THE DIAPASON MARCH 2021
Saint John’s Episcopal Cathedral Knoxville, Tennessee Cover feature on pages 18–20 PHILLIP TRUCKENBROD CONCERT ARTISTS
ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE LYNNE DAVIS
ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO
CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS
RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ
JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄt®ÄÄÙ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Twelfth Year: No. 3, THE DIAPASON has a new YouTube channel! Whole No. 1336 Visit our new YouTube channel and become a subscriber MARCH 2021 today. Several of the quality videos from our website are Established in 1909 already available here for your enjoyment, and more will be Stephen Schnurr ISSN 0012-2378 added continually in the future. Become a “subscriber” of 847/954-7989; [email protected] the page to receive notifications of new videos:youtube.com/ www.TheDiapason.com An International Monthly Devoted to the Organ, channel/UCRK6pwzM1WnFbE_xTNGU-aw. the Harpsichord, Carillon, and Church Music 52 in St. John’s Episcopal Cathedral, Knoxville, Tennessee, In this issue detailed here. CONTENTS Jonathan Bezdegian analyzes modality in Louis Vierne’s FEATURES much-beloved composition, “Carillon de Westminster,” from Mail delivery An Exercise in Modal Interplay: Louis 24 Pièces de Fantaisie. The sixth installment of my series on Recently, I have received any number of messages from Vierne’s Carillon de Westminster the organs of La Grange, Illinois, details the organs of St. utilities, credit card companies, and periodicals indicating to by Jonathan Bezdegian 12 Francis Xavier Catholic Church. Gavin Black, in “On Teach- expect mail delivery of items to be delayed considerably. All Pipe Organs of La Grange, Illinois, and the ing,” muses on the life and influence of Alfred Brendel, who classes of the mail system are affected, especially periodicals Architectural Edifices That House Them, Part 6: Saint Francis Xavier Catholic Church recently turned ninety years of age. Brendel was influential on such as The Diapason. My January issue arrived weeks late. by Stephen Schnurr 16 the formation of Black as a musician, as he was for many others, The Diapason continues to meet its deadlines for publica- as well. In “In the Wind . . .,” John Bishop reflects on the legacy tion of the magazine, and the printing company has kept its NEWS & DEPARTMENTS of organbuilders John Boody and George Taylor of Taylor & deadlines for production and shipping. We ask our print sub- Editor’s Notebook 3 Boody of Staunton, Virginia. scribers to be especially patient while the postal service delivers Letters to the Editor 3 Our cover feature celebrates the fortieth anniversary print copies. We remind you that PDF and digital editions of Here & There 3 Appointments 4 of Goulding & Wood Pipe Organ Builders of Indianapolis, each month’s issues are posted in a timely fashion at our website Nunc Dimittis 6 Indiana. Recently, they completed installation of their Opus (www.thediapason.com), while you await your print copy. Q On Teaching by Gavin Black 9 In the wind . . . by John Bishop 10 Letters to the Editor REVIEWS Book Reviews 21 about to leave to take on a full-time relaxing a while before getting into the New Organ Music 21 American pipe organ postcards New Recordings 22 I was delighted to see in the Decem- position as minister of music at Reid water, the owner approached us, stop- New Handbell Music 23 ber 2020 issue (“Deltiology: an Early Memorial United Presbyterian Church ping to look at our beverages to see if Twentieth-Century Postcard Tour of in Richmond, Indiana, I got the job and there was any alcohol (none), and then CALENDAR 24 American Pipe Organs,” by Stephen was able to practice at the Petersburg commanded us, “You all leave and get RECITAL PROGRAMS 25 Pinel, pages 13–17), the interior of the church on my lunch hour. It had a out of here. NOW!” When the troops historic Washington Street Methodist long outside stairway up to the second objected and asked, “Why?” he said, CLASSIFIED ADVERTISING 26 Episcopal Church in Petersburg, Vir- floor sanctuary, which being wooden “You just get out of here!” We left, the ginia, pictured on a historic postcard. Its and with no air conditioning, was an guys, very angry at their treatment and interior had been reconfigured from that extremely stifling hot space to spend an shaking dollar bills in front of his face, view when I substituted as organist there hour. There wasn’t even a fan. went down the highway to another water in August 1952. Since we had hosted John’s Army park. The next morning I told my boss My husband, Corporal John A. Pick- buddies, two at a time, for dinner what had happened. He was upset and ett, U.S. Army, was stationed at nearby throughout the summer in our small said, “I know the owner. I’m going to Fort Lee at the time. In May I had fin- rented apartment, they all decided to speak to him about it. No one is going ished two years at the School of Sacred take me on a picnic after church, which to treat my employee like that.” Off he Music at Union Theological Seminary they all attended that day, choosing a went into his office to make the call, in New York City and had a summer nearby water park where we could go emerging a few minutes later, laughing. job as bookkeeper (!) for a local West- swimming afterwards. They brought all “He just didn’t like the way it looked— inghouse store, a foretaste of John’s the food as my send-off meal: Kentucky one woman with so many men!” My, later employment with Westinghouse Fried Chicken, I don’t remember what how times have changed. Electric Corp., Pittsburgh, Pennsylva- else, except a case of soft drinks. After Wilberta Naden Pickett COVER nia. Somehow in August, just as I was we had enjoyed our feast and were Verona, Pennsylvania Goulding & Wood Pipe Organ Builders, Indianapolis, Indiana; Fortieth Anniversary; Saint John’s Episcopal Cathedral, Knoxville, Tennessee, Opus 52 18 Here & There
Editorial Director STEPHEN SCHNURR Events Competitions and Publisher [email protected] Toulouse les Orgues announces 847/954-7989 its 2021 Toulouse International Organ President RICK SCHWER Competition. For this competition, [email protected] each candidate designs a concert pro- 847/391-1048 gram for the organ of their choice and plays extracts from it during the various Editor-at-Large ANDREW SCHAEFFER [email protected] Organ Historical Society’s Kaleido- rounds. The process encourages the scope of Colors design of artistically coherent programs, Sales Director JEROME BUTERA in connection with the chosen instru- [email protected] 608/634-6253 The Organ Historical Society ment, and having the desire to promote Circulation/ announces its 2021 virtual convention, the organ to audiences. Priority is given Subscriptions THE DIAPASON Christ Episcopal Church, Bradenton, to take place on five Sunday evenings, to artistic quality of musical performance P.O. Box 300 Florida, Létourneau organ Lincolnshire, IL. 60069-0300 August 1, 8, 15, 22, and 29. “Kaleidoscope and the proposed program. [email protected] of Colors” will feature a wide range of The concerts of the finalists are part Toll-Free: 877/501-7540 Christ Episcopal Church, Braden- instruments spanning three centuries of of the Toulouse les Orgues Interna- Local: 847/763-4933 ton, Florida, announces concerts and construction, from one-manual to five- tional Festival, October 2–18. Financial Designer KELLI DIRKS Choral Evensong: March 21, Sarasota- manual organs, with a diversity of rep- assistance is provided to candidates for [email protected] Manatee Bach Festival; 3/24, Choral ertoire and performers. The focus is on their travel and stay in Toulouse, France. Evensong; and Lenten organ recitals, promoting the pipe organ, its storied his- The styles of the organs to perform on Contributing Editors LARRY PALMER Harpsichord Thursdays at 12:15 p.m.: 3/4, James Cul- tory, and its relevance in the 21st century. include symphonic, Baroque, and mod- ver; 3/11, Cynthia Roberts-Greene; 3/18, Five more instruments will be featured ern. A single prize in each category will BRIAN SWAGER Nancy Siebecker; 3/25, John Behnke. playing a hymn for viewers to sing, as be €4,000, in addition to recitals in vari- Carillon Christ Church houses Orgues Létour- well as a newly commissioned piece from ous cities. The jury for the final round JOHN BISHOP neau Opus 96, a three-manual, 75-rank American Kurt Knecht, a set of varia- comprises Michel Bouvard, Jan Willem In the wind . . . organ. For information: tions on the hymntune Nettleton. For Jansen, Bernard Foccroulle, Maurizio christchurchswfla.org. information: organhistoricalsociety.org. ³ page 4 GAVIN BLACK On Teaching THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Reviewers Joyce Johnson Robinson Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles Jay Zoller 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. John L. Speller Subscriptions: 1 yr. $45; 2 yr. $83; 3 yr. $115 (United States and U.S. Possessions). Copyright ©2021. Printed in the U.S.A. Canada and Mexico: 1 yr. $45 + $11 shipping; 2 yr. $83 + $16 shipping; 3 yr. $115 + $19 No portion of the contents of this issue may be reproduced in any form without the Leon Nelson shipping. Other foreign subscriptions: 1 yr. $45 + $31 shipping; 2 yr. $83 + $42 shipping; specific written permission of the Editor, except that libraries are authorized to make 3 yr. $115 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fifteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.
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³ page 3 of the premiere will be announced at a Appointments Croci, Isabelle Demers, Sarah Kim, and later time. The competition is open to Michael Ging is appointed direc- Cindy Castillo. Application deadline is residents of the United States without tor of music and parish organist at April 5. For information: age limit. Compositions are to be sub- All Saints Episcopal Church, Winter toulouse-les-orgues.org. mitted electronically and must be anony- Park, Florida. He leaves positions at mous. Live or MIDI recordings must New Hope Lutheran Church, Mis- The Augustinian monastery of St. also be submitted. The jury includes souri City, Texas, and St. John Vian- Florian, Austria, announces its organ Craig Philips, Cherry Rhodes, Ladd ney Catholic Church, Houston, Texas. competition celebrating the 950th anni- Thomas, and Linda Brown. For informa- He will continue in his role as founder versary of the presence of the Augustin- tion: maderscholarshipfund.org. and managing partner of Seven Eight ians at St. Florian and 85th birthday of Artists. Ging holds the Doctor of the monastery house composer, Augus- Musical Arts degree from the Uni- tinus Franz Kropfreiter (1936–2003). Conferences versity of Houston, Master of Music The competition for organists born after degree from Rice University, Hous- Michael Ging August 1, 1985, will take place August ton, Texas, and Bachelor of Music 1–4. First prize is €4,000; second prize, degree from Oberlin Conservatory of Music, Oberlin, Ohio. He is represented €3,000; third prize, €2,000. Application by Seven Eight Artists and is slated to make his European debut this summer deadline is May 15. For information: with solo recitals in the Church of La Madeleine, Paris, and Magdeburg Dom, stift-st-florian.at. Germany. For information: seveneightartists.com.
Amanda Mole is appointed assistant director of music and prin- cipal organist for St. Joseph Catholic Cathedral, Columbus, Ohio. She is the winner of the 8th International Musashino-Tokyo Organ Competi- tion (2017), as well as the first prize and audience prize winner of the Gathered in My Name Miami International Organ Competi- tion (2016), the winner of the Arthur First Presbyterian Church, Atlanta, The Presbyterian Association of Poister Organ Competition (2014), Georgia (photo credit: Julia Dokter) Musicians announces its 2021 worship the John Rodland Memorial Organ and music conferences at Montreat, Competition (2014), and is recipient Amanda Mole The Atlanta Chapter of the Ameri- North Carolina. The 51st annual confer- of the Peter B. Knock Award (2014). can Guild of Organists announces its ence, “Gathered in My Name,” features Since 2017, she has served as juror for live and preliminary rounds for several 2022 Taylor Organ Competition, to Cecelia Armstrong, pastor; Anna George organ competitions, and she was named a member of The Diapason’s 20 be held March 12, 2022. The competi- Traynham, liturgist; Patrick Scott, service Under 30 Class of 2016. tion is open to organists born after June organist and recitalist. Week 1 of the con- Mole has performed at venues across the United States, Europe, and Japan. 1, 1998. First prize is $10,000 and a solo ference is June 20–25 and is in person; She was a featured performer at the 2015 New Haven regional convention of organ recital in Atlanta; second prize is week 2 is June 27–July 2, and is offered the American Guild of Organists and the conventions of the Organ Historical $5,000. The final round of the competi- in person and digitally. For information: Society in 2016 and 2018. She has also been broadcast several times on the tion will take place at First Presbyterian presbymusic.org/2021conference. radio show Pipedreams LIVE! Recording projects include a CD of music for Church, Atlanta, Georgia. trombone and organ with Rochester Philharmonic Orchestra trombonist Lisa Judges for the first round are Rob- Albrecht and the Hohenfels trombone quartet. ert Bates, Jonathan Moyer, and Carol People Amanda Mole is pursuing a Doctor of Musical Arts degree as a student of Terry; judges for the final round are Ken David Higgs at the Eastman School of Music, Rochester, New York. In 2011, Cowan, Janette Fishell, and Michael she graduated from the Yale Institute of Sacred Music and School of Music Unger. Application deadline is October with a Master of Music degree in organ performance and sacred music. During 15, 2021. For information: her time at Yale, she studied organ with Martin Jean and choral conducting taylororgancompetition.com. with Marguerite L. Brooks. Prior to Yale, she obtained a Bachelor of Music degree with honors at Eastman while studying with William Porter, and, prior The Ruth and Clarence Mader to Eastman, she studied with Larry Schipull and Patricia Snyder. Mole leaves Memorial Scholarship Fund her position as director of music at St. Michael’s Catholic Church, Rochester, announces its composition competition New York. She is represented in North America by Karen McFarlane Artists, for an organ work to mark the 50th Inc. For information: concertorganists.com and amandamole.com. Q anniversary of the founding of the fund and to honor the names of Ruth and Clarence Mader. Applicants may submit a work of eight to twelve minutes based on the name R C MADER. Composers are required to use the pitches D–C– E–A–D–E-flat–D-flat (derived from Carson Cooman (photo credit: Colby note names and solfège to represent the Cooman)
name Mader and the initials for Ruth and Clarence). Deadline for submission Friends of the Erben Organ and is December 17. Artis Wodehouse commissioned a new First prize is $10,000 and publication work from composer Carson Cooman and premiere of the composition. Details in 2020. A St. Patrick Silhouette is scored
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4 Q THE DIAPASON Q MARCH 2021 WWW.THEDIAPASON.COM Here & There for harmonium and organ, specifically, Lessons and Carols and a secular work Organists. For additional information: the Organ Historical Society’s advisory the Henry Erben organ at the Basilica for the Eden Project, Cornwall. The christchurchcathedral.us. membership committee. For informa- of Old St. Patrick’s Cathedral, New professional chamber choir Sonoro and tion: seveneightartists.com. York, New York. Cooman is composer- the choir of Truro Cathedral have both in-residence at Harvard University, recorded her music for commercial Concert management Cambridge, Massachusetts, and has pre- release. For information: global.oup. Social media viously composed works for Wodehouse com/academic/news/mcglade. The Instituto de Órganos Históri- and her hamoniums. The work pre- cos de Oaxaca, A.C. (IOHIO) announces miered on February 5 with Wodehouse William “Pat” Partridge celebrated the second series of videos on their You- playing her 1903 Mustel art harmonium forty years at Christ Church Cathedral, Tube channel, featuring highlights from and Jared Lamenzo, director of music St. Louis, Missouri, as organist, canon the nine concerts presented during the and organist for Old St. Patrick’s, play- precentor, and choirmaster. Partridge, Thirteenth International Organ and Early ing the Erben organ. For information: originally from southern Virginia, began Music Festival in February 2020. These erbenorgan.com. his tenure at the cathedral in 1981. He videos offer the opportunity to hear is also university organist at Washington the varied sounds of eight of the eleven University, St. Louis, and a member of restored Oaxaca organs and appreciate the faculties at Webster University, St. their distinctive characteristics. Louis, and Southern Illinois University Stephen Price Access the playlist: https://www.you- at Edwardsville. tube.com/playlist?list=PL60D2UQ6A0a In addition to teaching at the Peabody Seven Eight Artists announces the OLc2DuTpEIGi-G1Z1W4o0P. Conservatory in Baltimore, Maryland, he addition of Stephen Price to its roster. has served on the faculties of American Price currently teaches organ, church University, Washington, D.C., the School music, and music theory at Ball State of Music at Converse College, Spartan- University, Muncie, Indiana, where burg, South Carolina, and the Catholic he succeeded Raúl Prieto Ramírez. In University of Puerto Rico on a U.S. addition to his teaching responsibilities, Becky McGlade (photo credit: Rod McGlade) State Department project. Partridge he is coordinator of the Sursa American is a Fellow of the College of Church Organ Competition. Oxford University Press announces Musicians at the Washington National Price attended Western Connecticut FutureStops that composer Becky McGlade has Cathedral, where he also received his State University, Danbury, where he signed a long-term global publishing master’s degree in church music under received a Bachelor of Music degree and The Royal Canadian College of agreement with the press. McGlade first Leo Sowerby and Paul Callaway. He served as organ scholar at St. Paul’s Epis- Organists announces its new podcast, published with OUP in 2020 with choral completed his Bachelor of Music degree copal Church on the Green, Norwalk, FutureStops. The primary goal of the pieces My Beloved Spake, A Spotless at the University of Cincinnati College- Connecticut. Following his undergradu- podcast is to connect organists, compos- Rose, and Come, My Way, My Truth, Conservatory of Music. Additional stud- ate studies, Price received a Fulbright ers, organbuilders, scholars, presenters, My Life. My Song Is Love Unknown was ies were with George Thalben-Ball at scholarship to travel to Toulouse, France, and aficionados of contemporary organ published in February. the Temple Church, London, William where he studied historical and modern music into a global community. Nine Living and working in her native McKie of Westminster Abbey, and Ger- performance practices of French organ episodes have been released, featuring Cornwall, McGlade is a composer, cel- ald Knight at the Royal School of Church music. Price then attended Jacobs School organists such as Olivier Latry and Cam- list, and teacher. Most of her composi- Music in England. of Music at Indiana University, Bloom- eron Carpenter along with other artists tions are choral and comprise psalm For the past ten years, Partridge has ington, earning the Master of Music pursuing unique and innovative ways to settings, carols, and settings of other served on the board of directors for the and Doctor of Music degrees, studying explore the organ and its capabilities. biblical and secular texts, as well as solo Hesse Scholarship Foundation. From with Janette Fishell. Price serves as For information and to view podcast songs. Recent commissions include a 1996–1998 he served as dean of the St. sub-dean of the Indianapolis Chapter of episodes: futurestops.org. carol for York Minster’s Service of Nine Louis Chapter of the American Guild of the American Guild of Organists and on ³ page 7 PLAY ICONIC PIPE ORGANS FROM ALL OVER THE WORLD With the Johannus LiVE 2T-A and 3T-A
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Nunc Dimittis Catherine Ennis, organist and Murray Albert Burfeind, 89, director of music since 1985 at the died December 16 in Red Wing, Church of St. Lawrence Jewry, Minnesota. Born May 8, 1931, in London, UK, died December 24, Belvidere Township, rural Lake City, 2020. Born in 1955, she was an Minnesota, he grew up on the fam- organ scholar at St. Hugh’s Col- ily farm. As a young boy he learned lege, Oxford, before serving as to play piano. By age 12 he started assistant organist of Christ Church to play the pipe organ, and soon Cathedral. Ennis joined the Royal began playing for various churches. College of Organists in 1978. She Burfeind graduated from Lake City was a trustee of the RCO from High School in 1949. He went on to 2012 to 2016 and vice president study at Bethany College, Mankato, from 2015, and was also a diploma Minnesota, and Concordia College, examiner. She served as artistic St. Paul, Minnesota. He graduated Catherine Ennis (photo credit: Andrew Prior) director of the RCO Summer as a parochial school teacher and Course for Organists in 2017. taught elementary school in Fond Ennis served as consultant for four new organs in London, including organs du Lac and Appleton, Wisconsin. At by Rieger in St. Marylebone Parish Church (1987), Klais in St. Lawrence Jewry Fond du Lac, St. Peter’s Lutheran (2001), William Drake for Trinity College of Music (2003), and the Queen’s Murray Albert Burfeind Church was buying a new organ, and Organ in the Lady Chapel of Westminster Abbey, built by Mander. She also as the church organist he served on founded the London Organ Concerts Guide and was president of the Incorpo- the selection committee. After visiting Wicks Organ Company in Highland, rated Association of Organists from 2003 to 2005. Illinois, and recommending purchase of a pipe organ from that firm, he found In 2006 Ennis initiated (with Barbara Hill) the John Hill Organ Series, his lifelong interest in organ construction. After one last year of teaching, he which showcased emerging young talented organists in a series of recitals moved to Milwaukee, Wisconsin, to apprentice for United Organ Company, in London each May. Most recently she became a patron of the Society of representative for Wicks in that region. He always referred to that day at the Women Organists. organ factory as the single day that changed his life. Concert engagements in recent years included Christ Church Spitalfields, In Milwaukee, he met and married his wife of more than sixty years, Flora Westminster Cathedral, and Royal Festival Hall. Ennis recorded works by Olm, a teacher and later a newspaper reporter and librarian. Together they Bach, Reubke, Guilmant, and English romantic composers, among others; her followed the lure of building and designing new pipe organs, completing instal- latest CD for Priory Records of works by various composers on the Peter Col- lations and providing service and tuning to organs in churches throughout the lins organ in St. Bartholomew’s Church, Orford, was released in October 2020 country with the Murray Burfeind Pipe Organ Company. From Milwaukee (The Organs of St. Bartholomew’s Orford, Priory PRCD 1235). they moved first to Louisville, Kentucky, where their two oldest sons, Philip Catherine Ennis was awarded the Medal of the Royal College of Organists and Andrew, were born. They relocated to Arlington Heights, Illinois, to serve in 2018. The citation for the medal details her contribution to the planning and churches in Illinois and Indiana. Their third son, Steven, and daughter, Ann, execution of the college’s 150th anniversary celebrations in 2014. were born while in Illinois. An online musical remembrance occurred January 11. After 15 years of travel and nights away from home, the family relocated to Minnesota near his family, living in the country near Goodhue, where Elizabeth P. Farris, 86, Burfeind had his shop and continued his organ work, completing installations of Edmond, Oklahoma, died across the country. December 1, 2020. Born Febru- Burfeind achieved his most satisfying goal of designing and completing the ary 28, 1934, she was organist for reinstallation of the Kilgen pipe organ at the Sheldon Theatre in Red Wing. First United Methodist Church He installed bird calls, truck horns, and bass drums in the upper reaches of the of Edmond and taught at Central theatre above the proscenium arch. State University (now University His last installation was the Burfeind-designed and built organ at St. Norbert of Central Oklahoma). Farris College in DePere, Wisconsin. That organ featured Subczyk and Meyer pipes earned her Bachelor of Music and built to order in Milwaukee. Originally it was installed in the La Crosse home Elizabeth P. Farris Master of Music degrees summa of Betty Mittlestadt and later purchased and moved to St. Norbert College in cum laude in organ performance 2012 and 2013. from University of Arkansas, Fayetteville. She then began teaching organ and Murray Albert Burfeind is survived by his wife Flora of rural Goodhue. He piano at what was then Southern State College, Magnolia, Arkansas. Later she is also survived by his children Philip (Kimberly) of New Brighton, Minnesota; met Howard Farris, who taught art at the college in Magnolia, and they were Andrew (Jacqueline) of St. Paul, Minnesota; Steven (Brenda) of Sioux Falls, married in 1961. The couple had two children, Lisa in 1963, and Karl in 1965. South Dakota; and the Rev. Ann Burfeind (Florian) of Vancouver, British In 1966 the Farris family moved to Norman, Oklahoma, where Howard Columbia, Canada; as well as six grandchildren and several great-grandchil- earned his Ph.D. degree at University of Oklahoma. Then the next year How- dren. A celebration of his life will be held at a later date. ard was offered a teaching position at Central State College in the School of Education. In 1967, Elizabeth was appointed organist of First United Method- ist Church of Edmond, serving the church until her retirement in 1999. As the longest serving staff member in the church’s history, she was named organist emeritus on her retirement. She also spent many years of substituting, playing the organ and piano during and following her years as First Church. Eliza- beth Farris was active in the Oklahoma City Chapter of the American Guild of Organists for over thirty years and served in various capacities, including several terms as chapter dean. Elizabeth P. Farris is survived by her children Lisa and Karl, and her older sister, Drusilla Appleyard and family in Fort Smith, Arkansas. Q
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6 Q THE DIAPASON Q MARCH 2021 WWW.THEDIAPASON.COM Here & There
³ page 5 York, by longtime OHS archivist, Ste- phen L. Pinel. The culmination of 35 Publishers years of research, this hardbound, lim- Doblinger Musikverlag announces ited edition book of more than 600 pages new organ publications: Planterarium tracks Erben’s work with copious anno- oenipontanum for historical organ (979- tations, documentation, and stoplists, 0-012-20780-1, €14.95), by Kurt Ester- accompanied with photography by Len mann; Zwei Zwölftonspiele für Orgel Levasseur and William T. Van Pelt. (979-0-012-20639-2, €11.95), by Joseph The volume also includes facsimiles Matthias Hauer; and Quasi manualiter of many of Erben’s published lists and for historical organ (979-0-012-20778-8, catalogues, most never seen by modern €14.95), by Pier Damiano Peretti. For historians. Signed and numbered copies information: doblinger-musikverlag.at. can be purchased for $150. For informa- tion: organhistoricalsociety.org. Dr. J. Butz Musikverlag announces new organ publications. Orgelwerke, Johann Sebastian Bach: Clavier Übung Johann Sebastian Bach: Complete Band 3 (BU 2987), by Ludwig Thiele, Recordings III Works for Keyboard, Volume 4—Alla edited by Tobias Zuleger, includes Con- Alba Recordings announces new Veneziana–Concerti Italiani certsatz in Es-Moll and Thema mit Vari- CDs. Johann Sebastian Bach: Clavier reflections on traditional Gospel songs ationen C-Dur. Ouvertüre zu “Leichte Übung III (ABCD 464) features Liisa and the historic roots of soul music in (HMM 902460.62). The three-disc set Kavallerie” (BU 2983), by Franz von Aaltola performing on the organ of the America, as well as songs sung by slaves. features Benjamin Alard perform- Suppé, is transcribed and edited by Hans church of Pirkkala, Finland. Aaltola is The threads of freedom, brotherhood, ing on a 1702 harpsichord by Mattia Uwe Hielscher. the church musician in Pirkkala, where God’s mercy, and praise run through De Gand, a 1993 pedal harpsichord by Vier Orchesterstücke für Orgel (BU she has performed Bach’s complete each set of lyrics. For information: alba.fi. Philippe Humeau, and a 1710 organ 2977), by Anton Bruckner, contains organ works. by André Silbermann at Abbaye Saint- four orchestral transcriptions edited by Duke Ellington: Sacred Concert Harmonia Mundi announces a new Étienne, Marmoutier, France. Erwin Horn. Sieben Stücke für Flöte (ABCD 450) features Marzi Nyman, CD release: Johann Sebastian Bach: Selections include Concerto in G order Violine und Orgel (BW 2979), by organist, and Anu Komsi, soprano. Complete Works for Keyboard, Volume Major, BWV 973; Concerto in G Minor, Margaretha Christina de Jong, is edited The movements of Sacred Concert are 4—Alla Veneziana–Concerti Italiani ³ page 8 by Albert Clement. For information: butz-verlag.de.
Editions Schola Cantorum–Can- tate Domino announces new publica- NORTH AMERICA’S tions: Neuf Compositions pour Orgue (CD 3100–3108) by Lionel Rogg; PREMIER PIPE ORGAN L’Apprenti-Sorcier (SC 8792) by Paul Dukas, arranged for organ by Emmanuel BUILDING, REBUILDING Duperrey; La Douleur de Notre-Dame le AND SERVICE FIRMS Feu: Triptych pour Orgue (SC 8790) and Neuf Pièces Dansantes pour Orgue (SC 8791) by Wolfgang Lindner. For infor- mation: schola-editions.com. OUR MEMBERS MorningStar Music Publishers WHY CHOOSE announces new organ publications. Hymns of Praise Then Let Us Sing: Sea- AN APOBA FIRM? sonal Organ Accompaniments for Organ BUILDER MEMBERS: with Minimal Pedal, Volume 2, by Lynn For most people, purchasing a pipe organ is a once Andover Organ Company Trapp (10-439, $31), contains 21 hymn Bedient Pipe Organ Company accompaniments, each with an intro- in a lifetime experience. It’s hard to know what Berghaus Pipe Organ Builders, Inc. duction and two settings, most with an questions to ask, let alone how to get the answers. Bond Organ Builders, Inc. interlude, and some with a modulation. APOBA provides a simple way for people to take Buzard Pipe Organ Builders, LLC For Lent and Holy Week, Partita on advantage of the expertise of the top people in Casavant Frères Jesu, meine Freude (10-381, $14), by Ì iwi`]>ÞvÜ LÀ}Ì iiÝ«iÀiVi Dobson Pipe Organ Builders David M. Cherwien is in five move- C.B. Fisk, Inc. ments. Ah, Holy Jesus: A Lenten Collec- of the several generations who preceded them. Foley-Baker, Inc. tion for Organ (10-496, $21), by Wayne APOBA has developed publications to help organ Paul Fritts & Co. Organ Garland Pipe Organs, Inc. L. Wold, includes pieces based on the committees make Goulding & Wood, Inc. hymntunes Erhalt uns, Herr, Ham- informed decisions Holtkamp Organ Company burg, Herzliebster Jesu, Rocking- and manage their Kegg Pipe Organ Builders ham Old, Sojourner, Valet will Létourneau Pipe Organs ich dir geben, and Wondrous Love. pipe organ projects Muller Pipe Organ Company All items are available in print copies and effectively, whether Patrick J. Murphy & Associates downloadable files. For information: purchasing an Parsons Pipe Organ Builders morningstarmusic.com. Pasi Organbuilders, Inc. organ or planning Quimby Pipe Organs, Inc. a program for Schoenstein & Co. renovation or service. Taylor & Boody Organbuilders A. Thompson-Allen OUR VISION SUPPLIER MEMBERS: Integrated Organ Technologies, Inc. OSI - Total Pipe Organ Resources Our vision is focused on the organ effectively serving Peterson Electro-Musical Products the musical and liturgical needs of each congregation Solid State Organ Systems for generations to come. Syndyne Corporation
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APOBA.com The Work-List of Henry Erben: Organ Call or email today for Please watch and share Builder in Nineteenth-Century New York APOBA’s free 84+ page our short video at: 800.473.5270 color prospectus! apoba.com/video 11804 Martin Road The Organ Historical Society’s OHS Press announces the publication Waterford, PA 16441 of The Work-List of Henry Erben: Organ Builder in Nineteenth-Century New
WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2021 Q 7 Here & There
³ page 7 Both companies are based in south- Essl, Jürgen (b. 1961) 60th anniversary BWV 975; Concerto in B Minor, BWV east England, and three current Browne of birth 979; Concerto in D Major, BWV 972; employees are former Mander employ- Gardonyim, Zsolt (b. 1946) 75th anniver- Concerto in D Minor, BWV 974; Con- ees. Browne & Sons was founded in sary of birth certo in G Major, BWV 980; Prelude Kent nearly 150 years ago. Mander was Gasparini, Quirino (1721–1778) 300th and Fugue in A Minor, BWV 894; and founded in 1947 by Noel Mander and anniversary of birth Fantasia and Fugue in A Minor, BWV continued in 1983 under John Pike Graun, Johann Gottlieb (1702–1771) 994. For futher information: Mander. When John Mander retired in 250th anniversary of death harmoniamundi.com. 2018, an employee trust operated the Hildenbrand, Siegfried (1917–1996) firm until its acquisition by Browne. John 25th anniversary of death Mander is chairman of Mander Organ Humperdinck, Engelbert (1854–1921) Builders. For information: The choir gallery of St. Peter’s Catholic 100th anniversary of death fhbrowneandsons.co.uk and Church, New Hamburg, Ontario, Canada Kempter, Karl (1819–1871) 150th anni- mander-organs.com. versary of death a new custom Viscount Chorum 90 DLX Kirnberger, Johann Philipp (1721–1783) church organ console and custom built 300th anniversary of death Schmidt Classique Organ System at St. Kluge, Manfred (1928–1971) 50th anni- Peter’s Catholic Church, New Ham- versary of death burg, Ontario. The instrument is located Langlais, Jean (1907–1991) 30th anni- in a gallery at the rear of the nave of the versary of death church, and the console features three Lemmens, Jacques-Nicolas (1823–1881) keyboards of reverse colors fitted with 140th anniversary of death tracker touch. The new organ replaces Loewe, Carl (1796–1869) 225th anniver- a 40-plus-year-old Baldwin model. For sary of birth further information: Mauersberger, Rudolf (1889–1971) 50th Glass-Bach Dresden schmidtpianoandorgan.com. anniversary of death New Lewtak horizontal trumpet at Hay- Monte, Philippe de (1521–1603) 500th Orange Mountain Music announces mount United Methodist Church, Fay- anniversary of birth a new CD: Glass-Bach Dresden etteville, North Carolina Musician and composer Mozart, Wolfgang Amadeus (1756–1791) (OMM0150), featuring Mark Stein- anniversaries in 2021 265th anniversary of birth and 230th bach, university organist and senior Lewtak Pipe Organ Builders, Alain, Jehan (1911–1940) 110th anniver- anniversary of death lecturer in music at Brown University, Inc., Mocksville, North Carolina, has sary of birth Netrebko, Anna Jurjewna Netrebko (b. Providence, Rhode Island, playing the added a new horizontal trumpet to the Albinoni, Tomaso (1671–1751) 350th 1971) 50th anniversary of birth 1755 Silbermann organ of the Cathe- M. P. Möller organ at Haymount United anniversary of birth and 270th anni- Pichler, Arthur (1896–1974) 125th anni- dral of St. Trinitas, Dresden, Germany. Methodist Church, Fayetteville, North versary of death versary of birth Although the cathedral was destroyed Carolina. The project included mak- Auber, Daniel-François (1782–1871) Piutti, Carl (1846–1902) 175th anniver- in the bombing of Dresden in Febru- ing new pipes, building new electro- 150th anniversary of death sary of birth ary 1945, the organ narrowly escaped pneumatic windchests, designing and Bach, Johann Christoph (1671–1721) Praetorius, Michael (1571–1621) 450th destruction, as it had been removed manufacturing a high-pressure winding 350th anniversary of birth and 300th anniversary of birth and 400th anni- shortly before for safekeeping outside system, and connecting the new rank anniversary of death versary of death the city. to the existing organ. The Trompette de Biener, Gustav (1926–2033) 95th anni- Rinck, Johann Christian Heinrich (1770– Featured works include J. S. Bach’s Gabriel is installed on pillars between versary of birth 1846) 175th anniversary of death Prelude and Fugue in D Major and a set- the stained glass windows in the rear of Brixi, Franz Xaver (1732–1771) 250th Saint-Saëns, Camille (1835–1921) 100th ting of Nun komm der Heiden Heiland as the church. The pipes are made of 92% anniversary of death anniversary of death well as Glass’s Mad Rush and Dance No. tin and play on 12 inches wind pressure. Bruckner, Anton (1824–1896) 125th Salomé, Théodore-César (1834–1896) 4 for Organ. The album is available as a Lewtak is in the process of a total over- anniversary of death 125th anniversary of death CD, digital download, or streaming. For haul of this organ. The project started Demessieux, Jeanne (1921–1968) 100th Schlick, Arnolt (1460–1521) 500th anni- information: http://smarturl.it/8uvdzk. in early March 2020, but because of anniversary of birth versary of birth the Covid-19 pandemic, its completion Desprez, Josquin (1440–1521) 500th Schumann, Camillo (1872–1946) 75th has been delayed. Haymount United anniversary of death anniversary of death Organbuilders Methodist Church is home to 1975 Drischner, Max (1891 – 1971) 130th Strawinsky, Igor (1882–1971) 50th anni- F. H. Browne & Sons, Ltd., has M. P. Möller Opus 11011, consisting of anniversary of birth and fiftieth anni- versary of death acquired the name and intellectual three manuals, four divisions, 35 stops, versary of death Sweelinck, Jan Pieterszoon (1562–1621) property rights of Mander Organs, 43 registers, 46 ranks, 2,603 pipes. For Dupré, Marcel (1886–1971) 135th anni- 400th anniversary of death Ltd. Browne has been operating under information: www.lewtak.com. versary of birth and fiftieth anniver- Tricht van, Käte (1919–1996) 25th anni- the name Mander Organ Builders sary of death versary of death since October 1, 2020, for current and Schmidt Piano and Organ Service, Duruflé, Marie-Madeleine (1921–1999) Verdi, Giuseppe (1813–1901) 120th future contracts. Kitchener, Ontario, Canada, has installed 100th anniversary of birth anniversary of death Eddy, Hiram Clarence (1851–1937) Vivaldi, Antonio (1678–1741) 280th 170th anniversary of birth anniversary of death
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8 Q THE DIAPASON Q MARCH 2021 WWW.THEDIAPASON.COM On Teaching By Gavin Black By Gavin Black
A short detour not like school—at least, I had a very usually had an LP jacket or two with me, of my piano listening, mainly to Brendel, As we approached the end of 2020 complicated relationship with a school looking for an autograph. That scene also made me a more open-minded listener while looking forward to 2021, I noted an that was very, very different from what I had a cozy, relaxed feeling. I remember in general. upcoming event that I had known about was used to at home, and I stayed home hearing Brendel give someone the news Recently I decided to re-listen to all of for years but had forgotten about recently, to rest my back as much as I thought I of the recent birth of his son. That per- those 1970s Brendel Beethoven record- the ninetieth birthday of Alfred Brendel. could possibly pretend was justified. son asked Brendel what the baby’s name ings, the ones that I had not liked when I have been a fan of his for a long time, I spent a lot of time over the course of a was, and he replied “Adrian.” Years later they were new. I had a certain sneaking and I am also a fan of birthdays. Brendel’s few months listening to the radio—BBC 3, Alfred Brendel and cellist Adrian Brendel suspicion about them—really a set of birthdate is January 5, 1931. classical music radio. That meant accept- recorded and performed together, espe- suspicions. And, just as I expected, I I posted on Facebook that day remi- ing other people’s choices about what I cially Mozart and Beethoven, and Adrian loved them. The freedom, liveliness, niscences of attending concerts of Bren- was going to hear: that is how it was back has for quite a while now been an estab- spontaneity are just what I now want to del’s and thoughts about his playing. It then. This was, remember, a “Beethoven lished presence on the UK music scene. hear in these pieces. Also, as I imagined was longer than most of my Facebook year,” as was the year just ended. I began I have never had anything remotely I would discover, they are not all that writings, but I realized that it left a lot to notice that fairly often, in fact, I like a conversation with Brendel. Back different from the old Vox recordings. It unwritten that I wanted to say about my heard performances of Beethoven piano in those old days I was just barely not is all about perspective. Coming off my history of discovering Alfred Brendel sonatas that I really liked. They seemed shy enough that I could stand in line at intense discovery of those early record- and what his recordings and concerts commensurate with the artistic stature of the green room and go in and push an ings, difference was all that I could had meant for my own development as the pieces themselves, in a way that other LP jacket up to a performer. I was much hear. Now I hear fidelity to everything a music listener and a performer. I also performances that I had heard did not too shy to try for conversation or indeed that I initially loved about his approach realized that this story is about a part of (to me at that time). They also seemed to to say anything at all. In spite of that, I coupled with an enviable and delectable the musical development of one person be in sync with what I might have done believe that those recurring moments ability to make it all sound like it is being and therefore not irrelevant to the teach- with those pieces if I could possibly have backstage at Carnegie Hall, where improvised on the spot. Over all these ing and learning process. done anything with them. I began to everything seemed relaxed and normal, years, the latter has become one of my My family spent six months or so in notice that these were all performances helped give me the faint beginnings of own ideals for performance. London beginning in the late summer by Alfred Brendel. a feeling that maybe I could “belong” in In spring 1983 I was lucky to be able to of 1970. I was thirteen and enrolled I had never heard that name before. I the world of classical music. attend all of the concerts in Alfred Bren- in Westminster City School, founded looked into him a bit and found out that At the time of those early Carnegie del’s complete Beethoven sonata series in 1590 and still in operation today on he had recently moved to London and concerts, Brendel was also in the process at Carnegie Hall. It was, of course, con- Palace Street near Victoria Station. I that he had made a number of record- of making his second recording of the sidered a major cultural event and was, I was by then fervently and passionately ings. Maybe I found out fairly promptly Beethoven piano sonatas. Those were imagine, sold out. This was very different interested in music. That interest was that he had recorded all of Beethoven. I probably some of the LPs that I brought from those mid-seventies events. I was rather disorganized and directionless, am not sure, as I can barely reconstruct with me. I remember not liking them even more extraordinarily lucky to be which is normal for such an age. I had how we used to find out such things as much as I did the earlier recordings. able to attend his final concert at that been taking piano lessons for several before the internet! I remember that I The recordings that I had discovered in venue in 2008, as he decided to retire years, most recently during the 1969– especially loved his way of playing the London were somewhat notorious for from concert playing after sixty years. 1970 school year with Lois Lounsbery last movement of Beethoven’s Sonata 6, having a “classic” quality: very lucid, logi- That was beyond a major cultural event at Neighborhood Music School in New op. 10, no. 2. I became a big fan. cally shaped, intense and fervent, yes, and packed to the rafters. It was also Haven, Connecticut. I liked the piano Sometime after we got back to the but also clear, as non-chaotic as could be wonderful—perhaps the best playing of and felt drawn especially to Beethoven United States that winter I bought imagined. That, I assume, has to be part his that I could recall. It seemed odd that in those days. But I was much more Brendel’s Vox recordings of all of the of what reached me at the time. That is he thought that he should retire. It may intensely drawn to earlier music and, Beethoven sonatas and other piano what I wanted or needed then. Most of well not be that he thought he should, increasingly, to harpsichord and organ. music, in several three-disc “Vox Boxes.” the recordings from the seventies, even just that he felt that he wanted to. For various reasons I thought that it I listened obsessively and got to know the after they had acquired the coveted Encountering the early Beethoven was essentially an impossibility to study pieces better than I had up to that point autographed covers, I listened to once recordings of Alfred Brendel probably organ or harpsichord, but I did not knew any repertoire. Those particular or twice and then put aside. They were, shaped what I ended up doing or trying seem to be able to summon the resolve interpretations became “standard” for at least to me, disturbingly chaotic, free, to do as a musician as much as anything to ever actually practice piano. I was a me. They seemed right and others wrong. and improvisatory compared to Bren- else ever has. My discovery of the play- player more in theory than practice. I A bit later on I started going to hear del’s earlier Vox recordings. ing of Helmut Walcha in about 1972 or felt right then and for the next couple Alfred Brendel play recitals at Carnegie However, while my reaction to those my first hearing the sound of an antique of years quite uncertain about what to Hall. His debut there was on January 21, Beethoven recordings was one of closed- harpsichord around 1973 were more do as to music lessons and my musical 1973. I am fairly sure that the first time mindedness, I was also using Brendel’s immediately tied to the specifics of the work overall. I heard him was March 17, 1974. For a discography to widen my horizons. I dis- work that I wanted to try to do, but not Lois Lounsbery is a wonderful piano few years he was in the habit of giving covered some of his Liszt recordings at a more consequential to my life or work. teacher and was then very early in her three concerts there on three Sunday time when I was still generally suspicious And the latter were sought out by me on career. I later heard that she had once afternoons, focusing each year on three of anything post-Schubert that was not purpose. There is nothing wrong with told a colleague that I was the best composers—not one composer per either Saint-Saëns or Schumann. I loved that, but it is fascinating to me when student she had at playing softly, but concert, but all three at each. The pro- all of the Liszt, initially the concerti something utterly random is important that I could not do anything else. That grams in 1974 were Beethoven, Haydn, most of all. I encountered both the Fan- and feels right in a way that makes it foreshadowed my career as a harpsi- and Schumann, and the program that I tasia and Fugue on the name B-A-C-H seem inevitable. As a “classical music chordist and organist, since with those heard first included Beethoven’s Opus and the Variations on Weinen, Klagen, person” in the latter third of the twen- instruments one always plays lightly, not 101 and the Schumann C-Major Fanta- Sorgen, Zagen first through Brendel’s tieth century and thereafter, I would necessarily quietly, of course! And when sia. I remember vividly discovering that recordings made in 1976. This was certainly have been familiar with Alfred I sit at a piano nowadays I play so lightly Schumann piece through being at that before I had any awareness of Liszt as a Brendel. But it was just my random by default that the keys do not always concert. I had never paid any attention to composer for organ. I listened to some good luck that his playing came along really go down. Schumann before, and as someone with of Brendel’s very few Chopin recordings. at exactly the right time, aided by my Concerning the Beethoven piano rep- special appreciation for the Baroque, As best I remember I liked them. But malingering and slacking off in school. ertoire, as best I now remember, I knew I thought of even Beethoven, whom I more importantly I remember that they What is the lesson of that?! some of the sonatas and variations to loved, as dangerously modern. I was got me interested enough in Chopin that Next month, among other things, I will listen to and I had some favorites. I could blown away by the Schumann, and this I went looking more widely and discov- write about some interesting feedback even envision how I would perform was a major eye-opening moment. ered recordings by Cortot, Rubinstein, that I received from my recent column some of them, but I could not really play At that point Brendel was an estab- and Horszowski among others that I about my pedal method. Q much at all, yet. And my relationship to lished pianist though nowhere near the liked a lot. learning piano was equivocal at best. As I level of renown that he later reached. In fact at a certain point I began to Gavin Black is director of the Princeton say, I did not particularly practice. But I Being in the audience at those Carnegie revisit some of the Beethoven recordings Early Keyboard Center, Inc., Princeton, clearly remember that I had never been Hall events had a feeling of coziness and by earlier venerable pianists that I had New Jersey (pekc.org). He can be reached satisfied with any of the recordings of of being at the right place at the right known as a youngster but had not liked. at [email protected]. Beethoven piano music that I had heard. time. They were pretty lightly attended. And I began to get a lot out of many of My family owned, or I borrowed from I always sat in the balcony, and the them. I was more open to some of them the library, LPs by Schnabel, Richter, attendance up there was neither full nor than I was to the later Brendel record- Rubinstein, Fischer, Horowitz, and oth- sparse, but we looked down on mostly ings. I think that I wanted to fit the latter ers. I had the feeling that I was being empty up-market seats below. It was, in into a sort of “Brendel slot” where they told by the culture at large that I should those days, extremely easy to go back- did not belong—according to what I had like any or all of these, but I did not get stage. I did so after most concerts, and I become accustomed to. Meanwhile, all much out of them. During that fall of 1970 I had a minor episode of back trouble. I threw my back DIAPASON Student Rate WEEKEND ORGAN out mowing the lawn at the home of $20 one year MEDITATIONS some friends of ours near Manchester. Grace Church in New York From that point on I missed a lot of WOW! 847/954-7989 school. To be very clear, I was mostly [email protected] www.gracechurchnyc.org malingering if not just plain faking. I did
WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2021 Q 9 In the wind...
Pipes, wind, and wood was a bellwether, as important as any During the 1960s and 1970s, a number single document in the inception of the of organbuilding firms were founded, new age of organbuilding. I wore holes dedicated to building mechanical- in those LPs as a teenager, poring over action pipe organs according to ancient the published specifications, gobbling principles. This proliferation has been up Pepping’s cheerful leaping music, generally called the “Tracker Revival,” and forming a lifelong relationship with among other names, but more to the Bach’s transcription of Vivaldi’s Concerto point, it was a renaissance of the phi- in D Minor. The gorgeous tones of the 8′ losophy of building pipe organs in small Principal in the Pedal with intertwining workshops rather than in large factories. 4′ stops playing the violin are fully in my In the years leading up to World War II, ears as I write. the larger American organbuilding firms John Brombaugh established his com- adopted mass-production practices and pany in 1968 in Middletown, Ohio, and controlled expenses diligently, which gathered a group of five partners that diminished the artistic and musical con- included John Boody and George Taylor. Taylor & Boody workshop, Christmas 2020 (photo courtesy Taylor & Boody Organbuilders) tent of the instruments. In the following years, an absolute who’s The idea of building pipe organs by who of the twentieth-century pipe organ hand was revolutionary, and there was worked in Brombaugh’s shop, including a steep learning curve for these artisans. many who went on to form their own Early in the twentieth century, most companies. Brombaugh was one of the American organs used relatively high first to dig hard into the study of older wind pressure. Four inches on a water organs in Europe, taking thousands of column was common, and firms like the measurements, trying to learn what Skinner Organ Company routinely used made those instruments sound so won- pressures from four to six inches on the derful, and bringing that information Great, six to eight on the Swell, and often back to the workshop to convert the included Solo Tubas on ten, twelve, and numbers into music. even twenty-five inches. Such high pres- Ten years after starting the company sures in large organs were only made in Ohio, when Brombaugh was eager to possible by the invention of the electric move the company to Oregon, George blower that could produce huge volumes Taylor and John Boody chose to stay and of pressurized air. Historic European form their own company in Middletown. organs typically used pressures of three As part of the dissolution of the partner- inches or less (remember that before ship, Brombaugh passed on to them a about 1900 pipe organs were blown by contract for a new organ of two manuals Taylor & Boody sawmill, John Boody sawing a basswood log for Opus 83, Septem- human power), and twentieth-century and eighteen stops for the Presbyterian ber 2020 (photo courtesy Taylor & Boody Organbuilders) American builders, starting more or less Church of Coshocton, Ohio. George from scratch, had to learn anew how to and John set up shop in John’s garage 24, 2018.) We have been friends for a Holy Cross where we had all those lead make large organ pipes speak beautifully to build the organ. It was completed in long time and have shared many a meal, pipes working together. We never built a on low wind pressure. 1979, and Harald Vogel played the dedi- wiling away convivial hours, and we squeaky organ like other people thought A critical part of measuring wind pres- catory recital. have collaborated a few times. I spent Baroque organs should be; our organs sure is volume. The output capability of As they were finishing the organ in a cheerful ninety minutes on the phone have that dark, chocolate, choral sound, an organ blower is measured in cubic Coshocton, they dreamed of purchas- with John on January 10, 2021, hearing the core of the organ was different. I feet per minute at a given pressure. And ing a school building, thinking that with his thoughts about the history of Taylor think that really grabbed people’s atten- in a mechanical-action organ with slider high ceilings, big windows, and wood & Boody. tion, and that has worn well. And Grace windchests, the delivery of pressurized floors, such a building would make a John expressed gratitude for the Church, New York, still has that, and air from the blower depends on the great workshop. George’s sister was opportunities he and George had to Saint Thomas Church Fifth Avenue. So dimensions of the windlines from blower graduating from Mary Baldwin College study European organs. He talked espe- that has stuck with us. And I think that, to reservoir to windchests, of windchest in Staunton, Virginia. George and John cially about their encounter with the for me, that’s what makes an organ an tone channels, of pallet (valve) openings, drove down to attend, and a college 1702 Schnitger organ in the Aa-Kirk in organ. It’s that Principal, choral sound.” toe holes sizes in both windchests and friend of George’s suggested an old Groningen, the Netherlands, where with Their first few organs were built with pipes, and many other minutia. Several school in town that was available. During Lynn Edwards and Cor Edeskes they the memories of that Schnitger organ years ago, I visited the huge Beckerath a short visit, they immediately started had the privilege of removing the pipes fresh in their minds, and the opportunity organ at the Oratory of Saint Joseph in talking about the price and bought the from the iconic organ for exact measur- to build the large organ at Holy Cross Montreal while the people of Juget- building for $11,000. More than forty ing. They measured the windlines and established the identity of their work. Sinclair were at work on the renovation years later, Taylor & Boody is still build- other components of the wind system, John and I talked generally about the and was amazed to see that small paper ing organs there. measured critical dimensions of the work of some of our colleagues, and I tubing was used to provide wind for the § windchests, and analyzed the structure made the comment, “there’s a group behemoth 32′ façade pipes, demonstrat- of the organ. John spoke with reverence among us who tip their hat to Mr. Skin- ing that in the 1950s, venerable European John Boody and I have shared a spe- about blowing on those ancient pipes ner every time they get out of bed.” firms were also busy learning how to do cial bond as I maintained the E. & G. G. and how the experience defined the Boody: “That’s good, and that’s bad. I great things with low wind pressure. Hook & Hastings organ (Opus 635, future of their work. “That really set the would say we have to move ahead.” E. Power Biggs released his influen- 1872) in the First Baptist Church in pace for us. That was before we plugged Bishop: “Somebody listening to what tial two-record set, The Golden Age of Wakefield, Massachusetts, where John in a machine.” John Boody just said would answer, the Organ, featuring the organs of Arp grew up and where his grandfather After that first organ in Coshocton, haven’t you been looking 300 years back Schnitger and the chorale preludes of had been pastor. (Sadly, the church and Ohio, several modest contracts came ever since you first had a chisel in your Ernst Pepping in 1968. That recording organ were destroyed by fire on October their way. Arthur Carkeek, professor of hand?” organ at DePauw University, Greencas- Boody: “No, exactly the opposite. We tle, Indiana, advocated Taylor & Boody were looking to the future. We wanted to build a twenty-two-stop organ for the to build organs that stand tall into the Join us First Christian Church in Vincennes, future, that people would love on their Indiana (Opus 4, 1981). There followed a own merits.” in-person twenty-stop organ in Cincinnati, twenty- Bishop: “So how do you translate the four stops for Richmond, Virginia, and influence of Niehoff and Schnitger into or online a couple of one-manual organs, before the future?” they got to Opus 9 (1985), a four-manual Boody: “You have to go with the music. organ with fifty-two stops for Saint You have to think of all the mechanical this summer! Joseph’s Chapel at the College of the parts and other components you make in Holy Cross in Worcester, Massachusetts. the shop as a conduit to making music. Week 1: Late in our conversation, I asked John And you have to think about how all how he would define the work of Taylor those parts work together. We focused June 20 - 25 & Boody. “It’s that sound we made at on the music.” Week 2: June 27 - July 2 www.presbymusic.org/2021conference
10 Q THE DIAPASON Q MARCH 2021 WWW.THEDIAPASON.COM By John Bishop
(photo credit: Félix Müller)
one-manual organs. Many are two-man- ual organs with twenty or thirty stops. Taylor & Boody Christmas lunch, 2019 (photo courtesy Taylor & Boody Organbuilders) There are a bunch with three manuals, and a couple of four-manual doozies. As wind ducts with curves for turns rather neatly in piles, separated by the organ. the company produced all those organs, Taylor & Boody Opus 27, St. Thom- than right angles, those gentle turns In 2009, Wendy and I visited Thomas they also produced a clan. John has as Church Fifth Avenue, New York, moving the wind in different directions Jefferson’s home at Monticello, and we retired from the workshop, though he New York (photo courtesy Taylor & Boody without creating eddies that can disturb spent a night with the Boodys. (We were still runs the sawmill, the “light-duty” job Organbuilders) the speech of the pipes. treated to fresh eggs from John’s chick- for the older guy, and George is prepar- Multiple parallel-rise reservoirs ens for breakfast.) John showed us the ing to retire. John’s son Erik is running The means of Grace ensure that there’s plenty of volume huge oak logs from which the matching the company, and his daughter-in-law The Taylor & Boody organ at Grace available to make those big sounds and organ cases of the Grace Church organ B. J. and son-in-law Aaron Reichert are Church in New York (Opus 65, 2013) that the wind is regulated effectively so would be made. both part of the workshop. was both a departure and continuation there is no whiplash from a sudden shift The sawmill provides the company John is a prolific gardener. Looking at in the history of their work. Wendy and from ffff to ppp. There is a lifetime of with the most desirable wood, especially his Facebook page during the summer, I live at Broadway and East 9th Street thought and experimentation in the wind quarter-sawn white oak. Black walnut you might think they were going to make in Manhattan (Greenwich Village), system of each Taylor & Boody organ. has beautiful grain patterns and rich zucchinis into organs. There is a swirl Grace Church is at Broadway and East color. It is very expensive to purchase of grandchildren about. I recently saw 10th. While the organ installation was Pipes from a hardwood supplier, and it is typi- a photo of a wee lass pushing a broom underway, I shared some grand evenings There are a number of companies in cally used only for decorative casework in the sawmill. It’s been a lifetime since with John and his co-workers, both in the United States and Europe that make and furniture. But since walnut trees are those twenty-something partners were neighborhood restaurants and in our organ pipes to the specifications of the plentiful in their area and they are messy digging into that Schnitger organ in apartment. They were working on a organbuilders who order them. Pipe to have in your yard, neighbors often Groningen, understanding what the old complex instrument (tracker action in making is a complicated art that involves cut down walnut trees and offer the logs master had to offer, and converting that three separate cases with a remote con- considerable specialized equipment for to the T&B sawmill. This allows them experience into a creative career. sole, and an “action tunnel” under the melting, blending, casting, planing, ham- to use the stable and beautiful wood to Halfway through our conversation, the floor of the chancel), and those evenings mering, cutting, and soldering metal. It make action parts and wood organ pipes. name of a mutual friend and colleague were bright and fun. takes a lot of investment and effort for a Carefully milled, beautiful lumber is a came up, and John’s gregarious person- That landmark organ with four manu- small company to develop those abilities, hallmark of Taylor & Boody organs. ality shone through. “He’s a dear man. als and seventy-six stops combines the but Taylor & Boody committed early John’s affinity with wood is so widely And you think of our whole trade, we Schnitger heritage of those marvelous to the idea that they should make their respected that he has recently started have great people. I love to go to APOBA “choral” choruses of lead Principals pipes. There is a room in their workshop writing a regular column for the journal meetings, I love to go to the AIO. Right with the expressive range of the best with the cauldron for melting and mixing of the International Society of Organ- down to the little one-man-shop guys, Skinner organs. Acoustic scientist Dana alloys and a ten-foot-long casting table. builders called “The Wood Guy,” in there are some great people out there.” Kirkegaard stipulated the construction Molten metal is ladled and poured into which he answers colleagues’ specific John Boody and George Taylor have been of the expression boxes: two-inch-thick a wood hod that runs on rails along the questions and writes about the wonders faithful members of that band of great poplar lined on both sides with three- sides of the casting table. When the hod of wood, that most natural of materials. people. Their organs have influenced quarter-inch plywood, making a massive is full, two workers walk it swiftly down countless musicians around the world, and dense enclosure, and shutters every- the table, leaving a thin pool of shiny And the hope of glory and they reflect and amplify the harmo- where, even on the back of the box, shut- molten metal. I have witnessed this Eighty organs in forty years. Some are nies of the workplace they founded in the ters with an unusual range of motion, the process there, marveling at the moment small continuo organs. Some are larger schoolhouse on the hill. Q whole providing an astonishing expres- a few seconds after the sheet is cast sive effect. All that, plus a sophisticated when the metal flashes over from liquid solid-state combination action, sensitive to solid. mechanical action, and a few solo voices When the sheet has cooled, it is rolled on really high pressure, combine to up like a carpet so it can be safely trans- NYC make an exciting instrument capable of ported to the next steps in the process. A SLAVIC 2021 countless effects. But wait, there’s more! John talked about the importance of the Standing in the rear gallery, more than precision of making pipes. If a pipe is a hundred feet from the organ, are the not neatly made, the voicer has to try to ′ CELEBRATION lowest twelve notes of the 32 Open correct the pipe maker’s mistakes. John’s Wood Diapason, all that remains of Skin- daughter-in-law B. J. Regi makes all the ner Organ Company Opus 707, built for smaller pipes. John said, “she makes GAIL ARCHER, ORGANIST Grace Church in 1928. Those twelve exquisite pipes. And you know, that’s pipes were restored with a discreet wind the deal. If you go to start voicing an supply and wired as an extension to the organ and everything’s lined up well, the new 16′ Double Open Diapason of the mouths are beautiful, and the windways Taylor & Boody organ, a fitting bottom are pristine, you can make good sound to the grand new organ and testament to right away.” Robbie Lawson heads the the musical history of the church. pipe shop, and B. J. helps him with the larger pipes. Wind As John Boody and I talked about the Wood Grace Church organ, he spoke especially John Boody attended the forestry of the wind system. Superficially, we school at the University of Maine at think of the pipe organ as a keyboard Orono (he holds a Bachelor of Arts POLAND UKRAINE RUSSIA instrument. In fact, it is a wind instru- degree in vocal performance) and has ment operated by keyboards. The organ loved and respected wood throughout FEBRUARY 7 — 2:30 MARCH 16 — 7:00 APRIL 10 — 3:00 at Grace Church has more than a dozen his career. Taylor & Boody has a sawmill ST. FRANCIS XAVIER ST. JEAN BAPTISTE ST. JOHN NEPOMUCENE 16′ stops and twenty 8′ flue stops. Making where they cut all the lumber used in 55 WEST 15TH ST 184 EAST 76TH ST 411 EAST 66TH ST an organ like that go is all about moving their organs. After it is sawn into boards, wind. John spoke proudly of the fellow in the wood is dried in a kiln made from a co-sponsored by: The Harriman Institute, Columbia University their shop primarily responsible for the retired refrigerated (and therefore insu- more information: www.gailarcher.com wind system with large capacity wood lated) semi-trailer. The lumber is stacked
WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2021 Q 11 Twentieth-century French organ music
An Exercise in Modal Interplay: Example 1a (used with kind permission of Bärenreiter-Verlag, Kassel) Louis Vierne’s Carillon de Westminster Example 1b, measures 1–5 (used with kind permission of Bärenreiter- By Jonathan Bezdegian Verlag, Kassel)
ouis Vierne’s “Carillon de West- and these recounts foreshadowed cur- L minster” from the Troisième Suite, rent feelings, particularly the remarks opus 54, of his 24 Pièces de Fantaisie is a after the Trocadéro concert. Now that favorite of organists and audiences alike. the history is established, the harmonic While many play this piece, how many analysis becomes the next area of focus. take the time to study the unique harmo- While Vierne’s harmonic language was Example 1c, measures 11–12 (used with kind permission of Bärenreiter-Verlag, Kassel) nies in this music? Organists view Vierne’s developing by the genesis of “Carillon compositional style as highly chromatic. de Westminster” in the summer of 1927, Yes, this is certainly true. However, how the tonalities created are approachable. does one analyze Vierne’s music? There There is extensive use of the Gregorian are very few studies providing a detailed modes: Ionian starting on D and B-fl at; harmonic analysis of this nature.1 Thus, Aeolian starting on D and B; and Mix- the aim of this article is to foster interest olydian starting on B-fl at, D, F-sharp, in the analysis of Vierne’s organ music via and G. Then, the addition of the the “Carillon de Westminster,” one of his codifi ed modes of limited transposition: most appreciated compositions. Before Mode 3 (T1 and T3) and Mode 1 (T1) moving forward with analysis, learning that gives this piece (and many other the history and early reception of this works) Vierne’s signature sound.10 While piece is important. the Gregorian modes offer listeners a A seemingly obvious reason for the familiar set of harmonies throughout great popularity of this piece is due to the “Carillon de Westminster,” the har- the familiar “Big Ben” or “Grandfather monies encountered are not functional Clock” theme.2 Interestingly, accord- in the traditional sense. Thus, using a ing to the research of Rollin Smith, a traditional, analytic approach will not scholar of Vierne’s life and works, Vierne yield a positive result. encountered this theme for the fi rst time Through research and analysis, one via a clock in the offi ce of a clock shop discovers that Vierne uses common tone owner in Le Locle, Switzerland, in 1916, modulations. It is the only practical pro- and then, later, while on tour in England cedure for fi nding similarities between in 1924.3 These thematic encounters each mode. There is evidence of tonic and reached compositional fruition in the dominant functions, but they are simple summer of 1927 in Luchon, France. and mostly found at cadential points.11 The initial reception of the “Carillon After studying the various modes used de Westminster” was positive. Soon after in “Carillon de Westminster,” one fi nds publication, Vierne publicly performed several common tones between them, this piece three times, the fi rst as a sortie thus allowing relatively free movement at the closing of the Forty Hours Devo- from one mode to another. This is not tion at the Cathedral of Notre-Dame, an unusual circumstance given Vierne’s Paris, on November 29, 1927. “Vierne’s approach to conventional composition student, Henri Doyen recalled that it practices (Vierne wrote about his early was ‘one of the rare times when I saw the experiences at the Institut National des clergy and faithful not sortie . . . [they] Jeunes Aveugles in his Mémoires): “After Example 2: page 1, measures 1–1216 (used with kind permission of Bärenreiter-Verlag, Kassel) waited quietly until the end, and a num- three years of instruction we wrote cor- ber of people improvised a little ovation rectly, to be sure, but without the fl ex- for the maître when he came down from ibility and freedom that make harmony the tribune.’”4 an art. Later I had to work extremely On December 8, 1927, Vierne per- hard to acquire a ‘pen’ in the modern formed this work in concert for the sense of the word, and especially to dedication of “the restored organ in the enable me to teach in a really musical Parisian church of Saint-Nicolaus-du- way.”12 These feelings continued during Chardonnet.”5 The reaction of those in his studies with Franck, Widor, and Guil- attendance was favorable: “The work, mant at the Paris Conservatoire. Frui- Example 3a, measures 20–21 (used with kind permission of Bärenreiter-Verlag, Kassel) which unmistakably bears the master’s tion was attained when Vierne was given signature, will undoubtedly become the opportunity to teach Guilmant’s known to the whole musical world, just organ class while he was away on tour in like the name of the composer . . . . America in 1897. Vierne was elated: “I The famous carillon joins together with a was a little uneasy about such a responsi- rhythmic fi gure that captivates the listener bility but, at the same time, delighted to with its adamant periodical recurrence.”6 be able to express unrestrained my own Lastly, Vierne played the “Carillon ideas on free improvisation. We would de Westminster” in concert on May 3, ‘whoop it up’ with modern harmonies.”13 Example 3b, measures 24–25 (used with kind permission of Bärenreiter-Verlag, Kassel) 1928, at the Trocadéro Palace. Remarks Thus, one concludes that Vierne were supportive, stating that the “Caril- uses a free form of modal writing in the and color to the various themes Vierne theme reveals that it is indeed D Ionian lon de Westminster is certainly destined context of the 24 Pièces de Fantaisie. creates and develops throughout the (Example 1a). It begins in the tenor in to enjoy great popularity among all In “Carillon de Westminster” (and in composition. One encounters all of measure 3 and extends to the downbeat organists.”7 Even after these initial per- many other works from this collection), these attributes within the fi rst pages of of measure 32. formances, Vierne “played it constantly, Vierne uses the Gregorian modes as a “Carillon de Westminster.”15 The accompanying fi guration in the including in 1932 for the inauguration foundation for his writing. The modes In “Carillon de Westminster,” the treble gives an aural image of ringing of the restored Notre-Dame organ.”8 of limited transposition, while in their sonorities created are from the D Ionian bells. It begins as alternating fi fths and Clearly, this piece had a warm welcome,9 infancy,14 serve as harmonic enrichment mode. Initial analysis of the opening fourths, also in D Ionian. This fi guration
12 Q THE DIAPASON Q MARCH 2021 WWW.THEDIAPASON.COM changes to fifths and thirds on the down- beat of measure 6 (Example 1b). In measure 11, there is a shift to M3, T1. This continues through measure 12, adding harmonic enrichment (Example 1c). This abrupt change actually occurs Example 3c, measure 33 (used with kind permission of Bärenreiter- quite naturally due to the common tones Verlag, Kassel) of D, E, and F-sharp heard in the theme in measure 10. Also, in measure 11, the theme comes to a temporary hold on D—a common tone of M3, T1, allowing the two modes (D Ionian and Mode 3, T1) to blend seamlessly (Example 2). Example 3d, measures 35–36 (used with kind permission of Bären- D Ionian returns in the upper voices reiter-Verlag, Kassel) Example 6: page 7, measures 68–71 (used with kind permission of in measure 13 and continues until Bärenreiter-Verlag, Kassel) measure 20, where M3, T1 repeats in a similar fashion to the opening pages. The A non-scale tone is from the dominant of D Ionian (Example 3a). In measure 24, there is a move to a different transposition level of Mode 3: T3, made possible by the common tones of F-sharp and A found in measure 23 Example 3e, measures 44–46 (used with kind permission of Bären- (Example 3b): reiter-Verlag, Kassel) M3, T3 continues until measure 33, when an arpeggio in fourths forms a Example 7, measure 70 (used with kind permission of Bärenreiter-Ver- half-diminished vii chord from D Ionian lag, Kassel) (Example 3c). In measure 35, the theme moves to the soprano, and the accompaniment comprising fourths and fifths resumes in the left hand. The interplay of the theme and accompaniment is similar to the material found in the opening measures (Example 3d). However, things change in measure 44. The C-natural in the accompani- ment and the pedal hints to M3, T1, which serves as enrichment to D Ionian (Example 3e). The merger of D Ionian and Mode Example 4: page 6, measures 57–61 (used with kind permission of 3, T1 is traced in both the pedal and Bärenreiter-Verlag, Kassel) accompaniment until the downbeat of measure 60. Here, the D Ionian mode returns with a tonic chord and pedal point. The soprano register is filled with tonic arpeggios spanning two measures, before leading to a transitional section in measure 62 (Example 4). This transitional section comprises a six-note group that alternates between the left and right hands. The move from D Ionian to D Aeolian is made by the change of one note: F-natural in place of F-sharp (modal mixture) displayed in Example 5. Example 5, measures 62–65 (used with kind permission of Bärenre- Example 8: pages 8–9, measures 76–83 (used with kind permission This marks the arrival of the B section, iter-Verlag, Kassel) of Bärenreiter-Verlag, Kassel) where the previously heard six-note pat- terns are used simultaneously in contrary In measure 79, the six-note pattern motion in the manuals, now in B-flat remains, but begins a harmonic trans- Scattered leaves ... from our Scrapbook Ionian, the flat-VI of D Aeolian. This formation with the addition of a flat- new section in B-flat Ionian includes the seven scale degree from B-flat Ionian original theme in the pedal, transposed (Example 8). This addition pulls the ear to the new tonic (Example 6). towards an implied F minor sonority— Everything seems to move along nor- the minor dominant of B-flat Ionian. At The difference mally until measure 70, when an aug- this point, the listener is accustomed to mented V chord suddenly disrupts the hearing B-flat Ionian. Thus, it is shocking between a musically melismatic passage, shown in Example when the music suddenly shifts to B-flat average performance 7. This augmented chord actually Mixolydian in measure 82 (Example 8). hints back to M3, T3. This is possible In measures 87 to 90, Vierne uses and one that is truly convincing by the B-flat common tone heard in Mode 1, T1. This is possible by the could probably be measured the soprano passage of measure 69 addition of G-flat and E-natural to (Example 6).17 The thematic material the six-note pattern. One gathers that in milliseconds continues in an identical fashion from Vierne used the common tones of M3, of measures 71 to 74. T1: C, B-flat, and A-flat (encountered In measures 75 and 76, an E-flat is previously in measure 85) in order to sound and silence. added to the six-note pattern, replacing implement this change, which creates a the D. This change is short lived—the harmonic “lean” to Mode 1. The second D returns in measure 77. However, half of the B section draws to a close Peter Hurford this time a I7 chord is reached in B-flat with the return of an implied ii7 chord Ionian, instead of the augmented V, from B-flat Ionian on measure 91, thus witnessed in measure 74. This is an leading back to the tonic of B-flat Ionian important moment, as the primary on measure 93 and concluding in full on theme (in the bass) has concluded, and measure 94 (Example 9). the first portion of the B section draws After the cascading downward scales to a close. The second part of the B sec- in measure 95, a new theme arrives in Schoenstein & Co. tion becomes rich in modal sonorities measure 96, this time in M3, T3, found with the addition of pitches found in the in the tenor (reached via the com- Established in San Francisco 1877 Mixolydian mode, Mode 3, and Mode 1 mon tone of B-flat). This new 13-note www.schoenstein.com ❧ (707) 747-5858 (Example 8). theme soon changes from M3, T3 to B
WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2021 Q 13 Twentieth-century French organ music
Example 10: page 11, measures 96–110 (used with kind permission of Bärenreiter-Verlag, Kassel)
Example 11, page 12, measures 114–119 (used with kind permission of Bärenreiter-Verlag, Kassel)
voices. M3, T1 also emerges in measure in measure 153, but end abruptly as the 124 in the inner voices, adding support music halts on an extremely dissonant Example 9: pages 9–10, measures 84–95 (used with kind permission of Bärenreiter-Verlag, and color to the theme. Measure 126 chord formed from M3, T3 in measure Kassel) contains a series of alternating tonic and 157. The F-sharp heard continuously dominant substitute chords over the B throughout is locked in place in the Aeolian in measure 103, reached via The bridge consists of arpeggios and theme from measure 96 in the bass, now soprano (a common tone), allowing the the F-sharp common tone in measure scales from the G and B-flat Mixolyd- transposed to D Ionian (Example 12a). full use of chords from this mode. The 99. The driving accompaniment figura- ian modes. The primary sources of this The thematic material repeats after chord in measure 159 seems to function tion propels this theme forward and modal shift are the common tones of D, this four-measure chordal alternation on as a form of altered dominant, but it is will gradually gain intensity. In measure E, and B in measure 113. In measure measure 130. Again, M3, T1 returns with remarkably unstable due to the chro- 104, the theme moves from the tenor 114, the two inner notes of the chord in the chromatic descent of the bass line matically altered G in the bass, which register to the alto, now recomposed in the left hand, D and F, serve as a “com- starting in measure 137. The D Ionian is not found in M3, T3 (but is found in D Mixolydian via the same F-sharp com- mon tone anchor,” allowing a rocking alternating chords return in measure D Ionian). It is not easy to identify this mon tone. The B theme is accompanied movement from G to B-flat Mixolydian 141, this time being interrupted by a chord using functional harmony due by M3, T1 in the left hand. In measure and back again. The two Mixolydian stark arrival of a rapid flourish of thirds, to the added notes. Perhaps one could 106, the theme moves to the soprano and scales link together seamlessly. The fourths, and sixths in the soprano, accom- argue that it is, indeed, a iv7 chord (from changes to F-sharp Mixolydian (via the interplay concludes via a final upward panied by a chromatic, rising bass line in D Ionian) with an added ninth (the F-sharp common tone) in measure 110 rising B-flat Mixolydian scale in measure octaves. This flourish is clearly in M3, T1, C-natural could be viewed as a displaced, (Example 10). 119, reaching the tonic of D Ionian by and the left hand uses the anchor points chromatic tone from measure 158, which This modal interplay creates a sense of step and by chromatic descent in the of D and F-sharp. These anchor notes moves to D in measure 160). Either way, anticipation as the theme rises in pitch, pedal (Example 11). allow two measures of chromatic rising this chord leads back to the tonic (D register, and dynamic level. In measure This active form of writing, combined followed by two measures of chromatic Ionian) with the B theme in the bass, 104, the various restatements of the B with the increasing dynamic levels, results falling before the returning alternating now in double time (Example 13a). theme are no longer separated by long in perhaps the most powerful, seamless, chords resume in measure 149—this This massive sonority brings “Carillon notes. Instead, the theme becomes a and natural recapitulations in the entire time with the “bell-like” interjections de Westminster” to a grand conclusion continuous rising line, which gives way set of 24 Pièces de Fantaisie. In the reca- used in the soprano heard in the opening with three, long “hammer stroke” chords to a bridge in measure 114, gradually pitulation, the primary theme is heard in measures (Example 12b). shown in Example 13b. leading to the recapitulation of the pri- the soprano, accompanied by a supportive The chromatic ascending and The conclusion of “Carillon de West- mary theme. pedal and repeated arpeggios in the inner descending patterns from M3, T1 return minster” (both aurally and analytically)
14 Q THE DIAPASON Q MARCH 2021 WWW.THEDIAPASON.COM Example 12a: pages 13, measures 120–129 (used with kind per- Example 12b: page 15, measures 138–150 (used with kind permis- mission of Bärenreiter-Verlag, Kassel) sion of Bärenreiter-Verlag, Kassel)
clocks, and since this revelation, this theme has become a staple in clock manufacturing world- wide. Rollin Smith, Louis Vierne: Organist of Notre-Dame Cathedral (New York: Pendragon Scale Chart Press, 1999), 555–557. 3. Ibid., 557–559. leaves little doubt that Vierne possessed 4. Ibid., 559. a creative, free-form approach to theo- 5. Vierne, Louis. Pièces de Fantaisie en retical practices. The statements from quartre suites, Livre IV, op. 55, edited by Hel- Rollin Smith’s book document the suc- ga Schauerte-Maubouet (Kassel: Bärenreiter- Verlag, 2008), XXIII. cess of this piece soon after its genesis, 6. Ibid. and the success continues today. With an 7. Ibid., XXIV. understanding of some of the basic prin- 8. Smith, Louis Vierne, 559. ciples of common tone modulations, one 9. Marcel Dupré, on the other hand, hated Example 13a, measures 157–160 (used with kind permission of Bärenreiter-Verlag, Kassel) can discern the construction of the Gre- this composition (and was not fond of Vierne, gorian modes and the modes of limited either, due to irreconcilable differences). transposition vital to decoding Vierne’s “There was an unspoken rule that students harmonic language. It is an important were not to bring Vierne’s music to [Dupré] study that performers and scholars of for study.” If anyone was brave enough to, they were met with harshness. A student ac- Vierne’s music should consider. Not only tually played the “Carillon” for Dupré at a les- does the study of music theory assist in son, the result was unpleasant: “he played the the formation of a comprehension of Carillon de Westminster of Vierne . . . When the art of musical composition, it also he finished, Dupré said only one word . . . , enhances an appreciation of Vierne’s life ‘Rubbish!’” Ibid., 343. and musical thought process. Q 10. See the Scale Chart for complete spell- ings. Notes 11. This discovery is also relatable to the Example 13b, measures 162–164 (used with kind permission of Bärenreiter-Verlag, Kassel) 1. So far, there are only two recent publi- music of Olivier Messiaen. Robert Sherlaw cations on the harmonic analysis of Vierne’s Johnson mentions this in his book, Messiaen: “for most of the time constructional harmonic correctly by Vierne; why this occurred is not Jonathan Bezdegian earned his Doctor music, particularly, the 24 Pièces de Fantaisie. entirely known. However, due to Vierne’s mu- of Musical Arts degree in organ perfor- One is part of a dissertation by Woosung Kang: relationships play no part in Messiaen’s music, except at certain points in some works where sical ingenuity, it is not unwise to attribute this mance from University of Washington, “Louis Vierne’s Pièces De Fantaisie Pour change to Vierne having “taken artistic license Grand Orgue: Its Significance in The History simple dominant-tonic or subdominant-tonic Seattle, in 2018. He is a lecturer in music relationships become evident.” Robert Sher- and altered the second quarter to suit his own and director of the organ scholar pro- of Organ Music,” DMA diss., Indiana Univer- purpose.” Smith, Louis Vierne, 559. sity: Bloomington, Indiana, 2017. Retrieved law Johnson, Messiaen (Los Angeles: Univer- gram at Assumption University, Worces- sity of California Press, 1975), 13. 16. All score excerpts are used with kind from: https://scholarworks.iu.edu/dspace/ permission of Bärenreiter-Verlag, Kassel. ter, Massachusetts. He also serves as bitstream/handle/2022/21344/Kang%2C%20 12. Smith, Louis Vierne, 21. director of liturgical music at Christ the 13. Ibid., 125. 17. Notice that the notes of the augmented V Woosug%20%28DM%20Organ%29. chord are F, A, and C-sharp—all of these notes King Parish in Worcester, Massachusetts, pdf?sequence=1&isAllowed=y. Here, Kang 14. The modes of limited transposition have a long history. We do not know where they are common with M3, T3. Thus, the relation- and is dean of the Worsceter Chapter of briefly discusses the octatonic scale (Mode 2) [PQXJM\_MMV*ÆI\1WVQIVIVL5<Q[KTMIZ. the American Guild of Organists. used for Vierne’s “Clair de Lune:” “Vierne be- all originated. However, we know that Oliv- gins the melody . . . with [an] octatonic scale ier Messiaen is credited for codifying them. combined with chromaticism throughout,” The first publication of the seven modes was 22. The other is the author’s dissertation: in his La Nativité du Seigneur in 1936—one $IWHU \ HDUVZ HWRR Jonathan Bezdegian, “Louis Vierne and the year prior to Vierne’s death in 1937. Also, in Evolution of His Modal Consciousness” (Ann relation to the modes of limited transposition, Arbor, Michigan: ProQuest LLC, 2018). music theorists currently use “T0” to indicate DUHMXVWJ HWWLQJV WDUWHG 2. The actual genesis of this theme is alleg- the first level of transposition (starting on C). edly from “William Crotch’s variations on the However, Messiaen used “T1” or “first trans- fifth and sixth measures of Handel’s ‘I know that position” in his descriptions in La Nativité du my Redeemer Liveth,’ from Messiah, and was Seigneur. So, to be consistent, I have retained played by the chimes of the new Cambridge Messiaen’s system. Thus, T1 indicates the University clock in Great Saint Mary’s Church. first level. See Olivier Messiaen, La Nativité It was played by a mechanism installed 1793– du Seigneur (Paris: Alphonse Leduc, 1936), 1794 and thus known as Cambridge Quarters.” “Note by the Composer.” In 1859–1860 the actual theme was copied (for 15. There were several accounts of this the second time) for a clock tower at the end of theme being written incorrectly by Vierne. the House of Parliament for a new and larger The theme itself is quite long, since it com- set of carillon bells. The “Big Ben” nickname prises four quarters (one phrase for each quar- was actually the name of the 13.5-ton bell, ter of the hour): one 2-bar phrase for the first which was used to strike the hour. There are 15 minutes of the hour, a second phrase of four smaller bells that chime the actual theme four measures for the 30-minute mark, a third known as the “Westminster Quarters.” We phrase of six measures for 45 minutes, and 1-800-621-2624 can also note that this particular theme was the final phrase for the hour, comprising eight foleybaker.com adapted to clocks in 1886. This was actually the measures. It is the second quarter (copied in Proud Member of APOBA first time tubular chimes were introduced into measure 2 of Example 1a) that was notated in-
WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2021 Q 15 Pipe organ history
Pipe Organs of La Grange, Illinois, and the Architectural Edifices That House Them
Part 6: Saint Francis Xavier Catholic Church
Saint Francis Xavier Catholic Church, La Grange, Illinois By Stephen Schnurr
This article is a continuation of a series in the August 2015, June 2016, July 2017, February 2018, and June 2018 issues of The Diapason. The information was delivered as a lecture for the Midwinter Pipe Organ Conclave on January 19, 2015, in La Grange, Illinois. The research for this project provides a history of a number of pipe organs in the village, but not all. For instance, organs in residences and theaters are not surveyed.
he mother church of Catholic Tparishes in La Grange, Saint Fran- cis Xavier, was founded in 1890. The first Mass was said on All Saints’ Day, November 1. Franklin Dwight Cossitt, the real estate developer who founded La Grange, donated property for the new congregation. A frame Gothic church, designed by Chicago architect Alphonse Druiding, was built at a cost of $10,000. The church was dedicated on September 5, 1892. The cornerstone of the present church was laid on June 1, 1930. Dedication of this edifice in the Italian Renaissance style of Bedford stone and designed by Joe W. McCarthy of Chicago occurred on June 14, 1931. Italian marble was used for the altars, pulpit, altar railing, and sanctuary flooring. The mosaic Stations of the Cross were crafted in Venice. The cost of the building was $400,000, and a The Berghaus console A view towards the choir and organ gallery of the church considerable debt was carried by the con- gregation. In 1936, the debt still stood at 1930 Geo. Kilgen & Sons Opus 4524 4′ Flute (ext 8′ Melodia) 2′ Piccolo (ext Gt 8′ Melodia) $350,000, finally paid in 1946. 8′ Tuba Harmonic 61 pipes 8′ Clarinet (61 pipes) GREAT (Manual II, enclosed Chimes 8′ Orchestral Oboe (synthetic) Geo. Kilgen & Son of Saint Louis, Mis- with Choir) Great to Great 16 Tremolo souri, supplied its Opus 4524 for the new 16′ Contra Gamba 73 pipes Great Unison Off Choir to Choir 16 church, a three-manual, fifteen-rank, 8′ Open Diapason 61 pipes Great to Great 4 Choir Unison Off electro-pneumatic-action organ installed 8′ Melodia 97 pipes Swell to Great 16 Choir to Choir 4 8′ Doppel Flute 73 pipes Swell to Great 8 Swell to Choir 8 in chambers above the loft at the rear of 8′ Gamba (ext 16′ Contra Gamba) Swell to Great 4 the nave. The stop-tongue console was 8′ Dulciana 85 pipes Choir to Great 16 PEDAL situated in the center of the gallery. 4′ Octave 61 pipes Choir to Great 8 32′ Resultant (16′ Subbass with 16′ 2 Choir to Great 4 Bourdon at 10 ⁄3′ pitch) 16′ Subbass 32 pipes SWELL (Manual III, enclosed) 16′ Bourdon (ext Gt 8′ Doppel Flute) 16′ Bourdon 97 pipes 16′ Lieblich Gedeckt (fr Sw 16′ Bdn) 8′ Violin Diapason 73 pipes 8′ Cello (fr Gt 8′ Gamba) 8′ Stopped Diapason (ext 16′ Bourdon) 8′ Flauto Dolce (fr Sw 16′ Bourdon) 8′ Quintadena (synthetic, 16′ Bourdon Great to Pedal 8 2 at 8′ and 2 ⁄3′ pitches) Swell to Pedal 8 8′ Salicional 85 pipes Choir to Pedal 8 8′ Voix Celeste 73 pipes 4′ Flute d’Amour (ext 16′ Bourdon) Accessories 4′ Salicet (ext 8′ Salicional) 4 General pistons (thumb, above Manual III) 2′ Flautino (ext 16′ Bourdon) 4 Great and Pedal pistons (thumb) 8′ Cornopean 73 pipes 4 Swell and Pedal pistons (thumb) 8′ Vox Humana 73 pipes 4 Choir and Pedal pistons (thumb) Tremolo Great to Pedal reversible (toe) Harp (prepared) Balanced Swell expression shoe Swell to Swell 16 Balanced Great and Choir expression shoe Swell Unison Off Balanced Crescendo shoe (indicator light) Swell to Swell 4 Sforzando reversible (toe, indicator light) Wind and Current indicator light CHOIR (Manual I, enclosed with Great) 16′ Dulciana (ext Gt 8′ Dulciana) This instrument was replaced in 2003 8′ Violoncello (fr Gt 8′ Gamba) by a new organ from the Berghaus 8′ Melodia (fr Gt 8′ Melodia) 8′ Dolce (fr Gt 8′ Dulciana) Organ Company of Bellwood, Illinois. 4′ Flute (fr Gt 8′ Melodia) The two-manual instrument is housed in 4′ Dulcet (ext Gt 8′ Dulciana) a free-standing case in the gallery. Key
16 Q THE DIAPASON Q MARCH 2021 WWW.THEDIAPASON.COM The nave of the present church 2003 Berghaus Organ Company Opus 215
One of the tonal openings for the origi- nal 1930 Geo. Kilgen & Sons Opus 4524
A vintage postcard view of the original Saint Francis Xavier Church and rectory action is electric-slider; stop action is 8′ Hautbois 61 pipes Stephen Schnurr, a resident of Gary, 16′ Trompette Royale (fr Gt 16′ Tromp) electro-pneumatic. Manual key cover- ′ ′ Indiana, is editorial director and pub- ings are bone for naturals, ebony for 8 Trompette Royale (fr Gt 16 Tromp) lisher of The Diapason, director of Tremulant sharps; pedal coverings are maple for Swell to Swell 16 music for Saint Paul Catholic Church, naturals, rosewood for sharps. Swell Unison Off Valparaiso, Indiana, and adjunct Swell to Swell 4 instructor of organ for Valparaiso Uni- 2003 Berghaus Organ Company MIDI versity. His most recent book, Organs Opus 215 PEDAL of Oberlin, was published in 2013 by 16′ Principal 32 pipes Chauncey Park Press. He has authored GREAT (Manual I) ′ ′ 16 Subbass 32 pipes several other books and numerous jour- The console of 1930 Geo. Kilgen & Sons 16 Bourdon (61 pipes) 61 pipes ′ Opus 4524 8′ Principal (façade, 75% tin) 61 pipes 8 Octave (in façade, 75% tin) 32 pipes nal articles, principally on pipe organ ′ 8′ Gemshorn 32 pipes 8 Gamba 61 pipes ′ history in the Great Lakes region. 8′ Rohrflöte 61 pipes 4 Octave 32 pipes 4′ Octave 61 pipes III Rauschpfeife (added 2019) 96 pipes ′ 16′ Bombarde 32 pipes 4 Koppelflöte 61 pipes ′ 2 ′ 4 Clarion (added 2019) 32 pipes 2⁄3 Quinte 61 pipes ′ ′ 2′ Octave 61 pipes 8 Trompette Royale (fr Gt 16 Tromp) 3 4′ Trompette Royale (fr Gt 16′ Tromp) 1⁄5′ Tierce 61 pipes IV Mixture (draws 2′ Octave) 183 pipes Great to Pedal 8 8′ Trompette 61 pipes Swell to Pedal 8 16′ Trompette Royale (TC, prepared) Swell to Pedal 4 8′ Trompette Royale (fr 16′ Trompette) MIDI Tremulant Swell to Great 16 Accessories Swell to Great 8 8 General pistons (thumb and toe) Swell to Great 4 6 Great pistons (thumb) Church of Saint Jude the Apostle Chimes (Deagan, Class M) 21 tubes 6 Swell pistons (thumb) Wauwatosa, Wisconsin Zimbelstern 6 Pedal pistons (toe) Three manuals – forty ranks MIDI General Cancel (thumb) Combination Set (thumb) SWELL (Manual II, enclosed) Great to Pedal reversible (thumb and toe) A RTISTRY – R ELIABILITY – A DAPTABILITY 8′ Metal Gedackt 61 pipes Swell to Pedal reversible (thumb and toe) 8′ Salicional 61 pipes Swell to Great reversible (thumb) 8′ Voix Céleste (TC) 49 pipes Zimbelstern reversible (thumb and toe) 4′ Principal 61 pipes 8′ Trompette Royale (Gt) reversible (thumb) 4′ Waldflöte 61 pipes Balanced Swell expression shoe 2′ Hohlflöte 61 pipes Balanced Trompette Royale expression shoe 1 1⁄3′ Larigot 61 pipes Balanced Crescendo shoe (indicator light) IV Scharff 244 pipes Tutti reversible (thumb and toe, indicator light) 16′ Dulzian 61 pipes Wind indicator light Q
WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2021 Q 17 Cover feature
Goulding & Wood Pipe Organ Builders, Indianapolis, Indiana Fortieth Anniversary Saint John’s Episcopal Cathedral, Knoxville, Tennessee, Opus 52 The year 2020 was indeed an historic year for many reasons. As the calendar page turns to another year, it has become somewhat easier to see in retrospect that 2020 contained reasons for celebra- tion even amidst a time of pandemic and stress. For Goulding & Wood Pipe Organ Builders of Indianapolis, 2020 marked forty years of operation and afforded a chance to look back at the arc of the company’s history. The capstone of this anniversary year was the comple- tion of the firm’s Opus 52 organ for Saint John’s Episcopal Cathedral of Knoxville, Tennessee. This project is built on a solid legacy of organbuilding from the India- Saint John’s Episcopal Cathedral, Knoxville, Tennessee (photo credit: Ben Finch) napolis workshop. John Goulding and Thomas Wood of remote key action providing for mov- Ball State University, Muncie, Indiana joined forces in 1980, combining shared able consoles and flexible coupling and (photo credit: Michael Hickey of Ball State Uni- experiences at the E. H. Holloway Cor- control systems. The efficiency and sim- versity Photo Service) poration and individual backgrounds plicity inherent in this system have long with Gratian and Holtkamp organ com- been recognized for their contribution to panies on the part of Mr. Goulding and, the long-term viability of an instrument. for Mr. Wood, experience at Indiana Slider chests have few working parts to University School of Music including wear out, and when the time for major participating in the creation of its first maintenance comes, access and scope of electronic music laboratory while also work are optimum for easy restoration. serving as curator of organs. While from One of the specific design considerations very different backgrounds, both men for Mr. Goulding was ease of long-term shared a lifelong love of the organ, its renewal, so that an institution will not be music, and the ideals of corporate wor- saddled with exorbitant costs typical of ship. They inherited a particular under- many refurbishment projects. standing of the organ reform movement, As the organ reform movement began then in its full maturity, and Mr. Gould- to shed some of its excesses and musical ing’s mechanical innovations including a taste returned to more substantial ideas unique windchest design, tremolo action, of tonal architecture, Goulding & Wood and schwimmer wind regulators. These integrated the lessons learned about The Cathedral of Christ the King, Atlanta, raw elements formed an impressively chorus structure with the aurally based Georgia (photo credit: Don Rank Photography, strong foundation for the new firm, and craving for generous fundamental and Inc.) the company quickly built a reputation variety of color. Already by 1989, this for excellence and sophistication. marriage is seen fully developed in the each organ specifically for the acoustical Within the first six years of opera- layout of the organ for the Church of environment in which it is placed. An tion and first ten projects, the firm had Saint John the Evangelist located on the assiduous student of past voicers, Mr. expanded to the Chicago and Washing- other side of Indianapolis’s downtown Woods relished restoring old pipework, Good Shepherd Episcopal Church, Lex- ton, D.C., metro areas. Installations in from the Goulding & Wood workshop. particularly in the renovation projects ington, Kentucky (photo credit: Hans Flueck) Durham, North Carolina, and Atlanta, The stoplist of this two-manual organ the company undertook on instruments Georgia, soon followed, establishing a comprises a wealth of 8′ stops, a wide from many different builders and eras. As the company continued to build trend toward a significant presence in the variety of reed colors, and a carefully He brought the lessons he learned from larger and more complex instruments, Southeast. In the years that followed, Mr. balanced scheme of principal choruses observing other voicers’ work to bear on the workshop saw a growth in size and Goulding and Mr. Wood built a strong that allows organists to create plenums his own treatment of pipes, both flue sophistication. The addition of Com- team of like-minded organbuilders who of several different levels of dynamic and reed. As the sole voicer, Mr. Woods puter-Assisted-Design supported the shared a solid commitment to build- volume and tonal intensity. This organ exerted a strong bearing on the com- increase in refinement of mechanical ing electro-pneumatic-action organs was in some ways a working out of pany’s musical personality. and visual designs notably present in the with the artistry and refinement usually tonal ideas that laid the groundwork John Goulding, who oversaw the instruments in Saint Meinrad, Indiana, associated only with mechanical-action for the much larger instruments in the design and construction of the organs, and Greenville, South Carolina. builders. Musically, this achievement Cathedral of Christ the King in Atlanta was joined by his son, Mark Goulding, By the beginning years of the present flows in large part from the firm’s exclu- and Christ Church Cathedral in New in 1985. The younger Goulding began century, Goulding & Wood had attained sive windchest design. As an electro- Orleans. Brandon Woods, the firm’s first as the head chest builder, laying a national reputation of excellence. The pneumatic slider and pallet windchest, voicer beginning with Opus 6 (1984), out and fabricating the slider chests. In founders were ready to pass along cre- it marries the time-honored benefits of grew in his understanding of tonal struc- time, he began overseeing installation ative control to a new generation with common key channels with the flexibility ture and mastery of unifying the voice of crews and general shop organization. the assurance that the company would
Goulding & Wood Pipe Organ Builders Opus 52 St. John’s Episcopal Cathedral, Knoxville, Tennessee
GREAT (Manual II) 4′ Octave Geigen 61 pipes 2′ Recorder 61 pipes 16′ Violone (Gt) 3 16′ Violone 61 pipes 4′ Traverse Flute 61 pipes 1⁄5′ Tierce 61 pipes 16′ Gedeckt (Sw) 1 8′ First Diapason 61 pipes 2′ Octave 61 pipes 1⁄3′ Larigot 61 pipes 16′ Dulciana (Ch) 8′ Second Diapason 61 pipes 2′ Piccolo 61 pipes 1′ Cymbale III 183 pipes 8′ Octave 32 pipes 8′ Violone (ext 16′) 12 pipes 2′ Mixture III–IV 223 pipes 8′ Clarinet 61 pipes 8′ Stopped Flute 32 pipes 8′ Harmonic Flute (1–12 Bdn) 49 pipes 16′ Bassoon-Oboe 61 pipes 8′ Tuba 61 pipes 8′ Violone (Gt) 8′ Bourdon 61 pipes 8′ Trumpet 61 pipes 8′ Festival Trumpet (Gt) 8′ Gedeckt (Sw) 4′ Octave 61 pipes 8′ Oboe (ext 16′) 12 pipes Tremulant 4′ Fifteenth 32 pipes 4′ Open Flute 61 pipes 8′ Vox Humana 61 pipes Cymbelstern (5 tuned bells) 4′ Cantus Flute 32 pipes 2 2 2⁄3′ Twelfth 61 pipes 4′ Clarion 61 pipes Nightingale (2 pipes in water) 2⁄3′ Fourniture IV 128 pipes 2′ Fifteenth 61 pipes 8′ Festival Trumpet (Gt) 32′ Contra Bassoon (digital ext) 12 notes 3 1⁄5′ Seventeenth 61 pipes 8′ Tuba (Ch) ANTIPHONAL 16′ Trombone 32 pipes 1 1⁄3′ Fourniture IV 244 pipes Tremulant 8′ Echo Diapason 61 pipes 16′ Bassoon (Sw) 8′ Trumpet 61 pipes 8′ Diapason Celeste 61 pipes 8′ Tromba 32 pipes 8′ Festival Trumpet 56 pipes CHOIR (Manual I, enclosed) 8′ Stopped Diapason 61 pipes 8′ Bassoon (Sw) 8′ Tuba (Ch) 16′ Dulciana (ext 8′) 12 pipes 4′ Octave 61 pipes 4′ Clarion 32 pipes Tremulant 8′ Open Diapason 61 pipes 4′ Spire Flute 61 pipes 8′ Tuba (Ch) Chimes (digital, 37 notes) 8′ Second Diapason (Gt) 2′ Fifteenth 61 pipes Tremulant 1 8′ Chimney Flute 61 pipes 1⁄3′ Mixture II–III 171 pipes SWELL (Manual III, enclosed) 8′ Dulciana 61 pipes ANTIPHONAL PEDAL 16′ Gedeckt 61 pipes 8′ Unda Maris (TC) 49 pipes PEDAL 16′ Stopped Diapason (ext) 12 pipes 8′ Geigen Diapason 61 pipes 4′ Principal 61 pipes 32′ Violone (digital ext) 12 notes 8′ Stopped Diapason (fr Ant 8′) 8′ Gedeckt (ext 16′) 12 pipes 4′ Spindle Flute 61 pipes 32′ Bourdon (digital ext) 12 notes 2 8′ Viole de Gambe 61 pipes 2⁄3′ Nazard 61 pipes 16′ Principal 32 pipes Normal complement of couplers 8′ Voix celeste (GG) 54 pipes 2′ Octave 61 pipes 16′ Bourdon 32 pipes Three manuals, 70 ranks, 3,884 pipes
18 Q THE DIAPASON Q MARCH 2021 WWW.THEDIAPASON.COM Saint Meinrad Archabbey, Saint Meinrad, Indiana (photo credit: Robert Duffy)
Saint Philip’s Episcopal Church, Durham, North Carolina (photo credit: Robert Duffy)
Loyola University, Chicago, Illinois (photo credit: Mark Beane/Loyola University Chicago) continue to expand and develop along the trajectory they had established. In 2003 John Goulding and Thomas Wood retired, making the unusual decision to turn ownership of the company com- pletely over to active members of the organbuilding team. The first project completed following this transition was the sixty-nine-rank organ for Preston Vineville United Methodist Church, Macon, Georgia (photo credit: Walter E. Elliott) Hollow Presbyterian Church in Dallas, Texas, an instrument that boasts two 32′ painful turn when Mr. Woods passed into the future. This combination of sea- stops, four independent full-length open away in 2016 shortly after a cancer soned experience and fresh ideas con- 16′ flue ranks, and extensive carved case- diagnosis. Fortunately, the voicing room tinues to bear fruit in exciting ways. The work in the Georgian neo-classical style. East Liberty Presbyterian Church Pitts- was in good hands as tonal responsibili- results are manifest to an extraordinary Prestigious projects followed, includ- burgh, Pennsylvania (photo credit: Goulding ties passed to Jerin Kelly (a member of degree in the organ for Saint John’s Epis- ing installations at Ball State University & Wood) The Diapason’s 20 Under 30 Class of copal Cathedral of Knoxville, Tennessee, in Indiana and Loyola University of Chi- 2017), who had extensive background the firm’s fifty-second opus-numbered cago. No less significant to the company’s As a natural part of this evolution, the in woodworking and as a musician in his project. A comprehensive tonal design development, organs in Germantown, company attracted and trained young own right. Mr. Kelly has followed closely that furnishes organists with abundant Tennessee, Macon, Georgia, and Lexing- talent. Several woodworkers came from in the footsteps of Mr. Woods, excelling resources for service playing and faith- ton, Kentucky, maintained the company’s the Indiana University Herron School of both at refurbishing pipework from ful rendition of repertoire is housed evolution toward a tonal ideal that favors Art and Design, and these young artists other builders and placing his own stamp within handsome cases adorning the choruses based on rich fundamental have discovered a newfound passion for on new organs. church with a panoply of architectural tone, a wide palette of vibrant colors, and the pipe organ. Organists also found The Goulding & Wood team contin- detail. The ornate cabinetry, including a seamless blend building to a thrilling their way into the shop, enriching the ues to pair veteran craftsmen, many with a wealth of hand-carved detail, asserts a tutti. Goulding & Wood continued to conversations about tonal design and tenures at the firm of several decades in commanding presence that nevertheless go from strength to strength, earning musical goals for each project. The length, with a younger generation of arti- complements the architecture rather acclaim for each subsequent instrument. company suffered an unexpected and sans, eager to push the company further than competes with it. Warm polished
WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2021 Q 19 Cover feature
Preston Hollow Presbyterian Church, Dallas, Texas (photo credit: Vern Steinman)
Goulding & Wood Opus List 52 2020 St. John’s Episcopal Cathedral Knoxville, Tennessee III/70 51 2015 Trinity Episcopal Church Mobile, Alabama II/33 50 2013 Good Shepherd Episcopal Church Lexington, Kentucky IV/58 49 2009 First United Methodist Church Rocky Mount, North Carolina I/14 48 2009 Vineville United Methodist Church Macon, Georgia III/59 47 2008 Loyola University Chicago, Illinois III/70 46 2007 St. George’s Episcopal Church Germantown, Tennessee III/55 45 2006 Ball State University Muncie, Indiana III/60 44 2005 St. Charles Borromeo Catholic Church Bloomington, Indiana II/27 43 2005 Second Presbyterian Church Roanoke, Virginia III/58 Cook Grand Hall organ, Indiana Landmarks Center, Indianapolis (courtesy Indiana 42 2004 First Presbyterian Church Washington, North Carolina III/44 Landmarks) 41 2003 Preston Hollow Presbyterian Church Dallas, Texas III/69 40 2003 St. Peter Catholic Church Montgomery, Indiana II/13 39 2002 St. John’s Episcopal Church Crawfordsville, Indiana II/9 38 2002 Meridian Street Methodist Church Indianapolis, Indiana II/12 37 2003 First Presbyterian Church Greenwood, South Carolina III/57 36 2000 Orchard Park Presbyterian Church Indianapolis, Indiana I/9 35 2001 Christ Episcopal Church Greenville, South Carolina III/67 33 1999 St. Luke’s United Methodist Church Indianapolis, Indiana IV/80 32 1998 First Presbyterian Church Goldsboro, North Carolina III/48 31 1997 Davidson United Methodist Church Davidson, North Carolina III/50 30 1997 Saint Meinrad Archabbey Saint Meinrad, Indiana III/70 29 1996 Bethlehem Lutheran Church Indianapolis, Indiana II/12 28 1996 First United Methodist Church Rocky Mount, North Carolina III/55 27 1995 St. Luke’s Lutheran Church Park Ridge, Illinois II/37 26 1995 St. Paul’s Episcopal Church Wilmington, North Carolina II/47 25 1994 Christ Church Cathedral New Orleans, Louisiana IV/94 24 1993 Trinity United Methodist Church Lafayette, Indiana II/33 23 1993 First Lutheran Church Columbus, Indiana II/23 22 1992 Lutheran Church of the Holy Comforter Belmont, North Carolina II/34 21 1992 St. Martin’s Episcopal Church Charlotte, North Carolina III/44 20 1991 Carmelite Monastery Terre Haute, Indiana II/6 19 1992 The Cathedral of Christ the King Atlanta, Georgia III/66 18 1991 Trinity United Methodist Church Madison, Indiana III/42 17 1990 First United Methodist Church Warsaw, Indiana II/40 16 1990 First Presbyterian Church Muncie, Indiana III/56 15 1989 St. Paul’s Lutheran Church Richmond, Indiana III/43 14 1989 St. John the Evangelist Catholic Church Indianapolis, Indiana II/36 13 1988 St. Simon Catholic Church Washington, Indiana III/53 12 1988 First United Methodist Church Attica, Indiana II/34 11 1987 St. Philip’s Episcopal Church Durham, North Carolina III/42 10 1987 Peace Lutheran Church Rogers, Arkansaas II/26 Christ Church Cathedral, New Orleans, Louisiana (photo credit: Robert Duffy) 9 1986 Takoma Park Seventh-Day Adventist Church Takoma Park, Maryland III/44 tin pipes with gilded mouths echo the its forty-year history, yet it would be erro- 8 1986 St. Marcelline Catholic Church Schaumburg, Illinois II/23 brightness of the room, and bespoke neous to think of it as a magnum opus. 7 1986 Park View United Methodist Church Peru, Indiana II/11 features, such as the linen-fold panels, The artists of Goulding & Wood are con- 6 1984 First United Methodist Church West Lafayette, Indiana III/45 delight the eye. The beauty, in both tinually expanding their vision to achieve 5 1984 Spirit of Joy Church Indianapolis, Indiana II/16 sound and appearance, is built upon a ever more refinement in all aspects of 4 1983 Trinity Lutheran Church Richmond, Indiana II/28 mechanical layout that is as ingenious as organbuilding. As they look forward to 3 1982 Episcopal Church General Convention it is elegant, ensuring not only uncom- the next forty years, the team is eager to New Orleans, Louisiana II/36 promised reliability but also access to approach each project with enthusiasm, (moved to Orchard Park Presbyterian Church, Indianapolis, Indiana) every component. professionalism, and excellence. 2 1981 Trinity Lutheran Church Evansville, Indiana III/41 The Knoxville organ is in many ways a —Goulding & Wood Pipe Organ Builders 1 1980 Trinity Episcopal Church Bloomington, Indiana II/31 summation of the learning, growth, and hard work that the company has seen over Cover photo credit: Ben Finch For complete specifications of each instrument visit www.gouldingandwood.com.
20 Q THE DIAPASON Q MARCH 2021 WWW.THEDIAPASON.COM Reviews Bert Adams, FAGO PATRICK ALLEN Park Ridge Presbyterian Church Book Reviews New Organ Music Park Ridge, IL GRACE CHURCH Singing the Faith: A Short Introduc- With High Delight: Organ Music Pickle Piano & Church Organ Systems NEW YORK tion to Christian Hymnody, by Carl for Easter, by Kenneth T Kosche. Bloomingdale, IL Schalk. MorningStar Music Pub- MorningStar Music Publishers, lishers, MSM-90-59, ISBN 978-0- 2019, MSM-10-464, $19. Available 944529-80-5, paperback, $15. Avail- from morningstarmusic.com. able from morningstarmusic.com. Kenneth Kosche, Professor of Music Christopher Babcock Your artist spotlight can appear Noted composer, author, and teacher Emeritus of Concordia University on The Diapason website for Carl Schalk needs no introduction to Wisconsin, Mequon, has composed a as little as $16 per month St. Andrew’s by the Sea, church musicians. His career included very interesting set of pieces centered Contact Jerome Butera, three decades as a professor of music around the celebration of Easter. In Hyannis Port [email protected] (later emeritus) at Concordia University general, the form of these seven pieces Chicago, River Forest, Illinois. Com- seems to be that of the Baroque chorale poser of over two dozen hymntunes prelude: short sections introducing the (perhaps his best known is the tune hymntunes with only a remote nod to Now, to accompany Jaroslav J. Vajda’s the tune itself, and then the hymntune is Dean W. Billmeyer hymn text, “Now the Silence, Now the presented with only modest ornamenta- Peace”) and part of the commission that tion in the manuals or the pedal. At fi rst University of Minnesota produced the Lutheran Book of Worship glance I thought several of the tunes Minneapolis 55455 • [email protected] (1978), he was a Fellow of the Hymn were unknown to me, but with playing Society of the United States and Canada. the selections through and looking at He composed and arranged numerous some in a hymnal, I was able to discern choral and organ works and was editor the tunes quite clearly. GAVIN BLACK of the journal Church Music from 1966 The tunes Dr. Kosche uses are: 1. Byron L. Blackmore to 1980. Awake, My Heart, with Gladness (Auf, Princeton Early Keyboard Center Crown of Life Lutheran Church Schalk produced here an easily man- auf, mein Herz); 2. Christ is Alive! Let 732/599-0392 Sun City West, Arizona ageable (93 pages) historical survey of Christians Sing (Truro); 3. Come, You www.pekc.org hymnody, comprising eleven chapters Faithful, Raise the Strain (Gaudeamus 623/214-4903 plus foreword and afterword; there is Pariter/Ave virgo virginum); 4. I no index. References and comments are Know that My Redeemer Lives (Duke provided in footnotes. Street); 5. Now the Green Blade Rises The foreword identifi es this little (Noël nouvelet); 6. This Joyful East- THOMAS BROWN Carson Cooman book’s purpose, to introduce “the story ertide (Vruechten); and 7. With High CHAPEL HILL, NORTH CAROLINA Composer and Concert Organist of Christian hymnody in the Western Delight (Mit Freuden zart). Harvard University Church,” including “contributions, These settings are lively and joyful, ThomasBrownMusic.com www.carsoncooman.com confl icts, and questions which arose . . . certainly suited for the Easter season. in the development of Christian song Number 4 above, based on the tune from the Old Testament through the Duke Street, opens with a fugal sec- twentieth century.” Beyond its concise- tion written with many sixteenth notes, Your professional card ness, the book’s suggestions of points and the curve of the subject follows the DELBERT DISSELHORST for further examination make it useful general curve of the tune, though it may could appear here! as a teaching resource in a variety of not be apparent at fi rst. In measure 11 Professor Emeritus Contact: [email protected] settings: music history courses, worship the hymntune enters in the pedal. Kosche University of Iowa–Iowa City or 608/634-6253 studies, seminary training, and parish asks for a 16′ reed. Oh, how I wish I had education, as well as for individuals, one! The tune continues to its conclusion, particularly church musicians and clergy. and then the opening material returns for It makes a wonderful review for those of fi ve measures before the hymntune enters STEVEN EGLER JOHN FENSTERMAKER us whose historic memories need some again in the pedal. This time, though, only Central Michigan University dusting-off. the opening and fi nal lines of the tune are TRINITY-BY-THE-COVE The fi rst three chapters of Schalk’s presented, which ends the piece. Kosche School of Music Mt. Pleasant, MI 48859 survey cover Old and New Testament, calls for a full plenum in the manual NAPLES, FLORIDA psalmody, and hymnlike passages and against the 16′ reed in the pedal along [email protected] odes, as well as the Greek hymnody of with an 8′ Principal. The music is bright, the early church. Schalk shows the early cheerful, and enjoyable to play. Norberto origins of some of the hymns that are A totally different form is found in the still in frequent use today. Chapter four setting of “Now the Green Blade Rises.” deals with monophonic Latin hymnody The melody enters in the third measure Susan Goodson Guinaldo of the Medieval period, highlight- after a drum-like beat is set on the Great Emanuel United Church of Christ His Music ′ ing the hymns of Ambrose of Milan 8 Flute. Manchester, Michigan See—Listen—Buy as well as sequence hymns. Chapters The tune continues to its end; then in www.GuinaldoPublications.com fi ve through seven treat the Reforma- measure 20, the composer calls for the tion—Martin Luther and the chorale, manual to be coupled with the pedal, and John Calvin and the metrical psal- and the pedal adds to the drum-like ters—along with Paul Gerhardt and late effect while grace notes are added to the Read the May issue of seventeenth-century Pietism. Hymn drum fi gure in the manual part. Another collections of Isaac Watts and John and two measures go by, and the tune enters The Diapason Charles Wesley are treated in chapter again, this time in two parts. In measure eight, nineteenth-century English and 44, a piston would be handy as the tune and meet our 20 Under 30 Class of 2021 German hymnody (and the Oxford and thereupon moves to the pedal, this time Confessional movements) in chapter with a light 4′ reed, while both hands nine. American hymnody is surveyed carry on an elaboration, adding a 4′ fl ute in the fi nal two chapters, with chapter on the Great while the Swell maintains David Herman ten devoted to the impact of the psalter its opening registration, 8′ Oboe and 3 ′ tradition, the infl uences of English- 1 ⁄5 Tierce. Nearing the end, the tune Trustees Distinguished Professor Emeritus of Music and University Organist Irish-Scottish folk tunes, Lowell Mason, in the pedal repeats a phrase in longer and the German Confessional move- notes . The piece seems to be slowing for The University of Delaware Q [email protected] ment. The last chapter, “America: The the fi nish, but Kosche indicates non rit., Twentieth Century,” also includes some whereupon the work abruptly ends. twenty-fi rst-century references. Since I normally play a two-manual There is little to quibble about. instrument, I feel that Kosche has Gail Archer Should there be a reprinting or second favored me in writing for two manuals organist edition, perhaps the inconsistency in rather than three! The harmonies are use of translation (certain passages and not highly chromatic, and the diffi culty www.gailarcher.com LorraineSunghee Brugh, Kim, DMPh.D. titles are translated into English, others is moderate. Practice will be necessary Professor of Music not) and some small editorial slips could in places, but the music should fl ow Vassar College Barnard College, Columbia University University Organist be rectifi ed. Nonetheless, this is a useful together without tremendous effort. [email protected] Valparaiso, Ind. and easy to read volume, packed with a I think congregations will enjoy these (212) 854-5096 great deal of history, that all of us could delightful settings, and I highly recom- valpo.edu enjoy and benefi t from. Recommended. mend them. Promotion 219.464.5084219-464-6796 SOZO Media —Joyce Johnson Robinson —Jay Zoller [email protected]@valpo.edu Niles, Illinois Newcastle, Maine [email protected]
WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2021 Q 21 ANDREW HENDERSON, DMA Reviews WILL HEADLEE Madison Avenue Presbyterian Church In memoriam New York, NY New Recordings a text by G. K. Chesterton, is similarly Make We Merry: Christmas Music gentle, but more complex in the way it 1930–2020 www.andrewhenderson.net for Upper Voices. Benenden Chapel weaves together the upper voices. “All Choir and the London Metropolitan This Night Shrill Chanticleer” combines Brass, directed by Edward Whiting. soaring upper voices and the sound of A Professional Card in Regent Records, REGCD547, £8.33. brilliant trumpets. “Moonless Darkness Richard Barrick Hoskins Available from regentrecords.com. Stands Between” sets a text by Gerard Manley Hopkins. A mystical, brooding Director of Music & Organist The Diapason Make We merry: (i) Make We Merry, (ii) The Time Draws Near, (iii) The feeling pervades the piece, in which the For rates and digital specifications, St. Chrysostom's Church Christ-child Lay on Mary’s Lap, (iv) All brass produces a much darker effect Chicago contact Jerome Butera This Night Shrill Chanticleer, (v) Moon- than in the previous movement. “Sweet [email protected] 608/634-6253; [email protected] less Darkness Stands Between, (vi) Sweet Was the Song the Virgin Sang” makes Was the Song the Virgin Sang, (vii) Let use of a song of circa 1600 in William Others Look for Pearl and Gold, (viii) Ballet’s Lute Book. Sweetness is indeed KIM R. KASLING JAMES KIBBIE Make We Joy Now in This Fest, David the word that sums up this work. Rob- Bednall. The Midnight of Your Birth: (i) ert Herrick’s text, “Let Others Look for D.M.A. The University of Michigan The Angel Did Fly, (ii) The Blackbird Pearl and Gold,” contains the phrase St. John’s University Ann Arbor, MI 48109-2085 With One White Feather, (iii) Kindness “tissues or tabbies manifold.” Tabbies 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 (A Raven Flew to Bethlehem), (iv) The has nothing to do with cats, but rather email: [email protected] Midnight of Your Birth, (v) The Rain- refers to watered silk fabrics. Bednall’s tree Carol, Bob Chilcott. Snow angel: setting is warm and makes use of rich (i) Prologue, (ii) Creatures of Light, (iii) textures. The final movement of the David K. Lamb, D.Mus. God Will Give Orders to His Angels suite, “Make We Joy Now in This Fest,” Karen Schneider Kirner Director of Music About You, (iv) Sweet Child, Hear My uses a fifteenth-century macaronic text. Director, Notre Dame Handbell Choir Song, (v) Snow Angel, Sarah Quartel. Its upbeat character echoes the first Trinity United Methodist Church Assistant Director, Notre Dame Folk Choir New Albany, Indiana Benenden School in Kent is one of movement and ties the whole suite hap- University of Notre Dame 812/944-2229 England’s foremost girls’ independent pily together. schools and numbers Princess Anne, the Bob Chilcott is the most experienced Princess Royal, among its distinguished of the composers featured on this alumnae. Benenden Chapel Choir, com- compact disc. Born in 1955 in Plym- prising thirty-six girls between thirteen outh, Devon, he was both a chorister and eighteen years of age, is among and a choral scholar at King’s College, A.S.C.A.P. FELLOW, AMERICAN GUILD OF ORGANISTS the outstanding youth choirs in Britain. Cambridge. He was a tenor with the Edward Whiting, the director of music King’s Singers from 1985 until 1997, 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 at Benenden School, is a graduate of The since when he has been a full-time (770) 594-0949 Queen’s College, Oxford, and was an composer resident in the picturesque organ student of the late David Sanger. village of Ascott-under-Wychwood in He has held several music appointments Oxfordshire. The Midnight of Your Birth in both cathedrals and schools. is a suite of five movements using texts ANDREW PAUL MOORE LEON NELSON This Christmas compact disc features written by Charles Bennett, associate CHRIST CHURCH Director of Traditional Music compositions of the contemporary Eng- professor of poetry at the University Southminster Presbyterian Church lish composers David Bednall and Bob of Northampton. Born in Manchester, SHORT HILLS Arlington Heights, IL 60005 Chilcott and of the contemporary Cana- England, Bennett was an undergraduate dian composer Sarah Quartel. David at London University before pursu- Bednall is also the accompanist. His suite ing graduate work at the University of has organ accompaniments, whereas Massachusetts, where he was a student those of Bob Chilcott and Sarah Quartel of Nobel laureate Joseph Brodsky. The LARRY PALMER make use of the piano. Benenden School individual movements of this suite PHILIP CROZIER unfortunately does not possess an organ, are dedicated variously to an English CONCERT ORGANIST Harpsichord – Organ and so the recording was made partly at elementary school choir, American ACCOMPANIST Saint Dunstan’s Church in Cranbrook, children’s choirs, a Japanese women’s Professor of Music, Emeritus Kent, where there is a three-manual choir, and various distinguished female 3355 Queen Mary Road, Apt 424 Henry Willis III/Nicholson organ, and singers. “The Angel Did Fly” features Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas partly at Tonbridge School in Kent, soprano and alto divisi with a mezzo- Canada where there is a four-manual Marcussen soprano solo over an undulating piano tracker organ. At Benenden School the accompaniment. “The Blackbird With Recitals — Lectures — Consultancies (514) 739-8696 scheduled new school hall and music hall One White Feather” is a unison song [email protected] complex will include a 750-seat perfor- of hope, portraying light, represented [email protected] + 214.350-3628 mance space, and it is much to be hoped by the single white feather shining in a that this will have a pipe organ worthy of world of darkness. “Kindness” (A Raven the school. Flew to Bethlehem) uses three contrast- The first of the three composers fea- ing upper voices in an arrangement tured on this compact disc is David Bed- a little reminiscent of some of John $_;v|-@o=THE DIAPASON1om]u-|Ѵ-|;v nall. Following a degree at The Queen’s Rutter’s Christmas carol settings. “The Ѵ;-m7;u;vѴ;u-v|_;bmm;uo=|_;bm-]u-Ѵ College, Oxford, he has been working on Midnight of Your Birth,” from which u;mv|;bm-u7ĺ a Ph.D. at the University of Bristol and the suite takes its name, is a rhythmic is also currently sub-organist of Bristol carol in which twelve aspects of the Cathedral. His suite of eight Christmas natural world appear with a repeated pieces, Make We Merry, was commis- refrain. “The Rain-tree Carol” is also sioned for Benenden Chapel Choir and somewhat in the vein of a John Rutter premiered in December 2018. David carol and combines a warm ensemble of Bednall’s music is very accessible and upper voice parts with a sparkling piano A gift subscription to promises to be very popular. The first accompaniment symbolic of falling rain. movement, “Make we merry,” is very Born the daughter of an organist in upbeat, bright, and energetic. By con- London, Ontario, Sarah Quartel is the The Diapason trast “The time draws near” is rather youngest of the composers featured The perfect gift for gentle and makes very effective use of on this compact disc. She obtained the string stops of the organ in the lush her bachelor’s degree in music from + organist colleagues + choir directors harmonies of the accompaniment. The the University of Western Ontario and + students + organ builders text is drawn from Tennyson’s poem In was a full-time music teacher for some + teachers + clergy Memoriam, famous for its reference years. Today she does less teaching and to “nature red in tooth and claw.” The now spends her life mostly composing, Each month your gift will keep on giving by providing the poem memorialized the poet Arthur dividing her time between Ontario and important news of the organ and church music field. Know that Henry Hallam (1811–1833), who had Hawaii. Snow Angel was originally writ- your gift will be just right. been Tennyson’s best friend since they ten for the women’s choir of the Univer- For information, The Diapason, P.O. Box 300, Lincolnshire, IL were undergraduates together at Trinity sity of Western Ontario, “Les Choristes.” 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: College, Cambridge. Hallam’s untimely Sarah Quartel wrote all the texts herself death left Tennyson heartbroken, as it except for the second one that is by 847/763-4933. Or visit www.thediapason.com and click “subscribe.” did his sister, Emily Tennyson, who had Thomas Moore. The “Prologue” begins $45 one year USA; $35 one year digital; $20 one year student been Hallam’s intended bride. “The with a melancholy ’cello solo, followed Christ-child Lay on Mary’s Lap,” using by a rich texture of female voices, rising
22 Q THE DIAPASON Q MARCH 2021 WWW.THEDIAPASON.COM A Professional Card in DEREK E. NICKELS, DMA Reviews The Diapason Church of the Holy Comforter For rates and digital specifications, Kenilworth, IL 60043 to a crescendo, and then winding down first eight measures can be repeated as contact Jerome Butera to a peaceful conclusion. The ’cello and needed. Each acclamation is one page 608/634-6253; [email protected] (847) 251-6120 • [email protected] interweaved upper voices also feature and focuses on a special time during in the second movement, “Creatures of the year: Advent, Christmas, Epiphany, Light,” in which a brighter sensibility Lent, Easter, Ascension, Pentecost, Trin- emphasizes the theme of light. This is ity/General, Reformation Day, All Saints’ ANDREW PETERS GREGORY PETERSON followed by “God Will Give Orders to Day, and Thanksgiving Day. Half and His Angels About You,” in which soar- quarter notes are used throughout. Organ Recitals – Silent Movies – Hymn Festivals Professor of Music ing soprano voices evoke the angels and College Organist of heaven. In “Sweet Child, Hear My Walk in the Light, arranged for 3, www.AndrewJPeters.com Luther College, Decorah, Iowa Song,” the percussion section creates a 4, or 5 octaves of handbells, with vigorous rhythm over which the voices optional 2 octaves of handchimes, by once again weave a rich texture. The Anna Laura Page. Choristers Guild, ANDREW SCHAEFFER final movement, “Snow Angel,” begins CGB1070, Level 3 (M), $4.95. Jeffrey Schleff, Ed.D. like the first movement with a mel- Here is a lively gospel setting that Luther Memorial Church (ELCA) Organist/Director of Music ancholy ’cello solo, followed by a rich incorporates the tune “We’ll Walk in the Madison, Wisconsin texture of female voices, nicely tying Light” and “This Little Light of Mine.” First Presbyterian Church the suite of movements together and There are some very striking special [email protected] Gainesville, Texas making use of the same melody as “Pro- effects, including swung and even eighth Recitals — Hymn Festivals [email protected] logue.” In the final movement, however, notes, which make this piece a toe- there is considerably more development tapping choice. of the theme in lively dance rhythms symbolic of snow flurries. It builds to a Unity and Harmony, arranged for STEPHEN SCHNURR climax, but once more leads to a peace- 3, 4, or 5 octaves of handbells, with Saint Paul Catholic Church ful conclusion. optional piano and two C instru- Organogenesis Artists LLC Edward Whiting and the Benenden ments, by Ron Mallory. GIA Publica- Valparaiso, Indiana [email protected] Chapel Choir are to be congratulated tions, G-9119, Level 3+ (M-), $5.95. on producing such a fine compact disc This piece was composed for the of music by three very interesting con- bride’s procession at the composer’s temporary composers. I am confident wedding. The title is inspired by Philip- ROBERT L. that we shall be hearing much more in pians 2:2, which was read at the cer- the future of both the Benenden Chapel emony: “Then make my joy complete SIMPSON Mark Steinbach Choir and the three featured composers by being like-minded, having the same Christ Church Cathedral Brown University on this disc. love, being one in spirit and purpose.” 1117 Texas Avenue —John L. Speller, The piece can be performed in a num- Houston, Texas 77002 Port Huron, Michigan ber of configurations, since the piano part and each of the two C instrumental parts are optional—there are sugges- THOMAS R. THOMAS ] New Handbell Music tions given inside the cover. Here is a Joe Utterback Organist/Choirmaster Alleluia!, for 3, 4, or 5 octaves of lovely, flowing, and gentle setting that
]] ] handbells, by J. Wayne Kerr. Cho- works well with just handbells or with St. Luke’s Episcopal Church www.jazzmuze.com risters Guild, CGB928, Level 2 the optional instruments. Live Oak, Florida 32064 203 386 9992 (E+), $4.50. [email protected] Here is a cheerful and upbeat original I Want Jesus to Walk with Me, composition where there are no bell arranged for 3–6 octaves of hand- changes, so the piece is easily learned. bells, plus 3 optional handchimes, by Melodic material is played by both treble Arnold B. Sherman. Agape (a divi- Kevin Walters and bass ringers. This is a great addition sion of Hope Publishing Company), David Wagner for any library. Code No. 2887, Level 4 (D-), $5.25. DMA M.A., F.A.G.O. This traditional arrangement, origi- www.davewagner.net Acclamations for the Church Year, nally by Joel Raney, is a jazzy rendition Rye, New York for 2–3 octaves (8 or 10 bells) hand- of the familiar spiritual. It is set in a blues bells or handchimes, by Kenneth T. style, full of stopped techniques and fea- Kosche. MorningStar Music Publish- turing a lively bass line, much like a jazz ers, MSM-30-515, Level 1 (E), $4.75. bassist. This is a challenging piece, but Alan G Woolley PhD KARL WATSON These pieces call for only four or well worth the effort. Musical Instrument Research FIRST PRESBYTERIAN CHURCH five ringers and can be used as proces- —Leon Nelson Edinburgh sionals, interludes, or responses. The Vernon Hills, Illinois WOODBRIDGE, NJ [email protected]
DIAPASON Student Rate RONALD WYATT $20 one year Trinity Church 847/954-7989 Galveston WOW! [email protected] 2109 - Women First . . . from the 19th, 20th, and 21st centuries, music by women composers and performers. A two-inch Professional Card in The Diapason M 2110 - The Well-Tempered Clavier . . . Bach was the most A thorough, but not alone in writing in support of a ‘modern’ For information on rates and specifications, contact Jerome Butera: tuning system. R [email protected] 608/634-6253 2111 - There’s No Holding Bach . . . original and unbridled 2 interpretations of music by the incomparable Johann 0 Sebastian. ArtistArtist Spotlights Spotlightspotlight s 2 2112 - From Palms to Passiontide . . . meditations in music Artist Spotlights 1 old and new at the approach to Holy Week. are available on Your professional card The Diapason 2113 - Easter Music . . . uplifting and engaging compositions website and could appear here! for organs and voices to raise the spirits. e-mail newsletter. Contact Jerome Contact: [email protected]
Pipedreams is American Public Media’s weekly program dedicated to Butera for rates or 608/634-6253 the artistry of the pipe organ. Host Michael Barone’s celebration of the and specifi cations. king of instruments is heard on stations nationwide and worldwide via is a proud supporter 608/634-6253 pipedreams.org. Go online to locate a broadcast station near you. of Pipedreams apoba.com [email protected] SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO
WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2021 Q 23 Calendar
27 MARCH Nathan Laube, convocation and recital; 4 APRIL This calendar runs from the 15th of the month Weekend Organ Meditation; Grace Epis- Hillsdale College, Hillsdale, MI 7:30 pm Gail Archer; Cathedral of St. Mary of of issue through the following month. The deadline copal, New York, NY 4 pm (livestream) the Assumption, San Francisco, CA 4 pm is the fi rst of the preceding month (Jan. 1 for 16 APRIL (livestream) Feb. issue). All events are assumed to be organ 28 MARCH Bach at Noon; Grace Episcopal, New York, Raúl Prieto Ramírez; Spreckels Organ recitals unless otherwise indicated and are grouped Choral Evensong; St. John’s Episcopal, NY 12:20 pm (livestream) Pavilion, San Diego, CA 2 pm within each date north-south and east-west. •=AGO West Hartford, CT 5 pm (livestream) chapter event, • •=RCCO centre event, +=new organ Weekend Organ Meditation; Grace Epis- 17 APRIL 7 APRIL copal, New York, NY 4 pm (livestream) Weekend Organ Meditation; Grace Epis- Lynne Davis; Wichita State University, dedication, ++= OHS event. copal, New York, NY 4 pm (livestream) Information cannot be accepted unless it Wichita, Kansas 5:15 pm (livestream) 30 MARCH specifi es artist name, date, location, and hour in Bach at Noon; Grace Episcopal, New York, 18 APRIL 11 APRIL writing. Multiple listings should be in chronological NY 12:20 pm (livestream) Ethan Haman; St. Michael Episcopal, Norm Paskowsky; Cathedral of St. Mary order; please do not send duplicate listings. Marblehead, MA 5 pm (livestream) of the Assumption, San Francisco, CA 4 pm THE DIAPASON regrets that it cannot assume 31 MARCH Weekend Organ Meditation; Grace Epis- (livestream) responsibility for the accuracy of calendar entries. Bach at Noon; Grace Episcopal, New York, copal, New York, NY 4 pm (livestream) Raúl Prieto Ramírez; Spreckels Organ NY 12:20 pm (livestream) Pavilion, San Diego, CA 2 pm 20 APRIL UNITED STATES Bach at Noon; Grace Episcopal, New York, 1 APRIL NY 12:20 pm (livestream) 18 APRIL East of the Mississippi Bach at Noon; Grace Episcopal, New York, St. Mary’s Cathedral Choir; Cathedral of NY 12:20 pm (livestream) 21 APRIL St. Mary of the Assumption, San Francisco, 16 MARCH Bach at Noon; Grace Episcopal, New York, CA 4 pm Bach at Noon; Grace Episcopal, New York, 2 APRIL NY 12:20 pm (livestream) Raúl Prieto Ramírez; Spreckels Organ NY 12:20 pm (livestream) Bach at Noon; Grace Episcopal, New York, Pavilion, San Diego, CA 2 pm Gail Archer; St. Jean Baptiste Catholic NY 12:20 pm (livestream) 22 APRIL Church, New York, NY 7 pm Bach at Noon; Grace Episcopal, New York, 20 APRIL 3 APRIL NY 12:20 pm (livestream) Tate Addis & Brett Valliant; Wichita 17 MARCH Weekend Organ Meditation; Grace Epis- State University, Wichita, Kansas 7:30 pm Bach at Noon; Grace Episcopal, New York, copal, New York, NY 4 pm (livestream) 23 APRIL (livestream) NY 12:20 pm (livestream) Bach at Noon; Grace Episcopal, New York, 4 APRIL NY 12:20 pm (livestream) 25 APRIL 18 MARCH Weekend Organ Meditation; Grace Epis- Christoph Tietze; Cathedral of St. Mary Bach at Noon; Grace Episcopal, New York, copal, New York, NY 4 pm (livestream) 24 APRIL of the Assumption, San Francisco, CA 4 pm NY 12:20 pm (livestream) Weekend Organ Meditation; Grace Epis- (livestream) Nancy Siebecker; Christ Episcopal, Sara- 6 APRIL copal, New York, NY 4 pm (livestream) Raúl Prieto Ramírez; Spreckels Organ sota, FL 12:15 pm Bach at Noon; Grace Episcopal, New York, Pavilion, San Diego, CA 2 pm NY 12:20 pm (livestream) 25 APRIL 19 MARCH Choral Evensong; St. John’s Episcopal, 28 APRIL Bach at Noon; Grace Episcopal, New York, 7 APRIL West Hartford, CT 5 pm (livestream) Lynne Davis; Wichita State University, NY 12:20 pm (livestream) Bach at Noon; Grace Episcopal, New York, Weekend Organ Meditation; Grace Epis- Wichita, Kansas 5:15 pm (livestream) NY 12:20 pm (livestream) copal, New York, NY 4 pm (livestream) 20 MARCH INTERNATIONAL Weekend Organ Meditation; Grace Epis- 8 APRIL 27 APRIL copal, New York, NY 4 pm (livestream) Bach at Noon; Grace Episcopal, New York, Bach at Noon; Grace Episcopal, New York, NY 12:20 pm (livestream) NY 12:20 pm (livestream) 19 MARCH 21 MARCH Monica Melcova, silent fi lm; Collège Raymond Hawkins; St. Michael Episco- 9 APRIL 28 APRIL Claparède, Geneva, Switzerland 8 pm pal, Marblehead, MA 5 pm (livestream) Bach at Noon; Grace Episcopal, New York, Bach at Noon; Grace Episcopal, New York, Weekend Organ Meditation; Grace Epis- NY 12:20 pm (livestream) NY 12:20 pm (livestream) 21 MARCH copal, New York, NY 4 pm (livestream) Olga Zhukova; Temple, Aubonne, Swit- Sarasota-Manatee Bach Festival; Christ 10 APRIL 29 APRIL zerland 11:15 am Episcopal, Sarasota, FL 4 pm Bach at Noon; Grace Episcopal, New York, Guy Bovet Weekend Organ Meditation; Grace Epis- NY 12:20 pm (livestream) , with bassoon and clarinet; copal, New York, NY 4 pm (livestream) Temple, Auvernier, Switzerland 5 pm 23 MARCH Gail Archer; St. John Nepomucene Cath- 30 APRIL Bach at Noon; Grace Episcopal, New York, olic Church, New York, NY 3 pm 25 MARCH NY 12:20 pm (livestream) Bach at Noon; Grace Episcopal, New York, NY 12:20 pm (livestream) Bernhard Ruchti, silent fi lm; Collège Bach, St. John Passion; Cathedral of St. 11 APRIL Claparède, Geneva, Switzerland 8 pm John the Divine, New York, NY 7:30 pm • Alcee Chriss; Grace Covenant Presbyte- Weekend Organ Meditation; Grace Epis- rian, Richmond, VA 7:30 pm 24 MARCH copal, New York, NY 4 pm (livestream) 26 MARCH Bach at Noon; Grace Episcopal, New York, Donald MacKenzie, silent fi lm; Collège 13 APRIL UNITED STATES Claparède, Geneva, Switzerland 8 pm NY 12:20 pm (livestream) West of the Mississippi Choral Evensong; Christ Episcopal, Sara- Bach at Noon; Grace Episcopal, New York, sota, FL 7 pm NY 12:20 pm (livestream) 28 MARCH Paul Jacobs; Northrop Auditorium, Min- 21 MARCH Daniel Chappuis; St-Martin, Vevey, Swit- 25 MARCH neapolis, MN 7:30 pm Hans Uwe Hielscher; Cathedral of St. zerland 5 pm Bach at Noon; Grace Episcopal, New York, Mary of the Assumption, San Francisco, CA NY 12:20 pm (livestream) 14 APRIL 4 pm (livestream) 7 APRIL John Behnke; Christ Episcopal, Saraso- Bach at Noon; Grace Episcopal, New York, Raúl Prieto Ramírez; Spreckels Organ Bernadetta Sunavska; Katholischen ta, FL 12:15 pm NY 12:20 pm (livestream) Pavilion, San Diego, CA 2 pm Pfarrkirche, Kolbermoor, Germany 7:45 pm
26 MARCH 15 APRIL 28 MARCH 25 APRIL Bach at Noon; Grace Episcopal, New York, Bach at Noon; Grace Episcopal, New York, Raúl Prieto Ramírez; Spreckels Organ Yves Castagnet, with trumpet; Berliner NY 12:20 pm (livestream) NY 12:20 pm (livestream) Pavilion, San Diego, CA 2 pm Philharmoniker, Berlin, Germany 11 am
ORGAN BUILDERS CORNEL ZIMMER ORGAN BUILDERS L.and W. BLACKINTONassociates, inc. FOURTH GENERATION BUILDER 380 FRONT ST. A NEW GENERATION IN EL CAJON, CA 92020 EXCEPTIONAL QUALITY CREATIVITY, AND INTEGRITY RANDALL DYER A. Thompson-Allen Co., LLC & ASSOCIATES, INC. 11 Court Street 731 CROSSPOINT DRIVE DENVER, NC 28037 PIPE ORGANS OF QUALITY AND DISTINCTION New Haven, Connecticut 06511 PHONE: 704-483-4560 BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 203.776.1616 www.thompson-allen.com [email protected] ◆ www.rdyerorgans.com WWW.ZIMMERORGANS.COM [email protected] Pipe Organ Builders Since 1915 A N D C O M PA N Y, L. L. C. 11561 Edmonston Rd. Pipe Organ Builders Beltsville, MD 20705 New Organs 800/952-PIPE Restoration / Renovation / Relocation www.wallacepipeorgans.com ATOS ExperienceAmerican Theatre Organ Society
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BENJAMIN ALARD, harpsichord, JACKSON BORGES, National City Wichita State University, Wichita, Babylon, BWV 653, Bach; Sonata III in Chapelle Notre-Dame de Compassion, Christian Church, December 11: Fes- KS, November 10: Sinfonia (Cantata A, op. 65, no. 3, Mendelssohn; Berceuse à Bulle, Switzerland, November 15: Toc- tival Toccata, Fletcher; Prière (Quatre 146), Bach, transcr. Dupré; Three Im- la mémoire de Louis Vierne, Cochereau, cata in c, BWV 911, Bach; Concerto in g, Pièces, op. 37, no. 3), Jongen; Final, op. pressions on Kingsfold, op. 78, Laurin; transcr. Blanc; There Is a Happy Land BWV 985, Telemann, transcr. Bach; Fan- 21 (Six pièces pour orgue, no. 6), Franck. Fantasia in g, Roberts; Allegro con (American Folk Hymns), Shearing; Car- tasy in a, BWV 922, Fugue in d, BWV National City Christian Church, brio (Symphony No. 5 in c, op. 67), illon-Sortie, Mulet. 948, Prelude and Fugue in a, BWV 895, Washington, DC, December 18: Noël in Beethoven, transcr. Demers; Praeludi- Fantasy and Fugue in D, BWV 908, Bach; d, d’Aquin; In the Bleak Midwinter, arr. um in G, Bruhns; Fughetta, Adagio, JOHN W. W. SHERER & Josh Gra- Concerto in d, BWV 987, Ernst, transcr. Gibbs; Carol Rhapsody, Purvis; Varia- Allegro (12 Études pour les pieds seule- ham, percussion, Fourth Presbyterian Bach; Toccata in G, BWV 916, Concerto tions on O laufet, ihr Hirten, Drischner; ment), Alkan; Aria, Final (Symphonie VI Church, Chicago, IL, October 30: Fan- in B-flat, BWV 982, Bach; Concerto in C, Toccata in D, Lanquetuit. in b, op. 59), Vierne. fare, Cook; Fantasy on O Waly Waly, arr. BWV 984, Ernst, transcr. Bach. Independent Presbyterian Church, Miller; Prelude, Fugue, and Chaconne, Harpsichord, Palau de la Música Cata- OLIVER BRETT, Cathedral of St. Birmingham, AL, November 15: Sinfo- Buxtehude; Merlin, Thomas; Medita- lana, Barcelona, Spain, November 23: Philip, Atlanta, GA, October 4: Rhap- nia (Cantata 146), Bach, transcr. Dupré; tion, Creston; Pavane, Fauré, transcr. Concerto in b, BWV 979, Torelli, transcr. sody No. 3 in c-sharp, Howells; Elegiac Three Impressions on Kingsfold, op. 78, Bird; Phoenix, Locklair. Bach; Concerto in D, BWV 972, Vivaldi, Romance, Ireland; Andante espressivo Laurin; Allegro con brio (Symphony No. transcr. Bach; Fantasy in a, BWV 922, (Sonata in G), Elgar; Coronation March 5 in c, op. 67), Beethoven, transcr. De- MARK STEINBACH, Brown Uni- Canzona in d, BWV 588, Fugue in B-flat, Orb and Sceptre, Walton. mers; Fantasia in g, Roberts; Fughetta, versity, Providence, RI, October 31: Ap- BWV 955, Bach; Concerto in F, BWV 978, Adagio, Allegro (12 Études pour les pieds parition de l’Église Éternelle, Messiaen; Vivaldi, transcr. Bach; Concerto in c, BWV ELIZABETH & RAYMOND seulement), Alkan; Aria, Final (Sym- Marche Funèbre d’une Marionnette, 981, Marcello, transcr. Bach; Concerto in CHENAULT, St. Stephen’s Episcopal phonie VI in b, op. 59), Vierne. op. 35, no. 2, Gounod, transcr. Stein- C, BWV 977, Bach; Concerto in G, BWV Church, Richmond, VA, November 10: bach; Prelude in g, BWV 558, Fugue in 973, Concerto in g, BWV 975, Concerto in Choral (Sonate à Deux), Litaize; Can- JIM FACKENTHAL, carillon, St. g, BWV 578, Bach; Canon in b (Sechs C, BWV 976, Vivaldi, transcr. Bach. tabile à Deux, op. 99, Laurin; Allegro Chrysostom’s Episcopal Church, Chi- Studien in kanonischer Form, op. 56, no. for Organ Duet, Moore; Shenandoah, cago, IL, November 8: Keep the Home 5), Schumann; Suite Gothique, op. 25, SAM BACKMAN, Church of St. White; Come Home, Callahan; A Fancy Fires Burning, Novello; A Simple Suite, Boëllmann; Prélude sur une Antienne, Louis, King of France, St. Paul, MN, for Two to Play, Hancock; Variations on Barnes; America. Langlais; Toccata and Fugue in d, BWV November 10: Sonata in C, BWV 529, Veni Creator Spiritus, Briggs. 565, Bach. Bach; Elegy, Still; Prelude and Fugue in JOHN FENSTERMAKER, organ, c (Three Preludes and Fugues, op. 37, no. TOM COLAO, St. Chrysostom’s harpsichord, piano, harmonium, calliope, EDWARD J. TIPTON, St. Mark’s 1), Mendelssohn. Episcopal Church, Chicago, IL, No- accordion, and tower bells, Trinity-by- Episcopal Church, Berkeley, CA, Octo- vember 20: Carillon de Westminster (24 the-Cove Episcopal Church, Naples, FL, ber 11: Trumpet Tune, Hampton; Pasto- DAVID BASKEYFIELD & OWEN Pièces de fantaisie, Quatrième suite, op. November 15: Fanfare, Mouret; Arioso rale and Aviary, Roberts; There Is a Land REID, Cathedral of All Saints, Al- 54, no. 6), Cantilène (Symphonie III in (Cantata 156), Fugue in g, BWV 542ii, of Pure Delight, Sandresky; Nun freut bany, NY, & Westminster Presbyte- f-sharp, op. 28), Allegro Vivace (Sym- Prelude in C (Well-Tempered Klavier), euch, lieben Christen g’mein, BWV 734, rian Church, Buffalo, NY, November phonie I in d, op. 14), Clair de lune (24 Bach; Prelude in b, op. 28, Chopin; Brid- Schmücke dich, o liebe Seele, BWV 759, 9: Imperial March, op. 32, Elgar; Innig Pièces de fantaisie, Deuxième suite, op. al Chorus (Lohengrin), Wagner; Lady of Bach; Voluntary I in D, Boyce; Slow Air (Sechs Studien in kanonischer Form, 53, no. 5), Final (Symphonie III in f- Spain, Evans; Moving Picture Music, Za- No. 1, Howells; Méditation, Fugue sur le op. 56), Schumann; Vivace (Sonata in sharp, op. 28), Vierne. mecnik; Grand Choeur dialogué, Gigout; thème du Carillon des Heures de la cá- d, BWV 527), Bach; His Genuflections Irish Air from County Derry, transcr. thedrale de Soissons, op. 12, Duruflé; Im- Musicks, Dean; Symphonie VI in b, op. ISABELLE DEMERS, Dordt Uni- Lemare; Carillon-Sortie, Mulet. provisation sur le Te Deum (Cinq Impro- 59, Vierne. versity, Sioux Center, IA, November 7: visations), Tournemire, transcr. Duruflé. Praeludium in G, Bruhns; Fughetta, FAYTHE FREESE, St. Mark’s Epis- BRUCE BENGTSON, Cathedral of Adagio, Allegro (12 Études pour les pieds copal Cathedral, Shreveport, LA, No- BRUCE XU, Cathedral of St. Philip, St. John the Evangelist, Milwaukee, WI, seulement), Alkan; Three Impressions on vember 12: Suite for Organ, Rhapsody, Atlanta, GA, October 25: Prelude and November 25: Final (Symphonie III in Kingsfold, Laurin; Fantasia in g, Roberts; Sowerby; Sonata I in d, op. 42, Guilmant. Fugue in b, BWV 544, Bach; Benedictus e, op. 13, no. 3), Widor; Nun danket alle Sinfonia (Cantata 146), Bach, transcr. (Zwolf Stücke, op. 59, heft 2, no. 9), Re- Gott, BWV 657, Bach; Cantilene (Sonata Dupré; Sonata VI in d, op. 65, no. 6, ANDREW SCANLON, First Bap- ger; Alleluias sereins d’une âme qui désire XI in d, op. 148), Rheinberger; Concerto Mendelssohn; Allegro con brio (Sym- tist Church, Smithfield, NC, October 4: le ciel (L’Ascension), Dieu parmi nous in G, BWV 592, Ernst, transcr. Bach. phony V), Beethoven, transcr. Demers. Postlude in D, Smart; An Waßerflüßen (La Nativité du Seigneur), Messiaen.
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From Fruhauf Music Publications: Mother’s Day Music? Check out “A The Organ Historical Society offers Johannes Klais K.G., Op. 1152, 1958. a complimentary posting of a double Woman of Valor”—Seven pieces on is Travel-Orgue 2021 Calendar. This Installed and voiced by Norbert Spaeth. hymn tune setting for organ, a rondo Proverbs 31, by Norberto Guinaldo: calendar features never before pub- Originally installed in Our Lady of the ST. PATRICK DIERDRE on and . Both tunes More precious than rubies; In her lished convention instrument photos Angels R.C. Chapel, St. Paul, Minne- have roots in Irish folk music, and it was from Connecticut, Massachusetts, husband’s heart; Fortitude; Artful and sota. In 2011, while still in good playing Charles Villiers Stanford who adapted charitable; Wisdom and kindness; Ohio, Pennsylvania, and Washington, condition, was moved into climate-con- the first melody for use as a hymn in Gratitude and blessings; The beauty D.C. Photography by Len Levasseur. 1903; DIERDRE was subsequently refig- within. 28 pages. See, listen, buy. www. Instruments by Geo. S. Hutchings, trolled storage in Dallas, Texas. Slider ured by Ralph Vaughan Williams for guinaldopublications.com. Farrand & Votey, William Schuelke chests with electric pull-downs. Price: The English Hymnal, where it appears Organ Co., Stevens & Jewett, Henry $19,400. Central Lutheran Church, in combination with ST. PATRICK. The Erben, Rudolf von Beckerath, Hilborne Dallas, Texas. Contact: Loretta Anne MARCH with SPRING in your step. setting is bold and colorful, suitable for L. Roosevelt, Casavant Frères, Wirsch- Monson: [email protected]. festive occasions in celebration of the Go to www.michaelsmusicservice. ing Organ Co., W. W. Kimball Co., and many saints’ days of the church cal- com. for details on over 400 titles. Sea- E. & G. G. Hook & Hastings. $25 non endar. For more details and to access sonal titles include: April/Gaul, Toccata members, $21 members. www.organ- 1999 Bedient, Opus 61, 2 manual & the PDF booklet, please consult FMP’s on “St. Theodolph”/Diggle, Agnus Dei/ historicalsociety.org. pedal, 28 stops, 35 ranks. Slider chests home page website bulletin board at: Bizet and Bingham, Chorale Prelude with electric stop action and tracker key www.frumuspub.net. on “St. Flavian”/Bingham, Spring action (electric pulldowns possible). 16′ Song/Faulkes and Hollins, Offertoire Raven imports videos and CDs produced by Fugue State Films in Open Diapason polished zinc façade de Paques (O Filii et Filiae)/Batiste. ′ Raven has released “Prairie Sounds,” Michael’s Music Service, 704/567- the UK. A Legend Reborn: The Voice with Trumpet en Chamade 8 . Assem- with Maxine Thévenot playing the 1930 1066, michaelsmusicservice.com. of King’s in a set of 2 DVDs and 2 bled in storage & in excellent condition. Casavant of 57 ranks at Holy Rosary CDs featuring a 2-hour documentary Viewing by appointment. Contact: Cathedral in Regina, Saskatchewan, video detailing restoration of the 1934 [email protected]. Canada. Works include several *first ChicAGO Centenary Anthology, by Harrison & Harrison organ of King’s recordings: David L. McIntyre: Joyfully*; Alan J. Hommerding, Paul M. French, College, Cambridge, with video shot Guillain: Récit de tierce en taille, Basse Richard Proulx, et al. This joint effort of over longer than a year, at all stages 1905 Hook & Hastings, Opus 2082, de trompette; Denis Bédard: Varia- the Chicago Chapter of the American of the restoration, presented by David 3 manual & pedal, 38 stops, 38 ranks. tions on Sine Nomine; Gilles Leclerc: Guild of Organists and GIA Publica- Briggs. Includes filmed performances Slider windchests with pneumatic key Récit de tierce en taille*; Philip Moore: tions presents specially commissioned on the DVDs, duplicated on the CDs. & stop action. Massive expression Laudate Dominum*; Ruth Watson organ works by Chicago composers, as David Briggs improvises; Robert Quin- boxes for the Swell and Choir. Unique well as rare or unpublished pieces by Henderson: Celebration*; Dupré: Angé- ney, Ashley Grote, Tom Winpenny, curved drawknob console. Currently in lus; Frank Bridge: Adagio in E; César earlier organists from the city including Richard Gowers, Henry Websdale play storage. Generous-scaled pipework, Franck: Prélude, Fugue, et Variation; Leo Sowerby. Also includes a jubilant music by Bach, Mendelssohn, Reger, Clara Schumann: Prelude & Fugue in D Bailado Brasileiro by Richard Proulx, Vaughan Williams, Bridge, Howells, voiced for a large space—a rare oppor- Minor; César Franck: Pièce Héroïque. the AGO’s 2006 Composer of the Year! Vierne, Dupré, Alain, Messiaen, Bing- tunity to obtain a magnificent historic Raven OAR-162, $15.98 postpaid in the 003074, $25.00, 800/442-1358, www. ham. FSFDVD-013, $39.95 postpaid in American organ. Contact: john@ U.S.: RavenCD.com, 804/355-6386. giamusic.com. U.S.: RavenCD.com, 804/355-6386. FarmerPipeOrgan.com.
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Exceptional original Baroque organ Aeolian-Skinner Opus 1480. 20-rank A. David Moore, 1988, two manuals, THE DIAPASON E-Newsletters are case with elegant carvings (18th American Classic-style organ with four nine ranks. 126″ high, 81″ wide, 70″ e-mailed monthly to subscribers who century) containing a well-conserved divisions, two enclosed. Restored con- deep plus pedalboard. Contact John sign up to receive them. Don’t miss the Romantic Belgian organ (19th or sole with Peterson ICS-4000 System Bishop, at the Organ Clearing House: latest news, featured artists, and classi- 20th century) by Pierre Schyven. Two and solid-state switching. Excellent [email protected]. For fi ed ads—all with photos—some before manuals and pedal; 17 stops, 18 ranks. condition. Best offer. thomcat85@aol. further information, visit: https://www. they appear in print! Visit www.The- Manual/pedal key compass 56/30. com. organclearinghouse.com/organs- Diapason.com and click on Subscribe Depth 10.5′; height 15.5′; width 15.3′. for-sale#/3047-a-david-moore-boca- to our newsletter. For assistance, con- grande-fl . For sale, with installation available. 1916 Hook & Hastings, 2 manuals, 14 tact Stephen Schnurr, 847/954-7989, Inquiries: [email protected]. stops. Includes Cornopean, 16′ Open [email protected]. Tel. 00 34 629 30 17 18. Wood. E-P action. Beautiful period con- SERVICES / SUPPLIES sole. $20,000. Contact John Bishop, Consider a gift subscription to THE DIA- Zoller home pipe organ (1985) for the Organ Clearing House, john@ Releathering all types of pipe PASON for all your friends who love the sale. One manual and fl at pedalboard, organclearinghouse.com. organ actions and mechanisms. organ, harpsichord, carillon, and church cherry case with doors, bench. Six Highest quality materials and work- music. Your gift will be remembered manship. Reasonable rates. Colum- stops divided at middle C: 8′ Stopped Schoenstein residence organ, throughout the year. (And don’t forget Diapason, 8′ Krummhorn, 4′ Flute; bia Organ Leathers 800/423-7003. our special bargain for students at $20!) 1989. Two manuals, 8 ranks, 19 stops. www.columbiaorgan.com/col. 2-2/3′ Nazard, 2′ Principal, 1-3/5′ $75,000. Contact John Bishop, john@ Visit www.thediapason.com and click Tierce (no pipes). $15,000 or best organclearinghouse.com. For more on “subscribe.” offer, buyer to remove, located New- Aeolian/Robert Morton-style maroon information: https://www.organclear- THE DIAPASON’s website has an increas- castle, Maine. 207/563-5679. leather is now available from Columbia inghouse.com/organs-for-sale#/3036- ing number of new videos. Go to www. Organ Leathers! Highest quality. 800/423- schoenstein-residence-organ-pough- thediapason.com and click on videos 7003, www.columbiaorgan.com. Koehnken & Grimm, Pfeffer, Hill- keepsie-ny to see what you’ve missed! Visit www. green-Lane, Debierre, and Redman MISCELLANEOUS FOR SALE thediapason.com often and keep up to organs for sale. Please see pictures Lawrence Phelps & Associates, date with all the news items. on our website www.redmanpipeor- 1974, residence organ. Two manu- Excellent used pipes, moderate gans.com. For further information, als, six ranks, six stops. Contact John scales and wind pressures, very clean, Postal regulations require that mail to THE contact Redman Pipe Organs LLC, 816 Bishop, john@organclearinghouse. like new, 1/4 to 1/3 cost of new pipes. DIAPASON include a suite number to assure E. Vickery Blvd., Fort Worth, Texas; call com. For more information: https:// Specifi cations and photos available. delivery. Please send all correspondence to: THE DIAPASON, 3030 W. Salt Creek Lane, Suite 817/996-3085 or email royredman@ www.organclearinghouse.com/ 615/274-6400, dennis@milnarorgan. 201, Arlington Heights, IL 60005. gmail.com. organs-for-sale#/3043-phelps-vista-ca. com, www.milnarorgan.com
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WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2021 Q 27 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* David Baskeyfield Diane Meredith Belcher Stephen Buzard Chelsea Chen Aaron Tan 2018 AGO National Competition Winner Available 2018-2022
Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Katelyn Emerson
Alcee Chriss Canadian International Organ Competition Winner Available 2018-2022
Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood* David Higgs
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Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Colin MacKnight Amanda Mole New College Oxford, United Kingdom (Spring 2022) Trinty College Cambridge United Kingdom (September 2022)
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Celebrating Our 100th *=Artists based outside Season! the U.S.A. Todd Wilson Christopher Young