THE DIAPASON SEPTEMBER 2017

Grace Episcopal Church Hartford, Connecticut Cover feature on pages 26–27 www.concertartists.com 860-560-7800 [email protected] PO Box 6507, Detroit, MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ

ANTHONY & BEARD ADAM BRAKEL THE CHENAULTS JAMES DAVID CHRISTIE PETER RICHARD CONTE LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY CHRISTOPHER HOULIHAN

DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAMÍREZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY WELCH JOSHUA STAFFORD 2016 LONGWOOD GARDENS WINNER ™ 50th Anniversary Season ™ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eighth Year: No. 9, Summer’s End Whole No. 1294 September: the mark of the end of summer. Many academic SEPTEMBER 2017 programs are now in full swing. Most choir programs will soon Established in 1909 resume rehearsals. Vacations and continuing education pro- Stephen Schnurr ISSN 0012-2378 grams and conventions are mostly a memory for 2017. I trust 847/954-7989; [email protected] you found some part of your summer to be restful or restor- www.TheDiapason.com An International Monthly Devoted to the Organ, ative in mindset. the Harpsichord, Carillon, and Church Music As we move into autumn, our activities change, likely In this issue becoming much busier! For many of us, we will be attending Our cover feature this month is the new organ for Grace CONTENTS or conducting rehearsals, teaching, taking classes and lessons, Episcopal Church, Hartford, Connecticut, crafted by Schoen- FEATURES playing recitals —all the activities that will occupy us for the stein & Co. of Benicia, California. Jack Bethards, president and 1863 E. & G. G. Hook Opus 322, Church of months ahead. tonal director of Schoenstein, provides a fascinating outline of the Immaculate Conception, Boston, Our “Here & There” section this month contains listings how this “symphonic church organ” of three manuals, 18 ranks Massachusetts, Part 3 for many of these varied activities. We have been receiving was conceived for a sacred space seating only 112 persons. by Michael McNeil 20 announcements of quite a few recital and concert series for We conclude Michael McNeil’s in-depth look at the historic Church Music Studies in Germany: the 2017–2018 season, which we proudly begin to present in and monumental 1863 E. & G. G. Hook Opus 322, formerly Refl ections on a Semester Abroad this issue. You can mark your calendar for numerous programs located in the now-closed Church of the Immaculate Concep- by Hannah Koby 23 throughout the upcoming season! tion, Boston, Massachusetts. For the fi rst two parts of this series, see our July issue, pp. 17–19, and our August issue, pp. 18–21. NEWS & DEPARTMENTS Editor’s Notebook 3 Resource Directory Hannah Koby, a senior undergraduate organ and church music Here & There 3 Our annual Resource Directory is published in January, major at Valparaiso University, refl ects on her summer study Nunc Dimittis 10 and we are already planning for this booklet. If your business abroad program in Rottenburg am Neckar, Germany. Harpsichord News by Larry Palmer 12 should be listed in our Directory, please let us know. Listings Larry Palmer, in “Harpsichord News,” continues his discus- In the wind . . . by John Bishop 16 are free of charge. But we can’t include you if we don’t know sion of recital programming and program notes. He alerts us On Teaching by Gavin Black 18 about you. If your business has been included in this publica- to the passing of two notable European fi gures, Elizabeth tion for a few or for many years, kindly review your entry to Chojnacka and Luigi Ferdinando Tagliavini. We also provide REVIEWS make sure it is correct. If additional appropriate information a brief obituary for Tagliavini in our “Nunc dimittis” section Choral Music 13 Book Reviews 13 would be helpful, or if corrections need to be made, please of “Here & There.” (And another tribute to Tagliavini is New Organ Music 14 inform us right away. We know that the Resource Directory is expected for a future issue of The Diapason.) In “On Teach- New Recordings 14 a reference tool for our readership for the entire year, so make ing,” Gavin Black returns to his discussion on helping students sure you are included! choose fi ngering after a month’s diversion on other topics. John NEW ORGANS 28 Bishop, in “In the Wind . . . ,” discusses organ case design, in Lessons & Carols particular, those inspired by the Werkprinzip concept wherein CALENDAR 29 Speaking of planning ahead, if your church or educational the organ “is arranged in clearly defi ned divisions that can be ORGAN RECITALS 33 institution is having a service of Lessons & Carols, presenta- easily identifi ed by viewing the façade.” In our new series of CLASSIFIED ADVERTISING 34 tion of Handel’s Messiah, Advent recital series, or Christmas choral reviews begun last month, our reviewer for September concert, be sure to submit this information to us for inclusion is Derek Nickels, organist and director of music for the Church in our Calendar section. of the Holy Comforter, Kenilworth, Illinois. Q THE DIAPASON SEPTEMBER 2017 Here & There

Events 1, Thomas Heywood; 10/8, Christoph Tietze; 10/15, Philip Manwell; 10/22, Emanuele Cardi; 10/29, Raymond Hawkins. St. Mary’s Cathedral houses a 1971 Fratelli Ruffatti organ of four Grace Episcopal Church Hartford, Connecticut Cover feature on pages 26–27 manuals, 89 ranks. For information: www.stmarycathedralsf.org. COVER Schoenstein & Co., Benicia, California; Grace The Cathedral of St. Philip, Episcopal Church, Hartford, Connecticut 26 Atlanta, Georgia, announces Sunday concerts at 3:15 p.m. followed by Choral Evensong at 4:00 p.m.: Sep- Editorial Director STEPHEN SCHNURR tember 10, Patrick Scott; 9/17, Sarah and Publisher [email protected] John Gouwens at Culver Academies Hawbecker; 9/24, Ralph Lyda; October 847/954-7989 carillon (photo credit: Gary Mills) 1, Damin Spritzer; 10/8, Brian Parks; President RICK SCHWER 10/15, Timothy Gunter; 10/22, Atlanta [email protected] Culver Academies, Culver, Indiana, Camerata; 10/29, Spivey Hall Children’s 847/391-1048 continues carillon recitals by John Gou- Choir; November 12, David Lamb; wens, Saturdays at 4:00 p.m.: September 11/19, Jason Klein; 11/26, Clara Gerdes; Consulting Editor JOYCE ROBINSON [email protected] 2, 9/30. For information: December 3, Advent Procession with 847/391-1000 www.culver.org. Lessons & Carols; 12/17, Christmas Les- Cathedral Church of St. Paul, Detroit, sons & Carols; January 7, 2018, Chase Michigan, Pilzecker organ (photo credit: Sales Director JEROME BUTERA Christian Hooker) [email protected] Loomer; 1/14, Alvin Blount; 1/21, Gail 608/634-6253 Archer; 1/28, Karen Black; February 4, Circulation/ Alan Lewis; 2/11, Robert Poovey; 2/18, 10, 9/24, October 8, 10/22, November Subscriptions DONNA HEUBERGER [email protected] Clayton State Collegium Vocale; 2/25, 12 (Service of Thanksgiving and Act of 847/954-7986 Christopher Lynch; March 4, Mark Remembrance), 11/26, December 3 Pacoe; 3/11, Jeremy McElroy and Clin- (Advent Procession), 12/17 (Lessons and Designer KIMBERLY PELLIKAN ton Miller; April 8, Bryan Dunnewald; Carols), January 14, 2018, February 11, [email protected] 847/391-1024 4/15, Jason Roberts; 4/22, Stefan Kagl; 2/25, March 11, 3/25 (Passiontide Con- 4/29, David Henning; May 6, Georgia cert), May 10 (Evensong for Ascension). Contributing Editors LARRY PALMER St. Mary’s Cathedral, Ruffatti organ Boy Choir; 5/13, Caroline Robinson; For information: Harpsichord 5/20, Bruce Neswick. For information: www.detroitcathedral.org. BRIAN SWAGER The Cathedral of St. Mary of the www.stphilipscathedral.org. Carillon Assumption, San Francisco, California, Campbellsville University, Camp- presents concerts Sundays at 4 p.m.: The Cathedral Church of St. Paul, bellsville, Kentucky, announces its 10th JOHN BISHOP In the wind . . . September 3, Yooney Han, piano; 9/10, Detroit, Michigan, announces choral Annual Noon Concert Series with organ Angela Kraft Cross; 9/17, Ugo Sforza; Evensong services for the 2017–2018 recitals at 12:20 p.m. in Ransdell Chapel GAVIN BLACK 9/24, Hans Uwe Hielscher; October season, Sundays at 4:00 p.m.: September or Our Lady of Perpetual Help Catholic On Teaching

Reviewers Derek E. Nickels THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Joyce Johnson Robinson Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2017. Printed in the U.S.A. Jay Zoller 5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Steven Young Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make James M. Reed $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Periodical postage paid at Pontiac, IL, and at additional mailing offices. at the rate of one copy for every fi fteen students. Such copies may be reused for other POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite courses or for the same course offered subsequently. 201, Arlington Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 3 Here & There

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St. Paul’s Episcopal Church, Cleveland Heights, Ohio, Holtkamp organ

James Higdon, lecture and masterclass Ransdell Chapel, Campbellsville Uni- on the works of Jehan Alain; 9/24, James versity, Campbellsville, Kentucky Higdon, recital of the works of Alain on the Holtkamp organ; 9/29, “Blow Ye the Church: September 12, Nevalyn Moore; Trumpet in Zion,” hymn festival with October 3, David Lamb; November 14, Richard Webster and brass, percussion, Mark DeAlba; February 6, 2018, James and organ with the choirs of St. Paul’s; Madison Avenue Presbyterian Church, New York, New York (photo credit: Lee Ryder) Sperry; March 6, John A. Deaver; April October 1, closing concert with Karel 10, Wesley Roberts. In addition, recitals Paukert & Friends performing works Madison Avenue Presbyterian Church, New York, New York, announces its are offered at 8:00 p.m. in Ransdell Cha- by Bach, Ligeti, Liszt, Alain, and Frank 2017–2018 concert season, Sundays at 3:00 p.m., except where noted: October 1, pel: January 30, Wesley Roberts; Febru- Wiley. For information: Andrew Henderson performs organ works of Bach and Franck; 10/15, The Romantic ary 27, Kevin Vaughn. For information: www.stpauls-church.org. Spirit through the Ages, students of Mannes College in piano works of the 16th to the www.campbellsville.edu. 20th centuries; November 12, Julliard415 performs chamber works of François Cou- perin; 11/19, Haydn Harmoniemesse and Schubert Mass in G with the St. Andrew Chorale and Orchestra; December 3, Christmas on Madison Avenue, with the New York City Children’s Chorus; 12/17, 4:00 p.m., 13th Annual Carol Sing; January 28, 2018, Meeting of Musical Minds, with the Steinberg Duo (violin and piano); Febru- ary 11, Steven Vanhauwaert, pianist; March 4, Weather Reports, with the Amuse Singers; 3/18, Margaret Mills, pianist; 3/25, Bach, St. Matthew Passion, with the St. Andrew Chorale and Orchestra; Friday, April 13, 7:30 p.m., Manhattan School of Music organ department recital; 4/22, Nadejda Vlaeva, pianist; 4/29, Memories, Dreams, Refl ections, with Trio Appassionata; May 6, New York, New York!, with the New York City Children’s Chorus. For information: www.mapc.com/music/sams.

Methuen Memorial Music Hall Merrill Auditorium, Portland, Maine, the Methuen Memorial Music Hall, Kotzschmar Organ Methuen, Massachusetts, continues its 2017 series of organ recitals and events: Friends of the Kotzschmar Organ, September 15, Frederick MacArthur; Merrill Auditorium, Portland, Maine, 9/23, “Pipes and Pipes,” Car Show with continues programs featuring the audito- tour, organ music, and open console; rium’s historic Austin organ: September October 7, children’s program with Joyce 16, Nathan Laube; October 24, silent Painter Rice; December 1, Holiday fi lm, Phantom of the Opera, with Tom Open House with organ music; Decem- Trenney; December 19, Kotzschmar ber 2–3, “A Merry Music Hall Christ- Christmas with Cornils 2017, mark- mas,” with Ray Cornils and trumpets. ing Ray Cornils’s fi nal performance as For information: www.mmmh.org. municipal organist. For information: www.foko.org. St. Paul’s Episcopal Church, Cleveland Heights, Ohio, announces its Loyola University, Chicago, Illinois, Ars Organi celebration of the church’s announces its 2017–2018 organ recital organs by Holtkamp, Hradetzky, and series, held on the third Sunday of Slajch, and harpsichord by Griewisch: each month at 3:00 p.m. in Madonna September 15, Jaroslav Tůma perform- della Strada Chapel and featuring the ing Baroque music; 9/16, Jaroslav Tůma, three-manual Goulding & Wood organ: paraphrasing Smetana’s My Country; September 17, Rich Spotts; October 15, 9/19, rededication of the Hradetzky Jay Yau; November 19, Melody Turner; organ in the gallery followed by a concert December 17, Joseph Burgio; January by James David Christie and the Oberlin 21, 2018: Thom Gouwens; February Conservatory Collegium Musicum; 9/23, ³ page 6 Saving organs throughout America....affordably! The organ in the Cathedral, Oaxaca, Mexico Instituto de Órganos Históricos de Oaxaca announces its twelfth International Organ and Early Music Festival, February 14–21, 2018, in Oaxaca, Mexico. The eight-day program includes nine concerts on nine restored Oaxacan organs, visits to 12 unrestored organs and their churches in the Oaxaca Valley and the Mixteca Alta, opportunities to play the organs, sampling of local cuisine in the regional vil- lages, and guided tours of the former convent and church of Santo Domingo and the archeological sites of San Martín Huamelulpan and Santa María Atzompa. Recitalists include Andrés Cea Galán (Spain) and Jan Willem Jansen (Netherlands/France). For information: www.iohio.org.mx. Be sure you are listed in the 1-800-621-2624 2018 Resource Directory! foleybaker.com For advertising information, see ad on page 14.

4 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Conductor/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Montevideo, Uruguay Charlotte, North Carolina Ann Arbor, Michigan Birmingham, Alabama Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Sarah Hawbecker James D. Hicks Organist Organ/Carillon Professor of Organ Organist/Recording Artist Organist/Presenter Organist Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Atlanta, GA Califon, NJ

Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Wynford S. Lyddane Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Pianist/Instructor Brooklyn, New York San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX Washington, D.C.

Colin Lynch Philip Manwell Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Organist/Conductor Organist Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Boston, Massachusetts Reno, Nevada U of Nebraska-Lincoln Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

Anna Myeong David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Organist/Lecturer Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Madison, Wisconsin Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK

Clarion Duo Duo Majoya Rodland Duo Christine Westhoff Keith Benjamin, trumpet Organ and Piano Viola and Organ & Timothy Allen University of Missouri-Kansas City Marnie Giesbrecht, Joachim Segger Eastman School of Music/ Soprano and Organ Melody Steed, organ, Bethany College U of Alberta, King's U, Canada St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 30th year of operation Here & There

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Madonna della Strada Chapel, Goulding & Wood organ

18, Christa Miller; March 18, Jonathan St. Albans International Organ Competition, the civic reception for competitors Oblander; April 15, Grant Nill; May 20, (photo credit: Steve Hamill) Christine Kraemer. For information: www.luc.edu/campusministry/ The 29th St. Albans International Organ Competition concluded at London’s sacramental_life/organ/. St. John’s Smith Square on July 22, after nearly two weeks of competition and fes- Longwood Gardens carillon (photo credit: tival events in venues around the city of St. Albans and London. The First Prize for St. John’s Episcopal Church, West Larry Albee) Interpretation and the Audience Prize were awarded to Thomas Gaynor, currently Hartford, Connecticut, announces its pursuing his Doctor of Musical Arts degree and the Artist’s Certifi cate at the East- 2017–2018 Music at the Red Door events: Longwood Gardens, Kennett man School of Music, Rochester, New York. He is a member of The Diapason’s 20 September 17, The Nields folk duo; 9/30, Square, Pennsylvania, announces its Under 30 Class of 2016. Second Prize for Interpretation and the Peter Hurford Bach Albert Schweitzer International Organ carillon festival, September 22–24, fea- Prize were awarded to Ágoston Tóka from Hungary. The Philip Moore Prize for the Competition winners recital; October 22, turing performances on the carillon of best performance of the commissioned new work was presented to Lotta-Sophie Aaron Krerowicz, lecture on the music of 62 bells cast by Royal Eijsbouts of Asten, Harder from Germany. The Douglas May Award was presented to Sora Yu from the Beatles; 10/27, Pipescreams! organ the Netherlands: September 22, 12 South Korea. recital, with the Hartford Chapter of the noon, Doug Gefvert; 12:30 p.m., tower The top Tournemire Prize for Improvisation was not awarded. Special prizes in American Guild of Organists; December open for guests; 1:30, R. Robin Austin; the Improvisation Competition were presented to Christian Groß from Germany 10, Candlelight Festival of Nine Les- 3:30, Stephen Schreiber; 6:15, Lisa and Shihono Higa from Japan. The members of this year’s jury, who included sev- sons & Carols; March 10, 2018, Fauré Lonie and Janet Tebbel; 9/23, 12 noon, eral winners from previous generations, were Sophie-Véronique Cauchefer-Choplin Requiem, with the choirs of St. John’s John Widmann; 12:30 p.m., tower open (France), Leo van Doeselaar (the Netherlands), László Fassang (Hungary), David Church and St. Paul’s on-the-Green for guests; 1:30, Jesse Ratcliff; 3:30 p.m., Goode (UK), Naomi Matsui (Japan), Pier Damiano Peretti (Italy/Austria), and Wil- Episcopal Church, Norwalk (repeated Buck Lyon-Vaiden; 6:15, Julie Zhu; 9/24, liam Porter (United States). March 11 at St. Paul’s); April 22, Fa-Re- 12 noon, Lisa Lonie, with Sycamore La Duo, piano and cello; May 4, The Muse, mandolin and guitar; 12:30 p.m., Yale Whiffenpoofs. Choral Evensong tower open for guests; 1:30, Ellen Dick- is offered on Sundays at 5:00 p.m. with inson; 3:30, Joey Cotruvo; 5:30, Janet the parish Adult Choir unless otherwise Tebbel with Darlene Kelsey, soprano. noted: September 24; October 29 (Youth For information: Choir), January 28, 2018, February 25, www.longwoodgardens.org. March 25, and April 29 (Youth and Adult Choirs). St. John’s Pipes Alive! organ Christ Church, Easton, Maryland, recital series is presented Sundays at announces its 2017–2018 season of 12:30 p.m.: January 7, 2018, Scott Lam- events: September 22, Weston Jen- lein; February 4, James Barry; March 4, nings; October 29, Michael Britt, silent Jacob Street; May 6, Ezequiel Menendez; fi lm accompaniment, The Hunchback June 3, Susan Carroll. For information: of Notre Dame; November 19, Annapo- www.reddoormusic.org. lis Chamber Players; December 10, Advent Lessons & Carols; January 21, St. Paul’s Episcopal Church, Delray 2018, Monte Maxwell; February 11, Beach, Florida, announces its 2017–2018 The American Boychoir; March 18, Trio season of musical events, Sundays at 3:00 Galilei; April 22, Suspicious Cheese p.m.: September 17, Con Brio String Lords; May 20, Wes Lockfaw with the Quartet; October 15, Trillium Piano Trio; Christ Church Brass. For information: November 19, Duo Beaux Arts; Decem- www.christchurcheaston.org. Newly elected officers of the Associated Pipe Organ Builders of America ber 17, Advent Lessons & Carols; January 21, 2018, Klotz, Calloway, Strezeva Trio; VocalEssence announces its The Associated Pipe Organ Builders of America elected new offi cers at their February 18, Serafi n Quartet with pianist 2017–2018 year in the Twin Cities, annual meeting held in Chicago, Illinois, on April 28–29. Pictured left to right are: Roberta Rust; March 18, Bach’s Art of Minnesota, region, the group’s 49th John-Paul Buzard, Buzard Pipe Organ Builders, secretary; Seth Marshall, Organ the Fugue with harpsichordists Michael season: September 24, Finlandia For- Supply Industries, treasurer; Randall Dyer, Randall Dyer & Associates, Inc., presi- Bahmann and Paul Cienniwa; April 15, ever, celebrating 100 years of Finnish dent; and Andrew Forrest, Orgues Létourneau, vice president. Amernet String Quartet; May 20, Bach independence; November 10, Bach and arias with Camerata del Ré; June 10, Bluegrass Jamboree with guests Monroe Palm Piano Trio. For information: Crossing; 11/11, Bach’s Mighty Fortress www.music.stpaulsdelray.org. ³ page 8

Quire Cleveland (photo credit: Beth Segal)

Quire Cleveland announces its 2017–2018 season, the organization’s tenth: October 5–6, works of Henry Purcell, Cathedral of St. John the Evangelist, Cleve- land, Ohio, and Lake Erie College, Painesville, 10/29, Sing You After Me: Wondrous Rounds and Canons, Holy Trinity Lutheran Church, Akron; December 15–17, Carols for Quire from the Old and New Worlds, Trinity Episcopal Cathedral and St. Peter Catholic Church, Cleveland; April 27–29, 2018, Let the Heavens Rejoice: Celebra- tory Psalms for Voices and Instruments, Cleveland and Akron; May 12, The Land of Harmony: American Choral Gems, Holland Theatre, Bellefontaine. For information: www.quirecleveland.org.

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Copyright © Arizona Board of Regents. All rights reserved. 0917 Here & There

³ page 6 People the second half of the 18th century. The Community Sing, celebrating 500 years musical forms represented include free of the Protestant Reformation; Decem- toccatas, fugues, and liturgical versets ber 2, 8, 9, 10, VocalEssence Welcome for Masses and other religious services. Christmas, marking the 20th anniversary Volume I, EW457, €23.50; Volume II, of the organization’s national carol com- EW535, €24.80; Volume III, EW985, petition; 12/9, Star of Wonder, a family €23.50; Volume IV, EW989, €23.50. holiday program; January 13, 2018, Also available, Claudio Merulo, Toccate Together We Sing Festival; February 18, D’Intavolatura D’Organo, Libro primo e VocalEssence Witness: Of Such I Dream, secondo ò cembalo, a facsimile of these marking the 100th anniversary of the St. Chrysostom’s Church, Fisk organ works fi rst published in Rome in 1598 Harlem Renaissance; April 21, Rutter and 1604 (S1043, €34.50). For informa- Returns, with John Rutter conducting; St. Chrysostom’s Episcopal tion: www.edition-walhall.de. 4/22, Community Sing with John Rutter; Church, Chicago, Illinois, announces May 6, VocalEssence Choralia, to benefi t its 2017–2018 season of musical events: Benjamin Straley VocalEssence Community Engagement September 25, Choral Evensong; Octo- Programs; 5/22, VocalEssence Cantare ber 6, A French Feast, featuring Jason Benjamin Straley will present a Community Concert. For information: Moy, harpsichord, Taya Tarazevich, recital at the Church of Christ, Con- www.vocalessence.org. Baroque fl ute, Anna Steinhof, gamba; gregational, Newington, Connecticut, October 27, Bach’s Clavierübung, Part sponsored by the church and the Greater III, with Michael Costello, Richard Hartford Chapter of the American Hoskins, David Jonies, Brian Schoettler, Guild of Organists, September 22, 7:30 and Roger Stanley; November 11, Third p.m., marking the 50th anniversary of Coast Baroque, performing music of the church’s M. P. Möller Opus 10306. Bach, Handel, and Scarlatti; December Straley is organist for the Washington 3, Advent Lessons & Carols; 12/17, National Cathedral and a member of Caroling with the Carillon; January The Diapason’s 20 Under 30 Class of 14, 2018, 125th anniversary Evensong; 2015. Included on the program is the February 9, Richard Hoskins with guest world premiere of Jubilate Deo by Eng- vocalists and instrumentalists; February lish composer Philip Moore. The church 23, Café Zimmerman, with Jason Moy commissioned Moore with funding and friends; April 22, Choral Evensong; provided by the Marjorie Jolidon Fund 4/24, Jory Vinokour, harpsichord, and of the Greater Hartford AGO Chapter. Anna Reinhold, mezzo-soprano; May 20, David Schrader performs Mendelssohn’s Come, Ye Thankful People, Come six organ sonatas. For information: www.saintc.org. The Lorenz Corporation announces a new publication: Come, Ye Thankful People, Come, by Michael Helman (70/2033L, $18). This collection contains organ arrangements of hymns of thanksgiving as well as two original works. Hymn tunes featured include Ash Grove, Nun danket alle Gott, Washington National Cathedral Royal Oak, St. George’s Windsor, and Thaxted. For information: Washington National Cathedral, www.lorenz.com. Washington, D.C., announces Sunday afternoon organ recitals: September 24, Benjamin Straley; October 1, George Recordings Fergus; 10/22, Jacob Reed; November 5, Jeremy Filsell; 11/19, Kipp Cortez; 11/26, Matthew Michael Brown; Feb- ruary 11, 2018, George Fergus and 1860 E. & G. G. Hook Opus 288, St. Wayne Wold Benjamin Straley; 2/18, Ryan Hebert; John’s Catholic Church, Bangor, Maine March 11, Anthony Williams; 3/18, Wayne Wold, director of music and Jeremy Filsell; April 1, Easter Day St. John’s Organ Society of Bangor, organist for First Lutheran Church, Elli- organ recital; 4/8, James Kealey; 4/15, Maine, is celebrating its 25th anniversary cott City, Maryland, presents Reforma- Axel Flierl; 4/22, Jamila Javadova- with its Maine Historic Organ Institute, tion 500 Hymn Festivals: September 24, Spitzberg; 4/29, Joseph Ripka; May October 24–28. A benefi t for the soci- 4:00 p.m., St. Martin’s Lutheran Church, 6, Aaron Goen; 5/13, Jeremy Filsell; ety, this institute will feature concerts, Annapolis, Maryland; October 1, 4:00 5/27, Mark Thewes and Chad Pitt- lectures, master classes, and a guided p.m., First Lutheran Church, Ellicott City, man; June 3, Chuck Seipp and Randall tour of 19th-century pipe organs by E. & Maryland; 10/8, 3:00 p.m., Good Shepherd Sheets, trumpet and organ; 6/10, Rob- G. G. Hook and George Stevens in Lutheran Church, Frederick, Maryland; ert Knupp; 6/17, Michal Markuszewski; Maine. The faculty includes Kevin Birch, and 10/29, 4:00 p.m., Trinity Lutheran 6/24, Tyler Boehmer; July 4, Indepen- Margaret Harper, Christian Lane, Jona- Church, Hagerstown, Maryland. dence Day Concert. For information: than Moyer, and Dana Robinson. For Rheinberger Organ Sonatas, Volume 5 https://cathedral.org/music/organ/. information: http://hookopus288.org. Publishers Raven announces a new CD by Breitkopf & Härtel announces a Bruce Stevens, Rheinberger Organ new publication: Missa in C Major, K. Sonatas, Volume 5 (OAR-993). Like 257, by Wolfgang Amadeus Mozart, has the other volumes in the series, the been edited by Franz Beyer. Composed new CD includes three sonatas of Josef in 1776–1777 and known as the “Great Rheinberger played on three historic Credo Mass” or “Missa longa” as was American organs. Volume 5 includes designated by Mozart’s father, Leopold, Sonata No. 7 in F Minor, op. 127, Sonata this work is now available in Urtext edi- No. 9 in B Minor, op. 142, and Sonata tion in full instrumentation as a study No. 13 in E-fl at, op. 161. The organs score (PB 5615, €12.90). Orchestral recorded on Volume 5 include the 1868 Church of Saint Jude the Apostle parts are available for sale. For further E. & G. G. Hook Opus 472 of three Wauwatosa, Wisconsin information: www.breitkopf.com. manuals, which was restored, rebuilt, Three manuals – forty ranks enlarged, and relocated by the Andover Editions Walhall announces release Organ Company to Christ Episcopal A RTISTRY – R ELIABILITY – A DAPTABILITY of Volumes III and IV of the four- Church, Charlottesville, Virginia, where volume set, Anonimi Toscani: Sonate per Sonata No. 7 was recorded. Sonata No. Organo, music for organ by anonymous 13 was recorded on the 1860 E. & G. G. Tuscan composers of the 18th century. Hook Opus 288 of three manuals in St. Edited by Jolando Scarpa, this music John’s Catholic Church, Bangor, Maine. from the Ricasoli Collection of the Uni- Sonata No. 9 was recorded on the 1898 versity of Louisville, Kentucky, is a docu- George Jardine & Son Opus 1248 of two ment of central Italian organ music of ³ page 10

8 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM

Here & There

Nunc Dimittis Chicago-Midwest Chapter of the OHS, establishing the chapter’s journal, The Stopt Joseph Peter Fitzer, born February Diapason, for which they were the fi rst editors and publishers. Friesen’s extensive 6, 1939, in Chicago, Illinois, died July 21. research on the history of Chicago pipe organs in the 19th and 20th centuries was In 1970, he received a doctorate degree and remains highly respected; issues of The Stopt Diapason are archived at the chap- from the Divinity School of the University ter’s website and are still regularly used by researchers in their work today. When of Chicago, with concurrent study at the the OHS held its fi rst convention in Chicago in 1984, most of the research for the School of Music of De Paul University, convention handbook was carried out by Michael Friesen. He was a frequent con- also in Chicago. He authored two books tributor of articles to The Diapason, The American Organist, and The Tracker, as on nineteenth-century Catholic thinkers, well as articles on pipe organ history for the journals of the Denver Historical Society particularly Johann Adam Moehler, as well and the Colorado Historical Society. He served as consultant for new mechanical- as numerous articles for The Diapason action organ projects, as well as relocation and restoration projects for historic pipe and The American Organist magazines. He organs. He was active in projects commissioning new music compositions, especially served on the faculty of St. John’s University, “Introit Psalm and Alleluia Verse,” composed by Richard Wienhorst for the Fries- New York, from 1970 until 1988, teaching ens’ wedding, published by Chantry Press. He was dean of the Denver Chapter of philosophy of religion and modern church the American Guild of Organists from 2010 to 2011. Joseph Peter Fitzer history, and also as organist and choirmaster Michael Friesen is survived by his former wife, Susan Werner Friesen, his daugh- of churches in New York, North Amherst, ter, Elizabeth Ann Roscoe (Avery), three grandchildren (Matthew, Julia, and Ben- Massachusetts, and Chicago. Fitzer was married to Susan Pollack Fitzer (died jamin), his mother, Evelyn Friesen, two sisters, Sandra Henson (David) and Janice 2012), to Mary Molina Fitzer (died 2005), and to Mary Gifford. Joseph Fitzer is Kuske (Kevin), one brother, Douglas Friesen (Anna-Marie), fi ve nephews and three survived by his wife, Mary Gifford, his son, Paul Fitzer, and two granddaughters, nieces, three great nieces and three great nephews. A memorial service was held Katherine and Elizabeth Fitzer. June 24 at St. John in the Wilderness Episcopal Cathedral, Denver, Colorado.

Michael D. Friesen, 63, died June 19 in Denver, Luigi Ferdinando Tagliavini, an Ital- Colorado. He was born August 12, 1953, in Chey- ian organist, harpsichordist, musicologist, enne, Wyoming, where he attended local schools. teacher, and composer, died July 11 in Bolo- He attended Valparaiso University, Valparaiso, Indi- gna, Italy. He was born October 7, 1929, ana, graduating in 1975 with a Bachelor of Business in Bologna. He studied, organ, piano, and Administration in marketing degree. In 1977, he composition at the conservatory in Bologna, earned the master’s degree in international business and later studied organ with Marcel Dupré from the University of South Carolina. As part of his at the conservatory in Paris, France. He degree work, he interned with Air France in Paris, graduated from the university at Padua in using his weekends to visit the great organs of Europe 1951. He taught at universities and conser- by train. He later attended Roosevelt University, vatories in Bologna, Bolzano, and Parma in Chicago, Illinois, where he earned a master’s degree Italy and Freiburg in Switzerland. He was in public administration around 1991. In 2001, he a guest instructor at various universities Michael D. Friesen completed a master’s degree in American history at in the United States, including Southern Northern Illinois University, DeKalb. Methodist University, Dallas, Texas. He After working in international marketing with the Addressograph Multigraph Luigi Ferdinando Tagliavini (pho- regularly taught organ courses at Haarlem, Corporation, Friesen began a career as a civic administrator. After developing an to credit: Martin Goldray) the Netherlands, and at Pistoia, Italy. He award-winning recycling program for the Village of Hoffman Estates, Illinois, he served as organist of the Basilica of San Pet- served as assistant village manager for Algonquin, Illinois, and village manager for ronio, Bologna, sharing duties with Liuwe Tamminga. With Renato Lunelli, Lakewood, Illinois, and later, Meade, Colorado. he founded the journal L’organo in 1960. An active performer, he presented Michael Friesen was married to Susan Werner Friesen from 1978 until 2001. recitals throughout Europe and the United States. Tagliavini was a recognized They have one daughter, Elizabeth Ann. authority in historical performance practice for the Baroque organ and harpsi- Friesen had a life-long love of the pipe organ, beginning with organ lessons chord, and was a strong supporter of the historic organ movement in Italy. He from his mother, Evelyn Friesen. He continued his organ studies while at Val- was a prolifi c recording artist, earning several awards for his LP and CD discs. paraiso University. He had developed his own master list of organbuilders by He was awarded several honorary degrees, including a doctorate in music the late 1970s, compiled from The Diapason, The American Organist, and The from the University of Edinburgh and a doctorate in sacred music from the Tracker, a list from which he planned to visit every builder’s shop. During their Pontifi cal Institute of Sacred Music in Rome. As a musicologist, he published honeymoon, the Friesens visited three organbuilders’ shops, and each family vaca- numerous papers and edited critical editions of music. tion included a visit to at least one new builder. A look at the life and contributions of Luigi Tagliavini is planned for a future Michael attended his fi rst Organ Historical Society convention with Susan in issue of The Diapason. Also, see comments on Tagliavini’s work at Southern 1980, in the Finger Lakes region of New York. They were charter members of the Methodist University in Larry Palmer’s “Harpsichord News” in this issue. Q

³ page 8 manuals in St. Peter’s Catholic Church, Haverstraw, New York. For information: www.ravencd.com.

The Twin Cities Chapter of the American Guild of Organists announces a new DVD release: A Guide for Organ Committees. This DVD is intended as a resource for those planning to install an organ, whether in a house of worship, a concert hall, an educational Augustana Lutheran Church, West St. institution, or another venue. The video Paul, Minnesota, Glatter-Götz/Rosales tells the story of the installation of the organ Glatter-Götz/Rosales pipe organ at Buzard Opus 46 Signing Augustana Lutheran Church in West how the congregation is engaged in the Lobo—Missa Vox Clamantis St. Paul, Minnesota. Viewers experience process. They also realize the ongoing and 54 ranks of pipes in the following what is required for a successful new impact this instrument has in the lives of directed by Christopher Gray. Included divisions: Great, Swell, Solo, and Pedal. organ project in terms of the leadership the congregation and the community. are two major Mass settings by Victoria A substantial portion of the Great divi- and skills of the organ committee and The production includes interviews (Missa simile est regnum caelorum) and sion (fl utes, strings, and reeds) will be with directors of the Glatter-Götz and Lobo (Missa Vox Clamantis), along with placed in its own expression box, which the Rosales fi rms as well as Augustana Vivanco’s eight-part Magnifi cat and may be independently coupled to any Lutheran Church staff, musicians, con- motets by Victoria and Guerrero. Avail- other division to increase registra- gregation members, organ committee able from the Organ Historical Society tional fl exibility. The action will utilize members, and guest organist John West. catalog: www.ohscatalog.org. electrically operated slider and pallet For information: www.tcago.org. windchests. The organ is part of the congregation’s renovation and expansion Regent Records announces release Organbuilders project. The organ’s visual component of a new CD, Lobo—Missa Vox Cla- John-Paul Buzard Pipe Organ has been designed to honor the classical mantis (REGCD491), featuring works Builders, Champaign, Illinois, has nature of the building’s architecture and by Duarte Lobo, Tomás Luis de Victo- signed a contract to design and build features the large pipes of the 8′ stops ria, Francisco Guerrero, and Sebastián its Opus 46, a new organ for Central and a portion of the 16′ Pedal Diapason. de Vivanco. It is the fi rst recording of United Methodist Church, Fayetteville, Completion is scheduled for December Spanish and Portuguese polyphony Arkansas. The three-manual instrument 2018. For information: from the Truro Cathedral (UK) Choir, will have 44 independent speaking stops www.buzardorgans.com.

10 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM ROOTED INNOVATION TRADITION AND TECHNOLOGY ELEGANTLY PAIRED

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EXPERIENCE ELEVATED Harpsichord News By Larry Palmer

Recital programming: commission from the Swiss harpsichord- person pictured in a 1923 book of Modern Program notes ist Antoinette Vischer, Martinů composed British Composers comprising 17 master Seated one day at the harpsichord, this compact, but major, Sonate. Essen- portraits by the photographer and clavi- I was weary and ill at ease because the tially it is a piece in one movement with chord maker Herbert Lambert of Bath. mid-July deadline for this column was three sections: the fi rst and last are kalei- As a tangible expression of gratitude for approaching too rapidly, and my mind, in doscopic, fi lled with brief colorful musical this honor, Howells requested 11 of his its summer mode, seemed frail as a lily, ideas; the second is gentle and nostalgic, fellow sitters each to contribute a short too weak for a thought as I searched for as the homesick expatriate composer characteristic piece to be presented to a topic. And then, a miracle: the printed makes short allusions to two beloved the photographer. All acquiesced, but one program from my harpsichord recital at iconic Czech works: the Wenceslaus year later, only Howells had composed the 2012 East Texas Pipe Organ Festival Chorale and Dvorák’s Cello Concerto. anything for the project, so he wrote Larry Palmer addresses the audience fell out of a score. Rereading it brought While quite “pianistic” in its demands, the additional 11 pieces himself. Issued (photo credit: William Leazer) not only a wave of nostalgia, but also a the Sonate also allows brilliant use of the in 1928 by Oxford University Press, sense of continued satisfaction at both harpsichord’s two keyboards in realizing Lambert’s Clavichord was the fi rst new for a second week of study with these the balance and variety of the chosen both Martinů’s magical sonorities and his music for clavichord to be published in annual leaders of the Haarlem Summer pieces, selected painstakingly to pres- occasional use of bitonality. the twentieth century. Several questions Academies in the Netherlands, resulting ent contrasting musical styles as well as “Chaconne in D Minor” (Partita regarding names found in the titles as well in what may be the only time in Southern offering a bit of respite to the ears of the for Solo Violin, BWV 1004)—Johann as a few printed notes that were suspect Methodist University history that the festival participants who heard a number Sebastian Bach (1685–1750), arranged led me to schedule a London interview organ department achieved a fi nancial of organ recitals each day. for harpsichord solo by John Challis with the composer during a 1974 trip to surplus rather than a defi cit! Some vignettes about the unusual (1907–1974). One of Bach’s most-often the UK, a meeting that led ultimately to Two vignettes from that stellar week logistics required to present this program transcribed works, this particular set- my commissioning the Dallas Canticles, have become an unforgettable part of at Trinity Episcopal Church in Longview ting for harpsichord by the pioneering as well as a respectful, unforgettable Dallas’s musical history: Luigi’s chosen on my 74th birthday may be found in The American early instrument maker friendship with the elderly master.3 workshop topic was the organ music Diapason’s Harpsichord News column survives only in a manuscript submit- Toccata in E Minor, BWV 914—J. S. of Girolamo Frescobaldi, and he had published in February 2013 (page 20). ted for copyright (on Bach’s birthday in Bach. The shortest of the composer’s assigned to the prize-winning fi nalists from If any readers are curious, I refer them 1944), now preserved in the Library of seven toccatas for harpsichord, the E the AGO Young Organists’ Competition all to that issue, which also contains Neal Congress, Washington D.C., Challis also Minor consists of an introduction (with of the pieces contained in that composer’s Campbell’s thoughtful commentaries on was an early advocate of variable tempi an organ-pedal-like opening fi gure insis- liturgical settings for organ, known as Fiori the entire 2012 festival. What follows in in Baroque music, serving as a mentor in tently repeated six times); a contrapuntal Musicali. One of the fi nalists who had this month’s column has not appeared that respect to organist E. Power Biggs, “poco” Allegro; a dramatic recitative not won an AGO prize left Dallas in high previously in The Diapason. These are who proudly owned one of the builder’s (Adagio); and a driving, perpetual motion dudgeon. Unfortunately, this participant my “notes to the program.” I present them impressive large pedal instruments.1 three-voice fugue. Musicologist David had been assigned the very fi rst piece in now as examples of brief word pictures A Single Petal of a Rose (1965)— Schulenberg (in The Keyboard Music of this set of “Musical Flowers.” Professor intended to aid a listener’s understand- Duke Ellington (1899–1974), edited in J. S. Bach; Schirmer Books, New York, Tagliavini began his afternoon class with ing of music that, for many, was probably 1985 by Igor Kipnis and Dave Brubeck, 1992) noted the close similarity of the a brief overview of the work’s history and being heard for the fi rst time. As for the and by Larry Palmer in 2012. Edward fugue’s opening and some subsequent importance, and then peered over his selections, I specifi cally tried to choose Kennedy Ellington responded to Antoi- passages to an anonymous work from glasses as he announced, “And now we will at least some works by composers who nette Vischer’s request for a piece by a Naples manuscript ascribed to Bene- hear the fi rst piece, Frescobaldi’s ‘Toccata might be familiar to organists, while offer- sending her a piano transcription of his detto Marcello. While it was not unusual avanti della Messa’.” ing a variety of musical styles, durations, A Single Petal of a Rose, a work already for Baroque composers to borrow from The total lack of response became and tonalities both major and minor. dedicated to the British monarch Queen (and improve upon) existing works, the embarrassing; there was no respon- Elizabeth II. When American harpsi- amount of pre-existing material utilized dent. So our guest teacher moved on The program notes chordist Kipnis asked if I could point in this particular fugue is greater than to the next piece. And thus it was that Introduction to the Program: The him to Ellington’s unique work for harp- normal; however, as Schulenberg con- each afternoon session began with Italian composer Giovanni Maria Tra- sichord, I referred him to the facsimile cludes, “[Bach] nevertheless made char- the same question from Luigi: “And baci wrote in the Preface to Book II of of Ellington’s manuscript published in acteristic alterations.” I would add that who will play the ‘Toccata avanti della his Pieces ‘per ogni (all) strumenti, ma Ule Troxler’s book Antoinette Vischer, in no way do these borrowings detract Messa’?”—always followed by total ispecialmente per i Cimbali e gli Organi’ which details the works to be found in from the visceral excitement of Bach’s silence. A stickler for completeness, on [1615]: “the harpsichord is the lord of the Vischer Collection at the Sacher propulsive and dramatic conclusion. the fi fth and fi nal day of the course Luigi all instruments in the world and on it Foundation in Basel, Switzerland. (See made his same query, again to no avail. everything may be played with ease.” [“il “The A-Team,” The Diapason, Febru- Heads up: Registration So with his usual smile and slight lisp he Cimbalo è Signor di tutti l’istromenti del ary 2017, pp. 12–13.) Years later, Kipnis for the 2017 ETPOF intoned, “Then I shall play the ‘Toccata mondo, et in lui si possono sonare ogni sent me his one-page transcription for According to the East Texas Pipe avanti della Messa’!” And so he did with cosa con facilità.”] harpsichord, an arrangement made in Organ Festival website there is still an total mastery and grace. And all was well While I am not totally convinced of collaboration with his friend, the jazz opportunity to register (at discounted within the Italian Baroque solar system, the ease of playing offered by some of great Dave Brubeck. To fi t my hands and prices) for the star-studded programs for Frescobaldi’s magnum opus was, at these contrasting selections from the harpsichord I have made some further planned for this year’s festival. But do last, complete in Dallas! contemporary and Baroque repertoires, adjustments to their arrangement of this not delay: the opportunity for savings The second vignette, equally Luigi- I do suggest that each one of them has lovely, gentle work.2 expires on September 15. Visit: http:// esque, occurred when Dr. Anderson, musical interest. The pieces by John La D’Héricourt; La Lugeac—Claude- easttexaspipeorganfestival.com. always volatile and energetic, and I were Challis and Duke Ellington are prob- Bénigne Balbastre (1727–1799). These awaiting Tagliavini’s arrival to play an ably unique to my repertoire since they are two of the most idiomatic of French Recent losses evening organ recital for the workshop remain unpublished. harpsichord works from the eighteenth Elizabeth Chojnacka (born Septem- audience. It was scheduled to begin at century, and none is more so than the ber 10, 1939, in Warsaw) died in Paris 8 p.m. and by fi ve minutes before that The program one honoring M. l’Abbé d’Héricourt, on May 28. Celebrated for her virtuosic hour Dr. Anderson was pacing the cor- A Triptych for Harpsichord (1982)— Conseiller de Grand’ Chambre. With keyboard technique, Chojnacka was ridor near the door to the Caruth Audi- Gerald Near (b. 1942). In addition to writ- the tempo marking “noblement,” this known primarily as an avid and exciting torium stage. With less than two minutes ing a wonderful Concerto for Harpsichord composition stays mostly in the middle performer of contemporary harpsichord to spare, Luigi ambled down the hallway. and Strings for me to premiere at the range of the harpsichord, a particularly music. Her renderings of all three of Bob called out, “Luigi, hurry!” To which American Guild of Organists national con- resonant glory of the eighteenth-century the solo harpsichord works by Ligeti the unfl appable Italian stopped walking, vention in the Twin Cities in 1980, Gerald French instruments. In contrast, the are highly lauded, and the composer carefully placed his leather briefcase on responded to my request for a new work boisterous, “music-hall” qualities of La honored her by dedicating the third, the fl oor, and, with his characteristically to play at a recital for the Dallas Museum Lugeac suggest that it may be named Hungarian Rock, to her. kindly smile, said, “Why, Bob? Has the of Art’s major El Greco exhibition in 1983. for Charles-Antoine de Guerin, a page Luigi Ferdinando Tagliavini (born recital already begun?” Q The three brief contrasting movements to King Louis XV. Known subsequently October 7, 1929, in Bologna) died in suggest bells (“Carillon”), an amorous as the Marquis de Lugeac, the former that Italian city on July 11. Organist, Notes dance (“Siciliano”), and a homage to the page became secretary and companion harpsichordist, scholar, and instrument 1. For further information see my essay, harpsichord works of Domenico Scarlatti to the Marquis de Valery, the king’s collector, Luigi was well known to us in “John Challis and Bach’s Chaconne in D Mi- and Manuel de Falla (“Final”). representative to the court of Frederick Dallas, having been a guest at Southern nor,” in Music and Its Questions: Essays in Honor of Peter Williams, edited by Thomas Sonate pour Claveçin (1958)— the Great. The American harpsichordist Methodist University on several occa- Donahue (Organ Historical Society Press, Bohuslav Martinů (1890–1959). During and conductor Alan Curtis, who edited sions. Most memorably, he was part of 2007); and my CD recording of the Bach the fi nal year of his life, in response to a Balbastre’s keyboard works, noted that the so-designated “Haarlem Trio” orga- transcription on Hommages for Harpsichord “few Italianate jigs—Scarlatti not even nized by Robert Anderson as a week- (SoundBoard 2008). excepted—can match the outrageously long postscript to the 1972 American 2. Concerning Lambert’s Clavichord, see WEEKEND ORGAN my chapter on Herbert Howells in Twenti- bumptious and attractive La Lugeac.” Guild of Organists convention in Dallas. eth Century Organ Music, edited by Chris- MEDITATIONS “Lambert’s Fireside,” “De la Mare’s The three major European visiting art- topher Anderson (Routledge, 2012). Pavane,” and “Hughes’ Ballet” (from the ists for that event—Marie-Claire Alain, Grace Church in New York collection Lambert’s Clavichord, 1926– Anton Heiller, and Tagliavini—each gave Comments are welcome: address them www.gracechurchnyc.org 1928)—Herbert Howells (1892–1983). daily masterclasses for the large number to [email protected] or 10125 Cromwell The composer was the next to youngest of participants who remained in Dallas Drive, Dallas, Texas 75229.

12 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM Reviews

Choral Music of his passion.” The fi nal verse includes on the performance of the work with and a soaring soprano descant independent without the instrumentalist parts. While Four Advent anthems for varied of the accompaniment that brings the the meter fl uctuates between duple and SATB choir based on familiar texts anthem to a satisfying conclusion. triple meters, the melody is very acces- Advent and Christmas are two seasons sible and is reinforced by the accompa- when many congregations yearn for ritu- Never Weather Beaten Sail, Richard niment in all three stanzas. The soprano als and traditions of familiarity. The short Shephard. SATB with some divisi, descant on the fi nal stanza is reinforced liturgical period of Advent that is so rich The Royal School of Church Music, by the trumpet part. with a multitude of anthems appropriate A0012, $2.30 (E). for the season is frequently a time when Richard Shephard’s setting of Thomas There is no Rose, Gerald Near. many choral directors return to classic Campion’s venerable text for the Third SATB and organ, Aureole Editions, standard bearers of this busy time. The Sunday of Advent is a wonderful alter- #AE005, $1.50 (M). following four anthems are intended to native to the accompanied setting by The anonymous Marian Medieval text offer new insights and interpretations of Charles Wood and Charles Hubert Hast- for the Third and Fourth Sundays of traditional and familiar texts for a variety ings Parry’s classic Victorian a cappella Advent is evocatively set by Gerald Near of performance ensembles. setting from his Songs of Farewell. The in this very ethereal and gently dissonant two stanzas of text are set homophoni- setting. The fi rst four verses of poetry are Lo, He Comes with Clouds Descend- cally in a hymn-like fashion with overlap- presented in unison by the respective ing, arranged by Robert Benson. ping phrases that are easily accessible SATB sections sparsely accompanied SATB, congregation, and organ, to the average church choir. While the with open fourths and fi fths. The unac- CanticaNOVA publications, #4211, four-part writing is consistent through- companied fi nal fi fth verse in four-part $2.35 (E). out, there are a few places where the harmony gently dissolves into an accom- Cincinnati-based composer Robert four-part texture expands to brilliantly paniment of added ninths and elevenths. The Church Year in Limericks Benson has written an affective and illuminate the text (i.e., “Glory there the While written in English, each verse accessible hymn-anthem based on sun outshines” at the second half of the ends with a Latin phrase: vs. 1, Alleluia, since 2002, his specialty being the poetry Charles Wesley’s powerfully rich text second stanza). vs. 2, Res miranda (“a wonderful thing”), of Ovid. Brunelle is also a musician; he for the First Sunday of Advent, “Lo, vs. 3, Pari forma (“of the same form”), has served as director of music at First he comes with clouds descending,” Rejoice and Let Your Lights Appear, vs. 4, Gloria in excelsis Deo: Gaudeamus United Church of Christ in Northfi eld, matched with Thomas Olivers’s tune arranged by Ryan Kelly. SATB with (“Glory to God on high: Let us rejoice”), Minnesota, and has sung with VocalEss- Helmsley. Although a setting by Sir some divisi, solo, opt. handbells and vs. 5, Transeamus (“Let us go”). ence Ensemble Singers. He enjoys com- David Willcocks found in Carols for or keyboard, trumpet, Augsburg —Derek E. Nickels posing limericks (“liturgical wit,” as he Choirs 3 only elaborates the fi nal fourth Choral Library, #1506426181, $1.95 Church of the Holy Comforter calls them), which he uses to begin choir stanza, Benson provides a compelling (E–M). Kenilworth, Illinois rehearsals. This book presents a selec- setting of all four stanzas in his arrange- Ryan Kelly (assistant professor and tion of them (more than 150), covering ment. While the congregation and treble associate director of choral activities the church year and more. choir participate on the fi rst and last at West Chester University of Penn- Book Reviews Brunelle’s sensitivity to the aural quali- stanzas, the second stanza (“Ev’ry eye sylvania) has arranged and adapted the The Church Year in Limericks, Chris- ties of words is evident in his scholarly shall now behold him”) begins with a Advent text “Rejoice, rejoice, believers, topher M. Brunelle. MorningStar work; his essay for a classics society, clever two-part canon for the fi rst half of and let your lights appear!” to the tune Music Publishers, MS-90-58, 97 pages, with the punning title “Juvenal’s Vowel the tune before dividing into a four-part Wilhelmus from the Nederlandtsch $15.00, www.morningstarmusic.com. Movements,” details the poet’s vowel a cappella conclusion. The third stanza is Gedenckclack of 1626 in a very creative This charming little book delivers usage at the end of a hexameter. In this preceded by a graceful modulation to the setting for SATB choir, solo, 16 handbells exactly what it says. Author Christopher essay, Brunelle notes that “In a limerick, relative minor for a very effective use of or keyboard, and trumpet. The com- M. Brunelle holds degrees in classics and the format demands that the meaning of text and harmony for “Those dear tokens poser has provided specifi c instructions music; he has taught at St. Olaf College the fi nal word should be a surprise but ABRACADABRA! An ABC of the magic art of accompaniment. Everything you need to know about playing the Anglican Service. January 11 to 13 at Grace Church in New York

Featuring Dr. Barry Rose, OBE S.S. Wesley

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 13 Reviews its rhyme must not.” Brunelle’s expertise was his Three Pieces, originally intended It is also dedicated to Manuel Rosales, with the limerick is evident in this jovial as most of a four-movement sonata and voicer and curator of the organ, as well collection, and his introduction also makes later reduced to the three pieces we have as an amateur astronomer. clear that this collection is just the tip of in this volume. I am not too far wrong in describing his limerick iceberg. Here the limericks This collection is quintessential 19th- the music in this fashion. The composer (all with titles) are grouped into sections: century music, very similar in style to herself says: “It is a jubilant piece and Prologue, Advent, Christmas, Epiphany, that of his colleague, Felix Mendelssohn. should be played with much panache. Lent, Easter, Pentecost, Autumn, Com- Strong themes and steady movement The work should invoke the power of munion, Church Life, Scripture, The dominate the fi rst piece, Moderato, in the organ. This Toccata is a bright, posi- Choir (the largest group, with 50 limer- an A-B-A form, which moves faster and tive work like the light that is shed by the icks), In Praise of Composers (includ- louder as the music progresses. The planet Venus.” Hence the name and the ing Attwood, Bach, Pinkham, Menotti, second piece is a contrasting Allegretto, connection to Rosales’s special interest. among others), and A Few More. I quote in 1840, was premiered with them, his conceived for soft 8′ stops. An Allegro The music is in A-major and is marked here the limerick “Leo Sowerby”: later First Symphony was turned down. concludes the three pieces, marked ff Presto. It has those 16th-note chords As a result, he sent it to Felix Mendels- with the fast movement reminiscent of alternating between the hands that I To polish an anthem of Sowerby Will the work of one excellent hour be, sohn, who was impressed enough to the fi rst piece. fi nd so diffi cult to master at fi rst. For And to God, who designed conduct it in Leipzig in March of 1843 It seems to me that the three move- six measures, A-major dominates, yet in His masterful mind, to enthusiastic public acclaim. Gade ments would work well together as a the seventh measure, there is a sudden All praise, glory, honor, and power be. became a friend of Mendelssohn when suite, although they can certainly stand shift to C-major, which is guaranteed he, supported by a fellowship from the alone. The music is of moderate dif- to be a crowd pleaser. Williams knows If, like me, you enjoy opening your Danish government, moved to Leipzig, fi culty and would take some work, but the power of this measure because she choir rehearsals with a bit of humor, taught at the Conservatory there, and it is eminently enjoyable. I recommend immediately repeats it verbatim. In fact, this book is for you. Even if that is not worked as an assistant conductor of the it highly. over the course of the ten pages of the the case, this book is recommended Gewandhaus Orchestra. He conducted piece, she repeats those heart-stopping for its cleverness and wit, which any the premiere of Mendelssohn’s Violin moments fi ve more times. What a roller church musician (or churchgoer) will Concerto in E Minor in 1845. He was coaster ride! enjoy. Treat yourself! also a friend of Robert Schumann, who There are enough changes to the toc- —Joyce Johnson Robinson admired his music. Gade returned to cata motion that it will keep the organist Niles, Illinois Denmark in 1848 when war broke out on his or her toes, but if you want a crowd between Prussia and Denmark. pleaser, this is it. It is diffi cult music In Denmark, Gade was the most technically, but not insurmountably so New Organ Music prominent of Danish musicians, found- that you cannot learn it in a short period Drei Tonstücke fur Orgel (Three ing the Musical Society, establishing a of time. Its power would show off the Pieces for Organ), op. 22, Niels new orchestra and chorus, and working lungs of the organ and defi nitely make Wilhelm Gade. Edition Breitkopf as an organist. He was also joint director a memorable encore. I recommend the 8657, €14. Available from www. of the Copenhagen Conservatory, where piece highly. In fact, I am going to start breitkopf.com. he had a profound effect on, among learning it myself! Niels Wilhelm Gade, born in Copen- others, Edvard Grieg and Carl Nielsen. —Jay Zoller hagen, began his career at the age of This was all in addition to writing eight Newcastle, Maine 19 as a violinist with the Royal Danish symphonies, a violin concerto, chamber Orchestra. He studied composition on music, organ and piano music, and a the side and was a competent organist by number of large-scale cantatas. Despite New Recordings age 20. Although his concert overture, working for many years as an organist in which won fi rst prize at a competition Copenhagen, he wrote very few works held by the Copenhagen Music Society for organ. His major work for the organ Venus Toccata, Opus 9, Carol Wil- liams. Melcot Music Publishing, $10, Available from www.melcot.com. When I fi rst played through this piece, I was instantly reminded of that old movie starring Charlton Heston and Sophia Loren, El Cid. This will defi nitely date me, but near the end of the movie when the end of the battle seems near and all is hopeless, the gates of the castle open and El Cid appears mounted on his stallion. The mighty organ plays tutti in one of the La Nativité du Seigneur most dramatic moments on fi lm. The enemy immediately vanishes down the La Nativité du Seigneur (The Birth beach, and the citadel is saved. This of the Savior), Tom Winpenny. St. music is meant to be played at such a Albans Cathedral, Hertfordshire, moment! Of course, most of us never UK. Naxos 8.573332. Available from have that kind of opportunity to play in www.naxosusa.com. a big movie, but since this toccata was The organ music of Olivier Messiaen written for the tenth anniversary of the (1908–1992) has long been a staple of Walt Disney Concert Hall organ in Los the organist’s repertoire. Messiaen’s Angeles, California, it comes very close. personal musical language has set him The Diapason 2018 Resource Directory

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14 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM Reviews apart from other composers for the and Jésus accepte la souffrance dem- Looked Down; Hillside Carol; Gracious organ, especially by his use of syn- onstrates his musicality in the sensitive Gift; This Night; There Is No Rose (a thetic musical scales (modes of limited pacing of these slower movements. The gorgeous 5-part a cappella setting, and transposition), his unique approach fi nal selection, Dieu parmi nous, is per- the best work in what is a very nice col- to rhythm (additive rhythm), and his formed with both sure technique and lection of pieces generally); Child in the sense of tonal color afforded him by youthful exuberance. Manger; The Bright Star; and Merrily the French symphonic organ. These Currently assistant master of the Did the Shepherds Blow. They are all elements combined with Messiaen’s music at St. Albans Cathedral, Win- well-crafted pieces, each an interest- intensely held Catholic beliefs to form penny has served numerous churches in ing and worthwhile contribution to the music that was revolutionary in its day England, including King’s College, Cam- expanding contemporary Christmas and that continues to bring new listen- bridge, where he was the organ scholar repertoire that ever more frequently ers to the instrument. for three years. As assistant at St. Albans, populates the orders of service of tra- La Nativité du Seigneur, composed he accompanies the daily choral service ditional Lessons and Carols services in 1935, is Messiaen’s second cycle and directs the Abbey Girls Choir. the world over. Any one of them would of pieces for the organ, L’Ascension The organ of the cathedral is a Har- make an excellent addition to a capable being the fi rst. These works relate the rison & Harrison from 1962, restored O Come, Emmanuel church choir’s Christmastide portfolio. composer’s personal interpretation and rebuilt by the same firm in 2009. This is a very interesting recording of the birth narrative of Christ. Each The seven mutation stops feature performed here by the chapel choir for anyone involved in liturgical church movement of La Nativité begins with prominently as Messiaen’s registra- of Selwyn College, Cambridge, under music and looking for fresh Christmas a quotation from the Bible, with all tions require unusual combinations the direction of Sarah McDonald, and repertoire, or an Advent cantata for but one from the New Testament, and of such piquant sounds. The organ accompanied on the chapel’s splendid an accomplished church choir seek- Messiaen shapes these texts into musi- has vast resources with three manual new three-manual, 40-rank Létour- ing an alternative to traditional Advent cal tableaus, creating a compelling 16′ stops, eleven reed stops, and five neau organ by Timothy Parson and Sequences and Lessons and Carols. series of sonic portraits depicting the mixtures from III to VI ranks, allow- John Bachelor. The soloists are extremely capable as, events surrounding the Christmas story. ing for a broad spectrum of timbres. The work, based around the Great technically, is the chapel choir (although Additionally, Messiaen crafts the entire While the organ lacks some of the ‘O’ Antiphons of the Advent season for my own taste the vocal tone is a little set within the context of the period of intensity of a Cavaillé-Coll, Winpenny and incorporating material from sea- thin and lacking the maturity that might Mary’s pregnancy, with the nine move- makes exquisite use of the instrument. sonal plainsong melodies (notably Veni be found in performances by the better ments representing the gestation pro- The surprising clarity of the recording Emmanuel) consists of 18 movements, American choral ensembles). The organ cess. Winpenny provides well-written, (with little reverberation), coupled most of them rather short, and is punc- accompaniments are sensitive and skill- descriptive notes on each movement to with the sensitive pacing and the vir- tuated with four congregational hymns: ful, making good use of the new organ’s enhance the listening experience. tuosity of the performance, makes it a The Advent of Our God, Thy Kingdom tonal range. Winpenny is a rising star in the worthy addition to the many record- Come, Joy to the World, and Lo! He The recording quality is excellent, as organ world, and the musical maturity ings of this work. Comes with Clouds Descending (with one would expect from Gary Cole and heard on this recording provides the —Steven Young original, rather interesting descants). the team at Regent Records, and the proof. When comparing Winpenny’s Bridgewater State University The second half of the disc comprises accompanying booklet is informative performances to those of Jennifer ten carols for Christmas, several of with complete texts included (which is Bate, Dame Gillian Weir, Olivier Latry, O Come, Emmanuel: Music for Advent them commissioned by East Anglian very helpful, as the sung words are some- and Jean-Pierre Lecaudey, all excel- and Christmas, Alan Bullard. Regent choirs—settings of a variety of texts times a little elusive). This is an excellent lent interpreters of Messiaen’s music, Records (REGCD456). Available ranging from Bullard’s own texts back seasonal gift for a church musician or Winpenny’s musicianship and virtuosity from www.regent-records.co.uk. to Latin hymns via G. K. Chesterton chorister with an open-mind for new and equals and occasionally exceeds theirs, Alan Bullard’s new Christmas can- and a couple of traditional Scottish interesting repertoire. though he is considerably younger. His tata, the second in a series of three poems. These are: A Babe So Small; A —James M. Reed sensitive reading of Desseins éternels such works for the liturgical year, is Boy is Born in Bethlehem; The Stars Glasgow, UK

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 15 In the wind...

Keeping up appearances separate from the rooms into which they Fifth Avenue and Madison Avenue speak. Some of those have façades of in New York City run north and south, organ pipes, while others have simple parallel to each other a block apart. screens of cloth and wood. I’ve always Together they form one of the world’s felt that there’s something dishonest premier high-end shopping districts about concealing an instrument behind a starting around 34th Street and continu- grille. I love the feeling of walking into a ing north. On Fifth Avenue, the shop- building and knowing right away that I’m ping district ends at 59th Street, which in the presence of a pipe organ. Whether is the southern edge of Central Park, a the organ displays a simple fence of few blocks north of Trump Tower, and pipes with some woodwork surround- on Madison Avenue it continues north ing to hold them up, or it has a grand to perhaps 86th. That’s where you fi nd decorated case, either freestanding or the shops where people pay more for a projecting from the front of a chamber, handbag than I pay for a car. Saks Fifth the visual information about the instru- Avenue, Shreve, Crump & Low, and ment is an exciting prelude to hearing it. The Casavant organ in First Church, The Schnitger organ in Jacobikirche, Tiffany & Co. are some of the big land- We can argue about when the develop- Boston (Opus 3140, 1972) Hamburg, Germany (photo credit: Jim marks. Rolex, Ferragamo, Versace, and ment of the modern pipe organ began, Steinborn) Louis Vuitton continue the roster along but since I’m the one writing and there’s “D, F#, A#.” Likewise, the C# side of the with a host of lesser but equally dear no one else here just now, and since I organ is split so one side reads “C#, F, A” output seems staggering. I was intro- names. The NBA Sportswear Store and know I can back this up simply enough and the other reads “D#, G, B.” duced to his work as a kid by E. Power the Disney Store are newer arrivals that just with photos, let’s say that things were That may seem complicated, but it’s Biggs’s 1964 recording, The Golden Age cater to a different crowd. rolling along pretty well by the middle of a simple reordering of the notes that of the Organ. Biggs was right in choosing Manhattan’s Upper East Side boasts the 16th century. By then, many organs results in lovely symmetrical visual that title. Schnitger’s organs were the some of the most expensive residences had been built that had multiple manuals, appearance. Also, in an organ tuned in epitome of the high Baroque with thrill- in the world. There’s a four-fl oor, stop actions that were easy to operate, and a historic temperament, when major ing voicing, marvelous complex actions, 20,000-square-foot, 16-bedroom place highly decorated architectural cases. An thirds are adjacent, chords draw beauti- and stunning architectural cases. on Central Park South that’s listed for important feature of many of those cases fully in harmony with each other. One of his largest organs is in the $250,000,000. If you can afford a place was the fact that one could tell a lot about If there are three manuals, the top one Jacobikirche in Hamburg, Germany’s like that, you can certainly afford a the content and layout of the organ with might be a Brustwerk (literally, “Breast second-largest city. It has four manuals, $100,000 handbag.1 only visual information. The layout of the Work”) located above the music rack 60 stops, and is a terrifi c example of a The sidewalks in that neighborhood façade directly refl ected the number of and below the impost. That division classic Werkprinzip organ. There are two are full of designer people with designer manuals, the principal pitches, and even would be based on a higher Principal 32′ pedal towers, a 16′ Hauptwerk, and handbags, designer dogs, and designer the layout of the windchests. pitch, and would contain smaller, lighter an 8′ Rückpositiv visible. There are two facelifts, doing their expensive best to There’s typically a Rückpositiv stops—likely an 8′ stopped fl ute such as additional divisions that cannot be identi- show the world who they are. While installed on the balcony rail, which is a Gedeckt, a single 4′, mutations, upper fi ed just by looking at the façade, an 8′ I expect many of them live in multi- necessarily played by the bottom man- work, and a reed with short, fractional Oberpositiv (at the top of the organ), and million dollar homes and can actually ual, because the tracker action would go resonators such as a Schalmei or Regal. an 8′ Brustpositiv above the keydesk.3 afford all that, I’m sure there are people down to the fl oor behind the knee panel The top manual of a three-manual The façades of the Hauptwerk and spending above the reasonable limits of (sometimes called kick-panel) and then instrument could also be an Oberwerk, Rückpositiv cases refl ect the windchest their disposable income, going deep into under the pedalboard to the balcony rail. a separate division above the Hauptwerk layout of major thirds. On either side of holes to keep up appearances. There’s an impost, the heavy molding at the top of the case. If there are four the large center towers, there are fi elds I’m reminded of an exchange I over- that traverses the organ case above the manuals, you might have both Oberwerk (fl ats) of façade pipes arranged with the heard 40 years ago in an auto parts store console, forming the transition from the and Brustwerk in addition to the Haupt- largest in the center, the pipes getting in Oberlin, Ohio, when a fellow customer narrow base of the organ to the wider werk and Rückpositiv. smaller in each direction. I don’t know asked the clerk for a CB antenna. The upper case. That upper case contains the Some people are better at judging exactly which note is in the center of clerk asked what kind of radio he had, Hauptwerk (Great), which includes the measurements than others, but I’m the fl ats, but by counting the pipes in and the customer relied, “I don’t have a central Principal Chorus, the tonal foun- guessing that if challenged, most anyone the center and side towers, I’m guessing radio, I just want people to think I do.” dation of the organ. The layout of that could tell the difference between 16 and that it’s A# (below middle C) on the left, That CB antenna had a lot in common façade might show that the windchests 32 feet. And, you could also pretty easily and B (below middle C) on the right. So with a $100,000 handbag. are arranged diatonically (odd-num- guess at a succession of lengths, each half starting in the center of the lower left bered notes on one side, evens on the as long as the one previous. So you know fl at and going toward one side, the pipes What you see is what you get. other), and it might further show that all you need to know to judge the pitches would be A#, D, F#, A#, D, F#—and in The pipe organ is the only indoor the trebles of the chests are arranged so of the divisions in an organ with classic the other direction C, E, G#, C, E. To the monumental musical instrument, and major thirds are adjacent to each other. case design. If you’re sure that the largest right of the center tower, starting in the the only one with the possibility of hav- That’s when the “C side” (whole tones pipes in the pedal towers are 16-footers, center, you have B, D#, G, B, D#, G#— ing an architectural identity. Of course, C, D, E, F#, G#, A#) is split, so one side then you can tell that the Principal pitch and in the other direction C#, F, A, C#, many organs are housed in chambers, reads “C, E, G#” while the other reads of the Hauptwerk is 8′, the Positiv is 4′, F. If you’re confused, just think of these and the Brustwerk is 2′. If the Pedal has sequences as every other whole tone. 32′ Principal, the Hauptwerk is 16′, the Scattered leaves ... from our Sketchbook Positiv is 8′, and the Brustwerk is 4′. In What window? a four-manual organ, the Oberwerk is The First and Second Church in Bos- likely to be an 8′ division, with smaller ton, Massachusetts, is located at the cor- scales than the Hauptwerk. ner of Berkeley and Marlborough Streets Are you not sure you could tell the in the neighborhood known as the Back difference between a 16′ or 32′ pipe? Bay. The fi fth church building on that site Sixteen feet is a length or width measure- was a large stone Gothic structure, built ment for a room in an average home. Our in 1867 with a large rose window and a bedroom in New York is about 16 feet tall stone steeple. The building housed a long. If you could get a 32-footer into large Aeolian-Skinner organ—no coinci- your living room, you live in a big house!2 dence, as William Zeuch, vice-president Werkprinzip is a twentieth-century of Aeolian-Skinner, was organist of term coined to describe an organ that’s the church from 1930 until 1958, and arranged in clearly defi ned divisions that famously played weekly organ recitals on can be easily identifi ed by viewing the Sunday afternoons to huge audiences. façade. This simple and elegant style of There’s a story about that rose window. organ design evolved from the simplest Leo Collins was organist at First and ancient organs where the keyboard of Second Church from 1964 until 1997. the Positiv division was on the back of Shortly after he started there, interested the Positiv case, and the organist had to in the newly emerging movement of the turn around to play it. return to classic styles of organ building, he assembled an organ committee to The Hamburger Schnitger research the possibilities of replacing Arp Schnitger (1648–1719) was a the Aeolian-Skinner with a new tracker prolifi c organbuilder whose work infl u- organ. Rudolf von Beckerath was invited enced all of organ history since then. to propose a new organ, and he trav- Schoenstein & Co. Forty-eight of his organs survive, a great eled to Boston to present his design to achievement by modern standards. But the committee. Predictably enough, Established in San Francisco š 1877 when you realize that he accomplished his drawing showed a tall free-standing www.schoenstein.com ❧ (707) 747-5858 all that without electricity, power tools, organ case with pedal towers in front of trucks, or even FedEx, Mr. Schnitger’s the rose window. An elderly and proper

16 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM By John Bishop

While I’m talking about pipe organ back of the console. Of course, that’s not façades, there’s another interesting a refl ection on the quality or content of thought to share. Many organ cases, both the organ, just another way to present ancient and modern, have large towers in the instrument as a monumental work of their façades. Some are round or multi- visual art. sided in plan, while some are “pointed,” I’ve been in many churches where triangular in plan. It’s easy to identify a modest organ is concealed behind a them as purely architectural elements, huge case. In some of those cases, the but they also conserve space within the organ is a small, cheaper replacement organ case, as they bear the largest pipes for a much larger original instrument. of an organ outside the confi nes of the But sometimes, the monumental case case. Giving them rounded or pointed was designed by the architect of the profi les also diminishes the width of the building, and there was no funding for entire instrument. Standing fi ve or seven an instrument of appropriate size. That’s 32′ pipes next to each other would add the equivalent of the guy in the auto The Cavaillé-Coll organ in St. Sulpice, up to a lot of additional width. parts store who didn’t have a radio but pipe’s conical foot, and any “false length” at Paris, France § wanted an antenna for appearances, or the top to allow for a tuning slot at the back. buying a $100,000 handbag to imply that So a 32′ façade pipe is often close to 40 feet woman, denizen of the Back Bay, asked Of course, many wonderful organs you live in a $100,000,000 house. Who’s long. A standard semi-trailer passing you on the highway is 53 feet long. I’ve been working Q him, “Mr. Beckerath, what about our have been built with clearly defi ned going to wash the windows? with pipe organs for more than 40 years, and window.” He replied, “We have covered internal divisions whose façades don’t I still marvel at the idea of a 32′ organ pipe, a windows lovelier than this.” refl ect the internal design. The massive Notes thousand-pound whistle that can play one note That project never happened because Cavaillé-Coll organ at St. Sulpice in Paris 1. Maybe you think I’m kidding. Google at one volume level. the building burned in 1968, leaving only is a good example. There is a massive “Hermès crocodile bag” and see what you get. 3. You can see the specifi cations of the the east wall with the rose window and wood case festooned with a procession 2. Our standard pitch designations refer Hamburg Schnitger organ here: http://www. to the “speaking length” of a pipe, which is arpschnitger.nl/shamb.html. the steeple. A new building was designed of larger-than-life statues that take up so the measurement from the bottom of the 4. You can see the specifi cations of the by architect Paul Rudolph that incorpo- much space that it’s a wonder the sound pipe’s mouth to its tuning point. Almost all fa- First Church Casavant organ here: http:// rated the remains of the stone edifi ce. can get out at all. What appears to be a çade pipes are two or three feet longer than database.organsociety.org/OrganDetails. Leo got what he wanted. The church Rückpositiv is actually concealing the speaking length to allow for the height of the php?OrganID=23152. commissioned a fi ne mechanical-action organ by Casavant Frères (Opus 3140, 1972) with three manuals and 64 ranks.4 I assume that the organ was paid for with the help of the insurance settlement after the fi re. I fi rst tuned the Casavant organ when I joined the staff of Anger- stein & Associates in 1984, and six organ- ists later, I still maintain the instrument. While it may seem apocryphal, the A UTHENTIC SOUND story about Beckerath and the rose window was told to me by Leo Collins, who was present at that meeting. That’s a FROM REAL PIPES: good way to lose a job.

A new way to look at it The Casavant organ at First Church in Boston is a great example of a modern THE ORIGINAL TECHNOLOGY. Werkprinzip organ. If you’ve been pay- ing attention as you read, you can tell instantly just by looking at the photo that the Pedal has a 16′ Principal, the Great (at the top of the main case) has an 8′ Principal, and the Positiv has a 4′. The modern adaption of the style allows for INVEST ONCE... a large Swell division above the keydesk. You can see that the Great and Positiv are arranged in major thirds: the largest pipes in each of the spiky towers, from THINK APOBA. left to right, are C, C#, D, and D#. So the “C” tower has C, E, G#, C, E, G# . The next has C#, F, A, C#, F, A. The next has D, F#, A#, D, F#, A#. And the last has D#, G, B, D#, G, B. Though you can’t see it, behind the NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING AND SERVICE FIRMS shutters, the Swell is arranged in major thirds, mirroring the Great and Positiv. BUILDER MEMBERS A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. The arrangement of the Pedal tower is Andover Organ Company Holtkamp Organ Company Schoenstein & Co. unconventional. There are three towers Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders that start with C, C#, and D, so minor Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs thirds are adjacent. That means that tun- Bond Organ Builders, Inc. Muller Pipe Organ Company Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS ing the Pedal is arpeggios on diminished C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. chords. I assume that the three-tower Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems arrangement is for visual effect. The Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation three spiky pedal towers nicely answer Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources Quimby Pipe Organs, Inc. Peterson Electro-Musical Products the four of the main case. Perhaps Paul Garland Pipe Organs, Inc. Rudolph was involved in that design. While tuning the minor-third Pedal division is arpeggios on diminished chords, tuning the major-third divisions provokes a parody on the main theme of Johann Strauss’s An der schönen blauen Call today for Please watch and share Donau (On the Beautiful Blue Danube), APOBA’s free 66+ our short video at: which starts with the three notes of a page color prospectus www.apoba.com/video major triad. Altering that theme by play- ing two adjacent major thirds, with the answering treble triads adjusted accord- ingly, provides a comical effect—just the right tonic after tuning all the mutations and mixtures in that fully equipped organ. Apoba.com 1-800-473-5270 §

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 17 On Teaching

Helping Students Second, a day or two ago I encoun- that those fi ngerings will always (or ever) Choose Fingerings IV tered, poking around at random the way be followed. One pitfall of writing in all This is my tenth anniversary column, one does, an internet discussion about all fi ngerings is that that act itself can seem as the fi rst one was published in The sorts of aspects of organ playing: fi nding like learning the fi ngerings, so that it Diapason of September 2007. It has repertoire for church, choosing editions, becomes subconsciously tempting to been a great pleasure all this time, and aspects of pedaling, and so on. A couple ignore the question of whether you are I look forward to more. I also take this of posts featured a fervent and well- really following what you have written. occasion to mention, as I did at the crafted attempt by one (anonymous) A student who is fairly new to work- beginning and as I have from time to writer to convince everyone else that it ing out fi ngerings will probably do well time, how much I like getting feedback was worth paying attention to fi ngering, to start by writing in more rather than from readers, and how helpful it is. planning it, being systematic about it. less, bearing in mind the concerns men- Please keep it coming! No one, as far as I could see, was argu- tioned above. This makes it easier for the In this column I am returning to the ing against this, but it also wasn’t obvious teacher to see what the student has done thread about fi ngering, musing about to everyone or necessarily part of their and to offer feedback, and to observe Marcel Dupré at St. Sulpice, Paris, ways of introducing students to the art way of thinking. We might not all real- along the way whether the student is in France (public domain). of choosing fi ngerings for themselves. ize or remember that this basic point fact using the intended fi ngering. My plan is to outline some thoughts and sometimes has to be made, or that it is It seems logical that if you write in only the player can actually know and suggestions about how to make a success something about which some students many or most fi ngerings, you must have experience whether a position is com- out of my own preferred model: one in might need to be reminded. worked them out. And this is true at the fortable or not. The rest of us can only which we come as close as possible to let- I see that in the cryptic notes that I extreme: no one is going to lean over the guess or predict. ting students work things out for them- made for this column over the last couple page and write in numbers at random. 2) Do not play black notes with the selves from the beginning. In previous of weeks I included the line “everyone But it is more than possible to write in thumb. When the thumb plays a black columns on this topic I have sketched needs reminders about everything.” I fi ngerings that have been worked out note, it is quite likely that the hand will out what I see as some advantages and think that that is a good working assump- partially, quickly, or with inadequate twist into an uncomfortable position. some pitfalls of this basic approach, and tion. I know that I do! thought, analysis, or attention. Then the However, the point of this as a guideline the same for a contrasting, more “hands writing can become its own pitfall: once is the comfortable hand position itself, on” or interventionist, approach. Here Convincing arguments for the fi ngerings are written in they take on not something primary or critical about I try to be as concrete and specifi c as I systematic fi ngering a bit of authority, and inertia favors keep- not letting the thumbs touch the raised can about how to maximize the advan- The starting point for convincing (or ing them. It is important for every player keys. It is also a good way to promote tages and, especially, avoid the pitfalls of reminding) students that they should to remember that writing fi ngerings is awareness and autonomy. Yes, the stu- suggesting to students that they operate take systematic fi ngering seriously is just a tool. If while you work fi ngerings dent should assume that the thumb will with as much autonomy as possible from simply this: that if you drill or practice out you write them in, even if only to avoid black notes, but should also be on as early as possible. or repeat a passage with the same fi n- make sure that you don’t forget them the lookout for those situations in which gering every time, you are learning a while working, then you must be will- for one reason or another it would actu- General ideas or principles physical gesture, making it progressively ing to erase them just as readily as you ally be more comfortable to contravene The overall scheme that I use with more solid. But if you repeat the same wrote them. In fact, just to be safe, you this “rule.” This happens typically with most students can be described this notes over and over again with different should try to be eager and enthusiastic octaves, but can happen for miscel- way. I want the student to have a set of fi ngerings, you are drilling, if anything, about erasing! (It is annoying that most laneous reasons having to do with the general ideas or principles to work with contradictory gestures. Some of that pencils can still write long after their notes around a given black note. It is prior to working out fi ngerings for pieces practicing actually cancels itself out. This erasers have worn away. Make sure that the exception, by a wide margin, but not in general or for any particular piece, is concrete, basic, and true, and tends to you have a good eraser at all times. No vanishingly rare. though these can be somewhat fl exible. be convincing. In fact, it is usually so fi ngering should ever be written in ink.) 3) Repeated notes. I have writ- I ask the student to think about, explain, quickly and uncontroversially convincing ten at great length in the past about justify, defend, or rethink specifi c fi nger- that it feels more like “reminding,” even What students should bear in mind why I believe that changing fi ngers ing choices that they bring to me. And I if the student hasn’t thought about it in when starting to write fi ngering on repeated notes is a good standard want to be on the lookout not so much for that specifi c way before. Our main concern right now is the practice. This is mostly about the effect fi ngerings that I would do differently or It might be worth talking to a student working out itself—neither the writ- of this approach on the shaping of the that I disagree with, as for fi ngerings that about the distinctions among three con- ing, which has no real meaning in itself repeated notes themselves, especially I think have the potential to be physically nected but different things: 1) working beyond its service as a tool towards other the release of the note(s) to be repeated. harmful. (If the principles that I suggest out fi ngerings in advance; 2) always goals, nor the practicing, although it is But it is also true that the freedom to in advance are well enough thought out practicing with the same fi ngering; the essence of the learning process. So move, on repeating a note, to any fi nger and if the student remembers them, and 3) writing fi ngerings in the score. what are some of the thoughts specifi c other than that which is already holding then this last point should be moot.) Clearly no one of these leads inevitably to the act of working out fi ngerings that that note can open up possibilities for The fi rst and over-riding advance prin- to the others, and they relate in different I want students to bear in mind before the shape of the overall fi ngering of a ciple is simply this: that fi ngering mat- ways to the project of learning a solid starting to work? passage. Sometimes it really unlocks the ters. It should not be taken for granted approach to fi ngering. Writing fi ngerings 1) Hand position. This is always whole thing. Students should always be that everyone knows this. I have two in is neither an absolute necessity nor a my starting place with fi ngering. If the on the lookout for this. In some passages, brief anecdotes. First, I recently spoke guarantee that the fi ngering process will hand is comfortable, the chance that looking fi rst at moments when a note is to someone I know, an accomplished proceed fruitfully. Remembering what a combination of fi ngers will be able repeated, and reasoning the fi ngering and committed amateur pianist. She was fi ngerings you want to use is necessary. to execute a note pattern comfortably out from that moment, forward and musing about why certain aspects of her Some people achieve that by writing in is greatly enhanced. If hand position is backward, can be fruitful and effi cient. playing were going better recently than everything and reading those markings good, no fi ngering can be actually bad, 4) Analyze fi ngering both for- they had in the past. As we explored that, carefully at fi rst, more subliminally later though some can be more appropriate ward and backward. We often start she mentioned that she had been paying on, in a way that tracks the note-reading to the situation than others. Good hand at the beginning of a passage, with a more attention to fi ngering over the last process itself. Some people achieve position is self-defi ning: if the hand isn’t fi ngering for that beginning that might couple of years than she had previously. it by writing in only key or transitional tense, then the position is fi ne. However, be rigorously determined or might I assumed at fi rst that this meant some fi ngerings, or even a random subset of there is a lot more to say about it than be somewhat arbitrary, and construct refi nement about an exact approach to all of the fi ngerings, just as guideposts. that. The main thing that I point out to fi ngering by going forward from there. fi ngering, one that she had found subtly Some people achieve it by just having a students, early and (if necessary) often, However, whenever it is possible to more fruitful than what she had been really good memory for fi ngering. All of is that for the wrists to be turned out choose a fi nger for a note based not on doing. But it turned out that she meant these approaches are fi ne if they work. is productive of strain and tension. If a what just happened, but on what needs something more basic. She had not, until The last one is rare, but I use it myself. fi ngering choice causes one of the wrists to happen next, that can lead to ease quite recently, made a practice of plan- I remember fi ngerings extremely well, to be turned out more than just a little and simplicity. You do have to get to ning out fi ngering at all, or of writing but I fi nd written fi ngerings distracting, bit, it is important to rethink that choice. that fi nger, but the question of how you fi ngerings into music, or of necessarily so I write in very few indeed, none for The second most potent source of ten- get there should not be granted auto- always playing a passage with the same most pieces. I should emphasize that sion in the hand is too much stretching matic priority. That automatic priority fi ngerings. Furthermore, she remem- this does not mean that I do not use between fi ngers, not so much between is often hard-wired into our thinking. I bered that when she was taking lessons the same fi ngerings consistently. This fi ngers 1 and 5 as between other pairs, will occasionally ask a student, “What in her high school years, a few decades approach does not work best for most especially 2 and 5. (Almost all keyboard fi nger would you play that note with if ago, none of her teachers ever particu- students or players, but works well for players are aware of what interval they it were the fi rst note of the piece?” And larly mentioned fi ngering as something some. It can conceal inconsistent use of can reach with 1 and 5. But many of us still they start their answer by saying, to think about or really as something that fi ngerings, so that should be monitored. don’t pay attention to what we can reach “Well, it has to be x,” because they have existed as a subject. But writing fi ngerings in is no guarantee with 2 and 5 or other shorter segments decided that you can only get to it with of the hand. An awareness of the feel of x. So then I will intensify the question: wide intervals with non-thumb fi nger- “Never mind how to get there. We’ll ings can help us understand the connec- fi gure that out later. What if it were the tions between fi ngering choices and the fi rst note you ever had to play?” That comfortable use of the hand as a whole.) gets the focus on what comes next, on Hand position is a good place to start in going on. And the interesting thing is helping students to approach fi ngering that indeed the “how we get there” is with independence and autonomy, since usually easy to solve.

18 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM By Gavin Black

5) Don’t avoid fi ngers because of is, for better or worse, greatly associ- able to think about fi ngering on their a perceived intrinsic problem with ated in organ culture with the notion own, or that they would have already that fi nger. Of course this applies of fi ngering, since his Bach edition was absorbed his fi ngering ideas from mainly to 5, second most to 4. It is com- so thoroughly fi ngered. I encounter, teaching pieces, or something else? mon to see a student fi nger a fairly busy surprisingly often, debates among Second, I have been looking at the or spread-out passage with all or mostly colleagues about whether his Bach version of the Bach Fantasia, BWV 922 1-2-3, just because the outside of the fi ngerings are good or bad, or perhaps (no pedal, probably for harpsichord), hand seems (or is) weaker or less agile. whether they are good, in a sense, but which was fi ngered very thoroughly by That can lead to intrinsically awkward inauthentic, or various other nuances Johann Gottlieb Preller (1727–1786). fi ngerings, and actually using the outer about how to think about or approach Very little is known about Preller, but he fi ngers is part of the way to get them to them. (This includes whether or not to is not known to have had any direct con- work their best. (There are also exer- use his edition at all.) None of this, I nection to Bach. He is also not known to cises and other dedicated techniques hope, overshadows his legacy as a com- have studied with any of Bach’s own stu- for that.) poser. I fi nd it interesting to note that dents. However, he was born and raised Next month I will continue from in his own published organ composi- in the same general part of Germany here. Meanwhile I want to report, as tions he provided really thorough fi n- as Bach, and clearly knew of his music, a sort of tangent or coda, on a couple gerings only for some of his simpler, or since he copied some of it out. He was Gavin Black is director of the Prince- of random interesting things about “teaching” works, not for the virtuoso 40 years younger than Bach, and grew ton Early Keyboard Center in Princeton, fi ngering that I have bumped into in performance pieces. Did this mean up in a musical milieu in which Bach New Jersey. His website is gavinblack- my preparation for these columns. that he assumed that players of the was already somewhat old-fashioned. So baroque.com, and he can be reached by The fi rst is about Marcel Dupré. He more diffi cult works were intrinsically how do we regard those fi ngerings? Q email at [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 19 Pipe organ documentation

1863 E. & G. G. Hook Opus 322 Church of the Immaculate Conception Boston, Massachusetts Part 3 By Michael McNeil

Editor’s note: Part 1 of this article was placing the windchest over the C# side of published in the July issue of THE DIAPA- the Pedal and Great divisions. Figure 24 SON, pages 17–19. Part 2 was published is a view from below up into the bottom of in the August issue, pages 18–21. the Solo chest. The Pedal wood Trombone pipe in the center is speaking directly into The façade of the 1863 E. & G. G. Hook Opus 322 in the former Church of the Im- Re-pitching of the Pedal the bottom of the Solo chest, muffl ing its maculate Conception, Boston, Massachusetts (photo credit: Peg Newman, by permission In Figure 23 we see the C side of the tone. The Trombone pipe on the left has of the Jesuit Urban Center) Pedal 16′ Trombone in the front row, and been mitered to clear the Solo chest. the Pedal 16′ Open Diapason in the back In Figure 25 one can see that the low The change of pitch their overblowing octaves, then tuned row. Both stops have their pipes in the C# pipe of the Great 16′ Trumpet speaks The organ was originally pitched at down carefully to their fl ip points, and original position. Note the crude addition directly into the bottom of the Solo chest. A=450 Hz. Sometime before 1902 the the pitch of the pipe relative to A was of boards to the top of the Trombone In an effort to restore the tuning and organ was repitched to A=435 Hz.6 The measured on a Widener electronic tuner. pipes as the means of lowering the pitch power to the pipe, the entire scroll has current pitch of the organ, 435.3 Hz The table below (Figure 27) shows the from A450 to A435 Hz. Relative to its been crudely forced open. In Figure 26 at 74 degrees F, was measured in June fl ip point frequencies for the Great reed original voicing, this stop is choked off in one can see the more normal scroll of the 2000 with a Widener electronic tuner chorus and Pedal Trombone. power and brilliance. Also note the more unobstructed low C pipe of the Great using the 4′ Octave of the Great as the professional lengthening of the resonators 16′ Trumpet. The diatonic differences reference pitch, while confi rming that 16′ 8′ 4′ 2′ 1′ of the Pedal 16′ Open Diapason pipes. heard in the voicing of many bass pipes this stop was in good tune with itself Gt 16′ 434.2 441.4 434.3 434.5 445.2 are entirely due to the unfortunate place- and the rest of the chorus. The tuning Gt 8′ 435 444.2 435.8 434.5 Impact of the Solo division ment of the Solo division. The craftsman- of the organ is quite stable as a result of Gt 4′ 444.1 439.2 449 The Solo division was added in 1902 as ship and engineering skills of 1902 were the use of scrolls in the bass pipes, cone Pd 16′ 437 434.6 432.6 Opus 1959 of E. & G. G. Hook & Hastings, clearly inferior to those of 1863. tuning for the trebles, and generous pipe Pitch @ 70° 434 434 434 434 434 fl ueways, which do not easily become Figure 27 choked with dust. A celebration of music and the beautiful organs at St. Paul’s When looking at this table we need to Resonator lengths of the reeds bear in mind that the fl ip point frequen- Fall 2017 How did this change of pitch affect the cies need to be higher than the relative timbre of the reed chorus? Raising the pitch of A to which we want to tune the pitch of a reed pipe by pushing down on chorus, i.e., these fl ip points should be Ars gani its tuning wire will eventually force it to signifi cantly higher than 434 Hz. What overblow to its octave. As an overblowing we fi nd are values ranging from 432.6 Hz Organs by Holtkamp, Slajch & Hradetzky reed pipe’s tuning wire is slowly raised to 449 Hz. The direct inference, assuming Harpsichord by Griewisch and the pitch fl attened, the pipe will at that the pipes have not been otherwise ƽ some point fl ip back to its fundamental modifi ed, is that the original chorus was Friday, Sept. 15, 7:30 p.m. — Recital: Jaroslav T ma, Academy pitch. This is called the “fl ip point,” and signifi cantly brighter than what we now of Musical Arts, Prague; Holtkamp, Hradetzky & Slajch organs; it represents the pitch with the warmest hear. The dead length reed resonators Griewisch harpsichord fundamental power. As the wire is raised were apparently not shortened and their Saturday, Sept. 16, 4 p.m. — Jaroslav Tƽma will paraphrase the further, tuning to yet lower pitches, the tuning wires were used to achieve A=435 fundamental will weaken and the har- Hz, pushing many of the pipes very close cycle of B. Smetana, My Country monics will strengthen in power. The to, or even beyond, their fl ip points. This Tuesday, Sept. 19, 6:50 p.m. — Pre-concert Talk same effect will occur if the resonator is a signifi cant offset in the fl ip point from 7:30 p.m. — “Splendors of the Baroque” Recital: James is shortened at the fl ip point. Most reed the original voicing. It is clear that as David Christie, assisted by Collegium Musicum of Oberlin pipe resonators are adjusted to a length beautiful and inspiring as it is, we hear a where the fl ip point is just slightly sharp darker approximation of the original 1863 Conservatory, Steven Plank, director; Hradetzky organ of the desired pitch—the speech is faster reed chorus in the present organ. Saturday, Sept. 23, 2 p.m. — Jehan Ariste Alain: The visionary and the harmonic balances are more French composer, Lecture/Master Class by James Higdon, pleasing with good fundamental warmth The magnitude of the defi cit University of Kansas, Lawrence and some fi re in the harmonics. A good The issue of pitch is complicated. Fig- resonator length is not so close to the fl ip ure 28 shows a graphic depiction of the Sunday, Sept. 24, 4 p.m. — Recital: James Higdon, works by point that it “fl ips” to the octave when it problem. The shift in pitch at middle A Jehan Alain; Holtkamp organ is tuned on the wire to the fl ue pipes on from 450 to 435 Hz is a change of 15 Hz. the hottest summer days, but it is close to The distance between a half step at this Friday, Sept. 29, 7 p.m. — “Blow Ye the Trumpet in Zion,” that condition. pitch is about 25 Hz, and when the pipes A Festival of Hymns for the Church Year with brass, percussion, With this in mind, the author saw an were moved up a half step, middle A was organ and audience participation; Richard Webster, Trinity opportunity to explore the fl ip points then repitched to about 425 Hz. The 10 Church, Boston, conductor and composer; Choirs of St. Paul’s of the Hook chorus reeds. With the Hz defi cit between 425 and 435 Hz was exception of the low C pipe, which was corrected by retuning the pipes. In the Sunday, Oct. 1, 4 p.m. — Closing concert: Karel Paukert & added when the organ was repitched to case of the dead length reeds, the tuning Friends; works by J.S. Bach, G. Ligeti, F. Liszt, J. Alain and 435 Hz, the resonators of the 4′ Clarion wires were simply pushed down to raise Labyrinths of Frank Wiley; vocal and instrumental ensemble were cut dead length with no scrolls and the pitch, so we know that the original no evidence of having been shortened. Hook pipes in the table in Figure 27 All events made possible by grants from the Ingalls Foundation and This afforded the opportunity to explore would have “fl ipped” at frequencies the Charles H. Teare and Clifford K. Kern Music Fund at the Cleveland Foundation. the timbre of these stops relative to what about 10 Hz higher (at middle A) than they might have been in 1863. what we measured in the table. To bring St. Paul’s Episcopal Church welcomes you! The reeds were tested for fl ip points the pipes back to their original timbre at 70 degrees Fahrenheit when the tun- at the current 435 Hz, the resonators 2747 Fairmount Boulevard, Cleveland Heights, Ohio 44106 ing of the 4′ Octave was 434 Hz. The would need to be shortened on all reed (216) 932-5815 www.stpauls-church.org pipes were tuned on the wire sharp to pipes by an amount that would produce

20 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM Figure 23 about a 10 Hz increase in pitch at middle A. This may be inadvisable as it would reduce the scale of the resonators. The Pedal Trombone was not moved up a half step, but large fl aps of wood were added to drop its pitch from 450 to 435 Hz, covering the tops of its resonators and reducing its power and Figure 24 brilliance (Figure 23). The correction would entail the removal of the fl aps and a lengthening of the resonators, which Figure 25 may be also inadvisable, as it would increase the scale of the pipes, an effect opposite to the correction needed for the reed chorus pipes of the Great division. The fl ue pipes suffered a similar fate and were retuned 10 Hz higher by one or both of two methods: making the pipes shorter and/or opening their toes. Of the two methods, the opening of the Figure 28 toes had a major effect on the timbre and power of the pipes. The impact of crated and stored, not discarded. It is a and power balances, but it permanently such changes is described in the notes on part of the Romantic tapestry and his- and perhaps inadvisedly changes the the 16′ Open Diapason and the 8′ Open tory of this organ. diameter scales of the many reeds that Diapason Forte, with the result that the Three possibilities now suggest are cut to length. current balances deviate markedly from themselves: Note that most of the scrolls on the the original intentions of the Hooks. The 1) Leave the organ at 435 Hz and reed pipes in Figure 29 (see page 22) correction would entail a reduction of reposition the Solo division to allow are excessively rolled down in an effort the toes where they were opened, and suffi cient clearance to the Great and to achieve 435 Hz; restoring the original a further shortening of the pipes. Since Pedal bass pipes. This preserves the pitch would correct this, so . . . nearly all façade pipes have had their current sound but corrects for the tonal 3) Repitch the organ to its original scrolls rolled down to the maximum and mechanical damage infl icted by the 450 Hz and move the pipes back to extent, or even removed, the correction Solo division installation. It does not their original positions and voicing, would require deeper cutouts and new address the darker character of the reed restore the toes of the two Diapasons scrolls on all pipes, not a simple or neces- chorus or the tonal imbalances of the back to their original values, and sarily desirable proposition. 16′ and 8′ Open Diapasons. restore the tuning scrolls of all pipes Raising the pitch from 435 to 440 Hz 2) Same as Option 1, but shorten the back to their original positions. This would push some reeds beyond the fl ip manual reed resonators to their original restores the original sound of the point, further darkening the sound, and fl ip points, i.e., about 10 Hz shorter at Hook. Repositioning of the Solo divi- it would increase the tuning defi cit to middle A. Lengthen the wooden resona- sion is still essential. 15 Hz. Such an increase in pitch would tors of the Pedal Trombone and remove Option 3 would not be the exact require further deepening of the façade the obstructing boards. Restore the toes sound familiar to those of us who have pipe scroll openings, most of which are of the Diapasons to their original values heard the organ at Immaculate Con- already at their limit. Further opening and further deepen the tuning slots of ception, but it would be faithful to the of the toes of the façade pipes would all façade pipes. This involves signifi - original intent of the Hooks. The reed make their timbre and power even more cant expense in pipework restoration, it chorus would come alive. The author imbalanced than their current state. All comes closer to the original Hook sound strongly recommends Options 1 or 3 Figure 26 of these reasons suggest why the organ was never repitched to 440 Hz.

Refl ections The Hook organ was put back into ST GEORGE’S CHURCH, PENANG, MALAYSIA regular service use during the tenure of Fr. Thomas Carroll, SJ, as the director of St George’s Church in Georgetown, Penang was built by the East India Company in the Jesuit Urban Center at the Church 1818 and was designed in the Georgian-Palladian style common for public buildings of the Immaculate Conception. Many of the period. The church has had organs in the past, but none following the partial notable organists at that time visited the destruction of the building in WWII. church and played the instrument in The new organ, completed in June, was designed to complement the building and is concerts that were warmly and apprecia- tively received. an entirely mechanical action instrument of two manuals and pedals, with 17 stops. It is hoped that the research presented It is sited in the liturgical north east corner of the church. in this study will inform those who GREAT ORGAN SWELL ORGAN PEDAL ORGAN restore this organ at a future date. Virtu- Open Diapason 8 Gedackt 8 Bourdon 16 ally all of the tonal modifi cations made Stopped Diapason 8 Salicional 8 Principal 8 to this organ resulted from the change Principal 4 Voix Celeste 8 Trumpet 8 to its pitch and the addition of the Solo Fifteenth 2 Principal 4 Great to Pedal 1 division; the rest is vintage and very well Fourniture IV 1 /3 Chimney Flute 4 Swell to Pedal preserved E. & G. G. Hook. Trumpet 8 Recorder 2 2 Serious consideration should be Swell to Great Sesquialtera II 2 /3 given to the relocation of the Solo divi- Oboe 8 sion in a manner that does not encroach Tremulant upon the tuning of the original Hook pipes or limit the sound egress of the ³ St Peter’s Square - London E 2 7AF - England ³[t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 ³[e] [email protected] original Hook layout. The raw data indicate that the 1902 installation of the Solo division had a major impact on both counts. If the decision is made to MANDER ORGANS remove the 1902 Solo division from the organ, and that conclusion should not www.mander-organs.com be reached lightly, it should be carefully

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 21 Pipe organ documentation over Option 2. Repitched to 450 Hz, the organ will not be compatible with orchestral instruments tuned to 440 Hz, but neither is the present organ compatible at 435 Hz, and the pipework will clearly not support 440 Hz. The argument can be made that we have a great many organs tuned to 440 Hz in our concert halls, while we have very few large Hook organs in their original state designed for superb acoustics like those of Immaculate Conception. Hook Opus 322 presents us with a unique challenge: it has been passed down to us in superb condition by the careful attention of the Lahaise family, and it may be the best opportunity we have to A stereoscopic view of the interior of the Church of the Immaculate Conception hear a large, well-preserved Hook cho- rus of Civil War vintage designed for a restorers of this organ could benefi t stunning acoustic. from his advice. The importance of the choice we We are incredibly fortunate to have make of the restoration options pales at least some detailed data on the Hook in comparison to the decision of the organ, and we owe the Jesuit community site of the organ’s new home. Much of and especially Fr. Thomas Carroll, SJ, a this organ’s fame was the result of its great debt for the opportunity to acquire placement in the stunning acoustics of it. Fr. Carroll now resides at the Collegio the Church of the Immaculate Concep- Bellarmino in Rome, Italy, a home to tion. When selecting or building a new Figure 29 a community of more than 70 Jesuits acoustic for this organ it is important representing more than 35 countries. He to realize that architects are not accus- Carolina. Architects will know how to is the spiritual director for many of the tomed to the requirements of pipe measure it, but they will be stunned by Jesuits pursuing advanced theological organs. Be especially aware that defi ni- the request to replicate it. The fame of degrees, conversing with about half in tions of reverberation by architects will the Hook organ and its original acousti- English and half in Italian. He provides not even remotely correlate with your cal environment are inseparable. As any guidance for young Jesuit scholars in the musical perception of those acoustics. organbuilder will tell you, the best stop preparation of theses written in English, See The Sound of Pipe Organs, p. 32, for in any organ is the room in which it is and for whom English may be a second, a detailed discussion of this ubiquitous placed, or to put it more bluntly, a won- third, or fourth language. Q problem. If the Church of the Immacu- derful organ placed in a mediocre room late Conception still exists in its original will sound—mediocre. Michael McNeil has designed, con- acoustical form, an unlikely event, Professor Thomas Murray, Yale structed, and researched pipe organs take the architects there and make the University organist, has been deeply since 1973. He was also a research engi- accurate replication of those acoustics involved with this Hook organ, has made neer in the disk drive industry with 27 a requirement. If that acoustic doesn’t recordings of it (listed in the discogra- patents. He has authored four hardbound exist, take the architects to the Duke phy), and possesses a deep knowledge books, among them The Sound of Pipe University Chapel in Durham, North of the Romantic literature. Future Organs, several e-publications, and many journal articles. Reverend Thomas Carroll, SJ, in front of the former Church of the Immaculate Notes and Credits Conception All photographs, tables, graphs, and data are by the author except as noted. Discography 1. Owen, Barbara. “A Landmark within a Murray, Thomas. The E. & G. G. Hook Or- Landmark: The 1863 Hook Organ,” undated gan, Immaculate Conception Church, Bos- typescript. ton, Sheffi eld Town Hall Records, Album 2. Excel fi les with all raw data taken on the S-11 (ACM149STA-B), Santa Barbara, CA. Hook and the spreadsheets that produced Murray, Thomas. An American Masterpiece, the graphs and tables may be obtained at no CD, AFKA SK-507. charge by e-mailing the author at: mmcneil@ k2cable.net. Useful References 3. McNeil, Michael. The Sound of Pipe Or- Cabourdin, Yves, and Pierre Chéron. L’Orgue CHRISTMAS gans, CC&A, Mead, 2012, 191 pp., Amazon. de Jean-Esprit et Joseph Isnard dans la com. Basilique de la Madeleine à Saint-Maximin, 4. Huntington, Scot L., Barbara Owen, ARCAM, Nice, France, 1991, 208 pp. Stephen L. Pinel, Martin R. Walsh, Johnson Huntington, Scot L., Barbara Owen, Stephen TOCCATA Organs 1844–1898, OHS Press, Richmond, L. Pinel, Martin R. Walsh, Johnson Organs Virginia, pp. 17–18. 1844–1898, The Princeton Academy of the IN THE STYLE OF LOUIS VIERNE 5. Elsworth, John Van Varick. The Johnson Arts, Culture, and Society, Cranbury, New Organs, The Boston Organ Club Chapter of Jersey, 2015, 239 pp. the Organ Historical Society, Harrisville, New McNeil, Michael. The Sound of Pipe Organs, This clever parody of the Final from Organ Hampshire, 1984, p. 45. CC&A, Mead, 2012, 191pp, Amazon.com. 6. Noack, Fritz. Preliminary Report about Owen, Barbara. The Organ in New England, Symphony No. 3 by Louis Vierne uses fi ve the Pipework of the 1863 E. & G. G. Hook The Sunbury Press, Raleigh, North Caro- well-known Christmas carols: “Hark! the Organ, July 9, 1999. lina, 1979, 629 pp. Herald Angels Sing”, “Angels We Have Confident pedal work Heard on High”, “Twas in the Moon of comes with practice and Wintertime”, “O Little Town of Bethlehem” the right shoes and “O Come, All Ye Faithful”. Kiyo Watanabe closely follows the structure of on the SPIRAL BOUND, 9 PAGES and also uses similar accompaniment ideas NON-MEMBER PRICE: $35.00 pedals MEMBER PRICE: $30.00 and fi gurations to those of Vierne’s original.

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22 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM Academic programs

Church Music Studies in Germany Refl ections on a Semester Abroad

By Hannah Koby Rottenburg am Neckar, Germany

e have probably all heard that Wstudying in a foreign culture is life changing, that one will learn a lot and grow as a person. After spending spring and summer of my sophomore year of college in Germany in 2016, I can say that those are all true. Yet as musicians, we seek musical as well as personal growth. My time abroad left me with stronger musicianship, broader understanding of German organs and their history, greater appreciation for and knowledge Hochschule für Kirchenmusik, Rotten- of liturgical worship, and a network of burg am Neckar colleagues, friends, and mentors on the other side of the world. I believe that studying in Europe and experiencing the instruments, churches, history, and culture for oneself is an unparalleled opportunity for organists. As I played Schnitger, Silbermann, and Sauer organs last spring (to name a few), I knew I was learning for myself the aural ideals of each builder, place, and era. A unique partnership between Val- paraiso University, where I study, and the Hochschule für Kirchenmusik (Church Performance Hall, Hochschule für Music Conservatory) in Rottenburg Kirchenmusik am Neckar, Germany, provides church music students with an opportunity to The size of the school—about 35 stu- study abroad while continuing music dents, including bachelor’s, master’s, and studies and gaining a new perspective on one-year certifi cate students—lent a very sacred music and the church. This pro- personal dimension to my experience. I gram was part of what led me to study at got to know all the students and could Valparaiso University. I believe studying learn from nearly all the professors, even St. Martin Cathedral, Rottenburg am Neckar abroad is an opportunity that student those I didn’t offi cially study under. Since organists should seek out, because the all the classes and lessons are taught in benefi ts of seeing, hearing, and playing German, I appreciated that small class historic and modern European organs in sizes also allowed for language-related their context cannot be overestimated. clarifi cation when necessary! One aspect I value most from my ii — 19 ranks ii — 19 Rottenburg am Neckar semester in Rottenburg was the differ- Most of my time in Germany was ent perspectives I got from each teacher. spent in Rottenburg am Neckar, in the I studied organ literature with Herr winchester, virginia southwestern German state of Baden- Heinrich Walther, a concert organist

Württemberg. There is not much to set and professor. While it was diffi cult for opus 130 Rottenburg apart from any other small me to get used to a teacher very dif- Swabian town, except that it is the seat of ferent from others I previously had, he the bishop of the Roman Catholic Dio- imparted much musical and life wisdom cese of Rottenburg-Stuttgart. Because to me in the short semester we worked of this, Rottenburg is home to a Catholic together. One focus of my work was

church music conservatory and to St. playing with more nuanced articulation. The Village at Orchard Ridge Martin’s Cathedral—the smallest cathe- Herr Walther helped me bring out much dral in Germany. The conservatory, or more detail than I previously had, which Hochschule für Kirchenmusik, is on the was possible since we were working rneauor edge of town, providing an idyllic setting only with tracker-action organs, as is the ou ga et n .l s .c for study. It is housed in one building, norm in Germany. The lessons from that w follow o w us on m with residential fl oors above the class- semester still impact how I think about w facebook! rooms/practice rooms, which means no articulation and the shape of individual excuse for not practicing in bad weather! notes and phrases, even though I don’t

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 23 Academic programs often perform on tracker instruments now that I am back in the United States. In addition to the seven small pipe organs housed at the Hochschule, stu- dents have occasional access to organs in local churches. I had the privilege of performing in one of the weekly “Music for the Market” concerts on the four- manual 1979 Hubert Sandtner organ in Rottenburg’s St. Martin Cathedral. I also heard this instrument often, with the masterful improvisation of cathedral organist Ruben Sturm during Sunday Mass. The other Catholic church in town, St. Moriz, has a three-manual instrument built in 1976 by Winfried Albiez, which provided many registra- tion options for an improvisation lesson there! Both of these churches regularly hosted the conservatory’s guest artist and faculty recitals, giving me a chance to hear the breadth of color and texture on each instrument. Hannah Koby at organ of St. Martin Ca- 1979 Hubert Sandtner organ, St. Martin Cathedral, Rottenburg am Neckar thedral (photo credit: Heinrich Walther) Difference in curriculum One surprise for me in Rottenburg was that organ improvisation is a main subject in the German church music curriculum, taken every semester. I encountered many surprised looks when I shared that it is not required in many American programs. I think that for the fi rst couple of weeks, even my teacher was not quite sure what to do with me! While I struggled to understand my les- sons, my teacher, Herr Peter Schleicher, was a patient instructor. He worked with 1976 Winfried Albiez organ, St. Moriz Console, Schnitger organ, St. Jakobi Schnitger organ, St. Jakobi Church, me on the basics of improvisation, a skill Catholic Church, Rottenburg am Neckar Church, Hamburg Hamburg that has already proven very helpful for service playing upon my return. leadership in one semester in Rotten- has become signifi cantly more fl uent and breath focuses on physical exercises The most striking difference in burg as many American church music because of these lessons. both for the students as musicians and church music studies at Rottenburg is students receive in four years! Every Tuesday morning at the Rot- performers and for choirs. We learned the choral and conducting curriculum. Prior to my time in Germany, I tenburg conservatory is devoted to the everything from relaxation exercises In the United States, church music had only taken one semester of basic choral conducting practicum. Students for musicians to activities to physically studies largely focus on organ, and conducting, in a class of about a dozen work with their professors in lessons prepare choral singers. Each new tech- choral conducting training is often people. What a difference it was to work to prepare a choral work, and on their nique or exercise was practiced as well minimal. In Rottenburg, organ is a one-on-one with a professor! I worked assigned Tuesday, lead a rehearsal of the as discussed. primary component of studies, but the with Herr Peter Lorenz, cantor of St. piece. The professors will assist the stu- This class led directly into the warm- church musician’s role as choral direc- Martin’s Cathedral. I learned so much dent when something is not going well, up practicum, a half hour in which a tor is taken very seriously. Each student from him about physical preparation for and always provide feedback at the end. student leads a 20-minute choral warm- at Rottenburg has private or small- conductors, score study, and rehearsal In addition to rehearsal leadership experi- up, both physical and vocal, followed by group lessons in choral conducting preparation, as well as the conducting ence, the practicum also serves as weekly 10 minutes of debriefi ng. This gives each every semester, and the whole school itself. Because we had half an hour every sight-singing practice for all the students. student a chance to try out new vocalises takes part in a weekly praxis seminar. week just to focus on my conducting, Usually in the fi rst year, students must and learn about their particular issues in In addition, there are classes in choral/ rather than dividing the time between also take a set of choral pedagogy classes. leadership. In Germany, it is considered vocal pedagogy, and orchestral, chant, students in a class, Herr Lorenz was This set consists of studies of body and unprofessional to lead warm-ups from and children’s choir conducting. I think able to correct much more than I had breath, choral warm-up practicum, and the piano, so each student has a tuning I had as much education in choral previously experienced. My conducting choral voice building. Studies of body fork and vocally gives pitches. Working in that system was one of my challenges. For example, I tended to have my sing- ers vocalize higher than necessary or comfortable because my own vocal range is high. Following the practical courses, we had choral voice-building class, which is essentially the theory behind what we were practicing in the other courses. We focused on individual sounds—for example, learning which vowels best A. E. Schlueter Pipe Organ Co.

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24 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM the course also drove home the deep connection that German Catholics have to their musical tradition. They regularly sing Medieval chant without a second thought, which I have not encountered in American Lutheran circles. While acknowledging the importance of ver- nacular hymnody, they nonetheless keep strong the Latin song tradition as well. It was impressed upon the students in this class that as church musicians, it is our responsibility to respect these traditions.

Closing thoughts Perhaps for organists more than other musicians, the benefi t of experience cannot be overestimated. Actually being in European churches and playing his- torical instruments gives an incomparable context for the work that we do as organ- Sauer organ, St. Petri Church, Copenhagen, Denmark Ladegast organ, Castle Church, ists. Many times since my semester in Wittenberg Germany, I have worked on registration reinforce different vocal qualities or Professional connections or encountered a new organ and noted what sorts of exercises can be used to Along with the experience of playing at High Mass in the cathedral than in that it sounds like a certain instrument I bring out certain consonant sounds in historical organs, the examples above Protestant worship. Because the Protes- played in Europe. From that relationship, singing. We also learned about vocal illustrate a few of the invaluable con- tant state church in Baden-Württemberg I know I have found an authentic sound register and experienced an introduc- nections I made with church musicians is “Unifi ed,” which was explained to me as for works of that time and place. When tion to the physiology of the voice. The in Europe. I am considering graduate a cross between Lutheran and Reformed working on registration, there is no substi- theory was always demonstrated through studies in Germany, and the connections traditions, the local Protestant church did tute for knowing fi rsthand the sounds that vocalises (and sometimes tricky German I already have may lead to mentorships not follow a strictly liturgical pattern of composers had at their disposal. tongue twisters!), and was reinforced or other opportunities then. Some of worship. This made it more diffi cult for The traditions I studied and partici- through paired themes for the warm-up my best friends are students from Rot- me to follow and drove home how much I pated in while in Rottenburg showed me practicum. All these classes operated as tenburg who are involved with the Val- rely on the liturgy to shape my experience the importance of both the historical and a set, providing a holistic education for paraiso exchange. Knowing a few people of worship. universal planes in which we as musi- future choral leaders. made the transition to Rottenburg so Another difference for me in Rotten- cians work. I hope that my experiences much easier than it could have been. In burg was the strong focus on the chant encourage others to seek opportunities Organ to organ: the future, these friends will also be my repertory. I participated in the conserva- to be challenged as musicians by other Traveling Europe colleagues. There is no telling how the tory’s Schola in which all second-year to cultures and traditions. Q Supplementing all my studies in Rot- friendships might lead to international graduate students sing—but for which tenburg, I took advantage of the vast opportunities for our research or future I was completely unprepared. Prior to Hannah Koby is an organ/church music organ riches within traveling distance. A choirs or students. that semester, I had sung some chant, major and German minor at Valparaiso highlight for me was traveling to Copen- Personal connections with German but always in modern notation. At Rot- University, Valparaiso, Indiana, where hagen, Hamburg, and Lübeck over church musicians have already led to an tenburg, we sang from medieval square she is also a member of Christ College Pentecost break. Particularly impres- amazing opportunity for me. While I was notation with neumes—neither of which (Interdisciplinary Honors College), the sive was the number of organ concerts abroad, I learned through a Valparaiso I knew how to read. Realizing my defi - University Chorale, and the student chap- and other events in Hamburg in the half connection about a potential internship ciency in this area, I chose to take their ter of the American Guild of Organists. week I was there (prompting my Ham- at the Castle Church in Wittenberg, intro-level chant course. At the university’s Chapel of the Resur- burg grandmother to suggest I continue where Martin Luther is said to have This class, Gregorian Chant and Ger- rection, she serves on the Morning Prayer my studies there; but that is another posted his 95 theses. Having been identi- man Liturgical Music, was an incredible planning staff, is organist for the weekly story). One of the many opportunities fi ed as a bilingual church music student, mix of subjects. We learned the basics Matins service, and serves as pianist was a demonstration of the famous Arp I was put in contact with the cantors of understanding, singing, and leading and on the planning team for the weekly Schnitger organ in Hamburg’s St. Jacobi there, Thomas and Sarah Herzer. Since chant, and got a crash course in Latin Candlelight service. Koby is also organist Church. Upon learning that I was an I was in Germany at the time, it was and German musical resources for the and choir director at St. Paul Lutheran organist, the intern leading it invited possible for me to travel to Wittenberg seasons and festivals of the church. Church, Chesterton, Indiana. After her me to play while he demonstrated some to interview for the position. In the sum- I am glad to say I now have a basic studies at Valparaiso, she plans to pursue registrations. Afterward, he asked if I mer of 2017, I served as church music understanding of neumes and can read graduate work in sacred music and to would like to come back the next day, intern at the Castle Church, playing for historical chant notation. Beyond that, maintain German connections. leading to a glorious hour and a half and helping host some of the many wor- with the church to myself, exploring ship services and concerts taking place as the grand sounds of this historic instru- part of the 500th anniversary celebration ment. Now, I try to remember these of the beginning of the Lutheran Refor- A Precious Gift sounds as a standard for North German mation. I don’t know if this would have Baroque registration for my work here happened without the personal contact in the United States. I was able to make while in Germany for from the Past Another memorable instance was in a semester. Copenhagen, Denmark, at the St. Petri for the Present Church, home to a German-speaking Learning from difference congregation. I was studying what I As a Lutheran student from a Lutheran could see in the façade when the organ- university, I was well aware of the fact that and the Future ist arrived. I asked to see the console, I was going to study at a Catholic conser- and he offered that I could play for a vatory. However, I learned that I did not Supremely beautiful and blendable few minutes. When he saw me pull need to be so concerned about it, because tonal color – a Gift from the Venetian out my organ shoes and music from Catholics and Lutherans truly have much School of organbuilding, a monumental part of our the bag I always carried, he realized I in common. The pattern of the liturgy JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH was a serious student and invited me to meant that I was rarely lost in worship, SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN come back once he was fi nished with his even when I could not fi gure out all the rehearsal. I was allowed to explore this responses. For me, this underscores the late Sauer organ from the 1930s until value of a universal liturgy practiced by Intriguing? Let us build your dream. the church closed for the day. While it Christians all over the world. While the is not as old or distinguished as many I language may be different, we know we saw, playing this instrument gave me a are singing the Kyrie or professing our taste of the aural ideas from that era in faith through the creed. Interestingly, in northern Europe. Rottenburg I actually felt more at home

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 25 Cover feature

Schoenstein & Co., Thinking like an Orchestrator Benicia, California To start the design process, I tried Grace Episcopal Church, thinking of each stop in an organ as a Hartford, Connecticut player in an orchestra. How do orches- trators reduce instrumentation and still A Symphonic Church Organ?? produce a symphonic effect? The model What does “symphonic organ” mean? for this, of course, is Hollywood and the The defi nition of this often-misunder- great studio orchestras for pictures, radio, stood term is best prefaced by what it and recordings. Throughout the “Golden is not. The symphonic organ does not Age” of Hollywood music from the early attempt to imitate precisely the instru- ’30s to the early ’60s, orchestras limited ments of the symphony orchestra. It is not by budget and studio size were able to designed specifi cally to render orchestral produce effects in a wide variety of rep- transcriptions. It is not a refi ned theatre ertoire, sounding like an ensemble twice organ! The term “symphonic” does not the size. How did they do it? A typical relate to specifi c sounds, but rather to set-up would be: one fl ute (doubling pic- an overall versatility in musical perfor- colo), one oboe (doubling English horn), mance. Most will agree that the modern four players (doubling a combination of symphony orchestra is the ideal instru- saxophones, clarinets, bass clarinet, fl ute, mental medium for interpreting musical oboe, and bassoon); one horn; three images both emotional and intellectual. trumpets, two trombones, tuba; piano, Shouldn’t an organ have these qualities? harp, percussion (one traps and one mal- In 1993 we completed our fi rst sym- lets/tympani); eight violins, three violas, phonic-style organ for Wynne Chapel of two ’cellos, and two double basses. Highland Park Presbyterian Church in What does this show us? First, the Dallas, Texas. At 30 stops, 35 ranks, it huge string section and full woodwinds was certainly a miniature in comparison of the symphony orchestra can equal the to Yale University’s Woolsey Hall organ brass and produce a mighty ensemble of 142 stops, 197 ranks, which is consid- ff. In the reduced instrumentation, the ered by most to be the premier Ameri- brass section has to take the stage and can symphonic organ. Located in a small be the power center. Second, there is at chapel and almost entirely enclosed, the least one of every symphonic tone color Dallas organ was able to give the effect including the three that always make a of a very large comprehensive instru- small orchestra sound big—horn, harp, ment without excessive loudness. We and tympani. Using different tone colors Schoenstein organ, Grace Episcopal Church, Hartford, Connecticut thought we had gone as far as we could than one would fi nd in a traditional cham- in miniaturizing the symphonic concept. ber orchestra of the same size gives the including mutations and one powerful, 7. Effective expression. A sym- As part of his research on the Aeolian- illusion of a much larger ensemble. The open solo fl ute. phonic organ must be able to produce a Skinner Organ Co., Jonathan Ambrosino use of doubling, which we might compare 4. Strings and hybrids. What seems crescendo from ppp to fff. It should also visited First Presbyterian Church in Spar- to unifi cation in an organ, adds even a luxury is really practical—two celeste be able to produce full organ effects at tanburg, South Carolina. Their chapel more variety with only slight additional stops: a pair of genuine orchestra strings, less than full organ volume. Part of this needed a companion to the Aeolian-Skin- expense. Third, to produce solid bass, the and a pair of soft ethereal voices. Most has to do with the proper terracing of ner in the church. Jonathan, having heard tuba is generally written with the double small organs rely on one compromise voices, but solid expression boxes with our Wynne Chapel organ, suggested that basses rather than with the brasses. celeste pair to do these two very different responsive shades are vital, too. they might like something along the same Here is how we adapted these ideas to jobs. Such stops usually tend toward fl ute 8. Contrasting expression. There lines although there was room for only 15 the organ. or diapason tone. Although they may be must be at least two divisions under ranks. Holt and Marcia Andrews, associ- attractive, they do not elevate an instru- expression for an organ to start claiming ate music directors, contacted us and ini- Tonal Qualities ment into the symphonic class. Keen symphonic status. In a small instrument, tiated an absolutely fascinating challenge, 1. Diapasons. The most important strings are absolutely necessary, but so as many voices as possible should be which we fulfi lled in 1996. element of organ tone is the diapason. are the less assertive, dolce tones. Both under expression. In the symphonic The vital question we addressed for Even in a small organ it is best to have should be represented, and the string concept, unexpressive voices are a luxury the Spartanburg project was, “what is two contrasting characters of diapason pair should be full compass to low C. normally reserved for large instruments. the musical job to be done?” Why does tone and at least one well-developed 5. Color reeds. Normally a small In some cases layout demands that cer- a church, let alone a small chapel, need chorus. However, in small rooms or dry organ would have just one color reed, tain voices be unexpressive, for example a symphonic-style instrument? After acoustics, powerful upperwork can be such as an oboe. To enter the symphonic where the Swell must be behind the receiving hundreds of letters from organ very unattractive. class, a contrasting tone such as clarinet Great, but this should be an exception. committees over the years suggesting 2. Trumpets. The ultimate power of is more important than a second mixture, A full exposition of these ideas was all the things they wanted their new the full ensemble is the organ’s “brass”— for example. Color reed tone is useful in presented in an article with several organ to do, it became obvious to me 8′ and 16′ tone representing the trum- both solo and accompanimental roles. sample stop lists titled “Organ Design that in most situations a symphonic-style pet and trombone of the orchestra. In 6. Powerful Pedal bass. The sym- and the Kraft Music Hall” in the Octo- instrument is exactly what they need. smaller acoustics, power is best achieved phonic organ has representatives of each ber 2002 issue of The Diapason. Above all, a church organ must wear with unison tone of great warmth and tone color in the Pedal department. Since then, in addition to Antiphonal well, and that means having a variety of intensity. The proper character is usually A Bourdon is not enough; there must divisions at First-Plymouth Congrega- tone under effective expression. This is achieved through high wind pressure. also be open fl ue tone and reed tone to tional Church, Lincoln, Nebraska, and especially vital in accompaniment, which 3. Flutes. Of prime importance provide clarity, point, and drama. If pos- Park Cities Presbyterian Church, Dal- is the church organ’s biggest single job. is vividly differentiated tone color sible, 32′ tone should be included. las, Texas, we have completed similar Schoenstein & Co.

GREAT (Manual II, expressive) SWELL (Manual III, expressive) SOLO (Manual I) PEDAL 16′ Corno Dolce 12 pipes 16′ Bourdon (wood) 12 pipes Solo stops 32′ Resultant 8′ Open Diapason 61 pipes 8′ Salicional 49 pipes 8′ Open Diapason (Great) 16′ Double Diapason 32 pipes 8′ Harmonic Flute 42 pipes (St. Diapason Bass) 8′ Harmonic Flute (Great) 16′ Corno Dolce (Great) (Corno Dolce Bass) 8′ Stopped Diapason (wood) 61 pipes 8′ Oboe Horn (Swell) 16′ Bourdon (Swell) 8′ Corno Dolce 61 pipes 8′ Gamba † 61 pipes 8′ Clarinet (Great) 8′ Open Diapason (Great) 8′ Flute Celeste (TC) 49 pipes 8′ Vox Celeste † 61 pipes 16′ Bass Tuba (Swell) 8′ Corno Dolce (Great) 8′ Vox Celeste (II – Swell) 8′ Flute Celeste (II – Great) 8′ Tuba Minor (Swell) 8′ Stopped Diapason (Swell) 4′ Principal 61 pipes 4′ Salicet 12 pipes Accompaniment stops 4′ Octave (Great Open Diapason) 4′ Corno Dolce 12 pipes 4′ Chimney Flute 61 pipes 8′ Corno Dolce (Great) 4′ Flute (Great Harmonic Flute) 2′ Mixture III 166 pipes 4′ Flute Celeste (II – Great) 8′ Flute Celeste (Great) 16′ Bass Tuba (Swell) 2 8′ Tuba Minor (Swell) 2⁄3′ Nazard (From Chimney Flute) 8′ Gamba (Swell) 8′ Tuba Minor (Swell) 8′ Clarinet 61 pipes 2′ Fifteenth 12 pipes 8′ Vox Celeste (Swell) 4′ Clarinet (Great) 3 Tremulant 1⁄5′ Tierce (TC) 42 pipes Ensemble stops Great Unison Off 16′ Bass Tuba † 12 pipes 8′ Salicional (Swell) Great 4′ 8′ Tuba Minor † 61 pipes 8′ Stopped Diapason (Swell) (Mixture does not couple) 8′ Oboe Horn 61 pipes 4′ Salicet (Swell) Tremulant 4′ Chimney Flute (Swell) 2 Swell 16′ 2⁄3′ Nazard (Swell) Swell Unison Off 2′ Fifteenth (Swell) 3 Swell 4′ 1⁄5′ Tierce (Swell) † In separate box inside Swell. Solo 16′ Solo Unison Off Solo 4′

26 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM North side of organ in erecting room showing Swell (left) and Inner Swell (right). Angle view of the façade and console instruments for Georgetown University by Kyle Swann, who is also Lecturer in and our organ at Christ and St. Stephen’s Opera at Yale University School of Music. Church in New York City, which was The organ is entirely enclosed with the given a thorough narrated demonstra- exception of the open wood Double Dia- tion on YouTube (search “Schoenstein pason, a wonderful luxury in an instru- Tonal Demonstration”). ment of this size. The Great chorus is 8′ Diapason, 4′ Principal, and 2′ Mixture. Grace Episcopal Church, Hartford, Although it is most desirable to have an Connecticut independent 2′ Fifteenth, choices must Our latest instrument along these lines be made, and we elected instead to have is blessed with the most ideal environ- a Celeste to the Corno Dolce, which is ment an organbuilder could wish. The a tapered hybrid stop of fl ute quality room is small seating only 112 but has with a tinge of string edge. It is unifi ed at a very pleasant, appropriately resonant 16′ and 4′ pitches. The Harmonic Flute acoustic producing clarity along with uses the Corno Dolce as a common bass, warmth of tone. The organ is situated on the break point of which is very hard to the main fl oor at the west end projecting determine by ear. The Clarinet offers a straight down the nave. There are no strong contrast to the Swell Oboe Horn. transepts. The choir is in stalls at the rear The doubling principle is carried into of the nave. The liturgy is Anglo-Catholic the Swell where we have a Salicional, with an excellent music program headed which is a small-scale diapason unifi ed at 8′/4′/2′ pitch, a wood Stopped Diapason, Grace Episcopal Church, a highly contrasting narrow-scaled metal Hartford, Connecticut Chimney Flute, and a Tierce. The capped Oboe Horn is a very versatile color reed. COUPLERS Two orchestral-style strings and a 16′/8′ Great to Pedal Tuba Minor, which is in the trumpet family Great to Pedal 4′ but of darker tonal character, are under Swell to Pedal Swell to Pedal 4′ double expression within the Swell. In Solo to Pedal hymn playing, for example, it is possible to Solo to Pedal 4′ introduce the 8′ Tuba Minor without notice ′ Swell to Great 16 while playing only the 8′ Diapason and 4′ Console Swell to Great Swell to Great 4′ Principal on the Great. A dramatic Full Solo to Great Swell effect can be achieved with ease. The The Pedal has four 16′ stops repre- enjoyed thoroughly, especially due to the Great to Solo same is true with the strings that change to senting each tonal family: diapason, strong cooperation, encouragement, and Swell to Solo a mild, almost Aeoline character with both fl ute, string-hybrid, and reed, a luxury enthusiasm of the entire parish. MECHANICALS boxes closed and then bloom smoothly as not usually found on organs this size, but — Jack M. Bethards Solid State capture combination action they are brought into full power. important in the symphonic concept. President and Tonal Director with: A major element of playing fl exibility The instrument was completed on Schoenstein & Co. 100 memories comes from a third manual that borrows June 26, 2017, and will be heard in a Programmable piston range 40 pistons and toe studs stops from both the Great and the Swell. dedicatory recital by Thomas Murray on Photo credit: Louis Patterson 4 reversibles including Full Organ These are both Solo stops and ensemble October 29, 2017. The priest-in-charge Piston sequencer stops for maximum contrasting possibili- is the Rev. Rowena J. Kemp, and the Schoenstein website: Record/Playback ties with either Great or Swell. In addi- director of operations in charge of pre- www.schoenstein.com Three manuals, 16 voices, 18 ranks, 1,062 tion, a few stops from the Great appear paring the installation site was parishio- Grace Episcopal Church website: pipes on the Swell and vice versa. ner Tom Phillips. This was a project we http://gracehartford.org

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 27 Organ Projects

Berghaus Pipe Organ Builders, Bellwood, Illinois 1966 Aeolian-Skinner Organ Company Opus 1455 Church of the Holy Comforter, Kenilworth, Illinois Organ renovation projects are as diverse as the instruments themselves. The decisions and processes that are undertaken by the owners and the cura- tors of the pipe organs are varied, but the goal is always to breathe new life into the instrument. Sometimes the renova- tion is historically accurate, sometimes it completely changes the nature of the instrument. In the case of the 1966 Aeolian-Skinner Organ Company Opus 1455 at Church of the Holy Comforter, Kenilworth, Illinois, the organ was returned to its original glory as envi- sioned by George E. McClay, associate dean of the School of Music at North- Church of the Holy Comforter, Kenilworth, Illinois Pipework and console western University, Evanston, Illinois, and organist-choirmaster at Trinity Epis- copal Church, Highland Park, Illinois, who served as the consultant. The Aeolian-Skinner replaced a two- manual, eight-rank Welte organ relo- cated in 1928 from the Wilmette Village Theatre (which had closed), which in turn had supplanted the 1907 Hook & Hastings Opus 2147 that was an identical replacement of the builder’s Opus 2106 that had been destroyed in a fi re in Octo- ber 1906. As the fourth organ at Holy Comforter, the instrument’s 50 years of faithful service and thousands of hours of The chancel and organ chamber beautiful music for Eucharists, baptisms, weddings, funerals, concerts, and special was then thoroughly cleaned and water- events made it an integral part of the life damaged areas repaired and replastered. of the parish. It was fi nally decided in The console was stripped and refi n- 2016 to raise the funds to undertake the ished, updated with new lighting and complicated and sophisticated project of combination action, and keyboards and thoroughly renewing the instrument. pedalboard rebuilt. The tonal fi nishing In June 2016, Berghaus Pipe Organ process, which took two weeks, brought Builders began an extensive project to the instrument back to its original tone clean, rebuild, and refurbish the organ and timbre as the organ’s wind pressures to as-new condition. All of the pipework were returned to their original measure- except for some of the larger pipes ments. This offered an opportunity to from the Contra Bass in the Pedal were prepare for a 8′ Trompete on the Great removed from the church and taken to the that would be extended as a 16′ Posaune The console in recital position in the chancel Berghaus shop for cleaning and repairs. in the Pedal. The organ was fi nished in While in the organ shop, a couple of mid-September in time to go back into ranks that had been altered over time service for a prominent wedding. were restored to original specifi cations. The organ was rededicated on Sun- Aeolian-Skinner/Berghaus The 4′ Flute Harmonique pipes were day, April 23, 2017, by the Reverend Dr. Church of the Holy Comforter, Kenilworth, Illinois lengthened and the hole in the center Jason Parkin followed by a recital given section of each pipe that produces the by director of music, Derek E. Nickels. GREAT (Manual I, Exposed, 3″ 8′ Octave (ext 16′ Contra Bass) wind pressure) 8′ Bourdon (ext 16′ Bourdon) harmonic sound was re-created. The Dr. Nickels’s program, which included 16′ Bourdon1 8′ Rohrfl öte (Swell) Viole de Gamba and Viole Celeste pipe- works by Mendelssohn, Bach, Howells, 8′ Principal 61 pipes 4′ Choral Bass (ext 16′ Contra Bass) work had mysteriously been replaced Lafford, Callahan, and Dupré, very likely 8′ Bordun 61 pipes 16′ Posaune (ext Gt; prepared) with pipes that did not properly blend put each of the more than 1,300 pipes to 8′ Spitzfl öte (Swell 8′ Spitzfl öte) 16′ Hautbois (Swell) 4′ Octave 61 pipes 8′ Hautbois (Swell) with the rest of the instrument. Particu- work, and was enthusiastically received 4′ Spindlefl ute 61 pipes 4′ Hautbois (Swell) 2 lar attention was paid to these two ranks by the near-capacity crowd. 2⁄3′ Sesquialtera II 122 pipes during the revoicing process to duplicate —Jean A. O’Brien 2′ Blockfl öte 61 pipes 1. Added 1992, 1–12 Pedal 16′ Bourdon, vintage Aeolian-Skinner characteristics. Berghaus Pipe Organ Builders II Rauschquint 122 pipes 13–61 Swell 8′ Rohrfl öte. 8′ Trompete (prepared) 2. Original pipework replaced in 1992, The reservoirs were also removed Derek E. Nickels Tremulant revoiced in 2016. for releathering. The empty chamber Church of the Holy Comforter Great 16 3. Reconstructed to factory specifi ca- Great Unison Off tions in 2016. Great 4 COUPLERS SWELL (Manual II, Enclosed, 3″ Great to Pedal 8 wind pressure) Great to Pedal 4 16′ Spitzfl öte (2003, TC, fr 8′ Spitzfl öte) Swell to Pedal 8 8′ Rohrfl öte 61 pipes Swell to Pedal 4 8′ Viola da Gamba2 61 pipes Swell to Great 16 8′ Viola Celeste2 61 pipes Swell to Great 8 8′ Spitzfl öte 61 pipes Swell to Great 4 8′ Flute Celeste (TC) 49 pipes 4′ Spitzprincipal 61 pipes ACCESSORIES 4′ Flûte Harmonique3 61 pipes 6 Great divisional thumb pistons III–IV Plein Jeu 232 pipes 6 Swell divisional thumb pistons 16′ Hautbois 73 pipes 6 Pedal divisional toe studs 8′ Trompette 61 pipes 5 General Pistons (thumb and toe) 8′ Hautbois (ext) Setter thumb piston 4′ Schalmei 61 pipes General Cancel thumb piston Tremulant Great to Pedal reversible (thumb and toe) Swell 16 Swell to Pedal reversible (thumb and toe) Swell Unison Off Swell to Great reversible (thumb piston) Swell 4 Full Organ reversible (thumb and toe) Memory Up thumb piston 3 PEDAL (3 ⁄4″ wind pressure) Memory Down thumb piston 32′ Resultant (2003, from 16′ Bourdon) Swell Shoe 16′ Contra Bass 56 pipes Crescendo Pedal 16′ Bourdon 44 pipes MIDI transposer, playback and record

28 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN The Chenault Duo; Woolsey Hall, Yale Park Ridge Presbyterian Church This calendar runs from the 15th of the month University, New Haven, CT 7:30 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Lisa Lonie, carillon, with mandolin & gui- Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK tar; Longwood Gardens, Kennett Square, Bloomingdale, IL Feb. issue). All events are assumed to be organ PA 12 noon recitals unless otherwise indicated and are grouped Ellen Dickinson, carillon; Longwood within each date north-south and east-west. •=AGO Gardens, Kennett Square, PA 1:30 pm chapter event, • •=RCCO centre event, +=new organ Joey Cotruvo, carillon; Longwood Gar- dedication, ++= OHS event. dens, Kennett Square, PA 3:30 pm Christopher Babcock Michael J. Batcho Information cannot be accepted unless it Janet Tebbel, carillon, with soprano; specifi es artist name, date, location, and hour in Longwood Gardens, Kennett Square, PA Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, 6:15 pm order; please do not send duplicate listings. CATHEDRAL OF ST. JOHN Wayne Wold, hymn festival; St. Martin’s Hyannis Port THE DIAPASON regrets that it cannot assume Lutheran, Annapolis, MD 4 pm MILWAUKEE responsibility for the accuracy of calendar entries. Benjamin Straley; Washington National Cathedral, Washington, DC 5:15 pm UNITED STATES Ralph Lyda; Cathedral of St. Philip, East of the Mississippi Atlanta, GA 3:15 pm recital, 4 pm Choral Dean W. Billmeyer Evensong Jonathan Ryan, Bach, Clavierübung III; 15 SEPTEMBER University of Minnesota St. Joseph Cathedral, Columbus, OH 3 pm Frederick MacArthur; Methuen Memo- James Higdon rial Music Hall, Methuen, MA 8 pm , works of Alain; St. Paul’s Minneapolis 55455 • [email protected] Ken Cowan; Brevard-Davidson River Episcopal, Cleveland Heights, OH 4 pm Presbyterian, Brevard, NC 7:30 pm Choral Evensong; Cathedral Church of Jaroslav Tuma; St. Paul’s Episcopal, St. Paul, Detroit, MI 4 pm Cleveland Heights, OH 7:30 pm VocalEssence; American Swedish Insti- tute, Minneapolis, MN 4 pm & 7 pm GAVIN BLACK Byron L. Blackmore Scott Dettra; St. Paul’s Episcopal, India- 16 SEPTEMBER Princeton Early Keyboard Center Nathan Laube; Merrill Auditorium, Port- napolis, IN 9 am & 11:15 am worship ser- Crown of Life Lutheran Church land City Hall, Portland, ME 7:30 pm vices, 4 pm recital 732/599-0392 Sun City West, Arizona Jaroslav Tuma; St. Paul’s Episcopal, www.pekc.org 623/214-4903 Cleveland Heights, OH 4 pm 25 SEPTEMBER Stephen Buzard; Presbyterian Homes, 17 SEPTEMBER Evanston, IL 1:30 pm Daniel Sañez; Cathedral Basilica of the Choral Evensong; St. Chrysostom’s Sacred Heart, Newark, NJ 4 pm Episcopal, Chicago, IL 7 pm THOMAS BROWN Carson Cooman Chelsea Chen; St. George Catholic UNIVERSITY Church, Erie, PA 3 pm 27 SEPTEMBER Composer and Concert Organist Stefan Kiessling; Cathedral Basilica of PRESBYTERIAN CHURCH Alan Morrison; Ursinus College, College- CHAPEL HILL, NORTH CAROLINA Harvard University ville, PA 4 pm the Sacred Heart, Newark, NJ 12 noon ThomasBrownMusic.com www.carsoncooman.com Sarah Hawbecker; Cathedral of St. Robert Myers; Trinity Lutheran, Cleve- Philip, Atlanta, GA 3:15 pm recital, 4 pm land, OH 12:15 pm Choral Evensong 29 SEPTEMBER Hymns of Martin Luther; Trinity Lutheran, The Chenault Duo; St. Paul’s School, AAGO, PhD Cleveland, OH 4 pm JAMES DORROH, Concord, NH 7:30 pm Rich Spotts; Loyola University, Chicago, DELBERT DISSELHORST Peter DuBois; Third Presbyterian, Roch- Saint Luke’s Episcopal Church IL 3 pm ester, NY 7:30 pm Professor Emeritus Samford University 19 SEPTEMBER Monica Czausz; Painesville United Birmingham, Alabama Methodist, Painesville, OH 7 pm University of Iowa–Iowa City Simon Thomas Jacobs; Stetson Uni- Organ Consultant Organ Recitals versity, DeLand, FL 7:30 pm Richard Webster, hymn festival; St. + James David Christie, with Ober- Paul’s Episcopal, Cleveland Heights, OH lin Conservatory Collegium Musicum; St. 7 pm Paul’s Episcopal, Cleveland Heights, OH STEVEN EGLER 30 SEPTEMBER JOHN FENSTERMAKER 7:30 pm Albert Schweitzer Organ Competition Central Michigan University Nicholas Schmelter; Central Michigan winners; St. John’s Episcopal, West Hart- School of Music RINITY BY THE OVE University, Mt. Pleasant, MI 7:30 pm T - - -C ford, CT 7:30 pm Karen Beaumont; St. Hedwig Catholic Mt. Pleasant, MI 48859 John Gouwens, carillon; Culver Acad- Church, Milwaukee, WI 2 pm [email protected] NAPLES, FLORIDA emies, Culver, IN 4 pm 20 SEPTEMBER Edward Eicker & Andrea Bartolomeo; St. Paul of the Cross Catholic Church, Park Robert Myers; Trinity Lutheran, Cleve- Norberto land, OH 12:15 pm Ridge, IL 7:30 pm

21 SEPTEMBER 1 OCTOBER Susan Goodson Guinaldo Renée Anne Louprette; South Church, Holy Trinity Cathedral Music School Emanuel United Church of Christ His Music Choir & Orchestra; St. John’s Episcopal, New Britain, CT 4 pm See—Listen—Buy Hagerstown, MD 7 pm Andrew Henderson; Madison Avenue Manchester, Michigan Presbyterian, New York, NY 3 pm www.GuinaldoPublications.com 22 SEPTEMBER Wayne Wold, hymn festival; First Luther- Doug Gefvert, carillon; Longwood Gar- an, Ellicott City, MD 4 pm dens, Kennett Square, PA 12 noon George Fergus; Washington National A Professional Card in R. Robin Austin, carillon; Longwood Cathedral, Washington, DC 5:15 pm TEPHEN AMILTON Gardens, Kennett Square, PA 1:30 pm Damin Spritzer; Cathedral of St. Philip, The Diapason S H Stephen Schreiber, carillon; Longwood Atlanta, GA 3:15 pm recital, 4 pm Choral recitalist–clinician–educator Gardens, Kennett Square, PA 3:30 pm Evensong For rates and digital specifi cations, Lisa Lonie & Janet Tebbel, carillon; Marilyn Keiser; First Presbyterian, Ath- contact Jerome Butera www.stephenjonhamilton.com Longwood Gardens, Kennett Square, PA ens, GA 4 pm 847/391-1045; [email protected] 6:15 pm Karel Paukert, with voices and instru- Weston Jennings; Christ Church, ments; St. Paul’s Episcopal, Cleveland Easton, MD 7 pm Heights, OH 4 pm Craig Cramer; Southern Illinois Univer- Works of Vierne for organ, choir, & brass; sity, Carbondale, IL 7:30 pm Cathedral of the Most Blessed Sacrament, David Herman Detroit, MI 4 pm 23 SEPTEMBER • Bach, Clavierübung III; Trinity Lutheran, Trustees Distinguished Professor Emeritus of Music and University Organist Christophe Mantoux; St. Luke’s Lutheran, Midland, MI 4 pm The University of Delaware Q [email protected] Ithaca, NY 10 am masterclass, 5 pm recital Martin Jean; Cathedral Church of St. John Widman, carillon; Longwood Gar- Paul, Detroit, MI 7:30 pm dens, Kennett Square, PA 12 noon Huw Lewis; Ball State University, Mun- Jesse Ratcliff, carillon; Longwood Gar- cie, IN 4 pm dens, Kennett Square, PA 1:30 pm Karen Beaumont; St. Hedwig Catholic Buck Lyon-Vaiden, carillon; Longwood Church, Milwaukee, WI 2 pm Gardens, Kennett Square, PA 3:30 pm Robert Hobby & Michael Costello, Julie Zhu, carillon; Longwood Gardens, hymn festival; Zion Lutheran, Wausau, WI Kennett Square, PA 6:15 pm 3 pm Lorraine Brugh, Ph.D. James Higdon, lecture/masterclass; St. Professor of Music 2 OCTOBER Paul’s Episcopal, Cleveland Heights, OH University Organist 2 pm Jason Alden, Vierne, Symphonie IV; First Presbyterian, Ann Arbor, MI 2 pm Valparaiso, Ind. 24 SEPTEMBER Vincent Dubois, masterclass; Hill Audi- Katelyn Emerson; Christ Congregation- torium, University of Michigan, Ann Arbor, valpo.edu al (UCC), Brockton, MA 3 pm MI 4 pm 219.464.5084 Choral Evensong; St. John’s Episcopal, James Kibbie & Kola Owolabi; Hill Au- [email protected] West Hartford, CT 5 pm ditorium, Ann Arbor, MI 8 pm

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 3 OCTOBER 19 OCTOBER New York, NY Syracuse, NY 13203-2816 David Lamb; Campbellsville University, TENET; St. Peter’s Episcopal, Savan- www.andrewhenderson.net Campbellsville, KY 12:20 pm nah, GA 7 pm (315) 471-8451 Sarah Simko, Vierne, Symphonie III; Hill Auditorium, Ann Arbor, MI 10 am 20 OCTOBER Vincent Dubois; Hill Auditorium, Univer- Matthew Dirst; St. Paul Cathedral, Pitts- sity of Michigan, Ann Arbor, MI 8 pm burgh, PA 7:30 pm Richard Barrick Hoskins Katelyn Emerson; St. John’s Episcopal, Brian Jones 4 OCTOBER Lynchburg, VA 7 pm Director of Music & Organist Director of Music Emeritus Matthew Koraus; Cathedral Basilica of St. Chrysostom's Church the Sacred Heart, Newark, NJ 12 noon 21 OCTOBER Chicago TRINITY CHURCH David Hurd, workshop; St. Luke’s Epis- [email protected] 5 OCTOBER copal, Lebanon, PA 10 am BOSTON Katelyn Emerson; Furman University, Greenville, SC 8 pm 22 OCTOBER Quire Cleveland; Lake Erie College, Kent Tritle; St. Ignatius Loyola Catholic Painesville, OH 7:30 pm Church, New York, NY 3 pm KIM R. KASLING JAMES KIBBIE TENET; House of the Redeemer, New D.M.A. The University of Michigan 6 OCTOBER York, NY 6 & 8 pm Stephen Buzard; King Avenue United Organized Rhythm (Clive Driskill- St. John’s University Ann Arbor, MI 48109-2085 Methodist, Columbus, OH 7:30 pm 734-764-1591 FAX: 734-763-5097 Smith, organ, & Joseph Gramley, percus- Collegeville, MN 56321 Quire Cleveland; Cathedral of St. John sion); Rye Presbyterian, Rye, NY 4 pm email: [email protected] the Evangelist, Cleveland, OH 7:30 pm Robert McCormick; Wilson College, Jason Moy, harpsichord, with Baroque Chambersburg, PA 3 pm fl ute and gamba; St. Chrysostom’s Episco- Julian Collings, with cello; First United David K. Lamb, D.Mus. pal, Chicago, IL 7:30 pm Methodist, Hershey, PA 3 pm David Hurd; St. Luke’s Episcopal, Leba- Director of Music 7 OCTOBER Joyce Painter Rice, children’s program; non, PA 6 pm Trinity United Methodist Church Jacob Reed; Washington National Ca- RGAN ONSULTANT Methuen Memorial Music Hall, Methuen, O C New Albany, Indiana MA 10 am thedral, Washington, DC 5:15 pm www.gabrielkney.com 812/944-2229 Seraphic Fire; Peachtree Road United 8 OCTOBER Methodist, Atlanta, GA 7 pm Joshua Stafford; Bryn Mawr Presbyte- Reformation Hymn Festival; Trinity Lu- rian, Bryn Mawr, PA 2 pm theran, Cleveland, OH 4 pm Wayne Wold, hymn festival; Good Shep- Choral Evensong; Cathedral Church of herd Lutheran, Frederick, MD 3 pm St. Paul, Detroit, MI 4 pm A.S.C.A.P. Brian Parks; Cathedral of St. Philip, Christopher Houlihan; First United FELLOW, AMERICAN GUILD OF ORGANISTS Atlanta, GA 3:15 pm recital, 4 pm Choral Methodist, La Grange, IL 3 pm

345 SADDLE LAKE DRIVE Evensong ROSWELL-ATLANTA, GEORGIA 30076 Choral Evensong; Cathedral Church of 23 OCTOBER (770) 594-0949 St. Paul, Detroit, MI 4 pm Ken Cowan & Lisa Shihoten, violin; Nigel Potts; Culver Academies, Culver, Overture Hall, Madison, WI 7:30 pm IN 4 pm Dale Rogers; Presbyterian Homes, Evanston, IL 1:30 pm 10 OCTOBER Craig Cramer; Grace Lutheran, River Daniel Ficcari; Church of St. Paul the Forest, IL 8 pm Apostle, New York, NY 7 pm Professor Emeritus – University of Michigan – Ann Arbor Dexter Kennedy; All Saints’ Episcopal, 24 OCTOBER Professor of Organ for 67 years Atlanta, GA 7:30 pm Tom Trenney, silent fi lm, Phantom of the MarilynThe University’s longest-serving faculty memberMason Opera; Merrill Auditorium, Portland, ME 11 OCTOBER 7:30 pm Joseph Ripka; Cathedral Basilica of the Giancarlo Parodi; St. Paul Cathedral, Sacred Heart, Newark, NJ 12 noon Pittsburgh, PA 7:30 pm A two-inch Professional Card in The Diapason Michel Bouvard; Trinity Episcopal Ca- 13 OCTOBER thedral, Cleveland, OH 7:30 pm For information on rates and specifi cations, contact Jerome Butera: Thomas Ospital; Trinity College, Hart- Organized Rhythm (Clive Driskill- ford, CT 7:30 pm Smith, organ, & Joseph Gramley, percus- [email protected] 608/634-6253 Bálint Karosi, workshop; St. Peter’s Lu- sion); Second Presbyterian, Louisville, KY theran, Lancaster, PA 7 pm 7:30 pm Stefan Engels; St. Luke Lutheran, Silver Spring, MD 7:30 pm 25 OCTOBER Jeremy Filsell; Church of the Holy Trin- Musica Sacra; Cathedral of St. John the ity, Oxford, MD 7:30 pm Divine, New York, NY 7:30 pm LARRY PALMER Ken Cowan; Trinity Episcopal, St. Au- PHILIP CROZIER gustine, FL 6 pm 26 OCTOBER CONCERT ORGANIST Harpsichord – Organ David Higgs; Cathedral Church of the Choral concert; St. Thomas Church Fifth Advent, Birmingham, AL 7:30 pm Avenue, New York, NY 7:30 pm ACCOMPANIST Professor of Music, Emeritus 14 OCTOBER 3355 Queen Mary Road, Apt 424 27 OCTOBER Bálint Karosi; St. Peter’s Lutheran, Lan- • Halloween Concert; St. John’s Episco- caster, PA 4 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas pal, West Hartford, CT 7:30 pm Jean-Baptiste Robin; Longwood Gar- Canada Jean-Baptiste Robin, with trumpet; First dens, Kennett Square, PA 8 pm Presbyterian, Lockport, NY 7:30 pm (514) 739-8696 Recitals — Lectures — Consultancies Todd Wilson, silent fi lm, Dr. Jekyll & Mr. 15 OCTOBER [email protected] Hyde; Severance Hall, Cleveland, OH 8 pm Karen Beaumont; King’s Chapel, Bos- Organized Rhythm (Clive Driskill- [email protected] + 214.350-3628 ton, MA 12:15 pm Smith, organ, & Joseph Gramley, percus- CONCORA, Brahms, Requiem; South sion); Christ Church Cathedral, Nashville, Church, New Britain, CT 4 pm TN 7:30 pm Thomas Ospital; West Side Presbyte- Michael Costello, Richard Hoskins, rian, Ridgewood, NJ 3 pm David Jonies, Brian Schoettler, & Roger Isabelle Demers; Evangelical Lutheran Stanley announces... Church, Frederick, MD 3 pm , Bach, Clavierübung III; St. Chry- Cathedral Choral Society; Washington sostom’s Episcopal, Chicago, IL 7:30 pm National Cathedral, Washington, DC 4 pm • Michael Bottenhorn; Our Lady of Mount Carmel Catholic Church, Chicago, 2020 UnderUnder 30 30 Nominations Class of 2017 Coro Vocati; Peachtree Road United Deadline: February 1, 2016 Methodist, Atlanta, GA 3 pm IL 7:30 pm Ken Cowan; St. Paul’s Lutheran, Savan- We congratulate the young people nah, GA 4 pm 28 OCTOBER Todd Wilson, silent fi lm, Phantom of whose career accomplishments Brenda Portman; St. Paul’s Episcopal, Flint, MI 3:30 pm the Opera; Christ & Holy Trinity Episcopal, place them at the forefront of the Jay Yau; Loyola University, Chicago, IL Westport, CT 5 pm organ, church music, harpsichord, 3 pm Olivier Latry, masterclass; Cathedral of carillon, and organbuilding St. John the Baptist, Savannah, GA 12 noon Reformation Concert; Peachtree Road fields—before their 30th birthday. 16 OCTOBER • Don Saliers, lecture; St. Mark’s United United Methodist, Atlanta, GA 7 pm Methodist, Easton, MD 6 pm • Michael Bottenhorn, improvisation Visit TheDiapason.com workshop; Our Lady of Mount Carmel for more information and to nominate. 17 OCTOBER Catholic Church, Chicago, IL 10 am Thomas Ospital; St. Bridget Catholic Bach organ works and Reformation canta- Church, Richmond, VA 7:30 pm tas; St. Luke’s Episcopal, Evanston, IL 7 pm

APOBA graciously provides a subscription to The Diapason 18 OCTOBER 29 OCTOBER to all members of our 20 Under 30 Class of 2017. Clara Gerdes; Cathedral Basilica of the Choral Evensong; St. John’s Episcopal, Sacred Heart, Newark, NJ 12 noon West Hartford, CT 5 pm

30 Q THE DIAPASON Q SEPTEMBER 2017 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Martin Jean; Lutheran Theological Sem- 1 OCTOBER Southminster Presbyterian Church inary, Gettysburg, PA 4 pm Johann Vexo; Broadway Baptist, Fort SHORT HILLS Arlington Heights, IL 60005 Wayne Wold, hymn festival; Trinity Lu- Worth, TX 7 pm theran, Hagerstown, MD 4 pm Ken Cowan & Lisa Shihoten, violin; St. Michael Britt, silent fi lm, The Hunchback Mary’s Cathedral, Cheyenne, WY 2 pm of Notre Dame; Christ Church, Easton, MD David Baskeyfi eld; Claremont United A one-inch Professional Card 6 pm Church of Christ, Claremont, CA 2 pm DEREK E. NICKELS, DMA in The Diapason Thomas Heywood; Cathedral of St. Peter DuBois; First Presbyterian, Hilton Church of the Holy Comforter Head, SC 4 pm Mary of the Assumption, San Francisco, For information on rates and specifi cations, Spivey Hall Children’s Choir; Cathedral CA 4 pm Kenilworth, IL 60043 of St. Philip, Atlanta, GA 3:15 pm concert, contact Jerome Butera: 4 pm Choral Evensong 3 OCTOBER (847) 251-6120 • [email protected] [email protected] 608/634-6253 Olivier Latry; Cathedral of St. John the Thomas Heywood; St. Margaret’s Epis- Baptist, Savannah, GA 5 pm copal, Palm Desert, CA 7 pm Quire Cleveland; Holy Trinity Lutheran, Akron, OH 4 pm 6 OCTOBER Stephen G. Schaeffer JEFFREY SCHLEFF Jean-Baptiste Robin, with trumpet; Aaron David Miller, silent fi lm; Sacred Heart Music Center, Duluth, MN 7 pm Recitals – Consultations Organist – Author – Consultant Hyde Park Community United Methodist, Director of Music Emeritus Cincinnati, OH 4 pm Choir Concert; Highland Park Presbyte- rian, Dallas, TX 7 pm Church Organ Associates, Inc., Lewisville, Texas Mary Jo Cox, Steven Egler, Richard Cathedral Church of the Advent First Presbyterian Church, Grand Prairie, Texas Featheringham, with fl ute; First Presbyte- 7 OCTOBER Birmingham, Alabama [email protected] rian, Mt. Pleasant, MI 4 pm Daryl Robinson, with brass; Church of 31 OCTOBER St. John the Divine, Houston, TX 5 pm Alan Morrison , children’s program; Spiv- 8 OCTOBER ROBERT L. ey Hall, Morrow, GA 11:15 am Katelyn Emerson; Memorial Drive Pres- STEPHEN SCHNURR byterian, Houston, TX 7 pm Saint Paul Catholic Church SIMPSON UNITED STATES Thomas Ospital; Cathedral of the Mad- West of the Mississippi Christ Church Cathedral eleine, Salt Lake City, UT 8 pm Valparaiso, Indiana 1117 Texas Avenue Christoph Tietze; Cathedral of St. Houston, Texas 77002 15 SEPTEMBER Mary of the Assumption, San Francisco, Christopher Houlihan; St. Mark’s Angli- CA 4 pm can, Arlington, TX 7:30 pm Johann Vexo; St. James’s Episcopal, ] Los Angeles, CA 6 pm 16 SEPTEMBER Jean-Baptiste Robin; Walt Disney Con- Joe Utterback Mark Steinbach ]] ] Christophe Mantoux; St. James Cathe- cert Hall, Los Angeles, CA 7:30 pm www.jazzmuze.com dral, Seattle, WA 8 pm Brown University James Welch; Bethania Lutheran, 9 OCTOBER Solvang, CA 1 pm Johann Vexo; Arboretum, Christ Cathe- 203 386 9992 dral, Garden Grove, CA 1 pm masterclass, 17 SEPTEMBER 7 pm recital Ugo Sforza; Cathedral of St. Mary of the Assumption, San Francisco, CA 4 pm 10 OCTOBER Thomas Ospital; St. Thomas Aquinas Kevin Walters 19 SEPTEMBER Catholic Church, Dallas, TX 7:30 pm David Wagner Christophe Mantoux; First Lutheran, Thomas Heywood; The Mormon Taber- DMA M.A., F.A.G.O. Yuba City, CA 7:30 pm nacle, Salt Lake City, UT 7:30 pm www.davidwagnerorganist.com Rye, New York 22 SEPTEMBER 13 OCTOBER Stephen Buzard; University of Nevada, Raúl Prieto Ramírez; Bethel University, Las Vegas, NV 7:30 pm St. Paul, MN 7 pm James Welch; Santa Barbara Stake Scott Dettra, with Orpheus Chamber Center, Santa Barbara, CA 7:30 pm Singers; Church of the Incarnation, Dallas, Alan G Woolley PhD KARL WATSON TX 7:30 pm Musical Instrument Research 23 SEPTEMBER SAINT LUKE’S Edinburgh Benjamin Kolodziej, silent fi lm, The 14 OCTOBER Hunchback of Notre Dame; Christ the Ser- Stephen Buzard, with choir; Christ Epis- [email protected] METUCHEN vant Lutheran, Allen, TX 7 pm copal, St. Joseph, MO 7 pm

24 SEPTEMBER 15 OCTOBER Douglas Cleveland; Village Presbyte- Peter Richard Conte, with fl ugelhorn; rian, Prairie Village, KS 3 pm Noel Memorial United Methodist, Shreve- RUDOLF ZUIDERVELD Hans Uwe Hielscher; Cathedral of St. port, LA 6 pm RONALD WYATT Mary of the Assumption, San Francisco, Michel Bouvard; Meyerson Symphony Illinois College, Jacksonville Center, Dallas, TX 2:30 pm Trinity Church CA 4 pm Galveston First Presbyterian Church, Springfi eld

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: : [email protected] , [email protected] 608/634-6253 2+RZ*ORULRXVFRPPRQVHQVHWHOOVXVWKDWWKH 7 SLSHRUJDQ¶VPRVWLPSRUWDQWμVWRS¶LVWKHURRPLQZKLFK ; LWVSHDNV A two-inch Professional Card in The Diapason , )URP5R\DO$OEHUW+DOOD%%&3URPVFRQFHUW 4 IRFXVLQJRQWKHWKDQQLYHUVDU\RIWKH5HIRUPDWLRQ For information on rates and specifi cations, contact Jerome Butera: ZLWKQHZO\FRPPLVVLRQHGVFRUHVDQGWUDGLWLRQDO [email protected] 608/634-6253 ) UHSHUWRLUHWRR , :LQQLQJWKH3UL]HUHYLVLWLQJODXUHDWHVRIWKH $PHULFDQ*XLOGRI2UJDQLVWV1DWLRQDO

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

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Nathan Laube; First United Methodist, 22 OCTOBER INTERNATIONAL Fréderic Blanc; St. Laurentius, Erwitte, Fort Collins, CO 3 pm Todd Wilson; Second Presbyterian, St. Germany 4:30 pm Philip Manwell; Cathedral of Saint Mary Louis, MO 4 pm 16 SEPTEMBER of the Assumption, San Francisco, CA 4 pm Thomas Ospital; First United Methodist, Manuel Tomadin; Chiesa di San Pietro, 5 OCTOBER Aaron David Miller, hymn festival; Beth- Shreveport, LA 3 pm Gattinara, Italy 9 pm Christian Joppich; Abteikirche, Köln, any Lutheran, Long Beach, CA 4 pm Nathan Laube; Davies Symphony Hall, Gonny van der Maten, with choir; Kath- Germany 8 pm San Francisco, CA 3 pm edrale-Basiliek Sint Bavo, Haarlem, Neth- 16 OCTOBER Emanuele Cardi; Cathedral of St. erlands 3 pm 8 OCTOBER Monica Czausz; Cathedral of Our Lady Mary of the Assumption, San Francisco, Anna Karpenko & Bert den Hertog; Thomas Haubrich; Klosterkirche, of the Angels, Los Angeles, CA 8 pm CA 4 pm Elandstraatkerk, den Haag, Netherlands Fürstenfeld, Germany 12:10 pm 3 pm Daniel Tappe; St. Laurentius, Erwitte, 18 OCTOBER 24 OCTOBER Scott Brothers Duo; Victoria Hall Han- Germany 4:30 pm • Olivier Latry & Michel Bouvard, ley, Stoke-on-Trent, UK 12 noon Günter Kaunzinger; St. Nikolaus Kirche, French Classic masterclass; University of Jean-Baptiste Robin; Trinity University, San Antonio, TX 7:30 pm Frankfurt, Germany 5 pm Kansas, Lawrence, KS 10:45 am 17 SEPTEMBER Olivier Latry; Catalina United Methodist, Benjamin Steens; Basilique Saint-Remi • Olivier Latry & Vincent Dubois, Ger- Markus Schwenkreis & Jean-Claude de Reims, Saison, France 6 pm man Baroque masterclass; University of Tucson, AZ 7 pm Zehnder; Dom, Arlesheim, Switzerland Kansas, Lawrence, KS 4:30 pm 7:30 pm 10 OCTOBER • Olivier Latry, Vincent Dubois, Michel 25 OCTOBER Manuel Tomadin; San Giorgio, Lozzolo, Jean-Baptiste Robin, masterclass; Jos van der Koy, with panfl ute; St. Bouvard, Shin-Young Lee, & others, im- Italy 9 pm Bavokerk, Haarlem, Netherlands 8:15 pm provised Mass in alternatim; University of Christ the King Catholic Church, Dallas, Francis Chapelet; Basilique Saint-Remi Kansas, Lawrence, KS 8:00 pm TX 1 pm de Reims, Saison, France 6 pm 11 OCTOBER Weston Jennings; Cathedral of the Im- 19 OCTOBER 26 OCTOBER 18 SEPTEMBER maculate Conception, Moscow, Russia 8 pm • Olivier Latry & Michel Bouvard, Olivier Latry; University of Iowa, Iowa Manuel Tomadin; Parrocchia di Bornate, French Symphonic masterclass; University City, IA 7:30 pm Serravalle, Italy 9 pm 13 OCTOBER of Kansas, Lawrence, KS 10:30 am Lynne Davis; Church of Saints-Anges, • Vincent Dubois & Michel Bouvard, 27 OCTOBER 19 SEPTEMBER Lachine, Québec, Canada 7:30 pm French 20th-century masterclass; Univer- Bradley Welch; First United Methodist, Wouter van Belle; St. Bavokerk, Haar- sity of Kansas, Lawrence, KS 2 pm lem, Netherlands 8:15 pm Wichita Falls, TX 7 pm 14 OCTOBER • Shin-Young Lee; University of Kansas, Hannfried Lucke; Stadtpfarrkirche St. Lawrence, KS 4 pm 21 SEPTEMBER BRUCE NESWICK; CALIFORNIA Martin, Bamberg, Germany 5:30 pm • Olivier Latry; University of Kansas, LUTHERAN UNIVERSITY, THOUSAND Eric Hallein; Abteikirche, Köln, Germany Lawrence, KS 8 pm 8 pm OAKS, CA 7:30 PM 29 OCTOBER 15 OCTOBER Bradley Reznicek; Custer Road United David Baskeyfi eld; Trinity Episcopal, Knabenchor Capella Vocalis; Kloster- Methodist, Plano, TX 7 pm 22 SEPTEMBER Tulsa, OK 7:30 pm Nick Sutcliffe, with Christ College Boys kirche, Fürstenfeld, Germany 12:10 pm Choir, organ, & orchestra concert; Village Choir; St. Justinus Kirche, Frankfurt, Ger- 20 OCTOBER Presbyterian, Prairie Village, KS 3 pm Thomas Ospital; First Presbyterian, many 5 pm 20 OCTOBER Jordan Smith, with brass; Christ the Little Rock, AR 8 pm Jérôme Faucheur; Holy Rosary Cathe- Servant Lutheran, Allen, TX 7 pm 23 SEPTEMBER dral, Vancouver, BC, Canada 8 pm • Vincent Dubois, lecture; University of Kansas, Lawrence, KS 2 pm Raymond Hawkins; Cathedral of St. Ben Saunders, with soprano; Kathe- drale-Basiliek Sint Bavo, Haarlem, Nether- 21 OCTOBER • Michel Bouvard; University of Kansas, Mary of the Assumption, San Francisco, Lawrence, KS 4:30 pm CA 4 pm lands 3 pm Thomas Schmögner; St. Laurentius, Er- Benjamin Alard, organ and harpsichord, witte, Germany 7:30 pm 21 OCTOBER 31 OCTOBER with ensemble; Église Saint-Grégoire, Ri- Benjamin Alard; Cathédrale Saint-Jean- Vincent Dubois; University of Kansas, James Welch; St. Mark’s Episcopal, beauvillé, France 8 pm Baptiste, Lyon, France 5 pm Lawrence, KS 11 am Palo Alto, CA 8 pm Adrian Gunning, works of Vierne; St. Ian Tracey; Liverpool Cathedral, Liver- John the Evangelist, London, UK 7:30 pm pool, UK 3 pm

26 SEPTEMBER 22 OCTOBER Jos van der Koy; St. Bavokerk, Haar- Ingelore Schubert; Klosterkirche, lem, Netherlands 8:15 pm Fürstenfeld, Germany 12:10 pm Jean-Baptiste Robin 27 SEPTEMBER ; St. Joseph’s Ora- Peter King; Westminster Cathedral, Lon- tory, Montréal, Québec, Canada 3:30 pm don, UK 7:30 pm 25 OCTOBER 30 SEPTEMBER Adriano Falcioni; Westminster Cathe- Ton van Eck, with choir; Kathedrale- dral, London, UK 7:30 pm Basiliek Sint Bavo, Haarlem, Netherlands 3 pm 28 OCTOBER Reformation choral concert; Klosterkirche, 1 OCTOBER Fürstenfeld, Germany 4 pm Jean-Christophe Geiser; Klosterkirche, Etienne Baillot; Dom, Arlesheim, Swit- Fürstenfeld, Germany 12:10 pm zerland 7:30 pm

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TATE ADDIS, Finney Chapel, Oberlin PHILIP JOSEPH FILLION, Westminster in e, BWV 548i, Bach; Psalm-Prelude No. 1, Reger; Praeludium und Fuge in c-sharp, op. 39, Conservatory, Oberlin, OH: April 26: In- Choir College, Princeton, NJ, April 8: Prelude op. 32, no. 1, Howells; Les Enfants de Dieu, Olsson; Final (Première Symphonie), Langlais. troduction, Passacaglia, and Fugue, Willan; and Fugue in D, BWV 532, Bach; Rhapsody Les Anges, Jésus Accepte la Souffrance, Dieu Scherzo, Jeux de rythmes (Douze pièces pour in D-fl at, op. 17, no. 1, Howells; In Paradisum parmi nous (La Nativité), Messiaen; Fugue PETER MILLER, St. John’s Lutheran grand orgue), Litaize; Six variations sur un (Three Pieces for Organ), Hampton; Sonata in e, BWV 548ii, Bach; Prelude, Adagio, and Church, Decatur, IL, April 30: In Dulci psaume Huguenot, op. 1, Isoir; Choral no. 2 II in c, op. 65, no. 2, Mendelssohn; Deuxième Choral Variations on Veni Creator, Durufl é. Jubilo (Orgel Tabulaturbuch), Sicher; Echo in b, Franck; Variations on Rouen, Baker. Symphonie, op. 20, Vierne. in G, Scronx; Salve Regina, Cornet; Canzona CALVERT JOHNSON, Good Shepherd francese, de Macque; Fantasia super Ut, Re, DAVID BOECKH, Finney Chapel, Ober- JEAN-CHRISTOPHE GEISER, Cathe- Episcopal Church, Lookout Mountain, TN, Mi, Fa, Sol, La, Sweelinck; Praeambulum in lin Conservatory, Oberlin, OH, April 5: Fan- dral, Lausanne, Switzerland, April 14: Fan- April 24: Suite No. 1, Price; Impromptu in F, F, WV 39, Canzona in F, WV 44, Magnifi cat taisie (Trois Pièces pour le Grand Orgue), tasia in g, BWV 542i, Bach; Introduction et op. 78, no. 1 (Three Impromptus), Coleridge- V. Toni, WV 78, Scheidemann; Canzona in G, Franck; Fantaisie-improvisation sur l’Ave Fugue de la Cantate Ich hatte viel Beküm- Taylor; Obangiji, Joshua Fit de Battle ob Komm, heiliger Geist, Herre Gott, Tunder; maris stella (Cinq Improvisations), Tour- mernis, Liszt; O Mensch, bewein’ dein’ Sünde Jericho, Sowande; We Shall Overcome, Willis; Allein Gott in der Höh, sei Ehr’, Hasse; Prae- nemire, transcr. Dupré; Incantation pour un gross, BWV 622, Bach; Weinen, Klagen, Sor- Danza Española, El Flautista alegre, Nobel; ludium in E, BuxWV 141, Buxtehude. jour saint, Langlais. gen, und Zagen, Liszt; Erbarm dich mein, Cloudy Sky, Raining Night’s Flower (Suite O Herre Gott, BWV 721, Fugue in g, BWV for Organ), Chang; I’d Rather Have Jesus, SUE MITCHELL-WALLACE, St. Da- STEPHANIE BURGOYNE, Waterford 542ii, Bach. O Steal Away Softly to Jesus (Organ Praise), vid’s Episcopal Church, Roswell, GA, April United Church, Waterford, ON, Canada, Kim; Wind of Ryukyu, Inagi; Blessed Assur- 30: Fanfare, Cook; Toccata and Fugue in d, April 28: Trumpet Tune for Spring, Hoffman; CLARA GERDES, Washington National ance, Watanabe; Aalaiki’ssalaam, Hakim. BWV 565, Bach; Variations on God Save the Adagio, Mozart; Cat Suite, Bédard; Cho- Cathedral, Washington, DC, April 23: Fanta- King, Rinck; Cortège et Litanie, op. 19, no. ral Song, Wesley; Children’s Sacred Suite, sia and Fugue in g, BWV 542, Bach; Harmo- CHRISTINE KRAEMER, St. Luke’s 2, Dupré; Sweet Sixteenths, Albright; Finale Vandertuin; Canzonetta, op. 78, Barrett; Vari- nies du Soir (Trois Impressions, op. 72), Karg- Episcopal Church, Evanston, IL, March 29: (Symphonie I in d, op. 14), Vierne. ations and Fugue, Mudde; Allegretto, Bliss; Elert; Sonata Eroïca, op. 94, Jongen; Naïades Chorale Variations: St. Elisabeth (Crusader’s Postlude (Trois Postludes), Bédard. (Pièces de fantaisie, Quatrième Suite, op. 55), Hymn), Ferko; Flute Tune, Ostinato, and Cho- JOHN SHERER, Fourth Presbyterian Vierne; Gershwinesca, Hakim. rale, Pinkham; Variations on Wondrous Love, Church, Chicago, IL, March 31: Fanfare, CRAIG CRAMER, University of Nevada, Barber; Elms, Episode, and Stabat Mater, Ro- Proulx; Prelude in D-fl at, Variations on the Las Vegas, Nevada, April 23: Toccata in D, JOHN GOUWENS, Culver Academies, rem; Fantasia and Fugue on Leoni, D. Conte. Austrian Hymn, Paine; Christ, Thou Lamb BuxWV 155, Buxtehude; Intrada–Tanz– Culver, IN, April 23: Variations on Luce Cre- of God, O Sacred Head Now Wounded, O Nachtanz, Tantz–Proportio–Curanta–Final, ator, Alain; Méditation No. 6 (Méditations JAMES LANCELOT, Westminster Cathe- People, Lament Thy Great Sin, Bach; Elegy, Danz Beurlin–Nachtanz, Tannz Jesu Du sur le mystère de la Sainte Trinité), Messiaen; dral, London, UK, April 26: Fantasia and Fugue Thalben-Ball; Litany, Martinson; Toccata in zartes Lämblein–Proportio, Tantz–Nachtanz Prelude and Fugue in e, BWV 548, Bach; in g, BWV 542, Nun freut euch, lieben Christen d, Nevin. (Linzer Orgeltabulatur); Partita Freu dich Hymn improvisation; Carillon, Sowerby; Of- g’mein, BWV 734, Bach; Sonata IV in B-fl at, sehr, O meine Seele, Böhm; Noël A minuit fut fertoire (Pièce symphonique en sol mineur), op. 65, no. 4, Mendelssohn; Suite pour orgue, ERIK WM. SUTER, Christ Lutheran un Reveil, Noël pour l’amour de Marie, Noël Franck; Gavotte (Mignon), Thomas, transcr. Alain; Grand pièce symphonique, Franck. Church, Washington, D.C., April 23: Toccata, de Saintonge, Dandrieu; Passacaglia in c, Westbrook; Sonata Eroïca, op. 94, Jongen. Adagio, and Fugue in C, BWV 564, Concerto BWV 582, Bach. DOUGLAS MAJOR, with Richard Wat- in d, BWV 596, Prelude and Fugue in b, BWV TIMOTHY HALL, Episcopal Church of son, trumpet, Trinity-by-the-Cove Episcopal 544, Sonata in G, BWV 530, Passacaglia in c, PHILIP CROZIER, Eglise Saints-Anges, Bethesda-by-the-Sea, Palm Beach, FL, April Church, Naples, FL, April 23: La Majesté, BWV 582, Bach. Lachine, Montréal, Québec, Canada, April 30: 2: Fantaisie in C, op. 16, Franck; Andante La Grâce, La Vaillance (Heroic Music), Te- Impetuoso, Wiedermann; Andantino (op. 51, sostenuto (Symphonie Gothique, op. 70), lemann; Prayer of St. Gregory, Hovhaness; ROBERT E. WOODWORTH, JR., Loyola no. 2), Toccata (op. 53, no. 6), Vierne; Crom- Widor; Con moto maestoso (Sonate III, op. Sheep May Safely Graze, Sleepers, Wake, University, Chicago, IL, March 19: Fanfare, horne en Taille du 7 (Livre d’Orgue de Mon- 65, no. 3), Mendelssohn. Bach; Prelude in b, Paine; St. Michael Con- Hewitt-Jones; Tierce en Taille, Basse de tréal), anonymous; A Festive Voluntary, Eben; certo for Trumpet and Organ, Three Sharp Trompette (Messe du 8ème Ton Pour Orgue), Epigrams, Kodály; Mouvement, Berveiller; WESLEY HALL, Finney Chapel, Oberlin Preludes, Major; A Hymn for the Lost and the G. Corrette; Sonata de 1o Tono, Lidon; Cam- Vater unser im Himmelreich, Böhm; Hom- Conservatory, Oberlin, OH, April 5: Basso Living, Ewazen; L’Espérance, L’Armement panile, Noël (Esquisses Byzantines), Mulet. mage, Bédard; Sonata Eroïca, op. 94, Jongen. ostinato (Organ Concerto II, op. 93), Tariver- (Heroic Music), Telemann. diev; O Gott, du frommer Gott, op. 122, no. 7, STEPHEN WURST, University of Okla- JOHN FENSTERMAKER, Trinity-by- Herzlich tut mich verlangen, op. 122, no. 10, MITCHELL MILLER, Fairchild and homa, Norman, OK, March 26: Promenade, the-Cove Episcopal Church, Naples, FL, Präludium und Fuge in a, WoO 9, Brahms; Finney Chapels, Oberlin Conservatory, Ober- The Great Gate of Kiev (Pictures at an Exhi- March 27: Trumpet Tune and Air, Purcell; Moto Ostinato (Musica Dominicalis), Eben; lin, OH, April 9: Toccata Septima (Apparatus bition), Mussorgsky, arr. John; Benedictus (12 Toccata in d, BWV 538i, Jesu Joy of Man’s Suite Brève, Langlais; Prélude et Fugue sur le Musico Organisticus), Muffat; Balletto III— Stücke für die Orgel, op. 59), Reger; Epilogue Desiring (Cantata 147), Bach; O Filii et nom d’ALAIN, op. 7, Durufl é. Corrente del Balletto e Passacagli, Frescobaldi; (Hommage à Frescobaldi), Langlais; Passaca- Filiae, Dandrieu; Andantino in D-fl at, Le- Partite diverse di Follia, Pasquini; Passacaglia glia in c, BWV 582, Bach; Plein Jeu (Veni Cre- mare; Wedding March (A Midsummer Night’s MARTIN JEAN, Westminster Presbyte- in d, BuxWV 161, Buxtehude; Praeludium in ator), de Grigny; Adagio, Allegro (Symphonie Dream), Mendelssohn. rian Church, Pittsburgh, PA, April 23: Prelude G, Bruhns; Introduction und Passacaglia in d, VI in g, op. 42, no. 2), Widor.

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Epiphany Episcopal Parish (Seattle, Wash- Certifi ed appraisals—Collections of organ Grant Peace, We Pray, a new choral work by Pipe Organs of the Keweenaw by Anita ington) seeks a Director of Music. Epiphany’s books, recordings, and music, for divorce, David Herman, is available as a free download. Campbell and Jan Dalquist, contains his- music program is in the Anglican/Episcopalian estate, gift, and tax purposes. Stephen L. Pinel, Luther’s text, with its 16th-century melody, is tories, stoplists, and photos of some of tradition and complements worship known for Appraiser. 629 Edison Drive, East Windsor, set for SAB choir and organ and was written to the historic organs of the Keweenaw Pen- its preaching and beautiful liturgy. Epiphany NJ 08520-5205; phone: 609/448-8427; email: commemorate the 2017 Reformation anniver- insula, the northernmost tip of Michigan’s is growing. Total 2016 annual attendance was [email protected]. sary. Available from the composer at herman@ Upper Peninsula. Organs include an 1899 18,655, an increase of 300% over the past ten udel.edu. Barckhoff and an 1882 Felgemaker. The booklet years. Responsibilities include leading the semi- ($8.00 per copy, which includes postage) is available from the Isle Royale and Keweenaw professional adult choir and the children’s choir, Organs of Oberlin chronicles the rich history of Rheinberger Organ Sonatas, Vol. 5, a new Parks Association, 49445 US Hwy 41, Hancock, performing most service music, and working in organs at Oberlin College, the Conservatory of Music, and the town of Oberlin, Ohio. The hard- Raven CD. Bruce Stevens plays three 19th-cen- Michigan 49930. For information: 800/678-6925. close partnership with the Rector and Liturgist tury American organs. Sonatas No. 7 in F minor, on all worship liturgies. The Parish’s instruments bound, 160-page book with many illustrations is the most comprehensive study of traceable op. 127; No. 9 in B minor, op. 142; No. 13 in E-fl at, include a 1997 Fritz Noack tracker organ with ChicAGO Centenary Anthology, by Alan J. organs from 1854 to 2013. The book measures op. 161. The organs are: 1860 E. & G. G. Hook 3m, three manuals and 35 stops, a 2016 Martin Pasi Hommerding, Paul M. French, Richard Proulx, et 8½″ x 11″ and features a dust jacket with color- op. 288, St. John’s Church, Bangor, Maine; 1898 tracker organ with two manuals and 18 stops, al. This joint effort of the Chicago Chapter of the ful illustrations not found in the book. Organs by Geo. Jardine & Son, op. 1248, St. Peter’s Church, two Steinway pianos including a 1901 Hamburg American Guild of Organists and World Library the Skinner Organ Company, Aeolian-Skinner, Haverstraw, New York; 1868 E. & G. G. Hook 3m, Steinway, a spinet harpsichord, and a Flemish- Publications presents specially commissioned C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, op. 472, Christ Episcopal Church, Charlottesville, style double harpsichord (Frank Hubbard, Bos- organ works by Chicago composers, as well and many others are featured. Text by Stephen Virginia, relocated in 2012 by Andover Organ ton, MA). A newly formed Music Guild organizes as rare or unpublished pieces by earlier organ- Schnurr, foreword by James David Christie; Co. to the organ’s fi fth location. Raven OAR-993 and promotes sacred concerts in the church and ists from the city including Leo Sowerby. Also photographs by William T. Van Pelt, Trevor $15.98 postpaid. Raven, Box 25111, Richmond, chapel. The full job description is here: http:// VA 23261; 804/355-6386, RavenCD.com. includes a jubilant Bailado Brasileiro by Richard Dodd, Halbert Gober, as well as rare vintage www.epiphanyseattle.org/welcome/employment/. Proulx, the AGO’s 2006 Composer of the Year! examples. $50, plus $5 shipping. Visit www. First read of applications is September 15, 2017. 003074, $25.00, 800/566-6150, Wlpmusic.com. organsofoberlin.com. The new Nordic Journey series of CD record- ings reveals premiere recordings of symphonic Wanted: Organists visiting Maui. Lahaina’s organ music—much of it still unpublished—from The OHS Philadelphia 2016 Diamond Jubilee Fruhauf Music Publications is offering a Holy Innocents Episcopal Church invites visit- Nordic composers, played by American organist Commemorative Anthology, edited by Rollin complimentary online PDF booklet score for ing organists to play its Beckerath Positiv organ James Hicks on a variety of recently restored Smith, is the fi rst book to celebrate all aspects of Johann Sebastian Bach’s Chromatic Fantasia the pipe organ in one of America’s greatest cities. at Sunday services. Built in 1972 by Rudolf von Swedish organs. It’s a little bit like Widor, Reger and Fugue, S. 903, transcribed for organ. Also The Philadelphia Anthology was published by the Beckerath and then-apprentice Hans-Ulrich and Karg-Elert, but with a Nordic twist. Check it posted for download is one of four variations on Organ Historical Society in conjunction with its Erbslöh for Honolulu’s Lutheran Church, the 408- out at www.proorgano.com and search for the Ein Feste Burg (from the publisher), excerpted 60th anniversary convention. It includes 16 chap- pipe Shrankpositiv has a 54-note “split” manual, term “Nordic Journey.” from A Baroque Partita for Organ, and provided ters, many by prominent authors, on Philadelphia 30-note pedal, 11 stops, 8 ranks, and 6 registers. in recognition of the Lutheran Reformation’s 500- organbuilders Standbridge, Henry Knauff, and Holy Innocents acquired the instrument in 1977 year anniversary. Visit www.frumuspub.net and Ed Nowak, Chicago-area composer, arranger, Haskell, Organs in the Wanamaker store, Atlantic and moved it to Maui where it has been played scroll down to the Bulletin Board for access to and church musician, announces his new web- City Convention Hall, two great synagogues, the by parish musicians such as Carol Monaghan both fi les. site, featuring Nowak’s original choral works, 1876 Centennial Exposition, Tindley Temple, and and visiting artists including Angus Sinclair of hymn concertatos, chamber and orchestral Alexandre Guilmant’s visits to Philadelphia; Aeo- Canada and Dalibor Miklavcic of Slovenia. The works, organ hymn accompaniments, organ lian organs in palatial homes; Church music; Emer- instrument is extremely responsive and fi lls the Nothing is growing as fast as Halloween and piano pieces, electronic music, and psalm son Richards and the American Classic revolution worship space beautifully. The parish community Concerts! I offer a special page with all of my settings. The website offers scores and recorded in organbuilding; and early organ recordings. Fully is “exemplary in its hospitality to all visitors,” and restorations suitable for such an effort, spooky or examples that are easy to sample and can be indexed with almost 300 pages and 125 illustra- that especially includes visiting organists. For funny: bit.ly/2qjmCRA or michaelsmusicservice. purchased in downloaded (PDF and MP3) or tions. Non-member price: $34.95; member price: information: 808/661-4202; holyimaui.org. com or 704/567-1066. printed form. Visit ednowakmusic.com. $29.95; www.ohscatalog.org/ohsph20dijuc.html.

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Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

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HARPSICHORDS FOR SALE PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES

Single-manual, Italian-style harpsichord Four-stop pipe organ suitable for chapel or Circa 1860 Pfeffer eight-rank organ, available Do you have a pipe organ that you would built by Paul Irvin (1983). Pine case and lid, 70″ home. One manual, 56 notes: 8′, 4′, 2′, 1′, built rebuilt and custom fi nished. Also 1884 choir like to interface with an electronic or digital long; cherry screw-in legs. GG–d3, transposing by Laukhuff of Germany. In excellent condition. organ by Louis Debierre. Both are pictured on the organ? We can interface any digital organ or keyboard (440–415), two registers. Padded Ventola blower stands alone, otherwise self- Redman website: www.redmanpipeorgans.com. any organ console with any pipe organ. For more cover included. Regularly maintained, recently contained; natural oak casework, with bench. information email [email protected] (not Comcast) or call 215/353-0286. rebuilt; $7,500. Chicago area; 847/858-9173; $12K. Contact: Steve Gibson, 501/307-4242. [email protected]. Casavant Freres Opus 3818, 2004. 3-manual Shipping buyer’s responsibility. drawknob, 52 ranks, E/P action in excellent play- able condition. Scottsdale, AZ. Steve Beddia, Aeolian/Robert Morton-style maroon THEATRE ORGANS FOR SALE 609/432-7876, [email protected]. leather is now available from Columbia Organ Aeolian-Skinner opus 1480. A superb 20-rank, Leathers! Highest quality. 800/423-7003, 2-manual organ with 4 divisions. Built in 1967 for www.columbiaorgan.com. 1929 theatre organ, 2/7 plus chimes, built by a synagogue, the large pipe scales and romantic- Historic 1859 ROBJOHN, II+Ped, 11 ranks. the Schaefer Organ Company of Slinger, Wiscon- style voicing are unusual for this period. The Drop dead gorgeous rosewood case, 14′-2″ tall. sin. This compact organ was rewired in 1985 with elegant tilt-tab console is fi tted with Peterson’s Lovely for chapel, large residence, or museum. ANNOUNCEMENTS a Peterson solid-state relay, combination action latest ICS-4000 system and solid-state switching. www.bigeloworgans.com. Click on News. and coupler switching system and includes the Reservoirs and swell engines are restored and THE DIAPASON E-Newsletters are e-mailed ″ original 7 w.p. blower. The organ is available for pouch leathers are in good condition. Several monthly to subscribers who sign up to receive audition at the home of Fred E. Putz in Highland new ranks are prepared for. Reduced price: MISCELLANEOUS FOR SALE them. Don’t miss the latest news, featured artists, and classifi ed ads—all with photos—some before Park, Illinois. For sale or donation to a not-for- [email protected]. profi t organization. 847/433-3439, fepmgp@aol. ″ they appear in print! Visit www.TheDiapason. Excellent used pipes (approx. 4 w.p.), like- com and click on Subscribe to our newsletter. For com. Receiver must remove and transport. new Austin actions half price, swell shades and assistance, contact Stephen Schnurr, 847/954- 54-rank Casavant–Létourneau pipe organ for re-leathered bellows. Milnar Organ Company, 7989, [email protected]. sale with 10-year warranty: $949,000. Orgues 615-274-6400, [email protected]. PIPE ORGANS FOR SALE Létourneau is offering a 50-stop rebuilt pipe organ in like-new condition for US$949,000. The Be sure your business listing in THE DIAPASON’s Consoles, pipes, and numerous miscellaneous BIGELOW Opus 23 (1992), II/15 tracker. Big core is Casavant’s Opus 2518 from 1959 with Resource Directory is complete and accurate! parts. Let us know what you are looking for. The 2018 Resource Directory goes to press sound, 16′ Posaune. Quartered white oak case, electro-pneumatic wind chests; the revised spec- ′ ′ ′ E-mail [email protected] (not comcast), November 1, 2017, and will be mailed with the 19 high x 13 wide x 5 deep. $70K. mail@big- ifi cation can incorporate up to sixteen new stops eloworgans.com, 801/756-5777; bigeloworgans. phone 215/353-0286 or 215/788-3423. January 2018 issue. Send listing corrections to built by Létourneau. Installation costs, on-site [email protected]. For advertising opportu- com, click on news. voicing, an allowance for casework in red oak, nities, contact [email protected] a rebuilt three-manual solid-state console, and SERVICES / SUPPLIES Berghaus 2-manual, 11-rank, tracker action a ten-year warranty are included. Transportation Postal regulations require that mail to THE pipe organ. Currently located in Michigan in a from Québec is not included. This organ requires Releathering all types of pipe organ actions DIAPASON include a suite number to assure ′ ′ approximately 570 sq. ft. with 20′ ceiling for 16′ private residence. Dimensions are 12 wide x 4 and mechanisms. Highest quality materi- delivery. Please send all correspondence to: ′ ranks. For more details, visit www.letourneauor- deep x 8 high. Asking $15,000, no reasonable als and workmanship. Reasonable rates. THE DIAPASON, 3030 W. Salt Creek Lane, Suite offer refused. Must Sell ASAP. Jamesfriesner@ gans.com, e-mail [email protected] or Columbia Organ Leathers 800/423-7003. 201, Arlington Heights, IL 60005. gmail.com, 231/468-9155. call Andrew Forrest at 450/774-2698. www.columbiaorgan.com/col.

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2017 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Stephen Buzard Chelsea Chen Katelyn Emerson 2016 AGO National Competition Winner Available 2016-2019

Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Stefan Engels*

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2018

Thierry Escaich* László Fassang* Janette FishellDavid Goode* Thomas Heywood* David Higgs

Choir The Choir of Saint Thomas Church New York City Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison James O’Donnell* Daniel Hyde, Director

Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth* Jonathan Ryan Tom Trenney *=Artists based outside the U.S.A.

Celebrating Our 96th Season! Thomas Trotter* Todd Wilson Christopher Young