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581, ext. 106
Maxine Thévenot Director of Cathedral Music & Organist
AUGUST, 2010 31 19 AUGUST 29 AUGUST Felix Hell; Ev. Friedenskirche Eveking, Wer- 18 SEPTEMBER Daniel Roth; Grote Kerk, The Hague, Nether- Bob van Asperen, harpsichord; Aula, Festiv- dohl, Northrhine-Westfalia, Germany 7 pm Stefano Pellini, with saxophone; Abbazia di lands 8:15 pm alcentrum, Utrecht, Netherlands 1 pm Adrian Partington; Worcester Cathedral, S. Silano, Romagnano Sesia, Italy 9 pm Felix Hell; RC Church St. Maria Magdalena, Worcester, UK 6:30 pm Matthew Martin; St. John the Evangelist, Up- 20 AUGUST Bobenheim-Roxheim, Palatinate, Germany 7 pm Norman Harper; St. Alphage, Burnt Oak, Edg- per Norwood, UK 6:30 pm Gillian Weir; Skagen Kirke, Skagen, Denmark Paul Bowen; St. Paul’s Cathedral, London, ware, UK 7:30 pm 12 noon UK 4:45 pm 19 SEPTEMBER Jürgen Wolf; Cathedral, Lausanne, Switzer- Anna Myeong; Westminster Abbey, London, 5 SEPTEMBER Silvano Rodi; Chiesa di S. Maria della Pace, land 8 pm UK 5:45 pm David Jonies; Shrine of Our Lady of Bogen- Pralungo, Italy 9 pm Giovanni Galfetti, with ciaramella; Chiesa berg, Bogen, Germany 4 pm Tom Bell; Westminster Abbey, London, UK della SS. Trinità e di S. Carlo, Tavigliano, Italy 30 AUGUST Ensemble l’Ornamento; Kirche Amsoldingen, 5:45 pm 9 pm Laurent Stewart, harpsichord; Lutherse Kerk, Amsoldingen, Germany 5 pm Utrecht, Netherlands 11:59 pm Felix Hell; Johanneskirche, Iserlohn-Nuß- 21 SEPTEMBER 21 AUGUST Anna Myeong; Coventry Cathedral, Coventry, berg, Iserlohn, North-Rhine Westfalia, Germany Geraint Bowen; Hereford Cathedral, Her- Hilmar Gertschen; Musée suisse de l’orgue, UK 1 pm 6 pm eford, UK 7:30 pm Roche, Switzerland 5 pm Alan Spedding; Beverley Minster, Beverley, Paul Derrett; Westminster Cathedral, London, 22 SEPTEMBER UK 6 pm UK 4:45 pm William McVicker & David Pether; Reading 22 AUGUST William Saunders; Westminster Abbey, Lon- Town Hall, Reading, UK 1 pm Michel Jordan; Orgue Alain, Romainmôtier, don, UK 5:45 pm 31 AUGUST Matthew Martin; Westminster Cathedral, Lon- Switzerland 4 pm Lars Ulrik Mortensen, harpsichord; Lutherse don, UK 7:30 pm Michel Jordan, with fl ute; Abbatiale, Romain- Kerk, Utrecht, Netherlands 1 pm 7 SEPTEMBER môtier, Switzerland 5 pm Frédérick Haas, harpsichord; Lutherse Kerk, David Brookshaw; Worcester Cathedral, 24 SEPTEMBER Naoki Kitaya, harpsichord, with cello; Kirche Utrecht, Netherlands 11:59 pm Worcester, UK 1:10 pm Ignacio Teléns; Cathedral, Lausanne, Swit- Amsoldingen, Amsoldingen, Germany 5 pm Travis Baker; St. James United Church, Mon- zerland 8 pm Sarah MacDonald ; St. Paul’s Cathedral, Lon- treal, QC, Canada 12:30 pm 8 SEPTEMBER Elena Sartori; Santuario di Sant’Euseo, Ser- don, UK 4:45 pm Felix Hell; RC Church St. Cyriakus, Franken- ravalle Sesia, Italy 9 pm Keith Hearnshaw; Westminster Abbey, Lon- 1 SEPTEMBER thal-Eppstein, Palatinate, Germany 8 pm don, UK 5:45 pm Paola Erdas, harpsichord; Lutherse Kerk, 25 SEPTEMBER Utrecht, Netherlands 1 pm 9 SEPTEMBER Mario Duella; Chiesa di S. Sebastiano, Trive- 24 AUGUST Frank van Wijk & Pieter van Dijk; Grote St. Felix Hell; Ev. Michaelskirche, Bensheim ro, Italy 4:30 pm Francine Nguyen-Savaria; St. James United Laurenskerk, Alkmaar, Netherlands 8:15 pm (Bergstrasse), Hesse, Germany 8 pm Giampaolo Di Rosa; Chiesa di SS. Giulio ed Church, Montreal, QC, Canada 12:30 pm Blandine Verlet, harpsichord; Lutherse Kerk, Amatore, Cressa, Italy 9 pm Utrecht, Netherlands 11:59 pm 10 SEPTEMBER Michael Smith; Bridlington Priory, Bridlington, 25 AUGUST Samuel Kummer; Cathedral, Lausanne, Swit- UK 6 pm Frank van Wijk; Grote St. Laurenskerk, Alk- 2 SEPTEMBER zerland 8 pm Adrian Gunning; St. John the Evangelist, maar, Netherlands 8:15 pm Michael Borgstede, harpsichord; Lutherse Daniel Pandolfo; Chiesa di S. Maria, Valdug- London, UK 7:30 pm Giampaolo di Rosa; Westminster Cathedral, Kerk, Utrecht, Netherlands 1 pm gia, Italy 9 pm Isabelle Demers; Église Saint-Jean-Baptiste, London, UK 7:30 pm Anna Myeong; St. Paul’s, Birmingham, UK Montréal, QC, Canada 8 pm 1:15 pm 11 SEPTEMBER 27 AUGUST Massimo Nosetti; St. Margaret Lothbury, Davide Merello; Ev. Stadtkirche, Besigheim, 26 SEPTEMBER Pierre-Laurent Haesler; Collégiale, Neuchâ- London, UK 1:10 pm Germany 7 pm Giampaolo Di Rosa; Chiesa di S. Michele Ar- tel, Switzerland 6:30 pm Mario Verdicchio; Chiesa di S. Giorgio, Cog- cangelo, Cavaglià, Italy 9 pm Andres Uibo; Cathedral, Lausanne, Switzer- 3 SEPTEMBER giola, Italy 9 pm Stephen Tharp; St. Sulpice, Paris, France land 8 pm Skip Sempé, harpsichord; Lutherse Kerk, Keith Hearnshaw; Victoria Hall, Hanley, 4 pm Utrecht, Netherlands 1 pm Stoke-on-Trent, UK 12 noon Gerard Brooks; Westminster Abbey, London, UK 5:45 pm 28 AUGUST Giampaolo di Rosa; Cathedral, Lausanne, Ludmila Tschakalova, harpsichord; Lutherse Switzerland 8 pm 12 SEPTEMBER 29 SEPTEMBER Kerk, Utrecht, Netherlands 1 pm Naoki Kitaya, harpsichord; Scherzligkirche, Felix Hell; Klosterkirche Haina, Haina, Hesse, Margaret Phillips; Rozsa Centre, University Aurélien Delage & Laurent Stewart, harp- Thun, Germany 7:30 pm Germany 5 pm of Calgary, Calgary, AB, Canada 8 pm sichord; Lutherse Kerk, Utrecht, Netherlands Geert Bierling; Laurenskerk, Rotterdam, 4 SEPTEMBER Netherlands 3 pm 5 pm 30 SEPTEMBER Ernst Kubitschek, with violin; Musée suisse Bertrand Cuiller, harpsichord; Lutherse Kerk, Odile Jutten, with brass; Cathédrale d’Evreux, Evreux, France 4 pm Christina Hutten; Eckhardt-Gramatté Hall, de l’orgue, Roche, Switzerland 5 pm Utrecht, Netherlands 1 pm University of Calgary, Calgary, AB, Canada 8 pm Keith Hearnshaw; Bridlington Priory, Bridling- David Jonies; Basilica St. Johann, Saarbruck- Birger Marmvik; St. Margaret Lothbury, Lon- ton, UK 6 pm en, Germany 12 noon don, UK 1:10 pm Charles Andrews; Westminster Cathedral, London, UK 4:45 pm Paul Carr; Westminster Abbey, London, UK martin ott pipe 5:45 pm Organ Recitals organ company inc. 14 SEPTEMBER 7408 Somerset Ave. Daniel Roth, with piano; Cathédrale d’Evreux, F. ALLEN ARTZ, III, Morristown United St. Louis, MO 63105 Evreux, France 7:30 pm Methodist Church, Morristown, NJ, February 314-504-0366 Phone 314-569-3879 Fax Tristan Russcher; Worcester Cathedral, 20: Praeludium und Fuge in e moll, Bruhns; 801-756-5777 Martin Ott [email protected] Worcester, UK 1:10 pm Partita on Jesu, meine Freude, Walther; Medi- www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com tation (Trois Improvisations), Vierne, transcr. 16 SEPTEMBER Durufl é; Elegy, Thalben-Ball; Fantasie und Daniel Moult; St. Matthew’s Westminster, Fuge in g moll, BWV 542, Bach; Choral III in London, UK 1:05 pm a, Franck; Sonata in d, op. 65, no. 6, Mendels- Parkey sohn; Fugue No. 1 in B-fl at (Six Fugues on the 17 SEPTEMBER Name BACH for Organ or Pianoforte, op. 60), OrganBuilders Mario Cifferi; Cathedral, Lausanne, Switzer- Schumann; Prelude and Fugue on the Name Distinguished Pipe Organs land 8 pm ALAIN, op. 7, Durufl é. 3870 Peachtree Ind. 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32 THE DIAPASON MAHLON E. BALDERSTON, CHARLES DAVID HELLER, Zion Lutheran Church, SUSAN OHANNESIAN, Christ Church LOUISE TEMTE, with Women’s Cho- TALMADGE, & DAVID A. GELL, with Wausau, WI, February 21: Fanfare, Cook; Cathedral, Vancouver, BC, Canada, Febru- rus of UW-La Crosse, Paul Rusterholz, di- Westmont College Chamber Ensemble, Mi- Variations on Werde munter mein Gemüte, ary 17: Toccata and Fugue in d, Bach; March rector, Our Savior’s Lutheran Church, La chael Shasberger, conductor, Trinity Episco- Pachelbel; Toccata, Adagio, and Fugue in C, and Scherzetto, Walton; Allegretto in F, Stan- Crosse, WI, February 27: Processional, G. pal Church, Santa Barbara, CA, February 14: BWV 564, Bach; Choral No. 2 in b, Franck; ford; Voluntary in C, Stanley; Little Fugue in Ives; Puer natus in Bethlehem, Ave vivens Allegro (Horn Concerto in C), Overture to Nun danket alle Gott, Manz; In dulci jubilo, g, Bach. hostia, Rheinberger; Introduction and Pas- Solomon, Organ Concerto in F, op. 4, no. 5, Kemner; Wondrous Love, Johnson; Sonne der sacaglia in d, Reger; Simple Gifts, Copland; Handel; Music for the Royal Fireworks, Han- Gerechtigkeit, Pepping; Veni Creator Spiri- LARRY PALMER, Southern Methodist Amazing Grace, Coates; O sacred instru- del, arr. Biggs; Allegro (Concerto in B-fl at, op. tus, Fedak; Ronde Française, Boëllmann; University, Dallas, TX, March 18: Pedazo de ment and holy, you will intone the words of 4, no. 2), Cornet Voluntary in g, no. 4, Organ Clair de Lune, op. 53, Carillon de Westmin- Musica del Quinto Tono, Cabanilles; Dife- the Almighty Father, You will sing the sac- Concerto in F, op. 10, no. 13, Handel. ster, op. 54, Vierne. rencias sobre el canto llano del caballero, rifi ce of our Lord, Jesus Christ, You will fi ll Cabezón; Tiento de 1º tono de mano derecha, the sanctuary with holy song, Toccata (In JAMES RUSSELL BROWN, Northern ARTHUR LAWRENCE, St. Thomas Bruna; Sonata in C, K. 255, Scarlatti; Sonata the Glory of the Invalides), Dupré; O Waly Illinois University, DeKalb, IL, February Church Fifth Avenue, New York, NY, March in g, de Albero; Preludio and Sonata in d, Waly, Phillips; Breadbaking, Bartók; Prayer 7: Allegro (Symphonie VI), op. 42, Widor; 7: Praeambulum in F, Scheidemann; Da Jesus R.115, Soler; Sonata in g, Ferrer; Elevación, of the Children, Bestor, arr. Klouse; Toccata Schmücke dich, o liebe Seele, BWV 654, Pas- an dem Kreuze stund, Scheidt; Vater unser im Orlos, Dulzainas, y Chirimias de ambas ma- on Nu la oss takke Gud, Hovland. sacaglia in c, BWV 582, Bach; Alléluias sereins Himmelreich, Böhm; Premier Livre d’Orgue, nos, Lidon. d’une âme qui desire le ciel (L’Ascension), Quatrième ton, Boyvin; Ciacona in e, BuxWV MARIJIM THOENE, St. Patrick’s Church, Messiaen; Prelude and Fugue on the name 160, Buxtehude. New Orleans, LA, February 28: Pièce d’Orgue, ALAIN, op. 7, Durufl é. NAOMI ROWLEY, with Lolly Lebovic, viola, Shepherd of the Bay Lutheran Church, BWV 572, Bach; Choral I in E, Franck; Ha- CHRISTOPHE MANTOUX, Church of bakkuk, op. 434, Hovhaness; Suite Médiévale, THE CHENAULTS, University of the Ellison Bay, WI, February 21: Elegy, Parry; St. Ignatius Loyola, New York, NY, February Biblical Sonata IV, Kuhnau; Ah, Dearest Je- Langlais; Luttes (Trois Dances), Alain. South, Sewanee, TN, March 4: Allegro, 24: Fantasie and Fugue in B-fl at, Boëly; Cho- Moore; Eclogue, Shephard; Variations on sus, O Sacred Head, Now Wounded, Haan; ral in E, Franck; Cantilène improvisée, Tour- DONALD VERKUILEN, First Presbyte- ‘Veni Creator Spiritus’, Briggs; Toccata nemire, transcr. Durufl é; Allegro (Symphony Out of the Depths I Cry to You, Drischner; rian Church, Neenah, WI, February 12: Pre- on ‘Sine Nomine’, The Emerald Isle (‘Lon- No. 6), Widor; Intermezzo, Lamento, Litanies, The Lord Is My Shepherd, Hobby; Toccata donderry Air’), Callahan; Shenandoah, Alain; Suite, Durufl é. (Suite Gothique, op. 25), Boëllmann. lude and Fugue in D, BWV 532, Bach; Canta- White; The Stars & Stripes Forever, Sousa, bile, Friedell; Choral in a, Franck. arr. Chenault. AARON DAVID MILLER, St. Mark’s ANDREW SCANLON, Syracuse Uni- Cathedral, Minneapolis, MN, February 17: versity, Syracuse, NY, February 16: Veni JOHN E. WIGAL, with Monte Coul- ROBERT DELCAMP, The University of Winter Poem, Farnam; Concerto in a, BWV Creator, de Grigny; Praeludium D-dur, ter, marimba, Tiffany Envid, harp, Delores the South, Sewanee, TN, February 18: Suite 593, Bach; Firefl ies, Miller; Carillon, Benoit; BuxWV 139, Buxtehude; Allein Gott, in der Beery and Cecelia Wigal, sopranos, Church on the First Tone, Bédard; Noel for the Flutes, Improvisation, Miller. Höh sei Ehr, BWV 662, Prelude and Fugue of the Good Shepherd, Lookout Mountain, Daquin; Passacaglia in c, BWV 582, Bach; in C, BWV 547, Bach; Suite Médiévale en TN, February 28: Meditation for Marimba Adagio for Strings, op. 11, Barber, transcr. JOHN MITCHELL, Christ Church Ca- forme de messe basse, Langlais; Joie et clar- and Organ, Creston; Aria in Classic Style for Strickland; Roulade, op. 9, no. 3, Bingham; thedral, Vancouver, BC, Canada, February 15: té des corps glorieux (Les corps glorieux), Harp and Organ, Grandjany; Passacaglia in c, Crucifi xion, Résurrection (Symphonie-Pas- Prelude and Fugue in A, Bach; Passacaglia in Messiaen; “The Peace may be exchanged” BWV 582, Bach; Five for Organ and Marim- sion, op. 23), Dupré. d, Buxtehude; Pastoral, Bancroft; Choral No. (Rubrics), Locklair; Carillon on Orientis ba, Roberts; Ave Maria, op. 93, Fauré; Partita 3 in a, Franck. Partibus, Wills. on Bunessan, Behnke. WILLIAM D. GUDGER, St. Luke’s Cha- pel, Medical University of South Carolina, BRUCE NESWICK, The Episcopal MICHAEL STEFANEK, Presbyterian THOMAS WIKMAN, Lutheran School of Charleston, SC, February 23: Concerto in Church of Bethesda-By-The-Sea, Palm Homes, Evanston, IL, February 22: Fanta- Theology, Chicago, IL, February 2: Tierce en G, HWV 487, Handel; Sonata per Organo, Beach, FL, March 21: Choral in E, Choral sia for Organ, Weaver; Méditation, Dupont; Taille, Grand jeu (Premier Livre d’Orgue), du Pergolesi; Wondrous Love: Variations on a in b, Choral in a, Franck; Ecce lignum cru- Siyahamba (Three Global Songs), Behnke; Mage; Fantasia on “Valet will ich dir geben,” Shape-note Hymn, Barber; Prelude in e, op. cis, Heiller; Suite for Organ, Near; Siciliano Allein Gott in der Höh sei Ehr, BWV 662, BWV 735, Valet will ich dir geben, BWV 736, 28, no. 4, Chopin, arr. Liszt; Canon in b, op. for a High Ceremony, Howells; Variations on BWV 664, Bach; Irish Air from County Bach; Salve Regina, Widor; Pour la Purifi ca- 56, no. 5, Sketch in D-fl at, op. 58, no. 4, Fugue Ora Labora, Hancock; Improvisation on a Derry, Lemare; Carillon de Westminster, tion de la Vierge Marie (Cinq Offertoires), on BACH, op. 60, no. 6, Schumann. submitted theme op. 54, Vierne. J. Charpentier; Toccata in e, Callaerts.
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AUGUST, 2010 33 Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ AVAILABLE RECORDINGS RECORDINGS RECORDINGS
Part-time Interim Organist—Can become Historic Organs of Seattle: A Young Yet Vi- Refl ections: 1947–1997, The Organ Depart- CD Recording, “In memoriam Mark Buxton permanent, wanted to support well-established brant History, the latest release from OHS, is a ment, School of Music, The University of Michi- (1961–1996).” Recorded at Église Notre-Dame and diverse music ministry. Visit our website, four-disc set recorded at the 2008 OHS national gan, edited by Marilyn Mason & Margarete de France in Leicester Square, London, between www.covenantpcusa.org (Organist Search). convention, held in the Seattle, Washington Thomsen; dedicated to the memory of Albert 1987 and 1996. Works of Callahan, Widor, Send résumé to Charlotte Sharpe (rcsharpe@ area. Nearly fi ve hours of music feature historic Stanley, Earl V. Moore, and Palmer Christian. Grunewald, Salome, Ropartz, and Boëllmann, columbus.rr.com). organs by Aeolian-Skinner, Casavant, Hook & Includes an informal history-memoir of the organ along with Buxton’s improvisations. $15 post- Hastings, and Hutchings-Votey, Kilgen, Tallman, department with papers by 12 current and former paid: Sandy Buxton, 10 Beachview Crescent, To- Woodberry, Hinners, Cole & Woodberry, plus in- faculty and students; 11 scholarly articles; remi- ronto ON M4E 2L3 Canada. 416/699-5387, FAX Director of Music—John Calvin Presbyterian struments by Flentrop, C. B. Fisk, and Rosales, niscences and testimonials by graduates of the 416/964-2492; e-mail [email protected]. Church, 200-member congregation, Annandale, and Pacifi c Northwest organbuilders Paul Fritts, department; 12 appendices, and a CD record- Virginia, seeks enthusiastic leader for music pro- Martin Pasi, John Brombaugh, Richard Bond, ing, “Marilyn Mason in Recital,” recorded at the gram. 15 hrs/week. FAX résumé: 703/941-3341; and many more! Renowned organists Douglas National Shrine of the Immaculate Conception PIPE ORGANS e-mail questions to [email protected]. in Washington, DC. $50 from The University of Cleveland, Julia Brown, J. Melvin Butler, Carol Michigan, Prof. Marilyn Mason, School of Music, FOR SALE Terry, Bruce Stevens, and others are featured Ann Arbor, MI 48109-2085. in live performances on 24 pipe organs built be- Church Organ Sales—Major classical/church Beautiful Dobson tracker organ: Excellent tween 1871 and 2000. Includes a 36-page book- ′ ′ ″ organ manufacturer seeks sales/service person- let with photographs and stoplists. $34.95, OHS sound! 12 stops with 8 Principal. 13 19 tall. nel or dealership principals in select US loca- Aging of Organ Leather by Harley Piltingsrud $236,000. Richard Wanner, Berkeley, California. members: $31.95. For more info or to order: tells how to test and select organ leathers for lon- tions. Contact Rick Anderson 503/681-0483 or http://OHSCatalog.com/hiorofse.html. 510/841-4382. See www.dobsonorgan.com/html/ [email protected]. gevity of 60 years or more. Treats other aspects instruments/op62_berkeley.html or www.organ of leather production and the history of testing for longevity. New 48-page edition in 1994, $9.95 + clearinghouse.com/instr/detail.php?instr=2396. The Organ Historical Society has released $4.50 shipping for entire order (within USA). Or- PUBLICATIONS/ Historic Organs of Indiana, 4 CDs recorded at der online at www.ohscatalog.org. RECORDINGS the OHS National Convention in Central Indiana 1910s vintage 7-rank Æolian player pipe or- in July, 2007. Nearly 5 hours of music features gan—Manual pipe stops and Harp all duplexed 31 pipe organs built between 1851–2004, by Historic Organ Surveys on CD: recorded during to both Manuals I & II. Two-manual 116-note Reverie and Spring Song are a matched set Aeolian-Skinner, Skinner, Henry Erben, Felge- non-automatic player mechanism. Over 100 national conventions of the Organ Historical So- ′ from 1909 by Will C. Macfarlane, prolifi c recit- maker, Hook & Hastings, Kilgen, Kimball, and ciety. Each set includes photographs, stoplists, rolls available. Manuals I & II Diapason 8 , Flute alist and composer. He is known for playing at many more builders. Performers include Ken 8′, String F 8, String P 8, String PP 8′, Flute 4′, and histories. As many organists as organs and ′ ′ Temple Emanu-El, St. Thomas Church, Ocean Cowan, Thomas Murray, Bruce Stevens, Carol repertoire from the usual to the unknown, Arne Trumpet 8 ; Pedal Flute 16 extension. Currently Grove Auditorium (Hope Jones Opus 1), and Williams, Christopher Young, and others. A 40- to Zundel, often in exceptional performances on in playable condition; in need of restoration. Buy- he later became the fi rst organist on the great page booklet with photos and stoplists is includ- beautiful organs. Each set includes many hymns er to remove. The organ will be offered for sale Kotzschmar in Portland. michaelsmusicservice. ed. OHS-07 4-CD set is priced at $34.95 (OHS sung by 200–400 musicians. Historic Organs of on eBay from September 1–25, 2010. For more com; 704/567-1066. members, $31.95) plus shipping. Visit the OHS Indiana, 31 organs on 4 CDs, $34.95. Historic information visit our website: mastermason.com/ Online Catalog for this and over 5,000 other or- Organs of Louisville (western Kentucky/eastern yanktonsr or call Brian Holcomb 605/665-2414. gan-related books, recordings, and sheet music: Indiana), 32 organs on 4 CDs, $29.95. Historic The most successful PRO ORGANO release www.ohscatalog.org. Organs of Maine, 39 organs on 4 CDs, $29.95. of 2009 was Praise the Eternal Light, featuring Historic Organs of Baltimore, 30 organs on 4 1974 Moeller, III/31, Rock Island, IL. Contact: Gerre Hancock (Pro Organo CD 7233). This CDs, $29.95. Historic Organs of Milwaukee, Vern Soeken; (C) 309/781-8153; (H) 309/786- release is a combo 2-disc set, with one DVD The OHS Catalog is online at www.ohscatalog. 25 organs in Wisconsin on 2 CDs, $19.98. His- 3667. E-mail: [email protected]. video disc and one CD audio disc, with accom- org. More than 5,000 organ and theatre organ toric Organs of New Orleans, 17 organs in the panying booklet, and features 9 organ impro- CDs, books, sheet music, DVDs and VHS vid- Bayous to Natchez on 2 CDs, $19.98. Historic visations inspired by the Jean Barillet stained- eos are listed for browsing and easy ordering. Organs of San Francisco, 20 organs on 2 CDs, 8-rank Wangerin near Detroit is seeking a good glass windows at the Cathedral of St. Joseph in Use a link for adding your address to the OHS $19.98. Add $4.50 shipping in U.S. per entire or- home. I am in good condition and will bring joy Hartford, Connecticut. Praise the Eternal Light Catalog mailing list. Organ Historical Soci- der from OHS, Box 26811, Richmond, VA 23261, to my new owner. Owner is asking $3,500 and is still available at ProOrgano.com at only $20, ety, Box 26811, Richmond, VA 23261. E-mail: by telephone with Visa or MasterCard 804/353- buyer to remove. For information please contact plus postage. [email protected]. 9226; FAX 804/353-9266. 248/356-0896 or [email protected].
TOTAL PIPE ORGAN RESOURCES
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PEEBLES-HERZOG, INC. THE ORGAN COMPANY 50 Hayden Ave. Columbus, Ohio 43222 1220 Timberedge Road Lawrence, Kansas 66049 Ph: 614/279-2211 • 800/769-PIPE (785) 843-2622 www.peeblesherzog.com www.reuterorgan.com
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PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
1964 M.P. Möller pipe organ. 36-rank American Business close out! Many ranks of pipes for Austin actions recovered. Over 40 years ex- Releathering all types of pipe organ actions Classic specifi cation including two célestes, two sale cheap! Reeds, fl utes, strings, diapasons, perience. Units thoroughly tested and fully guar- and mechanisms. Highest quality materials and enclosed divisions and 32′ reed. Three-manual basses, etc. Send SASE to Ranstrom Organs, anteed. Please call or e-mail for quotes. Tech- workmanship. Reasonable rates. Columbia console. No casework or façades; instrument is 1835 S. Lincoln St., Denver, CO 80210, or call nical assistance available. Foley-Baker, Inc., 42 Organ Leathers 800/423-7003. www.columbia in good condition but will need releathering. Ask- 303/777-4620. N. River Road, Tolland, CT 06084. Phone 1- organ.com/col. ing $50,000 “as is” or can be rebuilt with some 800/621-2624. FAX 860/870-7571. foleybaker@ modifi cations. Available immediately. For more sbcglobal.net. information, contact Létourneau Pipe Organs at Consoles, pipes and numerous miscellaneous It’s time to check your company’s listing for THE [email protected] or 888/774-5105. parts. Let us know what you are looking for. DIAPASON 2011 Resource Directory—or to create E-mail [email protected] (not comcast), Aeolian/Robert Morton-style maroon leather one if you haven’t done so! Visit www.TheDiapa- phone 215/353-0286 or 215/788-3423. is now available from Columbia Organ son.com, and from the left column select Supplier Martin Pasi pipe organ—Two manuals, Leathers! Highest quality. 800/423-7003, Login. For information, contact Joyce Robinson, 24 stops, suspended-tracker action. Web: www.columbiaorgan.com. 847/391-1044; [email protected]. http://martin-pasi-pipe-organ-sale.com; phone: Atlantic City Pipe Organ Company—Break- 425/471-0826. ing up Tellers/Kent #328: Gottfried reeds: 16′ ′ ′ ′ Fagotto, 8 Oboe, 8 French Horn, 16 Viol. 1963 Highest quality organ control systems since Tours of the World’s Largest Pipe Organ in At- 4-rank Tellers #969 complete. 609/641-9422; 1989. Whether just a pipe relay, combination lantic City’s Boardwalk Hall are now available by Portative organ: Designed for small choral or http://mywebpages.comcast.net/acorgan. action or complete control system, all parts reservation. The two-hour docent tours include ′ ′, ′, baroque ensembles. Four stops: 8 , 4 2 and are compatible. Intelligent design, competitive the ballroom Kimball organ and the 33,000+ pipe ′ 1-1/3 , with the last two divided into bass and tre- pricing, custom software to meet all of your re- Midmer-Losh organ, with its 7-manual console ble registers and an adjustable point of division and 5-manual portable console. Tourgoers will ANNOUNCEMENTS quirements. For more information call Westa- ′ ′ (b24/c25 or c25/c#26). Adjustable pitch between cott Organ Systems, 215/353-0286, or e-mail see the 64 pedal stop, the immense 32 Diapa- sons, and areas of the organs not open to the ca- A=440 Hz and A=415 Hz. Quartersawn white oak [email protected]. case. Available immediately. For more informa- Attention Organists! Is it time for new organ sual visitor. Tours cost $20, which goes directly tion, contact Létourneau Pipe Organs at mail@ shoes? How about blue suede? Or red sequins to support the restoration of these instruments; letourneauorgans.com or 888/774-5105. so that you can pedal your way down the yel- children under 12 are admitted free. For reserva- low brick road? Our new line of sandals are Visit TheDiapason.com—click on “Subscribe to tions: [email protected]. For information: nice and cool for summer, with specially de- our newsletter” to receive The Diapason E-news. www.acchos.org. Two-manual 1968 Holtkamp organ—5 stops, signed insoles so your feet stay in place. Order unifi ed. 3 fi xed pre-set toestuds. Recently yours today! Box Shoe-Con, The Diapason, cleaned and regulated. Excellent condition. Per- [email protected]. Need help with your re-leathering Postal regulations require that mail fect for small church, chapel, or studio. Available project? All pneumatics including to THE DIAPASON include a suite num- early 2011. Contact [email protected]. Austin. Over 45 years experience ber to assure delivery. Please send (on the job assistance available). all correspondence to: THE DIAPASON, The Diapason 615/274-6400. ELECTRONIC ORGANS 3030 W. Salt Creek Lane, Suite 201, 2011 Resource Directory Arlington Heights, IL 60005. FOR SALE The only comprehensive directory ALL REPLIES Hammond B3 with Hammond and Leslie 122 and buyer’s guide for the organ TO BOX NUMBERS THE DIAPASON’s classified ads are speakers. Good condition. $7500. 989/894-5397; and church music fi elds now available on THE DIAPASON [email protected]. that appear website—including photographs and convenient e-mail links directly to the Advertising deadline: without an address sellers! Visit www.TheDiapason.com MISCELLANEOUS November 1, 2010 should be sent to: and in the left-hand column, look for FOR SALE SPOTLIGHTS, then click on Classified Contact editor Jerome Butera THE DIAPASON Advertisements. Follow the links to the 3030 W. Salt Creek Lane, Suite 201 classifieds that interest you, and click Wood pipes. Missing pipes made to match. 847/391-1045 the e-mail button to contact the sellers. Damaged pipes in any condition repaired. Over
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Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
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AUGUST, 2010 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Stephen Cleobury* Douglas Cleveland Michael Unger AGO National Competition Winner Available 2008-2010
Ken Cowan Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director March 2011 Jane Parker-Smith* Peter Planyavsky* Simon Preston* Daniel Roth* Ann Elise Smoot Donald Sutherland The Choir of St. John’s College Cambridge, UK Andrew Nethsingha, Director March, 2011
Westminster Cathedral Choir London, UK Martin Baker, Director Fall 2011 *=European artists available Tom Trenney Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young 2009-2010 and 2010-2011