THE DIAPASON AUGUST, 2009
New Orleans Baptist Theological Seminary Leavell Chapel Cover feature on pages 26–27
Aug 09 Cover.indd 1 7/10/09 10:42:01 AM Aug 09 pp. 2-19.indd 2 7/10/09 10:43:37 AM THE DIAPASON Here & There A Scranton Gillette Publication One Hundredth Year: No. 8, Whole No. 1197 AUGUST, 2009 First Parish Church, UCC in a four-manual, 71-rank tracker instru- Established in 1909 ISSN 0012-2378 Brunswick, Maine, continues its 24th an- ment built by Charles Hendrickson. An International Monthly Devoted to the Organ, nual Summer Organ Concert Series on the Harpsichord, Carillon, and Church Music the church’s 1883 Hutchings, Plaisted & St. Paul R.C. Cathedral, Pittsburgh, Company pipe organ: August 4, Edward Pennsylvania, celebrates the restoration Alan Moore; 8/11 Katelyn Emerson; and of its 1962 von Beckerath organ: August 8/18, Clarissa Brown. For information: 27, Joan Lippincott; September 30, Gil- CONTENTS Editor & Publisher JEROME BUTERA [email protected] 207/729-7331. lian Weir; October 20, William Porter. 847/391-1045 For information:
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses or for the same course offered subsequently.
Editor’s Notebook
More longtime subscribers more than 50 years, please contact me so In April, I welcomed seven subscrib- we can add you to our 50-plus club. ers into The Diapason’s 50-plus club of longtime subscribers. Then in June, I Gift subscriptions recognized nine more subscribers. And For a limited time, we will extend I continue to receive phone calls, letters, your subscription three months for ev- and e-mails from readers who have sub- ery gift subscription you order. Not sure scribed to The Diapason for more than if the intended recipient is a current 50 years; here are the names and starting subscriber? Call or e-mail, and I will dates of the latest 50-plus subscribers: check our records. Fred Becker, Crystal Lake, Illinois, Choristers with Linda Buzard, Keith Williams, and The Rev. Timothy Hallett, Rector 1959 THE DIAPASON E-News Gordon Betenbaugh, Lynchburg, Vir- If you are not already receiving The During the week of June 8–11, the David Hogan; and Hail, gladdening light ginia, 1957 Diapason E-News, our free monthly Episcopal Chapel of St. John the by C. S. Lang, enhanced by the addition Gene Boucher, Annandale, Virginia, newsletter, please visit our website and Divine in Champaign, Illinois, hosted a of the “vicars choral”—a.k.a. “The Cho- 1957 click on “subscribe to our newsletter” choir camp for its own “Canterbury Cho- rister Dads”; plainsong chanting of the John Bullard, Spartanburg, South at the bottom of the left column. If you risters” and choristers from Champaign’s daily psalms; How Like an Angel I Came Carolina, 1953 have not seen an issue yet, call or e-mail, Emmanuel Memorial Episcopal Church. Down by Malcolm Archer; Hebe deine Joseph Elliffe, Spring Hill, Florida, and I will e-mail you the current issue. Modeled after training courses for ad- Augen auf (“Lift thine eyes” sung in Ger- 1956 If you are interested in sponsoring the vanced singers held by the Royal School man from Elijah) by Felix Mendelssohn; Robert Finster, Canyon Lake, Texas, newsletter or taking out an artist spot- of Church Music, the nine choristers and Give us the wings of faith by Mark 1954 light, contact me for more information. were “in residence” for daily Evensongs, Blatchly. The last day featured the Missa Charles Huddleston Heaton, Pitts- —Jerome Butera concluding the week with a sung Mass. Brevis by Benjamin Britten on the feast burgh, Pennsylvania, 1947 847/391-1045 Ranging in age from 8 to 17, the cho- of St. Barnabas. Allen Langord, Poinciana, Florida, [email protected] risters were challenged to learn and Keith Williams, organist and music 1950 perform different music each day. Rep- director of St. John’s Lutheran Church, Francis M. Stone, Indianapolis, Indi- www.TheDiapason.com ertoire included a set of Preces and Re- Champaign, assisted in the organ-play- ana, 1953 News and article archives sponses by Stephen Darlington; Evening ing duties for the Mass. Choristers in- We welcome these subscribers into Classified ads Canticles in G Major by John Wood and cluded Katherine Buzard, Emma Lloyd, the 50-plus club and thank them for their Subscribe to newsletter Herbert Sumsion; a set by David Hogan Elizabeth Russell, Ethan Russell, Abigail many faithful years of subscribing to The and more entitled “Washington”; two settings of Shelato, Emily Warren, Sam Warren, Sa- Diapason. If you have subscribed for the Phos Hilaron by Richard Proulx and mantha Wells, and Celia Williams.
AUGUST, 2009 3
Aug 09 pp. 2-19.indd 3 7/10/09 10:44:08 AM worship services at 8, 9:15, and 11 am. and adults, followed by a gala centen- From 1:30–3:30 pm, the fi nalists will nial dinner (advance reservation only) participate in a masterclass with judges at 7:30, with Michael Barone as guest Hohman, Jensen, and Weaver, and all speaker. The fi nal event will be “An Af- awards will be presented. For informa- ternoon with the Great Organ,” at 3 pm tion: 860/529-1575 x209; on Sunday, September 27, featuring or-
4 THE DIAPASON
Aug 09 pp. 2-19.indd 4 7/10/09 10:44:34 AM CONCORA performs choral repertoire Cormier, Donald Teeters, Alice Parker, of the University of Texas at Austin, re- throughout southern New England, John Bavicchi, Roberta Humez, Mary cently played the opening concert of the both in its own subscription concerts Whitney Rowe, Blanche Moyse, George Summer Organ Music Festival at West- and in collaboration with area orches- Kent, Allen Lannom, Florence Dunn, minster Abbey in London. They per- tras, schools, and colleges. The choir is Daniel Pinkham, Lorna Cooke DeVaron, formed a program of duo-organ works. frequently heard on radio broadcasts and and Elliot Forbes. Both Hancocks are establishing the Cen- has appeared at conventions and confer- ter for Sacred Music Studies at the uni- ences of the American Guild of Organ- versity, where they also both teach organ. ists, the American Choral Directors As- Judith and Gerre Hancock are repre- sociation, and other organizations. sented by Karen McFarlane Artists, Inc., In 1999, under Coffey’s leadership,
Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Organist/Lecturer/ Organist/Conductor/Lecturer Organist/Lecturer/ Cauchefer-Choplin Organist/Harpsichordist/ Recording Artist Organ Faculty and Chair Recording Artist Interpreter/Improviser/ Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Lecturer/Recording Artist Music Director and Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Titular Organist First Congregational Church East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Jean-Baptiste de la Salle Toledo, Ohio School of Music Director, International Organ Festival St. Maria della Speranza Deputy Titular Organist Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy St. Sulpice, Paris, France
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Catherine Ennis Interpreter/Improviser/ Organist/Lecturer Organist/Pianist/ Organist Organist/Lecturer/Recording Artist Recording Artist College Organist Recording Artist Associate Professor of Director of Music Titular Organist Assistant Professor of Organ Professor and Chair Organ and Carillon St. Lawrence Jewry, London UK St. Benigne’s Cathedral and Music Theory Frostburg State University University of Florida Trinity Laban Organ Professor Faculty Converse College Frostburg, Maryland Gainesville, Florida Irish Piper & Organ Duo National Conservatory Spartanburg, South Carolina The Reduced Handel Company Dijon, France London, England
Henry Fairs Faythe Freese Johan Hermans Michael Kaminski Angela Kraft Cross Organist Organist/Lecturer/ Organist/Lecturer/Recording Artist Organist Organist/Pianist/Composer/ 2007 International Recording Artist Conservatory of Music Director of Music Ministries Recording Artist Competition Winner Associate Professor of Organ Cathedral Organist Saint Francis Xavier Church Organist Odense, Denmark School of Music Artistic Director Brooklyn College Faculty The Congregational Church Head of Organ Studies University of Alabama International Organ Festival St. Francis College Faculty San Mateo, California Birmingham Conservatoire Tuscaloosa, Alabama Civic Organist Brooklyn, New York England Hasselt, Belgium
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
AUGUST, 2009 5
Aug 09 pp. 2-19.indd 5 7/10/09 10:44:56 AM Organo label (CD 7223, $17.98). Re- corded on the Aeolian-Skinner organ at First Presbyterian Church, Fort Wayne, Indiana, the program includes works by Franck, Widor, Guilmant, Durufl é, and Messiaen. It is the fi rst recording to ap- pear in many decades of this well-known “American Classic” organ (1956). Serbian-born Marko Petricic holds DMA and MM degrees from Indiana University, where he studied with Chris- topher Young. He is the fi rst-prize win- ner at the San Marino National Organ Frederick Hohman Competition. As a faculty member at the University of Indianapolis, he has re- television series. He also is the master- cently initiated a program in organ and ing engineer for all orchestral surround sacred music. For information: 866/927- sound SACD recordings issued by the 3923;
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6 THE DIAPASON
Aug 09 pp. 2-19.indd 6 7/10/09 10:45:17 AM There’s always something exciting happening at www.allenorgan.com www.allenorgan.com/organoftheweek/go (for example)
Allen’s “Organ of the Week” web site feature ALLEN has been getting a lot of attention lately. Custom It isn’t hard to figure out why… Each week we show a new organ being built. ORGANS Whether it is a feature-packed custom Five-Manual, or a classy, unique Two-Manual, or an M. P. Möller English-style Three-Manual beauty, we are creating an online buzz.
And our Allen Elite™ section is also loaded with exciting photos, proving that if you can imagine it, we can build it!
150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 Phone: 610-966-2202 Fax: 610-965-3098 E-mail: [email protected] Web site: www.allenorgan.com ists in Music and Worship Arts, and the Each book contains a table of contents by Mack Wilberg (SATB and organ or or- Presbyterian Association of Musicians. and informative notes with brief back- chestra). Titles for organ include Hymn Koch played recitals and was a pub- ground details for each item. There are Miniatures (25 practical settings for the lished composer; among his works are general and occasionally specifi c sugges- church’s year), by Rebecca Groom te a volume of handbell music, a work for tions regarding historic and contempo- Velde. For information: fl ute and organ, fi ve anthems, two organ rary interpretations throughout.
Here & There
Bärenreiter announces new titles in the series of Louis Vierne’s complete organ works. Volume VIII.2 (BA 9236, €24.95) contains Livre II of the Pièces en style libre pour orgue ou harmonium (op. 31); Volume VI (BA 9226, €26.95) contains the Symphony No. 6 (op. 59), scheduled for release in December 2009. Both volumes were edited by Helga Schauerte-Maubouet, with Thierry Es- caich, Jean-Pierre Mazeirat, and Rollin Smith. The editions include evaluations National Church Music Conference visitors at Goulding & Wood of all available autograph manuscripts, fi rst printed editions, and previously un- Goulding & Wood, Inc. hosted thir- Goulding & Wood, Inc. participated in published letters, critical commentary, ty-fi ve conference participants of the Na- the Mass Avenue Gallery Walk on Friday, a foreword with detailed performance tional Church Music Conference held in May 1. Despite the rainy weather, over practice suggestions, plus illustrations Plainfi eld, Indiana on April 23. The par- 100 people came through the shop to see and facsimile pages. For information: ticipants visited the shop, saw a demon- Opus 48, for Vineville United Methodist
8 THE DIAPASON
Aug 09 pp. 2-19.indd 8 7/10/09 10:45:51 AM
egress into the nave. Construction begins this summer with completion Looking Back scheduled for early 2010. In early 2009, Parkey OrganBuilders completed the mechanical and tonal 10 years ago in the August 1999 renovations of the three-manual/53- issue of THE DIAPASON rank organ for First United Method- Cover: Jaeckel, Trinity Ev. Lutheran ist Church, Salisbury, North Carolina. Church, Richmond, VA Mechanical updates included renovat- James O’Donnell appointed Organist ing and upgrading the present console and Master of the Choristers, Westmin- with solid state capture and relay sys- ster Abbey tems. A simple piston sequencing sys- Simon Preston re-appointed Artistic tem was added to the console along Director, Royal Bank Calgary Interna- with new keyboards. The tonal renova- tional Organ Festival tions included replacement of all the Christopher B. Teal appointed Organ reed stops, which were damaged due to Scholar, Truro Cathedral humidity in the building. Also included Gerre Hancock honored by New York Console, Trinity Reformed Church, Ful- was a substantial amount of revoicing to City AGO chapter ton, Illinois, before the fl uework to better balance the organ Feature article: “In the footsteps of for the room and congregational sing- Gottfried Silbermann,” by Aldo Baggia ing. The work was carried out under the New organs: Bedient, Létourneau direction of Phil Parkey, tonal director, and Matthew Brown, music director and 25 years ago, August 1984 organist. A recording of the instrument Cover: Noack, Cathedral Church of is scheduled for 2009 featuring Matthew St. John, Wilmington, DE Brown as the recording artist. Lynn Trapp wins Ottumwa Under- Parkey OrganBuilders will also release graduate Organ Competition a new CD later this summer featuring Michele Johns appointed Director books.com>). Following the uproarious the new Parkey organs at Church of the of Music, Epworth United Methodist goings-on in The Alto Wore Tweed, The Good Shepherd, Lookout Mountain, Church, Toledo, OH Baritone Wore Chiffon, The Tenor Wore Tennessee. For information: Hal Hopson appointed associate pro- Tapshoes, The Soprano Wore Falsettos,
ATOS ExperienceAmerican Theatre Organ Society Preserving a unique art form. Concerts, education, silent film, preservation, fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838
10 THE DIAPASON
Aug 09 pp. 2-19.indd 10 7/10/09 10:46:31 AM Rodgers Instruments Corporation A member of the Roland Group 1300 NE 25th Avenue Hillsboro, Oregon 97124 503.648.4181 · 503.681.0444 fax Email: [email protected] www.rodgersinstruments.com learning—they never forget what they’ve all forty-four American presidents both below, and through the music. I was struck learned, but for years after they lie awake in chronological and alphabetical order. by the functional similarities between this In the wind . . . at night reliving the horror of being called I’ve never forgotten that comment and the baroque basso continuo. by John Bishop upon in class. My mother tells of a fam- about bass lines. Right now I’m listening The work of these guys is nothing like ily member, a distant cousin of several to a recording of Widor’s Sixth Sympho- the standard barroom Girl from Ipanema generations ago and Harvard professor ny played by André Isoir. What majesty kind of jazz that accompanies the swilling of mathematics, whose speech pattern comes from the bass line in the opening of whiskey sours. Their music is unique, featured what we generally call a “Lazy- measures! And in that narky place where innovative, colorful, and poly-rhythmic. Ell.” He had an expensive gold pocket the main melody in the manuals is accom- Though we’ve heard Bert play jazz stan- watch that hung on a gold chain from his panied by bouncing octaves in the pedals, dards in other venues, most of what they vest pocket, and while lecturing it was his the bass line gives an entirely different played last night was his original music. perpetual habit to twirl the watch vigor- feel. Think of the depictions of storms in One started as a sort of 5/4 version of a ously around his fi ngers on the end of its romantic orchestral music (Beethoven’s Bach prelude (Well-Tempered Clavier), chain. Predictably, the watch took fl ight Symphony No. 6, Rossini’s William morphed into a complex driving thing in one day, soaring across the classroom Tell)—those thundering bass lines evoke which each player had a signifi cant solo, and smashing into pieces on the fl oor. visual images of boiling, murderous storm then returned to the relative simplicity of The professor calmly said, “Gentlemen,” fronts rolling across the sky. the beginning. You can fi nd Bert’s music (profi ling aside, there were only gentle- The power of the bass line was never at
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12 THE DIAPASON
Aug 09 pp. 2-19.indd 12 7/10/09 10:46:58 AM I noticed that one of his cymbals had month’s column as a foundation. I will responding compound intervals, say the three little holes drilled in it, seemingly in talk about why temperament is neces- twelfth or the nineteenth, are treated as random locations, and wondered if they On Teaching sary, what the major approaches to tem- being identical to one another. had to do with attempts to perfect its tone. by Gavin Black perament have been over the centuries, 2) Intervals fall into pairs that are Was there a nasty little zing to the sound some of what the different systems of inversions of one another: fi fth/fourth; that a skilled craftsman could eliminate by temperament set out to accomplish, and major third/minor sixth; minor third/ma- drilling a hole? And as he played on that about how different temperaments relate jor sixth; whole tone/minor seventh; cymbal I noticed how different the tone to different historical eras. Next month I semitone/major seventh. For purposes was at the center than at the edge. If he will also discuss the practicalities of tun- of tuning, the members of these pairs are did a light roll starting in the middle and ing and a few miscellaneous matters re- interchangeable, if we keep direction in moving to the perimeter he produced a lated to tuning and temperament. mind. For example, tuning up by a fi fth is subtle kaleidoscope of tone. As I said last month, my main point equivalent to tuning down by a fourth. If The bassist gave a great account of is to help students become comfort- you are starting at C and want to tune G, himself—always rhythmic, always ex- able with tuning and temperament and it is possible either to tune the G above ploiting and driving the direction of to develop a real if basic understanding as a fi fth or the G below as a fourth. It is the harmonies, often fi lling in intervals of them, regardless of whether they are always important to keep track of which with colorful ruffl es of notes, sometimes planning to do any tuning themselves. of these you are doing or have just done, stepping forward to play and improvise Before describing some of the essential but they are essentially the same. on the melody. He would lean forward, details of several tuning systems, I want 3) When, in tuning a keyboard instru- seemingly embracing the instrument, to to review how we discuss tuning and how ment, we tune around the circle of fi fths, reach high notes and put his pizzi-fi ngers our thinking about tuning is organized, we do not normally do this: closer to the bridge. He would stand so that the descriptions of different tem- straight, throwing his head back to let peraments will be easy to grasp. free the full sound of instrument. And 1) For purposes of talking about tun- the three of them were in constant con- ing, octaves are considered exactly tact with each other, celebrating a sneaky equivalent. (This of course is no sur- unexpected move with a grin or a wink prise, but it is worth mentioning.) The or showing a moment of disbelief as one Intervals, tuning, and temperament, practical point of this is that if I say, for took off toward new horizons. part 2 example, that “by tuning up by a fi fth, six but rather something like this: All this talk of color reminds me of Last month I wrote about some of times in a row, I get from C to F#” I do a brief scene in my favorite story, the the fundamentals underlying the art of not need to say that I also have to drop twenty-one volume epic tale of Captain keyboard temperament: aspects of the the resulting F# down by three octaves Jack Aubrey of the Royal Navy and his nature of musical sound and of intervals, to get the simple tritone (rather than friend, ship’s surgeon and secret agent the overtone series, and the so-called cir- the augmented twenty-fi fth); that is as- Stephen Maturin, written by Patrick cle of fi fths. This month I want to discuss sumed. To put it another way, simple in- going up by fi fths and down by fourths— O’Brian, a story that spans more than keyboard temperament itself, using last tervals, say the perfect fi fth, and the cor- sometimes up by fourths and down by twenty years of the Napoleonic Wars. Jack plays the violin, Stephen the cello, and as they sail the oceans of the world ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
they play their own versions of the great DOBSON CASAVANT FRERES works of chamber music. In Post Cap- tain, the second novel of the series, Jack has been injured in a battle and Stephen has prescribed some nasty medications. It was a stunning battle in which Jack’s ship roundly defeated a French squad- ron, and as a result Jack was promoted from Commander to Post Captain. Jack and Stephen had attended a party BOODY TAYLOR at the home of an Admiral whose wife (known to Jack as “Queenie,” a sort of nanny from his youth) was showing off a recently acquiring breezy, somewhat salacious painting of an “as of yet unre- pented” Mary Magdalene:
[Jack] had gone to bed at nine, as soon as he had swallowed his bolus and his tan- kard of porter, and he had slept the clock DYER R. round, a sleep full of diffused happiness and a longing to impart it—a longing too oppressed by languor to have any effect. Some exquisite dreams: the Magdalene in Queenie’s picture saying, “Why do not you tune your fi ddle to orange-tawny, yel-
low, green, and this blue, instead of those GARLAND FISK old common notes?” It was so obvious: he and Stephen set to their tuning, the ’cello brown and full crimson, and they dashed away in colour alone—such colour!2
What a lovely image—perhaps for FRITTS Jack the result of too much marsala, but for organists an inspiration to ex- ploit the depths of the instrument. You will fi ll the seats at your recitals if the audience knows they can expect the unexpected. A little musical wink as a humorous note or two gets soloed out, a zig when it might have been a zag, a Thinking of Purchasing a Pipe Organ? hint of the pompous, the shy, the fright- GOULDING & WOOD ened, the regal. Your scholarship is the foundation of your music-making, not APOBA Can Help! its principal purpose. Organbuilders are on a constant quest to create the sounds, to squirt the paint from the tubes onto From information for your architect through fund-raising, APOBA has helpful the palette—the organists draw those publications concerning every aspect of an organbuilding project. squirts of paint together, blending the colors, scooping them out of the organ case or chamber, and applying them to And, they’re FREE for the asking! the canvas, which is the acoustics of the room and the ears of the listeners. Make the most of it. Q QUIMBY REDMAN SCHANTZ SCHOENSTEIN & HENDRICKSON Notes To receive information about pipe organs 1. Perfect parabola. 2. Patrick O’Brian, Post Captain, W. W. and recognized pipe organ builders Norton, 1990, page 421. AP write or call toll free 1-800-473-5270 or on the web @ www.apoba.com PASIO Associated RICHARDS-FOWKES Pipe Organ Builders of America BA P.O. Box 155 • Chicago Ridge, Illinois 60415 OTT OTT PARSONS NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP
AUGUST, 2009 13
Aug 09 pp. 2-19.indd 13 7/10/09 10:47:18 AM fi fths—in such a way as to tune the mid- ing of choices about which intervals The fewer fi fths are made narrow—that a given type—major triad, minor triad, dle of the keyboard fi rst, thus creating on the keyboard to tune pure and is, “tempered”—the narrower each of and so on—is identical to every other in- chords and scales that can be tested. which to tune wide or narrow, and them has to be; the more fi fths are left stance of that chord except for absolute 4) In tuning keyboard instruments about how wide or narrow to make pure (which is the same thing), the easier pitch. Next month I will discuss ways in we purposely make some intervals those latter intervals. Temperament the tuning is, since tuning pure fi fths is which the esthetic of each of these kinds impure: that is, not perfectly (theoreti- exists, in the fi rst instance, because of the single easiest component of the art of temperament fi t in with other aspects cally) in tune. When an interval is not the essential problem of keyboard tun- of tuning by ear.2 The more fi fths are of the musical culture of their times. pure it is either narrow or wide. An in- ing that I mentioned last month: if you tempered, the less far from pure each of The other system of tuning that was terval is wide when the ratio between start at any given note and tune around them has to be; the fewer fi fths are left prevalent for a signifi cant part of the his- the higher note and the lower note is the circle of fi fths until you arrive back at pure, the more diffi cult the tempera- tory of keyboard music—from at least greater than that ratio would be for the the starting note, that starting note will ment is to carry out by ear. the mid sixteenth century through the pure interval; it is narrow when the ra- be out of tune—sharp, as it happens—if Temperaments of this sort, that is, seventeenth century and, in some plac- tio is smaller. For example, the ratio be- you have tuned all of the fi fths pure. The ones in which two or more fi fths are es well into the eighteenth—is known tween the notes of a pure perfect fi fth is corollary of this is that in order to tune made narrow and the remaining fi fths nowadays as meantone tuning. (This 3:2, that is, the frequency of the higher a keyboard instrument in such a way are tuned pure, and all intervals and term was not used at the time, and is note is 1½ times the frequency of the that the unisons and octave are in chords are usable, make up the category now applied to a large number of differ- lower note. In a narrow fi fth, that ratio is tune, it is absolutely necessary to known as “well-tempered tuning.” There ent tunings with similar characteristics.) smaller (perhaps 2.97:2), in a wide fi fth tune one or more fi fths narrow. This exist, in theory, an infi nite number of dif- In a meantone tuning, there are usually it is larger (perhaps 3.05:2). Here’s the is a practical necessity, not an esthetic ferent well-tempered tunings. There are several major thirds that are unusably important point—one that students do choice. However, decisions about how 4083 different possible ways to confi gure wide and one or more fi fths that are also not always realize until they have had to address this necessity always involve the choice of which fi fths to temper, but unusable. In fact, the presence of inter- it pointed out: making an interval wide esthetic choices. there are an infi nite number of subtly vals that must be avoided by composers does not necessarily mean making some There are practical solutions to this different ways to distribute the amount is greater than in Pythagorean tuning. note sharp, and making an interval nar- practical problem, and the simplest of of out-of-tuneness over any chosen However, this is in aid of being able to row does not necessarily mean making them constitutes the most basic tem- fi fths. From the late seventeenth cen- create a large number of pure or nearly some note fl at. If you are changing the perament. If you start at a note and tury through the mid to late nineteenth pure major thirds. This was, perhaps, higher note in an interval, then raising tune eleven fi fths, but do not attempt to century, the most common tunings were as a reaction to the earlier Pythagorean that note will indeed make the inter- tune the twelfth fi fth (which would be those in which somewhere between four tuning with its extremely wide thirds, val wider and lowering it will make the the out-of-tune version of the starting and ten or eleven fi fths were tempered, considered esthetically desirable during interval narrower. However, if you are note), then you have created a working and the rest were left pure. In general, in this period. The mathematics behind changing the lower note, then raising the keyboard tuning in which one fi fth—the the earlier part of those years tempera- the tuning of thirds tells us that, if two note will make the interval narrower and interval between the last note that you ments tended to favor more pure fi fths, adjacent thirds are both pure, say c–e lowering it will make the interval wider. explicitly tuned and the starting note— and later they tended to favor more tem- and e–g#, then the remaining third that 5) Tuning by fi fths (or the equiva- is extremely out of tune. If you start pered fi fths. The temperament in which is nestled within that octave (see above), lent fourths) is the theoretically com- with c and tune g, d, a, etc., until you all twelve fi fths are tempered and the in this case a♭–c, will be so wide that plete way to conceive of a tuning or have tuned f, then the interval between ratio to which they are all tempered is no ears will accept it as a valid interval. temperament system. This is because f and c (remember that you started with the same (2.9966:2) is known as equal Therefore only two out of every three only fi fths and fourths can actually gen- c and have not changed it) will be a very temperament. It became increasingly major thirds can be pure—that is, eight erate all of the notes. That is, if you start narrow fi fth or very wide fourth. The common in the mid to late nineteenth out of the twelve—and, if they are tuned from any note and tune around the circle problem with this very practical tun- century, and essentially universal for a pure, the remaining major thirds will be- of fi fths in either direction, you will only ing is an esthetic, rather than a practi- while in the twentieth century. It was come unusable. This, of course, in turn return to your starting note after having cal, problem: this fi fth is so narrow that well known as a theoretical concept long means that composers must be willing to passed through all of the other notes. If listeners will not accept it as a valid in- before then, but little used, at least in avoid those intervals in writing music. It you start on any given note and go up or terval. Then, in turn, there is a practi- part because it is extremely diffi cult to is striking that composers were willing down by any other interval, you will get cal solution to this esthetic problem: tune by ear. to do so with remarkable consistency for back to your starting note without having composers simply have to be willing to In well-tempered tunings and in fact something like two hundred years. passed through all of the other notes.1 For write music that avoids the use of that any tunings, the choices about which The distribution of usable and unus- example, if you start on c and tune up by interval. This tuning, sometimes called fi fths to temper affect the nature of the able thirds in meantone is fl exible. For major thirds you will return to c having Pythagorean, was certainly used in what intervals other than fi fths. The most im- example, while it is possible to tune c–e only tuned e and g#/a♭. There is no way, we might call the very old days—late portant such interval is the major third. and e–g# both pure, as mentioned above, starting on c and tuning by thirds, to tune middle ages and early Renaissance. As The importance of the placement of tem- it is also possible to tune c–e and a♭–c the notes c#, d, d#, f, f#, g, a, b♭, or b. an esthetic matter, it is marked by very pered fi fths has always come largely from pure, leaving e–g# to be unusable. In the Tuning is sometimes done by thirds, but wide thirds (called Pythagorean thirds) the effect of that placement on the thirds. late Renaissance and early Baroque key- only as an adjunct to tuning by fi fths and that are spun off by all of the pure fi fths. Historically, in the period during which board repertoire, there are, therefore, fourths. Any tuning system can be fully These thirds, rather than the presence well-tempered tuning was the norm, the pieces that use g# and piece that use a♭, described by how it tunes all of the fi fths. of one unusable fi fth, probably are why fi fths around C tended to be tempered but very few pieces that use both. There 6) As I mentioned last month, tuning this tuning fell out of favor early in the so as to make the C–E major third close are pieces that use d# and pieces that use two or more in a row of any interval keyboard era. to pure, in any case almost always the e♭, but very few pieces that use both. spins off at least one other interval. The second-easiest way to address purest major third within the particular There are many pieces that use b♭ and For example, tuning two fi fths in a row the central practical necessity of key- tuning. This seems to refl ect both a sense a few that use a#, but almost none that spins off a whole tone. (Starting at c and board tuning is, probably, to divide the that pure major thirds are esthetically use both. There are very few keyboard tuning c–g and then g–d spins off the in- unavoidable out-of-tuneness of the fi fths desirable or pleasing and a sense that the pieces from before the very late seven- terval c–d). Tuning four fi fths in a row between two fi fths, rather than piling it key of C should be the most pleasing key, teenth century that do not observe these spins off a major third. (Starting at c and all onto one of them. For example, if in or the most restful key, on the keyboard. restrictions. This is powerful evidence tuning c–g, g–d, d–a, a–e spins off the in- the example immediately above you tune In general, well-tempered tunings create that whatever was accomplished estheti- terval c–e). The tuning of the primary in- the last interval, namely b♭–f, somewhat a keyboard on which different intervals, cally by observing them must have been tervals—pure, wide, or narrow—utterly narrow rather than pure, then the result- chords, and harmonies belonging to the considered very important indeed. Q determines the tuning of the resulting ing fi nal interval of f–c will not be as nar- same overall class are not in fact exactly (spun-off) interval. For example, tuning row as it came out above. Perhaps it will the same as one another. There might Gavin Black is director of the Prince- four pure perfect fi fths in a row spins be acceptable to listeners, perhaps not. be, for example, major triads in which ton Early Keyboard Center in Princeton, off a major third that is wider than the Historical experience has suggested that the third and the fi fth are both pure, New Jersey. He can be reached by e-mail at theoretically correct 5:4 ratio: very wide, it is right on the line. alongside major triads in which the fi fth
This instrument features a 5-manual console and 93 ranks of pipes in 9 divisions. The complete specification is available at www.pipe-organ.com for this and other pro- jects.
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14 THE DIAPASON
Aug 09 pp. 2-19.indd 14 7/10/09 10:47:41 AM that is like an accompanied recitative, O Come, O Come Emmanuel, arr. ing practices, detailed in lectures and Music for Voices but it is interrupted with a chorus of an- Emily Lund. SATB, piano, and op- descriptions of his work in the text, es- gels singing joyous “Alleluias” in divisi- tional fl ute, Hope Publishing Co., C tablish his reputation as a leading fi gure and organ block chords; the solo then resumes. The 5599, $1.95 (M-). during this period. by James McCray alleluias return later with the last section, The familiar Advent text has been set Organized in four parts, part I’s three a choral setting of “Glory to God.” The to a popular Hal Hopson tune, “The Gift chapters cover McManis’s formative organ part is busy but mostly doubles the of Love,” which is an attractive combina- years, then through World War II and fol- Annunciation, Advent, and Angels choral parts. Dramatic music. tion. Most of the arrangement is in uni- lowing; part II comprises chapters 4–8, son or two parts with only a brief four- each covering a decade of organbuilding The angels are the dispensers and ad- Rejoice! Emmanuel!, William Schoen- part passage. A separate fl ute obbligato during 1950–1999; part III offers organ- ministrators of the divine benefi cence to- feld. SATB and handbells (3 octaves), part is included on the back cover. The building wisdom; part IV discusses voic- ward us; they regard our safety, undertake GIA Publications, Inc., G-6862, $1.60 piano music is easy. Sweet music. ing. The text contains descriptions of the our defence, direct our ways, and exercise a constant solicitude that no evil befall us. (E). instruments he built as well as photos of John Calvin Much of this four-verse work is in uni- Magnifi cat and Nunc Dimittis (“The them and those he visited in this country Institute of the Christian Religion, I son or two-part mixed. Often the mel- Edinburgh Service”), Peter Maxwell and abroad during World War II. The ap- ody is sung, then the other section has Davies. SATB and organ, Schott and pendices cover an opus list of 140 new in- Although Advent is celebrated in the a short choral response. The handbells Company (order from Hal Leonard), struments, rebuilds and additions, 1930– four weeks leading to Christmas, the generally play an arpeggio that closes ED 12792, $9.45 (D). 1999, as well as the stoplist for each one. Incarnation of Christ was thought to with a single, vertical chord (16 bells are This 20-minute work is fi lled with A CD in the inside back cover portrays have taken place on March 25, and is needed). The music is not diffi cult and is dissonance and has numerous divisi the McManis sound. commemorated on that day. This is nine very attractive. sections; it will require a solid choir of The whimsical title, Wanted: One Crate months before Christmas and sometimes singers, even though the organ is often of Lions, was chosen from a comment by referred to as “Lady Day,” which links it Now the Heavens Start to Whisper, supportive of them. At times the organ Norman Sheck, a harpsichord builder to the spring equinox in the old calendar. arr. Nicholas Palmer. SATB and or- part, on three staves, is soloistic. The mu- who assisted McManis in the installation The Annunciation was given by the an- gan or with optional string quar- sic is dramatic, using a full complement of his magnum opus, St. John’s Episcopal gel Gabriel as told in the fi rst chapter of tet, GIA Publications, Inc., G-6835, of dynamics and vocal ranges. Challeng- in Waterbury, Connecticut in 1957 (see Luke. At that time, Mary’s cousin Eliza- $1.60 (M-). ing and sophisticated. photo, p. 16). After incurring diffi cul- beth was six months pregnant. Gabriel’s Here is the anthem that everyone is ties with church offi cials and architects, greeting, “Ave Maria” (Hail Mary), and sure to love, and it is guaranteed to be Awake, O Sleeper, Francis Patrick Sheck said ruefully to Charles: “The her response, “Ecce Ancilla Domini” requested for many years. Based on the O’Brien. SATB, cantor, assembly and trouble with the world is there are too (Behold the handmaid of the Lord), be- Welsh hymn tune “Suo Gan,” the senti- keyboard with optional fl ute and many Christians and not enough lions,” came textual fragments of great impor- mental melody is treated in three verses. trumpet, GIA Publications, G-5458, and followed up with a letter to a friend tance to not only the church, but also to The text, by Mary Bringle, is beautiful $1.40 (M). in Michigan asking him to send a crate of music within the church. Of course all by itself, but in tandem with this familiar Instrumental parts are available lions to the church. Of course no other these texts were not originally in Latin, melody it sparkles in delight. The middle separately from the publisher (G-5458 builder ever had any diffi culties with but they have been adopted into church verse, in four parts, is unaccompanied. INST), but the congregation’s music, a church offi cials and architects! A sense of liturgies, and for centuries have been set This will be my purchase for our church refrain heard three times, is on the back humor was a real plus for McManis and to music. choir this season. Highly recommended! cover for bulletin duplication. The music is an asset for any organbuilder. The Gospel of Luke records only one is festive and not diffi cult, with the cho- After an adventuresome youth of appearance of Gabriel; however, the angel Advent Celebration, Mark Patter- ral parts on two staves. family camping and travel, Charles fi rst does appear to Mary later in her house’s son. Unison/two-part with piano and thought of becoming an organbuilder courtyard as described in the Book of optional fi nger cymbals, claves, and at age 12, when he made a pipe of crate James, and that event is said to have in- shaker, Choristers Guild, CG 1159, wood and LePage’s glue, and in high spired the use of the vase and lilies that $1.95 (E). Book Reviews school he built his Opus 1 of four ranks, appear in numerous paintings throughout Although percussion parts appear fabricating metal pipes from coffee cans. history as symbols for Mary’s purity. within the choral score, a separate part for In 1933 he enrolled at the University of Angels are mentioned directly or in- them is included on the back cover; that Wanted: One Crate of Lions. The Life Kansas to study organ with Laurel Ever- directly about 300 times in the Old and music is easy and limited in scope. Part II and Legacy of Charles W. McManis, ette Anderson. He took courses in archi- New Testaments. Gabriel is God’s mes- for the singers is optional and consists pri- Organbuilder—An Autobiography. tecture, physics, acoustics, and mechani- senger who appears four times in the marily of antiphonal repetitions. The key- Edited by Judith F. McManis; book cal drawing as well as music theory and Bible, always bringing good news (Dan- board music is not diffi cult in this happy, design by Judith F. McManis. 2009, composition, convinced they would be iel 8:16, 9:21; Luke 1:19, 26). In general, fast setting for children’s choir. Organ Historical Society, Richmond, worthwhile in building the King of In- angels are classifi ed into three hierar- Virginia; softbound, 407 pp., with struments. He received a BA degree in chies: 1. Counselors; 2. Governors of the God with Us, Emmanuel, Joel Raney. CD, $35.00;
Appearance of the Angel (Erschei- nung des Engel), Josef Rheinberger. SATB, soprano solo, and organ, National Music Publishers, CH-50, $1.70 (M). The work opens with a soprano solo
AUGUST, 2009 15
Aug 09 pp. 2-19.indd 15 7/10/09 10:48:01 AM action electro-pneumatic windchests. 1956, at a time when builders’ fl ute ranks McManis worked closely with Jacques were mostly stopped or chimneyed. Stinkens, a pipemaker in Holland, to His growing reputation stemmed from produce pipework to his exact specifi - promotional material, lectures to organ- cations. Stinkens import prices were no building interests, and descriptions of doubt important in competing with ma- his work in the pipe organ media. He jor builders. distributed a fairly extensive brochure At the close of World War II, pipe “The Small Organ” (tonal design, voic- organ building in America, with the ex- ing, placement) at the AGO convention ception of Holtkamp, Schlicker, and per- in Houston in 1958. His lecture on fl ue haps one or two others, was an industry voicing to the AIO convention in Pitts- dominated by the large fi rms whose fully burgh in 1977, reprinted in The Diapa- integrated factory production (i.e., mak- son in April 1978, is a classic. In 1961 he ing everything) was, in retrospect, ide- presented a lecture “Tonal Design, Voic- ally suited for the pent-up demand after ing, and a Philosophy of Organbuilding” the Great Depression and World War at Union Theological Seminary In New II, coupled with population and urban York City. All this material is reprinted growth, the westward movement, and in the text. church building. Factory workers, orga- The accompanying CD includes ex- nized like a Chinese laundry, were skilled amples of organ music to illustrate the at one specifi c component and task, but tonal design and voicing philosophy often had little if any concept of the total- McManis spent a lifetime developing. ity of the instrument. Likewise, company Selections by Daquin, Speaks, Trav- executives were, for the most part, sons ers, Bach, Durufl é, Vaughan Williams, of the founder whose vision seldom went Langlais, Simonds, Balbastre, and Alain beyond the factory. District salesmen, are played by Jerome Meachen, John talking to a musically limited church W.W. Sherer, Robert Havery, and Mc- committee, whose concept of an organ Manis himself on McManis organs at was solo accompaniment and hymn sing- the Church of the Redeemer, Sarasota, ing, focused on nearby installations, opus Florida and St. John’s Episcopal Church, McManis Op. 35, St. John’s Episcopal Church, Waterbury, CT numbers, and Dun & Bradstreet reports. Waterbury, Connecticut. Like other small builders then and today, The long life of Charles McManis is two of them. T. Scott Buhrman, editor of In April 1942, McManis enlisted in McManis never employed salesmen, eloquent testimony to the ineffable joys The American Organist (Chicago), wrote the Army and by virtue of his organist viewing the instrument as a work of art of building the King of Instruments. in the July 1940 edition that McManis training served as a chaplain’s assistant and the work of an artist. Standing at the voicing jack and making is “not an organist puttering at building, throughout World War II. He eagerly A second feature of Charles’s career, a pipe speak, then sitting in a pew and but an organ-builder who, of all people, pursued pipe organs wherever he was one recognized and of increasing impor- listening to it sing, affords a sense of plays the organ for fun.” In the fall of stationed—for example, an 1863 William tance today, was his sympathy and sup- job satisfaction and life fulfi llment per- 1941, eager to improve his knowledge of Stevens tracker in Paso Robles, Califor- port for rebuilding and updating exist- haps seldom found in other occupations. the classic organ, he went to Cleveland nia while stationed at Camp Roberts, ing instruments. This refl ected his belief This volume establishes McManis as an to work for Walter Holtkamp, a leading and others in France and Germany be- that by adding mixtures and mutations important if unsung hero of pipe organ spokesman in the organ reform move- fore the armistice, many of them photo- and revoicing foundation ranks, he could building in America in the last half of ment, assisting him in several installa- graphed and shown in the book. Playing produce the chorus and ensemble results the 20th century. His widow Judith said tions. Countering the advice of his organ and studying these instruments contrib- he wanted. In this he was quite success- in the acknowledgements that he was teacher at the University of Kansas, Wal- uted immeasurably to the emergence of ful. In contrast, in the 1950s and ’60s, the pleased to know, upon his retirement, ter said to him: “If you could be happy in his tonal philosophy. factory builders, acting through salesmen, that several current builders were em- any other line of work, don’t be an organ Returning to Kansas City, Kansas to refused to consider revoicing and updat- bracing and continuing his ideas in their builder.” Obviously he couldn’t and nei- resume his career, his market was fi rst lo- ing existing instruments, primarily be- work. Wanted: One Crate of Lions is an ther could Holtkamp. cal rebuilds and increasingly geographi- cause organbuilding to them was fi rst and absolute must for all serious students of Moving from formal music training as cally dispersed small instruments, in the foremost a business, and sales to keep the the pipe organ. Highly recommended. an organist to becoming a builder was context of the burgeoning nationwide factory humming were the bottom line. —R. E. Coleberd the fi rst feature of Charles’s odyssey that demand. In larger instruments it refl ect- An important aspect in the total spectrum would increasingly mark the character ed the infl uence of musically trained of organbuilding, rebuilding was totally and complexion of organ builders and organists who were impressed with his ignored in the music media, which con- the composition of the industry toward knowledge and vision of the instrument centrated exclusively on new instruments, New Recordings the end of the last century. Others in- in the context of the great literature: including trackers and imports. cluded Franklin Mitchell of Reuter, Jack they were infl uential if not pivotal in the Charles was fi rst and foremost a fl ue Sievert of Schantz, Randall Wagner of selection of a builder and viewed the voicer who enjoyed the respect and ad- Historic Organs of Buffalo. Four- Organ Supply, Robert Reich and Donald King of Instruments as a work of art and miration of the entire organbuilding fra- CD set of the 2004 Organ Historical Olson of the Andover Company, Michael the work of an artist. A key feature in ternity. In the evolution of his tonal phi- Society National Convention in Buf- Quimby, Steuart Goodwin, George Boze- the spectrum of organbuilding, and one losophy, the Gemshorn, which he called falo, New York and the surrounding man, and even the world-famous organ long overlooked in the media, was the his “best friend,” was a favorite stop and area. OHS-04, $31.95 (members; virtuoso Robert Noehren. These individ- experienced and highly qualifi ed suppli- virtually defi ned his work after 1952 $34.95 non-members), uals envision the King of Instruments in ers whom McManis depended upon to because of its compatibility with other
16 THE DIAPASON
Aug 09 pp. 2-19.indd 16 7/10/09 10:48:23 AM gans, but beneath that veneer one could Track two is a piece with a rather Ascension Catholic Church in North cedes a jolly Humoresque by Pietro Yon, also see pride and promise. The better complex pedigree: Passacaglia per or- Tonawanda has a sweet little 1895 Fel- which has Noehren’s fl ute stops gurgling days were obvious in more than a few gano by Frescobaldi, transcribed by Leo gemaker, opus 601, with one manual with great cheer. The last piece is Da- opulently appointed churches, cathe- Sowerby from a piano transcription by and pedal. Rhonda Sider Edgington quin’s famous Noël Etranger, which gives drals, and glorious organs. The Buffalo Respighi! Peter Stoltzfus plays on the plays a Pachelbel Partita on Herzlich tut us a good overview of the reed stops. area was home to such disparate fi gures 1928 Skinner in Baker Memorial United mich verlangen. Sadly, the church is now as Rudolph Wurlitzer and Robert Hope- Methodist Church in East Aurora. The closed. The CD booklet tells us that “the Disc four: Johnson, Möller, et al. Jones, and Herman Schlicker and his piece gives a great tour of the organ future of the organ is undetermined.” The fourth disc begins with a stel- collaborator Robert Noehren. All of this with its many voices, but you’d be hard Another Felgemaker (1901) follows lar performance by Frederick Swann and much more is presented quite nicely pressed to name the original composer. from St. John the Baptist Church in playing the 1893 Johnson & Son or- on these four compact discs. In track three, Stoltzfus plays Vierne’s Boston, NY. A lively acoustic is a perfect gan, rebuilt by Tellers, in the reverber- Clair de Lune. Player, organ, music, and setting for a performance of Vivaldi’s ant acoustic of St. Stanislaus Catholic Disc one: fi ve Schlickers and more recording engineer are well matched— a Sonata in G for Flute, op. 16, no. 10, by Church in Buffalo. Swann explores Disc one opens with Tom Trenney superb performance. Tim Socha, organist, and Melissa Stew- and demonstrates this 3-manual organ leading the hymn I Sing the Mighty Track four features Felix Hell playing art, fl utist. Both play with great style, and to great effect, playing Rheinberger’s Power of God on a warm-sounding 1932 in the large Westminster Presbyterian Socha uses the organ well. Sonata No. 8, which rolls along at just Schlicker organ in St. Francis Xavier Church, which has two Aeolian-Skin- A pair of Barckhoffs are heard next. the right pace. The hymn Holy God, Catholic Church in Buffalo. He follows ners: Opus 1249, with four manuals in The fi rst, in the First Universalist We Praise Thy Name (Grosser Gott) with Dudley Buck’s famous The Last Rose the main church, and Opus 1136, with Church in Middleport, NY, dates from follows. It is so nice to hear truly great of Summer. The church has since closed two manuals and a fl oating Positiv in 1902; Andrew Carnegie helped pay for hymn leadership from the organ, with but has been acquired by the Buffalo Holmes Chapel. Hell is heard playing it. We hear J. R. Daniels play a Prelude nary a “song leader” in sight polluting Religious Arts Center and is now called Franck’s Choral No. 2 in B Minor on the by William Harris. The second, from the air with their nasty microphones. Xavier Hall. The organ has been retained, larger organ in the church. 1906, also paid for in part by Carn- Swann’s fi nal outing, in a truly stunning and Mr. Trenney’s recording in the lively Tracks fi ve and six take us into Holmes egie, is played by Jason Alden, who recital, is Parry’s Fantasia & Fugue in g, acoustic space captures it wonderfully. Chapel to hear the smaller Aeolian-Skin- transports us back with Rudolf Friml’s which he plays with incredible energy Gail Archer demonstrates another, ner played by Lorenz Maycher. He Echoes of Spring—just the right organ. and momentum. and larger, Schlicker at Kenmore Presby- starts with Telemann’s charming How A complete change of pace follows with OHS favorite James Hammann is terian Church. This 3-manual organ from Brightly Shines the Morning Star, then La Romanesca by 16th-century com- next playing three movements from 1948 has two 32′ stops, and the voicing Whimsical Variations by Leo Sowerby. poser Antonio Valente, giving a colorful Dudley Buck’s Studies in Pedal Phras- is elegant. Archer plays Sweelinck, and He uses the organ beautifully, and the tour of the stops. ing at Delaware Avenue Baptist Church, Bach (Allein Gott in der Höh sei Ehr, strings are to die for—superb playing! Randy Bourne always has something with its huge domed ceiling—charming BWV 662). The fl ute has a gentle chiff His seemingly endless tonal exploration clever up his sleeve. This time it’s Men- music, well played on a 3-manual John- and the cornet sings out nicely. The or- of this small instrument makes it sound delssohn’s Wedding March played with a son & Son organ from 1895. Hammann gan has been enlarged several times and like it has fi fty ranks. fi ne fl ourish at Jordan River Missionary always pays great attention to style and to was a favorite of Robert Noehren, who Next, at Holy Trinity Lutheran Baptist Church on a 1919 Votteler-Holt- the colors of the instrument. made seven LP recordings on it. Church, James Bigham, organist at the kamp-Sparling organ. Another OHS favorite is Derek Nick- Trinity Episcopal Church’s 1954 church, holds forth on a very large organ An organ convention in Buffalo would els, who performs in Buffalo’s Lafayette Schlicker’s reed stops provide a good of 152 pipe ranks plus some electronics. not be complete without a stop at Shea’s Avenue Presbyterian Church on its 3- airing of more Sweelinck: Balletto del We hear two hymns—fi rst is Go to Dark Buffalo Center for the Performing Arts. manual 1896 Geo. S. Hutchings organ, granduca. Stephen Schnurr plays this Gethsemane (Gethsemane) and Rock Formerly known as Shea’s Buffalo The- beginning with a sensitive performance with fi ne style, as he does Buxtehude’s of Ages. You can enjoy a good example ater, it seats 4,000 who sit in Tiffany-de- of Karg-Elert’s “Harmonies du Soir” from Toccata in D Minor. The organ incor- of OHS hymn singing. The organ is scat- signed splendor. Its very mighty Wurlitzer Trois Impressions. He then leads us in the porates pipes from the church’s Hook & tered all around the church and is quite was built in nearby Tonawanda. On this great Welsh hymn, Guide Me, O Thou Hastings organ. the hybrid. disc, we hear it playfully demonstrated Great Jehovah (Cwm Rhondda)—solid Next on the disc is a selection from Tracks nine and ten were recorded in in true theatre organ style by Scott Fop- and imaginative playing. Nickels ends Choral Evensong sung by the well- the vast and towering (the steeple rises piano in My Hero by Oscar Straus and with another Rheinberger piece: Finale trained men and girls choir at St. Paul 245 feet) St. Louis Catholic Church. Stanislaus Stange, and Turkish Towel by and Fugue from Sonata VII, played with Episcopal Cathedral in downtown Buf- Will Headlee plays the glorious 3-man- Sammy Fain. fi ne sweep and control—the musical lines falo. Under the direction of choirmaster ual 1903 Kimball organ. First we hear a The fi nal pieces on disc three are from are well shaped and delineated. Andrew Cantrill, they sing Edward superb tour of the organ in Dupré’s Pre- David Bond’s recital on a large 1970 MaryAnn Crugher Balduf is the Bairstow’s Blessed City, Heavenly Sa- lude and Fugue in F Minor. The hymn Noehren in Buffalo’s First Presbyterian mistress of the small pipe organ, and they lem. The gallery and chancel organs are Round the Lord in Glory Seated (Rus- Church. The hymn Ye watchers and ye don’t get much smaller than the 5-rank, by Schlicker. The gallery’s Solo division tington) follows, and it rolls through- holy ones (Lasst uns Erfreuen), pre- 1-manual charmer in Trinity Lutheran contains many voices from a previous out this great and reverberant church. Hope-Jones organ in the cathedral. Ca- Outstanding hymn playing! thedral organist Andrew Scanlon gives The fi nal track features Vision by Josef a restrained and exquisite performance Rheinberger, nicely played by Stephen of Hindemith’s Sonata II. Roberts on the 3-manual 1934 Kimball The OHS Catalog We then hear a very special Schlick- organ at Ascension Episcopal Church, er organ in Herman Schlicker’s home which had suffered some water dam- SHEET MUSIC ¡ BOOKS ¡ RECORDINGS church: First Trinity Evangelical Luther- age in the Swell. The booklet reports: an Church in Tonawanda, NY. He lav- “In 2008, following the announcement ished great care on every detail, coming of plans to alter the historic fabric of the Brilliant Trumpet and Organ from Cleveland! back to it many times over the years and organ, its [OHS] Historic Citation was making small improvements. His widow, rescinded.” This recording preserves the Michael Sachs, Trumpet Todd Wilson, Organ Alice, was in the audience for this re- memory of the organ’s former and his- cital—a very good one, too, by Freder- toric value. Live from Severance Hall ick Teardo, whose clean and expressive playing of music by Buxtehude and Bach Disc three: Hook & Hastings, Fel- Michael Sachs, Principal superbly demonstrates the very best of gemaker, Barckhoff and more Trumpet of the Cleveland the neo-baroque aesthetic in mid-20th- If you are looking for an excuse to century American organ building. buy these CDs, the fi rst three tracks of Orchestra, and Todd Bruce Stevens plays a sweet 1860 disc three beg your sweet indulgence. organ by Garret House, which, in 1891, Don’t get me wrong, all the perfor- Wilson, curator of the was moved to St. Stephen Catholic mances at this convention were truly famous E. M. Skinner Church in Buffalo. We hear Guilmant’s fi ne, but these three tracks from Ken Introduction et Variations sur un ancien Cowan’s stunning recital in St. Joseph organ at Severance Hall, noël polonais, then Niels Gade’s Chorale Catholic Cathedral are outstanding. The Prelude on Wie schön leuchtet der Mor- organ is a 4-manual E. & G. G. Hook Cleveland, join to perform genstern, in which the melody sounds out & Hastings. It was rebuilt by Tellers, a spectacular recital. Organ with great warmth in the tenor register. then Schlicker, and, fi nally, by Andover. The last track on disc one takes us to The acoustics are great, and in spite of and trumpet works by the beautiful Forest Lawn Cemetery the controversy surrounding the organ’s Chapel, where we hear Justin Hartz fi nal rebuild, the results are drop dead Reiche, Charpentier, Torelli, play Fountain Reverie by Percy Fletcher gorgeous. Cowan plays the Buxtehude J. S. Bach, Neruda, Viviani, Sowerby and Eben. on an appealing little Wurlitzer. The el- Ciacona in C minor, and a wonderful egance of the chapel and cemetery are new Prelude and Fugue by David Conte. CDTCO-51201 $15.98 to OHS Members, $17.98 to Others poignant reminders of the bygone glory But for my money, it is his magnifi cent of this once prosperous city. Among the hymn accompaniment/leadership to the famous people buried there are Presi- hymn Dear Lord and Father of Mankind IN STOCK FOR IMMEDIATE SHIPMENT! dent Millard Fillmore, William D. Fargo (Repton) that wins the day! The assem- (Pony Express founder), Albert Cook bled congregation of OHSers is buoyed NOW CHOOSE FROM OVER 5,000 TITLES! (discoverer of the North Pole), and Rob- up with each turn of the text by Cowan’s ert Hope-Jones—not bad company. masterful sense of organ color. His ev- Order online: http://www.ohscatalog.org ery move is followed by the singers. It is UPS shipping to U.S. addresses, which we recommend, is $7.75 for your entire order. Disc two: Skinner, Aeolian-Skin- brilliant hymn playing! Media Mail shipping is $4.50 for your entire order. Shipping outside U.S. is $4.50, plus the ner, and Kimball Buffalo’s St. Anthony of Padua Cath- cost of air postage, charged to your VISA or MasterCard. This disc starts with a powerful blast olic Church is next, with Donald Fel- from the large 4-manual Skinner Organ lows’ fi ne concert on its 1889 Hook & Company’s opus 356 in Central Park Hastings organ. Another beautiful hymn, Organ Historical Society United Methodist Church in Buffalo. If Now, Thou Seekest Miracles (Si Qua- P. O. Box 26811 • Richmond, VA 23261 Thomas Murray plays Reger’s Intro- rus Miracula), precedes a well-played Open Monday-Friday 9:30am - 5:00pm ET duction and Passacaglia with a grand Te Deum, op. 59, by Max Reger. Fellows Telephone (804)353-9226 rolling style that brings out the majesty makes the most out of this small instru- E-mail: [email protected] of this organ. ment (16 ranks).
AUGUST, 2009 17
Aug 09 pp. 2-19.indd 17 7/10/09 10:48:42 AM Church in Wolcottsville, NY. We hear to tell me the score was on its way, she movements are tangos, but each with a sumption Grotto Church on the east side her fi ne demonstration of its 1897 Hin- asked, “Do you do any weight lifting or different character. The fi rst is sensible, of Detroit. Once a vibrant neighborhood ners & Albertsen with divided keyboard strength training?” I did not. She recom- tightly composed; the second is lush and and a huge Catholic parish with an ac- in a Verset by Louis Lefébure-Wély—a mended I start. Out of fear, I did. gorgeous; the third (Saiya) is both a tan- tive school and packed pews, Assump- delightful little piece. I don’t think I’ve ever worked quite so go and a fugue. The seed capsules of the tion Grotto Church on Gratiot Avenue David Blazer plays the Prelude from intensely on a new piece, or been quite saiya fl ower contain caffeine, and so does is located in an area that has been deci- Durufl é’s Suite, op. 5, on a 4-manual so happy to do so. Decker’s music is not this movement. mated by the troubles that have plagued 1913 Möller, rebuilt in 1956 by Möller, for the faint of heart, and the more I Kairos is the most eventful piece on Detroit and the auto industry. We are all in the Karpeles Manuscript Museum. practiced, the more absorbed I became. this disc. The listener feels borne from aware of the plight of Detroit and the Blazer strikes just the right touch of mel- It captivated me, and I did not resent a one state to another, grown, as it were, domestic auto industry, but those of us ancholy that pervades this music—very single drop of sweat. from turbulence to solidity. who have lived and worked in Detroit fi ne playing. Then Decker Plays Decker appeared, Passacaglia on BACH is a Pulitzer can totally appreciate what is like for an Our Lady of Pompeii Catholic Church on two CDs from Loft. At last, we can Prize nominee. The work is thickly con- area to lose more than a million people in Lancaster, NY, has another grand hear this stunning music as the com- trapuntal, with canon, augmentation, in the span of 25 years. This section of old Möller, this one from 1920. It was poser intended, effortlessly. Volume diminution, inversion and four-part fugal Detroit has become a complete blight built for the First Methodist Episco- One, Sacred to Secular, opens with writing. Not one but two solos for double of closed stores, burned-out houses and pal Church in Cortland. The Lancaster Tango Toccata on a Theme by Melchior pedal require ferocious technique, and high crime. church acquired it in 1996. Mark Di- Vulpius. It could have been called “Vul- Decker handles the task masterfully. Enter Fr. Eduard Perrone, a Catholic Giampaolo plays two rousing Guilmant pius meets Piazzolla.” This 1609 hymn Fantasy on the Name of Marilyn priest who was ordained after a number pieces that bring the instrument to life in doesn’t know what hit it. I had to pull Keiser: Though the ‘spelling’ of this name of years working as a professional mu- grand fashion. the car over. Cleverly, Decker does not in musical notation results in a subject sician and church music director. He We then go back in time with an ele- at fi rst divulge her tango intent rhyth- of ambivalent shape, Decker weaves a rebuilt the membership at Assumption gant 1853 Hall & Labagh in Buffalo’s Na- mically, but harmonically. Once we are warm, lyrical, late French romantic cen- Grotto Church and now, each and every tivity of the Blessed Virgin Mary Catholic hooked by the unique twist of this har- terpiece from it. Sunday for all of the Masses, the church Church. This organ, Buffalo’s oldest, was monic language applied to old Vulpius, Volume two ends with ‘my’ Río abajo is full for both the Novus Ordo Masses originally in Yonkers, and then, after an- then she unleashes a toccata reminis- Río. Awareness of the requirements of and the Tridentine Masses celebrated other move, it came to Nativity Church cent of Messiaen’s Dieu parmi nous. It’s the piece only increases my admiration weekly. Through the church gift shop, in 1911. On this recording we hear Scot a crowd-pleaser of a piece, a great end for the performance here. This is new a total of nine recordings are available, Huntington play a sensitive and sweet to a big program. Here it sets the stage music audiences love. It is rare for a many featuring the music of Paul Pa- accompaniment for Bach’s Largo from for settings of Ein’ feste Burg—fi ve con- composer of such accomplishment to be ray, who was the music director of the the Violin Sonata No. 5. Allison Alcorn is tiguous variations with hints of Durufl é quite as fi ne an organist as Decker is. She Detroit Symphony Orchestra from 1952 the violinist. They give what was a touch- in the concluding toccata—and Herz- conveys her music with excitement and and 1963. Paray also was an organist ingly sad farewell—a lament, really, for lich tut mich verlangen. They are less technical fi re. From both the composi- and a student of Marcel Dupré, and Fr. this church, which closed on September settings than explorations of the capaci- tional and the performance viewpoints, Perrone has recorded, with members 14, 2008. The organ’s fate is unknown, ties of these tunes, and we never knew these CDs are a tour de force. of the Detroit Symphony, Paray’s ora- but it is available. they could do this. —Christa Rakich torio Yanitza, chamber music of Paray, The fi nal track features a sweet-toned Retablos (triptych), based on three Boston, Massachusetts the String Symphonies and the ballet 1911 Aeolian self-player organ in the Buf- Gregorian themes, displays a wide range Artémis Troublée, all with Perrone con- falo & Erie County Historical Society, of technique and mood, from ominous to ducting. Going to the website, one will which plays the Allegro moderato e serio- jubilant. Pange Lingua fi nds its expres- Symphony, Suite, Sonata for Organ. be absolutely amazed at what has hap- so from Mendelssohn’s Sonata No. 1. sion in a driving dance with shifting me- Organist Stephanie Nofar at the pened—a church that was slated for For complete descriptions and speci- ters and strong accents. The ethereal Ubi Cathedral of Our Lady of the Most closing has been reborn and has become fi cations of all of these instruments, visit Caritas could be music for an episode of Holy Rosary, Toledo, Ohio. Grot- a mecca for people looking for good lit- the OHS Pipe Organ Database:
18 THE DIAPASON
Aug 09 pp. 2-19.indd 18 7/10/09 10:48:57 AM this absolutely beautiful movement. He the Prix de Rome, a prize that he did win taken from his cyclic Suite Sebastienne. The Saint Luke Organ Book, Daniel was later to learn that it was the Skinner with his cantata Yanitza. The fugue was According to Terry, this version is based Pinkham. ECS Publishing, No. 6599, organ’s combination action! The record- originally written in open score on four on the original manuscript, not on the $11.00,
AUGUST, 2009 19
Aug 09 pp. 2-19.indd 19 7/10/09 10:49:22 AM Atlantic City Boardwalk Hall’s Midmer-Losh Organ: An Update Charles Swisher and Carl Loeser
leven years have passed since the tion, and therefore its restoration is rela- EMidmer-Losh organ in Atlantic tively straightforward. The original relay City’s Boardwalk Hall was last heard, system and booster blower were removed when the ACCHOS CD/01 was record- during the renovation to accommodate a ed on November 3–4, 1998. The Atlan- new stairway. The booster blower is be- tic City Convention Hall was renamed ing relocated and a new Peterson relay Boardwalk Hall and was closed for four system is being installed in the organ to years (1999–2002) to undergo a $90 mil- replace the original relay. Ken Crome is lion renovation, which, sadly, did not in- restoring the console at his shop in Reno, clude work on the organ. The hall is now Nevada. The relay installation should be considered one of the fi nest performing completed this summer, and the console arts facilities of its kind in America. returned by the end of the year. The main blower room and static reservoirs Background have been completely restored. The in- In the early 1920s, Atlantic City decid- strument should be playable once again ed to build a massive Convention Hall; by early next year. 30,000 people gathered for its dedication Work on the Midmer-Losh organ will in June 1929. New Jersey State Senator not be quite so straightforward. Most Early view of Boardwalk Hall Emerson L. Richards designed both the of the organ is in reasonable condition, Midmer-Losh organ and the ballroom’s with a few isolated areas of water dam- Kimball organ. The Midmer-Losh Or- age and vandalism. It is a testimony to gan Company of Merrick, Long Island, the diligence and concern of the staff at installed the organ from 1929–1932. The Boardwalk Hall that the organ survived organ is housed in eight chambers in a the building renovation process relative- surround-sound confi guration in the hall. ly unscathed. Anyone who has worked in Two ceiling chambers house the Fanfare this trade, and been involved with pro- and Echo organs, and two gallery cham- tecting a pipe organ during construction bers are located in the left and right for- work, will realize how diffi cult this must ward and center areas of the hall. have been for an instrument of this size, The main console has seven manuals spread out as it is throughout the build- (located in a kiosk at stage level), and a ing. In fact, the organ has suffered from movable console is available with fi ve benign neglect more than anything else. manuals. The organ has some 33,112 Work has begun on the right stage pipes and was listed for decades in the chamber, since it was the only portion of Guinness Book of World Records as the the organ that was kept in operating con- largest pipe organ in the world. dition for many years and will require the In the 1980s and ’90s, both organs fell least amount of work to be put back into into disuse and were neglected by man- operation. As many will recall from the agement. In 1997, following an e-mail 1998 recording, there were many dead plea by Stephen D. Smith in London, notes. Although much of the chestwork in the Atlantic City Convention Hall Organ this chamber had been releathered over Society, Inc. was formed to foster the the years, many of the chest magnets had preservation and restoration of both or- failed. They are of a compound type that, gans in the hall. in addition to an armature, have an inter- As it was, a lot of damage to both or- nal pouch and primary valve. The leather gans occurred during hall renovation. had failed in many of the magnets, and The architect at the time had the Kim- the zinc castings had become brittle, ball relay removed to make way for a making it diffi cult to rebuild them. They stairway, and the left stage chamber relay had not been produced in decades, and of the Midmer-Losh was removed as the no spares remained. The original mag- old balconies were demolished. nets were manufactured by Klann Organ The Society has published two books, Supply Co., and Klann has been assist- Atlantic City’s Musical Masterpiece ing in developing a direct replacement. and The Atlantic City Convention Several prototypes are currently being Hall Organ—A Pictorial Essay about tested, and it is anticipated that produc- the World’s Largest Pipe Organ. Two tion of new magnets will commence be- CD recordings and a DVD have also fore the end of the summer. been released. The ACCHOS website Once on hand, the new magnets will (www.acchos.org) continues to attract be installed where needed in the right countless thousands of visitors from 41 stage chamber, and that should bring a The 7-manual console in its kiosk countries around the world. large number of pipes back to life and al- Worldwide interest in the Midmer- low much of the Great, Solo, and Pedal Losh organ is greater than ever. On April divisions to be put back into playable 20, 2008, the entire organ class from the condition. If all goes well, this should be Royal Academy of Music in Denmark completed by early next year. fl ew over to get a fi rsthand look at the As an interesting aside, several of organ, and they were delighted. Board the old magnets were sent to Klann for member and tour leader Harry Bellangy evaluation. Paul Klann, retired from the said they were all like Charlie in the fi rm, was visiting the plant one day and Chocolate Factory! was shown one of the magnets, with no explanation given about them. He rec- Current status ognized them immediately and then ex- In 2007, Carl Loeser was appointed pressed interest as to who was presently curator of organs, and in 2008, Stephen taking care of the Convention Hall organ D. Smith, ACCHOS president and au- in Atlantic City. thor, was named Honorary Curator of the Boardwalk Hall Organs in perpetu- Restoration plans ity. The restoration of the two instru- The Swell division will be the fi rst ments has begun, and the results thus non-playable portion of the organ to be far have been very promising. Here is a restored. This will include rebuilding general summary of where things stand the windchests, cleaning and repair of as of June 2009. the pipes, and some repairs to the blow- In 1930, the hall’s fi rst general manager ers and winding system. The pipes and wanted a straightforward theatre organ windchests are being removed, and re- for the ballroom, but Emerson Richards building work on them has begun. Again, had in mind an orchestral instrument that if all goes well, the Swell division should included some proper organ choruses. be back in operation by the end of next The resulting scheme of 42 voices—19 year. Following the Swell restoration, the straight and 23 extended—was heralded remaining parts of the left stage cham- as a “pioneer” organ and included the fi rst ber will be restored, including the ranks brass stop installed by Kimball. Three of the Swell-Choir, Unenclosed Choir, wind pressures are employed among the String I, and Pedal Left. 55 ranks and 4,151 pipes. As funding permits, the gallery and The Kimball organ was intact and fully ceiling chambers will be restored, al- The 5-manual movable console for the Midmer-Losh organ. It is currently on display functional before the building renova- though the specifi c order for this has not in the building’s lobby.
20 THE DIAPASON
Aug 09 pp. 20-21.indd 20 7/10/09 10:50:19 AM The array of reservoirs for the right stage chamber on the Midmer-Losh organ
yet been determined. These include: Right Forward chamber (Brass Cho- rus and String II) Right Center chamber (Gallery I and Gallery II) Right Upper chamber (Echo including the 16′ Bassoon made of paper mâché!) Left Forward (Choir) Left Center (Gallery III, Gallery IV, and the Chickering concert grand piano) Left Upper chamber (Fanfare and String III) The Fanfare division is one of the real highlights of the Midmer-Losh. Stephen The Kimball console—the largest horseshoe console ever built by Kimball Smith wrote:
The Fanfare organ, with its blaze of mixtures and reeds, is intended to be a ‘super’ department. Its stentorian diapa- sons, 18 ranks of mixtures, and barrage of reeds (four of them voiced on 50 inches of wind) provide a stunning and formidable antiphonal opponent to the Main organ in the Stage chambers. It was reputed to have The restored Spencer blower for the been Emerson Richards’ favorite depart- ballroom Kimball organ ment, and one can well imagine the maj- esty of its sound pouring into the center of strings, and diminutive reeds—usually at the Hall, fi lling the room.1 8-foot pitch—were the vogue. The Convention Hall instrument was to A new control system for the entire be the world’s largest organ and it would probably be the most publicized too. What Midmer-Losh organ will be designed, better place could there be to make such and the entire organ will be rewired. a statement? The problem was that there It is interesting to note that the entire were so many statements and so many at- coupling system for the seven-manual tractions, that the Unenclosed Choir’s console was contained in the key contact message was all but lost! Despite this, that trays for each keyboard, a very compact message did, fi nally, get through. However, system. Not so with the original combina- it wasn’t because of the Unenclosed Choir A portion of the original combination action for the Midmer-Losh. It was ruined tion action, a portion of which is shown alone, nor was it due solely to the efforts during the hurricane of 1944 when the sub-basement was fl ooded with salt water in the photo. It took up two entire rooms of Richards—although he undoubtedly for days. took the lead role in changing opinion and, in the basement and, unfortunately, had thereby, preparing the way for a return to a relatively short life, being ruined when “proper choruses.”2 the basement areas fl ooded during a hur- ricane in 1944. There are a number of videos that Once the Midmer-Losh can be heard have been posted on
AUGUST, 2009 21
Aug 09 pp. 20-21.indd 21 7/10/09 10:50:38 AM André Isoir: An Eclectic French Organist Carolyn Shuster Fournier
ital music-making is the heartbeat Vthat animates André Isoir. Honorary organist at the church of Saint-Germain- des-Prés in Paris, Chevalier of Arts and Letters and recipient of the National Order of Merit, André Isoir has received the highest distinctions as an interna- tional concert and recording artist, with a vast repertoire and more than sixty re- cordings to his name. An eminent pro- fessor, he has taught over 900 organists from all over the world. A Renaissance man, he is also a composer who has made many transcriptions. Fascinated by organ building, he has been a consultant for numerous organ restorations and has served as a corresponding member of both the French Historical Monuments Commission (1970–85) and the Com- mission of Unclassifi ed Historical Monu- ments from (1980–84). Initial inspiration André Isoir was born on July 20, 1935 Rolande Falcinelli’s organ class at the Paris Conservatory in 1960. From left to in Saint-Dizier (in Haute-Marne, near right: Francis Chapelet, André François, André Isoir, Yves Devernay, Jean Wallet, Reims). He played the bugle in the city Marie-Thérèse Michaux (Besson), Xavier Darasse, Rolande Falcinelli, Christian band. At age fourteen, his life was trans- Manen, James Caussade (seated), Pierre Jorre de Saint Jorre formed when he heard J. S. Bach’s Pre- lude and Fugue in A Minor, BWV 543, played on the organ in the chapel of his school. He immediately fell in love with this instrument. For the next two years, he studied on this organ with a Salesian priest and accompanied on the harmo- Geneviève de La Salle and Édouard nium a church choir led by his father, Souberbielle, with Michel Jollivet and an amateur musician. When Noëlie Eugène Pelletier (in the center) Pierront1 came to Saint-Dizier with the Philippe Debat Vocal Ensemble2 and Souberbielle served as consultant for performed a stunning rendition of Mar- the construction of a Roethinger organ cel Dupré’s Prelude and Fugue in G Mi- in the French classic style (curiously nor, Isoir had the opportunity of playing enough with electric action) at the Bene- Bach’s Fugue in G Minor, BWV 542, for dictine Abbey in Limon (in the southern her. Impressed by his immense talent, part of the Île-de-France). Voiced by she encouraged him to come to Paris to Robert Boisseau, this organ included a study at the César Franck School.3 Plein-jeu as described by Dom Bédos. It thus served as an inspiration to future Musical training constructions in this style by Philippe In 1952, André Isoir enrolled at the Hartmann and Pierre Chéron. In addi- César Franck School, then located on tion, Souberbielle’s refi ned and inspir- the rue Vavin, near Notre-Dame-des- ing approach to improvisation, enrobed Champs, in the Montparnasse district. with Ravel-like harmonies, concentrated André Isoir at the console of the Stoltz organ at Saint-Médard in Paris (1963) After studying piano with Germaine on the free treatment of a theme and, of Mounier, he then studied with two of course, the fugue. Prize in 1965, and in Haarlem (Hol- Louis Vierne’s former students: Gen- In order to launch a career, it was nec- land), where he won prizes for three eviève de La Salle and Édouard Sou- essary to obtain a First Prize in organ consecutive years (1966–1967–1968). berbielle. First he entered de La Salle’s from the Paris Conservatory. While still He also won the “Challenge Prize” and organ class.4 An excellent musician, she enrolled at the César Franck School in is the only Frenchman to have earned enabled him to acquire a fi rm technique September 1957, André Isoir entered that distinction since the beginning of and taught him to play with elegant Rolande Falcinelli’s10 organ class and this competition in 1951. Isoir excelled phrasing, varied articulations, and re- Olivier Messiaen’s analysis class at the in the ephemeral art of improvisation fi ned registrations. She excelled in the Paris Conservatory, where his fellow stu- that enabled him to express his thoughts art of registration so much so that Joseph dents included Xavier Darasse and Yves eloquently. For him, even a minimum Bonnet requested that she spend hours Devernay. He remained there for three amount of imagination, when it’s coupled with him preparing for his concerts and years, taking lessons on a “really horrible with an assimilation of various styles and recordings on the Gonzalez organ at organ”11 and received his Second Prize a suffi cient preparation of an abundance Saint-Eustache. She gave her lessons in organ on June 15, 1959. On June 22, of fresh ideas, can enable one to impro- on a Pleyel studio organ with electro- 1960, he unanimously obtained, with vise well. He was fascinated with pre- pneumatic action,5 teaching the works of the strong support of Maurice Durufl é, senting, in a short span of time, a coher- Bach, Alain, Durufl é, Franck, Messiaen, a First Prize in organ performance and ent form with appropriate registrations and Vierne, leaving aside those by Widor improvisation. Fifteen days earlier, Isoir that bring out the style of the proposed and Gigout. In February 1956, when had received the ultimate degree that re- theme. His vital musical personality, Geneviève de La Salle left to teach at the ally mattered to him—the Superior Di- ready to receive and develop unexpect- Gregorian Institute in Lisbon, Isoir suc- ploma in organ and improvisation at the ed ideas (it is not surprising that he is an ceeded her as organist and choirmaster César Franck School. avid fi sherman!) has been fully revealed at Saint-Médard in Paris.6 At the César Franck School, Isoir through his improvisations. To acquire a solid musical formation, met many of his future friends and col- Animated by a love of accompanying Isoir studied Gregorian chant as well as leagues: Denise and Michel Chapuis, the liturgy, André Isoir used his impro- André Isoir fi shing in the Sorgue River improvisation and harmony with René Jeanne Joulain, Éliane Lejeune-Bon- visation skills to prepare the parishioners near Saint-Rémy-de-Provence (1983) Malherbe,7 harmony with Yves Margat, nier, Elisabeth and Joachim Havard de to pray and become spiritually receptive. counterpoint with Marcel Bitch, and la Montagne, Simone and Jean-Albert From 1956 to 1971, he served as organ- with Michel Chapuis, Francis Chapelet, continued piano with Germaine Mouni- Villard, Émmanuel de Villèle, Paule Pie- ist and choir master at Saint-Médard and Jacques Marichal, re-establishing er. This prepared him to enter Édouard delièvre, and others, as well as his future in Paris.14 He began his concert career the former Parisian tradition of having Souberbielle’s8 organ class. This “true wife, Annie Kergomard, whom he mar- by giving a recital in this church in Oc- four organists. In 1963, Alfred Kern aristocrat of the organ” possessed a vast ried in 1961.12 During his military ser- tober 1963, of classical works from the had successfully reconstructed the 1745 culture and an eminent spirituality that vice, from 1960 to 1962, he played brass Flemish and German schools (Leonhard Claude Ferrand organ in a neo-classic deeply infl uenced all of his students. He instruments in a military band, along Kleber, Sweelinck, Wilhelm Karges, aesthetic (under Michel Chapuis’ guid- expanded each student’s personal percep- with Francis Chapelet, who became one Scheidt, Lübeck, Pachelbel, Buxtehude ance, with Philippe Hartmann redoing tions by making them feel uncomfortable of his closest friends.13 and Bach). He played in such a man- the action). Isoir has many fond memo- with their own opinions. This enabled ner that the romantic Stoltz instrument ries of the pre-Vatican II repertoire that them to acquire an elegant style. Beginning a musical career: skills (1880) sounded like a German baroque he accompanied there. While at Saint- In Souberbielle’s class, Isoir contin- as an improviser and a composer organ!15 Throughout his career, he con- Séverin, he composed a Ravel-like Ag- ued to play, notably, works by Bach and Following his studies, Isoir’s interna- stantly presented lesser-known works in nus Dei, with the text in French. (See Franck, but more importantly, he began tional career was launched when he won his programs. musical example.) In 1973, after having to play the early French composers. various competitions: in Saint Albans In 1970, he was named as one of the served as a consultant for the recon- Infl uenced by his son Léon,9 Édouard (England), where he received the First four organists at Saint-Séverin, along struction of Haerpfer-Ermann’s organ
22 THE DIAPASON
Aug 09 pp. 22-25 .indd 22 7/10/09 10:51:27 AM André Isoir repairing his eighteenth-century barrel organ (1980)
Musical example: André Isoir’s Agnus Dei ouin, Jean Fellot, Alain Lequeux, Michel playing early French music because it Chapuis, Francis Chapelet, and André gives the interpreter a great deal of free- at Saint-Germain-des-Prés, he was ap- Isoir’s close friend, the organ builder Isoir, presided over by Jean Fonteneau, dom in bringing this music to life. pointed organist there, along with Odile Jean-Georges Koenig,19 taught him how united to protect early French historic Bayeux, following a long line of blind to construct wooden pipes. His friend, organs: they founded the French Asso- Organ professor organists who had served there (notably Father Michel Chausson (a priest who ciation for the Preservation of Early Or- For André Isoir, teaching is a sacred Augustin Barié, André Marchal, and An- built organ pipes) taught him how to gans (A.F.S.O.A.—Association française mission, enabling one to give priceless toine Reboulot).16 construct metal pipes. In addition, in pour le sauvegarde de l’orgue ancien).21 treasures to others, helping them to In February 1974, Les Amis de l’Orgue 1965, Isoir constructed his fi rst regal with By consulting early sources, Isoir dis- feel completely at ease while playing. awarded him with a First Prize for his Jean-François Clément and worked with covered that the early French repertoire He taught organ and harmony at the fi rst organ composition, Variations sur Gérard Fonvielle, who built him a harp- can be moving and expressive. Once he Angers Conservatory (1966–79);23 at the le Psaume 92 [“Variations on a Huguenot sichord. Isoir is not in favor of building had studied the various treatises and conservatoires in Versailles and Orsay Psalm”]. James David Christie was in the exact copies of instruments; he prefers to documents, notably with the musicolo- (1974–83);24 and from 1982 to 1996 at audience for this occasion. When he told play mechanical-action instruments that gist Jean Saint-Arroman, he realized the Boulogne-Billancourt Conservatory André that he really loved his piece more enable the performer to bring out the on the one hand that the knowledge of as well as at various summer academies: than any other and wanted to play it re- vocal polyphonic lines and to play a large these texts did not suffi ce to bring this Lagny (1982, 1985, 1986), Meaux (1983), gardless if it won the prize or not, Isoir part of the repertoire. His repair kit has music to life; on the other hand, he was Mitry-Mory (1984), Luxembourg (1989) gave him his personal copy of the score accompanied him on his various concert also aware that spontaneity and fresh- and Nemours (1993). Among his 900 stu- on the spot! When the work was pub- tours, and he has admitted that on many ness never come by chance. To attain dents are Jörg Abbing, Michel Bouvard, lished by Forberg Verlag in Germany in occasions that he has spent more time the elegance, distinction and well-pro- Jean Boyer, Monika Dabrowska-Beuze- 1979, Christie noticed that one variation repairing and tuning the various organs portioned expressions that are so char- lin, Frédéric Denis, Frédéric Desenclos, had not been published: than rehearsing on them! acteristic of French art, one must study François Espinasse, Pierre Farago, Yves The composer Alain Louvier attests the various imperative rules and then Fossaert, Dominique Fournier, Jean- When I asked André about this several to André Isoir’s capacities as a “solitary put them aside, along with any automatic Louis Gil, Juliette Grellety-Bosviel, Em- years later, he told me in his very humble navigator” [“navigateur solitaire”]: mechanical responses. Instead, one must manuelle Haïm, Makiko Hayashima, and self-effacing manner that he felt the use one’s intuition to fi nd a harmoni- Léonid Karev, Joachim Kunze, Sven-In- piece was too long with seven variations André Isoir could have constructed a and six were enough. The work is an ab- ous balance, continually determined by gvart Mikkelsen, George Ritchie, Henri hydraulic organ, an aeolian, solar or geo- good taste, the ultimate guide. As with de Rohan, Pascale Rouet, Christophe solute masterpiece and the audiences love thermal . . . and could have taken it on a it; I have played it in concert often since non-stop trip around the world on a tri- wine tasting, it is so much more impor- Simon, Liuwe Tamminga, Timothy Tik- 1975. I tried to commission André in 1989 maran sailing raft . . . he knew how to do tant to “taste” its fragrance than to recite ker, Jean-Michel Verneiges, Francis Vidil for another major organ work, but he re- everything, to repair anything. One would texts about it. Isoir was especially guided and Haru Yamagami, to name but a few. fused. He said he found composition too have thought that he was born in an organ by the writings of Eugène Borrel, who Convinced that knowledge about organ stressful and preferred improvising and case! A true genius in making repairs, with wrote that eighteenth-century art was building is indispensable to improving performing the repertoire of others. I have practically nothing he could fi x a tremolo, a “elegant, distinguished, warm without one’s interpretation, notably in the art often lamented the fact he did not devote reed pipe, even its mechanism. 22 more time to adding great repertoire to the excessiveness.” Simplicity is a sign of of registration and touch, he also taught I imagine him—as an organist in the real intelligence. Isoir particularly loves his students the rudiments of organ con- organ. I always felt his glorious, exciting Iron Age—busy cutting down trees, carv- improvisations would have been the seeds ing wood, casting tin, hammering it, and, of many a great composition.17 fi nally, creating his own organ, the fruit of his ear and his unbounded imagination.20 André Isoir has made numerous tran- scriptions, many of which have been Isoir’s innate inventive spirit in im- A Precious Gift published by Delatour France. provisation and organ building led to his fascination with the interpretive pos- Interest in organ building and in sibilities of “recreating” early French from the Past early French music organ works. Right from the start, Isoir Fascinated with mechanics in his realized that the organs he had played youth, Isoir has always loved to tinker in the 1950s and 1960s in Paris, most for the Present with and repair broken clocks. In the of them in the neo-classical style, were early 1960s, at an antique dealer’s near not suitable for early French repertoire. Saint-Séverin, he acquired an eigh- This had not stopped interpreters such and the Future teenth-century barrel organ [a seri- as Abel Decaux, Joseph Bonnet, and An- nette] from Nancy, a cylindrical instru- dré Marchal from playing this repertoire. Supremely beautiful and blendable ment that was used to teach domestic With restorations of magnifi cent organs tonal color – a Gift from the Venetian birds how to sing. He then constructed like Jean-Esprit Isnard’s 1772 basilica a copy of this instrument and installed organ in Saint-Maximin-en-Provence School of organbuilding, a monumental part of our ten pipes: C, D, E, F, G, A, B-fl at, B- (restored by Pierre Chéron in 1954) and great heritage. The result: a versatile and Áexible natural, C, and D. He reconstructed the François-Henri Clicquot’s 1790 organ at palette to make possible your Ànest work. cylinder with eight tunes, according to Saint-Pierre Cathedral in Poitiers (re- the indications specifi ed by Engramelle, stored by Robert and Jean-Loup Bois- and incorporated an air by Couperin, seau in 1971–1972), organists began to Intriguing? Let us build your dream. La petite chasse. He has also built two discover the splendid sound of these or- regals and a virginal. gans as well as a lively, variable wind and Francis Prod’homme, the organizer of a suspended mechanical action, which concerts at Notre-Dame in Pontorson, allowed one to vary the attack. near Mont Saint-Michel, has related an Obtaining a varied, responsive action example of André Isoir’s generosity.18 is extremely important to André Isoir. During one evening meal, Isoir observed The French classical organ, with its sen- that Francis’s clock was not well-regulat- sitive action and lively wind, needs only ed and that it needed to be “tuned.” As a minimum amount of material to offer on numerous other occasions, Isoir pro- a maximum sound effect. For example, Builders of Fine Pipe Organs to the World claimed “I will take care of that for you.” in Poitiers, with a wind pressure of 110 In several minutes, and with a delightful mm., four or fi ve stops suffi ce to fi ll the www.ruffatti.com child-like smile that lit up André’s face, cathedral. Following Alfred Kern’s re- the clock was once again happily chiming construction of the Saint-Séverin organ Via Facciolati, 166 • Padova, Italy 35127 • [email protected] • In the U.S. 330-867-4370 in universal harmony. in 1968, René Delosmes, Pierre Hard-
AUGUST, 2009 23
Aug 09 pp. 22-25 .indd 23 7/10/09 10:52:14 AM struction and maintenance. According Dominique Ferran and François-Henri to organist and composer Pierre Farago, Houbart, a practical catalog of the organ his successor as organ professor at the repertoire, in order of diffi culty for the Boulogne-Billancourt Conservatory, fi rst ten years of organ lessons. It pres- ents exercises and methods, early music When André Isoir taught and played, the instrument was transformed under his until the seventeenth century, separate fi ngers, and relinquishing its mechanical chapters on the eighteenth and nine- aspects, became purely organic—if I dare teenth centuries, the traditional notation say—like a living being gifted with fl owing and new notation in the twentieth centu- expressiveness. His teaching is subtle and ry, concertos and unclassifi able pieces.29 complex, insisting on utmost rigor, with utmost patience, without ever expressing International concert and recording it in the form of a dogmatic principle. The artist with an eclectic repertoire scores we studied were never cenotaphs, empty monuments or museum graphics, André Isoir fi rst gave concerts in but rather sleeping beauties which ought North America in the 1960s, thanks to to be brought back to life.25 his friend Jean Fonteneau, an assistant André Isoir at the console of the organ organist at Saint-Séverin. In 1971, Isoir in Katowice in Poland (1987) In the early 1980s, the composer Alain performed in Oberlin (Ohio), Quebec, André Isoir at the console of the organ Louvier, Director of the Conservatory in Montreal, at Harvard University, and in the fi rst time on the magnifi cent organ in at Saint-Jacques in Compiègne (1971) Boulogne-Billancourt, met André Isoir New York. At that time, Fisk was build- Weingarten, in Sion in 1989, in Lübeck during the construction of the Koenig or- ing his famous organ for the Old West and Hamburg in 1990. He has also per- cal Quoirin in Saint-Rémy-de-Provence gan in the concert hall there. In spite of Church in Boston. Isoir provided him formed on numerous occasions in Japan: and the Haerpfer-Ermann at Saint- the fact that the city did not really want with numerous details concerning the in 1978, 1987, 1990 and 1993. In 2006, Germain-des-Prés in Paris. Among the to invest in what the “very cultivated and construction of the French-style reed he toured Russia, performing in Moscow recordings that bear witness to this, he refi ned” mayor Georges Gorse referred stops incorporated into this instrument, and St. Petersburg. recorded François Couperin’s Messe to as an “accordion for the wealthy,” Lou- thus contributing to the movement in In addition, he performs regularly on des Paroisses and French Noëls on the vier appreciated Isoir’s “sense of humor, favor of restoring instruments to play the four-stop, one-manual organ that Saint-Séverin organ (Calliope, Le Livre in addition to his wide-ranging compe- early French music in the United States. the builder Philippe Vialle built for him. d’Or de l’Orgue français). tence, which both worked wonders.” In 1974, he performed in Toronto and Isoir had added a tremolo and a “cym- Rodin’s most penetrating thoughts Louvier had included stops in this organ in Buffalo, where he met with the early bale” made up of fi fteen pipes that he concerning French taste that have been with the seventh and eleventh harmonics French music specialist David Fuller. In “invented,” only to discover since then perpetuated from the eighteenth century that produced quarter tones. He was as- 1975, he played concerts in Toronto and that it is present in several diverse and to the twentieth century sum up André tonished by Isoir’s use of these stops: Montreal. In 1976, he returned to Har- unknown pieces. He rarely ever plays the Isoir’s approach to an eclectic repertoire: vard and gave recitals in Winston-Salem, same piece on the same organ. By combining these experimental stops North Carolina. The variety of styles in his eclectic The additions of previous centuries in with the voix humaine, he was able to pro- In November 1989, James David repertoire is revealed by the pieces that our cathedrals, in different styles—chapels, duce a sort of strange Bombarde 16 on the Christie invited André Isoir to come to four composers have dedicated to him. stained-glass windows, decoration—do not pedal that the city could not afford . . . thanks destroy the harmony of them, because to his extraordinary acoustical intuition, one the United States for a mini-tour in Bos- In June 1973, Jean Langlais acknowl- throughout the various periods these em- could play a Bach chorale with quarter ton. He testifi es to Isoir’s memorable per- edge his “classical side,” appropriately bellishments have been determined by the tones, that were not noticed as such.26 formances in Wellesley and Worcester: dedicated to him his Plein-Jeu, the fi rst same French taste.35 movement of his Suite baroque, op. In his teaching, André Isoir constantly He played a fantastic concert at Welles- 176.31 In 1983, Alain Louvier’s Etudes for In the same spirit, it is not surprising emphasized the importance of acquiring ley College on the meantone Fisk organ, Aggressors, Book Six for Organ (Études that in November 2000, Isoir recorded complete with short octave, sub-semitones, a more fl uid technique, of becoming suf- a three-octave keyboard range, etc. He pour Agresseurs, livre 6 pour orgue), repertoire from the fourteenth century fi ciently inventive in bringing music to ended his program with a super-charged, published by Alphonse Leduc in 1987, to the end of the nineteenth in celebra- life. At my fi rst lesson at the Boulogne- exciting performance of his transcription were written for the mechanical-action tion of the 500th anniversary, in 2001, of Billancourt Conservatory in 1983,27 we of Bela Bartók’s Roumanian Folk Dances three-manual Koenig organ in the con- the Renaissance organ in Lorris, one of spent two hours looking at possible inter- (originally for piano solo). cert hall at the Boulogne-Billancourt the oldest organs in Europe.36 This is in pretations of the fi rst movement (a Plein- He played at Holy Cross, Worcester, Conservatory. He dedicated these pieces spite of the fact that this organ only has a Jeu) of Jean-Adam Guilain’s First Suite. and ended the program with an incredible to Isoir, who premiered them.32 They use 48-note keyboard with a 14-note coupled I felt as if André were an optician who improvisation on “B-A-C-H.” I think there the same techniques as in his previous pedalboard and is tuned at A=405/408! is an archival recording of the Holy Cross kept inserting different lenses to ask me concert; it was just stunning and André was fi ve books for piano and harpsichord (ten Father Michel Chausson, who initiated if I could read the letters. It was neces- in his usual top form, having the time of fi ngers, two palms, two forearms, with- the restoration of this historic instru- sary to understand the structure and the his life.30 out fi sts), but with the addition of two ment, admires André Isoir: he is among vital expression of this work from the in- feet! The two last pieces are appropriate “all those who have provided great po- side out, to let the notes speak naturally. During this last tour to the United tributes to André Isoir, who also plays etical inspiration to twentieth century A deep harmonic and melodic analysis States, Isoir also gave masterclasses on the trombone and the French horn: Lio- organ interpretation.”37 Our world needs of each work, coupled with a fantastic the Charles Fisk organ at the Old West nel Rogg’s Finale (written in the spring such a spirit more than ever. imagination, enables one to perform this Church for the AGO national conven- of 1994) was inspired by the sumptuous From 1976 to 1993, Isoir crowned his music spontaneously. tion. On this occasion, Isoir has quite sonorities of the American big band;33 career with an ultimate homage to his In the eyes and ears of a great artist, fond memories of the moments he spent Pierre Vidal’s piece, entitled Cromorne, great teacher Édouard Souberbielle, by no detail is too small to be taken into with Frank Taylor, Barbara Owen, and was written in 1996.36 recording J. S. Bach’s complete organ consideration. An authentic artist with Charles Fisk. In 1971, Jacques Le Calvé, the di- works on six different organs by German a vital personality abandons all precon- Isoir has inaugurated at least eighty rector of Calliope, was so impressed by builders (fi fteen CDs produced by Cal- ceived static conceptions with prefabri- organs. I was privileged to attend the Isoir’s performance of this repertoire liope, 9703-17). His greatest joy was re- cated formulas and continually external- memorable inauguration of the Gonza- that he asked him to make his fi rst re- cording Bach’s Passacaglia and Fugue on izes his capacity to listen to his playing, lez organ at Meaux Cathedral on June cord at the Church of Saint-Jacques in Josef Gabler’s monumental stunning or- thus enabling him to understand more 8, 1982. That year, he also inaugurated Compiègne (L’Orgue français au Grand gan (1737–1750) at Weingarten Abbey, a fully and to communicate an inner mu- the Grenzing organ at Saint-Cyprien (in Siècle, works by André Raison, Jacques legendary instrument conceived around sical message. Each artist is a medium the Périgord, where he also served as a Boyvin and Guillaume-Gabriel Nivers). the number 6: the number of the beast who communicates the deep spiritual consultant) and the Marc Garnier organ Among his favorite historic French of the Apocalypse, six windows, six tonal message of the music. When I wrote to at the church in Esquelbecq. On Novem- organs, Isoir has recorded numerous plans, 6,666 pipes. Frank Taylor in 1983, to share my experi- ber 3, 1990, he was especially pleased to times on the J. Boizard (1714) historic Grenzing’s Saint-Cyprien organ is ences with him, he replied: inaugurate the restored Aristide Cavaillé- organ of the Abbey of Saint-Michel- among Isoir’s favorites, where he rere- Coll organ in Saint-Dizier, his hometown. en-Thiérache: in 1987, The Couperin corded, in 1993, Bach’s four Toccatas I’m happy you are studying with An- In addition, he often plays with other mu- Dynasty, François “the Great,” Ar- and Fugues along with the Fantasy and dré—I think he’s perhaps the greatest sicians. In 1973, he toured with Georges mand-Louis, Gervais-François Couperin Fugue in G Minor. In 1988 and 1989, eclectic (all round good) organist in the Brassens in Paris and the Île-de-France, (ADDA 581063); in 1993, Nicolas de André Isoir played in European televi- world. And I would rather hear him play anything, than anyone else I can think of. playing twenty-one concerts on a positive Grigny, Complete Organ Works (Erato sion broadcasts, notably on the France Give him my very most affectionate best organ built by Jean-Loup Boisseau. S.A./Radio France, MUSIFRANCE 3 channel, in programs written and wishes when next you see him.28 Isoir has given numerous concerts 4509-91722-2); and in 1997, Jean-Adam hosted by Gilles Cantagrel and in Alain outside of France, performing in Frei- Guilain, Four Suites for the Magnifi cat Duault’s “Musicales.” Recognized as an excellent teacher, berg on September 18, 1983. In 1988, he (1706) with the Demoiselles of Saint- In all his interpretations, Isoir’s deeply in 1991 André Isoir co-authored, with was absolutely delighted to perform for Cyr, directed by Emmanuel Mandrin human approach gives a spiritual dimen- (France Musique, Tempéraments, TEM sion to his artistic offerings. His inter- Visit Us Online: 316012, Distribution Harmonia Mundi). pretations are well conceived and pre- Organmaster Shoes www.organmastershoes.com André Isoir has always felt comfort- pared, yet spontaneous. His wife Annie Fast Service · Ship Worldwide able playing a vast repertoire (although observed that it was very rare to hear The Right Shoe On The Pedals! never ever Reger!). Among his record- him play a piece in its entirety during his ings of romantic works, two were made practice sessions. He usually works frag- Women’s Mary Jane x Whole & Half Sizes on the Cavaillé-Coll organ at Luçon Ca- ment by fragment, even measure by mea- Size 4-11, $50* x 3 Widths (N, M, W) thedral: César Franck’s Complete Organ sure. More than searching for perfection, x Genuine Leather Works (Calliope, CAL 9920/1, 1987, he aims at playing as naturally as possible. recorded in 1975) and The Romantic His eyes, ears and mind are constantly Organ, works by Boëly, Lefébure-Wély, receptive to discovering new elements Guilmant, Pierné, Widor, and Ropartz of a musical score. Adapting to each par- on the Cavaillé-Coll in Luçon and on ticular circumstance, his elegant playing Black Navy Men’s Classic Oxford the Isnard/Cavaillé-Coll/Boisseau organ moves his audiences. As Yves Saint-Lau- White Bone Our Suede Leather Soles in Pithiviers (Calliope, CAL 5922). In rent said, “without elegance that comes Gold Silver help you feel what pedal Size 6.5-13, $58* 1996, he recorded The Organ in Com- from the heart, there is no elegance.” your foot is touching! Size 14-16, $95* *plus postage piègne during the Second Empire on the Thank you, André, for sharing your Carlier/Plet organ at Saint-Antoine in immense joy in making beautiful mu- Call To Order FREE catalog: (413) 773-0066, 9-5pm, Mon-Fri Compiègne (Calliope, CAL 9934). sic and for so generously enlightening 44 Montague City Rd., Greenfield, MA 01301 USA Isoir loves performing on successful your audiences and students through- neo-classical organs, such as the Pas- out the world. Q
24 THE DIAPASON
Aug 09 pp. 22-25 .indd 24 7/10/09 10:52:33 AM Paris, la Villette, Institut de pédagogie musi- cale et chorégraphique, 1991. 30. James David Christie, e-mail to Carolyn Shuster Fournier, February 26, 2009. 31. Jean Langlais premiered his Suite ba- roque at the Saint-Jean Temple in Mulhouse on December 2, 1973. It was published in Paris by Combre in 1973. Cf. Marie-Louise Jaquet-Langlais, Ombre et Lumière, Jean Langlais 1907–1991 (Paris, Combre, 1995), p. 355. 32. This piece was played by André Isoir on the Pascal Quoirin Grand Orgue at the 1983 International Composition Competition in Saint-Rémy-de-Provence; for this same oc- casion, Alain Louvier played his Quatre Al- leluias on the Gregorian Alleluia from the Easter Mass on Pascal Quoirin’s choir organ with a divided keyboard. (These Alleluias were published by Alphonse Leduc and re- corded by Jean-Pierre Baston on the Claude Berger organ at the Temple Church in Vigan, available at
AUGUST, 2009 25
Aug 09 pp. 22-25 .indd 25 7/10/09 10:52:51 AM Cover feature
A. E. Schlueter Pipe Organ Compa- ny, Lithonia, Georgia New Orleans Baptist Theological Seminary Monday, August 29, 2005, Hurricane Katrina made landfall. The levee system failed, and over 80% of New Orleans was fl ooded. For weeks, portions of the city remained under water, with heat and moisture completing the destructive cy- cle that Katrina began. While waiting for the water to dissipate, we knew that the damage to persons and property would be immense. Our fi rm was called by the New Or- leans Baptist Theological Seminary to evaluate and salvage the damaged in- struments on the campus. Founded in 1917, the seminary sits on a 75-acre campus in the hardest-hit 9th Ward area Leavell Katrina damage of New Orleans. The Division of Church Music Ministries aims “to equip leaders for excellence in music ministry among Southern Baptists through performance, education, and technology.” Our charge was to assure that the musical resources were available for their mission. What we found upon our arrival is perhaps best described by Seminary President Dr. Charles S. Kelly, Jr.:
Hurricane Katrina well and truly earned its designation as the worst natural disas- Art Schlueter with Leavell console ter in the history of the United States. Our campus, like most of the city, was devas- tated. Our homes, many of our buildings, exceed the organ’s replacement cost. The congregational singing and to accompany most of our grounds, and virtually all of our insurance company did not understand soloists. Collaborative performances with musical instruments were hit very, very, that if you replace the chests, swell box, the organ and piano are quite common. hard. The recovery process was long, dif- some pipework, the winding system, and The organ is also used to play for services fi cult, and messy beyond anyone’s ability to the console with new materials, the organ with small numbers in the congregation describe. . . . What made our plight even would cease to be Opus 1468. While we and, at the end of each semester, for a Becky Lombard at Sellers console more diffi cult was the massive damage to fought for funds for restoration, the client “packed house” during graduation cer- the rest of the campus and the severe losses and our fi rm resolved that either the Skin- emonies, so a wide dynamic range was stops, including French Horn, English sustained by our faculty, staff, and student ner would be unaltered and restored with- needed. The chapel is a cavernous space Tuba, Solo Gamba and companion Ce- families. The larger picture of what had to ′ be done to reopen the campus and care for out change, or if changes were required, with seating for over 2000. leste, and the hauntingly beautiful 8 our families made allocation of the neces- that the resources would be folded into a When the Aeolian-Skinner was in- Philomela and 4′ Flauto Major. sary dollars for the recovery of our lost and new instrument. As negotiations conclud- stalled, it had 38 ranks with “prepared We were able to retain about half of the severely damaged instruments a very diffi - ed, funds available for the Skinner were for” Choir and Positiv divisions and addi- Skinner resources, which were revoiced cult thing to do. not suffi cient for a true restoration. tional Pedal and Great registers that were and rescaled for the new instrument. In addition to wide-ranging discus- never added. The room had been acous- Some stops were either too damaged, or Our work on the campus involved the sions about how the instruments would tically altered from its 1966 incarnation, the material suspect, to consider their protection and removal of many of the be used, we also traveled with Dr. Becky and the gently voiced Great and Swell on reuse. The original Skinner reeds were signifi cant music instruments including Lombard, professor of music theory and the Skinner did not have the presence French in design and small-scaled. We multiple grand pianos, a harpsichord, keyboard studies, to hear many of our required for this hall. Because of other felt that the size and acoustic of the cha- and the 1954 Möller (III/27) and 1966 recent instruments. We evaluated how uses of the chapel, the room had been pel, in conjunction with the stoplist de- Aeolian-Skinner Opus 1468 (IV/38) pipe these differing specifi cations might re- softened with acoustically absorbent ma- sign, would be better served with English organs. Of prime concern was protect- late to the needs of the seminary and the terial, and this was to remain in place. shallots, thicker tongues, and higher wind ing the instruments to prevent further church music program. From these visits The new organ was conceived as a pressures. In addition to chorus reeds, damage. In addition to water, the storm it became apparent that we would build four-manual with Great, Swell, Choir, the organ has a full battery of high wind brought massive amounts of airborne two distinctly different instruments. and Solo divisions. It is located on the pressure solo reeds that were duplexed in contaminants into the instruments, and, central axis of the room on a shelf. The a fl oating Trompeteria division at multiple with heat, mold. Sellers Recital Hall (III/34) dimensions of this space are 36 feet wide pitches with separate couplers. The Möller organ, located in the Sell- The recital hall organ is used primar- and 18 feet deep. In keeping with the accompanimen- ers Music Building Recital Hall, was ily for teaching and for literature per- It was important to the school that the tal nature of the organ, each division damaged when the roof gave way, fl ood- formance. Space was limited, but we room remain visually unaltered; so, the is designed around an independent ing the organ with thousands of gallons of felt that the organ could be enlarged to old façade and casework were restored. 8′-weighted principal chorus. The divi- water that passed through the two cham- provide additional resources not present The Skinner 16′ Sub Principal was re- sional choruses, while differing in color, bers and fi lled the pitman chests and in the 1954 instrument. With the perfor- voiced into a 16′ Violone for the Great are designed to be compounded as a winding system. When we arrived several mance of literature being the goal, choic- division. The college wanted to leave the unifi ed whole. The mixtures in this in- weeks later and opened the chests, there es had to be made about meeting the re- window at the rear of the organ, which strument are pitched lower than what was still a signifi cant amount of water in quirements of specifi c periods—yet the was a concern thermally and acoustically. might be found in many contemporary the organ. stoplist couldn’t be too era-specifi c. To overcome this problem, the new win- instruments. Where additional treble as- The Aeolian-Skinner was damaged The decision was made to design an in- dows were designed as insulated units cendency is required, secondary higher- when the 150-mile-per-hour winds blew strument that could create the colors of rated to resist a storm stronger than Ka- pitched mixtures were also included in out the window behind the organ. For all periods of music history. We also had trina. We placed the enclosed expression each division, scaled and voiced to serve hours on end, the outside became the in- to consider accompaniment of voice, both boxes across the rear span of the space as a functional foil to the divisional cho- side as the storm vented its fury on the solo and choral. In this diminutive hall with inward partitions to provide our own rus without stridency. Skinner. As with the recital hall organ, we with seating for around 100, we had to cre- back chamber wall. With a height of over The strings and fl utes in the expressive found water in the organ many weeks af- ate a rich, full palette without overwhelm- 16 feet, the expression boxes provide a divisions are designed to build weight- ter the storm. ing the performer or listener. Tonally, the forward focus for the organ in addition to less accompaniment for choral work, or It was inevitable that there would be voicing is in a very clean, unforced style. the needed thermal barrier, while still al- massed in support of romantic or tran- long and intense negotiations with insur- There is crispness to registrations that will lowing light through the windows above scription repertoire. The organ features ance companies about the losses and re- promote clean, articulate playing. the organ. a divided string division located among building. The enormity of Katrina simply This organ had to be able to transform In designing the specifi cation and scal- the Swell, Choir, and Solo divisions, to be overwhelmed insurers. One could go on itself into any number of service instru- ing, I wanted to provide the resources compounded by means of couplers. Ever at length about the negotiations and the ments that the student might encounter that would allow the performer a vast present, to be blended with this string efforts and education that were required in music ministry. The organ we designed array of color and weight, suitable for chorus, is the 8′ Vox Humana, which has with the insurance companies. Suffi ce is three manuals with 34 ranks of pipe any repertoire. The organ was built with its own enclosure and tremulant. it to say that at one point the insurers resources. It is equally tempered to ac- the classical underpinnings of principal, With the exception of some 32′ Pedal appraised the older, smaller Möller at a commodate contemporary worship and fl ute, and reed chorus structure to sup- registers and percussions, the organ greater amount than the larger, newer use with piano accompaniment, and also port classical and sacred repertoire; in a does not include digital augmentation. Aeolian-Skinner. offers full MIDI capability. This was the bow to Romanticism, I included elements We wanted the organ to stand on wind- The Möller organ’s status was very fi rst instrument delivered to the campus. of the American romantic or symphonic blown resources. In support of this deci- clear cut because of the extreme damage organ. This blending provides an instru- sion, we added an additional register to to the chassis and its utilitarian design. Leavell Chapel (IV/83) ment that would be evocative of early the Pedal—the independent 16′ Wood The Aeolian-Skinner and its disposition The chapel organ was designed with a American Classicism, albeit with cleaner Open. Installed to the right and left of was a thornier issue. The damage to the different focus. While literature will be and more articulate fl ue choruses. the center organ core and on 7½ inches organ was severe, but with heroic mea- performed regularly, the organ’s role in In concert with this eclectic tonal of wind pressure, it provides a solid fun- sures it could have been restored. The service playing determined the overrid- design, an expressive, fl oating Solo divi- damental that is truly felt in the room. problem was that a true restoration would ing design. Each week chapel services are sion was included. Included in this divi- Our experience in servicing instru- involve tremendous expense that could held and the organ is called on to support sion are some of the rarer high-pressure ments in this region has made us aware
26 THE DIAPASON
Aug 09 pp. 26-28.indd 26 7/10/09 10:54:31 AM 1 1⁄3′ Choral Mixture IV PEDAL 8′ Clarinet 32′ Bourdon (digital) 8′ Tromba Heroique (high pressure) 16′ Principal (digital) 8′ English Tuba (Solo) 16′ Contra Viola (Swell) 8′ Trompette En Chamade (Trompeteria) 16′ Sub Bass Tremolo 16′ Pommer (Choir) Chimes (digital) 8′ Principal Harp (digital) 8′ Viola (Swell) Zimbelstern (9 bells) 8′ Bourdon (ext, 12 pipes) Ch/Ch 16′–Unison Off–4′ 8′ Gedeckt (Choir) 4′ Choral Bass (ext, 12 pipes) SOLO – Manual IV (enclosed) 4′ Bourdon (ext, 12 pipes) 8′ Philomela 4′ Viola (ext, 12 pipes) 8′ Gamba 32′ Posaune (digital) 8′ Gamba Celeste 16′ Contre Trompette (ext, 12 pipes) 4′ Flauto Major 16′ Hautbois (ext, 12 pipes) 8′ French Horn 8′ Trompette (Swell) 8′ Tromba Heroique (Choir) 8′ Hautbois (Swell) 8′ English Tuba (high pressure) 4′ Hautbois (Swell) Tremulant 4′ Clarinet (Choir) Solo/Solo 16′–Unison Off–4′ Standard couplers and MIDI TROMPETERIA – Manual IV 16′ Tromba Heroique (Choir) 8′ Tromba Heroique (Choir) 4′ Tromba Heroique (Choir) On a personal note ′ “New Orleans Spared”—Such was the Leavell façade 16 English Tuba (Solo) 8′ English Tuba (Solo) erroneous headline of the newspaper in 4′ English Tuba (Solo) Savannah, Georgia, on the morning af- of the need for stability in the materials required us to consider a donation, and 8′ Trompette En Chamade (high pressure) ter Hurricane Katrina. At the time, the and action choices, due to the tempera- without revealing the dollar value of our Trompeteria Unison Off Schlueter fi rm was completing the organ ture extremes and constant humidity. gifts, suffi ce it to say that there is a four- Trompeteria on Great at First Presbyterian Church in Savan- The organ chest action is electro-pneu- manual, 83-rank instrument where there Trompeteria on Swell Trompeteria on Choir nah (featured in The Diapason, April matic slider, with all reeds on electro- had been a 38-rank instrument, and a 34- 2006). My father, members of the instal- pneumatic unit action. The fl ue pipes rank instrument where there had been a PEDAL lation crew, and I had stared anxiously at and the reed pipes are thus on actions 27-rank instrument. 32′ Violone (digital) the news the previous evening and won- that maximize the speech characteristics We would like to thank Dr. Charles 32′ Bourdon (digital) dered about our friends in New Orleans of each type of pipe. This also allows the Kelly, Dr. Becky Lombard, and Dr. Ken- 16′ Open Wood ′ and outlying areas. Our fi rm has worked fl ues and reeds to be placed on differ- neth Gabrielse for their contributions and 16 Principal (ext, 12 pipes) in the aftermath of a number of major ing wind pressures and tremulants. The support during this project. Thanks also 16′ Violone (Great) 16′ Gemshorn (Choir) hurricanes and storms in recovery and wind is regulated with dual-curtain valve, to our dedicated staff, listed on our web- ′ restoration efforts. Unlike these other spring and weighted reservoirs. site (www.pipe-organ.com). 16 Subbass 16′ Lieblich Gedeckt (Swell) disasters, every day the situation in New The wind pressures on this instrument Our tonal philosophy is to “build in- 8′ Octave Bass Orleans grew steadily worse. vary from 4 to 18 inches. To control these struments that have warmth not at the 8′ Violone (Great) Almost exactly one year prior to Ka- resources, the expression boxes are built expense of clarity, and clarity not at the 8′ Bass Flute (ext, 12 pipes) trina, we had completed the rebuild- 1½ inches thick, with interlocking shades. expense of warmth, and to serve God in 8′ Spitz Flute ′ ing, relocation, and enlargement of the Multiple motors are used on the shade our efforts.” We pray that in future years 4 Choral Bass IV/74 instrument for the First Baptist fronts to allow a full dynamic gradation. our gifts endorse the importance of the 4′ Nachthorn 2 Church in New Orleans. We made 2⁄3′ Mixture V The four-manual, drawknob console, organ in worship, and we hope that our ′ many acquaintances during this period, built of mahogany and ebony, includes instruments will plant the seeds of wor- 32 Harmonics (wired cornet series) 32′ Contra Trombone (digital) and through the Internet we were able features such as multiple-level memory, ship through music, for future students 16′ Trombone (ext, 12 pipes, enclosed in Ch) to fi nd many of our friends who had fl ed transposer, Great/Choir manual transfer, who pass through this institution. 16′ Contre Trumpet (Great) to other cities and states. We prepared piston sequencer, programmable cre- —Arthur Schlueter III 16′ Contra Bassoon (Swell) for what would face us when the water scendo and sforzando, record/playback 8′ Tuba (Solo) New Orleans Baptist Theological Seminary, ′ receded and we could make our way capability, and MIDI. 8 Tromba (Choir) into the city. Leavell Chapel, four manuals, 83 ranks 8′ Trumpet (Great) ′ It was surreal as the shop vehicles Installation and voicing GREAT – Manual II (unenclosed) 4 Tromba Clarion (Choir) ′ were packed with our own stores of The removal, building, and installa- 16 Violone (73 pipes) (1–24 façade) food, water, fuel and medicine for the tion of these instruments were hercu- 8′ First Open Diapason (Pedal) Standard couplers and MIDI 8′ Second Open Diapason trip. As we neared the Gulf Coast, the lean tasks. It is an understatement to say ′ New Orleans Baptist Theological Seminary, sheer enormity of the disaster began that the staff of the Schlueter fi rm took 8 Principal (1–12 façade) 8′ Stille Principal (from Cornet) Sellers Recital Hall, three manuals, 34 ranks to unfold. We crossed Lake Pontchar- up residence in New Orleans. I simply 8′ Violone (ext, 12 pipes) train’s 24-mile causeway on a road that cannot give enough credit to the leader- ′ GREAT 8 Harmonic Flute (49 pipes) 16′ Pommer (Choir) had been reduced to a single lane, fol- ship of our senior organ builders Marc (1–12 common bass) ′ lowing the collapse of entire spans of ′ 8 Gedeckt Pommer (Choir) Conley, John Tanner, Rob Black, and 8 Bourdon 8′ Principal the eastbound lanes. As we arrived in Bud Taylor for the untold hours of travel 4′ Octave ′ ′ 8 Bourdon the evening, the scene before us was a and work that they put into these proj- 4 Diapason (Pedal ext, 12 pipes) 4′ Octave macabre black hole that enveloped the ects. Organ building cannot be achieved 4′ Nachthorn ′ 2 4 Nachthorn city. From the elevated roadway, the 2⁄3′ Twelfth ′ as the result of any one individual, but ′ 4 Gedeckt (Choir) marginally lit downtown of New Or- requires a skilled team. These individu- 2 Super Octave 2′ Super Octave V Cornet TC 1 leans was surrounded by a dark, light- 1⁄3′ Fourniture IV als continue to exceed expectations in 2′ Mixture VI ′ less void for miles and miles, indicating the creation of art. ′ 16 Contre Trompette (Swell) 1 Scharf IV 8′ Trompette (Swell) the extent of the fl ooding. We arrived From the outset, we decided that 16′ Contre Trumpet (ext, 12 pipes) ′ ′ 8 Clarinet (Choir) in the city under martial law, and had these two instruments would be voiced 8 Trumpet 8′ Festival Trumpet (Pedal) to learn the intricacies of identifi cation in the rooms, with the pipes arriving to 8′ Tromba Heroique (Choir) ′ Tremolo and going through armed checkpoints. the installation only prevoiced to allow 8 English Tuba (Solo) Chimes Tremolo ′ With the daylight, the enormity of the full latitude with cut-ups and any re- ′ ′ Great 4 fl ood was overwhelming. Driving into quired nicking. All of the samples were Gt/Gt 16 –Unison Off–4 SWELL (expressive) the 9th Ward, you could see watermarks set in the chambers on their windchests SWELL – Manual III (enclosed) 16′ Contra Viola (ext, 12 pipes) that were many feet over one’s head. and then the pipes were removed from 16′ Lieblich Gedeckt (ext, 12 pipes) ′ ′ 8 Gedeckt Homes, businesses, and structures sport- the chambers. We brought a portable 8 Geigen Principal 8′ Viola de Gambe ed the hieroglyphics of spray paint, with 8′ Rohr Gedeckt ′ voicing machine and layout tables into ′ 8 Viola Celeste (49 pipes) X’s, O’s and slashes to indicate that the spaces adjacent to the organ chambers 8 Viola de Gamba 4′ Principal 8′ Voix Celeste ′ structures had been searched and what to voice the pipes prior to their reinstal- ′ 4 Spitzfl ute 8 Dolce 2 ′ had been found. Traveling around places lation in the chambers for fi nal voicing ′ 2⁄3 Nazard 8 Dolce Celeste (54 pipes) 2′ Blockfl ute once familiar, we found abandoned cars, and tonal fi nishing. Because of the size 4′ Principal 3 1⁄5′ Tierce collapsed buildings, and most distress- of these two projects, it was necessary 4′ Harmonic Flute ′ 2 2 Plein Jeu III–IV ingly, an absence of life. When we talked to work as a team in tonal fi nishing, led 2⁄3′ Nazard ′ ′ 16 Basson-Hautbois (ext, 12 pipes) with people we knew and asked what by Daniel Angerstein, with the able as- 2 Flageolet 8′ Trompette 3 ′ we could do, the answer was always the sistance of John Tanner, Marc Conley, 1⁄5 Tierce ′ 2 8 Festival Trumpet (Pedal) same, “Pray for us.” 2⁄3′ Plein Jeu V ′ Bud Taylor, Kevin Cartwright, Lee Hen- ′ 8 Hautbois In the ensuing months that stretched 1 Klein Fourniture IV 4′ Hautbois (ext, 12 pipes) dricks, and Gerald Schultz. As with so 16′ Contra Bassoon (ext, 12 pipes) out over two years for the three in- much of our previous work, I want to ′ Tremolo 8 Trumpet Swell 16′–Unison Off–4′ struments we worked on, we became single out Dan and his contributions. In 8′ Oboe emotionally involved with the city and the many weeks of tonal fi nishing, he pa- 8′ Vox Humana CHOIR (expressive) ′ its people. We came to New Orleans tiently brought forth the organs as they 4 Clairon 16′ Pommer to work on behalf of the First Baptist had been envisioned by the client and Tremolo 8′ Koppel Flute Church of New Orleans and the New the builder. Sw/Sw 16′–Unison Off–4′ 8′ Viola ′ Orleans Baptist Theological Seminary, CHOIR – Manual I (enclosed) 8 Viole Dolce and to restore part of their communi- ′ 8′ Viole Dolce Celeste TC Final thoughts 16 Gemshorn (ext, 12 notes) ′ ty. When we visit today, there are still As we designed the two organs, it be- 8′ Principal 4 Principal ′ 4′ Gedeckt (ext, 24 pipes, from 16′) signs of Katrina that only the passage came clear that the organs that were de- 8 Hohl Flute ′ 8′ Gemshorn 2 Gemshorn of time will erase, but undeniable is the sired could not be afforded by the school 1 ′ 8′ Gemshorn Celeste (49 pipes) 1⁄3 Larigot resilience of the people as they seek to with the balance of their settlements. Over ′ 8′ Clarinet rebuild their community. It is our hope 4 Principal ′ the years, we have been privileged to gift 4′ Koppel Flute 8 Festival Trumpet (Pedal) that our response to Katrina on behalf resources to churches. As owners, my fa- 2 Celesta (digital) 2⁄3′ Nasat of this community exemplifi es “laborare ther and I looked inward and decided that 2′ Principal Harp (digital) est orare.” 3 ′ Tremolo the importance of a continuing role of the 1⁄5 Terz —Arthur Schlueter III 1 Choir 16′–Unison Off–4′ organ in worship was a worthy cause. This 1⁄3′ Larigot
AUGUST, 2009 27
Aug 09 pp. 26-28.indd 27 7/10/09 10:56:43 AM New Organs
′ was to fi x the room, and that was done to 4 Octave 61 pipes 4′ Rohrfl ute 61 pipes great effect. All music benefi ts from the 2 2⁄3′ Octave Quint 61 pipes wonderful new fl oors and ceiling. 2′ Super Octave 61 pipes 1 Then stops needed to be relocated 1⁄3′ Fourniture IV 244 pipes to where they fi t best. As the original new & new chest console could not be expanded, a new 8′ Bombarde (Choir) console was designed, with all the lat- Tremolo Gt/Gt 16′–Unison Off–4′ est technology available to the organist. ′ Lewis & Hitchcock, eral things conspired against the organ. Next, new stops were added to fi ll in 8 Trompette en Chamade 61 pipes Beltsville, Maryland When the sanctuary was complete, it missing sounds, all capped by the com- new & new chest, in rear gallery Chevy Chase United Methodist was judged to be too reverberant, and manding Trompette en Chamade in the SWELL Church, Chevy Chase, Maryland the organ to be too shrill. Curtains cov- rear gallery. 16′ Rohr Bourdon (ext 8′ Rohrfl ute) ered the organ chamber, and acoustical The result is an instrument that is a joy 8′ Diapason Conique 61 pipes Like the Sound of a Great Amen treatment was applied to the ceiling. We to play and hear. All the stops are where moved from Great on new chest (So begins the description of the like to say that the most important stop they should be to perform the literature. 8′ Rohrfl ute 73 pipes 8′ Viole de Gamba 73 pipes church organ in the booklet prepared on the organ is the room in which it is A new middle layer of sounds makes it ′ for the dedication of the new building in located. The organ became a jewel in a easy to accompany a soloist or choir. And 8 Viole Celeste tc 61 pipes 4′ Principal 73 pipes 1954.) Perhaps no other single facet of a velvet box; many of the tone colors were the full sound of the organ can lift the 4′ Harmonic Flute 73 pipes worship service provides at once so much swallowed up. congregation to new heights in hymn 2′ Flautino 61 pipes pleasure and so great an inspiration as The organ was also built at the begin- singing. Charles Wesley wrote “O for a 2′ Plein Jeu III (new) 183 pipes does its music. The traditional musical ning of the “Organ Reform Movement,” thousand tongues to sing my dear Re- 8′ Trompette 73 pipes foundation in Christian churches is the when organs were being designed to deemer’s praise.” Now the organ does. former Clarion with new 1–12 pipe organ. Organ music opens and clos- have more clarity. One of the fashions Linda Ellinwood was the musician 8′ Oboe (new) 73 pipes es each service. It creates an atmosphere then was to make the unisons thin and who spearheaded this effort, working Tremolo Sw/Sw 16′–Unison Off–4′ of reverence aurally, much as Gothic the octaves larger, which, while making with Gerald Piercey on the tonal design. ′ architecture—often aptly called “fro- the organ a bit clearer, often made them Grey Emmons served as the chair of the 8 Trompette en Chamade (Great) zen music”—does visually. Chevy Chase lack body. So many times in trying to ac- organ committee. CHOIR Methodist Church can be as proud of its company a soloist or choir the organ was Text and pictures by Gerald Piercey; 8′ Gemshorn 61 pipes inspiring new organ as of the sanctuary either too soft or too loud; there was a console picture by Randy Walker moved from Great on new chest itself. In the words of a music critic, writ- missing medium level of sound. 8′ Cor de Nuit 73 pipes ing of the thrilling dedicatory concert on Also, many stops seemed better suited M. P. Möller Opus 8839, 1954 8′ Dulciana 73 pipes Rebuilt by Lewis & Hitchcock, Inc. 8′ Unda Maris tc 61 pipes December 5, 1954, our organ “is in every to other divisions than where they were ′ respect worthy of its attractive surround- located. Couplers helped tie sounds to- 4 Principal (new) 73 pipes GREAT 4′ Nachthorn 73 pipes ings . . . It sounded like one of the best gether, but the organist had to do lots of 2 Chimes (21 tubes, in Choir) 2⁄3′ Nazard 61 pipes organs in Washington.” strange maneuvering to make that hap- 8′ Diapason (new) 61 pipes 2′ Blockfl ute 61 pipes 3 This organ represented the height pen, and it tied up manuals that were 8′ Bourdon 61 pipes 1⁄5′ Tierce 61 pipes of organbuilding for its time. It had just needed elsewhere. 8′ Viola 61 pipes 1′ Cymbal III 183 pipes about everything an organist could want When the age of the organ made a moved from Choir moved from Swell on new chest then. But this was a time when music in mechanical refurbishing necessary, we 8′ Flûte Harmonique 49 pipes 8′ Clarinet (new) 73 pipes new & new chest, Tremolo the church was much less varied than it is drew up plans of how to make the organ ′ now fi fty-plus years later. In addition, sev- be the best it could be. The fi rst thing 1–12 from Pedal Bourdon 8 Bombarde 73 pipes former Swell Trompette moved, revoiced, on new chest Ch/Ch 16′–Unison Off–4′ 8′ Trompette en Chamade (Great) PEDAL /44/ (%533 /2'!. 0!243 32′ Untersatz 32 notes new, Walker Paradox unit 4RADITION AND 0ROGRESS 16′ Diapason 32 pipes 16′ Bourdon 32 pipes 16′ Rohr Bourdon (ext, Sw) 12 pipes ′ OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN 8 Octave (ext 16 Diap) 12 pipes & 8′ Bourdon (ext 16 Bourd) 12 pipes CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND 8′ Rohrfl ute (Swell) ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS 4′ Super Octave (ext) 12 pipes 4′ Flûte Harmonique (Great) 4′ Rohrfl ute (Swell) /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY 2′ Diapason Conique (Swell) MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR 32′ Bombarde 32 notes new, Walker Paradox unit EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP 16′ Bombarde (ext Ch Bomb) 12 pipes MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES 16′ Bassoon (ext Sw Oboe) 12 pipes 8′ Trumpet (Choir Bombarde) 4′ Oboe (Swell) 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING 8′ Trompette en Chamade (Great) 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS Couplers Great to Pedal 8′, 4′ %VERYWHERE AND AROUND THE WORLD Swell to Pedal 8′, 4′ /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING Choir to Pedal 8′, 4′ MIDI on Pedal MIDI on Swell Swell to Great 16′, 8′, 4′ Choir to Great 16′, 8′, 4′ /44/ (%533 'MB( n 'ERMANY MIDI on Great 0HONE n s &AX n E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE Swell to Choir 16′, 8′, 4′ Great/Choir Manual Transfer MIDI on Choir Pedal to Choir 8′
28 THE DIAPASON
Aug 09 pp. 26-28.indd 28 7/10/09 10:57:00 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Bradley Hunter Welch; Memorial Chapel, Pickle Piano & Church Organs This calendar runs from the 15th of the month of Emory & Henry College, Emory, VA 7:30 pm NEW YORK issue through the following month. The deadline is Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. 2 SEPTEMBER issue). All events are assumed to be organ recitals Bálint Karosi; Methuen Memorial Music Hall, unless otherwise indicated and are grouped within Methuen, MA 8 pm each date north-south and east-west. •=AGO chap- Christopher Babcock Gordon Turk; Ocean Grove Auditorium, WILLIAM AYLESWORTH ter event, • •=RCCO centre event, +=new organ Ocean Grove, NJ 7:30 pm dedication, ++= OHS event. St. Andrew’s by the Sea, Information cannot be accepted unless it speci- 4 SEPTEMBER D. M. fi es artist name, date, location, and hour in writ- Carol Williams; Essex Community Church, Hyannis Port ing. Multiple listings should be in chronological order; Essex, NY 7:30 pm EVANSTON, ILLINOIS please do not send duplicate listings. THE DIAPA- Andrew Peters; St. John’s Cathedral, Jack- St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for sonville, FL 7:30 pm the accuracy of calendar entries. 5 SEPTEMBER John Gouwens, carillon; Culver Academies, UNITED STATES Culver, IN 4 pm East of the Mississippi 7 SEPTEMBER Michael Stairs & Gordon Turk; Ocean Grove 15 AUGUST Auditorium, Ocean Grove, NJ 7:30 pm Gordon Turk; Ocean Grove Auditorium, Ocean Grove, NJ 12 noon 8 SEPTEMBER •David Lowry; Winthrop University, Rock Hill, Iris Lan; King’s Chapel, Boston, MA 12:15 pm SC 2 pm David Lamb; Cordier Auditorium, North Man- A Professional Card in chester, IN 3:30 pm 16 AUGUST The Diapason Max Kenworthy & Nicholas Grigsby; Ba- 11 SEPTEMBER For rates and digital specifi cations, silica of the National Shrine of the Immaculate Frederick Hohman, Wilma Jensen, & John Weaver, with choir; First Church of Christ, contact Jerome Butera Conception, Washington, DC 6 pm 847/391-1045 •Robert Ridgell; Winthrop University, Rock Wethersfi eld, CT 7:30 pm Hill, SC 7:30 pm [email protected] Daniel Sullivan; Shepherd of the Bay Luther- 12 SEPTEMBER an, Ellison Bay, WI 7 pm Joseph Causby; Boone United Methodist, Stephen Tharp; Madonna della Strada Cha- Boone, NC 4 pm pel, Loyola University, Chicago, IL 3 pm David Lamb; St. John Presbyterian, New Al- bany, IN 12 noon Dean W. Billmeyer THOMAS BROWN 18 AUGUST UNIVERSITY Clarissa Brown; First Parish Church, Bruns- 13 SEPTEMBER PRESBYTERIAN CHURCH Bruce Neswick; Cathedral Church of St. John University of Minnesota wick, ME 12:10 pm CHAPEL HILL, NORTH CAROLINA Ray Cornils, with the Kotzschmar Festival the Divine, New York, NY 5:10 pm Brass; Merrill Auditorium, Portland City Hall, Kevin Kwan; St. Thomas Church Fifth Av- Minneapolis 55455 • [email protected] ThomasBrownMusic.com Portland, ME 7:30 pm enue, New York, NY 5:15 pm Max Kenworthy & Nicholas Grigsby; King’s Peter Richard Conte; Westminster Presbyte- Chapel, Boston, MA 12:15 pm rian, Lynchburg, VA 4 pm Michael Unger; First Presbyterian, Athens, 19 AUGUST OH 3 pm David Chalmers Bryan Mock; Methuen Memorial Music Hall, Gillian Weir; St. John United Methodist, Au- DELBERT DISSELHORST Methuen, MA 8 pm gusta, GA 3 pm Concert Organist Jon Riehle; First Congregational Church Ken Cowan; Vineville United Methodist, Ma- GLORIÆ DEI CANTORES Professor Emeritus UCC, Appleton, WI 12:15 pm con, GA 4 pm University of Iowa–Iowa City Bruce Bengtson; Sinsinawa Mound, Sinsin- Karen Beaumont; Incarnation Lutheran, Mil- Orleans, MA awa, WI 7 pm waukee, WI 3 pm
21 AUGUST 14 SEPTEMBER Ray Cornils; St. Saviour’s Episcopal, Bar Har- Gillian Weir, masterclass; St. John United STEVEN EGLER Methodist, Augusta, GA 8 pm OHN ENSTERMAKER bor, ME 12:15 pm Central Michigan University J F Lois Regestein; Wentworth Congregational, •T. Ernest Nichols; Deerpark Baptist, Louis- Wentworth, NH 7:30 pm ville, KY 7 pm First Presbyterian Church RINITY BY THE OVE Mt. Pleasant, Michigan 48858 T - - -C 22 AUGUST 15 SEPTEMBER SOLO Shelly-Egler Scott Dettra; Ocean Grove Auditorium, Ocean Janette Fishell; Provine Chapel, Mississippi RECITALS Flute and Organ Duo NAPLES, FLORIDA Grove, NJ 7:30 pm College, Clinton, MS 7:30 pm
23 AUGUST 16 SEPTEMBER Huw Williams; Basilica of the National Shrine Kent Tritle; Church of St. Ignatius Loyola, Organist / Pianist of the Immaculate Conception, Washington, DC New York, NY 7:30 pm CHRISTOPHER 6 pm Michael Gailit Randolph Lyden; Shrine of Our Lady of Gua- 18 SEPTEMBER www.gailit.at GARVEN dalupe, La Crosse, WI 3 pm Alan Morrison; Bomberger Hall, Ursinus Col- offi [email protected] Organist & Music Director lege, Collegeville, PA 4 pm Konservatorium Wien University Church of the Good Samaritan 25 AUGUST Todd Wilson; Market Square Presbyterian, University of Music, Vienna Paoli, Pennsylvania Barbara Dennerlein; Merrill Auditorium, Port- Harrisburg, PA 8 pm land City Hall, Portland, ME 7:30 pm Paul Jacobs; Shryock Auditorium, Southern Illinois University, Carbondale, IL 7:30 pm 26 AUGUST Raúl Prieto Ramírez; Methuen Memorial Mu- 19 SEPTEMBER John M. Gearhart III sic Hall, Methuen, MA 8 pm David Higgs, masterclass; East 91st Street B.A., M.Mus. Robert Glasgow Scott Dettra; Ocean Grove Auditorium, Ocean Christian Church, Indianapolis, IN 10 am St. John the Divine (Episcopal) Grove, NJ 7:30 pm David Lamb; Gethsemani Abbey, Trappist, In Memoriam Marillyn & Ralph Freeman; St. Paul Luther- KY 6:30 pm 2450 River Oaks Blvd. an, Neenah, WI 12:15 pm Houston, TX 77019 May 30, 1925–Sept. 10, 2008 Stephen Steely; Sinsinawa Mound, Sinsina- 20 SEPTEMBER wa, WI 7 pm Timothy Brumfi eld; Cathedral Church of St. John the Divine, New York, NY 5:10 pm 27 AUGUST Joel Bacon; St. Thomas Church Fifth Avenue, Joan Lippincott; St. Paul Cathedral, Pitts- New York, NY 5:15 pm JAMES HAMMANN WILL HEADLEE burgh, PA 7:30 pm J. Christopher Pardini, Mendelssohn works; Shadyside Presbyterian, Pittsburgh, PA 4 pm DMA-AAGO 1650 James Street 28 AUGUST Scott Dettra; Church of the Resurrection, Bur- University of New Orleans Syracuse, NY 13203-2816 Gail Archer; Christ Episcopal, Poughkeepsie, tonsville, MD 6 pm NY 8 pm David Arcus; Front Street United Methodist, Chapel of the Holy Comforter (315) 471-8451 Burlington, NC 4 pm 29 AUGUST Craig Cramer; St. Joseph Cathedral, Colum- Gordon Turk; Ocean Grove Auditorium, bus, OH 3 pm Ocean Grove, NJ 12 noon John Walker; Madonna della Strada Chapel, LORRAINE BRUGH, Ph.D. •Choral works of Jim Stanton; St. Joseph Loyola University, Chicago, IL 3 pm A two-inch Catholic Church, Corydon, IN 10 am Gail Archer; Schermerhorn Center, Nashville, 21 SEPTEMBER Associate Professor Professional Card TN 8 pm Gail Archer; Shorter College, Rome, GA 8 University Organist pm 30 AUGUST in The Diapason Jeremy Filsell; Basilica of the National Shrine 24 SEPTEMBER Valparaiso University of the Immaculate Conception, Washington, DC Jean-Baptiste Robin; Northminster Baptist, Valparaiso, IN For information on rates and 6 pm Jackson, MS 7:30 pm www.valpo.edu specifi cations, contact: Bradley Hunter Welch; Boone United Meth- odist, Boone, NC 4 pm 25 SEPTEMBER Jerome Butera Felix Hell; Methuen Memorial Music Hall, 219-464-5084 [email protected] 1 SEPTEMBER Methuen, MA 8 pm [email protected] Heinrich Christensen, with soprano; King’s Alan Morrison; First Presbyterian, Glens 847/391-1045 Chapel, Boston, MA 12:15 pm Falls, NY 7:30 pm
AUGUST, 2009 29
Aug 09 pp. 29-33.indd 29 7/10/09 10:59:37 AM Cameron Carpenter; St. Bernard Roman Carol Williams; Spreckels Organ Pavilion, Catholic Church, Mt. Lebanon, PA 7:30 pm Balboa Park, San Diego, CA 2 pm ANDREW HENDERSON, DMA Harry H. Huber Bradley Hunter Welch; First Presbyterian, D. Mus. Elkhart, IN 7:30 pm 31 AUGUST Madison Avenue Presbyterian Church Carol Williams; Spreckels Organ Pavilion, New York, NY Kansas Wesleyan University, Emeritus 26 SEPTEMBER Balboa Park, San Diego, CA 7 pm University Methodist Church David Gallagher, organ demonstration for www.andrewhenderson.net youth; Methuen Memorial Music Hall, Methuen, 1 SEPTEMBER SALINA, KANSAS MA 10 am Carolyn Shuster Fournier; Drury College, Douglas Major, organ demonstration for Springfi eld, MO adults; Methuen Memorial Music Hall, Methuen, Robert Bates; Dudley Recital Hall, University MICHELE JOHNS MA 1 pm of Houston, Houston, TX 7:30 pm Brian Jones David Higgs, masterclass; Trinity United A.Mus.D Methodist, Tallahassee, FL 10 am 3 SEPTEMBER Director of Music Emeritus Wilma Jensen, masterclass; Cathedral of St. Christopher Stroh, work by Cage; Basilica of Organ — Harpsichord Paul, St. Paul, MN 9 am St. Mary, Minneapolis, MN 7 pm The University of Michigan TRINITY CHURCH School of Music OSTON 27 SEPTEMBER 4 SEPTEMBER B John Weaver; Bradford Congregational Unit- Nigel Potts; Grace Cathedral, Topeka, KS ed Church of Christ, Bradford, VT 3 pm 7 pm Jeremy Filsell; St. Paul’s School, Concord, Angela Kraft Cross; Trinity Episcopal, Reno, NH 7:30 pm NV 12 noon KIM R. KASLING JAMES KIBBIE Barbara Bruns, Ray Cornils, Brian Jones, & Douglas Major; Methuen Memorial Music Hall, 5 SEPTEMBER D.M.A. The University of Michigan Methuen, MA 3 pm Jeannine Jordan, with media artist; Nestucca St. John’s Univeristy Ann Arbor, MI 48109-2085 Felix Hell; St. Teresa’s Church, Staten Island, Valley Presbyterian, Pacifi c City, OR 7 pm 734-764-1591 FAX: 734-763-5097 NY 3 pm Collegeville, MN 56321 James Wetzel; Cathedral Church of St. John 6 SEPTEMBER email: [email protected] the Divine, New York, NY 5:10 pm Bradley Hunter Welch; Birdville Baptist, Hal- John Scott; St. Thomas Church Fifth Avenue, tom City, TX 7:30 pm New York, NY 5:15 pm Carol Williams; Spreckels Organ Pavilion, Carol Williams; Camp Hill Presbyterian, Balboa Park, San Diego, CA 2 pm David K. Lamb, D.Mus. Camp Hill, PA 4 pm Scott Dettra; Washington National Cathedral, 11 SEPTEMBER Director of Music/Organist Washington, DC 5:15 pm Michael Langham; Trinity Episcopal, Reno, First United Methodist Church +R. Monty Bennett; Hawthorne Lane United NV 12 noon ORGAN CONSULTANT Columbus, Indiana Methodist, Charlotte, NC 3 pm www.gabrielkney.com 812/372-2851 David Higgs; Trinity United Methodist, Talla- 13 SEPTEMBER hassee, FL 4 pm Paul Jacobs; Texas A&M International Uni- Paul Jacobs; First United Methodist, St. Jo- versity, Laredo, TX 4 pm seph, MI 4 pm Douglas O’Neill; Cathedral of the Madeleine, Janette Fishell; Westminster Presbyterian, Salt Lake City, UT 8 pm Springfi eld, IL 4 pm Aaron David Miller; Lagerquist Concert Hall, David Lowry Helen Jensen & Stephen Self, Widor sym- Pacifi c Lutheran University, Tacoma, WA 3 pm Richard Litterst THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD phonies; Nativity of Our Lord Catholic Church, Carol Williams; Spreckels Organ Pavilion, 1512 BLANDING STREET, COLUMBIA, SC 29201 St. Paul, MN 2 pm Balboa Park, San Diego, CA 2 pm First Church of Christ, Scientist DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY 18 SEPTEMBER Rockford, Illinois ROCK HILL, SC 29733 28 SEPTEMBER True North Brass; West Liberty State College, Faythe Freese; Central Lutheran, Minneapo- West Liberty, WV 8 pm lis, MN 7:30 pm
29 SEPTEMBER 19 SEPTEMBER BETTY LOUISE LUMBY James Wetzel; Trinity Church, New York, NY Faythe Freese, workshop; Central Lutheran, 1 pm Minneapolis, MN 9:30 am DSM • FAGO Wilma Jensen; Nativity of Our Lord Catholic James Welch; Bethania Lutheran, Solvang, Church, St. Paul, MN 7:30 pm CA 1 pm UNIVERSITY OF MONTEVALLO 30 SEPTEMBER 20 SEPTEMBER MONTEVALLO, AL 35115 Gillian Weir; St. Paul Cathedral, Pittsburgh, Bruce Power; Christ Church Cathedral, Hous- PA 7:30 pm ton, TX 3 pm Carol Williams; Spreckels Organ Pavilion, Balboa Park, San Diego, CA 2 pm UNITED STATES West of the Mississippi 24 SEPTEMBER James R. Metzler A.S.C.A.P. Christopher Stroh, work by Cage; Basilica of FELLOW, AMERICAN GUILD OF ORGANISTS St. Mary, Minneapolis, MN 7 pm PARK CONGREGATIONAL CHURCH 16 AUGUST 345 SADDLE LAKE DRIVE Emma Lou Diemer; St. Mary’s Cathedral, San 25 SEPTEMBER GRAND RAPIDS, MICHIGAN ROSWELL-ATLANTA, GEORGIA 30076 Francisco, CA 3:30 pm (770) 594-0949 VocalEssence; Central Lutheran, Minneapolis, Peter Fennema; Westwood United Methodist, MN 8 pm Los Angeles, CA 3 pm Carol Williams; Spreckels Organ Pavilion, 27 SEPTEMBER MARILYN MASON Balboa Park, San Diego, CA 2 pm Douglas Cleveland; Second Presbyterian, St. CHAIRMAN, DEPARTMENT OF ORGAN Louis, MO 4 pm UNIVERSITY OF MICHIGAN 17 AUGUST Peter Planyavsky; Cathedral of the Mad- Ernest Whitmore, with trumpet; United Meth- ANN ARBOR eleine, Salt Lake City, UT 8 pm odist Church, Aurora, NE 7 pm Jean-Baptiste Robin; Our Lady of Lourdes “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Catherine Ennis; Spreckels Organ Pavilion, Church, Sun City West, AZ 3 pm with awesome technique and a thrilling command of its daring writing.” Balboa Park, San Diego, CA 7:30 pm Gail Archer; University of Arizona, Tucson, The American Organist, 1980 AZ 4 pm 18 AUGUST •Christine Schulz; Bethlehem Lutheran, Mankato, MN 12 noon INTERNATIONAL A two-inch LARRY PALMER 21 AUGUST 15 AUGUST Professional Card David Christopher; Trinity Episcopal, Reno, Dominique Bréda; Musée suisse de l’orgue, Professor of NV 12 noon Roche, Switzerland 5 pm
in The Diapason Harpsichord and Organ 23 AUGUST 16 AUGUST Lenore Alford; St. Mary’s Cathedral, San Philip Crozier; St. Moritz-Kirche, Mittenwalde, For information on rates and Meadows School of the Arts Francisco, CA 3:30 pm Germany 5 pm specifi cations, contact: Carol Williams; Spreckels Organ Pavilion, Martin Setchell; St. Andreas Kirche, SOUTHERN METHODIST UNIVERSITY Balboa Park, San Diego, CA 2 pm Hildesheim, Germany 6 pm Jerome Butera Felix Hell; Apostel-Petrus-Kirche, Neuhaus [email protected] Dallas, Texas 75275 24 AUGUST (Schliersee), Germany 7 pm Dennis James; Spreckels Organ Pavilion, David Briggs; Hochschule für Musik und 847/391-1045 Balboa Park, San Diego, CA 7:30 pm Theater, Leipzig, Germany 8 pm Musical Heritage Society recordings Maxine Thevenot; Cathédral Notre Dame, 26 AUGUST Paris, France 4:30 pm Sheila Bristow; Trinity Parish Church, Seattle, Norman Harper; St. Paul’s Cathedral, Lon- WA 12 noon don, UK 4:45 pm Marcus Wibberley; Westminster Abbey, Lon- Arthur LaMirande 27 AUGUST don, UK 5:45 pm LaMirande must be complimented upon investi- Christopher Stroh, work by Cage; Basilica of gating music that few of his fellow organists have St. Mary, Minneapolis, MN 7 pm 18 AUGUST had the foresight to examine and to bring before the Roland Börger; Wehrkirche, Pomßen, Ger- public.—American Record Guide 28 AUGUST many 8 pm Barbara Dennerlein; St. Andrew’s Lutheran, Jonathan Addleman, with Baroque violin; St. L’organiste traversa son programme entier avec Mahtomedi, MN 7:30 pm James United Church, Montreal, QC, Canada une authorité, une solidité technique et une fraîcheur David Hatt; Trinity Episcopal, Reno, NV 12 12:30 pm de registration qui, loin de faiblir en fi n d’exercice, noon accompagnèrent les deux rappels d’ailleurs accordé 19 AUGUST sans la moindre hésitation.—La Presse, Montréal 30 AUGUST Philip Crozier; Predigerkirche, Erfurt, Ger- Paul Jacobs; St. John’s United Methodist, Al- many 8 pm 461 Fort Washington Avenue, Suite 33 buquerque, NM 2 pm New York, NY 10033 Christoph Tietze, Mendelssohn, Sonatas 2 & 20 AUGUST 212/928-1050 [email protected] 4; St. Mary’s Cathedral, San Francisco, CA 3:30 Jean Guillou; Hochschule für Musik und pm Theater, Leipzig, Germany 8 pm
30 THE DIAPASON
Aug 09 pp. 29-33.indd 30 7/10/09 10:59:59 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 21 AUGUST 5 SEPTEMBER Philip Crozier; Dorfkirche, Waltersdorf bei Benjamin Alard, with Wiener Akademie; Ka- Luckau, Germany 7:30 pm thedrale, Dresden, Germany 8 pm LEON NELSON DOUGLAS O’NEILL Jacques van Oortmerssen; St. Georgen- Cathedral of the Madeleine kirche, Rötha, Germany 8 pm 6 SEPTEMBER University Organist Dietrich Wagler; Stadtkirche, Oederan, Ger- North Park University Salt Lake City, Utah 22 AUGUST many 5 pm Chicago, Illinois [email protected] Philip Crozier; Dorfkirche St. Martin, Hornow Felix Hell; Johanneskirche, Iserlohn, North- 801/323-9850 bei Spremberg, Germany 5 pm Rhine Westfalia, Germany 6 pm David Jonies; St. Martin’s Cathedral, Mainz, Paul Derrett; St. Paul’s Cathedral, London, Germany 7 pm UK 4:45 pm Benjamin Righetti; Musée suisse de l’orgue, Simon Bell; Westminster Abbey, London, UK Stephen G. Schaeffer Roche, Switzerland 5 pm 5:45 pm DOUGLAS REED Recitals – Consultations 23 AUGUST 7 SEPTEMBER Philip Crozier; Stiftskirche, Neuzelle bei Johannes Gebhardt, with trumpet; Kirche, UNIVERSITY OF EVANSVILLE Cathedral Church of the Advent Nassau, Germany 1:30 pm Eisenhüttenstadt, Germany 5 pm EVANSVILLE, INDIANA Birmingham, Alabama David Jonies; St. Joseph Parish Church, www.AdventBirmingham.org Neunkirchen, Germany 6 pm 8 SEPTEMBER Martin Schmeding; Michaeliskirche, Leipzig, Martin Haselböck; Petrikirche, Freiberg, Ger- Germany 8 pm many 7:30 pm Liam Cartwright; St. Paul’s Cathedral, Lon- Roger Sayer; Hallgrimskirkja, Reykjavik, Ice- don, UK 4:45 pm land 7:30 pm ROBERT L. Stephen Tappe Sebastian Thomson; Westminster Abbey, Organist and Director of Music London, UK 5:45 pm 10 SEPTEMBER Albrecht Koch; Dom, Freiberg, Germany 8 pm SIMPSON Saint John's Cathedral 25 AUGUST Christ Church Cathedral Denver, Colorado Jon Laukvik; Nicolaikirche, Leipzig, Germany 12 SEPTEMBER 1117 Texas Avenue www.sjcathedral.org 8:30 pm Mario Duella, with trumpet; Chiesa di S. Gior- Houston, Texas 77002 Matthieu Latreille; St. James United Church, gio, Coggiola, Italy 9 pm Montreal, QC, Canada 12:30 pm 13 SEPTEMBER 27 AUGUST Mario Duella; Chiesa di S. Sebastiano, Trive- Marcia Van Oyen Jean-Claude Zehnder; Dom St. Marien, Frei- ro/Bulliana, Italy 9 pm Joe Utterback berg, Germany 8 pm Timothy Harper; St. Paul’s Cathedral, Lon- don, UK 4:45 pm COMMISSIONS & CONCERTS First United Methodist Church 29 AUGUST James McVinnie; Westminster Abbey, Lon- Plymouth, Michigan don, UK 5:45 pm 732 . 747 . 5227 Felix Hell, with Pfalztheater-Orchester mvanoyen.com Kaiserslautern; Paulskirche, Kirchheimbolanden, Germany 7:30 pm 15 SEPTEMBER Jürg Brunner; Musée suisse de l’orgue, Stephanie Burgoyne & William Vandertuin; Roche, Switzerland 5 pm St. Paul’s Anglican Cathedral, London, ON, Can- ada 12 noon David Wagner 30 AUGUST DMA Kevin Walters 16 SEPTEMBER Olivier Latry; Hochschule für Musik und Madonna University Theater, Leipzig, Germany 11:30 am Susan Landale; Hallgrimskirkja, Reykjavik, M.A., F.A.G.O. John Hosking; St. Paul’s Cathedral, London, Iceland 7:30 pm Livonia, Michigan UK 4:45 pm [email protected] Rye, New York Paul Derrett; Westminster Abbey, London, 17 SEPTEMBER Birger Marmvik UK 5:45 pm ; St. Margaret Lothbury, Lon- don, UK 1:10 pm 31 AUGUST 18 SEPTEMBER Felix Hell, with Pfalztheater-Orchester Winfried Englhardt & Elisabeth Sperer; Kaiserslautern; Stiftskirche, Kaiserslautern, Ger- ARL ATSON Cherie Wescott Chiesa di S. Maria, Valduggia, Italy 9 pm K W many 7:30 pm Concerts • Masterclasses • Coaching Thierry Escaich, with Sequenza; Evreux Ca- Maxine Thevenot; Cathédrale Notre Dame de thedral, Evreux, France 8:30 pm SAINT LUKE’S Paris, Paris, France 4:30 pm 405/942-3958 19 SEPTEMBER METUCHEN e-mail: [email protected] 1 SEPTEMBER Mario Duella & Pierangelo Ramella, with Douglas Cleveland; Victoria Concert Hall, chorus; Chiesa di S. Maria della Pace, Pralungo, Singapore 7:30 pm Italy 9 pm
2 SEPTEMBER 20 SEPTEMBER Davis Wortman Felix Hell, with orchestra; RC Cathedral, Gabriel Marghieri; Chiesa di S. Michele Ar- RONALD WYATT Speyer, Palatinate, Germany 7:30 pm cangelo, Cavaglià, Italy 9 pm Pierre Henri Houbard; Evreux Cathedral, St. James’ Church Trinity Church 3 SEPTEMBER Evreux, France 5 pm Massimo Nosetti; St. Margaret Lothbury, Thomas Leech; St. Paul’s Cathedral, London, New York Galveston London, UK 1:10 pm UK 4:45 pm James O’Donnell; St. Paul’s Cathedral, Lon- Simon Johnson; Westminster Abbey, Lon- don, UK 7 pm don, UK 5:45 pm Charles Dodsley Walker, FAGO 4 SEPTEMBER 26 SEPTEMBER Felix Hell, with orchestra; Ev. Johanneskirche, Margherita Gianola, with soprano; Abbazia di Artist-in-Residence Founder/Conductor Pirmasens, Palatinate, Germany 7:30 pm S. Silano, Romagnano Sesia, Italy 9 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral of St. John SYLVIE POIRIER Albuquerque, New Mexico (YHKPVWYVNYHTMVY[OLRPUNVMPUZ[Y\TLU[Z www.stjohnsabq.org PHILIP CROZIER 505-247-1581 #0931 - Pipes at the Proms (I)…courtesy of the BBC, ORGAN DUO these performances come direct from this summer’s 3355 Queen Mary Road, Apt 424 ( festival season at Royal Albert Hall, London’s premier < gathering place for classical music lovers. Montreal, H3V 1A5, P. Quebec Canada . #0932 - All That Jazz…in swinging Bach arrangements and original (514) 739-8696 new scores, the King of Instruments lets it all hang out. < Fax: (514) 739-4752 Iain Quinn Maxine Thevenot Director of Cathedral Associate Organist- : #0933 - Summer Breezes…refreshing scores for organ [email protected] Music & Organist Choir Director ; plus other wind instruments, including trumpet, Àute, saxophone, horn, pan-pipes and a whistler. DAVID SPICER #0934 - Pipes at the Proms (II)…in a sonata by Elgar, concerto by Handel, and with huge choir and orchestra in the Berlioz Te Deum, First Church of Christ England’s largest pipe organ holds its own at Royal Albert Hall. Wethersfi eld, Connecticut Carol Williams #0935 - Pipes Alive!…recitals, session recordings, and concerts collected from across the nation provide a superb display of the organist’s art in action. San Diego Civic Organist
-YVT (TLYPJHU 7\ISPJ 4LKPH 7PWLKYLHTZ PZ W\ISPJ YHKPV»Z ^LLRS` (76)(PZHWYV\K Website: www.melcot.com WYVNYHT KLKPJH[LK [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z Z\WWVY[LYVM JLSLIYH[PVU VM [OL ¸RPUN VM PUZ[Y\TLU[Z¹ PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL 7PWLKYLHTZ =PZP[ ^^^WPWLKYLHTZVYN [V SVJH[L H IYVHKJHZ[ Z[H[PVU PU `V\Y HYLH ^^^HWVIHJVT House Organist E-mail: [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford
AUGUST, 2009 31
Aug 09 pp. 29-33.indd 31 7/10/09 11:00:19 AM Peter Richard Conte; Eglise des Saint-An- Bloomfi eld Hills, Michigan August 24, Julianne Vanden Wyngaard ges-Gardiens, Lachine, QC, Canada 7:30 pm Christ Church Cranbrook August 31, Marcel Siebers Sundays at 5 pm September 7, Sue Bergren Organ Recitals 27 SEPTEMBER August 2, Dennis Curry Frederick Mooney; Katharinenkirche, Oppen- Hartford, Connecticut August 9, Karel Keldermans SCOTT ATCHISON & NICOLE MA- heim, Germany 6 pm August 16, Dave Johnson Trinity College Chapel Enrico Pasini, with fl ute; Santuario di Wednesdays at 7 pm RANE, with Peachtree Road United Method- Sant’Euseo, Serravalle Sesia, Italy 9 pm Centralia, Illinois August 5, Steven Ball ist Church Chancel Choir, Stephen Kennedy, Saki Aoki; Evreux Cathedral, Evreux, France Centralia Carillon August 12, George Matthew, Jr. conductor, Peachtree Road United Methodist 5 pm August Carillon Weekend Church, Atlanta, GA, January 25: Fantasia Martin Setchell; St. Paul’s Cathedral, London, August 29, Doug Gefvert, 2 pm; Marcel Kennett Square, Pennsylvania and Fugue in g, BWV 542, Bach; Noel: Grand UK 4:45 pm Siebers 2:45 pm Longwood Gardens Jeu et Duo, Daquin; Choral No. 2 in b, Franck; Ourania Gassiou; Westminster Abbey, Lon- August 30, Julianne Vanden Wyngaard, Sundays at 3 pm Variations de Concert, Bonnet; Gloria in ex- don, UK 5:45 pm 2 pm; Carlo van Ulft, 2:45 pm August 16, David Maker celsis Deo (Messe Solennelle, op. 16), Vierne; Maxine Thevenot; Eglise des Saints-Anges August 30, Karel Keldermans Bolero de concert, Lefébure-Wely; Prelude in Gardiens, Lachine, Montreal, QC, Canada 3 pm Chicago, Illinois E-fl at, Prelude in e-fl at, Kittel; Sonata I in F, University of Chicago, Rockefeller Chapel Luray, Virginia Mendelssohn. 28 SEPTEMBER Sundays at 6 pm Luray Singing Tower Enrico Pasini, with fl ute; Chiesa dei SS. Gi- August 2, Sara and Ana Elias Tuesdays, Thursdays, Saturdays and Sun- JAMES RUSSELL BROWN, Music In- ulio ed Amatore, Cressa (NO), Italy 9 pm August 9, Carol Anne Taylor days in August at 8 pm, David Breneman, stitute of Chicago, Evanston, IL, March 18: August 16, Jim Brown carillonneur Allegro (Symphonie VI in g, op. 42), Widor; August 23, Julianne Vanden Wyngaard Communion (Les oiseaux et les sources) August 30, Marcel Siebers Mariemont, Ohio (Messe de la Pentecôte), Messiaen; Prélude et Mary M. Emery Memorial Carillon Fugue sur le nom d’Alain, op. 7, Durufl é. 2009 Summer Carillon Cohasset, Massachusetts Sundays at 7 pm Concert Calendar St. Stephen’s Episcopal Church August 9, August 30, September 7, FRANCESCO CERA, organ and harpsi- Sundays at 6 pm Richard M. Watson chord, with Ensemble Arte Musica, Loredana by Brian Swager August 2, Steven Ball August 2, August 23, September 6, Bigi, soprano, Auditorium Varrone, Rieti, Ita- August 9, George Matthew, Jr. Richard D. Gegner ly, April 18: Sonata a tre in do maggiore (op. August 16, Sally Slade Warner August 16, Richard D. Gegner and Rich- 4), Corelli; Che vidi, o ciel, che vidi, Scarlatti; ard M. Watson Sonata in do maggiore, Variazioni capricciose, Allendale, Michigan Culver, Indiana Pasquini; Sonata all’elevazione, Zipoli; Ouver- Grand Valley State University, Cook Caril- Culver Academies, Memorial Chapel Caril- Middlebury, Vermont ture, Fuga, Gloria in excelsis Deo, Handel. lon, Sundays at 8 pm lon, Saturdays at 4 pm Middlebury College August 2, Ray McLellan August 1, September 5, John Gouwens Fridays at 7 pm A. ROBERT CHAPMAN, Broad Street August 9, Open Tower August 7, Alexander Solovov Christian Church, Martinsville, VA, March 15: August 16, Julianne Vanden Wyngaard Detroit, Michigan August 14, George Matthew, Jr., 4 pm Prelude and Fugue in G, BWV 541, Bach; All’ Jefferson Avenue Presbyterian Church Offertorio, Pastorale, Zipoli; Trumpet Volun- Ames, Iowa August 23, Ronald Kressman, noon Minneapolis, Minnesota tary, Stanley; O Sacred Head Now Wounded, Iowa State University Central Lutheran Church Bach; Mon âme cherche une fi n paisible, Lan- September 5, Adrian Gebruers Frederick, Maryland August 2, Julianne Vanden Wyngaard, glais; Pièce Héroïque, Franck; Brother James’s Joseph Dill Baker Memorial Carillon 11:10 am Air, Wright; Grand Jeu (avec tonnerre), Cor- Ann Arbor, Michigan Sundays at 6 pm rette; Carillon de Westminster, Vierne. University of Michigan, Burton Memorial August 2, Thomas Lee Naperville, Illinois Tower, Mondays at 7 pm August 9, Dave Johnson Naperville Millennium Carillon PHILIP CROZIER, Église Saint-Germain, August 10, Karel Keldermans August 23, Karel Keldermans Tuesdays at 7 pm Outremont (Montreal), QC, Canada, April 5: August 17, Dennis Curry August 4, Sara and Ana Elias Wir glauben all’ an einen Gott, BWV 680, August 24, Steven Ball Gainesville, Florida August 11 Carol Anne Taylor Trio en Sol, BWV 586, Bach; Ciacona en do August 31, Doug Gefvert University of Florida, Century Tower August 18, Jim Brown mineur, BuxWV 159, Buxtehude; Deux Pièces August 16, Laura Ellis, 3 pm August 25, Julianne Vanden Wyngaard pour Flötenuhr, Haydn; Variations sur Victi- Belmont, North Carolina mae Paschali Laudes, Ropek. First Presbyterian Church Glencoe, Illinois Northfi eld, Vermont August 23, John Bordley, 7 pm Chicago Botanic Garden Norwich University ROBERT DELCAMP, Trinity Episcopal Mondays at 7 pm August 1, Julia Littleton, 1 pm Cathedral, Little Rock, AR, March 20: Alle- Berea, Kentucky August 3, Sara and Ana Elias gro (Symphony No. 6), Widor; Grande Pièce Berea College, Draper Building Tower August 10, Carol Anne Taylor Norwood, Massachusetts Symphonique, op. 17, Franck; Laudate Do- August 3, John Courter, 7:30 pm August 17, Jim Brown Norwood Memorial Municipal Building minum, Hurford; Chorale Prelude on Drop, Mondays at 7 pm drop, slow tears, Persichetti; Passacaglia on a August 3, Steven Ball theme of Dunstable, Weaver. martin ott pipe August 10, George Matthew, Jr. organ HANS DAVIDSSON, West Baptist company August 17, Daniel Kerry Kehoe inc. Church, Oswego, NY, April 19: Praeludium Princeton, New Jersey in E-fl at, BWV 552a, Bach; Partita on Freu M. L. BIGELOW & Co. 1353 Baur Boulevard Princeton University, Grover Cleveland dich sehr, o meine Seele, Böhm; Trio a 2 Cla- St. Louis, MO 63132-1903 viere e Pedale in E-fl at, Krebs; Sonata in c, ORGAN BUILDERS 314-569-0366 Phone Tower, Sundays at 1 pm 314-504-0366 Cell August 2, Doug Gefvert op. 65, no. 2, Mendelssohn; Sicilienne (Suite, (801) 756-5777 Martin Ott 314-569-3879 Fax ofÄ[email protected] August 9, Edward Nassor op. 5), Durufl é; Finale (Sonata), op. 42, no. 130 W. 1st S., American Fork, UT 84003 Orgelbaumeister www.ottpipeorgan.com August 16, Scott Brink Parry 1, Guilmant. August 23, Jonathan Lehrer August 30, Lisa Lonie HENRY DI CRISTOFANO, Our Lady of September 6, Thomas Lee Sorrows Basilica, Chicago, IL, March 15: Sta- Parkey bat Mater Dolorosa, Lemaigre; Capriccio (La Rochester, Minnesota Caccia), Fumagalli; Prelude, Fugue, and Vari- OrganBuilders Mayo Clinic ation, op. 18, Franck; The Holy City, Adams, Distinguished Pipe Organs August 16, Rändel Wolfe, 4 pm transcr. Whitworth; Variations on Pange Lin- 3870 Peachtree Ind. Blvd. Voice 770-368-3216 gua, Fedak; Audi, Benigne Conditor, Peeters; Suite 150-285 Fax 770-368-3209 St. Paul, Minnesota Toccata (Suite Gothique, op. 25), Boëllmann. Duluth, Georgia 30096 www.parkeyorgans.com House of Hope Presbyterian Church August 2, Julianne Vanden Wyngaard, DELBERT DISSELHORST, with Da- 4 pm vid Bloesch, violin, First Congregational NEW INSTRUMENTS sound INSPIRATION Church, Iowa City, IA, April 26: Praeludium MAINTENANCE Valley Forge, Pennsylvania in C, BuxWV 137, Buxtehude; Sonata de 1 RESTORATIONS Acoustical Design & Testing • Organ Consultation & Washington Memorial Chapel tono, Lidon; Ein feste Burg, Vom Himmel 974 AUTUMN DRIVE Inspection • Organ Maintenance & Tuning • Sound & Video Wednesdays at 7:30 pm hoch, Herzliebster Jesu, was hast Du verbro- ANTIOCH, ILLINOIS 60002 System Design, Evaluation & Training August 5, John Widmann chen, Lobe den Herren, Walcha; Sonata VI ABR 847-395-1919 F INCY August 12, Edward Nassor in G, BWV 530, Bach; Sonata I in f, op. 65, PIPE ORGANS FAX 847-395-1991 www.riedelassociates.com • (414) 771-8966 email: [email protected] Mendelssohn; Ornament of Grace, Sanders; www.fabryinc.com August 19, Doug Gefvert; Irish Thunder 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Pipes and Drums Rondo française, Boëllmann; Lotus Blossom, August 26, Karel Keldermans Strayhorn; Tu es petra, Mulet. GAN BUILDERS - EST E OR . 187 PIP 7 Victoria, British Columbia JOHN FENSTERMAKER, Church of the Pipe Organ Craftsmen & Builders _ Netherlands Centennial Carillon Incarnation (Episcopal), Dallas, TX, April 17: Hupalo GF Sundays at 3 pm, April–December Prelude, Fugue and Chaconne in C, Buxtehude; 1785 Timothy Drive, Unit 4 Saturdays at 3 pm, July–August Offertoire pour le jour de Pâques, Dandrieu; & San Leandro, CA 94577 Rosemary Laing, carillonneur Mein junges Leben hat ein End, Sweelinck; Repasky Tel: 510 483 6905 SAN FRANCISCO www.hupalorepasky.com w ww 58 .sch 47-58 oenstein.com - (707) 7
ORGANBUILDING & RESTORATIONS 3165 Hill Road Eagleville, TN 37060 (615) 274-6400 Dennis, Derek, Jeff, Todd and Greg Milnar and Associates
www.milnarorgan.com E-mail: [email protected]
Advertise in A. David Moore, Inc. The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected]
32 THE DIAPASON
Aug 09 pp. 29-33.indd 32 7/10/09 11:00:41 AM Méditation (Suite Médiévale), Langlais; In In- Your Word, Powell; Andante, Prelude (Sonata Partita on Schmücke dich, Shaffer; Dialog: narrator, First Church of Christ, Scientist, dia, Stoughton; Irish Air from County Derry, no. 1 in c, op. 27), Rheinberger. Prelude with Choral, Mägi; Finale (Organ Lake Oswego, OR, March 22: Chorale with Lemare; Carillon-Sortie, Mulet. Symphony No. 1 in b), Andrée; Prelude and Variations, Overture, Jerusalem, thou that KAETHE WRIGHT KAUFMAN and Fugue in d, op. 16, no. 3, C. Schumann; killest the prophets, But the Lord is mind- DAVID GELL, with Alan Satchwell, trum- JONATHAN SCAROZZA, St. Luke’s Epis- Chorale Prelude on God Himself Is with Us, ful of His own, And Ananias went his way, I pet, and Anabelle Dalberg, organ, Santa Ynez copal Church, Evanston, IL, March 22: Ara- Bitgood; Romantic Passacaglia on a Twelve- will sing of Thy great mercies, O Lord (Pau- Valley Presbyterian Church, Solvang, CA, besque, Vierne; Cortège et Litanie, Dupré; Tone Theme, Meier; Meditation on the Love of lus, op. 36), Allegro, Chorale and Fugue in March 21: Trumpet Tune Cebell, Purcell; O Gott, du frommer Gott, op. 122, no. 7, God, M. Biery; Variations on O Filii et Filiae d, Allegretto (Sonata No. 4), If with all your Prelude and Fugue in g, BuxWV 149, Buxte- Brahms; Sonate II, Hindemith; Toccata (Suite (Twelve Chorale Preludes on Gregorian Chant hearts, Hear Ye, Israel, O rest in the Lord hude; Partita on Jesu, meine Freude, Walther; Gothique), op. 25, no. 4, Boëllmann. Themes for Organ), Demessieux; Transplant, (Elijah, op. 70), Adagio, Andante Recitativo, Air and Trumpet Tune in D, Purcell; Prelude Shapiro; Variations on Peter, Go Ring Dem Allegro vivace assai (Sonata No. 1, op. 65, no. and Fugue in f, BWV 534, Bach; Sonata II, DAVID LORNSON, with Megan Bauer, Bells, Price. 1), Mendelssohn. Mendelssohn; Sheep May Safely Graze, Bach; violin, The Presbyterian Homes, Evanston, Intrada, Rohlig; Living for Jesus, Slack; I IL, March 30: A Mighty Fortress Is Our God, WILLIAM PETERSON, Pomona Col- MARIJIM THOENE, Ancilla Domini Need Thee Every Hour, Wood; Galilee Suite, Reger; O Lamb of God, Most Holy, BWV 656, lege, Claremont, CA, March 8: Prelude and College, Donaldson, IN, March 13: Pièce Freudenburg; Prelude on Balm in Gilead, Bach; O Sacred Head, Now Wounded, Brahms; Fugue in C, BWV 547, Partite diverse sopra d’Orgue—Fantasy in G, BWV 572, Bach; Ha- Partita on Old Hundredth, Gell. Wondrous Love (Variations on a Shape-Note il Corale: Sei gegrüsset, Jesu gutig, BWV 768, bakkuk, op. 434, Hovhaness; Suite Médiévale Hymn), Barber; Lamb of God, Halley; March Fantasia in c, BWV 562, Allein Gott in der en forme de Messe Basse, Langlais; Luttes ADAM GRUBER, First Presbyterian on a Theme by Handel, Guilmant. Höh sei Ehr, BWV 676, Dies sind die heilgen (Trois Danses, JA 120), Alain; Ave Maris Stel- Church, Arlington Heights, IL, March 25: zehen Gebot, BWV 678, Duetto III, BWV 804, la (Faenza Codex, ca. 1320); Ave Maris Stella Praeludium in G, BWV 541, Bach; Trios in g, ALISON LUEDECKE, with Susan Bar- Fugue in E-fl at, BWV 552/2, Bach. (Cinq Improvisations), Tournemire, recon- c, and D-fl at (Ten Trios), Rheinberger; Toc- rett, oboe and English horn, University of structed by Durufl é. cata in d, Nevin; Litanies, Alain. Washington, Seattle, WA, January 11: Sonata DANIEL ROTH, University of Redlands, No. 4 in F, Handel; Sonata No. 3 in F, Mar- Redlands, CA, March 10: Final, Choral (Sym- D’ARCY TRINKWON, Claremont United STEPHEN HAMILTON, with the cello; Prelude and Fugue in E-fl at, BWV 552, phonie No. 7), Widor; Scherzo for Piano and Church of Christ, Los Angeles, CA, March 4: Queens College Brass Ensemble, Queens Sonata in E-fl at, BWV 525, Bach; Triosonate Harmonium, op. 8, no. 5, Saint-Saëns, transcr. Chaconne in d, BWV 1004, Bach, arr. Best; College, New York, NY, March 17: Litanies, in E-fl at, Telemann. Roth; Allegretto (Symphony in d), Franck, Noël: Chantons de Voix Hautaine, Dandrieu; Alain; Andante in F, K. 616, Mozart; Partite transcr. Roth; Menuet, Romance, Final (Sym- Sonata Eroïca, op. 94, Jongen; In Paradisum, sopra la Aria della Folia de Espagne, Pas- NICOLE MARANE, with Anne Steward, phonie No. 4), Vierne; Fantaisie fuguée sur De Monfred; Toccata Delectatione, op. 5, quini; La Romanesca con Cingue Mutanze, oboe, Peachtree Road United Methodist Regina caeli, Roth; improvisation on submit- Leidel; Sonata, The 94th Psalm, Reubke; Valente; Passacaglia, BWV 582, Bach; Volun- Church, Atlanta, GA, March 8: Allegro Maes- ted themes. Scherzo Symphonique, Cochereau. tary in D, Clarke; Grand Choeur Dialogué, toso (Symphony No. 3, op. 28), Vierne; Sicili- Gigout; Rigaudon, Campra; Processional En- enne (Suite, op. 5), Durufl é; Kairos, Decker; CAROLYN SHUSTER FOURNIER, with CHERIE WESCOTT, Trinity Episcopal try, Strauss. Prélude et danse fuguée, Litaize; Ornament Marie-Christine Steinmetz, orgue de choeur, Church, Tulsa, OK, April 14: Resurrection – of Grace, Sanders; To his Servant Bach, God L’église Sainte-Marguerite, Paris, France, The Ecstasy, King; Allegro con brio (Sonata CALVERT JOHNSON, organ and piano, grants a fi nal glimpse: The Morning Star, March 29: Voluntary et Fugue en la majeur, IV, op. 65), Mendelssohn; Allegro (Sympho- with Qiao Chen Solomon, violin, First Pres- Gothic Toccata, Koehne. Selby; Seigneur Dieu à présent ouvre-moi ny I), Widor; Sortie III in E-fl at, Lefébure- byterian Church, Marietta, GA, March 10: So- le ciel, BWV 617, Allegro (Concerto en la Wely; Allegro maestoso e vivace (Sonata IV, nata in G, op. 6/5, Locatelli; Melodie (Orfeo ALAN MORRISON, St. Norbert Abbey, mineur, BWV 593), Bach; Pièce, Calvière; op. 65), Mendelssohn. ed Euridice), Gluck, transcr. Kreisler; Schön De Pere, WI, March 28: Prelude and Fugue Thème et Variations dans le style de Grétry Rosmarin, Kreisler; Suite de Pièces, op. 3, in B, op. 7, Dupré; Fantasy in A (Trois Pièces), sur une romance de Marie-Antoinette: C’est WILLIAM WHITEHEAD, Peachtree Coleridge-Taylor. Franck; Scherzo, op. 2, Durufl é; Andante sos- mon ami, J. Charpentier; Grand Choeur en Road United Methodist Church, Atlanta, GA, tenuto (Symphonie Gothique, op. 70), Widor; ré majeur (alla Haendel), op. 18, no. 1, Guil- March 17: Sonata No. 2 in c, Mendelssohn; VANCE HARPER JONES, First Pres- Toccata, Wilson; At Evening, Quick Dance mant; Cloches, Fournier; Suite gothique, op. III, Andante, IV, Comme un Scherzo, XIV, byterian Church, New Bern, NC, April 17: (Mountain Music), Stover; Pageant, Sowerby. 25, Boëllmann. Modéré, XXI, Comme une Marche (The 24 Andantino, Santelli; Prelude and Fugue in Pieces for Organ), Fleury; Prière, Franck; Tu C, Lübeck; Sonata no. 2, detta del Gonzaga, FRANCES NOBERT, Loyola University, GERALD SKEELS, with Kathleen es Petrus, Mulet; Fantasia and Fugue in B- Fantini; Partita on Lord, Keep Us Steadfast in Chicago, IL, March 15: The Trumpet, Sobaje; Shimazaki, soprano, and Richard Steffens, fl at, Boëly; Animal Parade, Farrington.
Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045,
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Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ .95 Regular Classifi ed minimum 20.00 ______Display Classifi ed, per word 1.30 Display Classifi ed minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 15.00 ______($25 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.
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Aug 09 pp. 29-33.indd 33 7/10/09 11:00:58 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33.
MISCELLANEOUS PUBLICATIONS/ PUBLICATIONS/ PIANOFORTE RECORDINGS RECORDINGS FOR SALE
Large music library for sale. CDs (classical, Reflections: 1947–1997, The Organ Depart- Peterson Electro-Musical Products, Inc. an- Brown and Allen/Boston square grand piano- organ), organ books, methods, sheet music, ment, School of Music, The University of Mich- nounces a series of one- to three-minute vid- forte. 73 keys. Very good condition. Best offer. collections, etc. All in good to excellent shape. igan, edited by Marilyn Mason & Margarete eos demonstrating some of the most popular Nelson, 847/367-5102 or 312/304-5287. Prices 50% or less of original. For list, contact Thomsen; dedicated to the memory of Albert features of the ICS-4000™ pipe organ control [email protected]. Stanley, Earl V. Moore, and Palmer Christian. system. These videos show organists and organ Includes an informal history-memoir of the builders how easy it is to do such tasks as set REED ORGANS organ department with papers by 12 current up the programmable crescendo, use the built- PUBLICATIONS/ and former faculty and students; 11 scholarly in record/playback system, utilize Peterson’s FOR SALE RECORDINGS articles; reminiscences and testimonials by proprietary “Organist Folders™” system, and graduates of the department; 12 appendices, save piston registrations onto a USB fl ash drive Mason and Hamlin, three manual and pedal. and a CD recording, “Marilyn Mason in Re- memory stick. Over a dozen videos are presently $9,500, including blower. Rare. A.D. Moore Inc., Edith Lang, fi xture of the Boston organ world cital,” recorded at the National Shrine of the available, with more to follow soon. Visit www. 802/457-3914. for decades, wrote and played music for all or- Immaculate Conception in Washington, DC. PetersonEMP.com, then click on “ICS-4000 In- gans, from church to theatre. She even wrote $50 from The University of Michigan, Prof. structional Videos.” a book about fi lm accompaniment! We have Marilyn Mason, School of Music, Ann Arbor, PIPE ORGANS restored her most famous piece, Meditation, MI 48109-2085. which works beautifully on all types of organs. PRO ORGANO (a CD label of Zarex Corpo- FOR SALE michaelsmusicservice.com; 704/567-1066. ration) is pleased to announce the fi rst in its Aging of Organ Leather by Harley Piltingsrud series of new DVD video / CD audio dual-disc products: Praise the Eternal Light, with Gerre 1964 M.P. Möller pipe organ. 36-rank American tells how to test and select organ leathers for lon- Classic specifi cation including two célestes, two Historic Organ Surveys on CD: recorded during gevity of 60 years or more. Treats other aspects Hancock. The 68-minute program, produced in ′ national conventions of the Organ Historical Soci- full HD and Dolby Surround Sound, features im- enclosed divisions and 32 reed. Three-manual of leather production and the history of testing for console. No casework or façades; instrument is ety. Each set includes photographs, stoplists, and longevity. New 48-page edition in 1994, $9.95 + provisations upon the windows of Cathedral of histories. As many organists as organs and reper- St. Joseph in Hartford, Connecticut. Available in good condition but will need releathering. Ask- $4.50 shipping for entire order (within USA). Or- at special introductory price of $20 (plus post) ing $50,000 “as is” or can be rebuilt with some toire from the usual to the unknown, Arne to Zun- der online at www.ohscatalog.org. del, often in exceptional performances on beautiful by phone, FAX, or mail order with MasterCard/ modifi cations. Available immediately. For more organs. Each set includes many hymns sung by Visa. Call 1-800/336-2224 (USA/Canada) or information, contact Létourneau Pipe Organs at 200–400 musicians. Historic Organs of Indiana, 574/271-9151. FAX 574/271-9191. Mail: PRO [email protected] or 888/774-5105. The OHS Catalog is online at www.ohscatalog. ORGANO / ZAREX, PO Box 8338, South Bend 31 organs on 4 CDs, $34.95. Historic Organs of org. More than 5,000 organ and theatre organ Louisville (western Kentucky/eastern Indiana), IN 46660-8338. Item #7233. 32 organs on 4 CDs, $29.95. Historic Organs of CDs, books, sheet music, DVDs and VHS videos 11-rank Wicks pipe organ. $4,400. 248/471- Maine, 39 organs on 4 CDs, $29.95. Historic Or- are listed for browsing and easy ordering. Use 1515; 586/202-9960. gans of Baltimore, 30 organs on 4 CDs, $29.95. a link for adding your address to the OHS Cata- The Organ Historical Society has released log mailing list. Organ Historical Society, Box Historic Organs of Indiana, 4 CDs recorded at Historic Organs of Milwaukee, 25 organs in Wis- ′ ′, ′ ′ consin on 2 CDs, $19.98. Historic Organs of New 26811, Richmond, VA 23261. E-mail: catalog@ the OHS National Convention in Central Indiana Continuo organ, 8 , 4 2 ; 8 principal c1–g3; Orleans, 17 organs in the Bayous to Natchez on organsociety.org. in July, 2007. Nearly 5 hours of music features playable at A-440 or A-415; portable. $39,000. 2 CDs, $19.98. Historic Organs of San Francisco, 31 pipe organs built between 1851–2004, by A. David Moore Inc., telephone: 802/457-3914. 20 organs on 2 CDs, $19.98. Add $4.50 shipping Aeolian-Skinner, Skinner, Henry Erben, Felge- in U.S. per entire order from OHS, Box 26811, CD Recording, “In memoriam Mark Bux- maker, Hook & Hastings, Kilgen, Kimball, and Richmond, VA 23261, by telephone with Visa or ton (1961–1996).” Recorded at Église Notre- many more builders. Performers include Ken Last Aeolian-Skinner built (1971) with many MasterCard 804/353-9226; FAX 804/353-9266. Dame de France in Leicester Square, London, Cowan, Thomas Murray, Bruce Stevens, Carol recent upgrades. Excellent condition. Three new between 1987 and 1996. Works of Callahan, Williams, Christopher Young, and others. A 40- keyboards, 33 stops, 46 ranks. Contact First Widor, Grunewald, Salome, Ropartz, and Boëll- page booklet with photos and stoplists is includ- Presbyterian, Grand Forks, ND, attn: Gretchen, Request a free sample issue of The Diapason mann, along with Buxton’s improvisations. $15 ed. OHS-07 4-CD set is priced at $34.95 (OHS 701/775-5545 or gretchen@fi rstpresgf.org. for a student, friend, or colleague. Write to the postpaid: Sandy Buxton, 10 Beachview Cres- members, $31.95) plus shipping. Visit the OHS Editor, The Diapason, 3030 W. Salt Creek Lane, cent, Toronto ON M4E 2L3 Canada. 416/699- Online Catalog for this and over 5,000 other or- Suite 201, Arlington Heights, IL 60005; or e-mail: 5387, FAX 416/964-2492; e-mail hannibal@ gan-related books, recordings, and sheet music: Don’t miss out on THE DIAPASON’s e-mail news- [email protected]. idirect.com. www.ohscatalog.org. letters! Register at www.TheDiapason.com. glück newyork orgaNbuilders
170 Park Row, Suite 20A TOTAL PIPE ORGAN RESOURCES New York, NY 10038
2320 West 50th Street * Erie, PA 16505-0325 212.608.5651 (814) 835-2244 * www.organsupply.com www.glucknewyork.com
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PEEBLES-HERZOG, INC. THE ORGAN COMPANY 50 Hayden Ave. Columbus, Ohio 43222 1220 Timberedge Road Lawrence, Kansas 66049 Ph: 614/279-2211 • 800/769-PIPE (785) 843-2622 www.peeblesherzog.com www.reuterorgan.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
34 THE DIAPASON
Aug 09 pp. 34-35.indd 34 7/10/09 11:01:38 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE WANTED SUPPLIES SUPPLIES
Portative organ: Designed for small choral or Schlicker console wanted, three manuals, Austin actions: Come to the source. Fast de- Releathering all types of pipe organ actions baroque ensembles. Four stops: 8′, 4′, 2′, and contemporary styling only. Flamed copper pipes livery. Guaranteed. 860/522-8293; www.austin and mechanisms. Highest quality materials and 1-1/3′, with the last two divided into bass and wanted for façade, contemporary styling only, not organs.com. workmanship. Reasonable rates. Columbia treble registers and an adjustable point of di- necessary to speak. Please call 201/835-5311 or Organ Leathers 800/423-7003. www.columbia vision (b24/c25 or c25/c#26). Adjustable pitch [email protected]. organ.com/col. between A=440 Hz and A=415 Hz. Quarter- Aeolian/Robert Morton-style maroon leather sawn white oak case. Available immediately. is now available from Columbia Organ For more information, contact Létourneau Pipe MISCELLANEOUS Leathers! Highest quality. 800/423-7003, THE DIAPASON’s website now presents featured Organs at [email protected] or FOR SALE www.columbiaorgan.com. artists in its SPOTLIGHTS section—with pho- 888/774-5105. tos, biographies, and contact links. Visit www. TheDiapason.com to view details: in the left- Consoles, pipes and numerous miscellaneous Highest quality organ control systems since hand column, under Spotlights, click on Fea- 1973 Schlicker tracker, 17 voices, 21 ranks parts. Let us know what you are looking for. 1989. Whether just a pipe relay, combination tured Artists. —an exquisite organ in pristine condition. Move E-mail [email protected] (not comcast), action or complete control system, all parts phone 215/353-0286 or 215/788-3423. are compatible. Intelligent design, competitive it and play it. Making room for a new instrument. pricing, custom software to meet all of your re- Tours of the World’s Largest Pipe Organ in At- Asking $90,000. For more information and ar- quirements. For more information call Westa- lantic City’s Boardwalk Hall are now available by rangements to see and play the organ contact Atlantic City Pipe Organ Company—3-rank cott Organ Systems, 215/353-0286, or e-mail reservation. The two-hour docent tours include Teresa at St. John’s Lutheran Church, Sink- ′ [email protected]. the ballroom Kimball organ and the 33,000+ pipe ing Spring, PA. 610/678-1088 or tkissling@ unit Wicks: $4000 or best offer; 8 Kilgen Har- monic Doppel Flute: $800; 16′ Gemshorn with Midmer-Losh organ, with its 7-manual console stjohnss.org. chests: $3000; 8′ OSI Harmonic Trumpet, ta- and 5-manual portable console. Tourgoers will pered shallots: $1100; 4′ OSI Oboe, tapered Austin actions recovered. Over 40 years ex- see the 64′ pedal stop, the immense 32′ Diapa- shallots: $850; Vox in a box: $500. 609/641-9422, perience. Units thoroughly tested and fully guar- sons, and areas of the organs not open to the ca- 1972 two-manual, 14-rank electro-pneumatic [email protected]. anteed. Please call or e-mail for quotes. Tech- sual visitor. Tours cost $20, which goes directly unit organ. Built by Burger of Minneapolis; sup- nical assistance available. Foley-Baker, Inc., 42 to support the restoration of these instruments; ply-house parts. Unifi ed to 44 stops. Subbass, N. River Road, Tolland, CT 06084. Phone 1- children under 12 are admitted free. For reserva- Gedeckt, and chimes NOT for sale. Make offer. 4-manual console, circa 1964, by Reuter, 800/621-2624. FAX 860/870-7571. foleybaker@ tions: [email protected]. For information: Buyer to remove during July–August 2009. St. good condition, $3600; Steinway 7′ square pi- sbcglobal.net. www.acchos.org. John’s Lutheran Church, 803 First Street West, ano, circa 1882, great shape, $4500. Colorado; Park Rapids, MN 56470, 218/732-9783. 303/671-6708. Need help with your re-leathering Postal regulations require that mail project? All pneumatics including to THE DIAPASON include a suite num- 8-rank Wangerin near Detroit is seeking a good Wood pipes. Missing pipes made to match. Austin. Over 45 years experience ber to assure delivery. Please send home. I am in good condition and will bring joy Damaged pipes in any condition repaired. Over (on the job assistance available). all correspondence to: THE DIAPASON, to my new owner. Owner is asking $3,500 and 25 years experience. Filip Cerny, 814/342-0975. 615/274-6400. buyer to remove. For information please contact 3030 W. Salt Creek Lane, Suite 201, 248/356-0896 or [email protected]. Arlington Heights, IL 60005. ATTENTION ORGAN TEACHERS! Attract new students with our great new game— ALL REPLIES 1960s Walcker (German) 14-rank tracker Pipe Organ Hero! This music video game THE DIAPASON’s classified ads are organ. Open toe voicing on 2″ wind pressure. comes complete with a 3-manual plus ped- TO BOX NUMBERS now available on THE DIAPASON Reverse console built into case. Footprint is al peripheral that attaches to a gaming con- that appear website—including photographs and 6′ wide by 11′6″ deep (including console and sole. Gives kids the challenges of hitting convenient e-mail links directly to the pedal stops), 9′10″ tall. All encased with 4′ Prin- the right pedal notes and grappling with without an address sellers! Visit www.TheDiapason.com ′ ′ cipal façade. Manual I—8 Gedackt, 4 Octave, three manuals! Our most recent releases should be sent to: and in the left-hand column, look for II Sesquialtera, II–III Mixture. Manual II—8′ feature Tournemire transcriptions and SPOTLIGHTS, then click on Classified Gemshorn, 4′ Rohrfl ote, ′2 Principal, 1-1/3′ Dupré-style improvisations. Those guitar THE DIAPASON Advertisements. Follow the links to the ′ ′ ′ Quinte. Pedal—16 Bourdon, 8 Flute, 4 Cho- games will be wimpy in comparison with 3030 W. Salt Creek Lane, Suite 201 classifieds that interest you, and click ralbass. Playing and in use regularly. Asking the diffi culties of the organ! Box Hero-Con, the e-mail button to contact the sellers. $16,500. For recordings and pictures contact THE DIAPASON; [email protected]. Arlington Heights, IL 60005 What could be easier? [email protected].
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS W. Zimmer & Sons, inc. City ______❑ $55.00—2 YEARS Jacques Stinkens ❑ $35.00—1 YEAR pipe organ builders Organpipes - since 1914 State ______Zip ______FOREIGN SUBSCRIPTIONS 429 Marvin Road Fort Mill, SC 29707 ❑ $85.00—3 YEARS Flues - Reeds Phone/Fax: 803-547-2073 Please allow four weeks for delivery of fi rst issue ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" wzimmerandsons.com ❑ E-1 $45.00—1 YEAR Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] on new subscriptions. NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
AUGUST, 2009 35
Aug 09 pp. 34-35.indd 35 7/10/09 11:01:59 AM KKararenen McFMcFarlanearlane ArArtististsts 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Michael Unger AGO National Competition Winner Available 2008-2010
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* CHOIRS AVAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director March 16-23, 2009 Spring 2010
The Choir of New College Oxford, UK Edward Higginbot tom, Director Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith* April 10-25, 2010 The Choir of St. John’s College Cambridge, UK Andrew Nethsingha, Director Spring 2011 European artists available 2008-2009 and 2009-2010
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WEB SITE: www.concertorganists.com
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